Hello, and welcome back to another
episode of Fret Buzz The Podcast. I am
Aaron Sefchick your host along with Joe
McMurray. Each week we try to expand our
knowledge and the language that we use
amongst us musicians. Today we have part
two with Jason Cale. In today’s episode
we’re gonna get into gear, we’re gonna
get into some vocals, we’ll get a
little bit into studio work and a little
bit about letting go of some of
your material. Be sure to check out
Jason’s website at jasoncalemusic.com
If you’re up for the challenge,
Fret Buzz The Podcast is going to be
doing once a month a song submission
where we do a little bit of a roundtable
and talk about your song, or I guess I
should say our songs. We’ll do some feedback,
critique things that we could all work on
because after all, we are all students. So
if you’re interested head over to fretbuzzthepodcast.com
Go over there and check
out what what it’s all about, the rules
and yeah, let’s see if you’re up to the
challenge. I’ve already done two
and it is definitely eye-opening and
very helpful at times. So if you would
like to have a little bit of feedback on
what you’ve got, by all means,
head on over to fretbuzzthepodcast.com
and with that I give you part two with
Jason Cale on Fret Buzz The Podcast
All right, so I wanna if you’re okay with
it I want to jump over the I want to
jump over to some guitar gear it’s a
musical gear if that’s if that’s okay
with everybody I love talking about this
and I actually learned a lot from you at
the East Coast guitar convention seminar
that you did and Jason actually he had
off you you did all this a whole
acoustic set like discussion and then
you put that away and you did a whole
separate thing on the electric rig and I
still have a note card full of notes
from that like it it was very very
helpful okay I’m a tree yeah and you
have a your live sound I mean you said
use the dude overdrive pedal and I’ll
never forget that because you had this
milky overdrive I love it Thanks yeah so
what what is it I mean it’s the sounds
and your fingers aside what what are the
things about your rig that that you
think are really special or just make
your sound
what heads uh well first off I you know
I I have been I like having a warm just
a clean T vamp and and I think just a
fender preferably and Jen that gives me
a super clean sound and warm I am and I
kind of gravitate towards that just out
of many years just playing back lines
you don’t you know when you’re traveling
through Europe and Africa and don’t get
to choose your amp a lot of times you
know you just have to give some sort of
generic thing like just please give me a
nice warm tube amp if you’ve got it if
not I’ll make it work and do the best
you can you know so I intended to try
and have pedals that were friendly with
those vamps and then I would just have
everything all my sounds
or in my pedalboard you know and i
really i don’t i even the helix stuff
and and all that stuff I’m not crazy
about it man and I love having an
organic amp I like having that and I
like having analog pedals man I just I’m
I’m like that however I have I am
thinking about purchasing the helix the
effects and and gosh that would cut down
on some pedal board gear and give me a
couple of fun toys to play with
yeah yeah I just if I had to choose one
it’d be my one overdrive pedal I’d be
the dude and a clean T vamp and I could
gig for the rest of my life I’d be happy
with that I don’t need anything else
my current rig right now one one a new
pedal that I fell in love with is the
Wampler velvet fuzz pedal okay ooh
love it know how I ever lived without it
and I’ll sometimes and and it gives me
the option of like I want just a little
dirt or whatever and it’s just I like
the way it sounds and and if I stack it
with the dude pedal it’s just a really
cool kind of yeah that’s awesome
we just saturated you know amp kind of
sound gives you that dual Bromell kind
of vibe you know yeah we just had that
episode with one of our Tech’s guys on
the show who has five different fuzzes
on this pedal yeah he loves pedals and
yeah buzz isn’t kind of rolling him back
just get that dirt yeah yep that’s the
way I do too man i I I’m all the time
I’m a volume knob and yeah so yeah I
love a lot of OverDrive’s team and I
probably have too many but when would
you in the most organic one that
found that I really love went you know
if you’re going to take it
I don’t within a song the context of a
song where would you use the fuzz
instead of the overdrive when I go to a
solo you’re discussing the sky Lewey co
like I put on overdrive
maybe I that’s the core of my lead sound
like I don’t know when I would rather
have fuzz I don’t know I used it in the
same situations just depending on the
song alright I don’t it would just
depend on the moment I know I don’t I
don’t like I said like five to choose
one drive it beat that one probably
stays on primarily most of the time but
I just got this Wampler pedal and so
I’ve kind of have been I’m still kind of
experimenting with where I want it and
where where I like to have it but the
dude normally stays on like I can keep
that thing on the whole time you know
and just roll my volume back to clean
things up mmm is it what do you like
about it have used a tube screamer just
