WEBVTT
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Welcome, everyone, to episode 463 of Signals
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from Mars. I'm your host, Victor, and for this
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episode, I welcome Rob DeLuca of the New York
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band, Spread Eagle. If you know anything about
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my past, Spread Eagle was interview number two
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for me going all the way back to 1992, so this
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episode is special to me. Let me send a shout
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out to my patrons, Sean Richman, Tony Espin,
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Anthony Mackey, who's the one that's behind all
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of the great logos that I use for Signals From
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Mars, Ed Ferguson, Johan Ederstrom, Metal Dan,
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Chris Vaglio from the Song Swap Showdown podcast,
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Gabriel Ruiz, Mark Striegel of Talking Metal
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and SiriusXM, Brad Dahl from Yarg Metal, Mike
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Jones, Jeremy Weltman, Steve Holker, and Steven
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Saylor. You can become a patron for as little
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as $2 a month. Enjoy the Victor M. Ruiz podcast
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with behind -the -scenes banter. Talk about life.
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Talk about pretty much anything that's going
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on. Hard rock and metal news as well. Depending
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on the tier, there's merch. It is a troll -free
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environment. I post videos every day from bands
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that you know, bands that you may not know, bands
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that you love, so on and so forth. Join us on
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Patreon. It is patreon .com forward slash signals
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from Mars, or you can just go to signals from
00:02:14.639 --> 00:02:18.340
Mars and check out different ways where you could
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support the podcast, including Patreon. Aside
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from what you're hearing during this episode,
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there is more with Rob on my Patreon. We had
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a little behind -the -scenes discussion, which
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is going to be available to patrons at the same
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time that this interview comes out. And if you're
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a Spread Eagle fan, I think that that's just
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as important as this listen. It's not as long.
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Um, but it's still a lot of interesting behind
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the scenes type stuff that we do discuss during
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the, uh, during that as well. Um, I just gave
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my whole spiel on Patreon before this mentioning
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all my patrons. So two bucks a month and you
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get to hear that part of the interview as well.
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Uh, also if you were subscribed a little while
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back. You got to hear the entire rundown of the
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80s albums countdown. I go in depth into all
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the different categories and things that were
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covered during that episode. And just remind
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you guys, if you want to vote, the next countdown
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will be Ronnie James Dio. So if you want to vote
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on your 10 favorite Dio, Black Sabbath, Elf.
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rainbow albums send me your list signals from
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mars at signals from mars .com and that episode
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will be coming out at the end of june so june
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2026 so if you're listening to this at a later
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date um the voting has already taken place you
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can already listen to or watch the episode but
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anyway uh remember to like and subscribe all
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things Signals from Mars. The one -stop shopping
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place for anything related to the podcast is
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SignalsFromMars .com. If you happen to check
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this episode out on YouTube, please like and
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subscribe. It goes a long way to help me secure
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other interviews along the way. Also share this
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with like -minded friends who like Spread Eagle
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or like other bands that are similar, like any
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type. of hard rock or metal. And I have to say
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that I've always liked different types of music,
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different types of hard rock and metal. To me,
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that's why a band like Spread Eagle is important.
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Not only are they from the general area where
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I grew up, not only did I get to interview Ray
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West, you know, back in 92, but also there's
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just something about bands like Spread Eagle,
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LA Guns, bands of this ilk that maybe were grouped
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into other 80s bands, but were a little bit more
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dangerous, a little bit grittier, a little bit
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nastier, and I think their music has stood the
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test of time as a result. So anyway, thank you
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for listening to this episode, and let's get
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on with it. Let's get into my interview with...
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Ray DeLuca from Spread Eagle. Here we go. Joining
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me today is Rob DeLuca from Spread Eagle. Rob,
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how are you today? Very good. Thank you for having
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me, Vic. I appreciate being here. Yeah, absolutely.
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It's great to have you on. Spread Eagle is a
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band that I have had an affinity for since the
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early 90s. I seem to have this streak of just
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interviewing bands from the Northeast the last
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few months. And I've said it to a lot of different
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artists. There's just something special about
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bands that come out of from DC up to Boston.
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You know, there's just a certain grit, a certain
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element, a certain attitude, swagger. And hearing
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that first spread Eagle album, it just. Struck
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that nerve and it was, these are one of my guys,
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you know, so I've always enjoyed the band, followed
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the band. So it's great to have you on. Thank
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you. That's very nice of you. It must be something
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in the Hudson River water. Could be. So we talked
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a little bit off air about radio stations and
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whatnot, and you brought up WSOU. And the first
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time I ever heard you guys. was on SOU. And back
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then, I mean, you could hear Switchblade Serenade,
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you could hear Broken City, you could hear the
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title track or the self -titled track, however
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you want to call it from the first album. Why
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do you think that you guys connected with that
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audience so early? That's a really good question.
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I'm not sure. I mean, At the time, I assumed
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it's because we were local. I mean, we were from
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New York City, but, you know, Seton Hall, you
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know, New Jersey is close. I mean, the music
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was pretty strong and aggressive. I think also,
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you know, we were like a link between sleaze.
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And or what, you know, you would call today is
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like 80s metal or whatever or hair metal or we're
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a link between sleaze and like thrash a little
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bit, you know, something between sleaze and something
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heavier. So we filled a spot that there wasn't
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a whole lot of bands occupying. So, you know,
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heavier people who are into heavier music like
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this. People who are into this, you know, basic
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sleaze like this. So maybe that's the reason.
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I'm not sure. But yes, they did really get behind
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us. We had a lot of top 10 songs on that radio
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station, WSOU. And not just the first album,
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Devil's Road and stuff on the second album also.
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I think Revolution Maker did well. So, yeah,
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it was, and they're still around. I don't, I
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don't, I don't think they know about us anymore.
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I don't think, I don't know if they know we're,
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we're releasing new music, but, but they're still
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around. And that was, it was a great time. Great
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station. Yeah. It's interesting from time to
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time, they do have like throwback episodes and
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they bring old DJs back. Unfortunately with all
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that stuff, obviously they're, they always gravitate
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to all the huge bands from the era, as opposed
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to maybe just focusing in on the bands that you
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would consider more local to the scene. Yeah,
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but if you looked, there's certain, you know,
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it's undeniable that certain bands from the era
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got really big and Spread Eagle, you know, is
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this niche. But if you look at SOU's rate of
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charts, I guess you would call it, from 1990,
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we compete with... the Guns N' Roses and the
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Metallicas. So, you know, it would, you know,
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so that argument kind of goes out the window,
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you know, of, you know, for that particular station
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and that particular time. But yeah, I'm sorry.
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I don't know how to turn off these notifications
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that come in. Yeah, no problem. So, yeah, you
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know, it was a great time. You were spinning
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us. They were spinning us. We were lucky guys.
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And we're still talking to you because of that.
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Yeah. Go figure. I got to talk to you guys with
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the second album and open to the public. And
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luckily enough, this past summer, I was rummaging
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through my parents' attic in New Jersey. And
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I came back with, I don't even know what you
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call it. It's over my shoulder here. which is,
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it's the cover of the album and it's signed by
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all four members of the band. I guess you could
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call that a flat, a promo flat. Okay. So yeah,
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so that survived all these years in an attic
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and it traveled the world and it's now in this
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episode. Thank you. Thank you for saving that.
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pack rat about not about everything but about
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spread eagle memorabilia i i collect all that
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i don't have that what you're talking about but
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uh i collect a lot of stuff also i probably have
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that but not signed by all four of us so that's
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pretty special yeah the bar solo changed his
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name 15 or 20 years ago so you you couldn't even
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get that these days you know even if if you met
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him and said hey sign this from back in the day
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he's a different person now. Right. The interesting
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thing with the flat is that you and Ray signed
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the same side and the other two signed the other
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side. Ah, it's a deeper meaning, huh? Vic? Yeah.
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I was looking at that. I'm like, is this foreshadowing?
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You know what, well, what would come to be, but
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you know, I guess that's just, uh, through osmosis
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that took place. Yeah. Ray and I, uh, are still
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really, We went to war together and we're still
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at war. And we never really had a problem, never
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had an argument or anything like that over 36
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years. Of course, we have different opinions
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on things. That's the beauty of it. And that's
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why we're here now, because him and I are both.
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We care about it so much. We have, you know,
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we have our different opinions on how to get
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to it. And we have Rick DeLuca in the band and
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Johnny Paletta in the band. And those guys are
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fantastic. So we're lucky to still be playing
00:13:18.230 --> 00:13:23.629
music and we still truly enjoy it. And I think
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with this new album, The Brutal Divine on Frontiers,
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we're showing people that we're still creating.
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you know, important art that is hard rock. And
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with our last frontiers album too, subway to
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the stars, like we're, we're, we're still delivering.
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I feel at the top of our game. Yeah. The interesting
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part of the new album to me, the brutal divine
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is that if you compare it to the previous album,
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It's Spread Eagle, but it's different at the
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same time. And I think that you guys have had
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a knack over all four studio albums, that they're
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four completely different animals, but they're
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still Spread Eagle. So I'm really interested
00:14:16.299 --> 00:14:19.759
in you elaborating on that. Like, how do you
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hear them? Because to me, it's just Spread Eagle
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songs, you know? There's Ray, there's me, there's
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Rick, there's Jami, you know, before it was...
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you know, Tommy and Paul, but how do you, how
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do you hear them? Like what's. I think, especially
00:14:36.440 --> 00:14:40.100
with the last two albums, I think that there's
00:14:40.100 --> 00:14:43.820
a different type of attitude or aggression to
00:14:43.820 --> 00:14:46.700
this album that maybe wasn't on subway to the
00:14:46.700 --> 00:14:52.200
stars. I think that Ray's voice is maybe at a
00:14:52.200 --> 00:14:55.429
different level. I think what separated. spread
00:14:55.429 --> 00:14:57.429
Eagle from a lot of the bands back in the early
00:14:57.429 --> 00:15:01.490
nineties was his aggressiveness and his voice.
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And I think maybe in subway to stars, there was
00:15:06.850 --> 00:15:09.529
a little less of that. And it seems with this
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album, there's a little more of that. Like it's
00:15:11.970 --> 00:15:16.049
a little bit more towards the first two albums.
00:15:18.809 --> 00:15:22.230
It also seems that this album is a little bit
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more. I don't know if intricate is the right
00:15:25.970 --> 00:15:29.490
way of expressing it. Like the overall compositions
00:15:29.490 --> 00:15:32.090
of all the songs are maybe a little bit more
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complete. And like I said, more aggressive. But
00:15:34.830 --> 00:15:39.389
at the same time, it's not that Subway to the
00:15:39.389 --> 00:15:43.610
Stars was bad or that it was lesser in any way.
00:15:43.769 --> 00:15:47.149
It's just different. This seems like it's like
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that hungry edge that the band had initially
00:15:49.590 --> 00:15:53.210
is back. more so than on the previous album that's
00:15:53.210 --> 00:15:56.009
how i interpret it no that's that's really interesting
00:15:56.009 --> 00:16:02.470
and and uh i appreciate you saying that um so
00:16:02.470 --> 00:16:08.450
my feelings are uh yeah the new album we've done
00:16:08.450 --> 00:16:14.230
hundreds of shows since the the new albums the
00:16:14.230 --> 00:16:16.509
brutal divine we've done hundreds of shows since
00:16:16.509 --> 00:16:19.809
the last album subway to the stars so i think
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that is always going to creep into, you know,
00:16:25.620 --> 00:16:30.659
how you record, how you write. And that's a good
00:16:30.659 --> 00:16:38.059
thing, I feel. We love all our albums, and I'll
00:16:38.059 --> 00:16:40.799
get into that in a minute. But what we always
00:16:40.799 --> 00:16:45.539
hear really, really often, really often, that
00:16:45.539 --> 00:16:48.879
shows is, you know, we love this album. We're
00:16:48.879 --> 00:16:51.500
waiting for you to make an album like with the
00:16:51.500 --> 00:16:56.639
energy of the first one. And I'm talking, you
00:16:56.639 --> 00:17:04.519
know, 20 years of hearing that. And you never
00:17:04.519 --> 00:17:07.980
can really, you know, you grow as a human being.
00:17:08.039 --> 00:17:11.359
You can never pretend you're 19, 20 years old
00:17:11.359 --> 00:17:15.599
when you're not. Right. That would be ingenuine.
