2006.11.12 - TuneCore Podcast - Interview with Izzy

Transcript:
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Jeff Price: In this podcast I have the opportunity to interview Izzy Stradlin. For those of you who don’t know Izzy, he was in Guns N’ Roses until 1991. He played and co-wrote with Axl and the band on all the music they put out from the 80s through 1991. He wrote Patience, Used to Love Her, Brownstone, Think About You, You Could Be Mine. He co-wrote Paradise City, Right Next Door to Hell, Nightrain, Don’t Cry and more. Izzy’s a TuneCore customer, so I asked him if I can interview him for this podcast. He said “Sure,” set up a time to call, we both called in, and here you go: an interview with Izzy Stradlin from Guns N’ Roses.

Jeff Price: Hey Izzy, this is really cool for me.

Izzy: Hey.

Jeff Price: Here I am sitting in a desk in New York, and lo and behold, one day I’m on the phone with Izzy Stradlin from Guns N’ Roses. Izzy, the biggest question I have for you, and the thing that astounds me the most, is sort of how it all happened so quickly, it being this sort of worldwide phenomenal success of GN’R; because you had been slugging it out for years before GN’R, yeah?

Izzy: Yeah, we... Axl and I started probably in ’78, ’79 back in Indiana, and I think about 1980 I came out to California and then [I played] in weird bands from ’80 to a couple of years, and then... I think we ended up on Geffen around ’85?

Jeff Price: How did they even find you?

Izzy: We were kicking up a lot of dust in Hollywood. Looking back on it, we had a small tight following. It seemed to me that it was sort of a small cult following. But what happened is, with Appetite for Destruction, we took that on the road and, you know, MTV was the big vehicle back then for rock music videos. I think that exploded for us, Paradise City, Welcome to the Jungle, and it just sort of went from there.

Jeff Price: Prior to that just taking off, were you really, like, sleeping on the floor of a van in a cockroach infested neighborhood?

Izzy: That’s the prerequisite, sleep in the car... The best place that the band, the GN’R guys had - we all used to live in this [place], I think it was about 12 by 14. I call it “the box”. It literally was a rehearsal studio that we built bunks in. We all lived in this thing. There was no running water or TVs or cable (laughs). There was nothing really, it was just a box, and we lived in this thing for a while. It’s right behind where the Guitar Center is now, on Sunset Strip. Yeah, it seems to go with the territory, you know. You’re always broke, it seems like, when you’re starting out.

Jeff Price: So you did the deal with Geffen and they brought you into a studio where you guys were sort of left on your own to produce your music the way you wanted to? Or did they have a real hand in trying to direct you towards doing certain things when you recorded?

Izzy: We always were really tight with the music and we didn’t like anybody else even commenting on it, really. We signed with Geffen and then I think it was almost a year before we actually got into a studio to record the album, because everybody... they would come around, they had an idea, “Hey, let’s do an extra chorus on Paradise City,” “Let’s change the intro to Jungle,” “Let’s do this, let’s do that”... and we were like, “Let’s not.” And a year later we’d spent the advance money and we were still sitting around kind of going, “Maybe we should get busy.” But we finally hooked up with Mike Clink, who funnily enough did... I think it was Survivor? (laughs)

Jeff Price: (Laughing) Excellent.

Izzy: So we got along with this guy, he was a cool guy - I still see him once in a while out in the Valley, in a studio here and there. And, you know, we took off from there.


Jeff Price: Alright. So you go, you record the record and then it gets mixed, it gets mastered... Did you have a hand in making the artwork? Was that you? Was that, you know, art direction of...?

Izzy: On the first record, Appetite, that was Axl’s thing. He had a postcard that he had picked up at a place on Melrose Avenue. That was a cool funky little shop. They had postcards and just really - I’m trying to think of the name of it... but he picked up a posctard at this place, that Robert Williams painting, and then he showed everybody. We were like, “Hey, that’s cool. Let’s go with that” and then... The band, you know, we were pretty insular. We didn’t like other people mess around with anything, the music, the art... We were very tight with that kind of thing and we resented anybody else trying to get involved with that, and I think at the end it worked out better. I think it worked for us in the end.

Jeff Price: Well, it certainly seems to have. I mean... So then the record comes out, right?

Izzy: Yeah.

Jeff Price: How quickly between when the album came out did it happen, the “Oh my god, my life has changed, I can’t walk down the street without somebody trying to rip off a piece of my clothing”?

