Hey, this is Paul Martin. And Ray the roadie for the Chicago Rock and Roll Chicago podcast. Hey, we hope everybody's been enjoying our first two shows with Dancing Noodles and Five Guys Named Mo.

We've got more to come, some big names we're working on too, so please stick around and make sure and share, subscribe to our podcast. Keep those cards and letters coming, we appreciate all the good words and great comments about the show. Make sure you're sharing it with your friends, and we'll just keep on bringing you some of the best rock acts in the Chicagoland area.

This week, because horns bands rock, we have Tynan, so let's get to it. Let's go, here they are. Hey, this is Paul Martin.

And it's Ray the roadie. And we're here with Tynan, with Tom Tynan and Ted Phillips, keyboard player for the band and the guitar player and founder of the band, Tom Tynan. How are you guys doing? Good.

So far so good. It's a very happy day for us. Good.

So, tell us a little bit about how the band got started and... Wow, do we have that long? Well, I'll tell you one interesting thing. People often think it's an ego thing, why I named it Tynan, which is my last name. And actually the truth is, I had an uncle who passed a while ago, he was kind of my mentor in life and business, and I've always been self-employed, that's how I've been able to build this band.

But my first business in life, I was painting a drywall contract and it was called TNT Enterprises. And my uncle built a business, which is the largest welding company in Chicago now, it's called McGinnis Welding. And he always said to me, when he was about to die, he says, if you can't put your name on it, it's no good.

So right there, it's just always kind of stuck with me, so I decided to build this band. That's the real reason it's named Tynan, at the same time, when you use your name, you can do anything. There are certain names, Metallica doesn't lend itself to the stuff that Dancing Noodles does or that we do, so that was the practical side.

That being said, the vision was what we have now, and I always thought horns were cool, I thought they never went out of style, I'm just an old classic rocker like all of us that are sitting here, but I just thought it was neat. And so when I started, I had a vision of what I wanted, and I'm out at a jam night one night, and I see this long-haired guy with a great voice playing keys, and I went, never met him before, and I said, that's my keyboard player. And then I said to him, I have a vision for this band with horns, and I think Ted's head almost snapped off his head, I always wanted a band with horns, and that was eight, nine years ago.

I was going to ask you how long ago this was. Yeah, the band actually started 13 years ago, it was me, a drummer, and my son who's now 30, when he was 19, playing bass, so that's how it started, and then just little by little by little by little by little, and I just kept adding, but I think the key thing started when I found Ted, and then I found the second guitar player who's been with us forever, and onward and upward we went. And that is? Huh? The guitar player? His name is George Lamparis.

Right, okay. George has been around for, I'm sorry, I've got to remember that people can't see me, probably better off. But yeah, and then from there, I met Ted, and then we went through a couple of drummers, and we had a great drummer, Ronnie DeCola, and he was a pretty, he's a regular around town like Ted, and then I started going to jam nights, and actually back when Cheers was called Sullivan's, and I started going there, and I found one horn player, and then I learned that, like I said, with all due respect to all horn players listening, you guys are all from another planet, but it's okay.

That's all right. And then we would trial and error, and we would find the right people, but I always believed every, you know, it's funny, you go see any big band, people don't realize, you go see the Eagles, well, there's five or six guys in Eagles in theory, there's 22 people on stage, you know? And I just, I have that wall of, you can't have too many people on stage, you know? Oh yes you can. Oh yes you can.

It depends where you're playing, huh? Oh my God. But my point is, and I always envision having two strong females, and I don't like, one of the things that we've been very fortunate, I haven't gone through quite a few, the two girls that we have, and I don't like the term backup singers, because it's kind of like when you call somebody a step-parent or a step-child, it indicates less than worthy. Well, our two girls are probably the two best singers in the band, no B.S., you know? Most of the singing is done by myself, Ted, the two girls, and then Hank Fields on bass guitar.