00:17:15.960 --> 00:17:19.940
But it's always stuck in our minds when people,
00:17:20.019 --> 00:17:23.380
you know, when that many people come up to you
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and say that, it sticks in your mind. So, and,
00:17:27.299 --> 00:17:30.059
you know, that first album is still us. You know,
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we love it. We play a ton of songs live in our
00:17:34.460 --> 00:17:37.519
live set off the first album. We play them off
00:17:37.519 --> 00:17:41.380
all four albums. But obviously there's some tracks
00:17:41.380 --> 00:17:43.460
that you can't leave out from the first album,
00:17:43.500 --> 00:17:45.119
you know, a whole bunch of them from our live
00:17:45.119 --> 00:17:48.200
show. So we're very still connected to those
00:17:48.200 --> 00:17:53.140
people we were, but we've grown. But in the writing
00:17:53.140 --> 00:17:55.680
of this new album, The Brutal Divine, yes, there
00:17:55.680 --> 00:18:00.119
was a conscious thought of, you know, that's
00:18:00.119 --> 00:18:02.859
what our fans want. We love our fans and we love
00:18:02.859 --> 00:18:06.799
that album. Why not try to do that in a natural
00:18:06.799 --> 00:18:09.359
way to bring that back a little more? Having
00:18:09.359 --> 00:18:16.200
said that, I love Subway to the Stars. Fucking
00:18:16.200 --> 00:18:19.660
love that album. A few songs popped up the other
00:18:19.660 --> 00:18:23.579
day on my Spotify and I was just so it made me
00:18:23.579 --> 00:18:27.579
so happy to hear that music. But yes, you're
00:18:27.579 --> 00:18:31.259
right. Like Ray, you know, we weren't on the
00:18:31.259 --> 00:18:34.240
road constantly at that point. Ray was not screaming
00:18:34.240 --> 00:18:40.900
as much on that album consciously. And and now
00:18:40.900 --> 00:18:43.000
with all the shows, you know, there's there's
00:18:43.000 --> 00:18:45.789
elements that have come back to his voice. that
00:18:45.789 --> 00:18:49.289
he wasn't uh i mean ray would be better to explain
00:18:49.289 --> 00:18:53.049
this stuff but but in my opinion uh there's elements
00:18:53.049 --> 00:18:56.809
and ranges to his voice that he hadn't been maybe
00:18:56.809 --> 00:18:59.710
flexing as much on that album and that's fine
00:18:59.710 --> 00:19:02.390
because i stand by that album 100 so where it
00:19:02.390 --> 00:19:08.390
starts but yes the new album has a punkier more
00:19:08.390 --> 00:19:13.890
metallic edge and attitude and cut to it and
00:19:13.890 --> 00:19:19.309
we love that And we feel our fans will probably
00:19:19.309 --> 00:19:23.049
it'll probably be an album our fans want a little
00:19:23.049 --> 00:19:26.029
more from us. And we're fine with that. We're
00:19:26.029 --> 00:19:30.950
fine with that. We stand by all of them. So,
00:19:31.049 --> 00:19:36.269
yeah. So here we are. And it's a punky, metallic
00:19:36.269 --> 00:19:42.210
album. And we like that. The fact, you know,
00:19:42.250 --> 00:19:50.119
your opinions are. very important and true because
00:19:50.119 --> 00:19:52.880
they're your opinions and you're a listener other
00:19:52.880 --> 00:19:56.099
than an interviewer. You're a listener, you're
00:19:56.099 --> 00:20:00.680
a fan. Thank you for that. And a friend. So,
00:20:00.799 --> 00:20:06.960
so, you know, it's interesting to hear what people,
00:20:07.000 --> 00:20:11.660
what people think, but this album is, is a monster
00:20:11.660 --> 00:20:16.170
in our opinion. and we can't wait for people
00:20:16.170 --> 00:20:20.869
to hear it. It turned out really good. You said
00:20:20.869 --> 00:20:24.450
you thought it was more, the arrangements were
00:20:24.450 --> 00:20:29.029
more intricate for maybe the songwriting. I'm
00:20:29.029 --> 00:20:31.490
not sure I hear that, and I'm not saying you're
00:20:31.490 --> 00:20:36.190
wrong. To you, that's totally correct. To me,
00:20:36.309 --> 00:20:41.109
I don't hear that so much. We kind of do what
00:20:41.109 --> 00:20:47.720
we do. We like that. Like, you know, if you took
00:20:47.720 --> 00:20:49.859
our last album, you put more screaming on it
00:20:49.859 --> 00:20:52.839
and you made the guitars a little more raw sounding,
00:20:52.960 --> 00:20:58.339
I feel, and the production wasn't quite as polished,
00:20:58.539 --> 00:21:01.460
I feel it would be a very similar album to the
00:21:01.460 --> 00:21:06.500
group of Divine. But who knows? They are what
00:21:06.500 --> 00:21:08.839
they are, and they're different for reasons.
00:21:09.779 --> 00:21:13.430
Right. And you produced both albums, so obviously
00:21:13.430 --> 00:21:19.130
you know what work you did on the first album
00:21:19.130 --> 00:21:21.730
as opposed to what you did on the second album
00:21:21.730 --> 00:21:24.730
here. So you're bringing up all these things
00:21:24.730 --> 00:21:28.329
that you consciously did as a band. As a producer,
00:21:28.650 --> 00:21:33.029
did you do the same thing? Did you feel, you
00:21:33.029 --> 00:21:35.190
know what, maybe Subway to the Stars was a little
00:21:35.190 --> 00:21:38.150
too polished, let me try to go in this direction
00:21:38.150 --> 00:21:42.550
with the sound on this album instead? Absolutely.
00:21:42.550 --> 00:21:48.269
But the creation of the album all came from the
00:21:48.269 --> 00:21:51.789
same place as Subway to the Stars. Divine and
00:21:51.789 --> 00:21:55.150
Subway to the Stars. They both came from very
00:21:55.150 --> 00:21:59.670
similar places. However, yes, the things that
00:21:59.670 --> 00:22:04.930
I just mentioned, you know, Ray is getting his
00:22:04.930 --> 00:22:10.920
edge back. He made a conscious. effort to to
00:22:10.920 --> 00:22:13.079
sing in a different way on subway to the stars
00:22:13.079 --> 00:22:16.880
which i love and i respect that um but the vocal
00:22:16.880 --> 00:22:20.059
approach was slightly different definitely more
00:22:20.059 --> 00:22:25.079
aggressive the guitar approach was the recording
00:22:25.079 --> 00:22:29.839
of the guitars we uh we didn't really have a
00:22:29.839 --> 00:22:32.740
guitar or amp when we did subway to the stars
00:22:32.740 --> 00:22:34.619
we were using we were borrowing things we're
00:22:34.619 --> 00:22:38.559
using things in the studio of course Our guitar
00:22:38.559 --> 00:22:42.019
player at the time, Ziv Shalev, had guitars and
00:22:42.019 --> 00:22:46.099
amps, but they weren't the right, and they were
00:22:46.099 --> 00:22:49.359
great sounding, but they weren't really what
00:22:49.359 --> 00:22:52.559
we were looking for for Spread Eagle. So we relied
00:22:52.559 --> 00:22:56.579
on borrowing and what was in the studio. So having
00:22:56.579 --> 00:23:00.339
gone through that process for this album, we
00:23:00.339 --> 00:23:02.539
were like, we're not going to make the same,
00:23:02.700 --> 00:23:04.619
I don't know if you call them mistakes, but we're
00:23:04.619 --> 00:23:08.940
not going to go down the same path. So, um, we
00:23:08.940 --> 00:23:14.240
bought some vintage Gibsons. Um, we got a killer
00:23:14.240 --> 00:23:18.940
sounding Marshall, um, vintage Marshall, uh,
00:23:19.039 --> 00:23:23.200
Gibsons were vintage. And, um, and we went in
00:23:23.200 --> 00:23:27.019
more prepared with how do we get that sound that
00:23:27.019 --> 00:23:30.059
we want? Not like, right. Let's just go in and
00:23:30.059 --> 00:23:32.440
get the best sound we can. Like that was, that
00:23:32.440 --> 00:23:37.119
was our approach. Like for. for guitars specifically
00:23:37.119 --> 00:23:39.900
let's go in and get the best sound we can but
00:23:39.900 --> 00:23:44.279
now on the brutal divine we went in saying let's
00:23:44.279 --> 00:23:46.720
get that sound that we want that that spread
00:23:46.720 --> 00:23:51.240
eagle sound so that was different so so a little
00:23:51.240 --> 00:23:53.799
different approach in the singing different definitely
00:23:53.799 --> 00:23:57.740
a major different approach in the guitars and
00:23:57.740 --> 00:24:00.079
then yes the mix i i didn't want it to be as
00:24:00.079 --> 00:24:03.519
polished it's it's not like a modern we're not
00:24:03.519 --> 00:24:06.500
a modern rock band so Subway to the Stars was
00:24:06.500 --> 00:24:12.339
not like super modern sounding or mastered. But
00:24:12.339 --> 00:24:17.759
we did want it to be less dial that down a little
00:24:17.759 --> 00:24:20.240
more, less polished. So those three elements,
00:24:20.420 --> 00:24:23.099
I mean, the songwriting is the same approach.
00:24:23.359 --> 00:24:25.880
The mastering is still Howie Weinberg, the legend.
00:24:27.819 --> 00:24:31.640
So, but yes, those three elements made a big
00:24:31.640 --> 00:24:36.180
difference. And I think. Again, getting back
00:24:36.180 --> 00:24:38.960
to what our fans want, it's not like we've changed.
00:24:39.380 --> 00:24:42.579
We're still up there playing Broken City and
00:24:42.579 --> 00:24:45.319
Scratch Like a Cat and really living it. That
00:24:45.319 --> 00:24:48.599
moment, we're really still connected to those
00:24:48.599 --> 00:24:54.059
people who recorded that song and wrote those
00:24:54.059 --> 00:25:01.980
songs. But these three changes, I think, will...
00:25:02.720 --> 00:25:09.980
make it more what our fans want to hear. Okay.
00:25:10.059 --> 00:25:14.859
Makes sense. For you, when you decided to produce
00:25:14.859 --> 00:25:19.619
the previous album, no one else wanted to do
00:25:19.619 --> 00:25:23.880
it. Like every, everything else I'm doing, I'm
00:25:23.880 --> 00:25:28.650
stuck with it. Well, what was the most challenging
00:25:28.650 --> 00:25:33.430
part of stepping into that producer's role? It's
00:25:33.430 --> 00:25:39.569
the same on both albums. You know, and again,
00:25:39.789 --> 00:25:45.230
this goes with our previous conversation. I tried
00:25:45.230 --> 00:25:48.690
to make it sound like Spread Eagle as much as
00:25:48.690 --> 00:25:52.089
possible. And you will feel on certain albums
00:25:52.089 --> 00:25:56.410
I got closer to that than others. That's my number
00:25:56.410 --> 00:26:01.529
one. My number one role is driving the bus to
00:26:01.529 --> 00:26:06.009
what fans would love and appreciate and know
00:26:06.009 --> 00:26:13.789
is honest from us. Number two is everyone is
00:26:13.789 --> 00:26:16.890
so creative. We've all been playing music for,
00:26:16.910 --> 00:26:22.109
you know, at least 36 years, if not longer. We
00:26:22.109 --> 00:26:27.410
were very. We're proficient in different areas
00:26:27.410 --> 00:26:32.710
of music and we explore and love many types of
00:26:32.710 --> 00:26:43.549
music. So it's common for ideas to sound like
00:26:43.549 --> 00:26:46.029
Spread Eagle or not sound like Spread Eagle with
00:26:46.029 --> 00:26:50.390
four individuals like us who have so many, who
00:26:50.390 --> 00:26:54.130
have a lifetime of experience. You know, when
00:26:54.130 --> 00:26:57.930
we made our debut album, we weren't a one -dimensional,
00:26:58.069 --> 00:27:00.549
we weren't one -dimensional musicians, but we
00:27:00.549 --> 00:27:05.509
didn't have a huge lifetime palette to draw from.
