Talk Is Jericho Baby Talk Is Jericho Alright, welcome to Talk Is Jericho. It's the Pot of Thunder and Rock n' Roll and set the reminder on your phone. Don't forget March 15th, 2017 is the biggest podcast ever when Mick Foley joins Talk Is Jericho. You heard the big announcement last Friday, so let the countdown begin only 287 days and counting until the biggest podcast ever.
But today we got another huge podcast in its own right. One of the biggest guitar players, one of the greatest guitar players, one of the most critically acclaimed fan favorite virtuoso on the acts of all time is here talking about Joe Satriani. That's right, Joe Talk Kirk Hammett from Metallica, Alex Skolnik from Testament, Larry Lelond from Primus.
You've taught all those guys out of Blighitar. He helped Steve Vai learn a few tricks. Joe toured with so many great bands from Mick Jagger and his solo band which is a hilarious stories. He's also of course a member of Chicken Foot with Sammy Hagar, Chad Smith and Michael Anthony. He has plenty of say about Sammy in the studio on the road. He was also even in deep purple for a while at plus one of the most accomplished solo artists, one
of the most long running solo artists of all time. Satch, as his friends call him, will give us a little insight into the making of his latest opus shockwave supernova. Get your air guitar ready. Satch is on the way, baby. All right, I got some huge stuff coming up this week including the brand split, WWE brand split. I think it's a pretty cool concept. I think it worked so well before when we did it back in, I don't know, this
2002 or 2003 or something when they first did it the first time. And the funny thing about it is, as you guys know, sometimes the WWE likes to keep you guessing as one of the talents, which is always hilarious for you guys to probably hear this. But I remember the first time there was a draft. The idea at the time was that the world champion would be on both
shows so the world champion would not get drafted. So I had just lost the under-spitter championship to triple H. So, and don't ask me why this was the case, but it was a three-way match between Jericho, Triple H and Stephanie McMahon. Okay, that was the lineup. And because we wouldn't know who was going to be the champion, that we weren't actually drafted that
night on the show. So of course, I lose the match and then they said that the other people that weren't drafted on the show would be drafted in a supplemental draft that you would find out online. Who wins and who loses? Or not, who wins, who goes where, who goes to run, who goes to SmackDown. So I had to call Lenny, Dr. Luther. You just heard him a
couple of weeks ago. This is the days before there was cell phones. So I had to call Lenny and say, hey, man, can you keep an eye on your computer and find out what show I've been drafted on to? Because I don't even know. So I found out that I was going to SmackDown via Lenny finding out online. So for those of you who think sometimes, oh, there's no way they're K-faving people. Yes, they did. K-faving me the whole damn night into the night to
where I actually had to call my friend to find out what show was going to be on. Great, right? So then a few years later, I think they had another draft, maybe. I can't remember because I was back and forth quite a bit. But I think a few years later, there's another draft where it's a pretty mind-racking gut-wrenching experience because you really don't know who's going where. So they actually have a sitting in the back of the arena, like a bunch of marks
while in our gear, ready to go. And it's like round one and they go through the lottery system, the slot machine. Triple H is on raw. You know, general goes on SmackDown. So when you're waiting back there, it's just like you really don't know what's going on. And it's kind of like, I remember when I was on Dance of the Stars, you're just waiting for them to call your name that you're safe. And either you are, you aren't. If you aren't,
you just feel terrible. That's what it's like when you get drafted. It's scary because you really don't know. And it's almost like when you're trying to figure out, you know, what class you're in, you know, when you show up at high school. And it's like, well, I hope I'm in the same class as my friend Charlie or my friend Dave. And it's like, you just start analyzing, who can I, who's going to be there, you know, when we travel to England.
I hope, you know, the small and guys are on it or Ambrose or whatever. So I'm a little bit nervous. I don't know where I'm going to end up. And they really don't tell us. So don't think that I'm working you. But I think it's good for the company as a whole. Give a whole bunch of new guys some extra airtime and some spotlight that they actually need to develop and to get better as performers and a little bit more emphasis and make it
a little bit different, which is, which is always good. So bring on the draft. I say, I'm excited about it. And I'll keep you posted if I get any more news. And also bring on Joe Satriani. He's got a huge European tour starting up June 18th. He's at Hellfest in France, 20th, he's in Dublin, 22nd Amsterdam, 23rd Brussels, 24th, Zvall, and the Netherlands, all over the places in Denmark, he's in Norway, and Ahus, anywhere, Rome, all lots of places.
Just go to Satriani.com, check on the surfing to Shockwave tour 2016. He is going to be destroying it, great, great guitar player and a great, great guest. And I also got some other news to share about another great guest I have. I'm talking about Jake the Snake Roberts. And his documentary, The Resurrection of Jake the Snake is finally available on DVD and Blu-ray. And Diamond Dallas page and his crew have really done themselves with all
the amazing extras. They include it on this release. You really got to check this out. It's one of the best documentaries I've seen, kind of the rags to riches story of Jake the Snake and his recovery from certain death to a healthy, happy guy right now. Thanks to Diamond Dallas page. And there's 20 bonus features including a commentary track, Narrative at Dallas, Jake himself, and director Steve Yu. One of the best documentaries you'll see
whether you're a wrestling fan or not. And that's the truth. To see Jake the Snake battle back from certain death, reclaim his life, his family, his career, it's so inspirational, it's a powerful story about redemption and second chances. And right now you can get the collector's edition of The Resurrection of Jake the Snake at Jake the Snake movie.com. And if you use my promo code Y2J, you can get 10% off anything you buy for a limited time. But hey, we're going to hook up one
lucky winner right now. If you want to win a free copy of the collector's edition Blu-ray, tweet Resurrection of Jake the Snake Blu-ray to talk his Jericho at Talk his Jericho and at real DDP and use the hashtag DDP Yoga. Okay, I'll choose one random winner. And once again, you want to win a free copy of the collector's edition Blu-ray. You just got a tweet Resurrection of Jake the Snake Blu-ray to at Talk his Jericho and at real DDP hashtag DDP Yoga. All right,
once again, you got to see this documentary. I'm telling you, it is something you'll never forget. You'll be inspired and you'll want to get your own life back on track if you have any issues. And then you want to give DDP Yoga and the DDP Yoga Now appa try yourself. Don't forget, take advantage of the special deal for you sexy beast listeners of Talk his Jericho. Just go to dDPyoga.com slash Jericho. Get three three months of the DDP Yoga Now app with your purchase of
DDP Yoga. Three three months of one of the best physical fitness apps I've ever seen in my life. So change your life. Go to dDPyoga.com slash Jericho. Be inspired and check out the Resurrection of Jake the Snake. Pick it up now at Jake the Snake movie dot com. You won't regret it. All right, so after a long, arduous journey, we finally have the big meeting between Jericho and Satra and it's great. We've been trying to organize this for a couple months. I know. I know
weather, exocod, everything. There really was. There was a weather problem. I was supposed to fly to San Fran. There was scheduling and then today you had a big VIP meet and greet which is traffic and everything. So, but it's it's great to see because I mean, I was thinking about it being the pioneer of of instrumental guitar music. 30 years later still and I know you're going to not you're a humble guy, but you're still the top guy in the field. And it's what longevity for
something that's so basically a niche market. And a lot of ways, you know, I always call it like a subnish. That's what I call it. Subnish. Subnish. I don't know that's I don't even know how you spell that or if hyphenated or what. But I, you know, I started off completely by accident. I really wasn't thinking that I could that I could do that. I was trying to be in a rock band. That's where that's how I grew up playing. Just the the Led Zeppelin Black Sabbath mold. That was the thing that
I was trying to really succeed with. So this happened by accident. And if I ever would look to some other artists to back me up in this sort of plan, I think, well, I said, Jeff back, he's pretty damn good, you know, and he's he keeps changing. He keeps reinventing himself. He's an absolutely amazing player and cool performer. So there were a few guys that I did look at. And I thought it could be done.
