[00:00:00] Speaker A: SA.
[00:00:31] Speaker B: If you dig the twisted, admire the outlandish, and are enamored by the unusual, you're in the right place. True crime, the supernatural, the unexplained. Now you're speaking our language. If you agree, join us as we dive into the darker side. You know, because it's more fun over here.
Welcome to Total Conundrum.
[00:00:58] Speaker A: Warning.
[00:00:59] Speaker B: Some listeners may find the following content disturbing.
[00:01:04] Speaker C: Listener discretion is advised.
All right, Conundrum Crew, Today's guest has a resume so stacked it might need its own entourage. We're talking about the man, the myth, the voice behind one of the most haunting and iconic songs ever to echo through vampire lore. The yes, it's the one and only.
[00:01:29] Speaker D: G. Tom Matt, also known as Gerard McMahon. This guy is more than just a legend behind Cry Little Sister from the Lost Boys. He's a Grammy Award winning artist. He has dropped multiple albums including Blue Rue, Thou Shalt Not Fall, and this year is the 25th anniversary of his killer self titled album Gtah Mac. He's a musical chameleon and honestly, probably part vampire because how else do you explain the decades of creative energy?
[00:01:55] Speaker C: But let's back up because before he became the voice of a vampiric teen rebellion, Gerard was born in Birmingham, England and moved to New York city at age 11. Gerard jumped into music early and never looked back.
[00:02:09] Speaker D: Throughout the 70s and 80s he wrote and performed for major acts, scoring big studio gigs and basically became the guy who could do it all. Rock, pa, pop, soul, you name it. He's written music for legends like Roger Daltrey, Kiss, Ice Cube and Carly Simon, and contributed to countless film and TV soundtracks.
[00:02:29] Speaker C: We're talking the Lost Boys, Fast Times at Ridgemount High, Chasing Amy, Witchblade Scrubs, the Shield, Defiance Pig killer. Honestly, his IMDb page reads like a pop culture fever dream, but in the best way.
[00:02:46] Speaker D: And here's a fun twist. Not not only is his most famous track basically the anthem to the 80s vampire culture, but he's also snagged a Grammy working with none other than Eminem. Yep, Slim Shady and gtah Mac collaborated on you're Never over from his album Recovery, which went on to win Best rap album in 2011.
[00:03:06] Speaker C: And he's not done yet. He reinvented his style more than once with the 80s theme play don't yout Forget About Me. He also built an entire rock opera prequel to the Lost Boys called Cry Little Sister, the Rock Opera and Lost Boys the Musical, and continues to tour, write and inspire with that signature mix of gothic soul and rock energy and.
[00:03:30] Speaker D: As if we weren't geeking out enough, he just happens to be an absolute delight to talk to. So buckle up, conundrum crew, because we're talking musical legacy, reinvention and maybe a little bloodlust. So grab your leather trench coat and crank up the reverb. This is the dark prince of soundtrack royalty. The one, the only, G Tom Mack.
[00:03:50] Speaker C: So, Gerard, why did you change your name to G Tom Mack?
[00:03:54] Speaker A: Well, they never could pronounce my proper name right. I changed it on the Lost Boys album to Gerard M C M A N N because people called me when I had albums out under Gerard McMahon. And people in this country, we could never quite get the McMahon right. There we go, McMahon or McMahon. And it always had to over accentuate the H. And so I, at one point I said, there's gotta be a better way because. And I would go to. I literally get on radio shows in the morning when I'd be on the road to do those morning shows, you know, promo, whatever.
And they all got it wrong, except for one, and she was a female. And she said, oh, Gerard McMahon. I'm going, wow. So it just goes to show you, women got it over men.
[00:04:41] Speaker D: Very true.
[00:04:43] Speaker A: But yeah, it's just got annoying after a while. And I took a quick. After I produced Roger Daltrey's album, I took a long break from. I just kind of was trying to refigure myself out and then I was signed to DreamWorks and made a record and I just thought, I'm going to call it G Tom Mac, which are my sort of initials, if you will, Gerard Thomas McMahon. And so everybody said, oh, that's kind of artist suicide, isn't it? You know, people kind of know who you are from everything you've done. And I said, you know, I just want to reinvent and if it's good, which I felt it was, they'll figure it out and, you know, they'll buy the record or something, you know, so I. And to such great relationship with DreamWorks at the time we really, the. The album came out and it was getting sync licenses which are getting on television shows from Roswell to Felicity to this one to that one and Scrubs. I mean, it just became one of those. And nobody knew who G Tone Mack was. And that was kind of refreshing to me, actually. And I just stayed with it, you know, and none of these people knew that I wrote, you know, all the movie from everything from Fast Time Ridgemont I to all the Right Moves to this one, that one, Lost Boys.