00:27:05.710 --> 00:27:09.869
And now we do. But I still feel it's my responsibility
00:27:09.869 --> 00:27:14.549
to Spread Eagle fans to deliver the albums that
00:27:14.549 --> 00:27:21.529
they want. So, again, you know, You would feel,
00:27:21.609 --> 00:27:23.930
and maybe some other people would feel that I
00:27:23.930 --> 00:27:26.369
might have gotten closer on this album than the
00:27:26.369 --> 00:27:30.089
last, but they're all honest spread Eagle albums
00:27:30.089 --> 00:27:35.869
that we love and we stand behind. Okay. And it's
00:27:35.869 --> 00:27:39.569
interesting to me again. I've interviewed a lot
00:27:39.569 --> 00:27:42.089
of bands recently. I mentioned the whole Northeast
00:27:42.089 --> 00:27:44.049
thing before, but I've interviewed a lot of bands
00:27:44.049 --> 00:27:46.950
who have self -produced albums. And recently
00:27:46.950 --> 00:27:50.319
I think. there are more bands that get it right
00:27:50.319 --> 00:27:57.220
than in the past where you have members of bands
00:27:57.220 --> 00:28:01.660
that, that produce something and you listen to
00:28:01.660 --> 00:28:04.539
the album and you feel like there should have
00:28:04.539 --> 00:28:07.259
been somebody there to say, no, that doesn't
00:28:07.259 --> 00:28:11.319
work or that doesn't sound good. You know, where
00:28:11.319 --> 00:28:15.119
with this, I think everything you're saying,
00:28:15.710 --> 00:28:20.049
rings true. I think that it's still within, you
00:28:20.049 --> 00:28:22.950
know, the band sound, the songs I think will
00:28:22.950 --> 00:28:25.509
make a lot of people happy. I don't think there's
00:28:25.509 --> 00:28:28.049
anything wacky or out there or something that
00:28:28.049 --> 00:28:30.829
sounds really bad to say, shit, what were they
00:28:30.829 --> 00:28:34.509
thinking on this one? You know? So I think that's
00:28:34.509 --> 00:28:38.230
a credit to knowing, you know, also, I don't
00:28:38.230 --> 00:28:43.559
want to say your limitations, but knowing that
00:28:43.559 --> 00:28:45.779
you just can't go out there and say, Hey, you
00:28:45.779 --> 00:28:47.880
know what? We're going to try this new effect
00:28:47.880 --> 00:28:50.380
pedal on this song and it's going to be this,
00:28:50.380 --> 00:28:55.039
or it's going to be that. And as time goes by,
00:28:55.079 --> 00:28:56.940
it just doesn't feel right. It doesn't sound
00:28:56.940 --> 00:29:01.339
right. Where I think this album and all the others,
00:29:01.380 --> 00:29:02.940
I don't want to exclude any of the other ones.
00:29:02.980 --> 00:29:06.039
I think that to me, at least as a listener, it's
00:29:06.039 --> 00:29:10.869
stuff that I can still listen to. And yeah. I'll
00:29:10.869 --> 00:29:13.750
think, oh, wow, this was from the 90s, or this
00:29:13.750 --> 00:29:15.910
was that. But really, if you listen to it and
00:29:15.910 --> 00:29:19.890
you don't think about it, it isn't a definitive
00:29:19.890 --> 00:29:23.609
sound of the 90s. It isn't a definitive sound
00:29:23.609 --> 00:29:27.609
of, you know, 2026. It sounds like you guys,
00:29:27.690 --> 00:29:32.029
as opposed to sounding like a specific era. Well,
00:29:32.029 --> 00:29:34.509
thank you. Thank you. I mean, I like to have,
00:29:34.690 --> 00:29:41.289
I like when there's maybe a... one song that's
00:29:41.289 --> 00:29:44.170
kind of odd i don't know if we i don't know if
00:29:44.170 --> 00:29:45.730
we've done that i'm just what i'm just saying
00:29:45.730 --> 00:29:49.529
in general i like when a band throws a curveball
00:29:49.529 --> 00:29:54.230
on an album um as long as it's you know not ridiculous
00:29:54.230 --> 00:30:00.269
for that band you know um but i like the rest
00:30:00.269 --> 00:30:03.670
of the album just to be right what that band's
00:30:03.670 --> 00:30:08.829
about you know right um and um You said something,
00:30:08.869 --> 00:30:10.930
I forgot my train of thought, but anyway, it'll
00:30:10.930 --> 00:30:17.670
come to me. But thank you. So, yeah, I think
00:30:17.670 --> 00:30:23.930
we're on track again. I think we are. What does
00:30:23.930 --> 00:30:27.769
all your years of working outside of Spread Eagle
00:30:27.769 --> 00:30:32.349
helped to bring to the band? I think it's the
00:30:32.349 --> 00:30:38.900
thousands of shows, you know, I think. I think
00:30:38.900 --> 00:30:41.720
when you're on a stage connecting with an audience,
00:30:41.980 --> 00:30:52.400
you always remember the connection. And when
00:30:52.400 --> 00:30:55.420
you're songwriting or whatever, it's about that.
00:30:56.119 --> 00:31:03.099
So I try to never lose sight of that. And I made
00:31:03.099 --> 00:31:06.180
some connections over the years that have helped
00:31:06.180 --> 00:31:12.069
a little bit. Just the knowledge of navigating
00:31:12.069 --> 00:31:17.109
the touring industry, because that was my livelihood
00:31:17.109 --> 00:31:27.049
for 17 years. You know, in between. So, you know,
00:31:27.049 --> 00:31:30.390
because that's a hard industry. And if you didn't
00:31:30.390 --> 00:31:33.349
have a big hit, which we didn't, we had a medium
00:31:33.349 --> 00:31:36.269
hit. If you didn't have a big hit, it's hard
00:31:36.269 --> 00:31:39.009
to, it's hard to be out there. And we do, you
00:31:39.009 --> 00:31:43.750
know, we currently have, I think 14, 13 or 14
00:31:43.750 --> 00:31:47.849
countries we're booked in right now for this,
00:31:47.950 --> 00:31:54.349
this little divine tour. So, you know, it's,
00:31:54.349 --> 00:31:56.210
it's, it's a lot of things added up. I think,
00:31:56.250 --> 00:32:00.910
you know, you can't, you can't not learn, you
00:32:00.910 --> 00:32:03.359
know, unless you're. an alcoholic or on drugs
00:32:03.359 --> 00:32:06.180
you cannot learn from being on the road and being
00:32:06.180 --> 00:32:08.680
in the in the touring industry and the truth
00:32:08.680 --> 00:32:12.619
is we're barely in the recording industry anymore
00:32:12.619 --> 00:32:15.779
any of us you know right because you release
00:32:15.779 --> 00:32:19.680
a record it's out and then it's done and it sells
00:32:19.680 --> 00:32:22.059
a few thousand copies or however many it sells
00:32:22.059 --> 00:32:23.960
you know if you're not metallica or you know
00:32:23.960 --> 00:32:28.599
or or Megadeth, you know, it sells what it sells
00:32:28.599 --> 00:32:30.539
and then you're back out on the road. And so
00:32:30.539 --> 00:32:32.839
that's the industry we're in. And you're selling
00:32:32.839 --> 00:32:35.559
T -shirts. It's that industry also. Right. Well,
00:32:35.619 --> 00:32:39.099
I've learned about merch, you know. And I'm not
00:32:39.099 --> 00:32:43.160
disparaging the recording industry. It's just
00:32:43.160 --> 00:32:45.400
it is what it is. I don't make rules. I'm just
00:32:45.400 --> 00:32:51.079
describing them. So we've lost most of the recording
00:32:51.079 --> 00:32:56.650
industry. So now we're still. holding on to the
00:32:56.650 --> 00:33:03.029
touring and march industries. Okay. And out of
00:33:03.029 --> 00:33:08.049
the bands that you've stepped into, um, which
00:33:08.049 --> 00:33:11.529
of those bands, if you were to dial the clock
00:33:11.529 --> 00:33:16.170
back and, um, and think of it as a kid, which,
00:33:16.190 --> 00:33:18.730
which band would you have never thought of being
00:33:18.730 --> 00:33:21.210
able to have played with? That's obvious UFO
00:33:21.210 --> 00:33:24.680
because Of all the bands I played in, the only
00:33:24.680 --> 00:33:27.759
one I saw when I was a kid was UFO. So I was
00:33:27.759 --> 00:33:30.819
that kid standing on my chair, screaming, fist
00:33:30.819 --> 00:33:35.619
in the air. So it's the only one that applies
00:33:35.619 --> 00:33:40.299
to your question. I mean, it would have been
00:33:40.299 --> 00:33:44.359
crazy if my friend, my friend Mick, who used
00:33:44.359 --> 00:33:46.599
to drive me to all the concerts when I was a
00:33:46.599 --> 00:33:49.920
kid. And we went to high school together. And
00:33:49.920 --> 00:33:52.140
it would have been insane if he said, someday
00:33:52.140 --> 00:33:58.099
we'll play in this band. I would have never believed
00:33:58.099 --> 00:34:03.640
that. And I was there for 16 years with them.
00:34:03.700 --> 00:34:06.940
So we played a lot of shows. And that's the thing
00:34:06.940 --> 00:34:09.539
about them. They were in their 60s and 70s when
00:34:09.539 --> 00:34:17.010
I was in the band. And we grinded it. We were
00:34:17.010 --> 00:34:20.449
on the road a lot. Phil Mogg, his voice still
00:34:20.449 --> 00:34:23.929
to this day is incredible. Some people, you know,
00:34:23.929 --> 00:34:26.989
can still sing, you know, Paul Rogers, you know,
00:34:26.989 --> 00:34:31.010
and some people can't and that's okay. But Phil
00:34:31.010 --> 00:34:34.150
Mogg still has his voice. He really has his full
00:34:34.150 --> 00:34:38.349
voice still. So it was unbelievable to be up
00:34:38.349 --> 00:34:41.590
there playing songs like Love to Love with him.
00:34:42.150 --> 00:34:46.289
So that would be the band. Okay. How much of
00:34:46.289 --> 00:34:49.610
an influence was Pete Way for you as a bassist?
00:34:50.530 --> 00:34:54.329
Huge. Well, I haven't studied many bassists other
00:34:54.329 --> 00:34:57.789
than Duff McKagan. Okay. And that was long after
00:34:57.789 --> 00:35:00.349
I was playing bass. I learned all of Duff McKagan's
00:35:00.349 --> 00:35:02.789
bass lines. I've forgotten them since, but they're
00:35:02.789 --> 00:35:06.570
fantastic, especially on the first album where
00:35:06.570 --> 00:35:14.789
he played a lot more. But I learned Pete Way's.
00:35:15.179 --> 00:35:18.199
bass lines note for note i changed them just
00:35:18.199 --> 00:35:22.380
slightly um because that's what the songs needed
00:35:22.380 --> 00:35:28.960
and uh but it's yeah huge influence on me but
00:35:28.960 --> 00:35:36.940
still is cool um what are the plans then you
00:35:36.940 --> 00:35:39.500
just said that you've got You guys are booked
00:35:39.500 --> 00:35:42.800
in 14 different countries. The album officially
00:35:42.800 --> 00:35:45.280
comes out on June 12th. We're recording this
00:35:45.280 --> 00:35:49.519
a month ahead of time. So by the time this comes
00:35:49.519 --> 00:35:53.679
out, the pre -order may still be out there or
00:35:53.679 --> 00:35:59.320
the full album may be out at the time. What are
00:35:59.320 --> 00:36:04.510
your plans after the album drops? Well. We have
00:36:04.510 --> 00:36:06.550
a bunch of shows. We've got shows in the Northeast.
00:36:06.690 --> 00:36:08.630
I just pulled them up. I'm looking at them now.
00:36:08.710 --> 00:36:13.230
We have shows in the Northeast. And then we go
00:36:13.230 --> 00:36:19.170
to Slovakia, Austria, Italy, France, Switzerland,
00:36:19.389 --> 00:36:25.250
Germany, Poland, Finland, Sweden, England, Scotland,
00:36:25.349 --> 00:36:31.650
and Wales. So our plans are to stay on the road.
00:36:32.280 --> 00:36:35.599
Break this album on the road. Keep pushing it.
00:36:35.659 --> 00:36:42.219
Keep pushing it. And see all you beautiful people
00:36:42.219 --> 00:36:45.159
as often as possible out there. That's our plan.
00:36:45.340 --> 00:36:51.480
And just rinse, repeat, rinse, repeat. Cool.