a basic yeah yeah yeah I never the tube
screamers I’ve I’ve experienced we’re
just I didn’t like how mid-range ii they
were oh yeah they definitely have that
at home there and you’re playing through
a fender and for the amp what are you
using for your ax
currently I have a Fender Strat that
I’ve messed with that I’ve just I’ve had
since 1996 that i modded and I have to
lay sensor single coils and then I have
a seymour duncan 259 in the bridge and
it’s just a really it’s a guitar that I
can use for anything and and it’s just
it’s been my workhorse man that guitars
been my work force um I have a party
Smith hollow body
– and then I have a Fender Jazzmaster
that I absolutely adore
I love that thing but I just recently
got endorsed by a company called Lindsay
guitars Li in DSA why guitars mm
luthiers based out of Chesapeake and
he’s fantastic man
he might be somebody cool to have on
your show but he’s super cool and his
attention to detail is unlike any other
persons I’ve ever met and I just
happened to play one of his guitars at
the expo at the guitar Expo last year
and and we got to talking and he video
and when I sat down and played his
guitar he’s like man you mind if I video
you for my site not at all and exchanged
numbers and a few weeks later he called
me up and he’s like did we want to we
want to just fully endorse him and just
you know we want to get build you a
guitar and help us promote it you are
you interested in like hell yeah dude
you got so I’ve been working with him
and and his wife they’re fantastic
fantastic people friends first frame and
that’s and seriously I you know I didn’t
go up to his shop hey hey I’m looking to
be endorsed can I get some guitars you
know III just don’t like that angle and
it just happened organically and that’s
the way it should be and and and and I’m
just freaking overwhelmed blessed
honored all the above to be playing his
guitars and he’s actually building me
kind of this Jazz Master esque guitar
and we’re putting Lindy Fretilin pickups
in it the p90 Lindy frail and p9 he’s in
it and did I’m hoping that’s gonna be a
kind of one of my staple guitars that I
used primarily for most of my gigs and
then he’s uh he’s
building me a beautiful Florentine
cutaway acoustic man that I’ll be using
the gigs but yeah definitely
anybody listed check out there there’s
their website man he’s fantastic and
fantastic people and I’m like I think
10% of the guitar he gives 10% of his
proceeds to the local SPCA which is
pretty cool yeah I’m a dog person as you
can tell and effects wise I enjoy using
the chera echo Jericho that’s a lot of
fun I have the canyon chorus are the
canyon delay like I have that one too
you know it’s a lot of fun is that
otherworldly setting you can get on it
like the yeah crystal I don’t know what
you call it yeah yeah yeah especially
when I don’t have a keyboard player
mm-hmm I’ll put that on and kind of just
chord stuff out and it sounds like I
have some sort of scent in the
background you know see yeah and I’m a
wrote a vibe I love I have does a
cooperative vibe and standard wah
yeah sometimes I’ll use compression
level and but yeah I’m I’m always back
and forth on compression it’s yeah
sometimes it I feel I put it on and I
just like nothing feels right anymore
but I keep thinking it it should sound
good if I can get it set right but every
different room it changes do you have a
blend knob on your pressure i I do I
mean it’s got it’s got too many knobs
I’ve got the key leave for knob
compression yeah man uh I got the the
Wampler ego ego compressor and then I’ve
got the what is it the vice grip see is
that Seymour Duncan vice grip I don’t
know that one but the vice grip I I
really like
that vice-grip man and it’s pretty
simple the the in the ego compressors
the wampler one is pretty pretty simple
to man the attic Dyna comp it’s got the
one knob in the middle what’s that
I think the Dyna cot comp has like one
knob in the middle yeah it’s it
compresses it in terms of the volume at
the same time the there’s another one
man that’s a pretty pretty natural
sounding built by Mark smile or smile
tone pedals were tried out any of his
stuff mm-hmm smile smile turn you should
check it out mark smiler good people
great guy and he’s a local dude around
our area here in Virginia too man and
smile tone I want to say it’s small town
pedals calm or small town calm and he’s
got some pretty awesome stuff yeah I
guess I think for me it’s it’s not like
I never have time to do a full-on
soundcheck where I can just like like I
can’t really hear myself well enough out
in the audience turn on that compression
pedal I make a few tweaks and I’m like I
hope it’s good and then I get in the you
know by the time I actually kick it on
for something I think maybe you know
some people leave it on all the time
like barely on that might be the way to
to go yeah and I yeah I kind of have
that ego when the ego compressor I kind
of have everything just dialed in the
center everything’s at you know twelve
o’clock I’m pretty happy with it I think
I have the tone maybe at 65 percent
something like that and yeah but
sometimes like if I’m rolling
especially if I’m just like I said a lot
of times I’m using my volume knob to to
clean things up if the compressors on
yeah my overdrive pedals don’t sound
