With his own catalog of hard rock anthems between his work as a member of Bachman-Turner Overdrive and The Guess Who, guitarist and vocalist Randy Bachman has enough material to rely upon if he was interested in tapping into the market of nostalgia tours. Fortunately for longtime listeners who desire new material from the iconic musician this isn’t the case, and while the current state of the music industry did discourage work on new material, it’s difficult to ignore encouragement from such names as Neil Young and decorated rock producer Kevin Shirley.
The end result of this gentle prodding was the formation of the new blues rock power trio Bachman, which features the concrete rhythm section of two previously unknown female talents. The band’s upcoming debut album, ‘Heavy Blues,’ is bound to make quite the impact upon it’s April 15 release date, just considering the guest appearances from Peter Frampton, Neil Young, Joe Bonamassa, Robert Rudolph and the late Jeff Healey.
Music Enthusiast recently caught up with Randy Bachman to discuss the collaborations on ‘Heavy Blues,’ how he unified the three members of his new venture, the stories behind the formation of his latest effort and his thoughts on a controversial period in rock history.
Music Enthusiast Magazine: You previously told me that you considered ‘Heavy Blues’ to be one of the highlights of the past decade as far as your musical career is concerned, and I have to agree. What was the motivation behind this album?
Randy Bachman: The motivation was to get another chance to play and scream my head off. (laughs) I noticed that it was like you are when you’re a kid, you have a band, you want to get noticed and get a record on the radio. I was lucky enough to meet a guy named Geoff Kulawick, who had just taken over True North Records, and he said, “I want to give you a record deal.” I said, “You’re kidding?” He said, “I want to get an evergreen artist with a fan base who tours and wants to give me a couple of albums and do some gigs.”
So I told Neil Young this when I was in Nashville – I met him in Nashville a year ago, and he said, “Well, you’ve got a record deal going. Reinvent yourself. Do something totally new, and don’t do the same old thing and call it new. Challenge yourself.” So I got a producer, Kevin Shirley, who would tell me what to do, and I went and got a new band with two ladies on drums and bass. I decided to do the British power trio, and I found these ladies who play so incredibly powerful that they literally sound like Keith Moon and John Entwistle, or John Bonham and John Paul Jones, or Ginger Baker and Jack Bruce.
They are just power, they keep pushing and pushing and I said to them, “What I like about the British power trios is that the bass player and the drummer didn’t play their instruments; they attacked their instruments.” I mean, look at an early film of John Bonham with Led Zeppelin on BBC, or Ginger Baker and Keith Moon. These guys literally attacked their drums like their drums were going to kill them! And if they didn’t kill their drums first, they were going to get killed by their drums! So I asked them, “Can you do that?” And they said, “Yes we can. We love doing that.” That gave me a great set of shoulders to stand on.
These two ladies are like a giant rhythm section, they play just real powerful rhythm, and I was lucky enough to get these guest guitar players who felt the energy of the album and even gave me more energy and a better taste for some of the guitar playing. The album just took a life of it’s own, and kind of took over from me. I only worked on it five days. We recorded live for five days with a little bit of mixing, then these solo guys came aboard and did their solos.
It was a total surprise every time I would get a solo over the internet, because Kevin Shirley was doing Iron Maiden in Paris for the last three months, but getting these solos sent in from different guys that he hadn’t heard yet was like opening a Christmas present. To get a Neil Young solo and a Peter Frampton solo or a Robert Randolph solo and on and on and on, these solos were just incredible. They gave a little bit of themselves in each song, so every song has this really distinctive guitar playing.
When I’m doing a solo you can kind of hear my playing, but when these guys kick in, it’s just “Blam!” It’s an ultimate album if you’re a guitar player, because we have available these tracks without the solos. So when you buy the album, you can go into a free download and get the songs without the solos and do your own guitar-aoke where you play the solo on YouTube and put it up there.
Turning back to an earlier point, not including the impressive arsenal of special guests who make appearances on the record, bassist Anna Ruddick and drummer Dale Anne Brendan give quite the formidable performance as the supporting lineup. How did you come across these talented individuals?
It was pretty amazing. I got invited to see Tommy, which you know is the musical, a year ago in Stratford. It was around August of 2014, and I had already seen Tommy in New York, so I said, ” I don’t know if I wanna go.” They said, “This is the new digital Tommy without sets. It’s all done digitally with screens, and Dennis McCann, who was the original producer, is going to be there. This is the premier of the new Tommy and they’re going to be taking that around the world. And Pete Townshend is going to be there.”