00:36:51.599 --> 00:36:57.179
And as far as the album itself. Is it going to
00:36:57.179 --> 00:37:00.420
be released? What physical formats are you guys
00:37:00.420 --> 00:37:02.840
releasing? Is it going to be, are there going
00:37:02.840 --> 00:37:07.719
to be any? Okay. Vinyl, CD. What are the other
00:37:07.719 --> 00:37:12.119
ones? I mean, it's on all the Apple and Spotify
00:37:12.119 --> 00:37:18.500
and YouTube. Are there any I'm not knowing of?
00:37:18.719 --> 00:37:22.599
There are some bands that are releasing $30 cassettes.
00:37:23.079 --> 00:37:27.340
So is that? I would assume that's just like a
00:37:27.340 --> 00:37:31.780
kitsch kind of like fan thing, but I guess there's
00:37:31.780 --> 00:37:34.059
some cars that still have cassette players. I
00:37:34.059 --> 00:37:36.760
mean, obviously old cars or are they all dead
00:37:36.760 --> 00:37:39.719
by now? I don't know if it's a car thing or if
00:37:39.719 --> 00:37:43.119
it's more of a collector thing where since the
00:37:43.119 --> 00:37:46.139
price of vinyl has been going up, you know, I
00:37:46.139 --> 00:37:49.599
don't know if that's labels saying, hey, let's
00:37:49.599 --> 00:37:52.079
try this and see if this sticks as well. There's
00:37:52.079 --> 00:37:57.210
the odd band that. has released VHS even for,
00:37:57.329 --> 00:38:01.909
for some releases. Wow. That's funny. Well, no,
00:38:02.090 --> 00:38:05.989
we're not, we're not doing the cassette on this
00:38:05.989 --> 00:38:08.510
one, but maybe next one. Well, I know the next
00:38:08.510 --> 00:38:12.510
album we plan to release on eight track tape.
00:38:12.610 --> 00:38:15.349
There you go. Eight track. And, and after that,
00:38:15.369 --> 00:38:17.590
it'd be real to real. We keep going backwards.
00:38:20.809 --> 00:38:23.210
I think the label told me they're going to draw
00:38:23.210 --> 00:38:24.690
the line at reel -to -reel. They're not going
00:38:24.690 --> 00:38:28.289
to do that. Okay. All right. They got to set
00:38:28.289 --> 00:38:31.369
their boundaries somewhere. Yeah, yeah. At least
00:38:31.369 --> 00:38:33.789
we got the 8 -track out of them. There you go.
00:38:34.050 --> 00:38:38.210
We had to really lobby for it, though. Where
00:38:38.210 --> 00:38:40.329
should people go if they want to pick up the
00:38:40.329 --> 00:38:43.309
album? Is there a specific place that they can
00:38:43.309 --> 00:38:45.570
purchase it and ensure that the most amount of
00:38:45.570 --> 00:38:49.900
money gets back into the band's pockets? I'd
00:38:49.900 --> 00:38:53.659
say Frontiers, just Google Frontiers Music or
00:38:53.659 --> 00:38:59.960
Frontiers site. We'll have some at shows. We'll
00:38:59.960 --> 00:39:04.000
be selling some at shows. But the main way to
00:39:04.000 --> 00:39:06.480
get it is through Frontiers if you're not coming
00:39:06.480 --> 00:39:10.280
to the show. Okay, cool. And if people want to
00:39:10.280 --> 00:39:12.219
keep up with the band, where's the best place
00:39:12.219 --> 00:39:16.860
for them to do that? Well... If you Google Spread
00:39:16.860 --> 00:39:19.159
Eagle, you might not find the band. You might
00:39:19.159 --> 00:39:21.860
find some interesting stuff, but not the band.
00:39:22.360 --> 00:39:26.599
So I would say, you know, our tag on most platforms
00:39:26.599 --> 00:39:31.119
is Spread Eagle NYC or Spread Eagle Band. So
00:39:31.119 --> 00:39:34.460
we're everywhere. We're easy to find. We have
00:39:34.460 --> 00:39:36.880
a new video out for the song Flat Earth Vultures,
00:39:36.900 --> 00:39:40.900
and it's hilarious, and it's really well done.
00:39:41.519 --> 00:39:44.519
By the time this interview comes out, we'll have
00:39:44.519 --> 00:39:48.519
another video for the song Amp Farm, which is
00:39:48.519 --> 00:39:52.380
fantastic, but very different from Flat Earth
00:39:52.380 --> 00:39:55.579
Vultures. All our videos will be different from
00:39:55.579 --> 00:39:59.300
each other. Getting back to our conversation,
00:39:59.559 --> 00:40:01.659
we want the album to be cohesive and powerful
00:40:01.659 --> 00:40:04.599
and what our fans want, but we want our videos
00:40:04.599 --> 00:40:07.659
to be very dynamic and different consciously.
00:40:07.940 --> 00:40:09.579
So they're all going to be very different from
00:40:09.579 --> 00:40:17.139
each other. So, yeah. Yeah, and that's a cool
00:40:17.139 --> 00:40:20.320
thing that I forgot to point out. The videos,
00:40:20.340 --> 00:40:23.159
with a lot of bands that are just putting out
00:40:23.159 --> 00:40:27.619
just generic lyric videos or AI videos, you guys
00:40:27.619 --> 00:40:31.059
are actually putting out cool videos that are
00:40:31.059 --> 00:40:35.360
actually probably as good as the songs that are
00:40:35.360 --> 00:40:38.889
behind them. That's saying a lot. And I think
00:40:38.889 --> 00:40:41.170
that will be the case for the song Ant Farm also.
00:40:42.230 --> 00:40:44.510
That is the case for the song Ant Farm also,
00:40:44.670 --> 00:40:50.449
the video Ant Farm. Yeah, we're like, you know,
00:40:50.449 --> 00:40:54.530
we're artists, you know, as cheesy or, you know,
00:40:54.530 --> 00:40:57.489
self -serving as that may sound. It's the truth.
00:40:57.550 --> 00:41:00.849
We're artists. We believe hard rock is a very
00:41:00.849 --> 00:41:04.829
important art form. And that's why we don't use
00:41:04.829 --> 00:41:08.329
backing tracks. We don't use... ai to write our
00:41:08.329 --> 00:41:11.449
songs because we're we're trying to better ourselves
00:41:11.449 --> 00:41:16.610
at this art that we're lucky that we've been
00:41:16.610 --> 00:41:19.550
able to make for 36 years that people care enough
00:41:19.550 --> 00:41:22.829
that we can do this so the last thing we want
00:41:22.829 --> 00:41:25.030
to do is hand this over to a computer program
00:41:25.030 --> 00:41:28.269
to do it for us like that's that's that would
00:41:28.269 --> 00:41:32.090
be sacrilege sacrilege to what we what our vision
00:41:32.090 --> 00:41:35.519
you know right um So we're out there playing
00:41:35.519 --> 00:41:38.880
live 100%, no backing tracks. Not many bands
00:41:38.880 --> 00:41:41.960
are doing that these days. And we're writing
00:41:41.960 --> 00:41:46.300
songs the way we have since people have since
00:41:46.300 --> 00:41:50.400
the 50s, 1950s, you know, just in a room writing
00:41:50.400 --> 00:41:56.380
riffs and singing along to them. And so we hope
00:41:56.380 --> 00:41:58.780
that people see that we're the real deal, you
00:41:58.780 --> 00:42:02.320
know, but even if people don't see it, it's important
00:42:02.320 --> 00:42:17.590
to us. You can subscribe to the show on all your
00:42:17.590 --> 00:42:20.690
favorite podcast platforms like Apple Podcasts,
00:42:20.690 --> 00:42:24.389
Spotify, Google Podcasts, Amazon, and more. Go
00:42:24.389 --> 00:42:26.809
to signalsfrommars .com for more information.
00:42:27.090 --> 00:42:28.309
This concludes our show.
00:00:00.430 --> 00:00:05.110
Welcome, everyone, to episode 463 of Signals
00:00:05.110 --> 00:00:08.570
from Mars. I'm your host, Victor, and for this
00:00:08.570 --> 00:00:13.050
episode, I welcome Rob DeLuca of the New York
00:00:13.050 --> 00:00:17.710
band, Spread Eagle. If you know anything about
00:00:17.710 --> 00:00:20.809
my past, Spread Eagle was interview number two
00:00:20.809 --> 00:00:25.309
for me going all the way back to 1992, so this
00:00:25.309 --> 00:00:58.390
episode is special to me. Let me send a shout
00:00:58.390 --> 00:01:02.429
out to my patrons, Sean Richman, Tony Espin,
00:01:02.710 --> 00:01:05.969
Anthony Mackey, who's the one that's behind all
00:01:05.969 --> 00:01:09.450
of the great logos that I use for Signals From
00:01:09.450 --> 00:01:14.069
Mars, Ed Ferguson, Johan Ederstrom, Metal Dan,
00:01:14.349 --> 00:01:17.609
Chris Vaglio from the Song Swap Showdown podcast,
00:01:18.329 --> 00:01:22.769
Gabriel Ruiz, Mark Striegel of Talking Metal
00:01:22.769 --> 00:01:27.510
and SiriusXM, Brad Dahl from Yarg Metal, Mike
00:01:27.510 --> 00:01:31.930
Jones, Jeremy Weltman, Steve Holker, and Steven
00:01:31.930 --> 00:01:34.609
Saylor. You can become a patron for as little
00:01:34.609 --> 00:01:38.069
as $2 a month. Enjoy the Victor M. Ruiz podcast
00:01:38.069 --> 00:01:42.269
with behind -the -scenes banter. Talk about life.
00:01:42.430 --> 00:01:46.329
Talk about pretty much anything that's going
00:01:46.329 --> 00:01:51.290
on. Hard rock and metal news as well. Depending
00:01:51.290 --> 00:01:55.120
on the tier, there's merch. It is a troll -free
00:01:55.120 --> 00:01:58.439
environment. I post videos every day from bands
00:01:58.439 --> 00:02:01.780
that you know, bands that you may not know, bands
00:02:01.780 --> 00:02:06.219
that you love, so on and so forth. Join us on
00:02:06.219 --> 00:02:11.939
Patreon. It is patreon .com forward slash signals
00:02:11.939 --> 00:02:14.639
from Mars, or you can just go to signals from
00:02:14.639 --> 00:02:18.340
Mars and check out different ways where you could
00:02:18.340 --> 00:02:30.560
support the podcast, including Patreon. Aside
00:02:30.560 --> 00:02:32.620
from what you're hearing during this episode,
00:02:32.759 --> 00:02:37.400
there is more with Rob on my Patreon. We had
00:02:37.400 --> 00:02:41.240
a little behind -the -scenes discussion, which
00:02:41.240 --> 00:02:45.819
is going to be available to patrons at the same
00:02:45.819 --> 00:02:51.139
time that this interview comes out. And if you're
00:02:51.139 --> 00:02:53.800
a Spread Eagle fan, I think that that's just
00:02:53.800 --> 00:02:56.620
as important as this listen. It's not as long.
00:02:57.150 --> 00:03:00.849
Um, but it's still a lot of interesting behind
00:03:00.849 --> 00:03:04.689
the scenes type stuff that we do discuss during
00:03:04.689 --> 00:03:08.949
the, uh, during that as well. Um, I just gave
00:03:08.949 --> 00:03:12.550
my whole spiel on Patreon before this mentioning
00:03:12.550 --> 00:03:16.349
all my patrons. So two bucks a month and you
00:03:16.349 --> 00:03:20.349
get to hear that part of the interview as well.
00:03:20.629 --> 00:03:24.069
Uh, also if you were subscribed a little while
00:03:24.069 --> 00:03:28.139
back. You got to hear the entire rundown of the
00:03:28.139 --> 00:03:32.580
80s albums countdown. I go in depth into all
00:03:32.580 --> 00:03:36.419
the different categories and things that were
00:03:36.419 --> 00:03:39.319
covered during that episode. And just remind
00:03:39.319 --> 00:03:42.900
you guys, if you want to vote, the next countdown
00:03:42.900 --> 00:03:47.680
will be Ronnie James Dio. So if you want to vote
00:03:47.680 --> 00:03:53.180
on your 10 favorite Dio, Black Sabbath, Elf.