And bass, and through George I met Hank. The nice thing about Hank, Hank is one of the few bass players that he can do all the genres equally, from one to the other, and there's no, I mean, he can do a Geddy Lee solo, turn around and do Stevie Wonder, and turn around and do whatever, and it's seamless, and it's perfect, you know? That's awesome. Ronnie McCullough, great friend, he has recently become our sub-drummer.

He's got other things in his life, from getting married and other things that he wanted to do. Right. So we bumped into a guy named Ronnie.

He's a great drummer. He's a great drummer. He still is.

He still is. I want to be clear to a lot of people. He's been a change for me.

He's been such, you know, he's been the hub of this wheel for so long, you know, now that we've gone out with Derek Burnell. And Derek's, it's kind of what I call, you know, people say, how do you find somebody who's good? It's not a matter of good. I like to say it's like an apple and orange situation.

Which one, you know what I mean? They're both good for you. Which one do you want? So there are certain things we've learned. He's the only guy, listen, Ted and I looked for a long time to find the guy that came even close to Ronnie.

Yeah. You know, we found that Ronnie was starting to have other things that he wanted to do with him. And there's no hard feelings.

It's all a fit thing, you know. Yeah. And he seemed, and right now at this point in time, and I want to say this without, I want this to be received correctly.

He's the right guy at the right time. Right. I mean, Derek really is.

As far as our first string horn section, Jeff Redman on trumpet, Doug Daniels on saxophone, and then Ty Stanlin on trombone. Ty is, I mean, I've got, I got shoestrings older than this kid, but he's like, what is Ty? 24, 25? Yeah, around there, yeah. Yeah, and he's been playing trombone since he was six.

He's one of these prodigy kids that are just amazing. Yeah. You know, just so.

So this is the core of your band. And as far as writers, a couple of people are surprised at this. Most of the originals that we did were done by, well, actually Ronnie, but Ted and myself.

And as I think that we'll, and Jeff has one, but we're right now, right now we're getting ready for fest season. And then from there, we're going to, second half of the year, we're going to work on our next one. We plan on going to Nashville in January.

And then we're going to do our first kind of winter tour, shall we say. They've got a new CD that just came out. Yeah, it came out.

And there's a little story behind that. I was, when I was literally the first day of college, my mom died. And as I remember that, as they lowered the casket, I tell this story a lot.

I even tell it from the stage. As they lowered the casket, I said, somewhere, somehow, someday, I record an album in her name. And it's called Shirley Jean, which is her name.

So it's a little bit of an homage to my mom. But at the same time, and one of the things I always say, you've got to be careful when you announce that from stage that I always, and I actually say these words, I'm not here to crap you out. The point of this is whatever, I'll say whatever town or whatever venue we're at, don't give up on your dreams.

One of the things that we try to do is, as a band, we've all had, you don't get to be this age without things going wrong in life. And I think the goal of any good band is to, first of all, the music's got to be good. You want to have a good show.

But I think if you can have people forget about their troubles for a couple hours and maybe inspire them to do things that, because all of us, to a lot of people, this is, when you think of doing this, and then it's a dream to have, to sit in this warehouse, to have this studio, to have this extent of equipment, to have this extent of following it. So you guys, I'm preaching to the choir. You guys know what it's like.

We're joined by Jeff Redman. Yeah, Jeff. Hi, Jeff, how are you? How you doing, Jeff? So now you recorded this in Nashville.

Yeah, Dark Horse Studio. It was interesting. One of the things that we've done time to time is, Tynan is actually an Irish name, and I actually learned from Jeff.

What's it called, Tynan? What's it, Gaelic for what? Oh, it's Celtic for Dark Knight. Okay. Okay.

Well, there was a gentleman that came in, and we just kind of, to be different, we featured bagpipes in the middle of our show. And from him, he had a connection to a studio down that he was going to go to school in, and he had brought us down to Nashville, and then we got to know... Oh, I see. Robin Crow.

Robin Crow, who else? Robin Crow actually has to do... He was the original Joe Satriani back in the 80s, before anybody knew who that was. He was one of the first guys to ever have any success as a guitar player, but he just got tired of the road... Instrumental. Yeah, just instrumental, before it was ever... Even now, it's still tied for the Yngwie Malmsteen.