I mean, once once I jumped in the water, I thought, okay, I got to swim now. So I could look to two a couple of guys. But you're right, in rock, there's not too many. Because like you said, the Jeff Beck would be another guy who's basically made his career off of mostly instrumental music as well. Yeah. Yeah. Maybe size like the early days of the birds or whatever. Maybe yard birds. Yeah. Yeah.
So, but since then, I mean, Jeff would be the 60s 70s version and you're like the 80s 90s now version of it. I guess so. You know, jazz had, you know, West Montgomery. He was a big hero of mine. Not my generations music, you know what I mean? I was just a rock hit. So, but all the bands that I really loved were bands with singers. So, but they was always something about and I always I'd focus in on the instrumental part of it, you know, like with Paige.
Uh, Zeppelin always had this heavy music thing. They put a lot of effort into not only where Jimmy, Jimmy sat there in the band, but the arrangements of the songs. They were heavier. They were more thoughtful, more certainly more inspiring to me than some other bands that that were trying to be like them, you know what I mean? So, even if it was like I said before, Sabbath or Zeppelin or even Hendrix and my all-time favorite, I sort of always made a
beeline for the instrumental bits. And also too, when you talk about Zeppelin or Sabbath as well, you could take out the vocals and listen to those songs as instrumental. So, you could, you could as far as the musical, the power of it. Yeah. You know, because what you do is instead of having a vocal line, you'll play a guitar melody line. That's right. Yeah. So, instead of the vocals, it's just a guitar. You could do that with Zeppelin or Sabbath, I think. I think you could.
And because they had that thing that happened, you know, as I guess I was, I was being born music in Europe. And then in the States started to catch on to the fact that the sound that they made was part of the message. Before then, it was melody, harmony, rhythm, lyrics. But as society changed and technology got into music, the sound became part of the message. And then there were some people where the sound was the message. Just the tone of the band meant that's who you related to. They
stood for your tribe, so to speak, you know what I mean? And certainly Sabbath was like that. They had a sound that was unlike anybody else. And like you said, when Ozzy wasn't singing, it was almost enough because the sound carried the message. Right. They were trying to send out to you. And so I grew up with that. That's just me. That's, I'm always thinking the sound is so important. But if I'm playing a melody, it's got to be as edited down as a great set of lyrics. It's not
an opportunity for me to show off, you know, lead guitar. There is a break. There'll be a lead guitar break somewhere in the song. Not all the songs, but it, I try to make the melody work as good as any melody that you've heard in the last 500 years. You could sing it. You could hum it. You could. Now, remember seeing, would you do that for me right now? Would you? There you go. But I remember, did you ever see a rush, a rush live in Rio? I think it was from,
I don't know, 2003 or something like this. Yeah. And they did YYZ. YYZ, if you're a true Canadian. And the whole crowd is jumping up and down, singing the melody line, 30,000 strong. That's, that's the vocal part of the song. The guitar melody of it. So it's something that works. It's amazing when that happens. Yeah. You know what that's like. When the audience starts singing back at you, that's super powerful. Like I think about,
we did a short tour of India a couple of years ago. Wow, maybe over 10 years ago now. And I remember playing in this cricket field around midnight, not knowing what was going to happen. But to hear 20,000 Indians saying flying in a blue dream. Yeah, it was just, I mean, we were all in the band. We're looking at each other like, is this really happening? Like, wow. Singing a song with no lyrics. No lyrics. They all knew it. And they all sang together
just perfectly. Well, it was so powerful. You know, it's, wow. So I believe in the melody for sure. And that's, I remember like, I grew up in Canada in Winnipeg. And I remember probably 88 or 89 on the Rock Radio Station, CJ 92, Nuts Calgary. It was, it was a city FM, I mean, city FM 92, city FM. And between the rock songs, they would drop in a summer song or a satch bookie or a crush, a crush of love. I bless them. So wherever they are now. I think they actually still exist. Believe it or not.
As rare as that may be. But how, like, not to give a history lesson, but how were you able to crack into the rock radio market in that time frame, the late 80s, when there was no instrumental music on the radio? And there really still isn't to this day. No, no. I have no idea. I mean, it has to be the good heart and the good set of ears of the program directors and the DJs who would pioneer it. And I know back then, the DJs
had a little bit more power. You know, they could walk in and say, I heard this. We should play it. And they'd get it on the air. There were certain markets around the US that had DJs that were just champions of what I was doing. And they would just play it and play it. And every time people would call in, they'd bring those results to the program director and say, I know this isn't coming from playlist central, incorporated, wherever that may be. But this is what the people are saying.
They're saying play it again. So, yeah, I mean, I owe everything to those guys who play the tracks. Because there was no good reason to play. You know what I mean? There was no muscle behind us or anything. I was signed to relativity, which was a small division of important record distributors, which was this little funky building out by the by Kennedy airport and Jamaica Queens. I mean, it was it was funky. But everybody believed in it, you know, especially this guy, Cliff Caltrary.