Izzy: Jeff, it’s wild. We left, we were the least likely to succeed, probably the most hated and despised band – “junkies,” “faggots,” you name it. They didn’t like us. We had a good following, though. We went out, we toured – you know, fast forward, we leave ’85, ‘86, we leave on this tour, nobody knows us. We’re playing opening for Iron Maiden in Canada selling the passes out front; nobody knows who we are. We come back to L.A., I don’t know, 14 months later, [after touring] around the world a couple of times, and everybody wants to be our best friend. And you’re like, “Wow!” “Wow, things have changed drastically.” And then, of course, we all were in our twenties. We didn’t have any experience with this kind of thing. And, of course, that’s where drugs become popular, right?

Jeff Price: Yeah. Did you get your own jet like Led Zeppelin? Because that’s...

Izzy: No, we never made it to that level. The closest we came was... I think we flew in the Concorde from, like, Washington to London. You know, just a tiny little plane, and you’re there three hours later and you’re like, “Hey, that was fast.”

Jeff Price: That’s really cool. But when you gigged, you were, like, pounding away at these sort of small clubs for a while. Opening for Iron Maiden, that must have been a big gig with a big crowd, but ultimately it sounds like you went from playing to, maybe, 300-500 people one night to... did you end up from that to a stadium and all of a sudden you’re playing in front of 25,000 people? And what was that like for you?

Izzy: Funnily enough, the more people, the more relaxed I feel. I don’t know why that is... sort of reverse psychology. But we actually went from the clubs - a lot of clubs and sheds on the first tour a couple of months, and then we went up to theaters. I think it was with the Cult; at one point we ended up with the Cult on a U.S.-Canadian tour. Europe, theaters, clubs, and I think from there we branched out into, like, festivals - I remember playing the Donington festival, like second band on the bill and it was still light out – and stuff like that, and we kind of moved up. But I can remember at a point on the East Coast, when we were playing before Black Sabbath at Giants Stadium, I think it was, and we go to the opening - you know, Welcome to the Jungle, I think it was at the top, and people are running to the stage and you’re watching them run. Then a funny thing started happening. People started jumping off or climbing. They were trying to climb down the water pipes from the second tier down onto the main football field. And these water pipes were busting, and as they were busting, you know, currents of water were spraying all over the place, kids are falling, the pipes are falling, and they’ll hit the ground, boom. Then they get up and the security guard sees them and they’re chasing them. It was like this bizarre football game. And it was really – it’s fans running to the front of the stage, but it was wild, you know? And at that point you go, “Wow, hey, things have changed.”

Jeff Price: So how did you learn guitar?

Izzy: Self-taught, noodler, just picking around... the Ramones was my favorite, and I highly recommend that to anybody that wants to learn the guitar. First just run a bar chord and play Ramones songs, because it gets your dexterity built up, your left-right, left-right, you know, third fret-fifth fret and back. You don’t even need to learn the notes to start out with that kind of stuff. Then, from there, it’s just... you know, I spent a lot of time just sitting around with a guitar and playing around.

Jeff Price: Did you ever get to meet any of the Ramones?

Izzy: Yeah, I did, actually. I partied with Joey once in New York, way too late, way too long; it was a good time. Um... I think we met Johnny Ramone out here – no, we saw Johnny Ramone, we didn’t actually meet him. We didn’t want to – we were kind of intimidated, you know, to go up and say anything to him. He was shopping with his girlfriend at the time, or his wife, and I saw him and I wanted to say, “Hey, I am a fan!” and then, “You know what, I’m just gonna leave the guy alone; he’s shopping and he probably doesn’t want to be bothered.” But yeah, I met Joey once. We didn’t have – I don’t think he said a few words and I don’t think I did either, but we hung out all night.

Jeff Price: Alright. So here you are, you’re touring Europe, you’re touring the U.S., your career is taking off, and the insanity has begun, and... I don’t know what word to use, but it begins to unravel, right? Things become wrong.

Izzy: Surreal.

Jeff Price: So what happened? What made you want out? And why did you get out?