same so I’ll turn it off so I can get a
kind of a cleaner kind of sound yeah
that makes sense if you’re rolling your
tongue your volume down it’s trying to
keep volume up yeah
compression I mean I was listening to
another podcast and they were talking
about compression and they’re saying
like every studio apps two studio album
ever is basically had compression on it
like we’re so used to hearing it it
should sound good if you know how to use
it yeah yeah yeah it’s uh
that is a like in the studio when I’m
recording I I don’t like over
compressing things like on vocals and
guitars I’m I just barely get it there
barely I just it’s just a touch and I
like trying to keep things to sound as
natural as possible speaking of singing
you’re an awesome singer I we haven’t
even brought that up but excepting maybe
the introduction but you’ve got a great
voice thank you
yeah I mean it’s like a solid it’s like
what I want to hear when I hear want to
hear rock voice a male rock voice you
have like the right
you have that like you don’t have a
Disney voice you don’t have an operatic
voice you have a great rock sound yeah
that came out of necessity man
especially uh early on like the music I
wanted to play nobody wanted to sing or
nobody could sing and so it kind of came
about just yeah because I had to yeah
yeah often happens yeah it’s hard to get
stingers it it really really is I mean
even where I work it’s just nobody wants
to sing everybody’s too self-conscious
and and then you’re just left with well
somebody has to do it right yeah man
yeah and so and it was funny in college
man I was studying classical voice in
fact part of my scholarship you know I
joined the military to get money for
college but when I started going to
college man I was I was really blessed
to have full rides man
and one of my professors heard me sing
in my and one of my first semester
subsite singing you know and studying
music and he was like dude why aren’t
you in the choir no but I choir any like
I need I need your voice in the choir
I’ll give you a scholarship and so he’s
like you just have to take a voice
lesson here and there and you know and I
need you the choir another what gift
it’s a dude he gave me a scholarship and
so I would study you know I was studying
classical voice and then during the day
at school and then I’d go sing a frat
house that night with my band doing it
right do you have any struggles or
specific show like day of show
preparations that you do specifically
for your voice man no I’ve been very
blessed of good genes in that department
man my mom was a singer my family
everybody was involved in music and the
South man like where I grew up family
reunions you know there was music always
going on and people singing same same
for my wife and I think the yeah the
biggest thing I’m doing before a gig to
be honest and it’s trying to get out of
my own head I’ve always struggled with a
anxiety and sometimes it’ll still get
the best of me man like I have horrible
stage fright still to this day and so
you know and that was you know it’s so
yeah it’s it’s something that I’ve
always struggled with so I have to like
literally remember
to have fun and that’s that’s the
biggest yeah that’s one of my biggest
things that I have to just
psychologically I have to just kind of
try and cleanse myself of any negativity
or crazy you know just crazy thinking
anxiety will do to you man yeah yeah for
me it’s like that first that’s in fact
you know ten minutes before the first
chord is struck yeah once I’m into the
chord and I’m actually you know plugged
into them I’ve got that first lick going
it’s good but it’s getting up to that
you’re like oh yeah man for me
it’s remembering freaking lyrics man
yeah yeah like for me it could be a song
I have played 100 times if if I am NOT
one with the University I will screw it
up you know you know if they can
overthink in it it come to me man
you know and I’ll be watermill in it
it’s terrifying to be in the middle of a
song and you don’t know what the next
line is yeah and it’s like you’re down
to the final fraction of a second and
you’re in your mouth and somehow the
right word comes out you’re like your
third power or doesn’t yeah or doesn’t
use make lie make something up yeah
there’s here’s the first verse again
with the second verse yeah horrible I
hate I mean you just have to figure that
most people really aren’t listening to
you your lyrics that closely well if the
sound man’s doing his job
the lyrics will not be understood
whatsoever anyway right wait why why oh
man my sarcasm is real I’m like I need
more coffee I ran I ran out a long time
I have a whole bunch left in the kitchen
I should it should have refilled yeah
remember I spend more time in
preparation for shows I spend more time
trying to remember Lear or reviewing
lyrics than probably anything else other
than maybe like complicated looping
pedal things like I I’ve really just
liked it I could have like he said I
could have sang the same song over and
over but I try to make sure that it I’ve
at least sung it in the last couple
weeks if I’m gonna perform it on stage
yeah yeah cuz a couple you know you go a
few weeks and for whatever reason you
just kind of forget something out of
three hours of music you’re gonna forget
