WEBVTT
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Since twenty sixteen, I've been blessed with the opportunity to
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share conversations with those that have been featured on NBC's
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The Voice. Sure, we'd put them up on the platform,
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but then most people were going, so where's it at?
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So now we finally centralized it for you. Every performer
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from twenty sixteen forward ero dot net a r r
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oe dot Net enjoy the exploration. Hey, what's going on?
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Man? I'm man, what's going on? Brother? Oh?
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Looking forward to sharing a conversation with you, because you
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guys are onto something here that is just so attractive
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as we wrap up the year and go into a
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brand new world of sound.
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Yes, sir, I'm glad you feel that way.
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Well, I mean, what did you guys feel, because I
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know what I have been feeling, you know, just by
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you know, starting it all over. Do it again, listen
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to it again, Listen for something that you think you missed.
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I mean, we break it down as radio people, but
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for you who had to build it up before we
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could break it down.
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Yes, sir, I'm assuming we're talking about falling to pieces.
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Oh yes, oh yes.
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Yes, you know it's funny because that song was never
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supposed to be a single. It was, yeah, we were
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getting ready. We're getting ready to start writing a new
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album because we released start our new album at the
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beginning of this year called Bite the Bullet, and we've
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just been writing on that. And our producer was like, hey,
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you know, just because how social media and everything works now,
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it's not about putting an album out waiting two years
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to put another one out. Nowadays it's like, yeah, you
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can put an album out, but you've got to constantly
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put out singles and kind of keep yourself relevant constantly.
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So time, the time and age is so different compared
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to how music was done before, So now people are
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just pumping out singles all the time. So it was
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suggested to us, like, hey, we should put out another
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single in the fall, and I said, all right, And
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I was looking at a bunch of songs, you know,
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kind of that I have in a sense ready to go.
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And I showed it to the band, a bunch of songs,
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and everyone voted, falling to pieces. They're like, let's do
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this one. I'm like, really, yeah, I don't feel like
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it's a single. I specifically wrote it just to be
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a badass song on an album, like an album, filler
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and producer, and everybody's like, no, man, the chorus, it's
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too catchy, it will get stuck in your head. The
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melody line, I think this is the winner, And everybody
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in the band was like, yeah, I think this is
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the winner. So I'm like, Okay, I guess let's do
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this one.
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Do you think it's because part of the attraction is
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the fact that it has that kind of a bluesy
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overtone to it, and we all are just so attracted
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to that kind of stuff. And then when you bring
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in that rock touch, Oh my god, it's such a
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blend of the right sound.
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Yes, sir, I personally think we love groove, so we
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love anything that grooves. And let's be honest as human beans.
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Anytime you feel a beat, whether it be a be
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Ge song, funked, you know, or R and B or
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anything like, if you have that groove that's locked in,
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you just can't help yourself but move, tap your legs,
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move your head something. It's just it's effect. It's it's
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effective for sure. So you know, I just we just
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had a great groove. It has a good melody line,
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and then I just knew once people heard it, I
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was like, I think they'll sing along. I think they'll
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groove to this.
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M yeah, because I mean, you know, for the average listener,
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this is This was the way I was trained in
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radio that the program director says, you know how listeners
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sing to their favorite songs. No, they go blah blah
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blah blah, yeah blah blah. You know if they don't
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know the words, but it doesn't matter because you've got
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that groove going on in the background.
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Yes, they're yeah, and it's and it helps too, because
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you know, the average listener a lot of the times too,
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an average listener doesn't want to have to think too
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hard and no offense. But like, there are those wonderful
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songs as musicians and artists where we put all these
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crazy ideas and you know, all these crazy things, and
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there are people that will appreciate that, and musicians that
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will appreciate the artistry you put in. But the daily
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average listener just wants to sing along in their car
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while they're stuck in traffic, and they want they kind
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of just want that brain rot, something that's just gonna
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catch them and then just want them wanting more like,
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for instance, yeah, I'm assuming you've listened to the song
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more than once, but ye. Like, for instance, that song
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was technically a five and a half minute song and
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our producer had us cut cut down to like three
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and a half. There was originally a whole bridge section
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he cut. He's like, no, man, this is too much.
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Let's just get to the point. And then at the
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very end of the song, as you hear it fading out,
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that originally wasn't a thing. There was no fade out
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or or anything. And when we were editing, uh, the
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producer and engineer gave me a mix, and at the
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end of that last chorus it started fading out. I'm like, whoa, whoa, whoa, whoa, whoa.
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What's going on? Man? I don't like that. He goes, No,
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I'm telling you, we're gonna fade it out here because
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the listener is gonna want to play it again because
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they were still singing and they wanted more and you
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ended the song, so what are they gonna do. They're
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gonna go back and repeat the song because they wanted more.
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And I'm like, well, I guess, so, I guess that
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will work.
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Yeah, man, aren't you in a way creating and oh
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my god, moment at a live performance because when they
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get that longer version, it's like, oh my god, oh
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my god. And then therefore then then all of a sudden,
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then that live performance becomes something that, yeah, I made
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the investment to be here.
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Yeah, exactly, and it's we've been having time doing it live.
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We always, you know, every guess live, we try to
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put on a crazy high energy show. There's you know,
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we all got long hair, a lot of hair whipping
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around the stage, and we want to give it to you.
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Even even when we do the song, like we try
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to put so much energy in it. So you listen
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to the record, it's special, but go see us live,
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it's even it's a whole different kind of special. Because
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I've always said, like nothing's first. Then when you love
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an artist and you love the album and then you
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go them live and you're just like, you know what happened,
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Like this isn't great, or the other way around, where
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it's like they're so good live, but their records just
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don't sell. They're just not good records. So it's like
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I always try to keep real cautious about like make
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sure you do such an excellent record, but make sure
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you and your band are so good live where it's
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just like, holy shit, have you seen Kings of Karma.
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Which you know well, I mean, because I mean and
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it's more than just that live performance and collection of
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music on an album. I mean, the writing of the
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lyrics is so important too, because when you look at
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the song selfish Lover, go listen to those lyrics and
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tell me that you're not moved by them?
