When Boston singer Brad Delp hit the road with his band Return To Zero, he told Nestor his story before coming to Hammerjacks.
Brad Delp discussed his career, including his time with Boston and his current project, RTZ. He mentioned the communication breakdown that led to this interview and shared details about his family and recent gigs. Delp explained the formation of RTZ, named after a studio button, and highlighted the differences in working with Tom Scholz and Barry Goudreau. He expressed hope for RTZ’s success and mentioned ongoing legal issues with CBS. Delp also touched on his respect for Tom Scholz and the challenges of balancing personal life with professional commitments.
SUMMARY KEYWORDS
communication breakdown, son’s sick, New Hampshire show, Robert Plant, Barry’s solo album, Gary Pihl, Tom’s studio, RTZ band, third stage, Boston lawsuit, CD resale, tour plans, RTZ success, vocal arrangements, Phoenix show
SPEAKERS
Nestor Aparicio, Brad Delp
Brad Delp 00:01
Hi. Nestor Aparicio, this is E this is Brad Delft, calling. Hi, how are you fine? I hope you were expecting. Oh,
Nestor Aparicio 00:08
no, they never told me that you were going to be calling, but we had kind of
Brad Delp 00:11
a communication breakdown.
Nestor Aparicio 00:12
That’s okay,
Brad Delp 00:14
excuse me, communication breakdown that make a nice song. Yeah, that
Nestor Aparicio 00:19
would, why don’t you do that? Write
Brad Delp 00:20
that down, I tell you what? If you’re not busy, I’d be happy to speak with you if you want to. No, I got I got missing me. However you want to do it? No, please. I’m
Nestor Aparicio 00:29
fine. I’m fine. Actually, you
Brad Delp 00:31
felt terrible because, actually, I’m a couple days later.
Nestor Aparicio 00:34
Well, that’s the problem. My son’s sick today, so I’m sort of trapped in here next time, so feeding him the children’s Tylenol, maybe seven, six and a half. Oh, really, you bring him out on the road here?
Brad Delp 00:48
No, my son is six and a half. My daughter’s 10 and a half, and we’re playing up in New Hampshire tomorrow night. My daughter’s going to the show. My son doesn’t want to go because he says it’s too loud, huh? Mine is when he was real small, of course, when I went out, actually on third stage, right? He came to a couple of those shows that must have just shocked
Nestor Aparicio 01:11
him. Too much, too much. I’ve taken mine to about four. He’s been the two new kids in a block concert. He’s been to see Robert Plant, speaking of communication breakdown, that’s good. Plant bought him lunch one day. So yeah, so one of the big little thrills of his life, of course, he doesn’t know the importance of Robert planter.
Brad Delp 01:27
He will, because they’ll still be playing Led Zeppelin when he’s 80, probably. So I imagine,
Nestor Aparicio 01:33
right, right. And let’s see, what else has he been to? Oh, I took him to the club MTV tour this summer, so he thinks they’re too loud as well. But anyway, you’re one of my favorites, and it’s kind of good to talk to you. I try to get interviews back on third stage, and I had severe difficulty through MCA,
Brad Delp 01:52
because generally, you know, those things go fairly smoothly for me. This one, the way I screwed this up was normally Jeff Albright will call me and say, interview such and such time, and then I just called to leave a message on my machine. But this one arrived via fax over at Barry’s house. Barry just got a fax machine. Oh,
Nestor Aparicio 02:15
neato. So we moved into the 90s. Officially gave
Brad Delp 02:19
me this slip of paper has the information on it, but not having it on my machine. Now, writing it down myself, I totally spaced. Also, I think I’m not sure where I was, but we’ve had a couple gigs. We just had a third one last night. So being in the middle of that, I
Nestor Aparicio 02:35
thought you’d be calling, but I wasn’t sure. I’m glad we were able to finally hook up here. So anyway, so how did the whole thing with Barry come down that you guys got together? Well, why did he go out with Boston? And that’s another question, Barry, yeah. Well, Barry
Brad Delp 02:49
left, actually four. So he really wasn’t involved in third stage at all. He was the first one, really, to lead the band. Was
Nestor Aparicio 02:56
he invited to be back?