It was just A new lease on life of a career. And I just sort of. This is quite fascinating. And nobody ever got my name wrong. My new name.
[00:06:15] Speaker C: Well, it's got a nice ring to it. I like the G Tom Mac. It's, you know.
[00:06:18] Speaker A: Oh, it's. Yeah, you know, it's like Fleetwood Mac, but it's got three syllables, you know what I mean? And it's easy. And if you can't figure out G Tom, then you're in really big trouble.
And then people would call. It's interesting, though, people call me G Tom, or they call me G. Yeah. So it's.
And they just figured that out themselves. So lowest common denominator. Right.
[00:06:43] Speaker C: I like it. I think it's got a nice ring. But I love Gerard, too. It's, you know, it's a very beautiful name. And it's. My father's name is Gerald, so it's very, very Gerald.
[00:06:54] Speaker A: By the way, they actually put an L in there instead of the R.
[00:06:58] Speaker D: When I was looking you up, I seen about 10 different variations of your name. Jerry Gerald with a J.
[00:07:05] Speaker A: It's a destroyed name in every which way.
[00:07:10] Speaker C: Yeah, it's rough.
[00:07:11] Speaker A: There's a documentary, which we do talk about my name and. And why I changed it. The documentary is called How Did I Get Here? That's being in the process of being made right now with a really great team. My producer, Mimi Blackson from Netflix. And, yeah, it's, you know, it's very difficult for me to watch something about me, but they've done a job and it's like. Yeah, you know, I'm just not that egocentric or vain, but not egocentric.
But I just.
It's interesting. We get into, you know, why the name changes, and it's not me talking about it so much, but it's other people, fans and everything talking about it, you know? Yeah.
[00:07:57] Speaker D: And that comes out 2026, right?
[00:08:01] Speaker A: Yes, that's right. Kind of coincides with the Lost Boys, the musical coming on Broadway in March20. 2026 as well.
[00:08:10] Speaker C: Yeah. You've got a lot coming up in this next year.
[00:08:13] Speaker A: Yeah, it's been more. I mean, the past few years with doing two musicals and working on a rock opera. I mean, it has been. There's no time for any kind of vacation, really, which I desperately need. But I love, you know, I love to work. You know, I love doing Create. Being creative, and I love working with the creative teams that we have that are doing these various projects.
Yeah. I mean, I haven't got that much time left on the planet. So I figured, you know, get it all in.
[00:08:44] Speaker D: So what do you actually do on the Broadway musical?
[00:08:48] Speaker A: Well, they. I started writing the musical and eight years ago, and it went through all these various. You know, it's owned by Warner Brothers. So But I had gone and I gone to Joel Schumacher initially and said, I want to do this. And he understood that I knew musical theater because he knows that world as well, and he gave me his blessing to do it. And this is before he passed away a few years before that. And we would have lengthy conversations about, you know, my idea of making it, you know, getting a gist as to where they. How they all came together and that would be Act 1. And I could go on and on about this. So I went down the road and just spent my own dime as far as, like, putting it together. And I have a good relationship at Warner Brothers, but so many things have changed there in the years of recent.
And so it became like they didn't know where the property of Lost Boys really lay. They didn't know. They thought, well, we own it. But then somebody. We have a deal with somebody. You know, it was one of those things.
And I was getting really good heat on what I wrote.
And with, you know, Warner Brothers, by the way, doesn't pay for something to go to Broadway. It's a license thing, as is my song or anything like that. They're not going to pay for, you know, their state. They're not in that business, so to speak. I mean, they. I think they have been in the past. So anyway, the pandemic happened and everything just sort of blew out, you know, and then they. We had a conversation and I was getting a lot of good bump on what I'd written. And it's not like I don't know what I'm doing. I've studied musical theater and, you know, and all that, so.
And then at one point, they just wanted to. They.
Somebody raised X amount of dollars to Patrick Wilson. And you know who he is.
You probably should in your world. You know, he's done those paranormal things. Yeah, lovely guy. And. And his partner James and Marcus, they put together a more. I mean, mine, mind you, mine was dark but funny. It had all those elements in it, but it had a. Had a lot of depth to what we. Knowing what the fan base is.
And so we got together, we started chatting about how and where and where this should go between those three and me. And yeah, came to a place where it.