something yep and yeah it’s it’s for me
it’s a it’s what my Annie needs to the
set and especially if it’s an original
like I had to new original songs I
wanted to do last night we only did one
of them because we ran out of time but
it’s reviewing making sure I’m playing
what I wrote but yeah because what it’s
an original sometimes I I tend to you
know feel it differently once I’m
playing it live but you know when I’ve
got my guys back there and they are like
nah bro this is what you wrote this you
know they’re all my feet to the fire and
sometimes it’s for the better you know
I’ll play it the way up rigidly intended
the original intent was and then you
know then we’ll we’ll kind of make it
our own as we play it out but remember
and all that that stuff especially yeah
when it’s a new original and because you
know if we’re doing a cover or something
you can you know it’s probably something
you’ve you you’re very very familiar
with you know but lyrics and singing
lyrics and last night we did one way out
by Allman Brothers and yeah I had to
like work on the
verse and how rhythmically it flowed
playing the guitar while playing the
guitar because that was something I had
never sung before and because I was like
man that’d be hard to sing in play but
it was nice planning and Danny Lewbert
on the guitar playing most of the
rhythms desk could sing it there’s some
things like some of the ACDC is really
hard to all bro they rhythm and sing
like you sing that I don’t cuz it’s so
hard but yeah I mean that cuts there are
certain songs I guess if you’ve got a
dedicated rhythm guitarist doing more
than your basic strum patterns it
changes everything
yeah yeah absolutely it’s really it’s
really nice to sing I feel like I sing
better when I’m not playing the guitar
and I can really like any studio
experiences I’ve had
singing and like really you know kind of
closing your eyes and focusing on your
voice and not having to multitask I feel
like I’m a better singer when I am able
to focus that and folk really breathe
better and hard works weird I feel
completely naked when I don’t have a
guitar in my hands right there have been
few times like in the studio it’s
different because well in the studio you
know you yeah you’re focused on
recording your song and getting the
parts right and whatnot but live but if
I don’t have a guitar on me live and I’m
just singing a song oh dude I just feel
totally weird
yeah totally weird I don’t like being
like the dude holding the mic and I’m
yeah just feels weird okay you’re
expected to like dance around more me I
got to I’ve gotten to play keys on stage
a couple times and it is weird like not
have just your balance is off not having
that that weight in front of you yeah
it’s very strange experience what do I
do with my hands
right so you don’t ever get hoarse dude
I’ll be honest with you like I’m yeah I
well I do try to I do try to sing
correctly okay but you know depending on
the volume of the stage when I’m
fighting over a you know I I will but I
normally do try to dial in my voice at
least to where I can sing comfortably
however you know when you’re when you’re
gigging a lot like I have been I’ve been
grinding it out of last year between PC
and Jay and my band literally like
anywhere between two to four nights a
week you know we were gigging and in
November caught a cold man I just
couldn’t shake and to be honest with you
like I feel like it’s just still on mine
it’s just still in my throat somehow and
my voice has not been right and of
course it’s that time of year where
everything’s super dry know everybody’s
out there heaters running and so
everything’s just getting dried out I
was just constantly draining water last
night and it seems like I have to sing a
whole song or two before my throat feels
like it’s clear you know but I’m yeah
I’m getting ready to do a a hip surgery
on Wednesday and I cancelled like three
weeks gigs and this is gonna be the
longest I’ve gone without playing and I
don’t know how long and and I’m gonna be
going crazy but to be honest with ya I
think I think I need the rest I need to
rest my voice I need to rest just period
and hopefully I can use this healing
time I’m gonna be doing just kind of
rejuvenate recenter and yeah do do the
networking thing
it’s important yeah yeah well we’re
doing some you know you getting your
name out there to our viewers yeah it
working right there yeah it’s uh it’s
you know we were talking about
networking earlier and using connections
and as you know musicians networking is
just it’s just part of the game but I
think it’s in any profession networking
is a game and I say it’s a game because
it feels kind of like a gang you know
you have to go attend things or
functions and you know meet people but
hopefully you know when we’re out and
we’re networking we’re meeting genuine
people right that’s what I always strive
to do but and and so yeah well while I’m
down I’m gonna be reaching out to some
festival coordinators and that you know
I’ve met in the past and try to finish
book in my twenty nineteen year that’s
I wish people could get people are just
starting to book summer gigs I feel like
mostly oceanfront stuff it’s hard to get
a October
I don’t know fall gig right now yeah I I
yeah I’m uh I’m hoping to do some
festivals this year with with my group