He was probably what you'd call them the head of ANR for relativity. And he was a guitar player himself. And he was he was just such a believer. He just motivated everybody on that team to tell people about the records. That's, you know, and that's what you have to do. You've got to be introduced and say, you got to, you know, forget about what he looks like. Because I always just say to me, you don't look right. Yeah, the first time I met the president of the company, that's what he
said, Barry Cobra. I'm standing there in the office in front of everybody. And he's looking at that many and he's like laughing nervously. And he goes, you don't look like a rock star. It was like, yeah, I know. And he got, I don't really understand this record either. And, you know, but Cliff would be there saying, no, just shut up this guy. People are going to love him. You know,
so maybe because it was something completely different, something new, it was different. Yeah. And I did everything I could not to be like a lot of my friends who are very successful like Steve, I always thought Steve fit perfectly for that time. He was tall, good looking, had long hair. He looked great in cowboy boots and leather and everything. And he could play guitar like nobody else. So, right. And he went from from Zappa and he was in white snake and David Lee Rothen.
So, it's like, well, that's a natural, you know, but I realized it looked at me and they went, he comes from nowhere and he's like, you know, half the size. So, they just couldn't figure it out. Yeah. The kind of the pearly afrosque hair at the time. It never worked. But the thing is, you just mentioned Steve because I became hip to Steve when he joined David Lee Roth. Like, I knew the name because I was reading all the magazines. So, he was in Alcatraz and
yeah, I'm with you. But being in David Lee Roth, suddenly he was accessible. Okay, now I get it. So, when he put out a solo record afterwards with the audience is listening and all those songs on it. I already knew who he was. But once again, those songs weren't on rock radio. Your songs were. Yeah, my word a little, yeah, I guess suppose when I'm writing a song, I'm more hard on myself when it comes to editing. And I just take stuff out all the time. And in the studio,
guys, they'll say like, that's, you know, that'll make you famous. You know, people are going to shake their heads when they get to that part. But I listen to it and I go, that's too much. That's that's overstaying my welcome or it's it's not about the song. So, maybe the difference is that, you know, it probably does me in, right? It's is that I'm thinking about the story behind the song,
the original inspiration. And I'm writing only to that. And then I just keep writing that. And then when there's a space that I think it needs something, if it calls for something unusual, I'll do it. If I don't know how to do it, I'll teach myself how to do it. And I'll practice it until I can pull it off. But it's it's not the other way where I say to myself, I can do this thing that no one else can do this trick. So, I'm going to write a song around it and shine the light right on my
fingers when I do it. To me, that just that just hits me the wrong way. So, the restraint that you use because back at that time once again, when you first became, you know, a name, it was all about like the Wank value. Yes. And you probably won't give any names, but I would like, for example, there's two albums that I listen to and one is a little bit taboo, but I'll say the first
living color record was Vernon Reed. And then the Vinnie Vincent records. Yeah. There's so much, just it's like you can't you just want to shoot the beat like you never you must have been looking sometimes at some of those guys and going, oh, I could just whip all their asses, but I won't. Because I'm going to air on the side of melody. You know, I think that I think that the the curse that's also a blessing, all artists have it, you know, whatever it is, their sense of
taste or their emotional attitude towards in this case music. It defines how we react when the red light is on or when we're in front of an audience. So, I mean, I will drop to my knees and play with my teeth. So, I'll admit that. I'll do that to get a rise out of the audience. But there are things if I think it doesn't fit musically, I won't do it. So, when I hear other players fill up the spaces, I think, well, what's he doing? What is this got to do with the
song that's playing right now? Very often it's not. Very often you can stand back and say, I see this guitar player. He's a passenger going from one band to the next and he's making sure he looks good. Every time they give him eight bars, he's going to say, look at me, you know. In a way that's cool. That's like a rock and roll bad boy attitude. So, and sometimes it works, but I think you got to be sensitive to when it doesn't work. And sometimes a song doesn't need
a solo or it needs the guy to just lay out, you know what I mean? I certainly learned that playing with Sammy and the guys in chicken foot that some songs, all of us realized that we had to just lay back a little bit sometimes to make the song work. And since those guys have been advanced forever, they know all about that. It comes natural to them. Guitar players, we're fronny breed. You know, we spent a lot of time in our room just sitting there. And so sometimes that social skill
of being in a band can be lost. I see that a lot. Was that interesting for you like joining a band where you're actually, obviously Joe Satrani has a band, but it's based around you as the focal point. Are you joining chicken foot? We have four huge rock and roll hall of famers basically. Yeah. You know, three hall of famers in you. Yeah. I know. Lessor name now. I am. I'm nothing in that band. I just write all the music and see if they like any of it. Was that kind of fun for you?
Is it challenging sort of? It's total chaos party. You know, it'll get you, you know, gets me screaming mad and puts the biggest smile on my face. And it's an adventure. One more tracking. It's like the height, you know, it's just fantastic because they're so live. Mike and Chad are just so good. They're just so natural. You know, we do those records with no click tracks or nothing. It's just we're just in a room a little bit bigger than this.
Staring at each other. Seeing who remembers how the song goes because everything's written and tracked in about two and a half hours. So it's really fast. And sometimes Sam is actually making up the lyrics on the spot and cutting 50% of them right there. Wow. So it's everything's very tense, but very fun at the same time. You know, it's not like lay down the click, put down the bass,
do the keyboard, you know, do the fake rhythm and all that kind of stuff. There's never, never time for reflection unless like this new track we just did, it was done where no one was ever in the same room at the same time. So I wrote a song recorded a demo, sent it to Sam. He got excited, wrote the song in one afternoon, did all the vocals, sent it to Chad, Chad did the drum somewhere else, came back up to San Francisco. Mike put his bass on,
then Mike came back again and he and Sam added background vocals three weeks later. I put on a solo. Now it's done. Now it's in the can. So you have a new chicken foot song. We do. We do. Yeah. Well, that's the space. I wish we could debut it on this channel. It's an exclusive. It's an exclusive. Give me the permission. We'll play it. Yeah. I mean, but that's the thing. It's interesting when you were talking about something I wanted to kind of go back to when you mentioned
as far as the restraint of a solo. And I saw this great thing and you'll appreciate this. It was when the Stones did their kind of reunion show in about 2012 when they hadn't played for a while. They did a pay-per-view. And they had this, I'm going down, going down, down, down. And it was Keith, Ron Wood and Gary Clark Jr. and John Mayer.
