0:00

Next chapter podcast. Go

0:30

ahead and eat of a friend that

0:32

came to feast for Angelo talking the

0:35

500 until the end. Talking

0:38

the 500 until the end. With

0:42

my man JAM On

0:47

the 500. Talking

0:50

the 500 until the end. Talking

1:00

the 500 until the end.

1:03

Told him it's my favorite diamond ring. If

1:08

that diamond ring don't shine, He's

1:12

gonna take it to a private eye. If

1:17

that private eye can't be. That

1:21

song was by Bo Diddley from the 1986 record,

1:25

Bo Diddley and another one

1:27

called Go Bo Diddley Go?

1:30

Maybe? But it's also number 216 out of 500 in the

1:32

500 with Josh Adam Myers. Thank

1:35

you for joining me on the only podcast

1:37

where a comedian and a guest is going

1:40

through Rolling Stone magazine's list of the 500

1:42

greatest records all the way down to one.

1:44

Want to watch the podcast? Well, there's only

1:46

one way. You can see full videos of

1:48

me and my guest each week. Join the

1:50

Patreon for $5 a month to watch full

1:52

videos and for $25 a month, we

1:55

give away merch, coffee mugs, t

1:57

shirts, posters, hoodies, all going to

1:59

hell. helping us reach

2:01

our goal of hitting number one

2:03

on this list and we got

2:05

a ways to go. So go

2:07

to patreon.com backslash the 500 podcast

2:10

or find the links to this

2:12

on our website the 500 podcast.com.

2:14

I know I'm taking a break right

2:17

now to fix these raspy chords but

2:19

I got some stuff that I want

2:21

you to know about. April 18th through

2:23

the 20th, I will be at the

2:25

Moon Tower Comedy Festival doing

2:27

the goddamn comedy jam each night. I'm headlining

2:29

an hour show and I'm doing a live

2:31

500. April 21st and the 22nd,

2:34

I'll be at the Comedy Store in

2:36

Los Angeles. 21st doing a goddamn comedy

2:38

jam. 22nd doing a shimmy shimmy yah.

2:40

Then April 26th through the 27th, I'll

2:43

be at Riot Comedy Club in Houston,

2:45

Texas. Then May 3rd, I'll be headlining the

2:47

Hollywood Cafe for Netflix as a joke. It's

2:50

gonna be an hour show with music and

2:52

comedy. I want you guys to come. I'll

2:54

be doing a goddamn comedy jam in LA

2:56

for the Netflix as a joke festival and

2:59

then May 16th through the 18th Rumors Comedy

3:01

Club in Winnipeg, Canada. I want to see

3:03

everybody out there for that that

3:05

came to the Toronto shows and then in

3:08

June we've got Laughs Boston,

3:10

the Armory in Springfield, Massachusetts and

3:12

I've got more and more dates

3:15

that will be announced shortly. So

3:17

go to joshattamires.com for all tickets

3:20

or at Josh Adam Myers to

3:22

support this guy. Our

3:25

guest this week and I

3:27

can't believe we got him

3:29

from Sepultura, Soulfly, the Kavalera

3:31

conspiracy, the one, the only

3:33

Max Kavalera. He is a

3:36

legend and I'm so happy

3:38

we got to sit down with him.

3:40

Pre-order him and his brother Igor Kavalera's

3:42

official Blood Brothers Coffee Cold Nitro Brew

3:44

Cans from Concept Cafes. This episode is

3:47

recorded in my studio on February 8th.

3:49

Number 216 is coming at you

3:51

right now with Bo Diddley and Go Bo Diddley

3:53

by Bo Diddley. How many times can I say

3:55

Bo Diddley? Bo Diddley Bo Diddley. Can

4:00

you guys tell I just spent $3,000 on a new tooth? Oh.

4:04

Yeah, dude. You go to go get a cleaning and

4:06

drop off a check and then they're like, you know,

4:08

you have a hole in your tooth and I'm like,

4:10

no. I was like

4:12

giving her hell because she was like, yeah, we'll charge you like 350 for the

4:15

cleaning and then they were like, oh, it's actually about 2900 for the

4:17

new tooth. But now I

4:19

got a new tooth and now I

4:21

know why there's been food sticking deeply

4:23

in this section over there, dude. What

4:25

a great way to start talking about

4:27

Bo Diddley. Yeah. We are,

4:29

some tell me to go to Mexico if you

4:31

want to do dental work.

4:34

That's why I'll tell them. I've heard

4:36

go to Mexico. I've heard go to

4:39

dental schools. But then it's just the

4:41

whole idea that you're dealing with somebody that you

4:43

have no idea like how well

4:45

they're used to the tooth work,

4:47

I guess. How is Bo

4:49

Diddley's teeth? Can we tell my face is numb because

4:52

it feels so numb? We can tell from here, but

4:54

my tooth broke so many times

4:57

on microphones through the years getting

4:59

hit by microphones and stage

5:02

diving and all that. What

5:04

was the last time you stage dive? You still

5:06

doing it? Oh, yeah. Yes. I

5:08

don't do it much anymore

5:11

for many reasons, but I

5:13

think Brazil, like three

5:16

years ago, my son was playing

5:18

drums for him. He's in

5:20

Soul Fly with me. And

5:22

so he jumped. It was packed.

5:24

He jumped. And I ran. I was

5:27

like, all right. My son did. I

5:29

got to go after him. So I jumped right after him. And

5:33

so it was both of us floating. It was great.

5:36

It was cool. Like what a father in some moment. Both

5:38

stage diving. That's

5:41

how you bond with your kids stage dive

5:43

together. Oh my God. Yeah, dude. I mean,

5:45

that's like the way you do it. Like

5:47

just look over and you're like, Gary, I

5:49

can't do it. I'm doing it. And there's

5:51

just random people are groping you. Oh my

5:53

God. How can you not? I'm just hoping

5:55

he's all right. I'm just he's not getting

5:57

hurt. You know, like I don't care for

5:59

me. I hope he doesn't get hurt because we

6:01

got to play tomorrow. Sure. Speaking

6:03

of playing, because you've been a

6:05

musician for fucking years, man. What's

6:08

the worst injury you've gotten from

6:10

being a rock star? Okay,

6:13

so this one is really crazy

6:15

and wild. By the way, it's an honor talking

6:17

to you, Josh. I'm a

6:19

fan and so really cool to be

6:21

doing this, man. Really excited. Dude,

6:24

I can't express to you how important your

6:26

music has been to me and to my

6:28

friends, the first band. I mean, I think

6:31

we covered all of Chaos A.D. I mean,

6:33

one of the first songs I learned on

6:35

guitar was Kiowa. So

6:37

it's just reciprocated. Trust

6:39

me, it's all love. And dude, like this is this

6:42

is the shit, brother. This is the shit. Going back

6:44

to the story. So it was Nathan Daff. They're

6:46

playing Phoenix and I'm friends with

6:48

them, you know, and I go to the

6:50

show and I'm partying hard because it's back

6:52

in the, uh, it's in the 90s, you

6:54

know, and they invite me to, to, to

6:57

sing with them. They do that Canada's cover

6:59

called Nasi Punks F Off. Yeah. Yeah.

7:02

Yeah. So I mean, I'm

7:04

getting ready. I'm doing shots of whiskey, getting

7:06

pumped. So in my crazy mind, I thought

7:08

it'd be kind of cool to come from

7:10

behind the drummer, jump over him, do

7:12

a leap forward.

7:15

So I'll fly over the drummer. I

7:18

will land it right on the mic on the front

7:20

of the stage. And I'll sing, you know, I was

7:22

like, great plan. This is killer. My

7:25

head was like the perfect, nothing

7:27

getting wrong with that. Right. So

7:30

I did, I jumped, I got, I

7:32

managed to the jump ride. You know,

7:34

I went over the drummer, but then

7:36

I landed on the wedges with my

7:38

collarbone and I broke it in half.

7:40

Yeah, dude. That's got to feel great.

7:45

But I was so mekered

7:47

up and hyped up and there

7:49

was no thing for that moment. Right. Like

7:52

I did. I sang the song. It was

7:54

great. And then on the way

7:56

back home, I look at my wife and say, I

7:58

think I got something wrong. I took the. I

8:00

can imagine you looked

8:02

like the guy, the possessed guy in Men

8:04

in Black, you know, he's like got the

8:07

bun inside of his neck's all like, is

8:09

there something wrong with his honey? Your

8:12

bones like jetted out. That's what's so

8:14

funny about, about injuries on stage because

8:16

I, I crowd started to think about

8:18

it. I mean, I think it's a,

8:20

it's a, it's a, it's a, it's a, it's a, it's a, it's

8:23

a, it's a jetted out.

8:25

That's what's so funny about, about injuries on

8:28

stage because I, I crowd serve all the

8:30

time and I've been dropped numerous

8:32

times on stage and I mean numerous times

8:34

on stage and when it happens, you, you

8:36

just kind of like hit and then you're

8:39

like, I'm good, I'm good. Everything's

8:41

fine. It's always a couple hours later, the

8:43

next night when the injuries start really like

8:45

seeping in and it's always like, ah, yeah,

8:47

I see I sprained my wrist. I heard

8:50

this. Yeah. You know what

8:52

I mean? Like it's, it's crazy how powerful adrenaline

8:54

is. Yeah. I wonder if both

8:56

these, we ever got hurt on the stage, but

8:58

I don't know. We have to make a, do

9:00

investigation on that. Right. Well, Joe,

9:02

before we even get into him, cause that's, that's the first

9:05

question I want to know your, it looks like you're on

9:07

the tour bus right now. What do you have going on?

9:09

Where are you touring? Where are you guys playing? What's

9:11

going on? So yeah, I'm on tour. This

9:13

is the back of the tour bus. We

9:15

are in Baltimore tonight. This is a project

9:17

side project I have with

9:20

my son Igor. Um, this

9:22

real old school punk metal is

9:24

back to the trenches. It's called

9:26

go ahead and die, which is

9:28

like, it's just a name

9:30

that you said and people just go there. The

9:32

reaction is great. Yeah. We

9:35

have to, we have to open a bank account.

9:37

Then I went to the bank and the lady's

9:39

like, Oh, what's the check gonna make

9:41

for? The check is for

9:43

go ahead and die. It's

9:45

a great reaction name. Is that

9:48

an LLC? That's an LLC,

9:50

right? Yeah, we were in Virginia

9:52

in Richmond. I'm not even making

9:54

this up. They didn't put that

9:56

on the marquee on the name.