Izzy: Well, in ’91? I had a pretty insane – I grew up kind of half-crazed. I mean, I grew up in the Midwest and, you know, we were smoking weed, we were doing all the wrong things at 16. And then it adds up over the years and, you know, you fast-forward to ’91. I’m like, “Wow, I always wanted to play in a band.” And it was like, “Oh wow, there we are on TV, CNN.” Riot in St. Louis, “Oh yeah! Riot in St. Louis, yeah.” You know, so you kind of go, “Wow!” It becomes a bit much, the whole thing. And I think about ’89, December 15th ’89 is when I got sober. That’s when I decided to quit drinking, quit doing drugs, quit being a goof.

Jeff Price: What prompted you to decide to go clean?

Izzy: I just kept getting in trouble, fucking up, being unhealthy... just my lifestyle was really bad. I wasn’t having any fun with it at all anymore. It was just a drag, the whole thing.

Jeff Price: But how are you able to recognize - when you’re in the middle of the storm, how do you know that you need to get out of it, if you know what I mean?

Izzy: Well, jail is a great reminder, you know (laughs). That’s the ultimate sobering effect and that was my – I guess what they call a low point? [That’s] where you kind of bottom out. I think about ’89 I bottomed out. I said, “Hey, I gotta change. This isn’t working for me anymore.” So then, ’89, ’90, ’91, I have three years of sobriety, three years of still being in Guns N’ Roses. We’re doing Use Your Illusions, we go out on the road and, you know, [I’m] completely sober. I don’t know, there was a point in ’91 where I was just like – I don’t remember how old I was, but it was ’91 and I was like, “You know what, it’s time to change, man. I’m pulling out of this thing. I’ve had enough.” It was absolutely out of control. And, you know, I still loved all the guys. It was a really tough decision, because these were, like, my buddies; we went through a lot together. And now we’re all still friends. I talk to all these guys every week or two. We’re all still good friends. But in ’91 I was like, “I’m going to do something else, man. There’s more to it than this. It’s got to be more.”

Jeff Price: So what was there after you left? What happened next?

Izzy: I did nothing, man. It was great. I went back to Indiana, I got some land, we built a quarter mile oval, I started racing flat track motorcycles... [I was] just doing, like, Indiana stuff - you know, outdoors, fun... I tried ice racing on flat track bikes and, you know, just cool stuff, just hanging out. I went back and just hooked up with all my old friends from grade school, high school.

Jeff Price: What was that like?

Izzy: It’s cool!

Jeff Price: Were you known as “Izzy” in grade school?

Izzy: Yeah. It was a nickname and it stuck. My last name is Isbell and “Izzy” was the nickname. I think my uncle had been saying “Izzy,” you know, so it was a nickname. But these guys, I’d always kept in touch with them over the years. Granted, in 1980 we didn’t have internet, we didn’t have... I didn’t even have a phone - and forget cell phones, it wasn’t around. It was like, you’d go to a payphone, call somebody, “Hey man, I’m in California. Hey, we just played!” you know, that kind of thing. So you keep in touch long distance via mail. Remember the mail - letters, stamps and all that?

Jeff Price: Vaguely.

Izzy: Yeah, exactly. So I always kept in touch with these guys, and when I unplugged in ’91, I just went right back where I left off, you know? I still keep in touch with these guys.

Jeff Price: And when did you decide to go back and record? The first thing you did after GN’R was with the Ju Ju Hounds, right?

Izzy: I went back there, and after about, I don’t know, 6, 12 months of just being off the radar, I hooked up with some guys out here on the West Coast again and I came back out to sunny California. I started tracking and I signed a two album solo deal with Geffen Records, and we did the Ju Ju Hounds, and then we did 117°, which we did later - I think we did that around ’95. So there was a three or four year space there. We did two solo records and I just took up where I left off with Guns N’ Roses. But the big difference was that you go from the stadium superstar band situation back... you’re playing in Amsterdam, you’re playing in Brussels, you know, you’re in Europe, and they’re like, “Oh yeah, this guy,” but you’re back to a theater. So we start the tour, we do a round of clubs... cool stuff, you know? Then we do the second round of the same tour, same year on the Ju Ju Hounds record, and we branch into theaters. And it didn’t take long. We’re right up into the 5,000-6,000 seater range, and the crowds are rocking, everything’s on time, it’s fantastic. And, you know, we put in seven or eight months doing that, and...

Jeff Price: And I guess the riders must have radically changed, right? I mean, when you’re in GN’R you can get the green M&M’s.

Izzy: (Laughs).