00:03:53.449 --> 00:03:56.710
rainbow albums send me your list signals from
00:03:56.710 --> 00:04:01.030
mars at signals from mars .com and that episode
00:04:01.030 --> 00:04:05.289
will be coming out at the end of june so june
00:04:05.289 --> 00:04:08.830
2026 so if you're listening to this at a later
00:04:08.830 --> 00:04:13.370
date um the voting has already taken place you
00:04:13.370 --> 00:04:16.810
can already listen to or watch the episode but
00:04:16.810 --> 00:04:21.069
anyway uh remember to like and subscribe all
00:04:21.069 --> 00:04:23.370
things Signals from Mars. The one -stop shopping
00:04:23.370 --> 00:04:25.810
place for anything related to the podcast is
00:04:25.810 --> 00:04:29.370
SignalsFromMars .com. If you happen to check
00:04:29.370 --> 00:04:32.610
this episode out on YouTube, please like and
00:04:32.610 --> 00:04:35.649
subscribe. It goes a long way to help me secure
00:04:35.649 --> 00:04:40.250
other interviews along the way. Also share this
00:04:40.250 --> 00:04:45.490
with like -minded friends who like Spread Eagle
00:04:45.490 --> 00:04:49.930
or like other bands that are similar, like any
00:04:49.930 --> 00:04:53.470
type. of hard rock or metal. And I have to say
00:04:53.470 --> 00:04:57.149
that I've always liked different types of music,
00:04:57.370 --> 00:05:01.209
different types of hard rock and metal. To me,
00:05:01.230 --> 00:05:03.029
that's why a band like Spread Eagle is important.
00:05:03.209 --> 00:05:05.250
Not only are they from the general area where
00:05:05.250 --> 00:05:08.170
I grew up, not only did I get to interview Ray
00:05:08.170 --> 00:05:14.329
West, you know, back in 92, but also there's
00:05:14.329 --> 00:05:16.370
just something about bands like Spread Eagle,
00:05:16.670 --> 00:05:22.360
LA Guns, bands of this ilk that maybe were grouped
00:05:22.360 --> 00:05:26.339
into other 80s bands, but were a little bit more
00:05:26.339 --> 00:05:29.959
dangerous, a little bit grittier, a little bit
00:05:29.959 --> 00:05:34.879
nastier, and I think their music has stood the
00:05:34.879 --> 00:05:39.579
test of time as a result. So anyway, thank you
00:05:39.579 --> 00:05:43.420
for listening to this episode, and let's get
00:05:43.420 --> 00:05:47.199
on with it. Let's get into my interview with...
00:05:47.449 --> 00:06:11.670
Ray DeLuca from Spread Eagle. Here we go. Joining
00:06:11.670 --> 00:06:16.589
me today is Rob DeLuca from Spread Eagle. Rob,
00:06:16.689 --> 00:06:19.730
how are you today? Very good. Thank you for having
00:06:19.730 --> 00:06:23.029
me, Vic. I appreciate being here. Yeah, absolutely.
00:06:23.290 --> 00:06:25.850
It's great to have you on. Spread Eagle is a
00:06:25.850 --> 00:06:30.050
band that I have had an affinity for since the
00:06:30.050 --> 00:06:34.529
early 90s. I seem to have this streak of just
00:06:34.529 --> 00:06:36.910
interviewing bands from the Northeast the last
00:06:36.910 --> 00:06:40.579
few months. And I've said it to a lot of different
00:06:40.579 --> 00:06:44.100
artists. There's just something special about
00:06:44.100 --> 00:06:49.480
bands that come out of from DC up to Boston.
00:06:49.660 --> 00:06:51.939
You know, there's just a certain grit, a certain
00:06:51.939 --> 00:06:56.980
element, a certain attitude, swagger. And hearing
00:06:56.980 --> 00:07:01.800
that first spread Eagle album, it just. Struck
00:07:01.800 --> 00:07:04.279
that nerve and it was, these are one of my guys,
00:07:04.399 --> 00:07:07.980
you know, so I've always enjoyed the band, followed
00:07:07.980 --> 00:07:10.500
the band. So it's great to have you on. Thank
00:07:10.500 --> 00:07:13.000
you. That's very nice of you. It must be something
00:07:13.000 --> 00:07:19.180
in the Hudson River water. Could be. So we talked
00:07:19.180 --> 00:07:23.980
a little bit off air about radio stations and
00:07:23.980 --> 00:07:27.500
whatnot, and you brought up WSOU. And the first
00:07:27.500 --> 00:07:32.959
time I ever heard you guys. was on SOU. And back
00:07:32.959 --> 00:07:37.459
then, I mean, you could hear Switchblade Serenade,
00:07:37.540 --> 00:07:40.620
you could hear Broken City, you could hear the
00:07:40.620 --> 00:07:43.480
title track or the self -titled track, however
00:07:43.480 --> 00:07:48.139
you want to call it from the first album. Why
00:07:48.139 --> 00:07:50.480
do you think that you guys connected with that
00:07:50.480 --> 00:07:55.220
audience so early? That's a really good question.
00:07:55.339 --> 00:08:00.529
I'm not sure. I mean, At the time, I assumed
00:08:00.529 --> 00:08:03.529
it's because we were local. I mean, we were from
00:08:03.529 --> 00:08:07.829
New York City, but, you know, Seton Hall, you
00:08:07.829 --> 00:08:13.649
know, New Jersey is close. I mean, the music
00:08:13.649 --> 00:08:17.509
was pretty strong and aggressive. I think also,
00:08:17.569 --> 00:08:25.829
you know, we were like a link between sleaze.
00:08:26.699 --> 00:08:30.000
And or what, you know, you would call today is
00:08:30.000 --> 00:08:34.360
like 80s metal or whatever or hair metal or we're
00:08:34.360 --> 00:08:37.679
a link between sleaze and like thrash a little
00:08:37.679 --> 00:08:40.019
bit, you know, something between sleaze and something
00:08:40.019 --> 00:08:43.659
heavier. So we filled a spot that there wasn't
00:08:43.659 --> 00:08:52.740
a whole lot of bands occupying. So, you know,
00:08:52.740 --> 00:08:54.960
heavier people who are into heavier music like
00:08:54.960 --> 00:08:59.620
this. People who are into this, you know, basic
00:08:59.620 --> 00:09:04.799
sleaze like this. So maybe that's the reason.
00:09:04.879 --> 00:09:07.700
I'm not sure. But yes, they did really get behind
00:09:07.700 --> 00:09:12.259
us. We had a lot of top 10 songs on that radio
00:09:12.259 --> 00:09:14.919
station, WSOU. And not just the first album,
00:09:15.059 --> 00:09:17.460
Devil's Road and stuff on the second album also.
00:09:18.340 --> 00:09:22.960
I think Revolution Maker did well. So, yeah,
00:09:23.019 --> 00:09:26.480
it was, and they're still around. I don't, I
00:09:26.480 --> 00:09:28.539
don't, I don't think they know about us anymore.
00:09:28.620 --> 00:09:30.759
I don't think, I don't know if they know we're,
00:09:30.759 --> 00:09:35.000
we're releasing new music, but, but they're still
00:09:35.000 --> 00:09:38.759
around. And that was, it was a great time. Great
00:09:38.759 --> 00:09:41.519
station. Yeah. It's interesting from time to
00:09:41.519 --> 00:09:44.879
time, they do have like throwback episodes and
00:09:44.879 --> 00:09:48.799
they bring old DJs back. Unfortunately with all
00:09:48.799 --> 00:09:51.500
that stuff, obviously they're, they always gravitate
00:09:51.500 --> 00:09:55.240
to all the huge bands from the era, as opposed
00:09:55.240 --> 00:09:59.059
to maybe just focusing in on the bands that you
00:09:59.059 --> 00:10:02.519
would consider more local to the scene. Yeah,
00:10:02.539 --> 00:10:04.159
but if you looked, there's certain, you know,
00:10:04.179 --> 00:10:07.519
it's undeniable that certain bands from the era
00:10:07.519 --> 00:10:10.240
got really big and Spread Eagle, you know, is
00:10:10.240 --> 00:10:14.200
this niche. But if you look at SOU's rate of
00:10:14.200 --> 00:10:18.299
charts, I guess you would call it, from 1990,
00:10:18.679 --> 00:10:21.159
we compete with... the Guns N' Roses and the
00:10:21.159 --> 00:10:25.340
Metallicas. So, you know, it would, you know,
00:10:25.340 --> 00:10:27.179
so that argument kind of goes out the window,
00:10:27.259 --> 00:10:30.700
you know, of, you know, for that particular station
00:10:30.700 --> 00:10:35.379
and that particular time. But yeah, I'm sorry.
00:10:35.440 --> 00:10:38.000
I don't know how to turn off these notifications
00:10:38.000 --> 00:10:43.659
that come in. Yeah, no problem. So, yeah, you
00:10:43.659 --> 00:10:45.279
know, it was a great time. You were spinning
00:10:45.279 --> 00:10:47.899
us. They were spinning us. We were lucky guys.
00:10:48.750 --> 00:10:50.850
And we're still talking to you because of that.
00:10:51.230 --> 00:10:57.110
Yeah. Go figure. I got to talk to you guys with
00:10:57.110 --> 00:11:01.710
the second album and open to the public. And
00:11:01.710 --> 00:11:06.129
luckily enough, this past summer, I was rummaging
00:11:06.129 --> 00:11:10.110
through my parents' attic in New Jersey. And
00:11:10.110 --> 00:11:12.990
I came back with, I don't even know what you
00:11:12.990 --> 00:11:16.679
call it. It's over my shoulder here. which is,
00:11:16.700 --> 00:11:19.179
it's the cover of the album and it's signed by
00:11:19.179 --> 00:11:21.840
all four members of the band. I guess you could
00:11:21.840 --> 00:11:26.679
call that a flat, a promo flat. Okay. So yeah,
00:11:26.700 --> 00:11:29.279
so that survived all these years in an attic
00:11:29.279 --> 00:11:34.039
and it traveled the world and it's now in this
00:11:34.039 --> 00:11:36.799
episode. Thank you. Thank you for saving that.
00:11:38.700 --> 00:11:41.899
pack rat about not about everything but about
00:11:41.899 --> 00:11:44.879
spread eagle memorabilia i i collect all that
00:11:44.879 --> 00:11:47.279
i don't have that what you're talking about but
00:11:47.279 --> 00:11:51.500
uh i collect a lot of stuff also i probably have
00:11:51.500 --> 00:11:53.679
that but not signed by all four of us so that's
00:11:53.679 --> 00:11:58.000
pretty special yeah the bar solo changed his
00:11:58.000 --> 00:12:01.899
name 15 or 20 years ago so you you couldn't even
00:12:01.899 --> 00:12:05.200
get that these days you know even if if you met
00:12:05.200 --> 00:12:07.639
him and said hey sign this from back in the day
00:12:08.240 --> 00:12:12.000
he's a different person now. Right. The interesting
00:12:12.000 --> 00:12:15.320
thing with the flat is that you and Ray signed
00:12:15.320 --> 00:12:18.460
the same side and the other two signed the other
00:12:18.460 --> 00:12:23.600
side. Ah, it's a deeper meaning, huh? Vic? Yeah.
00:12:23.720 --> 00:12:25.899
I was looking at that. I'm like, is this foreshadowing?
00:12:25.940 --> 00:12:28.460
You know what, well, what would come to be, but
00:12:28.460 --> 00:12:31.799
you know, I guess that's just, uh, through osmosis
00:12:31.799 --> 00:12:36.179
that took place. Yeah. Ray and I, uh, are still
00:12:36.179 --> 00:12:42.019
really, We went to war together and we're still
00:12:42.019 --> 00:12:48.860
at war. And we never really had a problem, never
00:12:48.860 --> 00:12:51.980
had an argument or anything like that over 36
00:12:51.980 --> 00:12:55.220
years. Of course, we have different opinions
00:12:55.220 --> 00:12:57.539
on things. That's the beauty of it. And that's
00:12:57.539 --> 00:13:02.259
why we're here now, because him and I are both.
00:13:03.990 --> 00:13:06.750
We care about it so much. We have, you know,
00:13:06.750 --> 00:13:08.450
we have our different opinions on how to get
00:13:08.450 --> 00:13:12.450
to it. And we have Rick DeLuca in the band and
00:13:12.450 --> 00:13:14.830
Johnny Paletta in the band. And those guys are
00:13:14.830 --> 00:13:18.230
fantastic. So we're lucky to still be playing
00:13:18.230 --> 00:13:23.629
music and we still truly enjoy it. And I think
00:13:23.629 --> 00:13:27.309
with this new album, The Brutal Divine on Frontiers,
00:13:27.389 --> 00:13:32.110
we're showing people that we're still creating.