9:59

It was there. name on the

10:01

marquee, I'm sorry. I'm like why? It's

10:03

a great name. What do you mean you can put that name

10:05

on the marquee? Well you know

10:07

it's really back to the trenches,

10:09

very influenced by old school punk

10:13

and metal from the 80s and

10:15

I did it out of the pure love

10:17

of doing something with my son. It's another

10:20

father and son bonding thing I got

10:22

going in my life. So it's great.

10:24

I love doing stuff like that and

10:26

we have a really diverse band. We

10:29

have a woman playing bass, a

10:31

girl named Jackie and we have a

10:33

drummer called Johnny and we're on tour

10:35

right now and it's killer. Every night

10:37

is like there's a feeling of danger

10:39

on this band that I haven't felt

10:42

since the really early days of Sepulchura

10:44

where yeah I might lose a finger

10:46

tonight or I might you know I

10:48

might miss chunks on my hair or

10:50

I might go blind at one eye

10:52

but yeah it's cool. You get like

10:55

a little nervous before the show because

10:57

that shit might happen. So it's back

10:59

to like when rock and roll was

11:01

dangerous when it was like oh

11:04

okay I'm a little bit nervous what's going

11:06

on because it's so close to the audience

11:08

like no barricades. I haven't

11:10

done stuff like that in ages man

11:12

because Soulfly is all bigger shows especially

11:15

as we go to Europe is all

11:17

the big festivals, big venues. This is

11:19

like back in the trenches where the

11:21

danger element is right there and

11:23

I love it man. I think

11:26

that's so cool and it makes

11:28

you feel alive man. It really

11:31

makes you feel like you're a live

11:33

musician. I bet man. I mean well

11:35

you know I saw Soulfly in New

11:37

York. I think it was you did

11:39

Gramercy. I think it was about two

11:41

years ago right when I first got

11:43

out here the energy of the audience,

11:45

your energy on stage, the band's energy,

11:47

it was so easy for the audience

11:49

to give what you

11:51

deserved with the music because

11:54

of what you guys were

11:56

putting out on stage. So the fact that

11:58

you're saying that you needed this band to

12:00

revitalize that. Like that's insane because I've

12:03

always looked at your music as being

12:05

this like it's going all the way

12:07

back to the, to the first band

12:09

up until all the side projects in

12:11

soul fly. It's always been in your

12:13

face, intense thrash groove metal. Yeah, it

12:16

is. But I do say lose it,

12:18

but it felt a little less dangerous,

12:20

especially with, with soul fly and killer

12:22

BQ, which the other project I have

12:24

with the master known guys and the

12:27

link to a plan. Guys, we

12:29

went to Australia and they're all big shows

12:31

and I love those big shows. There's nothing,

12:33

nothing really. You saw one, you saw soul

12:36

fly New York and it's fantastic. It's high

12:38

energy, you know, but at the same time

12:40

to go back to the early, early days

12:42

of Sepulchura where she was unhinged. Yeah. This

12:45

is, this is the band that I get

12:47

to do this. This is go ahead and

12:49

die. That kind of band going on tour,

12:51

having been on just like a three month

12:54

long bus tour with jelly roll and some

12:56

other hip hop artists. It is a grind

12:58

and every day you're waking up in a

13:00

new city and whether it's the biggest tour

13:02

or the smallest tour, it's like, you got all

13:05

the bullshit you deal with in the day

13:07

and then you get to that venue, you

13:09

do the sound check and then you go

13:11

up there and you give everything that you

13:13

have every night because you never know who's

13:15

in the audience. You want to make sure that

13:17

there's people that paid are getting the best show

13:19

possible. So that's so crazy that, you know,

13:21

especially after a career like you've had with,

13:24

with Sepulchura and Soulfly and fucking, you

13:26

know, all the other side bands, Metal

13:29

Offsets, whatever, I could see how you could

13:31

lose that fire. So that's beautiful that this

13:33

new band is bringing that out of you.

13:36

Yeah. And, and to me, it's

13:38

kind of like, it's cool. It's

13:40

like almost like reinvigorating and it

13:44

gives you kind of like a, when you go

13:46

back to the trenches like this, it gives you

13:48

a really appreciation for when you start something from

13:50

the ground up, what kind of word of mouth

13:52

type of thing, you know, you get 150 people

13:55

at a show, but those hundred and the

14:00

people are so connected at that

14:02

in a level that that show

14:04

might blow away if you're

14:06

playing in a festival in front of 40,000 in

14:09

Europe. These 100 people might

14:11

be better. In many

14:13

cases, this is what happens, which is

14:15

crazy to say that, but it does

14:17

happen, man. And it's so cool. Like,

14:20

I don't know like how to describe, but I,

14:22

we went on this adventure with my son. We

14:24

started the band on a pandemic. I was losing

14:26

my mind. I needed something to do like, let's

14:28

make a band. So, like, you know, I want

14:30

to hook up with my young kids. We're

14:33

really close together in the kinds of

14:35

music that we like. And we

14:38

went for the juggler of the

14:40

things that inspire me in the

14:42

80s, which was a lot

14:44

of punk and a lot

14:46

of like really extreme metal

14:49

stuff. And there's like direct, the

14:51

records are very cerebral. They have

14:53

a lot of like, like some

14:56

kind of political things connected to

14:58

the songs. So again, goes back

15:00

to the punk influence. A lot of, a lot

15:02

of the lyrics I was like molding on dead

15:04

canadies and black flag and discharge

15:06

and stuff like that. So yeah. And right

15:09

now in the world that we're living in,

15:11

there's plenty of lyrics for that stuff. You

15:13

know, there's not a shortage of it. You

15:15

can go off, you can buy 10 records

15:17

with what's going on in with the world.

15:20

Right now, you know, it's great. I

15:23

always say the shittier the world gets, the better

15:25

music we get. Unfortunately,

15:28

yeah. Oh, dude, I was expecting post

15:30

the pandemic that every artist that we

15:32

loved would come out with a record.

15:34

I'm surprised that we weren't overloaded with

15:36

more music because you're like, this should

15:38

have been everybody's isolation record where they

15:41

maybe they're working on it with like

15:43

by themselves or maybe they're sending it

15:45

off to somebody and like they work

15:47

on it in that person. So I

15:49

was actually shocked that it wasn't like

15:51

we were overloaded with two things. One,

15:54

more records to everybody when the pandemic again was going

15:56

to go on tour. I thought everybody was going to

15:58

go on tour. I thought like. bands like Oasis

16:00

would go on tour. Do you know what

16:02

I mean? Bands that like broke up, broke

16:04

up. So I'm actually still shocked that it's

16:07

like that more didn't happen. Yeah. The isolation

16:09

period, it was pretty crazy. Um, everybody

16:11

did stuff to keep it occupied. And

16:13

my, my thing was like, we

16:16

couldn't, nobody could tour. So you

16:18

can still go to the studio and record.

16:20

So that was like, hell yeah, let's do

16:22

that, man. You know, that's great. Like that,

16:25

that's still something that you can manage. I

16:27

also did this thing really punk rock thing

16:29

called max tracks. It was just me in

16:31

my living room, my wife with the phone.

16:33

And I told her, I don't want any

16:35

production. Like this thing cannot be produced. If

16:37

it gets mass produced, it ruins it. It

16:39

ruins the punk rock spirit. So

16:41

it has to be just you with your phone

16:43

and me and my guitar, the way that I'm

16:46

jamming when I write songs. So there's no nothing

16:48

flashy about it. And we did it like

16:50

that. And the fans loved it, man. It was

16:53

live, which I've got another thing that was

16:55

school. It was actually, it was like live on

16:57

Facebook. She just hit play and I'll play

16:59

a bunch of songs and interact with the fans.

17:02

It was great. Hey there. Did

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savings are waiting. This

18:00

is why I love doing the podcast Max is because one, to be able

18:02

to sit down and talk to

18:10

you and whether we're talking about how

18:12

you started in Sepultura or with Soulfly

18:14

or any of the other bands and

18:17

you had mentioned your influences and

18:19

everything else you said made sense.

18:21

Does that make sense when you

18:24

said Dead Kennedys and Misfits or

18:26

you say any of the punk

18:28

bands that you grew up

18:30

listening to and then you're here and we're supposed

18:32

to talk about Bo Diddley. Take me

18:34

all the way back. So take me back to

18:37

Brazil because I'm assuming that's where that must have

18:39

started unless you got into him later in life.

18:42

Like where, how, why, everything. Tell me

18:44

all of it. First of all, I

18:46

have to thank you for really introducing

18:48

me. We played

18:51

Blue Marlin when it comes to American

18:53

rock and roll. When we were in

18:55

Brazil, it was so hard to find

18:57

music. There's a lot

19:00

of Brazilian music and the Brazilian bands

19:02

are huge and a lot of

19:04

them are actually like copy paste

19:06

of American and European bands. There's

19:09

one band called Le John Rubana. They were like

19:11

U2. They were exactly like

19:13

U2 but they were massive. They play

19:15

stadiums. So I remember the

19:18

first guy that came to Brazil that

19:20

as far as my memory serves was

19:22

Alice Cooper and that was in 76

19:25

and I mentioned that I met Alice. He lives

19:27

in Phoenix where we live and I met him

19:29

on one of the fundraiser things he was doing

19:31

and I mentioned to him, I said, yeah, you

19:34

play Brazil in 76, huh? And

19:36

he goes, yeah, that was a wild one, man.

19:38

And it was like, he was the real first

19:41

kind of pioneers of rock and roll to

19:43

go to Brazil. And

19:45

then I remember hearing about Elvis

19:47

Presley dying the day that he died.

19:49

It was all over the radio. So

19:52

it was a huge deal. And

19:54

then as the years went by,

19:56

more bands started coming and finally

19:58

Queen came to Brazil in And

20:00

I had a cousin that took me and

20:02

my brother to go see it. And when

20:04

he didn't really like music before Queen, we

20:06

only like that soccer, you know, football, and

20:08

it was in the same stadium that my

20:10

team plays. So I was like very familiar

20:12

with the stadium. I go there, see all

20:14

the, all the football games every Sunday. So

20:16

we were there to see Queen and I,

20:18

I, I, I shit you're not. That was

20:21

like a life changing thunderbolt

20:23

moment when like you can feel the

20:25

thunderbolts coming from the sky and hitting

20:27

you and you're, I'm a

20:30

rock and roller now I am a fan. I'm

20:32

a rock fan from this moment

20:34

on. So you can divide my

20:36

life pre-Queen, you know, so before Queen,

20:39

I was not, I was not into music.