I still have trouble with everybody. Am I the only one that has trouble saying that? Yngwie Malmsteen. But even though... That is more accepted now, but he was ahead of his time in that regard.

At the same time, somebody left him a bunch of land in... What's it called? Franklin. Franklin, right outside of Nashville, and he just set it there. Oh, I see.

He switched gears and went into that, and it's a beautiful studio. What I like about it is it's a very nice, homey place where you can stay. Oh, nice.

People say, why do you go down to Nashville? Because there's a lot of places in Chicago that say that, but it was really neat to have everybody there, because you can focus on it, and that's why I'll always go back. But we really got lucky, too. Their head engineer is a guy named Dave Hagen, and he's really an engineer-slash-producer.

So for a bunch of people from all different levels of recording ability that went down, we actually did a nice job for really not knowing what the hell we were doing, to a certain extent. Well, folks, that's the end of the show. No, I know.

No, we discovered how to put it together when we were down there. Right. And we discovered a lot of talents, which a lot of us have.

Oh, yeah, that was the cool thing, is we actually went down there. The songs were already written and pretty much taken care of, but when we got down there, we found out that we had to write a lot of parts that needed to be put in there that we weren't really sure of, and everybody just stepped it up. And we found out, just like Jeff said, that the talents started coming out of everybody.

They were like, hey, let's check this out, let's check this out. We spent the whole day listening to the same horn parts over and over and over again, and so on and so on. And you could say the same thing with the vocals going over and over again.

Well, I'm sure there's a certain camaraderie that happens, too, if you're all staying in the same place, too, that builds amongst you. Yeah, it does happen. And then it's just the opposite, too.

Sometimes you can really get spanked. Close quarters can be a problem. And this was, oh, we left last year, and it was the coldest and snowiest day of the year.

And we all put it in our heads that we were going down there in January to get away from the winter. And it just followed us all the way down. So we get down there.

It's not that much different. We get down there, and everybody's like, oh, what did you do to us? People are sliding off the roads. We had one day where town closed.

Yeah. I mean, it was like a typical Chicago snowy day. We're all ready to go, and they're like, nobody's coming in.

Why? They weren't prepared for ice. They couldn't do ice. Oh, yeah.

Nobody even had a thing that we had to find stuff to scrape off. See, this is just growing up in Chicago, you know, how to handle all this. Yeah, you know.

Adverse conditions. But, yeah, it was still a time that we'll never forget. I mean, it was a great experience.

Some of the best of Nashville went through that recording studio. You could see on the walls all the recordings of Taylor Swift, Big and Rich. The week after we left, they did the Super Bowl thing there.

Who's the – yeah. What was their name? I forgot. Carrie Underwood did a song that she basically lip-synced, but she recorded it, and she literally walked out of the studio when we were arriving.

Really? I was kind of intrigued. And right before, the guys from Fog Hat were there doing their latest. The drummer from Fog Hat and things like that.

Buddy Guy was there with somebody. Buddy Guy was there with Jeff Beck. Yeah, Jeff Beck, yeah.

And what's his face? Dan Rather was interviewing Peter Frampton in the same place. So, Dark Horse, yeah. So, anybody who's listening, if you're looking for a place and you want to get away from Chicago and a little different, nice setup, we recommend it.

No shortage of talent going through there. Oh, no, no. Today's podcast brought to you by Dark Horse Studios.

P.S. No kidding. Tell me about some of the songs that are on this. How did you pick the songs? Well, I'll tell you.

I'll start off. I brought a couple of songs that I actually wrote a long time ago, almost 20 years ago. Okay.

They were kind of dated. They had that 80s feel to them. And I thought maybe adding the horns and, you know, getting some of the ideas from everybody to, you know, modernize it.

Right. Would be a really cool thing because they were good songs. You know, I figured that they were relatively well written, but just dated.

Is that the opening track? It is the opening track, The Same World. Same World. It's the very first one, and I wrote that actually in Salt Lake City.