I’d met Pete in 1967 and wanted to see him again, so I go to see Tommy, we have dinner, I’m sitting behind him during the show and he leans back to me and says, “The drummer is amazing. The drummer plays like Keith fuckin’ Moon.” And I see the drummer is a woman. (laughs) I said, “That can’t be!” But it is! I see the program says Dale Brendan, but Anne is her middle name. I’ve got to give it to her, she’s amazing. We go backstage after Tommy and meet her, and it’s Dale Ann Brendan.
I asked her how she played on Keith’s drum parts like that, and she says, “Well I wrote on charts.” Pete and I look at each other and go, “Oh.” She says, “I’ve been in drum school since I was fourteen. I’ve played percussion with the Kitchener Symphony and the Stratford Symphony in the pit, so I’ve played in everything. I play country and rock and blues.” So I say to her, “Look, I just got offered to do an album. I want to reinvent myself and do something with you on drums and me on guitar. We’ll do the White Stripes kind of thing.” She goes, “OK, I’m in.”
So I call the head of my label who offered me this deal, and he says, “I think you need something else. I just don’t want you to do a Jack White kind of clone.” I said “OK,” and when BTO got inducted into the Canadian Music Hall of Fame last year in our hometown of Winnipeg, I go and see this band called Ladies in the Canyon, and it’s four chicks that play like Crazy Horse. They’ve got ripped flannel shirts and jeans, and they’re blazing. They were playing a Crazy Horse song, actually, and I see this bass player is a tall beautiful looking chick. I got to talk with her afterwards, and she says, “I’ve got a degree for Standard Bass Playing and Composition from McGill University in Montreal, but I rock out at night just to pay my rent.”
So I go, “Wow, you can play stand-up jazz bass and all this stuff? Why don’t you come to a meeting with me and the drummer?” She says, “OK.” So I get back to Toronto, we have a meeting and she shows up in a John Entwistle t-shirt. I said, “Why do you like John Entwistle?” She says, “Because he’s my favorite bass player! Of all the bass players I studied – Jack Bruce, John Paul Jones, Stanley Clark (which all kids do, I guess, when they’re studying bass), he’s my favorite because of his work with The Who, and he went outside of the group and did all these amazing things.” And I said, “Well, I want to do this tribute to the UK power trios of the late 60s – Cream, Zeppelin, The Who. I’ve got a drummer who sounds like Keith Moon, so let’s get together.”
So we get together, and once we jam out and everything sounds incredible, Kevin Shirley comes in and we cut the album in five days, and it’s like a blur. None of us knew what we were doing. Just as we were jamming, I would be writing lyrics and songs on the spot because we had found our groove. Kevin was saying, “Write this or that.” Then Kevin took the tapes and flew away to Australia to Jimmy Barnes and his family for a couple of months, and then flew out to Paris and worked with Iron Maiden for three months, and just got back before Christmas.
He took rough mixes and brought them to his friend Joe Bonamassa, who played the first solo. I thought, “Wow. Joe Bonamassa. Who can I get? I’ll ask Neil Young, I’ll ask Jeff Healey’s widow.” So I call Cristie Healey and she says, “Yes, Jeff would’ve loved to be on this album. Here’s his tracks.” I had cut from live tracks with Jeff a few years before he passed away, so I went and got this song called “Early in the Morning” which was a B.B. King song, lifted the guitar solo, took the beats-per-minute and wrote a new song to fit those beats-per-minute called “Confessions to the Devil.” It fit the song perfectly, and it sounds a bit like B.B. King because it was a B.B. King song, originally.
So Jeff Healey got in, and then I’ve got a Neil Young solo. I did the Guitar Circus last August at the Hollywood Bowl with Frampton and Robert Randolph, so I asked each of them if they wanted to give me a note or two, and they both gave me a hug and said, “Yes. Send us the tracks, we’ll do it when we get time.” All of these guys were on tour around last Spring and Summer, so I waited and sent them the tracks when they got time, and then I’d get these tracks back and it was like they were live playing in the room with me.