20:41

I didn't, couldn't care less for music. And

20:43

then after Queen, I became a huge fan

20:45

and I, and then I went in and

20:47

I rabbit hole, five more bands, you know,

20:50

so we found, you know, Black Sabbath and

20:52

ACDC and Stones and my

20:54

mom was, was a Beatles fan.

20:57

I was never that much of a Beatles fan.

21:00

And my wife was just so, when I

21:02

did a record called Primitive, we actually had Sean

21:04

Lennon in one track. So I remember that. Yeah.

21:06

I'm actually on, uh, cause I'm friends with

21:08

Sean. I'm actually on Sean and Les Claypool's

21:10

record, the, uh, Lennon Claypool Delirium. Hell yeah.

21:12

They needed voiceover. And so I met Sean at

21:15

a party and he was like, I really

21:17

like your voice. And he was like, well,

21:19

you want to do this? I was like,

21:21

I was like, for you? I mean, yeah, I'll

21:23

think about it. And I was like, of

21:25

course. And then I, I recorded it and

21:27

I sent it off to him and, and

21:29

like six months later, I don't hear anything. And

21:31

then I reached out to him because it was

21:33

the anniversary of his father's death. And I was

21:35

just like, Hey man, uh, I haven't

21:37

talked to you in a while, but I just wanted

21:40

to send you love. I'm thinking about you today. And

21:42

he goes, Oh my God, thank you so much. He's

21:44

like, dude, you're on the record. And they sent me

21:46

the vinyl and, and yeah, it's like, it's just, it's

21:48

just like, yeah, it's so awesome. Just to be like,

21:51

yeah, our connection was so crazy. We were going to

21:53

Australia for a big festival. So fly. And so I

21:55

entered a plane and, uh, you know, they got us

21:57

all like business class tickets, so I sat and right.

21:59

next to me is Sean and I was

22:01

like, whoa, I know who he is. You

22:04

know, but then he knew who I was.

22:06

And we start talking. He's like, I really

22:08

like Sepatura man. And I like your new

22:10

band too. So fly. I'm like, Oh no

22:12

shit. That's cool, man. So we talked the

22:14

whole fly. We get to the festival. We're

22:16

in the same area. His, his dressing room

22:18

is next to soul flies restroom. So we're

22:20

bonding again. You know, we went to the

22:22

zoo together. So I was like, this is

22:24

the universe telling me, like, let's actually ask

22:26

the guy to be on a song. Yeah.

22:28

Yeah. It's like, don't miss this chance.

22:31

Do not miss this chance. And we did

22:33

it and it was cool because when, when

22:35

he came to Phoenix, he's like, I don't

22:37

want to stay in a hotel, man. I

22:39

want to just vibe, vibe with you guys.

22:41

So yeah, he ended up staying in our

22:43

house, which was really, really cool. He was

22:45

really good at football. We had a football

22:47

table out back. Did he really kick all

22:49

of our ass? No shit. Really? Yeah. I

22:51

thought, I thought I was the champ of

22:53

football until he came and he took my

22:55

crown and run with it. And then he

22:57

was like, you're embarrassing me in front of

22:59

my kids. How do you do that

23:01

to me, man? The people that play foosball,

23:03

fucking play foosball. My friend, Kelsey Cook, another

23:06

comedian, her mom and dad are like world

23:08

champion foosball players. And so she'll go to

23:10

towns, you know, performing at like a comedy

23:12

club, find a bar that has a foosball

23:15

table and she'll side hustle guys like that.

23:17

She'll be like, she'll act like she doesn't

23:19

know how to play. And then she'll fucking

23:22

just take their money. There's probably a whole

23:24

culture of foosball, right? I'm imagining. Whole culture,

23:26

dude. Right. Whole culture. We had it for

23:28

fun. It was like we had it

23:30

in a backyard. In fact, when,

23:33

when Sean was playing one of the, one of the nights,

23:35

I ended up, I had my order

23:37

with me and it's like a Zoom

23:39

recording thing. So I recorded the shot of

23:41

him hitting the shot and the ball goes

23:43

in and everybody laughs, you know, we put

23:45

that on a record. I think the end

23:47

of the, one of the songs. Yeah. Nobody

23:50

even knows that. It just sounds like

23:53

the ball goes in. You

23:55

kind of hear a laugh, but

23:58

that's what it is. But like

24:00

we know, we know what that is. And we

24:02

know what it represents, you know, but yeah, we

24:04

had a great time. Uh, he was there for

24:07

a week. We went up, we have another house

24:09

in the desert, a full, full desert, um,

24:11

with, you know, rattlesnakes and coyotes and

24:14

mountain lions and the whole nature

24:17

desert, the whole dream more than thing. So

24:19

we spent a couple of three, four days,

24:21

like hiking experience in the

24:24

desert, you know, so that, that

24:26

was, uh, that was really cool.

24:28

That was a fun experience. And I love that

24:30

we ended up doing a track that talks about

24:32

our father. You know, that's what some song is.

24:34

Sun song. Yeah. Yeah. So it was like, because

24:36

I lost my dad when I was nine and

24:38

he lost his dad when he was young too.

24:41

So I was like, let's do a song for

24:43

our dads, man, you know, in memory and the

24:45

honor of our dads. And so

24:47

yeah, he went for it and it

24:49

was cool. And I love the track.

24:51

He got that kind of like rock

24:53

Beatles griffs. That's really not part of

24:55

our repertoire. Yeah. And you mix that

24:57

with, uh, with the soul fly metal

24:59

with the, with the tribal, with the

25:01

Brazilian drums and become, became something really

25:03

cool. But little by little I'm experienced

25:05

more and more American stuff. I love

25:07

link Ray. I discovered link Ray like

25:09

a couple of years ago, I fell

25:11

in love with him and the rumble,

25:13

the rumble riff. And I was

25:15

reading that, that's like, that song was

25:18

outlaw because they decided riots as instrumental. How

25:20

the hell you make an instrumental song getting

25:22

to be outlaw on the radio. That's, that's,

25:24

that's punk rock. That is punk. Yeah, that

25:26

is punk. And then Bo Diddley was great.

25:29

Like for the last week I've been listening

25:31

to Bo Diddley like nonstop and it's great.

25:33

It's so killer. Everything else that you said

25:35

made sense. And you were talking about Black

25:37

Sabbath, all the music you mentioned, it's like

25:40

shit that I'm like, Oh yeah. Like I

25:42

hear that in Sepultura. I hear that in

25:44

Soul fly. So is Bo, is Bo a

25:46

new thing? How long have you been

25:48

fucking with Bo Diddley? Well, I, I knew

25:51

a lot of the songs was, it was

25:53

really interesting Learning about the

25:55

African element. That's what I found

25:57

a very inspiring was the African.

26:00

Limited because I got a light

26:02

yes gonna do the same stuff

26:04

we'd we'd so fly these and

26:06

I might be supposed or a

26:08

dogs route seeing was to find

26:10

on the Brazilian elements and percussion

26:12

and makes that with matter which

26:14

was never die before and so

26:16

we were addicted to create something

26:18

new we know you have just

26:20

own you world open up to

26:22

us that I made routes cause

26:24

we mixed up with brazilian which

26:26

is influenced by every chance you

26:28

know that's what it comes from

26:30

all the out of drums all

26:32

the are all the precautions, the

26:34

bongos, the all. African rhythms

26:36

that game brought by the slaves.

26:39

Some. Brazil's. That. Got mixed

26:41

up with the Indian culture. Which.

26:44

Is huge also so the mix

26:46

of the indian african slaves gave

26:48

birth to are a lot of

26:50

the of yeah like some bar

26:52

and all that stuff but that's

26:54

never been connected with the with

26:56

the rock with metal before in

26:58

of and lab I always thought

27:00

as a kid we used to

27:02

go. Practice. Where

27:04

to to go? Bass during carnival?

27:07

They'll be doing the rehearsal for

27:09

carnival. So. They'll be five hundred

27:11

people playing drums on the streets and

27:14

we will. We would stop there to

27:16

watch Disguise rehearse. It was so cool

27:18

because we're so happy. Man drums by

27:20

to sell when you're here. Five hundred

27:23

people Blame Drums is as as heavy

27:25

as as as a punk band, as

27:27

a metal band without electronic guitars just

27:29

like just a polygon of the drums

27:32

and will be like. We.

27:34

will stay there for like half an

27:36

hour and watch the rehearsal and then

27:38

go to our jam bad and then

27:40

we know we did enjoy our metal

27:42

stuff but in my mind was always

27:44

like that kind of those seeds was

27:46

implanted like a nice bridge goes to

27:48

feelings gotta find a way i gotta

27:50

find the leads to bridge them and

27:52

then knob little by little caves a

27:54

d was the first record i we

27:56

introduce some of the beats yes all

27:58

totally and arises great When you talk

28:00

about and every time they describe Sepultura

28:02

and Soulfly, they always talk about groove

28:04

metal. And I don't know if

28:06

you even liked that explanation but there is a groove

28:10

like you said and it's

28:12

using the elements of those

28:14

tribal drums. Whether it's

28:16

in biotech, whether it's in KSAD but

28:18

you can hear it. It's almost like

28:20

if you could do every song almost

28:23

acoustically and it would play just as

28:26

powerful than having the distortion

28:28

on it. That experience of

28:30

course big in Soulfly, when

28:32

I made that first record, I was

28:35

really really into this idea. And so

28:37

I had the drummers of Nastamzou

28:39

B which is a huge Brazilian

28:41

band and they have the called

28:43

slave drums. They all play

28:46

this big drums and it's

28:48

funny like their drummer only have a snare

28:50

and a drum bass and a cymbal. That's

28:52

all. All the tom hits, they're

28:55

all done by the slave drums.