It's still, you know, still in its development stages, but they've Got a good Act 2 going on with it now. So it's very. It's still in the process of what it is. And of course, they came to me for the license of Cry Little Sister and all those things. But, you know, it's. It's a different kind of teamwork at this stage, and I welcome it and they welcome it, and so we've just. You know, it's just. But during the process of what all of this going on, I got another musical to do. Paul Brooks produced My Big Fat Greek Wedding and Pitch Perfect, 1, 2, 3, and now 4, wanted me to write a musical for him, and because he loved what I was doing with Lost Boys. And he said, I'd love you to write something. I said, well, what?
And he said, I don't know, something 80s, you know, something that would be just.
You said, I love. I love the way you. When we have conversations. You have such a. Just not a knowledge. You have just good knowledge in general of the decades. So I took three or four months and I started writing and came up with an idea called don't yout Forget About Me with. It's about pen pals in the 80s. And it was about six characters, London, New York and LA that I came up with, and all different walks of life, and just three girls, three guys, and they all kind of help each other's lives, and they have all these interesting lives and some not so interesting and somebody wanting more of an interesting life. And, you know, it's. It turned out to be a really interesting thought process in my head, and I wrote it down, I did a treatment and I said, paul, I think I have something. He said, I'd rather do a Zoom call and have a chat with you about it. And then we did. And he said, I love it. Let's do it. And. But he said, I do not want to go to Broadway. I want to go right to the screen. He said. And I said, oh, I get that. He said, yeah, I don't want to spend 10 years like you do you. He said, we don't have that much time.
And I thought that was clever. I said, well, you don't have that much time left. And. But anyway, so we're doing that, and it's actually was the perfect timing because, you know, when you work on one project for so long. And I got. I know the process, you know, Stereophonic On Broadway took 11 years, you know, and I know. I know all these people that have just spent and you. It's really a tremendous amount of due diligence. And it's just all the things that we love to do, but there's just all this other crap that just gets in the way, you know, not to mention the investors pulling in and pulling out and all of that. The worst sex anyone could ever.
[00:13:58] Speaker C: So you had sent over one of the songs from that musical and I listened to it and it is beautiful.
[00:14:08] Speaker A: From don't you forget about me.
[00:14:10] Speaker C: Yes. Yes.
[00:14:11] Speaker A: Oh, thank you.
[00:14:12] Speaker C: And I. I'm really proud.
[00:14:14] Speaker A: Yeah, it's.
[00:14:15] Speaker C: So I was going to say, I also have been jamming out to the Lost Boys, the rock opera. That track soundtrack is amazing. I keep telling Jeremy, I'm like, you got to listen to this one. You got to listen to this one.
[00:14:32] Speaker A: Thank you. Well, you know, what had happened. It's cryol. It's just a rock opera. And what I just, I. I started thinking after all of this stuff had gone through and I didn't want all these great ideas that had been, you know, that I had noted to go to waste. And it's. It's really sort of what Wicked did to the wizard of Oz is what Kreid Lil's just to the rock music, the rock opera.
And it's a real interesting story about. And it's really based on, you know, the superheroes of Joan of Arc. You know, we go back in time and we see why this particular main character of a star exists in.
In today's times. And it's very hard to explain all of this to you, but, you know, it's an interesting process of like, even the evil strength of women, Cleopatra into all of these. So there's a touch of all of that stuff going on, but it is contemporary and.
And there's a dash of the 80s that goes on, but it doesn't stay in the 80s. It gets into the contemporary time.
[00:15:36] Speaker C: Right.
[00:15:37] Speaker A: So.
But yeah, it's coming along. I mean, it's. You know, I've got to get through don't you forget about Me, which were. You know, got a very good screenwriter that wrote a really good script. I sat with him for nine months and then he spent two years working on it.
[00:15:50] Speaker C: I love the idea of bringing. Going back to the 80s and the simple times and the writing the letters and that was a nostalgic period of time.
[00:16:02] Speaker A: That's interesting you bring that up because I thought to myself, in an age that we live in with these things and everything else, you know, it's. You know, you were in don't you forget about me. You got. You got a cord coming from the wall of the phone, you know, which is a phone and it's. And you got all these little things, so many things that are thrown in there where obviously kids with their parents and go, what's that?
You know, it's like the dinosaur age, you know, that's.
[00:16:31] Speaker D: That's the fun stuff.
[00:16:34] Speaker A: But that's what's. But it's a. You know, I feel very good, you know, Paul Brooks is British, Charlie's British. And the very thing I said to. When I'd written the story, I said, I really want to have a feel of love, actually. You know, just all these different people, you know, different characters, and they flow in and out of each other's lives and. And there's a difference that's made, you know, and you get to see the 80s of a simple Time, to your point. And it's not like trying to be nostalgic, but it will be.
[00:17:05] Speaker C: Right.