Jeff Price: (Laughs) Was it the same thing where you’re like, you know, “Where the hell’s the extra strings?” or “where are the towels,” or...

Izzy: Nah. No, it was a totally different game. I mean, for one, all the guys in my band had never been in that sort of situation, so they never became spoiled or jaded, or just, you know, delusional about their status. So, you know, it was totally different. And it was, actually, pretty easygoing. I mean, it was really just fun. It was really a lot of fun – a lot of hard work, but it was fun.

Jeff Price: So that brings you to a kind of – I think the next step is how I actually met you, which is that you made Izzy Stradlin solo records for them, right? River, Ride On, On Down The Road and Like A Dog.

Izzy: Yeah.

Jeff Price: So you did these four albums. When were these albums made?

Izzy: I started... Well, you know, I’ve always got a guitar somewhere. If it’s not - you know, in my cars, in my closet, there’s always a guitar. So the songs come now and then. You’re sitting on the couch, you’re on your bike, you’re walking on the street and you get a melody, you get some phrase, something happens and you get this idea. So I’ve always been doing that since I was a little kid, just making up stuff, you know, and kind of jam along. I did the last Geffen record, I think it was in ’95 or ’96, so around that point, when my second album was finished, I think I knew that I was going to be free of any record company influence or deals, and I actually was looking forward to that; and as soon as I turned in the last record, I was on it. Also I was free of management at that point. You know, you gotta understand, I went through a period of ’84, ’85... you end up doing these management deals and you need a manager when you’re starting out. And then, you know, I think I had management for ten years, and then... Anyway, ’95, ’96 is when I started on the solo stuff again and there was no label involved. My intention was really just to do the record, and see what’s gonna happen and see where I can go with it. And the internet, I’d heard of it and I was kind of interested just because of the obvious advantages: ease of distribution, you know, you can stay in California, you can stay in New York, you could stay in London or whenever you want to be, you could stay there and do what you’re going to do. But I didn’t really plug in. I was like, “I don’t know, it’s new a way to see,” you know? So I did these records and we ended up doing, I think, one licensing deal for Japan on one of them. We’d go over there, we’d play, like, a couple of weeks of shows, [and] come back.

Jeff Price: Well, who did you pull together as your band, though, for these records?

Izzy: The same guys. It’s Rick Richards on lead guitar... actually Duff, from GN’R, played bass on the Japan tour, for that particular tour, and the drummer was Taz from Reverend Horton Heat and Burden Brothers – that’s his band now, they’re really great. So it was the same guys that I’ve always been hanging around and playing with. Duff and I, even when I left the band, Guns N’ Roses, we still talked on the phone for a while, and I’ve done a lot of stuff with him and he’s done a lot of stuff with me over the years. We’ve always been kind of on the same wavelength and we still do a lot of stuff together. The two main bands that I’ve had are the guys that I play with now, Rick and Taz, and then, you know, the Guns N’ Roses guys. I keep a pretty small circle of musician friends that - you know, once you find some guys that are great players and you get along with them, that’s really... you want to stick with that.

Jeff Price: So for River, Ride On and On Down the Road, were these 24-track studio, 2’’ reel-to-reel or...? How did you end up recording those?

Izzy: We did them all over the place. We did a record up in Seattle. It’s a little studio that I think Nirvana and their drummer had worked at... talented guy? ... Dave Grohl.

Jeff Price: Yeah.

Izzy: Dave Grohl. We did some stuff up there, because, you know, Duff’s from Seattle and we went in the studio there, a little place with a cave next built into the side of this cliff. It was a very cool tiny little place. But yeah, I think it was 24-track 2’’ tape. We did some stuff... Funnily enough, a lot of the stuff we did at Rumbo Recorders in the Valley, which is the original studio we cut Appetite for Destruction.

Jeff Price: Very cool!

Izzy: And back in the 80s, when we were doing it, it was 800 bucks a day. Jeff, I tell you, 800 bucks a day and I was like, “Man that’s, like, more money than we’ve ever made in a year,” right?

Jeff Price: Yeah, that’s a lot to most people.

Izzy: Oh man, in the 80s you were just like, “That’s huge money!”

Jeff Price: Yeah, it is.

Izzy: And then I went back in there, like, 10 or 15 years later and it was the same price. I was like, “Wow!”