28:57

So I brought those guys to

28:59

California, I recorded in Indigo Ranch

29:01

in Malibu. So the first Soulfly

29:03

record is entirely drenched with slave

29:06

drums and that's what gives this

29:08

organic tribal mix

29:10

that is crazy. That record really,

29:12

I feel that's a really important

29:15

record in my career because of

29:17

that mix. A little

29:19

bit later, the second record I ended

29:21

up working with Larry McDonough. He was

29:23

one of Bob Marley's percussionists and

29:25

he also worked with Gil Scott Herron and

29:28

I met him in Holland and he was

29:30

like a jazz cat. I was like, alright,

29:32

this is cool. Bring this guy

29:34

into this world, see what happens. He

29:37

was great man. So Primitive has

29:40

this Jamaican, he brought this Jamaican

29:42

element to it that was really

29:45

complimented the record really good.

29:48

I ended up working with Neville Gary,

29:50

which was Bob Marley's artwork guy. He

29:53

did all the cover, the Primitive and

29:55

Soulfly 3. So that was

29:57

a cool era of Soulfly that was

29:59

deeply... entrenched on the

30:01

whole tribalism, African

30:03

percussion, mixed with metal and stuff.

30:05

So that's when Bo Diddley really

30:08

goes back to that, the way

30:10

he plays guitar is really percussive.

30:12

You know, it's like almost like

30:14

a percussion instrument, it's crazy. So

30:16

we've been doing this podcast for

30:18

about five years now and Bo

30:20

Diddley's name keeps coming up and

30:23

whether it's in a song and

30:25

you're like, oh, it's that Bo

30:27

Diddley style strumming. Yeah. Awesome.

30:29

He's an outlaw, man. I love that because

30:31

I watch a shit ton of interviews like,

30:34

yeah, this guy's legit. For

30:37

sure. I mean, I think the first the first

30:39

time I even heard about him was the I

30:41

don't know if you had this in Brazil, but

30:43

Bo Jackson had those commercials for his Nike shoes

30:45

and it was like, you don't know, you know,

30:47

Bo knows this, Bo knows that. And then he

30:49

was like, Bo, you know, guitar is like, no,

30:52

Bo, you don't know Diddley. And so I knew

30:54

of who he was, but it really wasn't until

30:56

I started getting older and I started getting into

30:58

music and I started like digging in to some

31:00

of his stuff. And so what's interesting about these

31:03

records that we're talking about today, these aren't Jeremiah,

31:05

like you might have all the facts and stuff in front

31:07

of you. So I might need a little bit of help.

31:09

But for my these are these are two records. Do you

31:11

know why Jeremiah, there are two albums on

31:14

this list? I don't understand why

31:16

we're talking about two records other than just

31:18

one of his albums. These are the first

31:21

two records that he's ever done. We've been

31:23

able to get these compilations like greatest hits

31:25

albums when they're like older artists. But in

31:27

this case, I mean, there's so many nuggets

31:30

of like people covering these first two albums.

31:32

So I don't know why Rolling Stone Magazine

31:34

picked this, but I mean, these

31:37

were covered by the greatest rock and roll

31:40

artists that we've known. Like

31:42

these songs are staples,

31:44

you know? The gold Bo

31:47

Diddley record, that one, yeah,

31:49

I listened to that one

31:51

a lot and again, the

31:53

African rhythm style of written

31:56

that he does, it's man, it's

31:59

so unique. It's like you never

32:01

heard that anywhere else. It's a

32:03

revelation when you hear, man. It's

32:06

great. I love the track, Bose

32:08

Guitar, which is instrumental. Yeah, that

32:10

one really, that's full on African

32:13

power right there. That's great. Yeah,

32:15

it's like I'm looking at some of

32:17

the stuff that he's saying. So here

32:19

we go. We have some of his

32:22

styles and influences. Diddley uses his use

32:24

of African rhythms and a signature beat.

32:26

A simple five accent, hand bone rhythm

32:28

is a cornerstone of hip hop, rock

32:30

and pop music. Diddley is also recognized

32:32

for his technical innovations using his use

32:34

of tremolo and reverb effects

32:36

to enhance the sound of his distinctive

32:39

rectangular shaped guitars. Mick Jagger stated that

32:41

he was a wonderful original musician who

32:43

was an enormous force in music and

32:46

was a big influence on the Rolling

32:48

Stones. He was a very generous to

32:50

us in our early years and we

32:53

learned a lot from him. Jagger also

32:55

praised the late star as a one

32:57

of a kind musician, adding, we will

33:00

never see anything like this again. Wow.

33:02

When you're talking about the greatest

33:05

guitarist, you know, you're talking about

33:07

BB King, you know, I'm talking

33:09

about Blues in particular, Muddy

33:12

Waters, John Lee Hooker. When you

33:14

started getting into the rock and roll, did you start

33:16

getting into Blues as well while you were still in

33:18

Brazil? Was it like, did Blues make its way there

33:20

for you? So I had a teacher for

33:23

like a month. I only got to like

33:25

really hang out with him for like a

33:27

month and then I stopped seeing him, but

33:30

he was really trying to get me to

33:32

listen to John McElhoughton and there was like

33:34

all this Blues stuff and McElhoughton had a

33:36

record called Belo Dizonté, which is the name

33:39

of my town. But that was like, that

33:41

was kind of weird. He named

33:43

one of his records, the name of my

33:45

city. Oh, wow. You know, that's like years

33:48

later, I found that out.

33:50

I was like, wow, that's pretty crazy.

33:52

But it was like the basic Blues

33:54

stuff, you know, and then he tried

33:56

to switch and tried to

33:59

teach me Boston. At that time, I'm 14

34:01

years old and I want to play punk metal. I

34:07

want Black Sabbath riffs, not

34:09

Bossa Nova. Where's the distortion?

34:12

Well, you don't need distortion for Bossa Nova.

34:14

No, yeah, but I need distortion for what

34:16

I want to do. So I

34:19

stopped seeing him, but it's huge in

34:22

Brazil, all the big jazz festivals. In

34:24

fact, we played the Montreux Jazz Festival

34:26

once with Soulfly. No way.

34:28

Did you really? Yeah, there was

34:31

Soulfly and Slayer. It was crazy. So

34:33

I knew about it that they were

34:35

opening up for more different bands and

34:38

then eventually they

34:40

invited us. It was the KitKat

34:42

show, but it was just like, it's just so funny to

34:44

hear Soulfly and Slayer

34:47

playing Montreux Jazz Festival. Sure.

34:51

But yeah, that was a

34:53

trick. What's the lineup that you've

34:55

been on with any of your bands? But

34:57

what's the lineup that you've been on that

34:59

you were like, holy shit, I can't believe

35:02

this is, this lineup is insane. So

35:05

the festivals in Europe are pretty crazy

35:07

because they mix everybody. You've

35:09

probably seen it. Yeah. Oh

35:11

yeah, yeah, yeah. I would love to go.

35:13

I mean, the stuff in England itself, I

35:16

mean, Nebworth and Glastonbury, I mean, they're some

35:18

of the greatest collection of

35:20

arts. We think American festivals are good

35:22

and you're like, go fuck yourself, dude.

35:24

Europe kills it. Germany, Austria, yeah, right?

35:26

So they had one at Hyde Park

35:29

a couple of years ago and the

35:31

lineup was just fantastic.

35:33

So it was Soulfly,

35:35

Alex King James, Fate

35:38

No More, Motorhead, Black Sabbath. Oh,

35:40

God. All that in one night.

35:42

It's like just killer, just crazy.

35:45

And then my son is walking

35:48

backstage and then next thing he looks

35:50

at, he's right, Jimmy Page is right

35:52

there. He's like, oh, dad, I just

35:54

saw Jimmy Page in the week. We

35:56

crossed I was like, you didn't disturb.

35:58

You didn't stop them bugging, right? No,

36:00

no, no, no. We're just a little

36:02

wink of the eye, you know? And

36:06

that, you know, that's kind of like one of

36:08

those things that you see in the festival like,

36:10

because I remember also a couple of years before

36:12

that I'm playing a festival and I remember P.J.

36:15

Gabriel was in the K3 meeting with all

36:17

the workers and the crew, like just like

36:19

a crew guy. And that

36:21

was so awesome. Like not a rock star

36:23

at all. Like with the crew dudes, man,

36:25

like I'm one of the guys, you know,

36:28

and that like kind of really look, I

36:30

look at him and other people as really

36:32

like that school. That's that's so cool. Like

36:34

this dude is a legend. He didn't have

36:37

to sit there with everybody, but he did.

36:39

And that's just made him made me like

36:42

him even more. Wow. Yeah.

36:45

Because I'm huge into it. P.J. Gabriel,

36:47

I think the soundtrack of Passion, The

36:49

Last Temptation of Christ is

36:52

one of my favorite records of all time. It's

36:54

all done with North African

36:56

musicians. It's

36:58

got the whole Morocco, North

37:01

Africa drums mixed

37:04

with instrumental world music.

37:07

It's amazing. Him and Paul Simons

37:09

are some of my huge influence

37:12

of all time. You know, Paul Simon,

37:14

especially for the two records, he made

37:16

Graceland and Rhythm of the Saints. Of

37:19

course, Graceland being South Africa with all the

37:21

turmoil apartheid and all that, you know, but

37:24

I like that I saw the documentaries of

37:26

those records and the way he did it

37:28

is a really cool way that I love

37:30

that. And I want to follow that the

37:32

guidelines of that. It's kind of like

37:34

guerrilla style of recordings where

37:37

it's just you, your producer in

37:39

a backpack and you show

37:41

up in a ghetto in South Africa

37:43

in a little crappy studio. It's like

37:45

the walls are falling down and you

37:47

just jam hard with this

37:49

cat and then you bring that

37:52

to America. And that's how Graceland was

37:54

born. I just love the idea. It's

37:56

like it's so raw. It's so inspiring.

37:58

And the guerilla style, like the backpack,

38:01

you and the producer, just the two

38:03

of you, just go out there in

38:05

the world and find this

38:07

music and bring it to you.

38:09

It's like, yeah, that's awesome. I love

38:12

that. And I kind of like want to do more

38:14

of that. I did a little bit of a meat

38:17

of Soul Flight that was one record

38:19

called Prophecy where we got to go

38:21

to Istanbul, Russia, and kind

38:23

of like just like that. I went

38:25

with my wife. We show up

38:28

in Turkey without knowing anybody. It

38:30

was just me and her there like, I want to record something.

38:32

I don't know. Let's find something.