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Yeah, right, And it's it's always also too when you're
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writing lyrics, because you know, I used to try to
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be when I would write lyrics. You know, I try
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to write my political songs. I try to do my
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John Lennon. I tried to have real deep meaning on stuff.
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And those are great songs too. But you know, obviously,
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when when you're writing a single that's three and a
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half minutes, you got a catchy chorus, you've got great hooks,
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you got great lead guitar, great groove, and everything's slow,
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you also want to try to just write a song
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about stuff that people can relate to. And who hasn't
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gotten their heart broken at some point in a vicious
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way by somebody who meant a lot. We've all experienced it,
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and Adele has even made an entire career of heartbreaks songs.
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Oh wow, wow wow. You know you bring up John
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Lennon's name. I have to ask you, were you channeling
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John Lennon when you did You Win Again? Because this
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is like a Beatles song meets Waylon Jennings.
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I like that. I haven't heard that one, but I
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like that one. You know. Actually, honestly, if you want
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to hear my true inspiration, yeah, it was. Actually I
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was listening to Eric Clapton's first solo record in nineteen seventy.
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It's a very forgotten about record. It was the record.
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It was the first solo record he did after Blind
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Faith and Cream, and he was just like, all right,
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I'm sick of being in bands. I just want to
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be I'm just going to do a solo record. So
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he got with Uh, he got with Delaney and Bonnie
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there and they went into record and it's a song
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Lose Power off that record, and I loved the groove
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of it, and it's very similar to You Win Again.
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I just loved that really lazy ringo star Swampy Crew,
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and I was just like, fuck man, I want to
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write a song like that. So I started just kind
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of messing around in an a chord in like a
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blues feel, but I wanted that real like the verse does.
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I wanted that real swampy kind of groove, and then
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I definitely wanted some like blues piano, and then it
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kind of just I literally wrote you Win Again within
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at least ten minutes. It was just one of those
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special moments where you sat down at the perfect time,
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your brain's working at the perfect you know, speed, and
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you literally write a song and literally ten minutes lyrics
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and everything. Not all songs are written that beautifully and fast,
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but that was just one of those special moments where
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I knew what I wanted and it came out and
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it was just fantastic.
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You know, we need to do We need to team
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you guys up with Aerosmith with a video, because I
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think there's more than just young blood out there hooking
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up with Aerosmith, and they need to em brace people
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like yourself who aren't afraid to say yeah, Aerosmith was
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part of my empowerment.
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Yeah, I mean Aerosmith. I tell people all the time,
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you know, if the Black Crows and Aerosmonth made a baby,
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you get kills comment.
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I can hear that. Oh my god, I can totally
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hear that.
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Yeah, because like if you listen to the first song
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on Bite the Bullet calls my name when the guys
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made that riff, and we were we wrote Bite the
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Bullet out in the desert, out in like Joshua Tree
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here in southern California, and I wanted to go somewhere
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super isolated where we had no phone service, no distractions, yep.
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And we were told to write an album and find
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a sound because we released our first album, Chemical Sunsets
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in twenty twenty two, and it's a good album, but
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you could tell it's a little too eclectic still because
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I'm such a big white album fan that I have
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a problem of writing a folk song and a rock song,
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lose song, and a classical song and then too many
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damn songs in one album. So it was suggested to us, like,
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it's good, we see the direction you're going, but you
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guys really need to dial it in a little bit
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more behind like your sound. So I said, okay, let's go.
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I talked to my partner show I like the John Lennon,
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to Mike Paul McCartney, and I said, Joe, let's go
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to the desert with the guys and let's see what
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we come up with, and we damn near wrote in
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twelve hours the entire bite the bullet wreck.
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Man you're talking about calls my name. The thing is,
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is that, to me, that's a rock anthem that's about
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ready to hit those arenas in outdoor theaters and they're
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going to be saying it back to you. Are you
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prepared for that because their volume is going to be
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much louder than your monitor.
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Oh, it's starting to happen.
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Yeah.
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Any musician will tell you the most rewarding experience is
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looking at the audience and singing an audience member, you know,
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singing your lyrics back to you. It's the coolest feeling.
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But when the guys wrote that, I got to the
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rehearsal spot where we were writing and the riff, and
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I was like, dude, that sounds like some like nineteen
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seventy four Aerosmith, like get your Wings, like right before
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Toys in the attic. It gave me that kind of
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feel and I was like, all right, well, I gotta
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write some I gotta write some Steven Tyler style vocals
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to this, you know. So that was the inspiration there.
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Please do not move. There's more with Chris Gates from
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Kings of Karma coming up next. The name of the
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single is Falling to Pieces. The name of the new
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album Bite the Bullet. We're back with Chris from Kings
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of Karma. So the song Gummy Bears and cigarettes were you?
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Were you writing on that tour bus and you had
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to hit a seven eleven very quickly? What's the story
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behind that? Because I'll tell you what. I giggled like
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a child when I was listening to that because I
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just I just I just got off on it. I
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really did.
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That's honestly. That's that's my baby's That's my favorite song
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on the record. That was the one I put most time.
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And yeah, and we have a music video to that
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song also, it's on our YouTube channel. But that song
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is the most important one to me. Actually. It's about
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my now wife, who helps manage us and stuff like that.
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She's kind of like the Sharon Osbourne to my aus.
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Yeah.
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Yeah, And when we first started dating, you know, we were,
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oh my gosh, man, we probably had at least like
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twelve gigs a month, and I was it's all. We
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were driving all over the place every weekend. Every week
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was somewhere different, Every night was a different location in California, somewhere.
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So when we were dating, she was just in the
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car with me all the time, going to all these shows.
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And it's just kind of like a love song that
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I wrote about us just hanging out and you know,
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smoking and just chilling. But it's had a bag of
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gummy bears in the car, you know, just on these
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long road trips to these gigs, and so I'd just
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be smoking cigarettes and eating gummy bears.
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Were you inspired by Skinnered? Because it does have that
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kind of a skinnered muscle shoals kind of a vibe
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to it.