(Laughter)

Izzy: This is what I... you know, you see this internet thing coming and you go, “Wow, things are changing fast.” Same gear, same rooms, and we did a lot of the tracks off records in Rumbo, some in Seattle... The last record we did, Like A Dog, we did that in Dallas, Texas at Nomad Studios. That was on Pro Tools, 24- track into Pro Tools, and I gotta say the time to do the record was cut down by about a quarter, maybe half.

Jeff Price: So that was all digital. You did it down a ¼’’ and then mix, or it was just all digital, Like A Dog?

Izzy: Um... I think we might have taken it down to ¼’’ tape and we finally did the mastering, but everything was done to Pro Tools and I gotta say it was fun and it was fast.

Jeff Price: I gotta say that it also sounds really good. I mean, I was telling you Like A Dog, to me, is such a raw sounding record. I had no idea that this thing was done through Pro Tools.

Izzy: Yeah, it was, and I was really relieved when we were finished – you know, compared to other records and CD’s. I was like, “It sounds like... I hear a difference, but it’s good. I like it.” I liked it, so I was really pleased with it.

Jeff Price: So why now – I don’t wanna say you’re resurfacing, because it’s not like you ever really went away, but you’ve decided to get all these albums up and available for people to download online. So basically you can get your music out to the world without a record label now. Right?

Izzy: Right. Fantastic.

Jeff Price: And where do you want to go from here? Are you looking to go and gig some more, do you have more recordings? Or is this just sort of – I don’t want to say a hobby, because that doesn’t express a passion, right?

Izzy: Well, I think you touched on. You said something about resurfacing or this... Well, let me put it this way: since ’96, you know, for ten years, I’ve been recording these albums and going all over the place. I travel a lot of time anyway, when I can. The music has been piling up and I’ll do a licensing gift for Japan. One record went there for distribution, licensing... But then I’ll get fans, you know, all the fans in Europe or South America or U.S, they’re looking for the record and they can’t get it. It’s expensive, it’s prohibitive, because you got to pay 30 or 40 dollars on Amazon, because, you know, they’ll have to print that kind of thing. This has been going on over the years, and then we do another record, I think we put out one record in Europe, European and South American distribution, same thing: the Japanese, you know, “Hey, we can’t get the record, the CD...” And over the years I’ve sent stuff around. I’ve talked to people, I’ve given... I’ve even given to John Kalodner one day - he looks like John Lennon, you know, the white suit, the beard, the hair... and I know this guy from the old days. I was like, “Holy shit, I know this guy from the label, Geffen,” and I had a CD and I said, “Hey, there’s my CD.” But nothing ever happens, you know? You know, “We don’t hear any hits. We don’t hear any singles.” I was like, “Well, this is it,” you know? “That’s what I do, this is what it is, you get what you get.” So nothing happens. But here we are, in 2006, and I’ve been looking at the net and trying to get this thing up for a long time. The way it came about was, Glend Miskel, who’s an attorney up north, sent me an email back in May and Bruno’s email was in there and an another guy. I sent those guys an email and they said, “Yeah, it takes a long time to get on iTunes.” They said, “Contact these guys, Jeff at TuneCore,” and that’s how I got to you guys.

Jeff Price: So that’s cool.

Izzy: And once I got to you guys - I mean, you’re talking, like, four or five months of efforts. Once I hooked up with you guys, it was a matter of two weeks and the stuff is up, and it’s incredible. It’s incredible, right?

Jeff Price: It’s hardly like Appetite for Destruction, but I’ll take the compliment, thank you (laughs). So what do you think about the whole digital thing? I mean, you’ve obviously made albums and you wrote. I mean, one of the things I want to get out to people is, like, these songs that people know you either co-wrote them or you wrote them, and you certainly played on them-

Izzy: Yeah.

Jeff Price: So, you know, you made albums, man. I mean, pieces of art, front to back. How do you feel about the idea that people can go online and take them one song at a time or only take pieces of your album? Does that bother you?

Izzy: No, it doesn’t bother me at all, man, I’m in. I’m in. I grew up in Indiana as a kid and the only access I had to music was Don Kirshner’s Rock Concert. You had a magazine, Creem and Hit Parader – Rolling Stone, you know, as a teenager I didn’t give a shit about; it wasn’t on the list. You had those two outlets and that was it, and that’s down at the Village Pantry 7-Eleven; you know, we got to ride our bike to the snow in the winter just for that. That was the access and that’s what we lived for, to get the music, get the information, get the photos... And you’re talking 8-tracks – this is back in the 70s, it’s 8-tracks.