Brad Delp 02:58
No, not for this one really, because he, as I say, right after he left, he went to solo album that was in 1980 which I sang on half of. And then he, basically, he left because he just wanted to pursue his own musical interest. So I don’t think there was a real desire on his part to go back. And when Tom was finishing up third stage. Of course, Tom wound up playing guitar on actually, not just guitar, but almost all the instruments on third stage. But he was looking for a guitar player to help him towards the end of that project, and someone to go out on the road. And that’s where Gary peel came in. Gary, you probably know, used to play with Sammy Hagar, right? And we did almost the whole second tour with Sammy Hagar as an opening act, and Gary was in the band, so he was someone that was known to us, and everybody liked so Tom gave him a call, and he wound up coming in and finishing up third stage, and then, of course, going out. Should have Barry and Tom just not get along or well there, there was some friction there for a while, and I think that I don’t even remember specifically now, because that
Nestor Aparicio 04:07
was 13 years ago,
Brad Delp 04:08
right? Yeah, but basically, there was probably just a, maybe a personality difference or whatever, and they had certain musical differences, and Barry felt he like to just go off on his own and try some things? So again, he did two records. He did the solar one, and then he had a band called Orion the Hunter, and he’s really hasn’t stopped working on things since then. He hadn’t been out on the road since Orion, but the keyboard player that went out with him on that band has stayed with him, Brian Mays, who’s in RTC, okay, and so they’ve been working and and the drummer, Dave steffanelli, who’s with us now, used to play with Brian, so that’s how he acquired him. And they’ve been working on demos, off and on, and working with different singers. And when I finished third stage, when we get off tour, you. I was at a point where the singer Barry was working with was moving, he moved to St Louis, and so Barry was looking for somebody else to come in and basically work on. They were sort of demos, and they were sort of, you know, he was just sort of putting material together, just to see what would happen. And now, what’s
Nestor Aparicio 05:19
it like for you guys not working though. I mean, is it the thing where you’ve got enough royalties rolling in from Boston that you don’t really need to work well
Brad Delp 05:25
financially? We were fortunate in that, you know, the record sold well enough, so we’re not involved multi millionaires. But we were comfortable, right? Yeah, in that sense, the
Nestor Aparicio 05:36
advent of the CD probably just resold everything back again, right? Yeah.
Brad Delp 05:40
I guess that did help as well, because we had, for a long time, we had a $20 million lawsuit hanging over our heads with CBS, which Tom eventually won. But so that didn’t make people feel real comfortable, but that was for me. I was so far removed from that that it was, it was sort of unreal, but you got it, you
Nestor Aparicio 06:01
got a nice house, and you got money coming in. You really don’t need to work. We did
Brad Delp 06:04
okay. And also, I had a couple offers during that period of time after this, between the second tour and the event, you know, years later, right? And third one. But Tom felt that he really, I don’t think he was ever really sure when the record was going to be finished, and sometimes he felt, gee, I’m real close to getting it done, and then something would happen and it would get held up. So he, I remember asking him at one point about possibility of doing a side project or something, and at that time, he wasn’t real keen on it, because he he didn’t want people to think that the band had broken up, right? And, of course, Tom and I continued to work together anyway. So
Nestor Aparicio 06:47
Boston is not broken out.
Brad Delp 06:51
Tom is working actually right now. He just he moved within the last year or so from Boston. No, he had to move his whole studio. And took him quite a while. He decided when he moved this time and he wanted to have everything set up, you know, exactly the way he wanted. He doesn’t work with an engineer, so everything has to be placed where he can have access to all the machinery and so forth. So it took him quite a while to get a studio just the way he wanted it. But he finally did. And last time I saw him was right before I went out actually to record this record. And I went over his house and he played me some stuff that he was working on with the guys, the whole band from third stage, with probably the notable exception of me, right? Because I’m working, I’m doing this with Barry, but you are going to do the vocals on this stuff. Well, I’ll be quite honest with you. I really don’t know. I think scheduling will have a fair amount to do with it. I know they’re working on music now, and stuff came together so quickly on this project with Barry that before we knew we really have a couple albums worth of material. So we’re sort of looking forward to maybe going back in the studio with our TV and doing another record. And Tom doesn’t
Nestor Aparicio 08:10
seem like the kind of guy that would mind waiting a little while for you. Well, I
Brad Delp 08:14
don’t know if it’s so much waiting or he just might have his hands full, but to be honest with you, I can’t I wish I could answer it a little more specifically, except to say that they are working so there’ll definitely be another Boston record.