38:34

Let's hook up with something. And we ended

38:36

up hooking up, did some recordings in the

38:38

Blue Mosque. There were some musicians jamming in

38:40

the boats in the Nile. And I recorded

38:42

a little bit of them, like, you know,

38:44

so I put that in the record. So

38:47

those are kind of cool guerilla style recordings.

38:49

You can get that on the internet, but

38:52

it's not as authentic as being there and

38:54

recording yourself. You know, that's like,

38:56

that's my point. Like if you dare experience,

38:58

you're going to get the truth

39:00

essence of the thing

39:02

rather than getting a sound bite of the internet.

39:05

You know, it's like, what's the fun on that?

39:07

There's no fun on that. So you have to

39:09

do it yourself. Oh, yeah.

39:11

And I love that. I love that about

39:13

those artists, you know, and, you know, digging

39:16

into the Bo Dizzley thing was

39:18

really cool. Mostly

39:20

for the rhythms, the African rhythm.

39:22

But I'm glad because I have

39:24

the slightly feeling that Bo Dizzley

39:26

somehow is going to influence the

39:28

new Soul Fly record somehow. I

39:32

was just about to fucking ask that, man. Like,

39:34

what were you guys, you know, because I want

39:36

to kind of go through a couple of the

39:38

stages in your career and ask you who you

39:41

were listening to or what influences. So when you

39:43

were making that transition from Arise to Chaos AD,

39:45

was it just the natural progression to start

39:48

going towards what you were doing in

39:50

Chaos or was there something that you

39:52

guys were listening to? And then also

39:54

if you can explain the transition from

39:56

Chaos to Roots, because that's probably, you

39:58

know, and then I want to know

40:00

the transition from Roots. to Soulfly because

40:02

it's just such a cool sound and

40:04

it's almost like you feel it getting

40:06

either groovier or more drum-like

40:08

or even just like more passionate like

40:10

where did you where did you find

40:12

it from? A lot of it of the KOS-ED

40:16

era was kind of like

40:18

I was discovering all these

40:21

Brazilian into a phase where

40:23

all of a sudden we

40:25

rediscover our sounds and

40:28

it was cool to start

40:30

mixing rock

40:33

and hip-hop with Brazilian sounds

40:36

that were really never mixed

40:39

up before and I picked up on

40:41

that pretty quick and was talking to

40:43

Igor, my brother and like

40:45

you should do some kind of

40:47

drumming that somehow emulates

40:50

or imitates some of

40:52

those percussion things that we

40:54

are listening you know from from some

40:57

of this this music that was around

40:59

us and that was great because we

41:01

were working with Andy Wallace which is

41:03

a master right on his own. Yes

41:05

yes yes yes from everything from Nirvana

41:07

to Madonna yes touch all this great

41:09

record so we have master producer

41:12

at our disposal and he got really

41:14

excited about that super excited he's like

41:16

yeah this is cool we're gonna dig

41:18

deep into this and

41:21

so that was the birth of a

41:23

lot of the interest like territory with the tribal

41:26

drums which I think somehow

41:28

even influenced Soundgarden Jesus

41:31

Christ Pose to me always feels

41:33

like it's very influenced

41:35

by the tribal and off-territory. Then

41:37

we end up doing Kiova's was

41:39

a big song because it was

41:41

instrumental and the

41:43

meaning the word Kiova's is a

41:46

tribe in Brazil that rather

41:48

than let the government was

41:50

trying to take away their land and

41:52

all the ranchers were forcing them out

41:55

so instead of giving away the land

41:57

they massed suicide

41:59

they killed themselves as a protest.

42:01

It was a heavy story, you know, I

42:03

read all the note that the art goes

42:05

about it was like, wow, so we we

42:08

wanted to do a song about this for

42:10

the Cuyova tribe. And then in my

42:13

head I thought of the craziest idea

42:15

ever was like let's do in a

42:17

castle in Wales, you know, like

42:19

why not? A Brazilian band recording

42:22

a song about a tribe in a

42:24

Welsh castle, yeah, why not? Yeah, yeah,

42:27

yeah, yeah. So yeah, it was like

42:29

one of those wild ideas that you

42:31

could tell the producer, you could tell

42:33

somebody around, they were like, no,

42:36

no, we can't, you're out of your

42:38

mind. It was, you know, yeah, but

42:40

Andy was all like, yeah, let's do

42:43

it. That's gonna be cool. So we

42:45

found the castle, he got all the

42:47

cables and dude, it was like meters

42:50

and meters of cables because we had

42:52

like a mobile truck recording and

42:55

all the cables went into the top

42:57

of the mountain to the castle. It

42:59

was a castle, Chapstow Castle in Wales.

43:02

And when you listen to the record, you can

43:04

hear the seagulls that was flying above

43:06

us when we were recording the song.

43:08

And so that was like the opening

43:10

theme that made us kind of like,

43:13

you know, get really into that, the

43:15

doorway that we were touring South America,

43:17

mostly Brazil with Ramones

43:20

and another Brazilian band called Rhymondos. They also

43:23

had a little bit of this tribal

43:25

percussion sound on it. And that was a really

43:27

cool tour. Like, I don't know, to me as

43:29

a fan of the music, as a fan of

43:32

punk music, like touring with the Ramones, I was

43:34

like, yes, like it doesn't get any better than

43:36

this. Yeah, I remember

43:38

some of the shows we were playing

43:40

and the four of them were on

43:43

the side of the stage watching us

43:45

and it looked like an album live

43:47

album cover. Yeah, dude. There's an album

43:49

cover Rockin' to Russia watching us right

43:52

now. Insane moment. So

43:54

that all of that little

43:56

by little gave the seeds for

43:58

why roots will become. And then

44:00

I start messing more with this idea, yeah, let's

44:02

go deep into the Brazilian

44:05

thing. And my thinking about roots was

44:07

actually, let's go back to the music

44:09

that was here before

44:11

Samba, before Bossa Nova.

44:14

We're going back in time now,

44:16

like when there was only tribes,

44:18

there was only the only music

44:20

in Brazil was tribal music. And

44:22

they don't even use instruments. It's

44:25

mostly like stuff that they

44:27

put on their bodies, like percussion

44:29

things and the stomping of

44:31

the feet and the

44:33

chanting. That's the whole thing. It's

44:36

chanting music. It's ritualistic,

44:38

you know, and

44:41

it's all songs about praying for to help

44:43

with the hunt, praying for rain, praying for

44:45

a good harvest, all those things, you know.

44:47

So I was watching this movie called A

44:49

Place in the Fuse of the Lord. I

44:52

don't know if you guys know about this

44:54

movie. I know, I've never seen it. This

44:56

is a John Leithgoe movie, three hours long.

44:59

But the main plot of the movie is

45:02

two American pilots. They go to the rainforest

45:04

and they are ordered to drop bombs in

45:07

the natives. But one of them

45:09

is a Native American pilot. And

45:11

he gets drunk one night in

45:13

some Hiawasca type shit and gets

45:15

on the planes like, no, I'm

45:17

not dropping bombs. So he parachutes

45:19

himself out of the plane. The

45:21

plane explodes and he started living

45:23

with the Brazilian tribe. That's

45:26

how the whole plot of the movie is.

45:28

And a Native American guy becomes a Brazilian

45:30

tribal guy. And that was like the moment

45:33

where I was like, yeah, we're going to

45:35

record with the tribe. We're going to go

45:37

inside a tribe and we're going to do

45:39

a song with this tribe, you know. And

45:41

then many, many months of work, you know,

45:44

my wife went crazy trying to

45:46

find all the contacts and then all the

45:48

stuff. The tribe I really wanted to record

45:50

is called Kayapa. And yeah, they wouldn't have

45:53

anything. They would just kill all of us.

45:56

Kayapa. That was like

45:58

a big no from the beginning. we

46:00

found the Chavantes and

46:02

yeah I couldn't be any happier man

46:04

those are like the probably the most

46:06

three amazing days of my life was

46:09

like it wasn't even rock music anymore

46:11

it was like National Geographic you know

46:13

you're like I bet yeah you're not

46:15

even in a rock band anymore you're

46:17

in National Geographic territory you know it

46:19

was wild but you can hear it

46:21

though you can definitely hear it in

46:23

that record oh yeah chaos changed the

46:25

game roots completely just destroyed what we

46:28

had heard and brought you to a

46:30

whole nother level so then when you're

46:32

going from roots into starting soul fly were

46:34

you trying to grab a hold of what

46:36

you were doing in roots and carry that

46:39

with you or were you like we have

46:41

to do something different completely now this is

46:43

what we're gonna do like where were your

46:45

heads at then so it's a little bit

46:47

of both it's definitely an opportunity the first

46:50

part is I think this that's definitely the

46:52

hardest record I have to make like in

46:54

my whole career because a it

46:56

was without simple Torah and simple Torah

46:58

was pretty big at that time you

47:00

were pretty established playing massive venues you

47:03

know you were touring with Aussie

47:05

and Punta in ministry and meeting

47:07

all these big people I mean

47:09

I remember meeting Randy Johnson in

47:11

Phoenix you know the baseball player

47:13

yeah he's in a hall of

47:15

fame and he came to see

47:17

us play live and there was

47:19

like all this craziness around the

47:21

around the band when I did

47:23

the decision to quit the band

47:25

and at the same time my

47:27

stepson just was just murder so

47:29

all these things it was like

47:31

a perfect storm situation we were

47:33

in England playing with Aussie when

47:35

he was murdered and Aussie and Sharon

47:37

like they they they got a

47:40

private plan to take us home to go to

47:42

the funeral man it was crazy it was a

47:44

crazy time of my life man I think it

47:46

was it was nuts it was nuts but yeah

47:48

but Aussie was huge on that on that time

47:50

it was crazy one of my idols end up

47:52

being like the guy that helped me get back

47:54

in the game how if you would have told

47:56

that you're young max I would have never believed

47:58

you you know like yeah Ozzy is gonna

48:01

talk to you and it's gonna like

48:03

give you encouragement to start a new

48:05

band like right sure Yeah,

48:07

like that's gonna happen, you know, but it did,

48:09

you know We went to dinner his house in

48:12

England and I remember seeing him in the living

48:14

room and it's pretty much He's like it's up

48:16

to you to get off your feet off your

48:18

ass Get back in there

48:20

get back in the ring, you know I was like

48:22

that was enough for me to like create soul flight

48:24

like let's do this And then

48:26

we can get the opportunity was like I

48:29

give the chance now to to form this band and

48:31

be quite different Also from

48:33

Sepultura. Sure. Yeah. Yeah. Oh, I

48:35

had really cool guitar player called

48:37

Lucio He's like this Jimmy Hendrix

48:40

cat guitar player type not really matter

48:42

at all. He was into like ninja

48:45

tune and Sunglasses

48:48

and you know, we were like this

48:50

dude's weird But

48:53

that's what you need that's what you need

48:55

you because it's like you don't want to work

48:57

with the same people You're doing something different,

48:59

right? Exactly. That was cool. That was like

49:01

the thing that made this this

49:03

whole thing work was all these Different

49:06

elements, you know, he had Lucio with the

49:08

whole ninja tune Jimmy

49:10

Hendrix guitars and then we had a

49:12

bunch of gas on the album because

49:15

on roots we had Mike Patton and

49:17

and John from corn and DJ

49:20

little from from House of Pain when we did

49:22

so if I want I went deep into the

49:24

gas I always loved the gas idea. I think

49:26

more musicians should do that the hip-hop thing, you

49:28

know, bring all your fucking friends It's jazz jazz

49:31

is like hey, I'm gonna we're gonna play together.