Jeff Price: By the way, 8-tracks just rocked.

Izzy: Yeah. You’d go to Woolworths, Woolco... I had some hooligan friends and we’d go in, you know, a pack of five guys, and these guys showed me how to actually steal 8-tracks out of those cases. Remember those plastic cases with a hole?

Jeff Price: Oh yeah.

Izzy: You had to stick your (?) (laughs). These guys were always up to no good – I’m sure they still are. But it was all about, you know, making that connection, getting the music, getting those magazines... but this took days, weeks, months to get that stuff. Now it’s boom, touch of a button and there you have it.

Jeff Price: But doesn’t it bother you... I’d sit down - I remember being a kid and taking out, like, the Queen album. And sitting there looking at the album art, as a little kid, of this Queen 12’’ vinyl LP, and people dropping out of the robot’s hand, right? And I used to love the album art. Does it bother you that it’s this completely digital thing now with no tangible thing in people’s hands, that they’re not getting the full album art? Or do you think that the net can provide more media experience? Or what does it all mean?

Izzy: Well, I gotta agree with you on the artwork. That was one of the joys of the music, I loved the artwork. And I come from an artistic background as far as drawing. I loved drawing in school and I still like to do cartoon stuff. I really, really loved the artwork and having the lyrics, and the pictures... I mean, that was actually a big, big part of it. So I do think the people today, for example younger people that are maybe discovering stuff and pulling it up, I think the experience isn’t... It could be better. I think it could be better if, maybe, we could offer the songs digitally, but then, as a bonus or as a perk, or some way, maybe there’s a way to access this cool artwork, and download it and print it, and make a poster, you know, for your room – something cool. It was a huge part of it. Besides that in the 70s you could roll your reefer on it, you know, on DC, all that thing.

Jeff Price: Exactly. Exactly (laughs). Like Dazed and Confused, that whole movie. It was awesome.

Izzy: (?) (laughs).

Jeff Price: Well, before we go, though, and I’ll let this in post-production here, a couple of people posted some questions for you at the TuneCore blog and one of them is kind of funny. One of them is, this guy took photos of you and he thinks that it’s the Surfer’s Paradise in East Australia (laughs); and he wants you to look at this link, just because he’s dying to know where the heck this was.

Izzy: Was it skateboarding or surfing...

Jeff Price: You know what, I’ll email you the link.

Izzy: Yeah, yeah.

Jeff Price: And let me know, and I’ll put it up at the blog. Thank you very much for your time. It’s really cool talking with you. It’s amazing to hear this stuff. You really reinvented the music industry somewhat and what you did was phenomenal. It has impacted for... what are we up in, 20 years now? Of the impact of GN’R? I mean, it’s insane.

Izzy: It’s wild. It’s nuts. I mean, kids... my girlfriend’s daughter is 14 and, you know, I’m meeting kids at their school that just discovered GN’R and it’s just like, “Wow!” (laughs)

Jeff Price: Yeah, it’s very cool. Will you be out touring any time soon?

Izzy: I may do some shows with Axl out here on the West Coast around Christmas. But for my own stuff, you know, if this thing takes off and people start pull the downloads off the net, then yeah, maybe I’ll just go out and do some shows to back it up. You know, until now I’ve never had a format to tour on, because if I went to Japan I’d have to play the record that was released there, and if I went to Europe I’d have to play the record that was released there. It’s all been splintered, you know?

Jeff Price: Yeah.

Izzy: And this ought to make it worldwide. It’ll make it global and, you know, it’s gonna be interesting, man, to see what happens.

Jeff Price: Cool. So, as we get to the end of this podcast, I would love for people to be able to hear something off of one of your solo albums. What song do you want them to hear and why?

Izzy: Um... You know what, my favorite is the last one we’ve done, Like A Dog, the actual album, and I like all the tracks, I don’t have a favorite. I mean, I like them all. But that’s my favorite, the last one we did. I suppose it’s the most fresh and, you know, it’s a new approach.

Jeff Price: I think the song Bomb is really, really good.

Izzy: (?)

Jeff Price: So we’ll end with Bomb, if that’s cool with you.

Izzy: Cool.

Jeff Price: Well, thank you very much, and with that, here’s Bomb off of Like A Dog.

[Bomb is played]