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I was definitely. It's so funny you say that I
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was actually very much going for a muscle Shols field.
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That's so man. I really love how you are understanding
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where I'm thinking. Yeah. So I'm a big rock historian
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and I geek out on rock history and studios and
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producers and all that. So you know, when I get
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in my head, like you know, I want to write
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a song that sounds like it was recorded at muscle sholes,
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that was exactly what I was thinking. Wow.
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Wow, So now you were told to go into it
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one song at a time instead of delivering a full
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album at a time. Well, what about the merch when
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it comes to something like that, Because I was just
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sitting here thinking about Calls my name. That's something that
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you could plant on a damn T shirt or put
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on a poster and sell the crap out of it
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at a live show or even falling to pieces. In
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other words, I identified the songs too on the shirt,
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so people go, damn, what song is that? And then
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they and then they hit Spotify or something and locate it.
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You know, it's funny because we're creating some right now.
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I never thought about actually like merching out one of
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the songs, but that's actually a great idea. Gummy Bears
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and cigarettes T shirt would probably be really.
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Yeah, oh yeah, you man, you put oh my god,
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put some symbols up.
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There and everything. Hell, yes, yes, I love that. I
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will you know, I'm gonna take that consideration, my friend.
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You'll probably see a gummy Bears and cigarette shirt coming soon.
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So know, you were talking about Eric Clapton here a
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few minutes ago. So when with the song the Tempest
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and that guitar were you were you channeling him on
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that or who was the guitarist you were thinking of
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when you brought this song for it, because man, it's
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got some drama to it.
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So with the Tempest, Uh, surprisingly, our lead guitarist is
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obsessed with Jack White Corporation. That's his main inspiration. Like
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Paul McCartney to me, is like Jack White to our
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lead guitarist, Jacob And if you listen to a lot
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of his solos in the way he uses his effects
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and his law, you could definitely tell he's very influenced
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by Jack White. And we love The Rack and Teers,
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which is I think one of Jack White's best projects
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that he's ever been involved in. And so surprisingly that
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riff I was actually really thinking about The Rack and Teers,
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and Jack White wrote, uh god, yeah, oh my god.
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You know you speak of of Paul McCartney and and
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inside on on on Paul McCartney with me. First of all,
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I just think I discovered Paul McCartney before I discovered
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the Beatles. And the thing is is that people are
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always asking me, will you would you talk with Paul McCartney.
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I said no, I'm on a mission. I want to
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talk to everybody around Paul McCartney because I think there's
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a story there and it's being ignored. And I mean,
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but I'm with you. I mean, when it comes to McCartney,
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you can't ask for a more down to earth individual
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when it comes to songwriting and just being being a person.
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Yeah, I I personally think that. You know, when you
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look at the centuries of music, you know, in the
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eighteenth century you're looking at Beethoven, the seventeenth century, you're
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looking at Mozart, and I will I definitely think, you know,
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centuries from now, people will look at the twentieth century
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and say, Lennon McCartney was the greatest songwriters of that century.
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And the Beatles are the only reason why you and
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I are on the phone right now, why and got
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on this journey. And yes, you know, the Beatles are
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definitely my main and I'm a Beatle historian. My obsession
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with them is unhealthy. If you walk into my house,
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it's a damn shrine. When you come in and get
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my wife on board with that was a was a
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good I even named my kids after Beatles. Yeah, we're
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a Beatle family.
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Are you Are you into the idea of maybe one
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of these club DJs or one of the big names
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like you know, you know, getting a song good, bad
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and ugly with that funk beat and turning it into
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a dance mix.
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Oh yeah, dude, I think that'd be awesome. I think
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any DJ that would any anytime, a DJ like that
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would hit me up and be like, hey, I love
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your song. I would love to turn it into my
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own single and a mix. What do you think. I
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love collaboration, yea. I love anybody that has great ideas
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as an artist to take you know, our songs and
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do something cool with this. So I would always be
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super open to that.
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But see, that's what That's what I love about this
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modern day age of music is that collaboration seems to
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be the key word and everybody's doing it. There's one
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day they're going to look back at this time period
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and go they all got along. How is that even possible?
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Well? The cool thing with our band, you know, and
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you know, we've been doing this for years, man, I've
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I've been performing NonStop live without taking a break since
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I was fourteen. I'm thirty five now, so it's it's
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been a hustle. You know, We've we've done our Hamburg
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years and it's growing and it's getting bigger and bigger
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every year for us, and we're getting stoked. But yeah,
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it's just playing live and just keeping going. Has just
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been kind of like the fuel on, just trying to
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create and push the envelope and do something new that
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we haven't done before, and always just trying to find
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new ways to keep your you know, the spark alive
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and still trying to impress yourself. And it's like, yeah,
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we we're entertainers, so it's like we're here to entertain everybody.
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But at the end of the day too, like are
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you impressed with yourself? Are you pushing yourself as an
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artist or is it just like is it just a
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money grab or something fun to do. It's not a
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hobby for us.
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So so into that thought. So when you were talking
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about doing twelve shows per month, who's up your stage?
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Because I mean, because I'm a performer and it's it's
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like that stage to me is the mecca. In other words,
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it has got to be perfect so that I can
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make that connection and there can be no walls or
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rivers in front of me between me and them on
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the other side.
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Yeah, I mean, we probably don't gig that hard lately.
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This was you know, we did that. We we giged
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like that for like ten years, and it was just everywhere.
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It was just a matter to get in front of
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an audience. And of course, you know at those kind
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of gigs, you have to play like three or four
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hours long, and you play your songs, but then you
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got to play led Zeppelin, you gotta play, gotta play CCR,
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you gotta play the doors. You got to keep people entertained.
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And I've always looked at every band had to start
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off doing covers, you know, to find their their voice,
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their sound, and you know, smart to do covers, you
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know when you're still developing. And we still like to
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do cover every once in a while because it keeps
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us sharp, and it keeps us working, and it keeps
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just you know, other than just our stuff. You gotta
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just entertain people, and it helps you kind of create
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your show, especially as like a front man, Like what
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kind of movements am I doing? Am I? What am
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I taking my microphone stand and throwing it around like
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a prop, you know, like it gives you, it gives
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you a chance to kind of develop, you know, what
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kind of moves I'm gonna do when I'm playing a
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lead guitar solo or something like that, or the drummer's
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gonna have a drum solo right after this bridge, you know.