It was just amazing. It was a wonderful experience of guitar brotherhood, and meeting these two ladies who play the most incredible rhythm section where they’re just attacking the drums and bass all the time. It gives me so much energy to be able to stand on their shoulders. We just did a gig last weekend for fun down in Miami Beach, and it was just amazing to go onstage with them. There’s no resting – they’re always sparring and punching all the time.
It sounds as though the process behind the new album was a highly collaborative one. Seeing as it was released under the Bachman name, do you consider ‘Heavy Blues’ as one of your solo albums, or as an entirely different band?
Well certainly it isn’t me alone. I mean, I wanted to reinvent myself with my rhythm section, these two ladies who are with me. We’re going to start touring in April, which is when the album drops. We have radio stations who are coming onboard to run this contest where if you download the album, you can go and get the songs without the solos. Now kids can go and record their own solos, turn them into the radio station, and when I’m playing in that town the winner of that contest will come and play that solo with me onstage and play “Taking Care of Business,” and you get a free Les Paul guitar. That’s a really big deal if you’re a young guitar player. If you’re 7 or 70 or 17, it doesn’t matter. It’s like The Voice, whoever gives the best guitar solo and is picked by the radio station gets to come down to my gig and play, so it’s a chance for any guitar player out there to kind of come to the party and play a solo.
Alright. During the making of ‘Heavy Blues,’ which bands or albums did you find yourself listening to for inspiration?
I went and listened to Cream’s ‘Wheels of Fire,’ I listened to the first Hendrix, I listened to the first Who album. I wanted that power, because up to that point most bands had two guitar players, a rhythm guitar and the lead guitar, and I’m talking The Shadows, The Ventures, The Beatles, The Stones.
To suddenly be leaving out that extra guitar and giving a little more space to the bass player and the drummer and the rhythm guitar to lay out riffs was a little bit of a freedom from a four piece band. Then amplifiers got bigger and there was more power, so that’s why I want to call it “Power Blues” or ‘Heavy Blues’ because when we listen to Cream’s ‘Wheels of Fire’ or the first and second Hendrix or early Who or Zeppelin, it’s pretty much them playing live in the studio.
This album is laden with bad guitar notes and mistakes because I was playing live with old guitars that were out of tune. I could have integrated them like a modern guitar, but I wanted to get to the original sound. It was more power that I was after than tones, so that’s what we went through while getting this album.
We came really close, and when I listen to it now – I’ve had a lot of guys who I’m speaking to like you, who are saying that they’ve gotten two speeding tickets after burning a CD and they get into their car, and suddenly it’s like the early 70s or late 60s again and they’re speeding around and getting pulled over! As the song gets faster and louder, they’re cranking it up and end up speeding, which is kind of fun.
While I’m not sure I condone that behavior, I sure can relate. Perhaps it’s because you move through so many different styles on the album, which range from familiar blues rock on “Heavy Blues” and Led Zeppelin reminiscent rock on “Ton of Bricks,” to a ZZ Top-esque groove on “Learn to Fly.” Were you consciously trying to create a more varietal effort?
Yeah, I wanted to do a different variety. I didn’t want every song to sound the same, that’s kind of boring, so each song has a kind of different blues. I moved through many different blues formats, if you want to call it that, where every song has the same three chords. I’ve had several guys say that it’s kind of a jazzy blues, where even on “Heavy Blues” there are some jazz chords that most people don’t play, but it adds a little spice and variety. It’s a very interesting and exciting album to listen to over and over, and if you’re a guitar player, the possibilities are endless. Just sitting there and playing rhythm or lead, and later on downloading it without the solos and you’ve got guitar-ayoke, where you can record yourself and throw it up on YouTube and then you’re a star with the Bachman band.
There’s practically no identity that you refrain from heading into on the album, whether it’s Jimi Hendrix or Led Zeppelin or ZZ Top, or even Bachman Turner-Overdrive. Was it liberating being able to move between so many different styles as you were recording a new album as Bachman, as opposed to having a set of guidelines if you were making a new BTO record?
Yeah. It was kind of what I wanted, but I did find that I was getting redundant because when you’re recording everything in five days – whether you’re a drummer or a bass player or a guitar player or a vocalist, you have certain things that are your current Soup of the Day or your Lick of the Day that kind of repeats itself. I’ve heard that in previous albums of mine. Eddie Van Halen, Jimmy Page, anybody, there’s certain things that you go back to, like your butter and salt, you know what I mean? It’s like a recipe.
