Exile on Main St.

Nice.

That was quite nice.

Was it the Ronan Stone's kind of exile on Main Street song, Ventilator Blues, that you got the name? Was that an important album for you?

Oh, absolutely.

See, you had asked me my origin story, and I talked about the Beatles and the Monkees and then jumped ahead to punk rock.

And so I just made those, I just took those records and listened, I still have them, and listened to them endlessly.

And so, you know, just after that, it was High Tides and Green Grass and Through the Past Darkly, and then I just acquired all those records.

So in high school, I heard Exile on Main Street.

Many of their friends and contemporaries did not.

The Rolling Stones lived through near financial collapse, Altamont, the death of What's-His-Face with the bowl cut, and they dropped their best album in 72, Exile on Main Street.

Led Zeppelin IV and Who's Next were still in the new release racks.

Neil Young and Bob Dylan, as far as I'm concerned, still had their best records in front of them.

It sounded to me anyway, you know, you really seem to have found your feet on bandwagon-esque, which is usually, you know, the second album is notoriously the difficult one usually, but you seem to have like just hit the ground running with that one.

Well there's a thing I think actually and I think this probably applies to most bands when you start a band and you make your first record you're kind of some of your influences you know you have things that you like that will directly influence what you're doing when we made that first album we were listening to Exile on Main Street a lot that was a big record for me and Raymond back at Raymond's flat on Wilton Street and Sonic Goose we liked a bit of that and Love and you know and Scott Walken but there were these certain things that we liked but there's a lot of Exile on Main Street as an influence on that first record but then after that you start to sort of find out what you're good at and you start to find your own voice as it were and also I think when we made the Bandwagon-esque record Don Fleming sort of encouraged us to be melodic I think he said you guys are good at that Don was the producer on that album and he said you know you should do more of that because you're really good at it and I think that's when we started to sort of maybe develop our own voice a bit more

Yeah, and I think when we made the first record, we hadn't played any shows.

We just went and made an album.

but if they want it to sound organic and authentic, that leads to different choices, different, different overheads on the drums.

You know, um, that's, that's just something to keep in mind that you're, I make the joke that no matter what record I'm working on, it's always just Exile on Main Street, because I love the dark, weird sound of that album.

But that's not true.

I'm making the record that we're in the room making.

If Back in Black is the greatest selling rock and roll record of all time, what's the one record you'd put above it? You can only pick one.

Is it Exile on Main Street? London Calling? Is it Back in Black? abbey road something else maybe another acdc record call me 617-906-6638 let me know leave a voicemail send me a text you can also hit me on the socials at disgraceland pod or get me direct on the patreon chat credits are coming up right now He's a bad, bad man.

All right, guys, that's ACDC part two.

Let me know what you think.