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And it's just creating a show, creating the total entertainment factor.
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So people come and go, holy shit, yep, these guys
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are amazing. We gotta go see him again. I gotta
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tell my friends wow, you know. And so that's just
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where we're at right now. Where's trying to turn heads
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everywhere we go.
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God, I used to speak or dive and then one
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performance nobody reacted and I went o, God, I'm done. Now,
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I'm not doing that ever again. I didn't like the
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way that he didn't react. So it's like speaker diving
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off the map.
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Yeah, it's it's funny too because there they'll, don't get
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me wrong, there'll be those gigs where you feel like
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you're just kind of background music at a bar, yeah,
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or something like that. But you know, I will say this.
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The cool thing is because you know, we always put
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our original songs within a night of covers and stuff
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like that, and the thing that we've noticed is that
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it seems like people actually dig our music more than
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the covers.
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How about that, huh.
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And that's always that's always a great feeling where it'says like,
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of course everyone loves ACDC. They know that song, they
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sang along and then you do your song right after
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and they're actually on the dance floor dancing to Sugar Mama. Yeah,
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and you're like wow, you know.
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Wow, Well, I think that song Sugar Mama should be
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in a movie. I mean, because it's that it's got
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that movie soundtrack kind of vibe about it.
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I agree with you. And when we when Joe and
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I wrote that song, you know, I don't know if
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you've really listened to the lyrics or read the lyrics,
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but it's it's a hilarious song. It's a true story,
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it's a it's totally it's very comedy. When we wrote
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the lyrics, we wanted to be really witty about our
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comedy with it, but it just has that groove and
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we knew when we were writing it like this is
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that commercial kind of like you know, and it has
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all it has all the formulas to be a radio hit. Yeah,
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it's three minutes. It has that catchy, punchy chorus that
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has the groove, it has the melodies like it hits
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you right in the face and then goes home. You know,
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it's just it's such a good song and we're we
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love it so much. It's one of our favorites to
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play live.
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Wow, where can people go to find out more about
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what you guys are doing, where you're playing and most
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importantly merch sell that merch.
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Yeah, so right now, we just launched our brand new website,
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Kingsakarma dot com. Simple. We are in the process this
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year before the year ends to have a total brand
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new merch store ready to go. Nice. So we were
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literally almost done with the finished touches about launching our
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merch store with our website. But you can go to
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Kingsakarma dot com. Uh. The best thing I would say
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to do if you want to keep up with following
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where we're playing every week and everything. I always tell
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people go to our Instagram. Oh yeah, it's Kings of
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Kings of Karma Official. Look for that blue check mark
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that's us and all the long hair and uh, that's
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how you can keep up with where we're playing, where
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we're going, that's that's where we you know, definitely keep
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up with fans and stuff.
480
00:24:33.640 --> 00:24:36.480
The hardest, dude, can you talk about that long hair.
481
00:24:36.519 --> 00:24:38.640
Mineus in the middle of my back and people still
482
00:24:38.680 --> 00:24:41.119
look at me, you vagrant boy. What I'm going? Yeah,
483
00:24:41.160 --> 00:24:42.759
this is the way it was was in the back
484
00:24:42.799 --> 00:24:45.440
in the sixties when you had the long hair. It's attitude.
485
00:24:45.480 --> 00:24:47.960
But I hope I'm upsetting you in a big way.
486
00:24:48.160 --> 00:24:54.440
Yeah, yes, sir, if you get it. You can't be
487
00:24:54.480 --> 00:24:56.519
a rock and rollvan with no long hair. A rock
488
00:24:56.559 --> 00:24:57.519
and roll van, is that?
489
00:24:57.559 --> 00:24:59.720
That's right, that's right. Even when Kiss cut their hair
490
00:24:59.759 --> 00:25:02.240
and went, what are you doing? Put that stuff back on,
491
00:25:02.960 --> 00:25:03.440
And if.
492
00:25:03.319 --> 00:25:05.319
You look at and if you look at the history,
493
00:25:05.359 --> 00:25:08.880
you could tell they did not keep that hairstyle very long.
494
00:25:08.920 --> 00:25:11.240
It's a very short lived situation.
495
00:25:13.480 --> 00:25:16.079
Well, please please come back to this show anytime in
496
00:25:16.079 --> 00:25:18.000
the future. The door is always going to be open
497
00:25:18.079 --> 00:25:18.359
for you.
498
00:25:18.960 --> 00:25:21.400
Yes, sir, we would love to come back. This is great.
499
00:25:21.519 --> 00:25:24.319
We definitely support your show. We hope you have nothing
500
00:25:24.400 --> 00:25:25.880
but tremendous success.
501
00:25:26.000 --> 00:25:27.880
Oh, thank you so much. You'd be brilliant today.
502
00:25:27.880 --> 00:25:30.400
Okay, thank you so much.
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Since twenty sixteen, I've been blessed with the opportunity to
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share conversations with those that have been featured on NBC's
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The Voice. Sure, we'd put them up on the platform,
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00:00:09.039 --> 00:00:11.199
but then most people were going, so where's it at?
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00:00:11.519 --> 00:00:14.759
So now we finally centralized it for you. Every performer
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00:00:14.800 --> 00:00:18.760
from twenty sixteen forward ero dot net a r r
7
00:00:18.879 --> 00:00:23.640
oe dot Net enjoy the exploration. Hey, what's going on?
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Man? I'm man, what's going on? Brother? Oh?
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Looking forward to sharing a conversation with you, because you
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guys are onto something here that is just so attractive
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as we wrap up the year and go into a
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brand new world of sound.
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Yes, sir, I'm glad you feel that way.