Farming out some of these solos to other guys while keeping part of my solo, as opposed to having them be the icing or extra sugar on the cake, brought these songs to a new level. If it was just me soloing, it would have been me somewhat boringly trying to play like Peter Frampton or Billy Gibbons. (laughs) Even though I did manage, because Billy Gibbons couldn’t make the album. He was supposed to be in “Wild Texas Rider,” which I wrote for him. He was just busy with ZZ Top, so I’ll see him in a couple of months when I’m making another album and maybe he’ll be on that one. So I just played that one myself, but I managed to pull off all these pinch harmonics that for me was a really wonderful attempt, for me to be Billy Gibbons and to kind of pull it off. But on the other ones, I had these other guys come in which was really a real treat.
You mentioned that you had written that one song specifically with Billy Gibbons in mind. As you were in the process of writing material for ‘Heavy Blues,’ were there ever moments where you would sit back and think, “This would be a great song for Scott Holiday to come and lay down a guitar solo,” or was that mostly determined after the fact?
A little bit of both, because I knew Scott and knew he would play on a track. I talked to him about it, I had sent him a couple of guitar pedals and we were kind of internet friends. We’d see each other at gigs and stuff and I knew he would play something. Every time I have seen Rival Sons they were always very Zeppelin, especially on their early albums when they looked like Zeppelin. Now they’ve got different haircuts and mustaches (laughs), but when I saw them they looked like Zeppelin in ’69 when I was touring with them in support of their first album when I was with The Guess Who.
When we were doing “American Woman,” they were doing ‘Zeppelin 1,’ but they were what Rival Sons looked like. My inclination was to send Scott a Led Zeppelin song, so out comes my Led Zeppelin song and I’m thinking, “What’s a real heavy title?” I was with a couple of guys and a chick walked by, and one of the guys said, “Man, that chick hit me like a ton of bricks.” I go, “Whoa. What a great title.” So I go and write the song “Ton of Bricks,” and it becomes a kind of Zeppelin-esque kind of song. I send it to Scott, and he sends back this slide guitar intro in the middle that is so incredible.
Even in the middle of his solo, there’s this weird cronky thing he hits that’s… noise of an extra reverb coming in. I had asked him, “What is that?” And he said, “It is what it is, man. That’s me doing a solo.” When I saw them live, he does that same thing live onstage in the middle of a solo. Just when you think it’s this real classic, smooth tune, out comes this [vocalizes static noise] weird explosion that throws you off for a little bit. It’s quite exciting, because everything that was so normal and predictable ends up unpredictable because of his solo. Even this slide that he plays, it has these little bizarre notes in it. It’s a song that endures, you know? Because it’s so different, you can listen to it many times.
I agree. You also work alongside everyone from Joe Bonamassa to Peter Frampton to Neil Young on the album. Were these guest appearances heavily collaborative ones?
No, I just contacted each guy and asked, “Would you play on a track?” They’d say, “Yeah, send it to me. I’m on tour, I’m in England, I’m in Finland. I won’t be home for two weeks, so if I don’t get it done then I’ll do it in October.” Or they’d say, “I don’t like the track. Send out another.” I’d send out whatever I had, and they’d say, “OK, that’s our track. Put that down as our track.” So I would designate a track for them and would wait. As I said, Kevin Shirley was in Paris. He didn’t have any of these tracks, and he was the producer! He didn’t want me playing them for anybody, he didn’t want me playing them for my friends. He just wanted to do it.
He would send out MP3s to these guys out in a studio or in the back of a tour bus somewhere in the world and have them send back a couple guitar solos, but it sounds like we’re all in the same room playing live at the same time. So sonically, Kevin Shirley and these guitar players did a great job. They gave me a piece of their heart and soul and identity. Once you hear it, you can really tell. “Hey, that’s Frampton. That sounds like ‘Live at the Fillmore 1975,’ Humble Pie.” Or, “That sounds like Neil Young. You can definitely tell from the tone.” These guys gave me a bit of themselves.
How large of a role did Kevin Shirley have in your motivation to move between all these different approaches on the album?
He was a pretty big influence, because I’ve known him since the early 90s. Since then he was a struggling young punk engineer trying to be a producer, he went on to do a lot of Zeppelin remixes, a lot of Joe Bonamassa’s stuff, Aerosmith, Journey. His resume is amazing, like Iron Maiden. What a heavy band!