So, I know it was around 1987 when I wrote that song. Because my son was born in Utah. Right.

And my brother wrote the lyrics for that. I wrote the music for it. I never considered myself much of a lyricist.

So, he did that, and the way the song came out when we originally wrote it and recorded it on a little four track in his basement is so different than what you're hearing today. It's been recorded maybe three or four times before us. Oh, I see.

But this level of what you're hearing right now is the end. And you did a video for that, too. I did a video.

You know, it was so cool. The studio is in that video. It looks like an old Harry Potter type castle.

The guy was incredible with what he did. He's always out there doing woodwork and stuff like that, and he's like, well, I want to make a part of the ceiling to go up as far as it goes and doesn't do nothing. But it looks good.

There's no reason for it to be like this. So, the place is beautiful. So, we said we got the video camera, and we had him send us a rough track of the audio.

The beat's going to be the same. It's going to start and finish. It's everywhere.

And my girlfriend, Julie, took the camera, and Hank took a phone, and they just started videoing. And I would just sing. I had my phone in the back pocket with the song playing, and I'm doing all my Hollywood motions and everything like that.

And then we get it home. We start putting everything together. We're going, okay, we need something a little different in here.

So, I started going over to the Internet, and they have places on there which you can just download the videos for free, just parts of videos for free. I forgot exactly what they call it. But I went through a bunch of them, and I started pulling them off and adding little bits here and there.

And I got kind of a sequence of what I liked and put it all together, mixed it in with the footage that we had from Dark Horse, and voila. That's awesome. I think it turned out really well.

Yeah, it actually did. And it has that beat and that sound. It grabs right away.

It's a good opening track. Right. Whose song is Back in 89? That's mine.

Is that yours? Yeah. I heard a lot of, like, sticks in there. I heard super tramp in there.

I was hearing a lot of different influences. It's another one of those 80s influence things. The very first portion of it is technically what I call the prelude.

You know, it's all instrumental. And I don't want to say it's stolen because it's really not stolen. Does foreplay long time sound good? But there's actually, actually it was inspired by Song for America by Kansas.

Oh, okay. That whole dramatic, long beginning. So it was inspired by that.

And then it gets into it, and then, yeah, Boston's foreplay. You know, you got a lot of that 80s influence in there. Hey, that's okay.

That's okay. The album as a whole, in hindsight, as I look at it, I tell everybody, even though it's our first one, it was kind of like our White Album. It's a little bit of everything for everybody.

It really has. Right. You can pick up on Ted's influence in the traditional 80s bands for a lack of a better word, late 70s.

And my two primary ones are Shirley Jean and then there's another one called Beautiful Mess. Shirley Jean is kind of, I don't know, Steely Dan meets Jimmy Buffett a little bit. You know, a little bit kind of soft pop in the middle, right? Tell me if you can, you know.

But the message, I think, is awesome. Right. I love the thing that as I was trying to do an homage, I was trying, you know, you want it to be about a certain thing, but you still want to keep it universal.

You know, one thing to back up on, I think the thing I love about Same World, whether Ted wrote it in 87 or today or, you know, 2087, the world, the song means the same. If you listen to the chorus, we all live in the same world. And I liken it to back in 91 when the L.A. riots, because I happened to be living in L.A. at the time and Rodney King says, can't we all get along? And that's what that song, you know, they talk about I don't want you in politics because, you know, they say the old joke, if you start walking in a room, instead of talking about religion or politics, you're looking for a fight, so we don't get into an argument here, but it's very apropos for what's going on now.