and worked I’m hoping to work with
Michael Diana of bearded face
productions I’m working with Rockstar
booking David his crew occasionally
Jason Brunner will give me a call from
more Cathy more and more music but yeah
I bet I want to expand beyond the region
here and I want to start traveling a
little bit and I’m constantly inquiring
about opening up for national acts and I
was called to do that a while back I’ve
been up for the national act at the
vanguard but
man you know music when I retired my
plan is to do music full-time and I make
I may go back to school and get a
masters degree and but I I I’m hoping I
can do music full-time and you know I
say music is the cruelest of all
and and so we’ll see what it what the
cards you know what cards I’m dealt with
music and and yeah I’m gonna try to
utilize some of the connections I’ve
made in the past you know but and I I’m
also I would be open to playing with
somebody that’s already established or
just needs a band cuz as a band leader
to be honest we it’s exhausting
I love being able to play what I play
but there’s a part of me it’s like dude
I would love to just be guitar dude for
somebody you guys you guys haven’t you
have an album out yeah man I’ll send you
a link
and give me your give me your info man
and yeah I’ll send you a link so you can
download it brother
awesome and do you have any new material
coming out well man
we’ve got enough new songs right now to
do another album but I’m gonna hold off
I I do a lot of production work for
people one of the projects I’ve done in
the past is a group called mob jet tribe
basically all the songs were written by
Park Shelton and goes up to Nashville
and does he he’s a networking fool but I
did her EP for him a couple of years ago
and we’re back in the studio now and
we’re working on another EP but this
time we’re going about it through he’s
gonna reach out to some artists that
he’s been networking with and see if
they’re they might be interested in
picking up one of his songs and you know
but he and I kind of go in together when
it he writes it and then I’ll I’ll
produce it record it and produce it and
track it you know and toss around other
ideas to hopefully what makes the song
better you know do you guys do you book
out a studio do you have your own studio
I have my own studio man awesome and in
fact uh yeah I’ve done a couple of
projects that been I think pretty good I
recorded an album here and to do it in
2016 I think and 2015 or 16 no it’s 2016
and Tom daikon really world-class
harmonica player and he it approached me
about producing an album for him and he
did really well man he got like
nominated for best blues album for by
blues mad blues blast magazine and uh
nominated for album of the year with
beer magazine and Domane
he it it did pretty well man come out of
my little studio yeah and then I’ve done
a couple other projects Jeremy Harrell
and he was nominated for uh he was
nominated for Hollywood and music media
award for one of his songs and then uh
object tribe we won this they have this
independent music award the jersey Music
Awards in Nashville which is one of the
it’s one of the I think probably one of
the bigger Independent Music Awards for
independent artists and we won best
southern rock song of the year
I once I was in 2016 as well but yeah
it’s cool magic tribe we’re a little bit
all over the place man but musically
yeah the EP we wrote it’s just crazy all
over the place and I’ve done there’s
another artist I like working with out
in LA
Nico Ellison and he comes from an R&B;
gospel background as a vocalist and
lyricist and he’s fantastic in the
studio and he and I did a album together
called right dogs WR ite aw Jeezy and
that was that was a while back man and
and we we did that just out of Thun and
we’re in the music licensing and you
know we still both are he’s out in LA
hustling yeah cool all right
so what are you just because I’m a
studio guy what are you running you run
in Pro Tools
I am so when I first started dabbling in
recording I was using sonar okay yeah
and dude i I just kind of stuck with
sonar and then I love the that program
but I just recently installed and
started working with Studio One for okay
and their version for and yeah so far
I’m still getting used to it but so far
I’m diggin that there’s a lot of people
who enjoy studio on there’s a lot of
yeah that program and then are you using
any analog analog hardware compressors
or what kind of preamps or what I’m
using a I’m using the Roland octave
capture I’m just trying to yeah
something I could take that’s portable
if I need to yeah I have a Presonus doll
control interface and then um yeah I and
you know and for my mics
I have a road mic but I also have a AKG
414 that I really like and it’s pretty
not yet I love it and you know if I and
and now on my album I recorded
everything in house and used Audax an
audix really nice Audax drum mic package
and they came out sounding fantastic
I’ve also used like for the mob ject
Tribe stuff you know I’ve used virtual
drums using Commerce and all that stuff
and as long as you dial this things in
great you know a dollar man right EQ
wise a lot of people can’t tell the
difference you know
so yeah and and then if I have bigger
projects like Tom daikons project we