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Well, I mean, what did you guys feel, because I
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know what I have been feeling, you know, just by
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you know, starting it all over. Do it again, listen
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to it again, Listen for something that you think you missed.
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I mean, we break it down as radio people, but
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for you who had to build it up before we
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could break it down.
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Yes, sir, I'm assuming we're talking about falling to pieces.
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Oh yes, oh yes.
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Yes, you know it's funny because that song was never
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supposed to be a single. It was, yeah, we were
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getting ready. We're getting ready to start writing a new
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album because we released start our new album at the
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beginning of this year called Bite the Bullet, and we've
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just been writing on that. And our producer was like, hey,
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you know, just because how social media and everything works now,
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it's not about putting an album out waiting two years
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to put another one out. Nowadays it's like, yeah, you
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can put an album out, but you've got to constantly
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put out singles and kind of keep yourself relevant constantly.
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So time, the time and age is so different compared
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to how music was done before, So now people are
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just pumping out singles all the time. So it was
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suggested to us, like, hey, we should put out another
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single in the fall, and I said, all right, And
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I was looking at a bunch of songs, you know,
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kind of that I have in a sense ready to go.
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And I showed it to the band, a bunch of songs,
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and everyone voted, falling to pieces. They're like, let's do
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this one. I'm like, really, yeah, I don't feel like
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it's a single. I specifically wrote it just to be
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a badass song on an album, like an album, filler
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and producer, and everybody's like, no, man, the chorus, it's
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too catchy, it will get stuck in your head. The
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melody line, I think this is the winner, And everybody
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in the band was like, yeah, I think this is
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the winner. So I'm like, Okay, I guess let's do
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this one.
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Do you think it's because part of the attraction is
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the fact that it has that kind of a bluesy
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overtone to it, and we all are just so attracted
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to that kind of stuff. And then when you bring
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in that rock touch, Oh my god, it's such a
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blend of the right sound.
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Yes, sir, I personally think we love groove, so we
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love anything that grooves. And let's be honest as human beans.
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Anytime you feel a beat, whether it be a be
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Ge song, funked, you know, or R and B or
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anything like, if you have that groove that's locked in,
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you just can't help yourself but move, tap your legs,
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move your head something. It's just it's effect. It's it's
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effective for sure. So you know, I just we just
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had a great groove. It has a good melody line,
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and then I just knew once people heard it, I
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was like, I think they'll sing along. I think they'll
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groove to this.
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M yeah, because I mean, you know, for the average listener,
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this is This was the way I was trained in
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radio that the program director says, you know how listeners
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sing to their favorite songs. No, they go blah blah
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blah blah, yeah blah blah. You know if they don't
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know the words, but it doesn't matter because you've got
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that groove going on in the background.
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Yes, they're yeah, and it's and it helps too, because
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you know, the average listener a lot of the times too,
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an average listener doesn't want to have to think too
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hard and no offense. But like, there are those wonderful
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songs as musicians and artists where we put all these
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crazy ideas and you know, all these crazy things, and
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there are people that will appreciate that, and musicians that
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will appreciate the artistry you put in. But the daily
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average listener just wants to sing along in their car
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while they're stuck in traffic, and they want they kind
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of just want that brain rot, something that's just gonna
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catch them and then just want them wanting more like,
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for instance, yeah, I'm assuming you've listened to the song
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more than once, but ye. Like, for instance, that song
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was technically a five and a half minute song and
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our producer had us cut cut down to like three
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and a half. There was originally a whole bridge section
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he cut. He's like, no, man, this is too much.
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Let's just get to the point. And then at the
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very end of the song, as you hear it fading out,
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that originally wasn't a thing. There was no fade out
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or or anything. And when we were editing, uh, the
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producer and engineer gave me a mix, and at the
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end of that last chorus it started fading out. I'm like, whoa, whoa, whoa, whoa, whoa.
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What's going on? Man? I don't like that. He goes, No,
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I'm telling you, we're gonna fade it out here because
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the listener is gonna want to play it again because
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they were still singing and they wanted more and you
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ended the song, so what are they gonna do. They're
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gonna go back and repeat the song because they wanted more.
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And I'm like, well, I guess, so, I guess that
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will work.
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Yeah, man, aren't you in a way creating and oh
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my god, moment at a live performance because when they
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get that longer version, it's like, oh my god, oh
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my god. And then therefore then then all of a sudden,
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then that live performance becomes something that, yeah, I made
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the investment to be here.
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Yeah, exactly, and it's we've been having time doing it live.
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We always, you know, every guess live, we try to
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put on a crazy high energy show. There's you know,
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we all got long hair, a lot of hair whipping
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around the stage, and we want to give it to you.
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Even even when we do the song, like we try
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to put so much energy in it. So you listen
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to the record, it's special, but go see us live,
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it's even it's a whole different kind of special. Because
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I've always said, like nothing's first. Then when you love
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an artist and you love the album and then you
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go them live and you're just like, you know what happened,
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Like this isn't great, or the other way around, where
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it's like they're so good live, but their records just
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don't sell. They're just not good records. So it's like
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I always try to keep real cautious about like make
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sure you do such an excellent record, but make sure
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you and your band are so good live where it's
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just like, holy shit, have you seen Kings of Karma.
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Which you know well, I mean, because I mean and
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it's more than just that live performance and collection of
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music on an album. I mean, the writing of the
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lyrics is so important too, because when you look at
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the song selfish Lover, go listen to those lyrics and
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tell me that you're not moved by them?
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Yeah, right, And it's it's always also too when you're
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writing lyrics, because you know, I used to try to
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be when I would write lyrics. You know, I try
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to write my political songs. I try to do my
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John Lennon. I tried to have real deep meaning on stuff.
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And those are great songs too. But you know, obviously,
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when when you're writing a single that's three and a
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half minutes, you got a catchy chorus, you've got great hooks,
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you got great lead guitar, great groove, and everything's slow,
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you also want to try to just write a song
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about stuff that people can relate to. And who hasn't
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gotten their heart broken at some point in a vicious
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way by somebody who meant a lot. We've all experienced it,
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and Adele has even made an entire career of heartbreaks songs.