He’s a well respected guy. His dream as a kid was to be a conductor of symphonies, so this guy knows his music. He’s Joe Bonamassa’s partner in the music business, as far as the record label and everything. He does everything with Joe, so he really knows what he’s doing.
He said, “Look, I’m booked for the next two and a half years. I owe you a favor, I’d like to work on your next album. I have five days that I could do you in May, and we’ll cut the album and have another four days in September, and then I have to go to Paris. Can you work with that?” I said, “Well, yeah. Sure. I’m used to doing an album in three or four days with BTO. Two or three days of tracking and a couple of days of mixing, that’s what we did.”
He said, “Great. You’d have to let me take control.” So we would be in the studio, and he’d say, “Do it again. Take this, try this tempo.” And he pushed me past the stop sign where I would have normally stopped, he pulled me down roads that I normally wouldn’t have went down. Because when you’re producing yourself, you’ll play a guitar track and go, “That’s fabulous.” You’ll sing something and go, “That’s great. Now I’ll go to bed.” And that’s kind of what you do, because you’re producing yourself and you’re wonderful and you love yourself. (laughs)
We had a guy there who would go, “I think you can do better. Give me one more. Stand up! Get out of the chair! Play like you’re onstage. Now get to the edge of the stage. There’s a beautiful woman down there. Play the solo to her!” That kind of thing, or “There’s a kid there playing air guitar. Play to him!” And then you’ll play differently. He got stuff out of me, and then he’d say, “I like that groove. Let’s keep ‘Bad Child’ in that groove like Hendrix’s ‘Manic Depression.’ [Sings triplet guitar riff] He was the first guy to do that, so if you bring that back it’s great to put into a blues song, because it’s a great groove that nobody’s really done.
I think the Allman Brothers put something similar in ‘Whipping Post.’ It’s done like every decade, so now it’s time to bring out that 6/8 time or whatever. I don’t know my time signatures, I would just go, “Let’s play that like ‘Manic Depression.’ Let’s play this like ‘Fire.’ Let’s play this like ‘Crossroads.’ ” And they would immediately walk in on it, because they had studied that stuff as younger people. I’ve been there as an older person who lived through the sixties and seventies, so I understand all of that, but they were studying it going to school and learning to play their instruments.
So when we would get a song, there would be no real direction. I would just say, “Let’s do this one like ‘Purple Haze.’ Let’s do this one like ‘Fire.’ Let’s play this one like ‘My Generation.’ ” So out comes “The Edge,” and it’s like John Entwistle and Keith Moon. It just blows me away, it’s fantastic. It’s almost just like having John Entwistle and Keith Moon.
Some casual BTO fans may be surprised at the amount of impressive guitar playing on ‘Heavy Blues,’ but it’s also something that longtime listeners will greatly appreciate. For example, one of my personal favorite guitar riffs from your catalog is “Find Out About Love” from ‘Head On.’ Are you glad to be able to go out there and showcase that side of your musical ability?
Yeah! To be a trio and to be playing live, I’ll be playing a lot more guitar. I’ve said to people, “What should I do?” Well first of all, you have to do your hits when people come to see you. At the most, you should maybe do four or five new blues songs so you can get some on the radio. You have to do “Looking Out For #1,” you have to do “Blue Collar.” People want to hear that jazzy blues side, where you can stretch out on that medium tempo and relax and really play. So I’m really happy. We’re putting together out set list now, and I’m pairing together a new song with an old song.
If you listen to the album, the first song is called “The Edge.” I’m putting that together with “You Ain’t Seen Nothin’ Yet,” so when we open the show you’re going to get “The Edge” right into “You Ain’t Seen Nothin’ Yet.” It’s in the same key and almost the same tempo, and when we’re done I can say, “That was the first track from our first album with my first hit with BTO.” Then we put “American Woman” back-to-back with “Ton of Bricks.” Same key, same kind of groove.
So that’s going to happen throughout the show. I’m not going to say, “Here’s the new song from my new album,” because then everybody goes out and buys popcorn. I’m just going to slam it together with a classic hit, because I’ve got around fifteen to sixteen hits. I think every three songs, I’m going to give people the old Guess Who, the old BTO and a new blues song, and I think everyone will be happy.