00:13:32.750 --> 00:13:38.169
you know, important art that is hard rock. And
00:13:38.169 --> 00:13:40.129
with our last frontiers album too, subway to
00:13:40.129 --> 00:13:44.850
the stars, like we're, we're, we're still delivering.
00:13:45.350 --> 00:13:50.549
I feel at the top of our game. Yeah. The interesting
00:13:50.549 --> 00:13:54.190
part of the new album to me, the brutal divine
00:13:54.190 --> 00:13:58.490
is that if you compare it to the previous album,
00:13:59.699 --> 00:14:01.940
It's Spread Eagle, but it's different at the
00:14:01.940 --> 00:14:05.120
same time. And I think that you guys have had
00:14:05.120 --> 00:14:08.139
a knack over all four studio albums, that they're
00:14:08.139 --> 00:14:11.480
four completely different animals, but they're
00:14:11.480 --> 00:14:16.299
still Spread Eagle. So I'm really interested
00:14:16.299 --> 00:14:19.759
in you elaborating on that. Like, how do you
00:14:19.759 --> 00:14:23.259
hear them? Because to me, it's just Spread Eagle
00:14:23.259 --> 00:14:25.919
songs, you know? There's Ray, there's me, there's
00:14:25.919 --> 00:14:28.019
Rick, there's Jami, you know, before it was...
00:14:28.379 --> 00:14:31.799
you know, Tommy and Paul, but how do you, how
00:14:31.799 --> 00:14:36.440
do you hear them? Like what's. I think, especially
00:14:36.440 --> 00:14:40.100
with the last two albums, I think that there's
00:14:40.100 --> 00:14:43.820
a different type of attitude or aggression to
00:14:43.820 --> 00:14:46.700
this album that maybe wasn't on subway to the
00:14:46.700 --> 00:14:52.200
stars. I think that Ray's voice is maybe at a
00:14:52.200 --> 00:14:55.429
different level. I think what separated. spread
00:14:55.429 --> 00:14:57.429
Eagle from a lot of the bands back in the early
00:14:57.429 --> 00:15:01.490
nineties was his aggressiveness and his voice.
00:15:02.610 --> 00:15:06.850
And I think maybe in subway to stars, there was
00:15:06.850 --> 00:15:09.529
a little less of that. And it seems with this
00:15:09.529 --> 00:15:11.970
album, there's a little more of that. Like it's
00:15:11.970 --> 00:15:16.049
a little bit more towards the first two albums.
00:15:18.809 --> 00:15:22.230
It also seems that this album is a little bit
00:15:22.230 --> 00:15:25.970
more. I don't know if intricate is the right
00:15:25.970 --> 00:15:29.490
way of expressing it. Like the overall compositions
00:15:29.490 --> 00:15:32.090
of all the songs are maybe a little bit more
00:15:32.090 --> 00:15:34.830
complete. And like I said, more aggressive. But
00:15:34.830 --> 00:15:39.389
at the same time, it's not that Subway to the
00:15:39.389 --> 00:15:43.610
Stars was bad or that it was lesser in any way.
00:15:43.769 --> 00:15:47.149
It's just different. This seems like it's like
00:15:47.149 --> 00:15:49.590
that hungry edge that the band had initially
00:15:49.590 --> 00:15:53.210
is back. more so than on the previous album that's
00:15:53.210 --> 00:15:56.009
how i interpret it no that's that's really interesting
00:15:56.009 --> 00:16:02.470
and and uh i appreciate you saying that um so
00:16:02.470 --> 00:16:08.450
my feelings are uh yeah the new album we've done
00:16:08.450 --> 00:16:14.230
hundreds of shows since the the new albums the
00:16:14.230 --> 00:16:16.509
brutal divine we've done hundreds of shows since
00:16:16.509 --> 00:16:19.809
the last album subway to the stars so i think
00:16:19.809 --> 00:16:25.620
that is always going to creep into, you know,
00:16:25.620 --> 00:16:30.659
how you record, how you write. And that's a good
00:16:30.659 --> 00:16:38.059
thing, I feel. We love all our albums, and I'll
00:16:38.059 --> 00:16:40.799
get into that in a minute. But what we always
00:16:40.799 --> 00:16:45.539
hear really, really often, really often, that
00:16:45.539 --> 00:16:48.879
shows is, you know, we love this album. We're
00:16:48.879 --> 00:16:51.500
waiting for you to make an album like with the
00:16:51.500 --> 00:16:56.639
energy of the first one. And I'm talking, you
00:16:56.639 --> 00:17:04.519
know, 20 years of hearing that. And you never
00:17:04.519 --> 00:17:07.980
can really, you know, you grow as a human being.
00:17:08.039 --> 00:17:11.359
You can never pretend you're 19, 20 years old
00:17:11.359 --> 00:17:15.599
when you're not. Right. That would be ingenuine.
00:17:15.960 --> 00:17:19.940
But it's always stuck in our minds when people,
00:17:20.019 --> 00:17:23.380
you know, when that many people come up to you
00:17:23.380 --> 00:17:27.220
and say that, it sticks in your mind. So, and,
00:17:27.299 --> 00:17:30.059
you know, that first album is still us. You know,
00:17:30.099 --> 00:17:34.460
we love it. We play a ton of songs live in our
00:17:34.460 --> 00:17:37.519
live set off the first album. We play them off
00:17:37.519 --> 00:17:41.380
all four albums. But obviously there's some tracks
00:17:41.380 --> 00:17:43.460
that you can't leave out from the first album,
00:17:43.500 --> 00:17:45.119
you know, a whole bunch of them from our live
00:17:45.119 --> 00:17:48.200
show. So we're very still connected to those
00:17:48.200 --> 00:17:53.140
people we were, but we've grown. But in the writing
00:17:53.140 --> 00:17:55.680
of this new album, The Brutal Divine, yes, there
00:17:55.680 --> 00:18:00.119
was a conscious thought of, you know, that's
00:18:00.119 --> 00:18:02.859
what our fans want. We love our fans and we love
00:18:02.859 --> 00:18:06.799
that album. Why not try to do that in a natural
00:18:06.799 --> 00:18:09.359
way to bring that back a little more? Having
00:18:09.359 --> 00:18:16.200
said that, I love Subway to the Stars. Fucking
00:18:16.200 --> 00:18:19.660
love that album. A few songs popped up the other
00:18:19.660 --> 00:18:23.579
day on my Spotify and I was just so it made me
00:18:23.579 --> 00:18:27.579
so happy to hear that music. But yes, you're
00:18:27.579 --> 00:18:31.259
right. Like Ray, you know, we weren't on the
00:18:31.259 --> 00:18:34.240
road constantly at that point. Ray was not screaming
00:18:34.240 --> 00:18:40.900
as much on that album consciously. And and now
00:18:40.900 --> 00:18:43.000
with all the shows, you know, there's there's
00:18:43.000 --> 00:18:45.789
elements that have come back to his voice. that
00:18:45.789 --> 00:18:49.289
he wasn't uh i mean ray would be better to explain
00:18:49.289 --> 00:18:53.049
this stuff but but in my opinion uh there's elements
00:18:53.049 --> 00:18:56.809
and ranges to his voice that he hadn't been maybe
00:18:56.809 --> 00:18:59.710
flexing as much on that album and that's fine
00:18:59.710 --> 00:19:02.390
because i stand by that album 100 so where it
00:19:02.390 --> 00:19:08.390
starts but yes the new album has a punkier more
00:19:08.390 --> 00:19:13.890
metallic edge and attitude and cut to it and
00:19:13.890 --> 00:19:19.309
we love that And we feel our fans will probably
00:19:19.309 --> 00:19:23.049
it'll probably be an album our fans want a little
00:19:23.049 --> 00:19:26.029
more from us. And we're fine with that. We're
00:19:26.029 --> 00:19:30.950
fine with that. We stand by all of them. So,
00:19:31.049 --> 00:19:36.269
yeah. So here we are. And it's a punky, metallic
00:19:36.269 --> 00:19:42.210
album. And we like that. The fact, you know,
00:19:42.250 --> 00:19:50.119
your opinions are. very important and true because
00:19:50.119 --> 00:19:52.880
they're your opinions and you're a listener other
00:19:52.880 --> 00:19:56.099
than an interviewer. You're a listener, you're
00:19:56.099 --> 00:20:00.680
a fan. Thank you for that. And a friend. So,
00:20:00.799 --> 00:20:06.960
so, you know, it's interesting to hear what people,
00:20:07.000 --> 00:20:11.660
what people think, but this album is, is a monster
00:20:11.660 --> 00:20:16.170
in our opinion. and we can't wait for people
00:20:16.170 --> 00:20:20.869
to hear it. It turned out really good. You said
00:20:20.869 --> 00:20:24.450
you thought it was more, the arrangements were
00:20:24.450 --> 00:20:29.029
more intricate for maybe the songwriting. I'm
00:20:29.029 --> 00:20:31.490
not sure I hear that, and I'm not saying you're
00:20:31.490 --> 00:20:36.190
wrong. To you, that's totally correct. To me,
00:20:36.309 --> 00:20:41.109
I don't hear that so much. We kind of do what
00:20:41.109 --> 00:20:47.720
we do. We like that. Like, you know, if you took
00:20:47.720 --> 00:20:49.859
our last album, you put more screaming on it
00:20:49.859 --> 00:20:52.839
and you made the guitars a little more raw sounding,
00:20:52.960 --> 00:20:58.339
I feel, and the production wasn't quite as polished,
00:20:58.539 --> 00:21:01.460
I feel it would be a very similar album to the
00:21:01.460 --> 00:21:06.500
group of Divine. But who knows? They are what
00:21:06.500 --> 00:21:08.839
they are, and they're different for reasons.
00:21:09.779 --> 00:21:13.430
Right. And you produced both albums, so obviously
00:21:13.430 --> 00:21:19.130
you know what work you did on the first album
00:21:19.130 --> 00:21:21.730
as opposed to what you did on the second album
00:21:21.730 --> 00:21:24.730
here. So you're bringing up all these things
00:21:24.730 --> 00:21:28.329
that you consciously did as a band. As a producer,
00:21:28.650 --> 00:21:33.029
did you do the same thing? Did you feel, you
00:21:33.029 --> 00:21:35.190
know what, maybe Subway to the Stars was a little
00:21:35.190 --> 00:21:38.150
too polished, let me try to go in this direction
00:21:38.150 --> 00:21:42.550
with the sound on this album instead? Absolutely.
00:21:42.550 --> 00:21:48.269
But the creation of the album all came from the
00:21:48.269 --> 00:21:51.789
same place as Subway to the Stars. Divine and
00:21:51.789 --> 00:21:55.150
Subway to the Stars. They both came from very
00:21:55.150 --> 00:21:59.670
similar places. However, yes, the things that
00:21:59.670 --> 00:22:04.930
I just mentioned, you know, Ray is getting his
00:22:04.930 --> 00:22:10.920
edge back. He made a conscious. effort to to
00:22:10.920 --> 00:22:13.079
sing in a different way on subway to the stars
00:22:13.079 --> 00:22:16.880
which i love and i respect that um but the vocal
00:22:16.880 --> 00:22:20.059
approach was slightly different definitely more
00:22:20.059 --> 00:22:25.079
aggressive the guitar approach was the recording
00:22:25.079 --> 00:22:29.839
of the guitars we uh we didn't really have a
00:22:29.839 --> 00:22:32.740
guitar or amp when we did subway to the stars
00:22:32.740 --> 00:22:34.619
we were using we were borrowing things we're
00:22:34.619 --> 00:22:38.559
using things in the studio of course Our guitar
00:22:38.559 --> 00:22:42.019
player at the time, Ziv Shalev, had guitars and
00:22:42.019 --> 00:22:46.099
amps, but they weren't the right, and they were
00:22:46.099 --> 00:22:49.359
great sounding, but they weren't really what
00:22:49.359 --> 00:22:52.559
we were looking for for Spread Eagle. So we relied
00:22:52.559 --> 00:22:56.579
on borrowing and what was in the studio. So having
00:22:56.579 --> 00:23:00.339
gone through that process for this album, we
00:23:00.339 --> 00:23:02.539
were like, we're not going to make the same,
00:23:02.700 --> 00:23:04.619
I don't know if you call them mistakes, but we're
00:23:04.619 --> 00:23:08.940
not going to go down the same path. So, um, we
00:23:08.940 --> 00:23:14.240
bought some vintage Gibsons. Um, we got a killer
00:23:14.240 --> 00:23:18.940
sounding Marshall, um, vintage Marshall, uh,
00:23:19.039 --> 00:23:23.200
Gibsons were vintage. And, um, and we went in
00:23:23.200 --> 00:23:27.019
more prepared with how do we get that sound that
00:23:27.019 --> 00:23:30.059
we want? Not like, right. Let's just go in and
00:23:30.059 --> 00:23:32.440
get the best sound we can. Like that was, that
00:23:32.440 --> 00:23:37.119
was our approach. Like for. for guitars specifically
00:23:37.119 --> 00:23:39.900
let's go in and get the best sound we can but
00:23:39.900 --> 00:23:44.279
now on the brutal divine we went in saying let's
00:23:44.279 --> 00:23:46.720
get that sound that we want that that spread
00:23:46.720 --> 00:23:51.240
eagle sound so that was different so so a little
00:23:51.240 --> 00:23:53.799
different approach in the singing different definitely
00:23:53.799 --> 00:23:57.740
a major different approach in the guitars and
00:23:57.740 --> 00:24:00.079
then yes the mix i i didn't want it to be as
00:24:00.079 --> 00:24:03.519
polished it's it's not like a modern we're not
00:24:03.519 --> 00:24:06.500
a modern rock band so Subway to the Stars was
00:24:06.500 --> 00:24:12.339
not like super modern sounding or mastered. But
00:24:12.339 --> 00:24:17.759
we did want it to be less dial that down a little
00:24:17.759 --> 00:24:20.240
more, less polished. So those three elements,
00:24:20.420 --> 00:24:23.099
I mean, the songwriting is the same approach.