¶ ¶ This is only what you think ¶ ¶ ¶ These are the American dream thing changes ¶ ¶ They keep coming on, changes ¶ ¶ And soon we're singing our own song ¶ ¶ ¶ Touch a shooting star ¶ ¶ Just how far we'll go ¶ And just back on Charlie Dean, just the way the song came about, I mean, I could say the day my mom died is when I started writing that song, but the interesting fact is that the first thing we ever hear as human beings, I read this one time, is our mother's heartbeat, which is the first line in the song. ¶ ¶ First time you ever hear ¶ ¶ Your mother's heartbeat ¶ ¶ Was when life got short ¶ ¶ Silence too soon ¶ ¶ Way too soon ¶ ¶ When you lose a loved one ¶ ¶ And you fly with a broken wing ¶ ¶ Trusting a man inside ¶ ¶ All he could do was sing ¶ ¶ And he told me ¶ ¶ Why'd you leave so soon? ¶ ¶ Charlie Dean ¶ ¶ Would you know ¶ ¶ What did we do? ¶ I did Beautiful Mess. Well, that one is... I was talking to somebody one time, and my head snapped, because they said, you know, remember at Best Life, Tom is just a beautiful mess, and it was one of those, and that's what started with it.

So what I did is, I took different pieces of every genre. Like if Hank was sitting here, he says, that song has Dave Matthews, Frank Zappa, Chicago, and I did that on purpose, because if you read the lyrics, so I wanted a little piece of everything. Right, that's cool.

Very good. You know, Jeff, you had a lot to do with a lot of the writings and stuff like that down there. You know, for the people that are listening and everything, with a band like Tynan, you actually have sections.

You got the horn section, you got the rhythm section, and you got the girls, which we said are not backup singers, but they're singers. So you got these little sections, and we had to work differently, separately, and then together. Right, right.

But Jeff's experience down there with the horn section, I mean, we had to leave, and these guys just went off and did their own thing up in this little loft. It was up in the loft. It was beautiful.

So everybody had different parts of the studio where they could kind of work on stuff. Right, right. Did you want to talk about that? I thought it was obviously a great experience, and we discovered a lot of talents within the horn section that we had, and we had originally had a writer set up to write horn parts, and it fell through, and so we arrived in Nashville not knowing exactly what we were going to do yet, and Doug was... Sex Player.

Doug Daniels, who has written a lot of horn parts, stepped up and started writing some stuff, and I thought they turned out really nice. They were very catchy and very apropos to the piece of music. And we were talking about Beautiful Mess.

Beautiful Mess was just a bear to work with because it started to become so repetitious, and we just didn't know what to do with it, and it was frustrating. I mean, we literally hated that tune. So in the horn, these guys were done with a lot of it, and the horn section was now, it's time to put our spin on things.

And we started crabbing and just cursing out this piece of music and stuff like this, and finally we just kind of let loose. We added special effects to the trumpet. I added like a wah pedal and a phase shifter kind of thing to it, and then it became kind of psychedelic in nature, and then at the end of it, we were just tired, really tired, and just started wailing our butts off on it, and it became a Beautiful Mess.

And it saved the song. It really did. Yeah, a lot of just... What he's not telling you, they all, I'm sure, behind closed doors, they went, you know, Tom wrote this song, so we're stuck with it, so we better fix it.

No, we knew we had to make it happen, you know. No, I understand, but I'm making light, but... We're respectful of it, and as it turned out, you know, the one that we just really kind of disliked the least, I teach some young kids during the day now, and I was playing some stuff for them, and the young kids just really love the tune a lot because it's quirky, and it's different sounding, and it's punchy, and... Don't pun intended, it's become the Dark Horse song on the CD. Yeah, for younger kids, it was like, oh, that's really cool, and I'm like, oh, I really hate it.

Hope you dream as you live forever, hope you live as you don't remember, hope your fears don't create any tears, and if they do, I hope they come true. I think the real surprise song was written by Christina, one of the singers. Oh, it's beautiful, that was incredible.