49:33

You're gonna play on this track. We're gonna do

49:35

that I love so I love the most about

49:37

jazz and hip-hop. Yeah, it's the coolest

49:39

It's and I feel so comfortable with other

49:41

musicians that I'm like at home and I

49:43

got hit in a candy store You know,

49:45

so the supply idea came and we we

49:47

end up having we had Chino from the

49:49

Deathstones We had Corey

49:51

from Slipknot. We had Benji from the

49:54

war now in skin dread and So

49:57

it was like this factor. I was like a different

49:59

musician And the whole studio will come to life, man. So

50:03

it was this incredible,

50:05

incredible kind of mind blowing experience. It's

50:08

not your typical album recording album

50:10

that you normally experience. It

50:12

was, it was like making a normal record on metamathemid,

50:14

you know, like

50:17

10 times jacked up, no sleep. Yeah.

50:21

Just jacked up everything

50:23

to 11. And then, uh, one

50:25

of the funnest thing, coolest thing,

50:28

the coolest thing to

50:30

me about this record, the Soulfly record is that

50:32

it was the last time I recorded in analog,

50:34

it was my last analog record. So

50:38

I told the producer, uh, Ross and say,

50:40

I knew that Indigo branch, the studio was

50:43

in native American land. It was

50:45

built on top of native American land. So

50:49

I say, I want to bury the tapes. We're

50:51

going to bury the tapes for 24 hours, you

50:53

know, and he's like, what do you mean gonna

50:56

bury the tapes? Like exactly what I said. We're

50:58

going to wrap them up in plastic. We're

51:01

going to dig deep. We went deep.

51:05

We went deep. It was like, yeah, it was a

51:07

huge hole. All

51:10

the analog tapes in there. The

51:13

analog cover up for 24 hours. We

51:16

un-teamed them the next day. And

51:19

we send them to Andy Waller. We send them to Andy Waller

51:21

to get a mix. I remember getting a

51:23

call from Andy Waller. Why is there mud? Why

51:26

is there mud? There's mud. There's mud. There's

51:29

mud. The

51:33

shit show up in the studio full of mud. There's,

51:35

there's dirt and mud everywhere. It's

51:37

like ice because Max buried the

51:39

tape. I believe that because of

51:42

that, the record was just so flexible. It

51:44

was like, uh, it went gold in America.

51:46

It was great. You know, it was cool.

51:48

So it's like one of those spiritual things

51:50

about soul flies that I really liked. You

51:52

know, I think there's something there. Not

51:55

quite sure yet. I don't know why, but something

51:57

about that whole experience of burying the

51:59

tape. Gave life to that

52:01

record the Vietnam War. It's over

52:03

your job new

52:06

HBO original limited series Welcome

52:09

to the world of spycraft Executive

52:13

producers like Chen and

52:15

Robert Downey jr. What are you concealing

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based on a Pulitzer Prize winning? I'm

52:19

done with This

52:26

is a Pfizer streaming April 14th

52:29

on max subscription required a

52:32

Bold approach to engineering Bowling.

52:34

Green State University Our engineering

52:36

degrees views the science of

52:38

traditional engineering with technology and

52:40

hands on skills. This. Combination

52:43

is what employers are looking for

52:45

and the up and coming fields

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of robotics, advanced manufacturing, and Systems

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stands out. Don't. Just get

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a degree. Secure. Your future

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at Bgs? You. Still standing

53:00

as a Podcast of Hope. My name

53:02

is Ali Patterson and I'm in house.

53:05

On this podcast you're going to hear

53:07

stories from people who have encountered a

53:09

living guy and down help and hope

53:11

in their real life. your energy The

53:14

love that you put into the music whether

53:16

it's the hardest shit on chaos AD to

53:18

the acoustic stuff to the groove stuff On

53:20

roots to the tribal stuff it is you

53:22

and your and your blood and the and

53:24

the passion that you put out there man

53:26

And not to kiss your ass, but it's

53:28

like we were gonna follow you anywhere So

53:31

soul fly if it was soul fly where was

53:33

soul fly? And it's just it's been so great

53:35

to see to see the music that you've been

53:37

making with soul fly And then the stuff that

53:39

you've been making you know with the side projects

53:41

and even now like I'm excited to Fucking dig

53:43

into that dude right all just to know that

53:45

like it's out of such a Hard

53:48

period you deal with so much and

53:50

it could go one of two ways

53:52

It can just get really bad to

53:54

get really dark or you could you

53:57

could almost break yourself down and then

53:59

come out of that like you really

54:01

did. Thank you man. The first three months

54:03

after a quick septal tour, I was just

54:05

darkness and I was just like

54:07

drinking and doing drugs. You know, that's all

54:09

I wanted to do, you know, and then

54:11

I eventually snapped out of it. Really

54:14

thankful to my wife first. She's one

54:16

of the first ones like to believe

54:18

like, yeah, come on, you can do

54:20

this man. You're still you even without

54:22

them, you know, and then of course

54:24

the Aussie thing was huge. But you

54:26

know, maybe there's a metaphor on burying

54:28

the tapes. You actually like bury the

54:30

old and rebirth the new.

54:32

Yeah, resurrection dude. It's

54:35

not you put blood and

54:37

sweat and love and energy into everything

54:39

that you've done. And when you have

54:41

something, not just the death of your

54:43

son, but just the death of like

54:45

the old you into something new by

54:48

burying those tapes. I don't know if

54:50

I mean, I mean it, man. I

54:52

don't know if you don't do that

54:54

spiritually or just some way in the

54:56

world. I think by doing that, it

54:59

was like getting rid of all that darkness

55:01

you were experiencing. And like you said, rebirthing,

55:03

putting out the love. And I think it

55:05

was easy for everybody to really just vibe

55:07

onto that. That's brilliant, man. And it was

55:09

necessary. And I was on one of those

55:11

things that was that was needed at that

55:13

time. And I loved

55:16

my career. One of the coolest thing about I

55:18

think my career is the fact that I got

55:20

to really experience all

55:23

these different formats of

55:25

metal through the years. So it

55:27

started very raw, the early black

55:30

metal shit. And then a

55:32

lot of the trash stuff

55:34

with Metallica and the believe

55:36

the remains arise kind of

55:38

records. And then we went into

55:41

the group stuff with K, which we're starting

55:43

to more hardcore actually, like a

55:45

lot of like dead Kennedy's and a

55:47

lot of New York hardcore, and then

55:49

roots to get the Brazilian thing. And

55:51

then Soulfly, we got into the whole

55:53

new metal thing, which was out another

55:55

crazy thing that came out of nowhere.

55:57

You know, it was like this bomb.

56:00

just exploded. Although I never felt the

56:02

Soulfly was a new metal band myself.

56:04

Not at all. There's elements of it

56:06

and we were somehow connected to the

56:08

scene, you know, and it was cool.

56:10

It was fun, you know, and then

56:12

of course, nail bomb was like my,

56:14

my interest in, in the, in

56:16

the industrial world. I remember telling Alex, like

56:18

we love ministry and I need channels, but

56:20

they're not heavy enough. That's

56:24

where we start. Like we love them, but they

56:27

need to be durdier, heavier,

56:29

nastier. So we made nail bomb

56:31

for our own curiosity

56:33

of how would ministry, not engineer sound

56:35

if they were raw or

56:38

crazier, dirtier. And then, and then

56:40

through soul flies, always these experience

56:42

of recording with different countries, different

56:45

musicians, and it continues, man.

56:47

And now like go ahead and die

56:49

is my way back, going back to

56:52

the roots, I guess, like from the beginning

56:54

of the, how I started

56:56

Sepultura, the dangerous elements

56:58

of live show. It's

57:00

fantastic, man. It's really cool. I wouldn't

57:03

change it. Like it's crazy. And

57:05

I thought I was going to be

57:08

with Sepultura for my whole life. It was

57:10

my baby. You know, I named the band

57:12

and you know, in the Rock and Roll

57:14

Hall of Fame, there's a book of, of

57:16

lead or lyrics that my mom saved it

57:18

that I handled and hand draw. And that's

57:20

in there now. And that's like, that, that

57:22

was my, you know, Sepultura was my baby,

57:24

you know, but sometimes you can't claim life,

57:26

man. It doesn't work like that, you

57:28

know, and it throws you curve balls

57:30

and what you make of it,

57:33

I think that's interesting, you know, what you

57:35

make out of the situation is what counts,

57:37

you know? Um, so I could either go

57:39

on the corner and do drugs and you

57:42

know, end my career right there or do

57:44

something with it, you know, make something out

57:46

of it. And I'm glad I did, man.

57:48

I'm glad I did that. I can continue

57:50

super inspiring. I'm a huge fan of

57:53

music and I still love the magic of it.

57:55

And I think there's something in it. It's almost

57:57

like we cannot understand what it is. That's

58:00

the beauty of it. Don't try to understand

58:02

music because you will not, you can't.

58:05

It's magic. It's alchemism. I

58:07

totally believe there's alchemy

58:09

connected to music making. And

58:11

that's why you can study all the fuck you

58:13

want. You can study and

58:15

try to figure out why people do what they do.

58:19

But I don't think you'll never fully understand.