Nestor Aparicio 08:27
He lives in California. Now, I’m sorry Tom lives in California. No, he lives in he still lives out here. Okay? Because that’s what you said. You saw him in LA or something. No,
Brad Delp 08:36
I saw him the day before I left to go out to LA. We recorded the RTZ record was recorded out in California. Okay, and you all are from Boston now. Well, actually, I live in New Hampshire. Technically, I’m just over the line in
Nestor Aparicio 08:48
Manchester. Salem. Salem, which is, there’s a race track. I have some friends who live in Manchester. I was going to come up next weekend to see the Patriots came because I’m a big I’m a huge Oilers fan, okay? And the world’s nobody goes the Patriots. Get me to see
Brad Delp 09:05
the patriots to go see that around after last week,
Nestor Aparicio 09:09
right? It’s becoming skeptical. Again, Cleveland sucks. It’s the COVID stadium
Brad Delp 09:12
now, anyway, they have real grass there, right? And that should be fun. I don’t live too far from Manchester at all, actually.
Nestor Aparicio 09:21
So what’s in? The
Brad Delp 09:22
work is around there, I got lost,
Nestor Aparicio 09:26
what’s, what’s the next thing for our TC, you guys going to tour?
Brad Delp 09:29
Yeah, as I say, we’ve done we’re playing in Boston tonight. We’re playing at a club that’s been newly renovated. It’s called The City Club, and it’s been shut down for a while. Every year they changed the motif around. So this is the kind of thing
Nestor Aparicio 09:43
I was trying to find. I was gonna come up to Boston next week, and I’m like, Hey, let me find out. Let me hunt down a band. As
Brad Delp 09:49
I say, we had our third gig last night. We played at a little club down in Connecticut, not so little, really, called the sting, okay? And we had a we played a little place down. On down the south shore of Boston, on the cape was our first show was like, I think 350 people or something, that we packed in this little club, which was great. Had a great time. And then we played out in Western Mass too. Basically, we wanted to do a couple of warm up things before we played in town, because I’m sure that will be reviewed tonight. So this will be, like, the first, right Biggie, yeah, the one that’s that’s going to get in the
Nestor Aparicio 10:28
face Steve Morris will be there for you.
Brad Delp 10:30
I’m sure Steve will be there. I hope it’ll be there. So, yeah, we’re doing that, and then we’re playing a place called The Hampton Beach casino up in New Hampshire tomorrow night. And then I’m not sure there are some offers that have been going around, but I don’t think there’s anything real concrete after that point, we’re trying to see, trying to decide whether we’re gonna possibly hook up on a, you know, a big tour with someone, or whether we can just set up like a club tour, or do something of that nature,
Nestor Aparicio 11:01
right? They’re playing your song here until your love comes back around you’re playing until your love comes back around. Here, is that really said the first single? Great.
Brad Delp 11:09
No, actually, face the music was the first single. Well,
Nestor Aparicio 11:13
they’re playing, I mean, that song is getting played five, six times a day. It’s heavy, heavy rotation.
Brad Delp 11:18
That’s very Do you know, Russ motla, yes, well, I know, I think I’ve talked with him. He’s
Nestor Aparicio 11:24
from Worcester. He was at BBM. Is that the correct stationer? Which the rock station? He used to be there, and he’s here now, and he’s just like he hits Aerosmith, you guys, extreme. And, you know, the cars very hard. Only thing he doesn’t play is del Fuego. He plays all the rest of the ball. He plays Boston all time to hear rock and roll band and stuff like that every day.
Brad Delp 11:54
But that’s interesting. Yeah, as a matter of fact, just recently, I heard that the label was considering releasing that as a single. They’ve already released, I don’t know how it works, CHR radio and AOR and all that stuff, but they released the second song on the CD. There’s another side to the I guess, AOR stations, and they’ve released the third song. All you’ve got to CHR.
Nestor Aparicio 12:21
Well, I guess anybody’s discerning here, it sounds like Boston. Can you argue with that? Or
Brad Delp 12:28
one song in particular, or just in general? I think the fact that I’m singing on all that is probably there’s going to be, you know, an unmistakable reference there, and the fact that Barry’s guitar, I think, is recognizable as well. But what we and I think when we did the record, we really didn’t try one way or another to say, let’s try and sound like this, or let’s try not to sound like this. With the whole idea was just for us to play stuff that we enjoyed. And actually, the name RTZ came about kind of fortuitously. We had, we had a bunch of material, but we had no name for the band at that time. And of course, the more you try and sit and think of a name,
Nestor Aparicio 13:12
the harder it is. Yeah, there’s a band in Baltimore that said that, and they sat around and they were thinking, and they’re thinking, and the one guy said, Wow, what a burst of silence. And that was it. They named their band
Brad Delp 13:26
extreme. Was kind of interesting.