00:24:23.359 --> 00:24:25.880
The mastering is still Howie Weinberg, the legend.
00:24:27.819 --> 00:24:31.640
So, but yes, those three elements made a big
00:24:31.640 --> 00:24:36.180
difference. And I think. Again, getting back
00:24:36.180 --> 00:24:38.960
to what our fans want, it's not like we've changed.
00:24:39.380 --> 00:24:42.579
We're still up there playing Broken City and
00:24:42.579 --> 00:24:45.319
Scratch Like a Cat and really living it. That
00:24:45.319 --> 00:24:48.599
moment, we're really still connected to those
00:24:48.599 --> 00:24:54.059
people who recorded that song and wrote those
00:24:54.059 --> 00:25:01.980
songs. But these three changes, I think, will...
00:25:02.720 --> 00:25:09.980
make it more what our fans want to hear. Okay.
00:25:10.059 --> 00:25:14.859
Makes sense. For you, when you decided to produce
00:25:14.859 --> 00:25:19.619
the previous album, no one else wanted to do
00:25:19.619 --> 00:25:23.880
it. Like every, everything else I'm doing, I'm
00:25:23.880 --> 00:25:28.650
stuck with it. Well, what was the most challenging
00:25:28.650 --> 00:25:33.430
part of stepping into that producer's role? It's
00:25:33.430 --> 00:25:39.569
the same on both albums. You know, and again,
00:25:39.789 --> 00:25:45.230
this goes with our previous conversation. I tried
00:25:45.230 --> 00:25:48.690
to make it sound like Spread Eagle as much as
00:25:48.690 --> 00:25:52.089
possible. And you will feel on certain albums
00:25:52.089 --> 00:25:56.410
I got closer to that than others. That's my number
00:25:56.410 --> 00:26:01.529
one. My number one role is driving the bus to
00:26:01.529 --> 00:26:06.009
what fans would love and appreciate and know
00:26:06.009 --> 00:26:13.789
is honest from us. Number two is everyone is
00:26:13.789 --> 00:26:16.890
so creative. We've all been playing music for,
00:26:16.910 --> 00:26:22.109
you know, at least 36 years, if not longer. We
00:26:22.109 --> 00:26:27.410
were very. We're proficient in different areas
00:26:27.410 --> 00:26:32.710
of music and we explore and love many types of
00:26:32.710 --> 00:26:43.549
music. So it's common for ideas to sound like
00:26:43.549 --> 00:26:46.029
Spread Eagle or not sound like Spread Eagle with
00:26:46.029 --> 00:26:50.390
four individuals like us who have so many, who
00:26:50.390 --> 00:26:54.130
have a lifetime of experience. You know, when
00:26:54.130 --> 00:26:57.930
we made our debut album, we weren't a one -dimensional,
00:26:58.069 --> 00:27:00.549
we weren't one -dimensional musicians, but we
00:27:00.549 --> 00:27:05.509
didn't have a huge lifetime palette to draw from.
00:27:05.710 --> 00:27:09.869
And now we do. But I still feel it's my responsibility
00:27:09.869 --> 00:27:14.549
to Spread Eagle fans to deliver the albums that
00:27:14.549 --> 00:27:21.529
they want. So, again, you know, You would feel,
00:27:21.609 --> 00:27:23.930
and maybe some other people would feel that I
00:27:23.930 --> 00:27:26.369
might have gotten closer on this album than the
00:27:26.369 --> 00:27:30.089
last, but they're all honest spread Eagle albums
00:27:30.089 --> 00:27:35.869
that we love and we stand behind. Okay. And it's
00:27:35.869 --> 00:27:39.569
interesting to me again. I've interviewed a lot
00:27:39.569 --> 00:27:42.089
of bands recently. I mentioned the whole Northeast
00:27:42.089 --> 00:27:44.049
thing before, but I've interviewed a lot of bands
00:27:44.049 --> 00:27:46.950
who have self -produced albums. And recently
00:27:46.950 --> 00:27:50.319
I think. there are more bands that get it right
00:27:50.319 --> 00:27:57.220
than in the past where you have members of bands
00:27:57.220 --> 00:28:01.660
that, that produce something and you listen to
00:28:01.660 --> 00:28:04.539
the album and you feel like there should have
00:28:04.539 --> 00:28:07.259
been somebody there to say, no, that doesn't
00:28:07.259 --> 00:28:11.319
work or that doesn't sound good. You know, where
00:28:11.319 --> 00:28:15.119
with this, I think everything you're saying,
00:28:15.710 --> 00:28:20.049
rings true. I think that it's still within, you
00:28:20.049 --> 00:28:22.950
know, the band sound, the songs I think will
00:28:22.950 --> 00:28:25.509
make a lot of people happy. I don't think there's
00:28:25.509 --> 00:28:28.049
anything wacky or out there or something that
00:28:28.049 --> 00:28:30.829
sounds really bad to say, shit, what were they
00:28:30.829 --> 00:28:34.509
thinking on this one? You know? So I think that's
00:28:34.509 --> 00:28:38.230
a credit to knowing, you know, also, I don't
00:28:38.230 --> 00:28:43.559
want to say your limitations, but knowing that
00:28:43.559 --> 00:28:45.779
you just can't go out there and say, Hey, you
00:28:45.779 --> 00:28:47.880
know what? We're going to try this new effect
00:28:47.880 --> 00:28:50.380
pedal on this song and it's going to be this,
00:28:50.380 --> 00:28:55.039
or it's going to be that. And as time goes by,
00:28:55.079 --> 00:28:56.940
it just doesn't feel right. It doesn't sound
00:28:56.940 --> 00:29:01.339
right. Where I think this album and all the others,
00:29:01.380 --> 00:29:02.940
I don't want to exclude any of the other ones.
00:29:02.980 --> 00:29:06.039
I think that to me, at least as a listener, it's
00:29:06.039 --> 00:29:10.869
stuff that I can still listen to. And yeah. I'll
00:29:10.869 --> 00:29:13.750
think, oh, wow, this was from the 90s, or this
00:29:13.750 --> 00:29:15.910
was that. But really, if you listen to it and
00:29:15.910 --> 00:29:19.890
you don't think about it, it isn't a definitive
00:29:19.890 --> 00:29:23.609
sound of the 90s. It isn't a definitive sound
00:29:23.609 --> 00:29:27.609
of, you know, 2026. It sounds like you guys,
00:29:27.690 --> 00:29:32.029
as opposed to sounding like a specific era. Well,
00:29:32.029 --> 00:29:34.509
thank you. Thank you. I mean, I like to have,
00:29:34.690 --> 00:29:41.289
I like when there's maybe a... one song that's
00:29:41.289 --> 00:29:44.170
kind of odd i don't know if we i don't know if
00:29:44.170 --> 00:29:45.730
we've done that i'm just what i'm just saying
00:29:45.730 --> 00:29:49.529
in general i like when a band throws a curveball
00:29:49.529 --> 00:29:54.230
on an album um as long as it's you know not ridiculous
00:29:54.230 --> 00:30:00.269
for that band you know um but i like the rest
00:30:00.269 --> 00:30:03.670
of the album just to be right what that band's
00:30:03.670 --> 00:30:08.829
about you know right um and um You said something,
00:30:08.869 --> 00:30:10.930
I forgot my train of thought, but anyway, it'll
00:30:10.930 --> 00:30:17.670
come to me. But thank you. So, yeah, I think
00:30:17.670 --> 00:30:23.930
we're on track again. I think we are. What does
00:30:23.930 --> 00:30:27.769
all your years of working outside of Spread Eagle
00:30:27.769 --> 00:30:32.349
helped to bring to the band? I think it's the
00:30:32.349 --> 00:30:38.900
thousands of shows, you know, I think. I think
00:30:38.900 --> 00:30:41.720
when you're on a stage connecting with an audience,
00:30:41.980 --> 00:30:52.400
you always remember the connection. And when
00:30:52.400 --> 00:30:55.420
you're songwriting or whatever, it's about that.
00:30:56.119 --> 00:31:03.099
So I try to never lose sight of that. And I made
00:31:03.099 --> 00:31:06.180
some connections over the years that have helped
00:31:06.180 --> 00:31:12.069
a little bit. Just the knowledge of navigating
00:31:12.069 --> 00:31:17.109
the touring industry, because that was my livelihood
00:31:17.109 --> 00:31:27.049
for 17 years. You know, in between. So, you know,
00:31:27.049 --> 00:31:30.390
because that's a hard industry. And if you didn't
00:31:30.390 --> 00:31:33.349
have a big hit, which we didn't, we had a medium
00:31:33.349 --> 00:31:36.269
hit. If you didn't have a big hit, it's hard
00:31:36.269 --> 00:31:39.009
to, it's hard to be out there. And we do, you
00:31:39.009 --> 00:31:43.750
know, we currently have, I think 14, 13 or 14
00:31:43.750 --> 00:31:47.849
countries we're booked in right now for this,
00:31:47.950 --> 00:31:54.349
this little divine tour. So, you know, it's,
00:31:54.349 --> 00:31:56.210
it's, it's a lot of things added up. I think,
00:31:56.250 --> 00:32:00.910
you know, you can't, you can't not learn, you
00:32:00.910 --> 00:32:03.359
know, unless you're. an alcoholic or on drugs
00:32:03.359 --> 00:32:06.180
you cannot learn from being on the road and being
00:32:06.180 --> 00:32:08.680
in the in the touring industry and the truth
00:32:08.680 --> 00:32:12.619
is we're barely in the recording industry anymore
00:32:12.619 --> 00:32:15.779
any of us you know right because you release
00:32:15.779 --> 00:32:19.680
a record it's out and then it's done and it sells
00:32:19.680 --> 00:32:22.059
a few thousand copies or however many it sells
00:32:22.059 --> 00:32:23.960
you know if you're not metallica or you know
00:32:23.960 --> 00:32:28.599
or or Megadeth, you know, it sells what it sells
00:32:28.599 --> 00:32:30.539
and then you're back out on the road. And so
00:32:30.539 --> 00:32:32.839
that's the industry we're in. And you're selling
00:32:32.839 --> 00:32:35.559
T -shirts. It's that industry also. Right. Well,
00:32:35.619 --> 00:32:39.099
I've learned about merch, you know. And I'm not
00:32:39.099 --> 00:32:43.160
disparaging the recording industry. It's just
00:32:43.160 --> 00:32:45.400
it is what it is. I don't make rules. I'm just
00:32:45.400 --> 00:32:51.079
describing them. So we've lost most of the recording
00:32:51.079 --> 00:32:56.650
industry. So now we're still. holding on to the
00:32:56.650 --> 00:33:03.029
touring and march industries. Okay. And out of
00:33:03.029 --> 00:33:08.049
the bands that you've stepped into, um, which
00:33:08.049 --> 00:33:11.529
of those bands, if you were to dial the clock
00:33:11.529 --> 00:33:16.170
back and, um, and think of it as a kid, which,
00:33:16.190 --> 00:33:18.730
which band would you have never thought of being
00:33:18.730 --> 00:33:21.210
able to have played with? That's obvious UFO
00:33:21.210 --> 00:33:24.680
because Of all the bands I played in, the only
00:33:24.680 --> 00:33:27.759
one I saw when I was a kid was UFO. So I was
00:33:27.759 --> 00:33:30.819
that kid standing on my chair, screaming, fist
00:33:30.819 --> 00:33:35.619
in the air. So it's the only one that applies
00:33:35.619 --> 00:33:40.299
to your question. I mean, it would have been
00:33:40.299 --> 00:33:44.359
crazy if my friend, my friend Mick, who used
00:33:44.359 --> 00:33:46.599
to drive me to all the concerts when I was a
00:33:46.599 --> 00:33:49.920
kid. And we went to high school together. And
00:33:49.920 --> 00:33:52.140
it would have been insane if he said, someday
00:33:52.140 --> 00:33:58.099
we'll play in this band. I would have never believed
00:33:58.099 --> 00:34:03.640
that. And I was there for 16 years with them.