Great. Now I mean, fantastic players. All of them, right? Yeah. So they were trading off solos and Gary did his thing and John did his thing and Ronnie played some wicked slag guitar and Keith went up there and just hit. He just went, wow. And then just left, right? It was, but he was like so badass and doing it. So fast forward about a month or so I had the pleasure of meeting him and asked him about that. I said, so I saw this great solo thing and
and you just played one note and you kill yourself. Well, everyone was so busy. I thought I would just pick one note and stick with it, man. Yeah. Make sure it's a good one. Like that's like, yeah, there's the secret, right? Wow. You know, but then when you played with Mick Jagger, I did. Yeah. I'll tell you that period. You have to imagine like I finished surfing with the alien in the summer of 87.
Mm-hmm. This is ancient history. So you'd finish a record. You'd pass around cassettes for months. No one pirated stuff. Yeah. So that's what was happening and we got a late October release date. By the time we're, we're inching up to that and the thing gets on the billboard charts. It was blew me away. Anyway, I think it was 186. It was our debut number. What album was that? Surfing with the alien. Surfing with the alien. I'm sorry. Okay. So that's October of 87.
Stock market crashed. The day we released the record. That's an important little fact. I always keep them on mine. And how good and bad happens at the same time. And a couple of weeks later, the president of the company says you've got to go on tour to support the record. It's going to be a hit. And I said, well, number one, I don't have a band. Number two, I've never played instrumental music in front of an audience before. So I have no idea what I'm doing. So he said, well,
we better learn fast, you know. So we did hit the road. I gave him a last lesson to Kirk Hammond, right? And in Berkeley, California, I went out. I started. We were out on the road for about two and a half weeks. And I got a call from my friends at Bill Gray Management, who based in San Francisco, but they were in New York City. Unbeknownst to me, they had been running the Jaguar solo tour. It still hadn't started, but they'd been in New York City for a couple of, I don't know, six
reproduction for it or so. Yes. Right. They still couldn't find the right league guitar player. So they call me up and they say, we hear you're close by. I was in Boston at the time. And would you like to audition for Mick Jagger? And I was like, of course, and I said, you know, I'm not going to get it, but I just got to get in the room, just get me in the room, right? Because I was just a fan. So everything was just very cool. Mick was cool. He was just like the
greatest guy ever. And I got the gig and it kind of saved my ass in a way because the tour was not going well. We were doing two shows a night in clubs around the country. And we were losing lots of money. And I didn't really have a manager at the time. And so the Jagger gig sort of steps in. And it's like, okay, now I've got like a break from this whole solo career stuff. So while I'm with Mick, the record just keeps just raging up the charts. By the time we're in Japan, it's on
page one now, right? It's over in the top 100. And then by the time I was in Australia with Mick, let's say nine months later like that, it's sitting in the top 40 for six weeks. It was just crazy. Oh, leave a little. It was it was just a meteoric rise really from a guy who was really looking to get in the next legs. Appalien if he could, you know, to suddenly standing there all by himself. You know, and I'm not a front guy, right? You know that you're sitting right across from me.
You know, I'm not a lead singer type. You're a lead singer type. But I'm not. I'm the guitar player guy. I like to be three steps behind the singer, right? So then all of a sudden there I am. Everyone's looking at me and I'm like, wow, okay. And so I have to say that those those few months that I spent, we did two tours with Mick. And it was a learning experience because Mick was just like the consummate
performer. He not only is blessed with just that magnetism, but he loved the audience. He did nothing but a hundred percent every single night. But backstage he was just one of the guys. He loved the party. He hated to rehearse, but he wanted everyone to put on the greatest show ever every single night. Right to the last song. It was remarkable. So I felt like I had I was going to rock and roll school there in between learning how to be a solo artist. You know, what did you audition with to
get to get the gig? Do you remember that's a good question. Yeah. Well, the stone songs or was yeah, yeah, stuff too. For what? For what I remember, I walked in, I plugged into a Marshall half stack and that was sitting there that all the other guitar players had auditioned with. And I think they ran me through a bunch of stone songs, but I knew all of them. So it was no problem. Jimmy Rip, local New York guitar player was the rhythm player in the band. So he did all the open tunings.
He was playing like Keith. He had the scarfs and the whole thing, right? Because Keith plays in the weird tunings. Yeah. Yeah. Yeah. Yeah. Five string open. Right. A lot of stuff like that. So I had to represent from Brian Jones all the way to Jimmy Page every league guitar player that had played. Taylor. Yeah. Oh, that's right. Yeah. And I'm super fan of all of them. So I can imitate him real easy and enjoy it. And apparently Mick was on the other side of the door just listening.
Maybe he thought, I don't want to meet this guy. He's just sucks. So he came running in and he was just, you know, a ball of energy that he always is. And with very great education, like you said, to go on tour with Mick Jagger. Yeah. He was amazing. The way he arranged the tour, the way he made everybody feel relaxed. But the way he elicited nothing but the best from everybody. He expected that. And you knew that. But at the same time, you know, we never listened to stuff
after a show. Like he would never like call a meeting or something like that. He'd never do that. He just joke around. And if he heard something on stages and like he'd just start talking to you. Or if he liked it, he like, I remember once I was playing a solo and he came up and he bit me on the shoulder and he was just, wow. How you know, screaming. He's just in the moment. You know, what I mean? Yeah. So I love playing with him. He's a great guy. That's such a great experience.
And then once again, having this other great experience of playing with Sammy Hager as well. Yeah. That's two of the greatest frontman in rock and roll history. I think so. I think you know, and you got to do was a, how about when you're playing with Sammy so many years later? Was it the same vibe? Because Sammy gives, gives his all on every show as well. Every single show. Uh, Sammy is so complicated. I got to say that if he was here, he'd be giving me with something I can't say on
your fine radio show. But my fine, listening audience. Uh, but yeah. Now, Sam is, is like a tornado of energy and emotion. And when he hits the stage, it's like the culmination of two hours that people don't see backstage. I've never seen like most, you know, big stars like yourself. I'm sure you're wearing a robe. Your head's in a steamer. There's a sign outside. Really, it says do not disturb Mr. Jericho. Look at Mr. Jericho. Exactly. I'm not looking at you right now.