The working title there was called More Than Friends, which I actually dubbed it because she wrote the words in there. It was basically just she had been jilted in a recent relationship before she got down to do songs ever done. Christina wrote the song, and it was like, she was kind of shy about it, and I don't know his name, but I think he went by Red, but he took like 3rd in the Voice that year, so we're going back a couple years, and all he does is come on and he's listening to her play on the ukulele, and he says, young lady, that's Ted.

acoustic guitar plays Raise my time, thank you, that you hit my life Yeah, Ted's 80s stuff, you know, my eclectic stuff, but I'll tell you, of all the songs that we play live, we tend to do Shirley Jean, Same World, help me out guys, but whatever we do, Wishful Thinking, it's so out of left field compared to what you're watching all night, it's basically a ukulele, nice soft horn parts, you know, and I get to show off my great work on my cabasa, that's the only thing I do in this song, which I feel the camera's tripping, but you know, somebody's got to do it, right, but there's very nice, George Lamperez on guitar does a very nice, on a nylon string classical guitar solo, her name's Christina Kelly, she has a phenomenal voice, the two girls together are phenomenal. And who's the other girl? Her name is Eli Chabot, or Liz, and interesting thing, I don't even know if the guys know this, the reason she uses Eli, is unfortunately, it is still a male dominant word, so when she puts Eli, they don't know whether it's a girl or guy, and it tends to, she gets less prejudice until she walks in the room, you know. Yeah, because she had some band leader roles that she was, right, in the Eli works, the head of a band, but they've been together for a while, and what's neat is, you know, they have the perfect blend, but in terms of like, what I like about, they're dedicated, in terms of visually, show wise, they really work on their moves, and that's something that Jeff has worked with the horns, you know.

The next big phase for Tynan, for people to understand, when Ted said this is a big day for us, we're really trying to beef up our visual this year, it's a big thing for us, as you guys see, so that's really our next level, to really just have a show where everybody goes, I just found, from the time it starts until it's done, everybody just stands and goes, wow, you know, that's what you want. Sure, oh yeah, visual is part of the, and sound, and it's all part of the whole thing. Well, I think at some point, after, you know, Dancing Noodles, Eminem, Rush, all these bands, at some point, the level of, my opinion, the level of professionalism and the music is kind of assumed, you're gonna hear a good band, okay, but what are you gonna do beyond that? This is, you know, what are you gonna do for us visually? That's kind of it.

Well, also too, like Jose said, from the five guys named O, we are 100% live too. Right, sure. I say this at all the shows.

Right, right. You know, it's one of those things, I'm proud of it. As a former sound man, I appreciate this.

Yeah, I really do. And you've always been, you were very kind to us. Oh yeah.

Paul ran sound for us at the Blue Chip Casino quite a few times and he was one of our, you know, he used to look for us. We actually have a new guy that I call him the new Paul. I don't even know him, but he always makes his schedule for, you know, that type of thing.

And most people don't know that I used to work for you, you know, and I used to be with KC Sound, or it's KC Aludio, doing sound for the Dancing Noodles back when I was in 20, 21 years old, and just barely able to get into the bar, you know, and then we happened to meet up years and years later, and we're like, holy, you know, it's incredible. But the whole thing is, I say at every show, there's a reason why we have 10 people on stage, and that's because everybody is actually playing their instrument, you know. We don't have any need to.

Now where can someone get CD? It's both on download and on CD format, and you can literally get it pretty much anywhere digitally, you know, it's like through amazon.com, CD Baby is the one that created it for us, so they're the distributors, but, you know, you can go through amazon.com, any of the dot coms that sell CDs, you can get it through there, either in a download format, or you can order the CD. But ideally, we would like for you to come out to the show and purchase one at the show. Because I was teaching some ukulele lessons, and I pulled up Christine's numbers, and the girl that I was teaching liked that, and she found it on iTunes, and just downloaded it and was working on it there, and they're pretty nice quality recordings.

Can you request Shirley Jean on Spotify? Yes, yeah, actually, yeah, it's literally available everywhere. CD Baby, I've given them a plug here and everything, but they do a great job. Yes, they do.

You know, this portion of the podcast is brought to you by CD Baby. Ring the bell. Ding, ding, ding, ding, ding.

A little bit of trivia, there's a DJ in Rome, Italy, that somehow came across this CD, and Shirley Jean itself, the last we heard, was like in the top 200 or something, the track itself, so until he gets to the top 40, we'll all be sitting in a bridge. In the digital world, you know, I can track, you know, all the downloads and the screamings and everything, but I can't It's incredible where this thing goes. It really is incredible.