58:21

And that's the beauty of it, man. Yeah. The

58:24

beauty is me being such a fan of you and

58:26

then you coming in here and I'll talk about Bo

58:28

Diddley of all artists. I mean, that's what I fucking

58:30

love. That's why I love music. Yeah. And

58:32

I want to thank you for that too because that's like

58:34

that was a cool deep dive I did on Bo Diddley.

58:37

And like I said, oh my God, you

58:39

will inspire the next soul fly. Somehow I'm

58:41

going to figure out a way that Bo

58:43

Diddley inspires the new soul fly. Somehow

58:45

it's going to work. Oh

58:47

my God, dude. You asked earlier

58:50

about, you know, getting injured on

58:52

stage and whatnot. So we have

58:54

this little factoid about

58:57

Bo Diddley changing the style of guitar

58:59

because he got injured. He

59:01

said after jumping around on stage, he

59:03

had the Gibson L5 guitar. He landed

59:05

awkwardly hurting his groin. Then

59:08

went designing a smaller, less

59:10

restrictive, like a rectangular guitar

59:12

allowed him to keep jumping

59:14

around on stage while still

59:16

playing. That's sick. That's cool.

59:19

Then when we were looking at your how you

59:21

play guitar, I don't know if this is consistent

59:23

across the board, but what I read was a

59:25

six string guitar, but you only have four strings.

59:27

I only use four. Yeah. That's

59:30

consistent. Yeah. Do you have a

59:32

story of how that came to be? So yeah. So I

59:34

was back in the Sepultero days of rehearsal.

59:36

That's like before the first album. And

59:39

when the one of the strings broke and

59:41

we kept jamming and the other string broke, it was the

59:43

little, the two little ones, you know, and I

59:45

look at my roadie and I was like, dude, we got $5. We

59:48

can go buy booze or you

59:51

can buy a new pack of string. And

59:53

my roadie is like, dude, you don't use those

59:55

strings. You don't solo. Let's go

59:57

get some booze. And you just

59:59

rage with. the four strings, you know,

1:00:01

as simple as that. And

1:00:03

it's stuck, man. It's stuck with me. And

1:00:06

I kind of force myself to be like,

1:00:08

I'm a, I'm a riff guy.

1:00:10

That's what I do. I make

1:00:12

riffs. That is my profession. That's my

1:00:15

day job. And by having four

1:00:17

strings, it forces me to really

1:00:19

explore the shit out of the riff

1:00:21

making. Cause I only have four, you gotta do

1:00:23

all on those four. And I

1:00:25

don't really do lead. So it was

1:00:27

like, it became a trademark. And it's

1:00:29

funny, like we endorsed by ESP, like

1:00:31

people buy my guitar and the dad

1:00:33

will call ESP like, you sold me

1:00:35

a broken guitar. This thing is missing

1:00:37

strings. And

1:00:40

then ESP is like, no, that's, that's the

1:00:42

way Max plays. You sell one of the max

1:00:44

guitar. It's without you strings, man. Fuck

1:00:47

those other two. Those other two suck, dude. Nobody

1:00:49

uses them. Only a couple of people use them

1:00:51

anyway. That's funny. But yeah, I

1:00:54

only have four and I gotta make it work with

1:00:56

four. I know we, we spent a lot of time

1:00:58

talking to, uh, talking to you, which to be honest,

1:01:00

like these are episodes where I'm like, this is what

1:01:02

I want. Sometimes I do things just for me. And

1:01:04

for the, for the fans out there, I think when

1:01:06

we're talking about Bo Diddley, that's what's cool about your

1:01:08

podcast, man. That's what, that's what I love about it.

1:01:11

You dwell because the artists and you

1:01:13

start to talk about other things and

1:01:15

that's way more interesting, man. It's really

1:01:17

cool. Thank you. Thank you. Hear that

1:01:19

everybody. You hear that Spotify, you fucking

1:01:21

dark lords of

1:01:23

demons. Here's the deal. Is that

1:01:25

this? I mean, you could sit here and talk

1:01:27

about Bo Diddley and we could break down every

1:01:29

little thing or we could just talk about life.

1:01:32

And, and I think, well, like you said about

1:01:34

music, there's sometimes when there's an album or there's

1:01:36

certain things, there's a story, but it's really about,

1:01:38

we put music on in so many different capacities.

1:01:40

It's, it's what it draws us to, whether

1:01:42

it gives us dance, it makes us cry,

1:01:44

it makes us think, it makes us reflect.

1:01:47

It's, that's what's beautiful about this dude. I'm

1:01:49

telling you, bro. I, I put on, as

1:01:51

soon as it's over, I'm going to put

1:01:53

on probably primitive, just go to the gym

1:01:55

and just fucking hear like your boom and

1:01:57

just, and it's just, it'll do something to

1:01:59

you. Just like when I listen

1:02:01

to Chaos AD, it takes me all

1:02:03

the way back and I have to

1:02:06

give a shout out I have to

1:02:08

give a shout out to Ben Allen,

1:02:10

Dave Cullen and Tassos Lenderee days the

1:02:12

first band I was ever in We

1:02:14

covered I mean we probably did the

1:02:16

whole album Chaos AD which was funny

1:02:18

because that's not my singing style at

1:02:20

all All right, like I'm Scott Weiland.

1:02:22

I'm more like Here, you've got to

1:02:25

like war for territory Like

1:02:27

just fucking was that hard

1:02:30

was that hard to get that out that guttural like

1:02:33

Or is that just naturally comes out like that?

1:02:36

It naturally comes out. I never study my

1:02:38

vocal thing at all I don't want to

1:02:40

know why he does that it's one of

1:02:43

those like strange things I know

1:02:45

it's there and it's working so I don't fuck with

1:02:47

it Yeah, when I go in the studio, I think

1:02:50

and it's there one thing I do though Like

1:02:52

a lot of times when I'm singing like I love

1:02:54

that like I did my chest, you know get

1:02:56

a little physical with it It's kind of like you

1:02:58

got to feel the pain and that's cool that you

1:03:00

makes it makes it real Make makes the painful art,

1:03:03

you know, yeah, but yeah, you know that that

1:03:05

just comes out naturally man It's like it's

1:03:07

a blessing. Yeah, the coolest thing about the

1:03:09

book my vocals that is the originality You

1:03:11

know, it's like I can't sing like Robert

1:03:13

Plant I cannot you know and even if

1:03:15

I try we have the whole the heart

1:03:17

worst thing you want to hear But

1:03:21

there's something cool about the way I do

1:03:23

my thing, you know, it's original when you

1:03:26

hear you hear one minute You're like, oh,

1:03:28

that's max. That's cool. You know, the original

1:03:30

thing is part of it And yeah, I'm

1:03:32

just glad that still working and I'm raging

1:03:34

every night and I see you. I don't

1:03:36

go to the doctor I don't want to know about it.

1:03:38

I just know it's working Don't

1:03:42

fail me Please

1:03:45

Please God Jerry's anything

1:03:47

we gotta talk about anything we missed. I mean,

1:03:49

there's so many great things I think one of

1:03:51

the big there was a question asked of Bo

1:03:53

Diddley in 2005 Of

1:03:56

whether or not this was the first

1:03:58

rap record A man,

1:04:00

you know, M, A,

1:04:02

N. He says,

1:04:04

aha, but it wasn't called rap,

1:04:06

it was called signifying. He said, a lot of

1:04:08

the things I did in the chess studios, we

1:04:11

were just goofing around, they played it back and

1:04:13

it shocked us, all of us. Of

1:04:15

course, they cut out all the dirty parts.

1:04:17

So I mean, his lyrics were pretty sexual

1:04:19

throughout and pretty like, you know, scandalous. So

1:04:21

they had to clean a lot of stuff

1:04:23

up. But I think that call and response

1:04:25

and kind of that he had a bit

1:04:27

of a diss track with muddy waters that

1:04:29

kind of went back and forth with an

1:04:31

answer. Really? Manish boy

1:04:33

is supposed to be a response by

1:04:35

muddy waters to I'm

1:04:39

a man. I think it was manish boy was I'm

1:04:41

a man. That was the response to that. Okay. So.

1:04:45

And I think that influenced probably hip hop

1:04:47

and but also hardcore. If you think about

1:04:50

the call and response. Yeah, that's huge and

1:04:52

hard. Yeah, like huge all the way back

1:04:54

to punk stuff. You know, it's great. So

1:04:56

I love that. And that's

1:04:58

so cool about this artist, man. There

1:05:00

are pioneers like they're inventing shit without

1:05:02

even knowing they're inventing shit. You

1:05:05

know, that's great. Just clowning

1:05:07

each other and then inserting into it just like

1:05:10

your foosball putting into the album. You

1:05:12

know, exactly. Yeah, you just have

1:05:14

to just follow whatever follow your

1:05:16

heart or just jam, you

1:05:18

know, it's instinct. Let the instinct takes

1:05:20

over. And I love that man. And

1:05:23

that's like the thing about Bodily like, oh yeah,

1:05:25

another thing I thought was this is

1:05:27

kind of weird and funny. So my

1:05:29

guitar strap guy is a black metal

1:05:32

kid from Phoenix. The only

1:05:34

listens to black metal. He doesn't know

1:05:36

any rock and roll. Never looked. He does.

1:05:39

I swear to God, he does not know both easily. And

1:05:42

he made me a guitar strap. No

1:05:44

shit. And he's exactly the same as

1:05:46

both these. He's guitar strapped with the

1:05:49

ring. That is crazy. That is crazy.

1:05:51

Fucking weird, right? Dude. Yeah,

1:05:53

it's like I saw I saw the picture and I

1:05:55

was like, whoa. That guitar strap looks

1:05:57

like my guitar strap. And I show it to my

1:05:59

role. and we're comparing the pictures like,

1:06:02

dude, that's the same fucking strap. Yeah,

1:06:04

it looks metal as fuck. I can't

1:06:06

believe Bo Diddley was using that because

1:06:08

he looks, they're like rings. They're like

1:06:10

rings of metal, the guitar strap. It's

1:06:12

a famous guitar strap. You know, there's

1:06:14

something metal about Bo Diddley. You can't

1:06:16

sit here and say that he's not.