Nestor Aparicio 13:27
I don’t even know that I interviewed them the other day, years when they used to play in
Brad Delp 13:31
town before they could sign, they used to be called the dream. And then they found out that somebody else had copy written that name or something. They couldn’t use that. So they started out calling themselves extreme. Oh, extreme. It turned into extreme. But I thought that was pretty cool, okay. But anyway, RTZ, again, we had no name for the band, and Barry has a 16 track studio at his house that we demo everything at. And I just finished doing a vocal, and I went into the control room to listen to what I had just done, and Barry had to go upstairs and take a phone call. So as he was leaving, I said, Barry, what do I have to do to get this tape to play back? Because I don’t do
Nestor Aparicio 14:17
anything in the studio. Your studio? Idiot.
Brad Delp 14:21
Totally illiterate. So he said, there’s a little button on the console. RTZ just hit that, and it’ll I looked at, and obviously it’s for the tape counter, you know, return to zero. And I thought I just liked the way it looked on the little button. And Barry came down and said, What do you think about this for a name for the band. And again, it made sense, because Barry and I really started playing. First time I met him, we were both in high school, and he came to audition for a band that I was in. So we go back quite a ways, and we wanted to the way we work is Barry will usually give me a cassette with a bass. The chord changes on it, and then just let me do what I want with it. And I’m a big Beatles fan. Always have been, so I think we just tried to sort of let our influences show up on this. And there’s a couple songs here to me, anyway, that sort of have that influence. One of them is, this is my life was written very much in that kind of style. We even had, we had Brian use the cello samples and things like the George Martin type stuff on it. And so there’s a lot of that. But as you say, I think that the fact that I’m singing and Barry’s playing on it, there’ll definitely be a sound is somewhat reminiscent of that. But I’d like to think that it maybe, you know, takes a couple of different directions as well.
Nestor Aparicio 15:48
Is it a situation where Tom just takes too long for you? I mean, were you as antsy as the whole world was in 1985 when, you know,
Brad Delp 15:55
it was frustrating in a way, and to be perfectly honest with you, I think to some extent, I took great advantage of that. I found it to be a good excuse not to have to do anything, and I’m guilty about admitting that, but I’ve got two kids and I and I got to spend a lot of time at home with my family. And if someone says, Well, you know, what are you guys doing? I said, Well, we’ll wait for Tom to do this. And that was partly true, as I say, as I started to mention before, he wasn’t real keen initially on me doing other things. And so I took full advantage of that and said, Well, okay, I’ll stay home and play with the kids, and Hell
Nestor Aparicio 16:35
Yeah, as long as you got enough money. But it
Brad Delp 16:37
really for me, created sort of an insecurity, feeling of insecurity, because the more time I took off, it’s like when you go back to school after summer vacation, you know, you get so used to it, and then when you have to go back. So I had kind of mixed feelings about it, but it was a hole that I dug for myself, and it took a while to get back into it. When third stage came out, I had a real insecurity complex, which I haven’t totally mastered yet, but I looking at it from both sides. Now, I would say that trying to keep busy is probably the best thing in the long run. Yeah, I
Nestor Aparicio 17:16
think the jury was way out. You know, when I went to see you, I saw you in Philadelphia because I was very excited that you guys were playing again. I saw you in Philly in June. You didn’t make it down here till the end of September on that tour. And I went up there, and I’m like, I gotta wonder how his voice sounds after eight years ago. I mean, did you do any singing or Well,
Brad Delp 17:33
I worked off and on with Barry, actually, over that period of time, on things. And I was working on some stuff on my own, not not real. I wasn’t playing out at all. I didn’t play any clubs or anything. Before we went out on third stage, we rehearsed. We spent tremendous amount of hours in rehearsal. So from a singing standpoint, I really I felt pretty good when we went out. But from a personal, kind of emotional standpoint, I think, I think the lawsuit and everything is as far removed as I was from, and then Tom was right in the thick of it. I don’t know how he did it, but I think emotionally that that kind of stuff has to take a toll on you as well. Changes your perspective on things. Because for me, the whole enjoyment of this, you know, was not really the business end of it. It was just going out playing, and that kind of got shoved in the background. We
Nestor Aparicio 18:29
must piss you off to see everybody try to get a hand in your pie, you know. I mean, it’s