It's literally all over the world. One thing that I did actually want to talk about on that CD is a song that, because we did seven cover songs, okay, which at the time I thought was absolutely ridiculous because I wanted to do all originals, but you know, Tom had more insight than I did at this time for this. Nice way to put it.

Yeah. Well, we'll talk about One of the songs that I tried to push to get onto the CD was Get It On by Chase, and I didn't, oh, I'm sorry, I should've let you ask, but yeah, it's, not everybody was too comfortable about recording that song, you know, and I just wanted to have the core of it, you know. We ended up doing it, and ultimately, Ron Romero is the director of the Rock and Roll Music and has the compilations, the volume one, what's the actual CD called? I forgot.

It's going to kill me, but it's volume one from the Rock and Roll Museum in Joliet, and we are on that along with you guys from Amarillo Rush and Five Guys Named Mo, there's the Millennials are on there, a lot of the local bands, great, great bands, and this, the CD turned out fantastic. Yes. He did a wonderful job on it, and we were proud and fortunate enough to get that recording from our album onto that CD too.

Right. Yeah, I was a little reluctant to have even record it because without five trumpets on Chase's band, it's not the same tune. for, yeah, when we're talking about how the horn section is from a different planet, you know, I mean, the horn section There's a reason why because to what he just said, you have five trumpets, and now you're expecting a trombone player to do what the trumpet's doing.

You want to watch Tiger Nuts, have him watch Get It On, he's got to be napping, the guy's only 24 years old. I didn't, you go ahead and finish, I'm sorry. I was just saying, you know, so all the while I'm recording it, I'm thinking, well, I could put this, this parts up where Chase plays his parts, but Ted sings very, very well on it, and I'm thinking, and it's quite presentable, and we put it in a place where I think it works well, and you get a flavor of what Bill Chase did with it at the same time.

Where'd that voice come from, Ted? laughs You know what, here, you know, you go back to all of the ties, you know, my brother was a singer for the band Justice, who Terry Canning and Roman both played in before they got into the whole Teenage Radiation cartoon, not cartoon, dancing noodles and everything like that. So my brothers used to sing a lot, and I just kind of caught on to it, same as keyboard playing, you know, I just kind of started. I was a drummer, and I picked up the keyboards because I heard Rick Wakeman play, and I said, oh, I gotta do that, I wanna make those sounds, you know, and ultimately, I mean, I've been doing it forever, and I always say that, you know, I'm not a great keyboard player, I'm not a great singer, but I consider myself a pretty good entertainer, and you know, entertaining is part of the thing, and you know, that's what you need.

Anybody listen, he's also very modest, he's very good at both of them, but for what he lacks, I mean, what he has in modesty, I make up for it. But we did find out, it's called Cover Stories, Cover Stories Volume 1, the CD from the Rock and Roll Museum of Joliet, and it's fantastic, it's got great people, great bands, great musicians, on that CD too. So, but the band Tyne in here has got a lot of great musicians in it, and we work together for a common goal, and it's like having a family.

But one thing that I'm kind of proud of, that we get a compliment a lot, and people say, you know, how do you get 10 people to get along all the time? And I've always said, you know, we look for the prima donna talent without the prima donna, and we've done a pretty good job. Right. You know, if not everybody likes everybody on that day, everybody has respect for the spot that they have in the band.

You're pretty hard, you're pretty hard-pressed to replace, you can find people as good if you take each spot in the band, but you're pretty hard-pressed to find people, you know, drastically better than what we have that get along. Those of us that do this seriously and want to keep going on and on, we spend more time doing this together than we do pretty much anything else. Right.

You know, if you're serious about it. Right, you're right. When you're taking rehearsals and recording and traveling and, you know, we're at the level we want to do, you know, between 100 and 200 shows and go on the road, you got to get along.

You got to, you know, you got to have some, you know, you got to, and then to find this right people, like I said, it started back with Ted when I said horns, his head almost came off the horns. I mean, you know. So the name of the new album is Shirley Jean.