00:34:03.700 --> 00:34:06.940
So we played a lot of shows. And that's the thing
00:34:06.940 --> 00:34:09.539
about them. They were in their 60s and 70s when
00:34:09.539 --> 00:34:17.010
I was in the band. And we grinded it. We were
00:34:17.010 --> 00:34:20.449
on the road a lot. Phil Mogg, his voice still
00:34:20.449 --> 00:34:23.929
to this day is incredible. Some people, you know,
00:34:23.929 --> 00:34:26.989
can still sing, you know, Paul Rogers, you know,
00:34:26.989 --> 00:34:31.010
and some people can't and that's okay. But Phil
00:34:31.010 --> 00:34:34.150
Mogg still has his voice. He really has his full
00:34:34.150 --> 00:34:38.349
voice still. So it was unbelievable to be up
00:34:38.349 --> 00:34:41.590
there playing songs like Love to Love with him.
00:34:42.150 --> 00:34:46.289
So that would be the band. Okay. How much of
00:34:46.289 --> 00:34:49.610
an influence was Pete Way for you as a bassist?
00:34:50.530 --> 00:34:54.329
Huge. Well, I haven't studied many bassists other
00:34:54.329 --> 00:34:57.789
than Duff McKagan. Okay. And that was long after
00:34:57.789 --> 00:35:00.349
I was playing bass. I learned all of Duff McKagan's
00:35:00.349 --> 00:35:02.789
bass lines. I've forgotten them since, but they're
00:35:02.789 --> 00:35:06.570
fantastic, especially on the first album where
00:35:06.570 --> 00:35:14.789
he played a lot more. But I learned Pete Way's.
00:35:15.179 --> 00:35:18.199
bass lines note for note i changed them just
00:35:18.199 --> 00:35:22.380
slightly um because that's what the songs needed
00:35:22.380 --> 00:35:28.960
and uh but it's yeah huge influence on me but
00:35:28.960 --> 00:35:36.940
still is cool um what are the plans then you
00:35:36.940 --> 00:35:39.500
just said that you've got You guys are booked
00:35:39.500 --> 00:35:42.800
in 14 different countries. The album officially
00:35:42.800 --> 00:35:45.280
comes out on June 12th. We're recording this
00:35:45.280 --> 00:35:49.519
a month ahead of time. So by the time this comes
00:35:49.519 --> 00:35:53.679
out, the pre -order may still be out there or
00:35:53.679 --> 00:35:59.320
the full album may be out at the time. What are
00:35:59.320 --> 00:36:04.510
your plans after the album drops? Well. We have
00:36:04.510 --> 00:36:06.550
a bunch of shows. We've got shows in the Northeast.
00:36:06.690 --> 00:36:08.630
I just pulled them up. I'm looking at them now.
00:36:08.710 --> 00:36:13.230
We have shows in the Northeast. And then we go
00:36:13.230 --> 00:36:19.170
to Slovakia, Austria, Italy, France, Switzerland,
00:36:19.389 --> 00:36:25.250
Germany, Poland, Finland, Sweden, England, Scotland,
00:36:25.349 --> 00:36:31.650
and Wales. So our plans are to stay on the road.
00:36:32.280 --> 00:36:35.599
Break this album on the road. Keep pushing it.
00:36:35.659 --> 00:36:42.219
Keep pushing it. And see all you beautiful people
00:36:42.219 --> 00:36:45.159
as often as possible out there. That's our plan.
00:36:45.340 --> 00:36:51.480
And just rinse, repeat, rinse, repeat. Cool.
00:36:51.599 --> 00:36:57.179
And as far as the album itself. Is it going to
00:36:57.179 --> 00:37:00.420
be released? What physical formats are you guys
00:37:00.420 --> 00:37:02.840
releasing? Is it going to be, are there going
00:37:02.840 --> 00:37:07.719
to be any? Okay. Vinyl, CD. What are the other
00:37:07.719 --> 00:37:12.119
ones? I mean, it's on all the Apple and Spotify
00:37:12.119 --> 00:37:18.500
and YouTube. Are there any I'm not knowing of?
00:37:18.719 --> 00:37:22.599
There are some bands that are releasing $30 cassettes.
00:37:23.079 --> 00:37:27.340
So is that? I would assume that's just like a
00:37:27.340 --> 00:37:31.780
kitsch kind of like fan thing, but I guess there's
00:37:31.780 --> 00:37:34.059
some cars that still have cassette players. I
00:37:34.059 --> 00:37:36.760
mean, obviously old cars or are they all dead
00:37:36.760 --> 00:37:39.719
by now? I don't know if it's a car thing or if
00:37:39.719 --> 00:37:43.119
it's more of a collector thing where since the
00:37:43.119 --> 00:37:46.139
price of vinyl has been going up, you know, I
00:37:46.139 --> 00:37:49.599
don't know if that's labels saying, hey, let's
00:37:49.599 --> 00:37:52.079
try this and see if this sticks as well. There's
00:37:52.079 --> 00:37:57.210
the odd band that. has released VHS even for,
00:37:57.329 --> 00:38:01.909
for some releases. Wow. That's funny. Well, no,
00:38:02.090 --> 00:38:05.989
we're not, we're not doing the cassette on this
00:38:05.989 --> 00:38:08.510
one, but maybe next one. Well, I know the next
00:38:08.510 --> 00:38:12.510
album we plan to release on eight track tape.
00:38:12.610 --> 00:38:15.349
There you go. Eight track. And, and after that,
00:38:15.369 --> 00:38:17.590
it'd be real to real. We keep going backwards.
00:38:20.809 --> 00:38:23.210
I think the label told me they're going to draw
00:38:23.210 --> 00:38:24.690
the line at reel -to -reel. They're not going
00:38:24.690 --> 00:38:28.289
to do that. Okay. All right. They got to set
00:38:28.289 --> 00:38:31.369
their boundaries somewhere. Yeah, yeah. At least
00:38:31.369 --> 00:38:33.789
we got the 8 -track out of them. There you go.
00:38:34.050 --> 00:38:38.210
We had to really lobby for it, though. Where
00:38:38.210 --> 00:38:40.329
should people go if they want to pick up the
00:38:40.329 --> 00:38:43.309
album? Is there a specific place that they can
00:38:43.309 --> 00:38:45.570
purchase it and ensure that the most amount of
00:38:45.570 --> 00:38:49.900
money gets back into the band's pockets? I'd
00:38:49.900 --> 00:38:53.659
say Frontiers, just Google Frontiers Music or
00:38:53.659 --> 00:38:59.960
Frontiers site. We'll have some at shows. We'll
00:38:59.960 --> 00:39:04.000
be selling some at shows. But the main way to
00:39:04.000 --> 00:39:06.480
get it is through Frontiers if you're not coming
00:39:06.480 --> 00:39:10.280
to the show. Okay, cool. And if people want to
00:39:10.280 --> 00:39:12.219
keep up with the band, where's the best place
00:39:12.219 --> 00:39:16.860
for them to do that? Well... If you Google Spread
00:39:16.860 --> 00:39:19.159
Eagle, you might not find the band. You might
00:39:19.159 --> 00:39:21.860
find some interesting stuff, but not the band.
00:39:22.360 --> 00:39:26.599
So I would say, you know, our tag on most platforms
00:39:26.599 --> 00:39:31.119
is Spread Eagle NYC or Spread Eagle Band. So
00:39:31.119 --> 00:39:34.460
we're everywhere. We're easy to find. We have
00:39:34.460 --> 00:39:36.880
a new video out for the song Flat Earth Vultures,
00:39:36.900 --> 00:39:40.900
and it's hilarious, and it's really well done.
00:39:41.519 --> 00:39:44.519
By the time this interview comes out, we'll have
00:39:44.519 --> 00:39:48.519
another video for the song Amp Farm, which is
00:39:48.519 --> 00:39:52.380
fantastic, but very different from Flat Earth
00:39:52.380 --> 00:39:55.579
Vultures. All our videos will be different from
00:39:55.579 --> 00:39:59.300
each other. Getting back to our conversation,
00:39:59.559 --> 00:40:01.659
we want the album to be cohesive and powerful
00:40:01.659 --> 00:40:04.599
and what our fans want, but we want our videos
00:40:04.599 --> 00:40:07.659
to be very dynamic and different consciously.
00:40:07.940 --> 00:40:09.579
So they're all going to be very different from
00:40:09.579 --> 00:40:17.139
each other. So, yeah. Yeah, and that's a cool
00:40:17.139 --> 00:40:20.320
thing that I forgot to point out. The videos,
00:40:20.340 --> 00:40:23.159
with a lot of bands that are just putting out
00:40:23.159 --> 00:40:27.619
just generic lyric videos or AI videos, you guys
00:40:27.619 --> 00:40:31.059
are actually putting out cool videos that are
00:40:31.059 --> 00:40:35.360
actually probably as good as the songs that are
00:40:35.360 --> 00:40:38.889
behind them. That's saying a lot. And I think
00:40:38.889 --> 00:40:41.170
that will be the case for the song Ant Farm also.
00:40:42.230 --> 00:40:44.510
That is the case for the song Ant Farm also,
00:40:44.670 --> 00:40:50.449
the video Ant Farm. Yeah, we're like, you know,
00:40:50.449 --> 00:40:54.530
we're artists, you know, as cheesy or, you know,
00:40:54.530 --> 00:40:57.489
self -serving as that may sound. It's the truth.
00:40:57.550 --> 00:41:00.849
We're artists. We believe hard rock is a very
00:41:00.849 --> 00:41:04.829
important art form. And that's why we don't use
00:41:04.829 --> 00:41:08.329
backing tracks. We don't use... ai to write our
00:41:08.329 --> 00:41:11.449
songs because we're we're trying to better ourselves
00:41:11.449 --> 00:41:16.610
at this art that we're lucky that we've been
00:41:16.610 --> 00:41:19.550
able to make for 36 years that people care enough
00:41:19.550 --> 00:41:22.829
that we can do this so the last thing we want
00:41:22.829 --> 00:41:25.030
to do is hand this over to a computer program
00:41:25.030 --> 00:41:28.269
to do it for us like that's that's that would
00:41:28.269 --> 00:41:32.090
be sacrilege sacrilege to what we what our vision
00:41:32.090 --> 00:41:35.519
you know right um So we're out there playing
00:41:35.519 --> 00:41:38.880
live 100%, no backing tracks. Not many bands
00:41:38.880 --> 00:41:41.960
are doing that these days. And we're writing
00:41:41.960 --> 00:41:46.300
songs the way we have since people have since
00:41:46.300 --> 00:41:50.400
the 50s, 1950s, you know, just in a room writing
00:41:50.400 --> 00:41:56.380
riffs and singing along to them. And so we hope
00:41:56.380 --> 00:41:58.780
that people see that we're the real deal, you
00:41:58.780 --> 00:42:02.320
know, but even if people don't see it, it's important
00:42:02.320 --> 00:42:17.590
to us. You can subscribe to the show on all your
00:42:17.590 --> 00:42:20.690
favorite podcast platforms like Apple Podcasts,
00:42:20.690 --> 00:42:24.389
Spotify, Google Podcasts, Amazon, and more. Go
00:42:24.389 --> 00:42:26.809
to signalsfrommars .com for more information.
00:42:27.090 --> 00:42:28.309
This concludes our show.