1:06:18

I mean, there's something, there's guys punk

1:06:20

rock, dude. Yeah, exactly, exactly. The guy

1:06:22

is punk. I mean, I'm looking ever

1:06:24

towards the end of his career. One

1:06:26

of his last studio performances is with

1:06:28

the New York Dolls. You know,

1:06:30

he has a stroke later in life. He has

1:06:32

a heart attack but still performs after he has

1:06:34

a stroke. He has a heart attack. He's

1:06:37

still performing. You

1:06:40

know, it wasn't until, dude, the guy died, you know, in

1:06:42

2008. And I

1:06:44

mean, he performed, I mean, pretty much all the

1:06:46

way up until the end. Inducted into the Rock

1:06:48

and Roll Hall of Fame in 1987, the Blues Hall of Fame in 2003, the

1:06:53

Rhythm and Blues Music Hall of

1:06:55

Fame in 2017, Lifetime Achievement Award

1:06:57

for the Rhythm and Blues Foundation, and a

1:06:59

Grammy Lifetime Achievement Award. After

1:07:01

his death, he was awarded Doctor of

1:07:03

Fine Arts degree from University of Florida

1:07:05

for his influence on American popular music.

1:07:07

When you talk about

1:07:10

some of the most influential guitarists, he's into

1:07:13

discussion. I think especially after listening to these

1:07:15

two records, I mean, man. Can you hear

1:07:17

me ask this question before we get into

1:07:19

the final questions? So there's Bo Diddley and

1:07:21

Go Bo Diddley. Which record did

1:07:23

you dig more? I like Go

1:07:25

Bo Diddley. I mean, I know it

1:07:28

doesn't have some of the hits, but, and

1:07:30

the record is 10 years younger than me.

1:07:33

I was born in 69 and that

1:07:35

out was from 59. You know, that's already

1:07:37

a mind blowing statistic. Like he was already

1:07:39

doing that. Yeah. Oh, yeah. Yeah. Yeah. Both

1:07:41

of these were very easy listens. What

1:07:45

was funny was the final track on

1:07:47

the first record, Bo Diddley, Pretty Thing,

1:07:49

I had saved that. I mean, I

1:07:51

guess like it just showed up on

1:07:53

my Spotify and I saved it. But

1:07:56

you're right. Go Bo Diddley does not

1:07:58

have the hits. Now

1:08:00

the other one has both of them are

1:08:02

great very easy listens. Let's get

1:08:04

these final questions. We ask everybody this max Thank

1:08:06

you so much for coming on dude Like I'd

1:08:09

love to have you back like whether it's we

1:08:11

would do punk or something We'll find another fucking

1:08:13

record for you. We still got another four years

1:08:15

of this. So we'll make this happen What's your

1:08:17

favorite song on these records? So yeah, I think

1:08:19

like a Bose guitar It's an

1:08:22

instrumental, you know Nothing that

1:08:24

it's not that I don't dig his voice. I

1:08:26

think his voice is great. I shall be the

1:08:28

change You

1:08:30

know that stuff is killer But there's

1:08:32

something about that reason the African rhythm and that

1:08:35

percussion is like blow me away I like yes,

1:08:37

and that's like I said that can influence a soul

1:08:40

fight song for sure in the future Dude,

1:08:44

I love that. I love that Is

1:08:46

there anything on these records that you skipped over

1:08:48

any of the songs that you were like man?

1:08:50

I'm not feeling no, I mean a little bit

1:08:52

maybe a Little

1:08:54

girl They didn't hit

1:08:57

as hard as the other stuff But then

1:08:59

if you listen to the real hit song,

1:09:01

you know Who do you love like we

1:09:03

just like I knew that that

1:09:05

was imprinting in my mind before we did

1:09:07

a sure like the minute My you know,

1:09:09

my wife mentioned both business. Yeah, who do

1:09:11

you love guys? Oh, yeah, that's been in

1:09:13

commercials, right? Like using car commercials.

1:09:16

It's huge. Yeah, that's that's everywhere you know,

1:09:18

it's funny and I think you might agree

1:09:20

with this is that you can't really get

1:09:22

tired of anything on this record because The

1:09:24

by the time you realize you don't like

1:09:26

the song it's already over every song is

1:09:28

two minutes and 15 seconds So

1:09:30

you can't get right. You're short. They're so short.

1:09:32

It's perfect. So it's like you go new

1:09:35

song and then you like He

1:09:38

was doing his layer any blood before it's later. Yeah.

1:09:40

Yeah. Yeah All

1:09:44

right, weird question weird weird questions

1:09:46

I'm curious can can you have sex to

1:09:49

these records? Can you fuck to bow diddly?

1:09:51

Yeah, I think so, you know, like like

1:09:53

I can put on that with my wife

1:09:55

and go to town I

1:10:00

go to town with Bo Diddley. Fuck

1:10:05

yeah, I'll go to town. I might go to town with neighbor

1:10:07

Bo Diddley. Stay awake late enough.

1:10:09

It's got a sound. It is

1:10:11

a different entity unlike any other

1:10:13

style of blues that we've had

1:10:15

before. If you can fuck to muddy

1:10:17

waters and you can fuck to the slow blues, I

1:10:19

mean, this is a little bit, like you said, there's

1:10:21

a little bit more African rhythm, a little more tribal.

1:10:24

So it's not going to be maybe so much slow sex, but

1:10:26

I feel like you can fuck to this. I think you

1:10:28

can. So please try. Everybody out there, go try.

1:10:30

Go try it. Yeah,

1:10:32

that's WD advice. Let's see what happens. Yeah,

1:10:35

and let us know. Let us know how

1:10:37

loud. If you can get through both records, we'll

1:10:39

give you a shout out on Patreon. And final

1:10:41

question, what would be your elevator pitch to get someone

1:10:43

to listen to? So

1:10:47

what are you going to tell somebody to get them to listen to

1:10:49

this record? For records. It's

1:10:52

just real catchy, you know, simple

1:10:54

catchy stuff that people just love it. The

1:10:56

song is a short. It's a revolutionary, you

1:10:58

know, like what he did with the guitar

1:11:00

is so unique that by itself, it should

1:11:02

be not a hard sell. Like just should

1:11:04

tell people like just give it a try.

1:11:06

If you put that record on and like

1:11:08

I said, it's easy to get to the

1:11:10

record. They're not long songs. So it's not

1:11:12

torturous. The record is only

1:11:14

30 minutes, you know. That was

1:11:17

perfect. I think one of the things to add

1:11:19

is that with all the music we listen to,

1:11:21

whether it's dance,

1:11:24

hip hop, any of the music

1:11:26

that we're listening to now, somehow, some way, everything

1:11:29

that we're listening to can be taken

1:11:31

back to it. There is a morsel

1:11:33

of this in everything we've

1:11:36

listened to since. And I think

1:11:38

that is what's fucking really groovy

1:11:40

about this record and about

1:11:42

Bo Diddley. And I wish all the fans in

1:11:44

the podcast that are that might be a little

1:11:47

upset that we didn't cover all the minute little

1:11:49

facts. Go listen to the records because sometimes it's

1:11:51

hard when we're talking about a guy's whole career.

1:11:53

And that's kind of what they're trying to

1:11:55

give us here with these first two records. Dig

1:11:58

into Bo Diddley. Listen to his music. and listen

1:12:00

to everybody else that came after and all the

1:12:02

other artists and for that dude, I just want

1:12:04

to say like I'm glad that we had this

1:12:06

chance to listen to him and soon I'm glad

1:12:09

that Bo Diddley brought us together Max. Like I

1:12:11

mean it. I can't thank you enough for coming

1:12:13

on dude. You are a huge part of my

1:12:15

life. I'm glad we're friends now and dude please,

1:12:17

please keep in touch. Promote away

1:12:20

anything you want to promote. Tell us about the

1:12:22

tour, new records, anything. What do you go? You

1:12:25

can go to Go Ahead and Die Facebook or

1:12:28

Instagram, all the social medias

1:12:30

and yeah, this

1:12:33

tour has another eight weeks

1:12:35

left still and then

1:12:37

we're doing a bunch of festivals in

1:12:39

Europe and stuff but yeah, people want

1:12:41

to check us out. They can go to Go

1:12:43

Ahead and Die Facebook and if you want to

1:12:45

laugh hard, watch our video of

1:12:47

a song called Drug a Cop where

1:12:49

I'm a sheriff doing

1:12:52

bad stuff. The whole video is me

1:12:54

and my son as policemen

1:12:56

doing bad stuff. Yeah,

1:12:58

we're doing lines of coke, drinking,

1:13:01

smoking, it's hilarious. It's a hilarious

1:13:03

video. You should check it out.

1:13:05

You will like it. It's

1:13:07

a song called Drug a Cop. Check

1:13:10

it out Max. Dude, thank you so

1:13:12

much for coming on brother. I mean

1:13:14

it dude. This is great. Alright you

1:13:16

guys. Appreciate y'all. Follow him at

1:13:18

Cavalier Conspiracy on Instagram and pre-order

1:13:20

him and his brother Igor's official

1:13:22

Blood Brothers Coffee Cold Nitro Bouquets

1:13:24

from Concept Cafes. Do it. Rate

1:13:27

review and most importantly subscribe to The 500

1:13:29

and listen free on all platforms or anywhere

1:13:31

you get your pods. Leave us a five

1:13:33

star rating and leave a review. It helps

1:13:35

us. Follow me at

1:13:37

Josh Adam Myers on all social

1:13:39

media and go to joshadamires.com for

1:13:42

tickets. Email the podcast at [email protected].

1:13:44

Follow the Facebook group run by

1:13:46

Crazy Evan and for all things 500,

1:13:49

go to our website the500podcast.com. Our

1:13:53

new music this week and I'm stoked for

1:13:55

this one is song Morbid Visions by Cavalier

1:13:57

off the 2023 record Morbid Visions. the

1:14:00

vision. Next week, New York Dolls

1:14:02

Week, as we go deep in the 1973 subtitle

1:14:04

debut album, New

1:14:07

York Dolls. Do your homework.

1:14:10

I love you guys. Stay fleecy.

1:15:01

Don't worry. Don't

1:15:03

worry. Go. Don't

1:15:30

worry. Uh,

1:16:33

Her e- Pitch�

1:16:35

SIne anna

1:16:48

SIN-oral This

1:16:53

is details from

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growr SIN-oral

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SIN-oral

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SIN-oral SIN-oral

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SIN-oral Keeping

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it PC Love

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Foundation Love

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