By the way, don't even think about it. Don't do it. So, but no, Sam is there three, two and a half hours before the show. And he's making drinks. And he is on full on Sammy Hagar with everybody he meets everywhere all over the venue with the meat and greed with the staff with the, you know, and the rest of us like me and Chad are like leaning back like, oh my god, get this guy away from me. We got to get ready for a show. And this guy's like, you know, he's blowing up. And then so by
the time he walks on the stage, he just can't control himself anymore. And that's what you have to watch out for. And then when he and Mike get together, it's just a big party. And it, but for me, it's like the best roller coaster ride ever, you know what I mean? And I love the fact that I'm not the soloist, right? Suddenly, I'm just like the Jimmy Page guy if I may say so myself. But I'm, I want to be Jimmy Page. And I'm just hanging with Chad, you know, and it's like it's such a
cool thing to be able to just play a rhythm guitar for most of the song. Three steps behind the singer. Yes. And I'll let Sammy do all that stuff. And he's, he's drinking everything and he's partying. He is becoming, you know, one with the audience, which is really kind of in rock that leads singers got a lot to do. Yeah. Absolutely. You have to get the connection with the audience as the frontman, you know? Yeah. I don't really seem like you're much of a party guy. No. But
you're also being a Samian Mick who are like famous party guys. I know. It's very interesting. But you know, there is a big difference. Whereas I would say Mick, when I met him, I have no idea what Mick was like right in the 60s. I'm sure he did it all. But by the time I met him, he certainly was completely in control of himself. I never saw him lose control of himself as a way of entertaining. But I've seen, and I've seen Sam just like where you think this guy is going to explode or fall
flat on his face. But he never does because he never goes there. He goes right before it where it's, he's figured out where to find the most perfect pitch perfect like party vibe going. You know what I mean? Yeah. And then he's cool right there. But it's so exciting and it's infectious. You know what I mean? Everyone just goes crazy. So were you guys doing all chicken foot saws or
was there some macros or some van Halen or any of those type of tunes in there? You know early on, we decided we shouldn't do, I didn't want to do Eddie songs because I kept saying you know, I'm a big fan of Eddie van Halen and by the way, he's still live and they still do it. He's like, isn't that weird? So I just said I'm not doing that. And Chad didn't want to do that either. And he said, you know, we should do any chili pepper stuff. Let's not make it about that.
It's because these things are ongoing. But when it came to Montrose, we thought, well, that's different. That's got a little bit more history to it. And so, you know, we played what we do. We did a couple of deep purple songs. We would just throw stuff out there. You know, we do bridge of size. Why would we do that? I have no idea. We do that and Mike would sing or something like that. But we mainly, it was 99% just the foot stuff. Which is great. Yeah. And we'd stretch it out.
Right, right. Right. It's, you mentioned it earlier. And there's so many ways we could go here. You mentioned the purple. You're in deep purple for a tour. I mean, but I wanted to hit back when you mentioned you said you probably told these stories a million times, but never here. You said you gave your last lesson to Kirk Hammond. That's right. The story that you chased he taught a lot of guys in that area, the Bay Area. Kirk Hammond. Yes, I know. That's crazy, right?
So, is there? Well, Alex Golnick from Testaments. Yeah. Larry Lalon, who was in primus, obviously, was a disaster. And we actually produced an EP for them. For disaster? Yes. Yeah. What was the first EP called? At the gates or whatever, the thing living in hell or something. Whatever. Nice title. Yeah. That's a, there's a crazy story behind that. But Larry was a great guy. And he was a really good student, a great student of guitar in general. So he saved that record for
us because the other guy was just totally out of it. But like Charlie Hunter, the great jazz guitar player, he was a student. I had like Kevin Categan from Third Eye Blind. The other guys from Exodus, Rookiee Lennel. You got like half the thrash pioneers. Are you a closet thrash fan, Joe? Well, yeah. But there's an interesting story behind that because like, you know, Kirk would come in and take a lesson. Then it would be Larry and a bunch of other players who were equally
as talented, but were in bands that didn't quite make it. David Bryson from County Crows would then take a lesson. So I had a variety of students. But that age group, I recognized really early on that they were creating a new genre of music. And I had started teaching, you know, when I was 15, when I was teaching Steve I back in our hometown. Steve I do. So I knew what it was like even just a couple of years that it separates like in high school, if you remember, a few years in high school
is really a generation in a way. And so there I am. I'm in my 20s, but I'm teaching these teenagers who are inventing thrash metal. And I thought, this is what's coming. This is what's going to make the rest of us look old at some point. And it's going to replace regular rock. It's going to become the classic rock of its day. And in the Bay Area at the time, it was all about new wave. You know what I mean? There was a lot of fashion and music going on. And I kept thinking like,
this isn't going to last. I think what these kids are doing that I'm teaching them, you know, that's what's going to replace it. And sure enough, it did. Yeah. It was pretty exciting. So I mean, are you talking about like you gave a lesson to Kirk? Was he a regular student? No, for a couple of years. Really? Before he hit with Metallica? Yeah, he was an exodus when he started taking lessons. And was a great student. You know, he come in with Steve Revan and Shanker
stuff to learn and Uli Broth. And he loves those guys. And who wouldn't? A fantastic guitar player, it's great music. And but he was a good student. He wanted to, you know, he wanted to have his horizons widened, you know, he wanted to see what else was out there. And I always felt the same way, which was, you know, I should just pass on what I've learned. I just learned before them. So I always had that attitude like I collected this. I'm using it. But here's this, you know,
15 year old kid who knows what they want to do with it. I'm not going to stand in a way. So I was thinking, how can I show them this theory that I've learned without any style? And that was the key, especially when he got into Metallica. I kind of felt the weight of it. Like do not, like impose your style on this guy because he's got a real job, you know, to me. And he knows what he wants. So I talked him about that and give him advice about it. I always like Joe, I'm in this band now.