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Oh wow, wow wow. You know you bring up John
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Lennon's name. I have to ask you, were you channeling
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John Lennon when you did You Win Again? Because this
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is like a Beatles song meets Waylon Jennings.
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I like that. I haven't heard that one, but I
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like that one. You know. Actually, honestly, if you want
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to hear my true inspiration, yeah, it was. Actually I
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was listening to Eric Clapton's first solo record in nineteen seventy.
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It's a very forgotten about record. It was the record.
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It was the first solo record he did after Blind
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Faith and Cream, and he was just like, all right,
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I'm sick of being in bands. I just want to
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be I'm just going to do a solo record. So
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he got with Uh, he got with Delaney and Bonnie
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there and they went into record and it's a song
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Lose Power off that record, and I loved the groove
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of it, and it's very similar to You Win Again.
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I just loved that really lazy ringo star Swampy Crew,
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and I was just like, fuck man, I want to
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write a song like that. So I started just kind
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of messing around in an a chord in like a
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blues feel, but I wanted that real like the verse does.
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I wanted that real swampy kind of groove, and then
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I definitely wanted some like blues piano, and then it
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kind of just I literally wrote you Win Again within
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at least ten minutes. It was just one of those
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special moments where you sat down at the perfect time,
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your brain's working at the perfect you know, speed, and
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you literally write a song and literally ten minutes lyrics
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and everything. Not all songs are written that beautifully and fast,
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but that was just one of those special moments where
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I knew what I wanted and it came out and
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it was just fantastic.
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You know, we need to do We need to team
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you guys up with Aerosmith with a video, because I
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think there's more than just young blood out there hooking
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up with Aerosmith, and they need to em brace people
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like yourself who aren't afraid to say yeah, Aerosmith was
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part of my empowerment.
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Yeah, I mean Aerosmith. I tell people all the time,
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you know, if the Black Crows and Aerosmonth made a baby,
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you get kills comment.
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I can hear that. Oh my god, I can totally
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hear that.
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00:10:19.399 --> 00:10:21.679
Yeah, because like if you listen to the first song
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00:10:21.679 --> 00:10:25.720
on Bite the Bullet calls my name when the guys
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00:10:25.799 --> 00:10:29.480
made that riff, and we were we wrote Bite the
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Bullet out in the desert, out in like Joshua Tree
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00:10:32.120 --> 00:10:36.200
here in southern California, and I wanted to go somewhere
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super isolated where we had no phone service, no distractions, yep.
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And we were told to write an album and find
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a sound because we released our first album, Chemical Sunsets
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in twenty twenty two, and it's a good album, but
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you could tell it's a little too eclectic still because
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I'm such a big white album fan that I have
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a problem of writing a folk song and a rock song,
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lose song, and a classical song and then too many
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damn songs in one album. So it was suggested to us, like,
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00:11:10.360 --> 00:11:12.720
it's good, we see the direction you're going, but you
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00:11:12.799 --> 00:11:14.879
guys really need to dial it in a little bit
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more behind like your sound. So I said, okay, let's go.
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I talked to my partner show I like the John Lennon,
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to Mike Paul McCartney, and I said, Joe, let's go
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to the desert with the guys and let's see what
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we come up with, and we damn near wrote in
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twelve hours the entire bite the bullet wreck.
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Man you're talking about calls my name. The thing is,
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is that, to me, that's a rock anthem that's about
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ready to hit those arenas in outdoor theaters and they're
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going to be saying it back to you. Are you
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prepared for that because their volume is going to be
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much louder than your monitor.
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Oh, it's starting to happen.
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Yeah.
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Any musician will tell you the most rewarding experience is
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looking at the audience and singing an audience member, you know,
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singing your lyrics back to you. It's the coolest feeling.
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But when the guys wrote that, I got to the
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rehearsal spot where we were writing and the riff, and
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I was like, dude, that sounds like some like nineteen
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seventy four Aerosmith, like get your Wings, like right before
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Toys in the attic. It gave me that kind of
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feel and I was like, all right, well, I gotta
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write some I gotta write some Steven Tyler style vocals
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to this, you know. So that was the inspiration there.
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Please do not move. There's more with Chris Gates from
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Kings of Karma coming up next. The name of the
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single is Falling to Pieces. The name of the new
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album Bite the Bullet. We're back with Chris from Kings
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of Karma. So the song Gummy Bears and cigarettes were you?
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Were you writing on that tour bus and you had
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to hit a seven eleven very quickly? What's the story
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behind that? Because I'll tell you what. I giggled like
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a child when I was listening to that because I
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just I just I just got off on it. I
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really did.
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That's honestly. That's that's my baby's That's my favorite song
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on the record. That was the one I put most time.
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And yeah, and we have a music video to that
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song also, it's on our YouTube channel. But that song
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is the most important one to me. Actually. It's about
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my now wife, who helps manage us and stuff like that.
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She's kind of like the Sharon Osbourne to my aus.
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Yeah.
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Yeah, And when we first started dating, you know, we were,
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oh my gosh, man, we probably had at least like
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twelve gigs a month, and I was it's all. We
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were driving all over the place every weekend. Every week
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was somewhere different, Every night was a different location in California, somewhere.
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So when we were dating, she was just in the
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car with me all the time, going to all these shows.
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And it's just kind of like a love song that
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I wrote about us just hanging out and you know,
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smoking and just chilling. But it's had a bag of
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gummy bears in the car, you know, just on these
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long road trips to these gigs, and so I'd just
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be smoking cigarettes and eating gummy bears.
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Were you inspired by Skinnered? Because it does have that
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kind of a skinnered muscle shoals kind of a vibe
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to it.
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I was definitely. It's so funny you say that I
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was actually very much going for a muscle Shols field.
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That's so man. I really love how you are understanding
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where I'm thinking. Yeah. So I'm a big rock historian
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and I geek out on rock history and studios and
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producers and all that. So you know, when I get
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in my head, like you know, I want to write
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a song that sounds like it was recorded at muscle sholes,
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that was exactly what I was thinking. Wow.