Brad Delp 18:33
not even so much. Again, it really isn’t. It’s not so much the money. It’s just all the music, you know, what’s the point of, I didn’t really see the point of going into all that stuff that had nothing to do with playing music, right? You know, I talked
Nestor Aparicio 18:47
to Billy Joel, and he’s been ripped off so many times over the years. And, you know, he had the same feeling, it’s just that the fact that these people are making a living off of him, and they haven’t done anything, yeah, it does. It
Brad Delp 19:01
is, I guess, it is kind of frustrating from that standpoint. I would see Billy Joel storefront tour because it happened that his tour manager was the tour manager for third stage. Who is that? Max
Nestor Aparicio 19:15
lubier, okay, right. I talked to Max. Max is a great
Brad Delp 19:19
guy. I enjoyed that a lot. I keep skipping
Nestor Aparicio 19:25
around. I was talking about the success and what you’re expecting from RTZ. You don’t really need this to be successful. Or is this really your big project now? So
Brad Delp 19:33
we’d like it to be successful, because that would mean that it’s accepted. Really, for me, that’s the real criteria. I love for people say, gee, you know, I like the way it came out, or you like for people to be able to relate to it, record sales. I mean, you know, it’s, it certainly doesn’t hurt to sell some records. That’s fine. But for me, that was just, I just feel fortunate that I’ve been able to to. To do this all these years and not be working at hot water, where I used to work, this place making heating elements, you know, I haven’t done that since, since Boston really took off. So that’s nice, you know? I’m hopeful that people would kind of take to this. Hopefully it’s doing okay at this point, and I’m really looking forward to going back in and doing up the other songs that we’ve demoed. There’s two or three that we do in the show now, and I like them as well as anything on the on the record here also. So it’s just, it’s exciting for me to go back in and do something I just, I like it, to get out on the radio so that other people can hear it. I think it’s kind of notion of, you know, there’s no point in seeing the beautiful sunset of nobody else sees it. So when you do something, it’s great for other people to be able to hear it. And to have a few people come back and say, I get what you’re doing, right? That’s kind of a nice thing.
Nestor Aparicio 21:03
So you said you had been asked to sing for other bands during the eight years.
Brad Delp 21:07
Well, there was just a couple of small projects that it wasn’t anything like, will you
Nestor Aparicio 21:12
leave and join this group? Dan halen did come recruiting unit.
Brad Delp 21:15
Sammy Hagar had talked to me at one point about doing a song with him that was before he joined Van Halen, just, I think he wound up doing it with with Mike Reno he did a song I’ve never heard that. Remember the heroes at the close call. I never heard it. But anyway, that’s a that’s really kind of a minor point. I guess one thing I did want to mention you had asked about working with Tom, and the fact that he took so much time, my whole feeling was working with Thomas, he has such a strong idea about what he likes, you know, and what he wants. And we started working in 1970 so at this point in time, when we were doing third stage, I had a pretty good idea of what he liked and didn’t like about my voice, and he knows, you know, what he wants to hear from me, so when I go in, I don’t really try and, you know, I don’t have any real heavy opinions generally about the songs, because I know that by the time he calls me, and he’s got it pretty well thought out, as far as the melody, He writes most of the lyrics and everything. So he worked for him pretty much. That’s really how it is. And I’m happy to do that because I really feel, I know, that he’s real sincere about what he does. And so I’m happy to go in and, you know, help him try and get the sound that he wants, whereas working with Barry, Barry’s interested in playing guitar, and he wants somebody to come in and do the do the singing, he doesn’t sing. And so that’s a great situation for me, because I can just take these chord changes, because I don’t consider myself a very good guitar player. I can place rhythm, play some chords, but I’m not as at home with that. So it’s great because I get, you know, he gets play guitar, and I get to just do what I want. So it’s a nice, a nice merger that way. And then there’s, I just feel like there’s a little more me in there, right? And those are things I think every musician has to get out eventually. When I first met Tom, actually, Tom and Barry, say, back in 1970 I had never written anything at all. I was all the bands I was in up to that point were cover bands. So I learned a fair amount of working with them, and got my confidence up a bit to where now I really kind of enjoy doing, you know, writing. So
Nestor Aparicio 23:42
with the shows you’ve been doing the last few nights and tonight, are you just doing straight RTG stuff, nothing else.