I just, I just say, hey, you know, here's this information. I'm going to, I'm going to say these are your choices, you know, because he bring in, like, say a song they're working on. And he would have this weird ass core progression, you know, they didn't have anything to do with music theory that was written 300 years ago. Right. So I'd have to say, well, this is, you know, the notes in the in the core progression, make up the notes of the scale. And if there are more notes,
then are represented in one scale, then you've got to use more than one scale. If there are less notes, those notes are free notes. You make those up yourself. I'm not going to tell you which wants to pick, but here are your choices. So he had to memorize the scales that I showed him. And he had to draw the memorize the connection between them because they're all modes of each other. I don't, I'm not giving you a theory lesson right now. So anyone's going to do it and make it
interesting. It's right. So I tell him, look, a scale is like a set of numbers one through seven, and it just keeps repeating, right? If you imagine that in your mind right now, one through seven, one through seven, one through seven, one through seven, just keeps repeating. If you start from two to two that has a different sound and a different feeling to the audience, then if you go from three to three or four to four or five to five. So I said, you've got to memorize that and you've got to
develop an opinion about that. And your opinion is going to turn out to be the Kirkhamet style. That's what they're going to hear. And that's all you got to do. To me, it seemed pretty simple, but it's a lot of leg work and it's boring and you want to go out and party. Right, sure. But the fact that, I mean, you're almost like a guitar Yoda at this point with Steve Ianker, Kevin and Leccioda. Like Yoda. Like Yoda. Those are a lot of different types of styles of
players that all kind of studied under your wing. I mean, that's a pretty, uh, pretty cool resume to have. So to speak. I was very, very lucky as a guitar teacher. I mean, I taught little kids and I taught doctors, lawyers, race car drivers and I would never lean on them. I just teach them whatever songs they wanted to learn to relax at home after a hard day or little kids. You know, the kids would come in and they put like toy men on the amp and then they pick up the guitar in place.
I'm not going to like heavy with the frigian dominant mode with them. But guys like Larry and Kirk and Alex, they come in and they say, man, just teach me everything. Lean on me hard. What, um, you know, why do I suck? How can I get better? That kind of thing. And of course, they never suck. They were always good. They would just fresh, you know. Do you ever see those guys around? And I do. Well, we played quite a few shows with Metallica. They've been very gracious and
putting us on the shows. It's always weird. We set your anti band on the shows. Yeah. Really? Yeah. That's cool. The last one we did was a couple of years ago, Quebec City, 120,000 people. We played right before them on the stage. It was very exciting. It must be must get a good reaction though. It was fantastic. Yeah. You pull out the heavy tunes for those. Yeah. We don't do anything quiet. As Mick Jagger once said, this gig is more about waving than it is about all the notes.
I always remember that. That's a great line. Yeah. Have you seen Mick at all? Yeah. Yeah. Last last time they played in Oakland. Yeah. You go by and hang out and say yes. Yeah. Yeah. But unlike Sam, he's backstage. I know exactly what he likes to do, which is not talk. He's got the scarf on and he's very high Joe. How are you doing? You know. It's my wife and everything is very quiet and the real singer. Yeah. Yeah.
He sings full voice for like three hours. It's amazing. And it was it's crazy to sit in the audience with performers that you know, you know how weird that is. Yes. Yes. But I never feel that when I go see the stones, for some reason, he just is so believable as Mick Jagger, the singer and the stones. You know what I mean? He never breaks down and he's in such great shape. I don't know how he does it and his voice is huge still. Maybe better now than it was in the early
80s, I think. I think so. He can hear himself. Yeah. With the in-ears, I think really helped him quite a bit. Do you do a big bad moon when you play live? Yes. You still bust out your vocals. Yes. I do one song a night. That's all I can handle. But once again, it was a hit song. With you singing, I don't know what the heck happened, but every time you put something out, at least in Winnipeg, you should have come to Winnipeg in 89. You would have sold out the arena. Yeah.
I can't believe that. But I mean, that was a huge song for you with you actually singing. That's crazy. They were all sung in character. That's basically when I went in to do that record, I told my co-producer and friend John Quinterberg, I said, look, I don't, he knew me from singing in this band, the Square, which is a power pop band that went nowhere for five years. And I said, I'm done trying to be Joe. Right? So every song, there were six on that
on Flying in a Blue Dream. I said, it's just going to be a different character. So whatever we have to do to make this work, I don't care. Break out any microphone. I don't care. Just like, this is make it work. But as I get older and my vocal range gets shorter and shorter and shorter, there are those six notes I can hit. So that's a big bad moon. That's a real blues like, how, how, how, how almost that type of thing. Yeah. I'm just doing Billy Gittens. Yeah, totally.
A bad, a bad version of Billy Gittens. That must be kind of fun for you though once a night to get out in front of the mic and sing. It, yeah, it is. Yeah. I remember when I think the G3, when I saw you guys and Steve was doing it, he had him and Billy, they did shy boy and Billy sang shy boy. That's right. That's the one vocal track the night. We're like, oh, this is cool. Yeah, yeah. Well, I used to sing rock and roll of keep on rocking in the free world. And I'd sing, what else
did we sing? I think some going down. That's easy. The only thing about that Neil Young song is the lyrics. Oh my god, those verses are just, I've covered that song before too. There's a lot of words in those verses. Yeah. How do you sing toilet paper? I mean, that's in the last verse, right? Yeah, it is. Yeah. We got carver. We got toilet paper. It's just like really? She's running away in a garbage can and whatever it's like, yeah, yeah, you got to be a good singer to pull that off.