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Wow, So now you were told to go into it
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one song at a time instead of delivering a full
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album at a time. Well, what about the merch when
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it comes to something like that, Because I was just
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sitting here thinking about Calls my name. That's something that
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you could plant on a damn T shirt or put
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on a poster and sell the crap out of it
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at a live show or even falling to pieces. In
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other words, I identified the songs too on the shirt,
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so people go, damn, what song is that? And then
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they and then they hit Spotify or something and locate it.
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You know, it's funny because we're creating some right now.
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I never thought about actually like merching out one of
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the songs, but that's actually a great idea. Gummy Bears
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and cigarettes T shirt would probably be really.
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Yeah, oh yeah, you man, you put oh my god,
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put some symbols up.
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There and everything. Hell, yes, yes, I love that. I
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will you know, I'm gonna take that consideration, my friend.
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You'll probably see a gummy Bears and cigarette shirt coming soon.
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So know, you were talking about Eric Clapton here a
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few minutes ago. So when with the song the Tempest
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and that guitar were you were you channeling him on
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that or who was the guitarist you were thinking of
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when you brought this song for it, because man, it's
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got some drama to it.
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So with the Tempest, Uh, surprisingly, our lead guitarist is
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obsessed with Jack White Corporation. That's his main inspiration. Like
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Paul McCartney to me, is like Jack White to our
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lead guitarist, Jacob And if you listen to a lot
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of his solos in the way he uses his effects
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and his law, you could definitely tell he's very influenced
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by Jack White. And we love The Rack and Teers,
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which is I think one of Jack White's best projects
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that he's ever been involved in. And so surprisingly that
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riff I was actually really thinking about The Rack and Teers,
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and Jack White wrote, uh god, yeah, oh my god.
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You know you speak of of Paul McCartney and and
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inside on on on Paul McCartney with me. First of all,
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I just think I discovered Paul McCartney before I discovered
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the Beatles. And the thing is is that people are
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always asking me, will you would you talk with Paul McCartney.
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I said no, I'm on a mission. I want to
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talk to everybody around Paul McCartney because I think there's
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a story there and it's being ignored. And I mean,
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but I'm with you. I mean, when it comes to McCartney,
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you can't ask for a more down to earth individual
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when it comes to songwriting and just being being a person.
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Yeah, I I personally think that. You know, when you
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look at the centuries of music, you know, in the
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eighteenth century you're looking at Beethoven, the seventeenth century, you're
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looking at Mozart, and I will I definitely think, you know,
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centuries from now, people will look at the twentieth century
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and say, Lennon McCartney was the greatest songwriters of that century.
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And the Beatles are the only reason why you and
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I are on the phone right now, why and got
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on this journey. And yes, you know, the Beatles are
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definitely my main and I'm a Beatle historian. My obsession
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with them is unhealthy. If you walk into my house,
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it's a damn shrine. When you come in and get
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my wife on board with that was a was a
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good I even named my kids after Beatles. Yeah, we're
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a Beatle family.
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Are you Are you into the idea of maybe one
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of these club DJs or one of the big names
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like you know, you know, getting a song good, bad
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and ugly with that funk beat and turning it into
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a dance mix.
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Oh yeah, dude, I think that'd be awesome. I think
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any DJ that would any anytime, a DJ like that
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would hit me up and be like, hey, I love
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your song. I would love to turn it into my
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own single and a mix. What do you think. I
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love collaboration, yea. I love anybody that has great ideas
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as an artist to take you know, our songs and
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do something cool with this. So I would always be
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super open to that.
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But see, that's what That's what I love about this
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modern day age of music is that collaboration seems to
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be the key word and everybody's doing it. There's one
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day they're going to look back at this time period
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and go they all got along. How is that even possible?
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Well? The cool thing with our band, you know, and
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you know, we've been doing this for years, man, I've
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I've been performing NonStop live without taking a break since
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I was fourteen. I'm thirty five now, so it's it's
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been a hustle. You know, We've we've done our Hamburg
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years and it's growing and it's getting bigger and bigger
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every year for us, and we're getting stoked. But yeah,
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it's just playing live and just keeping going. Has just
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been kind of like the fuel on, just trying to
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create and push the envelope and do something new that
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we haven't done before, and always just trying to find
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new ways to keep your you know, the spark alive
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and still trying to impress yourself. And it's like, yeah,
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we we're entertainers, so it's like we're here to entertain everybody.
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But at the end of the day too, like are
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you impressed with yourself? Are you pushing yourself as an
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artist or is it just like is it just a
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money grab or something fun to do. It's not a
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hobby for us.
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So so into that thought. So when you were talking
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about doing twelve shows per month, who's up your stage?
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Because I mean, because I'm a performer and it's it's
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like that stage to me is the mecca. In other words,
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it has got to be perfect so that I can
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make that connection and there can be no walls or
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rivers in front of me between me and them on
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the other side.
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Yeah, I mean, we probably don't gig that hard lately.
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This was you know, we did that. We we giged
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like that for like ten years, and it was just everywhere.
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It was just a matter to get in front of
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an audience. And of course, you know at those kind
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of gigs, you have to play like three or four
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hours long, and you play your songs, but then you
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got to play led Zeppelin, you gotta play, gotta play CCR,
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you gotta play the doors. You got to keep people entertained.
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And I've always looked at every band had to start
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off doing covers, you know, to find their their voice,
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their sound, and you know, smart to do covers, you
404
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know when you're still developing. And we still like to
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do cover every once in a while because it keeps
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us sharp, and it keeps us working, and it keeps
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just you know, other than just our stuff. You gotta
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just entertain people, and it helps you kind of create
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your show, especially as like a front man, Like what
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kind of movements am I doing? Am I? What am
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I taking my microphone stand and throwing it around like
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a prop, you know, like it gives you, it gives
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you a chance to kind of develop, you know, what
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kind of moves I'm gonna do when I'm playing a
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lead guitar solo or something like that, or the drummer's
416
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gonna have a drum solo right after this bridge, you know.
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And it's just creating a show, creating the total entertainment factor.