I agree. Briefly focusing on the ‘Head On’ album, there’s a good portion of that album which lyrically sounds like you and the rest of the band weren’t exactly getting along, especially tracks like “Average Man” and “Looking Out For #1.” Do you feel that ‘Head On’ is reflective of your mindset and relationship with the members of BTO?
Well I can hardly remember that era, besides that after ‘Not Fragile’ and ‘Four Wheel Drive’ we were all frustrated with our life on the road. We had all been on the road for about twelve years, doing more than three hundred dates a year. Our family lives were falling apart, we were all living and traveling in station wagons. Nobody really had private planes or even tour buses at that time. We were all getting sick of each other and of our music and of the road, and our families were falling apart.
So that probably shows how difficult it was coming in, and bands couldn’t get the money anymore. Club owners were just hiring a good looking chick who would come dance on stage for a hundred bucks a night. Bands were falling apart. It was the end of The Doobie Brothers, the end of Frampton, the end of BTO, the end of ZZ Top. Everybody just packed it in around ’77. Disco was coming in and it was time for a break, so you either broke or it showed in your albums.
When I left the band, it was really time. Unfortunately, we didn’t all agree with that, otherwise we would have taken a break like ZZ Top and after disco was over five or six years later, we all would have gone fishing and gotten our ranches and played with our horses and kids, and gotten back together like ZZ Top did. I’m going to see them in a couple weeks in Hamilton, and I had seen Billy Gibbons last year in Nashville. BTO would probably still be together, we just didn’t have the foresight like these other bands did. We broke up in a different way.
Soon after the release of that album you embarked on your solo career, but what I don’t understand is how Bachman-Turner Overdrive continued to make records and tour without Randy Bachman in the lineup. Were you frustrated by that as well?
I was, but being in a band with brothers, I had my father saying, “You can’t deprive your brother of a living.” So I let them. I mean, I owned everything. I started the band, I wrote the band, I did everything. I let them use BTO so my brother Rob the drummer could go on the road and earn a living, and that was a mistake. I’ve lived with that mistake, and it’s unfortunate because they went on to do albums that were kind of watered out and it wasn’t me.
They were riding on my success and my songwriting, and my songwriting wasn’t there. They didn’t have a big hit after I left. Sometimes you get together as a band and as good or bad as you are as musicians, there’s chemistry and magic happens. One moment you may have a hit song, or five or six hit songs, and when you leave you think you can take all that magic with you, but you can’t. I had a certain magic with those guys, even though they weren’t the greatest musicians. When we rehearsed and practiced and played, we found this common primal pounding guitar/drum beat that appealed to millions of people. I mean, we sold twenty, thirty million records.
So, it was the right thing at the right moment. After that, we couldn’t recreate it again. I think I found that right now with this band, there’s a moment of connection to primal rock and roll thunder, a “Who gives a care, let’s rock out” rhythm. We don’t care about the lyrics, we can sing the chorus. “I’m a bad child, I’m a bad child.” Everybody can sing “I’m a bad child, I’m a bad child.” It’s like “Taking Care of Business.” Just dance along and bang your head!
There’s no telling what the future has in store for anyone, but would you like to continue making new albums similar to ‘Heavy Blues’ in the years ahead?
Yeah, I think I have one more in me, for sure. People have suggested a title, and I’ve also got other guitar players who have said, “On the next one, we want to play on it.” So I’m hoping this one does well, or there won’t be another one. It will be my last goodbye to everybody. This is me trying, once again. If it’s good, I’ll give them another one. If it’s not, then there’s not much of a music business.
I’m trying right now to see if there’s a music business left, if you can put out an album and actually have record sales without making a triple X video with a bunch of booty in it, if you can make an album with good old fashioned rock and roll blues music that’s like Clapton, Jagger, McCartney vintage. We’re all 69, 70 years of age. We’re vintage guys, we don’t need to be doing this. We’ve been doing this since we were 17, and if we’re 70 and people are going to buy it then we’ll keep doing it. If not, it ain’t worth the effort.
We’d rather just get out of bed and go for a walk, go swimming or golf. It’s still our love and our passion, but you can’t do that if nobody’s appreciating it. You can’t keep painting the paintings if nobody is hanging them on the wall or buying them. You’ll have an attic full of paintings. I’m hoping there’s still a little bit of the record business left where I get some record sales and my label says to me, “You’ve got to do another album.” Because it’s all up to the label.