Yeah, yeah, yeah, or at least at least have written the lyrics and believing it. Yes, you know, yeah, yeah. How do you pick a set list after 30 years, especially in a new record? It's funny because I know your new record. I keep calling it champagne supernova. Thank you, which is a, you know, aces song, right? But it's actually called shockwave supernova, right? And I almost wrote that down on my hand. I never have any questions. But I keep
this, this album title, I mean, he's going to think I'm an idiot. But I mean, it's a very heavy, heavy record. I mean, there's a lot of diversity on it. But the song's on there's a lot of great melodies and riffs on that too. Do you want to focus on that? Do you have to go through the back catalog? How do you do it? Every time. I mean, I'm sure as you've done it with Fuzzy, every time you come up for a new, a new record and a tour behind it, you lean heavily on the new stuff,
but you have to sift through the catalog and see what do the fans really respond to? What songs have become part of their lives that you have to do? And I know for meeting the fans a lot that very often you might find 50% of more of the audience has never seen you before. This may be the only time they ever get to see you. So if you go out there and you play every stupidest obscure song of yours, because you think it's cool, it's really a disservice to these fans who've
supported you for all these decades, right? So I'm very sensitive to that. If I point, you know, if I know that stuff from the early career that got people in my age group really tuned to what I was doing, if that's not in the set list, that's a bad idea. So I love playing those songs anyway. So we do, I think we focus like in three segments. We go, we're gonna promote the new music, the ones that we think are working really well, you know, translate to the stage live. And then we're
going to take the songs that we know are the greatest hits among the fans. We have to do those. And then that last third is kind of up to us. And we're going to start to maybe see those hardcore fans who've seen this like 20 times. And they're like, how come you never played that song, you know, or something like that. So we brought them out on this tour. And so we can do it because it's an evening with. But it's a smart way to do things even when you're talking about Metallica or the
Stones. Once again, I saw them last year. And they've got the hits that they do and they've got the kind of the more obscurities that they choose. And they actually have a fan vote for real obscure ones once a night. That's cool. So everybody's happy. Yeah. You know, like you say, because you can't not play, you know, big bad moon or summer song or something like that. Yes. Even if you've played it 10,000 times in your sick of it. Yeah. Oh, I'm still working on it. I see it as an opportunity to
finally figure out exactly which finger to use for that note or how long to phrase it. It's tough, I think. I think that with with lyrics, you know, it almost goes without saying. It's really hard to to shine a light on this properly. I've been struggling with trying to communicate this. But if if I'm writing, let's say a song about a bag on the ground, all I have to say is I'm looking at a bag on the ground. Everybody knows exactly, you know, if they understand English, they know exactly
what I'm talking about. So the tone of the song is set by that first thing I say. And I could say the skies on fire or, you know, my shoes hurt, whatever it is. Everybody knows exactly what I'm talking about. But the instrumentalist got this burden of not having anything to cue them into white. I'm writing about right. So when I go out and I play these old songs, I'm thinking, I think
I can get this better. I think I can just sharpen this a little bit more. Whether it's a love song that I'm playing just the right amount of notes or it's a song like ice nine where you can just throw everything at it. You just keep throwing everybody's kitchen sink at it and it just song just gets bigger and bigger. But we keep trying and I keep having fun doing it. So how do you come up with a song title for, like you said, for a piece of music that has no words? Well, I gotta say that
the titles come first. I'm inspired about a person, an event could be fun, light, could be tragic, heavy, something that's really, you know, holding my heart down for years or something like that. It could be something I read about on the internet that just makes me go, oh my god, and you look at that, you know, I don't discriminate between light and frivolous and super heavy. Like if I want to
write a song about a loved one dying, I'm just gonna write it. And if I want to write a song about driving in a convertible in the summer, then I'll just write about that, you know what I mean? And then I look at it after it's done and I say, does it fit on this record, right? So that way, I'm not sort of, I'm not being too clever about it. Because I always figure if you sit back and you say, I'm really great and I'm clever and I can tell what's good and what's not. I think you're really
in a lot of trouble. You know what I mean? It's better to write a whole bunch of stuff and sit back and see how do they relate together artistically? Which songs that you wrote, let's say about a loss of a friend or loved one, which one really connects? You know, where did which song was done the best way possible? And then when I hand it over to the audience in a way, I'm not gonna force them to think about my tragedy. I can tell you this story that this illustrates it quite well.
In the back in the early 90s, I put out a record called The Extremist and I had a song called Crying on it. And I didn't, you know, back then without the internet, there wasn't a whole lot of information about anything you put records out and they just kind of existed. And so this song was really about me coming to terms with grieving for my dad and thinking, you know, trying to say,
well, there's good times, you focus on the good times and so there's always hope, right? So I put a lot into this song, the performance and everything and I kept it to myself, you know, this was a song, except for the title, right? No one knows what I'm crying about. And so we're off on our European tour and we got contacted by a German sports TV program called RAN, RAN, probably RAN, maybe the way
they pronounce it. They were using that song as their theme song every Sunday night and they would play the highlights of the week and then they would use it for the TV program's main main music and so they wanted us to come and play it on the show. And I was thinking this is really, this is so wonderful, but at the same time, it's a total distortion of the artist's vision. Right. Right. But of course, I didn't say anything about it. I was just so happy that they love
the song and from then on, that song became like a romantic song for a lot of people. And I didn't stand in the way because I thought, it's none of my business anymore. Right. I wrote it, it's special to me, but it should be free, you know what I mean? It should be, remade maybe isn't the right word, but people should be able to associate it as they like. I think it's like a good piece of art. What does it mean to you? What do these lyrics mean?
What do they mean to you? Exactly. That doesn't matter what it means to me because now it's, like you said, it's yours now. You're sharing it with the world. Yes. You know, which makes us, but it is funny, like for example, on the new record, not champagne supernova. There's a song. That's a good title for record, by the way. Not champagne. There's a song they're called on. I'm saying the word wrong, parag... You can say paragrin or paragron. I was going to say
paragrin, either way. I don't really know what that means. I'm not sure, but it seems something with very mythical, some kind of mythos. Yeah. Paragrin can mean, if you look at it up in a dictionary, it means alien or strains or unusual. There is a paragrin falcon, a falcon, a type of bird. And I came about the word because I've been working on this animated sci-fi show with some friends mine. And there was this whole series where we're talking about this guy when he goes to
this new plan, at this new reality. He's confronted with these beings who are flying around and they're wearing these suits. And I was thinking, what would it be like if you suddenly could fly? Just, you know, not with a contraption, but just with, let's say, putting on a t-shirt and suddenly you're going, right away you'd say, well, I've always wanted to fly. It'd be great, but you'd be scared out of your mind, right? To suddenly be 800 feet in the air, looking down, thinking like,
what if this thing's tough for working? Yeah. Yeah. So I was just inspired by that the whole look of our show and the animated show and the characters. And so I wanted the song to have that intense adrenaline going through it. But it also has a little bit of an exotic, exotic feel as well. It's like that song title matches completely the vibe of the song. Good, good, great. Which is an instrumental much like, you know, summer song. Like you said, that's put in the top down on the
convertible. Like that to me is a real brilliance of instrumental music when you hear the song. And it just, it fits that it's exactly what you're trying to get across. I assume I'm glad to say that because that's what I really, really strive for all the time. Yeah. I remember Iron Maiden had an instrument called Genghis Khan. Yeah. Yeah. Yeah. And you hear it and it's like, it sounds like the march of the troops. Exactly. Yeah. Yeah. A couple of last things I know what you're getting
ready for your show. But how did you get to that name, Satch? I, you know, I have to think that I was going to is predominantly Irish Catholic school for the first five years of my education. And there was basically it was just Italians or Irish kids and everybody shortened all the names, everybody. So I became Satch because no one was going to go the distance and say, that's reality. So for now, it's it first. Right. Yeah. They look at it and they go,
now, Satch, that's it. You know, I think for a while it was Satch, maybe even, but that makes sense. Yes. And I was the youngest of five. So even the even the priests and the nuns were sick of my family. By the time I came around, I was like, Oh, why don't you another one? You know, they kicked me out after five years. But I was saved by public school. But, but I, you know, they remember, what were they called the dead end kids? There was a character called Satch, right? The tall skin.