went to another studio in Norfolk trying
to remember the name of it and we were
in it we rented them out for a day day
and F and we tracked the 10 albums and I
was kind of a ranger for that too so I
charted out all the songs rehearse the
musicians two days before and we went in
we just track drums bass a lot a couple
live instruments outside of that that
that was mainly just to get a live feel
and and it was a nice drum room upright
bass kind of getting that all laid down
at the same time to save us some money
yeah because that way I yeah it could
all be tracked at one time and then I
just did overdubs at my studio yeah
oh you’re right now it is all you really
need is the drum room yeah yeah I love
the live feel for recording in that’s
how we did our Kairos project and you
know you can go in and do your overdubs
like you’re saying but there’s something
the whole thing just sounds so cohesive
when you when you do track it like that
like the band is actually that good yeah
that’s what
down to his rehearsal and making sure
that the musicians that you play with or
you know on point you all know what
you’re supposed to be doing and there’s
no rewriting or writing going on within
the studio because that’s not really
what you’re there for right that’s right
yeah and and everybody getting the right
feel so you don’t feel like you’re in
different rooms you know I think that’s
the hardest part and yeah I just haven’t
had the I think if our to track a live
album man it would have to be in the
right studio in the right situation you
know people this latest album of mine
you know I know what I want it to sound
like and I know what I want it to feel
like and and a lot of people have been
like dude
did y’all track this live and I’m like
nah bruh you know I I I know what I
wanted my product that sound like and
and so you know I it just all started
from a guitar scratch track with a click
track and walking it through with all my
musicians and you know and and then
having really just top-notch guys play
on it that’s cool
yeah I think I’m pretty proud of it I’m
proud of the product it always gets
better I you know it’s a every time you
make a recording you learn something and
you know and at Joe Bonamassa every an
article by him and they were talking
about all his albums and you know
they’re one you know that he wishes he
never did or whatever and I think he
gave a reply like you know an album when
a recording is just a picture in time of
where you are as a musician and it
should be appreciated
you know it’s an honest picture and so
yeah man all our projects we should look
at it that way yeah absolutely
I agree it’s so painful though it’s so
good you’re working back now yeah I like
I like it I enjoy the process you can
see the progress of you as an artist I
accept you know three years ago I wasn’t
you know the man I am today
and that’s that’s okay right that’s
right brother that’s right that’s right
we’re yeah always evolving it’s humbling
it’s humbling to yourself I think it’s
easier when you’re not out playing the
same songs like certain songs that I’ve
written years ago and recorded years ago
I’ve now been playing him for you know
four or five years live and maybe if I
was to just drop those songs and they
would be at rest
in fact those songs have evolved so much
I listened back in my pan and what I
wish I could rerecord the song in a lot
of cases rather than having to write a
whole new song yeah I I had to write
when I started this band I think you my
travels I cause you know I was always
you know whenever I move in the military
I’d find people to play with on the
outside and I got in this habit of yeah
I never left old songs that I’ve written
and they were always like this like okay
guys do these songs and then I’ll do
these you know covers and I kind of got
in a habit of doing the same stuff up
until a couple of years ago when I knew
that I was gonna be here the
I’m gonna retire here and I want to do
you know I really want to put together a
really great band and then I and I did
start by playing some of my old
originals again but I was like so burnt
out on them and I think and and then
when I started really believing in
myself and believing in my gut and
trying to write from the heart I just
started just shedding a little bit and
night and now I don’t even want to touch
them you know ya know I dunno I dunno
I know exactly what you’re talking about
there there’s a time to just kind of let
the past be the past yes it is like you
said it’s a snapshot of what you used to
be and that that’s a good thing now it
kind of gives me a clear mind to just
kind of go to the future with an all new
path right right well guys I’ve enjoyed
this immensely yeah unless anybody has
any final words and I think we’ve
covered yeah tremendous amount of
Jason is there anywhere that our
listeners can go to find out more about
you yeah man my website Jason kale
music.com find out we’re all
yeah I’m getting ready to play and find
out more about the band and find out a
little bit more about me and yeah and
look forward to hopefully uh yeah seeing
you guys again soon man yeah in person
one day yeah thank you appreciate the
whole thing man it’s been great thank
you and I’ll see you around

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