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So people come and go, holy shit, yep, these guys
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are amazing. We gotta go see him again. I gotta
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tell my friends wow, you know. And so that's just
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where we're at right now. Where's trying to turn heads
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everywhere we go.
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God, I used to speak or dive and then one
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performance nobody reacted and I went o, God, I'm done. Now,
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I'm not doing that ever again. I didn't like the
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way that he didn't react. So it's like speaker diving
427
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off the map.
428
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Yeah, it's it's funny too because there they'll, don't get
429
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me wrong, there'll be those gigs where you feel like
430
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you're just kind of background music at a bar, yeah,
431
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or something like that. But you know, I will say this.
432
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The cool thing is because you know, we always put
433
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our original songs within a night of covers and stuff
434
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like that, and the thing that we've noticed is that
435
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it seems like people actually dig our music more than
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the covers.
437
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How about that, huh.
438
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And that's always that's always a great feeling where it'says like,
439
00:22:31.720 --> 00:22:34.160
of course everyone loves ACDC. They know that song, they
440
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sang along and then you do your song right after
441
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and they're actually on the dance floor dancing to Sugar Mama. Yeah,
442
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and you're like wow, you know.
443
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Wow, Well, I think that song Sugar Mama should be
444
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in a movie. I mean, because it's that it's got
445
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that movie soundtrack kind of vibe about it.
446
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I agree with you. And when we when Joe and
447
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I wrote that song, you know, I don't know if
448
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you've really listened to the lyrics or read the lyrics,
449
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but it's it's a hilarious song. It's a true story,
450
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it's a it's totally it's very comedy. When we wrote
451
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the lyrics, we wanted to be really witty about our
452
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comedy with it, but it just has that groove and
453
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we knew when we were writing it like this is
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that commercial kind of like you know, and it has
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all it has all the formulas to be a radio hit. Yeah,
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it's three minutes. It has that catchy, punchy chorus that
457
00:23:25.440 --> 00:23:28.880
has the groove, it has the melodies like it hits
458
00:23:28.920 --> 00:23:30.839
you right in the face and then goes home. You know,
459
00:23:30.960 --> 00:23:35.359
it's just it's such a good song and we're we
460
00:23:35.440 --> 00:23:37.559
love it so much. It's one of our favorites to
461
00:23:37.599 --> 00:23:38.079
play live.
462
00:23:38.279 --> 00:23:40.440
Wow, where can people go to find out more about
463
00:23:40.480 --> 00:23:42.480
what you guys are doing, where you're playing and most
464
00:23:42.519 --> 00:23:45.240
importantly merch sell that merch.
465
00:23:46.160 --> 00:23:49.720
Yeah, so right now, we just launched our brand new website,
466
00:23:49.960 --> 00:23:55.000
Kingsakarma dot com. Simple. We are in the process this
467
00:23:55.119 --> 00:23:58.519
year before the year ends to have a total brand
468
00:23:58.559 --> 00:24:01.480
new merch store ready to go. Nice. So we were
469
00:24:01.640 --> 00:24:05.720
literally almost done with the finished touches about launching our
470
00:24:05.880 --> 00:24:08.400
merch store with our website. But you can go to
471
00:24:08.480 --> 00:24:11.680
Kingsakarma dot com. Uh. The best thing I would say
472
00:24:11.680 --> 00:24:13.839
to do if you want to keep up with following
473
00:24:13.880 --> 00:24:16.839
where we're playing every week and everything. I always tell
474
00:24:16.880 --> 00:24:19.400
people go to our Instagram. Oh yeah, it's Kings of
475
00:24:19.640 --> 00:24:22.200
Kings of Karma Official. Look for that blue check mark
476
00:24:22.240 --> 00:24:26.759
that's us and all the long hair and uh, that's
477
00:24:26.759 --> 00:24:28.920
how you can keep up with where we're playing, where
478
00:24:28.920 --> 00:24:32.319
we're going, that's that's where we you know, definitely keep
479
00:24:32.400 --> 00:24:33.640
up with fans and stuff.
480
00:24:33.640 --> 00:24:36.480
The hardest, dude, can you talk about that long hair.
481
00:24:36.519 --> 00:24:38.640
Mineus in the middle of my back and people still
482
00:24:38.680 --> 00:24:41.119
look at me, you vagrant boy. What I'm going? Yeah,
483
00:24:41.160 --> 00:24:42.759
this is the way it was was in the back
484
00:24:42.799 --> 00:24:45.440
in the sixties when you had the long hair. It's attitude.
485
00:24:45.480 --> 00:24:47.960
But I hope I'm upsetting you in a big way.
486
00:24:48.160 --> 00:24:54.440
Yeah, yes, sir, if you get it. You can't be
487
00:24:54.480 --> 00:24:56.519
a rock and rollvan with no long hair. A rock
488
00:24:56.559 --> 00:24:57.519
and roll van, is that?
489
00:24:57.559 --> 00:24:59.720
That's right, that's right. Even when Kiss cut their hair
490
00:24:59.759 --> 00:25:02.240
and went, what are you doing? Put that stuff back on,
491
00:25:02.960 --> 00:25:03.440
And if.
492
00:25:03.319 --> 00:25:05.319
You look at and if you look at the history,
493
00:25:05.359 --> 00:25:08.880
you could tell they did not keep that hairstyle very long.
494
00:25:08.920 --> 00:25:11.240
It's a very short lived situation.
495
00:25:13.480 --> 00:25:16.079
Well, please please come back to this show anytime in
496
00:25:16.079 --> 00:25:18.000
the future. The door is always going to be open
497
00:25:18.079 --> 00:25:18.359
for you.
498
00:25:18.960 --> 00:25:21.400
Yes, sir, we would love to come back. This is great.
499
00:25:21.519 --> 00:25:24.319
We definitely support your show. We hope you have nothing
500
00:25:24.400 --> 00:25:25.880
but tremendous success.
501
00:25:26.000 --> 00:25:27.880
Oh, thank you so much. You'd be brilliant today.
502
00:25:27.880 --> 00:25:30.400
Okay, thank you so much.