Brad Delp 23:47
Yeah, we’re not doing any Boston stuff at all. And the reason for that, there are a couple reasons for that. One is for me, personally, sort of out of respect for Tom, because, as I say, music, without me, there will be another Boston record, and the majority of those songs are his, and so, you know, he’ll play them again someday, and people will get to hear them. So I’m confident of that. And the other thing is that we are we don’t want to confuse people. As far as the RTZ thing, it’s real. It isn’t sort of like, you know, we’re not trying to reform Boston. We’re trying to sort of stand on our own. So far, people have been very understanding of that, and I’m real appreciative that, because I can, I can see where people would, you know, might expect. Do you think Tom would
Nestor Aparicio 24:37
really go through with it and not have you on the album? What is Boston without you? I
Brad Delp 24:42
mean, I think if he did, I think people would be surprised to find out how much when people say they like the singing on the record and they like the guitars on the record, I think a lot of times what people don’t realize not that they have to, but from a musician stand. Point is, I think what they really what’s really impressive on those records to me, not to belittle myself, but are the vocal arrangements, which are Tom’s. It’s what he did with my voice. And actually, the difference to me is very apparent between my singing on RTZ, the RTZ project and on Tom’s records. Not that it’s any better or worse, but it’s just different. In the, for example, there might be maybe one song on this new record that where the vocals are double tracked, yeah, like
Nestor Aparicio 25:35
cool, the engines in the last album, that’s, I think that’s total production, isn’t it?
Brad Delp 25:40
I mean, yeah, I mean, it’s his credit, that sound he gets. But like almost all the vocals on all the Boston songs, not all of them, but a great deal of them, are double tracked. The harmonies are double tracked. It’s a big fat sound. How
Nestor Aparicio 25:53
did you do it live?
Brad Delp 25:56
Well, Tom, of course, came up with the Rockman and a number of inventions, and they have, there were a number of doubling machines and things like that that you can use. We didn’t use any pre recorded stuff. He was very adamant about that, to his credit. So it was all live. But there, you know, you can use delays and things on vocals, which also helped to fatten it up. It wasn’t,
Nestor Aparicio 26:19
you guys had it perfect. I mean, I saw the show three times. I was real happy with the band, and when we went out, we I walked away the first night, blown away. I mean, I just couldn’t believe it.
Brad Delp 26:29
I’ll tell you what I can’t think of one one show and then hold tour where I where I really thought it was horrendous. Generally, I felt very comfortable for the whole tour, and that was nice. And part of that was due to the fact that the other guys, I think, covered the covered their part so well. And when we auditioned people to put the band together, that was a big criteria was that they’d be able to sing the part, you know, as well as it was
Nestor Aparicio 26:54
just such a solid show to come out and do like this six hits, and then this roll right through third stage and they come out at the end. I mean, I figured out, like you had 27 songs in your catalog, you play like 24 of them. Mean, what more could people want? I mean, we
Brad Delp 27:06
didn’t leave a whole lot out. And that’s that was another reason why I felt I was real. We had, it was a great crew, you know, Max and everybody else. We had a great organization. We had a great bunch of guys in the band. And like I say, we we tried to cover as much as we could. So when I finished that tour, I really felt obligated. You know, over the years, Tom was working on its third stage, and nobody knew when it would be finished, because he had legal hassles and everything else. We nobody knew if he ultimately ever even want to finish, right? So when we finally did, I really felt strongly about, you know, going out and promoting it and doing the tour. And when we finished that, I really felt like we had said a lot, you know, as far as that and that, I think, made me feel more comfortable about delving into something else. When I got off the tour initially, I had some things that I wanted to do myself. I was working on a solo album, and I was real pleased with the band that I was working with. I put a band together, but I my big mistake was I tried to produce it myself, and I’m not a producer. I found that out from trying to do this so. And it was around that time that I was working on those demos, that barrier called, you like to work on these. And I mean, we just had so many songs before we knew it. We had, you know, label interest and everything people call them, wanted to do this. So I had a set my little project aside. And I, someday, I would like to go back and work on that, because that stuff musically is different from either one of these other projects. So it’s just something that you know you have, you got something inside you want to get out. And that’s the whole motivation for me.
Nestor Aparicio 28:55
So when do you expect to be on the road with this? Well,
Brad Delp 29:01
wish I could tell you concretely, I think Barry would like to be on the road yesterday Christmas. And it’s, yeah, I would hope. I actually, I would hope, probably this fall. I just when we when we played last night, I talked to Barry, and he said we had an offer to play out in Phoenix in a couple of weeks. There’s some kind of outdoor show going on out actually, there’s one in Phoenix and one in Tucson, I think he’s and then we had an offer to do something similar to that out on the west coast. So when we spoke last night, they were trying to line something up to sort of make it worth the time and travel and everything going out there, maybe do a few other gigs on the way you.