Yeah. Yeah. Yeah. I think that's, you know, maybe I, because I don't think my friends knew about Louis Armstrong. That's right. That's a Satch. Yeah. Yeah. It is funny when we were just changing emails. And for some reason, on my phone, your email always comes up as Joseph Satch, right? But it's JOS, JOSEP, there's no age. No way to get rid of the age. So I started to think like was is he Polish Italian? Is he Joseph? Joseph? Joseph? Joseph? Come here. Yeah. Say look a
tongue. The worst Polish accent in the world. That's good. That's good. Then I've heard that now. Joseph, there you go. There's a song title for chance. If you have a kind of a Russian sounding song you play, you just very brief. I know you're in deep purple for a tour or two. Yeah. Was there any of those black more solos that were that were nothing is hard for you? I'm sure that we're harder to figure out than others. Oh, wait a minute. I have to say that is it possible to properly imitate
was she black more really in my mind? He's so totally original. He's so idiosyncratic. Good luck to anyone who tries to step on those shoes. I mean, that it always I got to say that every I enjoy playing with that band and they were the greatest guys ever. But my worst enemy was the me in my head who was a huge black more fan and every time we'd be playing the me in my head we'd be saying that's not how it goes. Like what kind of guitar sound is that? It's supposed to be
a strat and you know, it's just like, oh, I was such a struggle. So yeah, when we did like smoke on the water, I just try to nail it. Note for note because I figured there's no other solo that works. That's it. Yeah. He went to the mountain top and he he got the solo from high above and that's it. And so if you place that mouse, it's like, yeah, and that's the secret of playing in a band like that. I mean, obviously you want to interject some Joe, but for a soul like that, you can't change
it because the fans in the crowd know every air band note of that. Yeah, right? She's pretty special. I mean, there's so many guitar players from that era that were so unique. They were so different from each other and they were all idiosyncratic. They all just played what they could. But for us, the fans, it was gold and every single note was gold. And so I was, unless I got something from, you know, from Ian, you know, that just go crazy, do whatever, you know, I mean, it's a very
unusual band. They I stepped in after they wanted to kill him, right? He was richy left in the middle of a show in the middle of a tour. Just really? I just walked over. There's a funny story. So I get the two cassette tapes from Roger, Roger Glover to memorize the show for the tour. I have a week, right? And I'm flying to Tokyo to do the the Japanese tour. And there's no guitar on the second cassette. So when I get to the first rehearsal, the first and only rehearsal, I said that when we got
to one of those songs, I was like, so I lay out here like, what do I do? And they were all like shaking their heads going, no, you're supposed to play play whatever you want, you know? There's no guitar because he was gone because he was gone or he was hiding behind the amp or, you know, they were deep into some family rock and roll issues. I didn't want to get in the middle of it. I was just a fan who got to jump in the band for a couple of months. Are you excited that Blackmore's going to
be playing some electric tunes again? I really hope he does. I've never met the guy. I'd love to meet him. Well, you know, he's playing four shows this summer with Rainbow. Oh, wow. Yeah, where here you ask? No, like two festivals in Germany and two in England. But he put together a band, none of the old Rainbow guys. And he's doing purple and rainbow. And then, yeah, he's doing a lot more. We might be around and we go to Europe to do some festivals in June. So we'll be there
for a moment. Sketch right on Lars' plane. He's going. Yeah, really? Yeah. Cause he'll charge me. I'm sure he will. All those guys were there playing. Yeah, the Kami and Lars got to get guy pay for gas, man. Come on. That's right. There's no hitch in a ride with those guys. Last question, man. And this might be hard when to add to answer, but of all your solos that you play, is there still one that you
let's you have the most fun playing? Oh, that's a good question. I like playing all of them. I think there are some that I get more anxious about, you know, like if I'm playing a ballad, it's like, I there's no there's no variation that's acceptable, really. You know, I mean, it's I always think of myself as I'm on a motorcycle. I'm on a very narrow road, one lane, and it's on the edge of a mountain. And that's it. That's what playing a ballad is like when you're electric guitar.
Cause you know, league guitar can become a noisy piece of crap in about a second. You know what I mean? It's so precarious, especially the way I run my rig to get the guitar to sing. I'm running a lot more gain than usual. And it's all about control and, and you know, I'm avoiding the wrong feedback. I'm just it's always it's kind of nerve wrecking in a way. And of course, I want to connect emotionally.
And so it makes the moment very highly charged. But if I'm playing such boogie, I know that I can do almost anything as long as it's overt. So I have to have to say don't worry about looking stupid. This is all about looking stupid. So if you want to play the whole thing with your teeth, just go ahead and do it or make noises or something. So it's almost like there's a completely different psychology behind it, you know, sure. Yeah. But I'm surprised every night. I play that, you know,
as I'm playing most of the time, my eyes are closed. And but if I open my eyes a little bit and I look in the audience, I see one person just like in heaven because of something I did, then I know I'm doing the right thing. So I just close my eyes again. And I just go back to work, you know. Well, Joe, you got to go to work right now. And thank you, man. We finally did it. We finally did. I made it happen. That wasn't too hard. It was easy once we got in the room. Thank you, Josep.
Thank you very much for that new name too. You're awesome. You're awesome. All right. Joe Satriann is on the road. He's continuing his surfing to Shockwave 2016 tour. A retrospective tour celebrating Joe's 30th anniversary in the biz. He's also doing the G4 experience in New York, August 8th to 12th. That's four nights of guitar wizardry featuring Sat Steve Vi, Eric Johnson, Alex Skolnik, Mike Kennelli. You want to see some shred? You want to see
some virtuosity. You got to check this out. Satriann.com. It's got all the details and ticket information. And of course, Joe's latest album, Shockwave Supernova is out now available Amazon.com. And you know the drill. You use the talk as Jericho links. You're about to just anything you want. And you help out my show and you help out. Sat yourself if you buy that. Sat. Sat album. And don't forget I got Amazon links for the USA UK Canada A. Every time you see the TIG Amazon links,
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I really read all the comments. I want to get to number one. Thanks to all you. Thanks for listening. And keep listening for the 62nd AP News headlines coming up next. Stay hard, stay hungry. Peace, love and hugs. See you on Friday for a huge, huge show. Returning to the podcast is the returning Seth Rollins. That's right. One week after his big return to the WWE, he's right here on Talk as Jericho. Who else gets you that type of service? Who else gets you that type of guests? Who else
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