It's by Titan. Mm-hmm. And where can they find you social media-wise? The best place right now is Facebook.

Go on to Titan Rock Band at Facebook. We also have Titan Rocks. Titanrocks.com Titanrocks.com is our web page for those of you that aren't on Facebook, but Facebook seems to be the medium that we choose.

As social media becomes a thing, there are people that specialize that in like a career. So I'm willing to find the right person, gal or girl, that can help us, as I use this, my terminology, which would probably be wrong, to help us blow up in that regard. Because we are more, we are a better band, we are more well-known than our social media input would lend you to believe.

Because as of right now, the Facebook, I run the Facebook, I design all the posters, I play keyboards, I sing, I roadie, I do sound. Sometimes I play in the band and do sound at the same time, and then I finish and load the equipment along with everybody else's equipment. So yeah, we do every now and then need some help.

We got a couple of guys, AJ and my daughter Alex, believe it or not, and Mike, Tom's brother, help us out. But as things get bigger, obviously, the road crews, you gotta have a road crew. As we build up and having our own extensive light show and video screens this year, we're gonna have probably two-thirds as many people offstage as there will be on.

And one of the goals is, and we have hooked up with a sound company that will start shortly, what we're doing right now is getting everybody outfitted for in-ears, the right kind of in-ear. As soon as that's set, then every show, Ted will no longer have to double-due as far as that concern. So that's the next move.

And then AJ, which is his soon-to-be son-in-law, who has been our stage manager for a while, is really excited about becoming a light guy and a light Ted as well. And as you guys know, to support people or become just as important, they gotta have that personality and they gotta be into whatever they're doing to make it part of what we're trying to do on stage. So I will... Yeah, you still wanna have fun.

Oh yeah, absolutely. Because once you turn it into a business, then you take the fun out of it. That's one of the first things I always say.

Well, it is a business. It is a business, but... Yeah. But you need to... Well, Ted hit it on the nail.

You gotta balance the fun versus the business. There are a lot of bands that don't have any success because they forget that it is a business. And if you turn it into too much business, you lose people because it's not fun anymore.

Well, we thank you guys. Well, thank you. We really appreciate it.

We love the podcast. The first two have been awesome. Thank you.

Two great bands, the Dancing Noodles and Five Guys Named Moe. Thank you. Been around forever, and I see them whenever I can.

And you guys are great guys. We really appreciate it. Thanks to Tom Tynan and Ted Phillips and Jeff Redman.

And we'll see you soon. Thank you guys. Be sure and check out... Before we go, where's your next show at? Our first festival will be May 17th.

It's in Bentonville. Our second one is May 19th in the Taste of Glen Ellyn. And in between there, we'll actually be in Pheasant Run.

Oh, very nice. Yeah, but between May 17th and September 29th right now, we're pacing for about 70 shows. Sounds like you're keeping busy.

Yeah, we're trying. It's a good thing. Yes.

It's a very good thing. Yes, we're trying to get to the point where the band is how the band makes a living. And we can go on the road and see how far we can go.

That's the next level for us. Cool. Well, thank you guys.

Appreciate it. Thanks, guys. We'll see you guys out there.

All right. This is Paul. And Ray.

That was a heck of a lot of fun with them guys from Tynan, wasn't it? Yes, it was because horn bands rock. Yes, they do. Horn bands rock.

And they definitely do rock. Yes, they do. Bunch of good guys.

They've got a lot of shows coming up this concert festival season. They said they're going to be doing like over 100 dates. That's a lot of work out there.

Yes, it is. And be sure to pick up their new CD called Shirley Jean. It's by Tynan.

You can download it digitally or go to one of their shows and pick it up. Exactly. Exactly.

So that was a good time. Next week, we're going to be bringing you M&R Rush. So make sure you stay tuned and let your friends know.

Be sure and share and subscribe. And we'll see you next week. Thanks.

See you next week. Rock and roll, Chicago. Rock and roll, Chicago.