[00:17:05] Speaker A: I've written all new songs. We do the song don't yout Forget About Me, which I've created a whole new arrangement of it in. It's a. A large choir and a big orchestra doing.
With all the characters singing it. But the songs, to your point, the song you pointed out, that's a big song in the film, in the musical, but all the songs are written. I'll send you on a few others.
One sounds a bit like the Police in a way, and one sounds like you, too.
[00:17:33] Speaker C: Well, you.
[00:17:34] Speaker A: I mean, it goes through a genre of all kinds of different, you know.
You know.
[00:17:39] Speaker C: Well, that just plays into your musical talent, though, because you are quite the chameleon. You can take on so many different sounds to your voice and styles, and you make them all amazing.
[00:17:52] Speaker A: Well, thank you very much. It's sort of like. I think it was from being in cover bands coming up from my. From a very early age. And I could always sound like Dyke, a good James Brown. I do. A good Mick Jagger. I can. I just sort of like, was able to, you know, I don't know. And that is why we got gigs, because I could sound like all those.
[00:18:13] Speaker C: Right.
[00:18:14] Speaker D: I heard a little Sir Paul McCartney in there, too. On one of your side times.
[00:18:19] Speaker A: Yeah, well, I know his mom's. His stepmom's in the documentary as well.
Yes. Yeah, there's a lot of, well, Billy Bob Thornton and just. There's all kinds of folks coming in and out. And of course, Jason Patrick from the Lost Boys and various other Lost Boys have been interviewed. And Sharon Stone, my friend Sharon Stone did a lovely.
It's all really, you know, I just didn't want it to be a big, like he did this and then he did that and wow, isn't he amazing? And just, you know, I just wanted it to be as normal as it could be, you know, I mean, my world is not normal, but I am, you know, to some degree.
[00:18:58] Speaker C: Right.
[00:18:58] Speaker A: I maintain normality in order to live in a non normal.
[00:19:03] Speaker C: Correct. I watched the preview for the documentary and there was a couple segments in there that your personality just shines through. You were with a couple gentlemen. Off the top of my head. I've watched so much and listened to so much over the past few weeks. You'll have to forgive me. I can't remember who was in it, but you guys were like, you just broke out into dance and just having fun. Like I think it was while you were filming scenes. And I was like, that is just so raw. And you just shines your personality.
[00:19:32] Speaker A: Yeah, well, there's a few good laughs in there. Just. I know. I think I've seen those at your trailers.
[00:19:39] Speaker C: Yes.
[00:19:39] Speaker A: They're just mockup trailers that they put together, but they're good. Roger Daltrey's in one. And then there's.
I worked with Earth, Wind and Fire at one point. So there was that part of part. Philip Bailey is in it because I worked with him. I mean there loads of people. I mean many people. My first manager when I was 14, 15 years of age. He's still alive. Got, I mean, road manager to Booker and he does a great interview. You know, I actually kind of like his. One of the best because it's just very humble and very much saying, you know, how difficult was to get the band into these clubs because I was only 15.
[00:20:16] Speaker C: Right.
[00:20:16] Speaker A: But anyway, to your point, a lot of different voices come out of this guy because of, you know, I do have my own voice, but it's, you know, it was. I think it came from that, you know, who was it? Harrison for what? I think we had a party and he said, oh, you know, introducing me to somebody. What did he say? He said, you know, John.
He said, oh, he's like the Meryl Streep of singer songwriters. And I didn't know what the hell he was talking about, but then I got it, you know. Oh, well, that's a compliment, you know.
[00:20:47] Speaker C: Right.
[00:20:48] Speaker A: So.
[00:20:48] Speaker C: Well, and speaking about your earlier years and doing, you know, digging in and stuff, you.
You came to the US around 11 years old.
[00:20:58] Speaker A: Yeah.
[00:20:59] Speaker C: And. And what I was researching. Excuse me, my nose is itchy.
I saw that you learned self kind of self taught Yourself to play the guitar. You just kind of. You were able to pick up songs and then you had somebody else that was. That was able to teach you chords. And from that I also learned. What's that?
[00:21:21] Speaker A: No, I'm just saying Dave down the road taught me how to play chords. I just wanted to. My mom and dad wanted me to have proper lessons and I tried it and I just said, I do not want to learn scales. I just want to learn riffs, chords, as many as I can. And so the guy I ended up, he was like 19, 20 years of age and he.
I just go down there and learn riffs and everything. He was great. And then he, at one point he said, you know, you've got a good voice. You, you look, you know, our singers leaving to go to. Off to university.
Would you want to try out the band? And I. So I did and it was.
There were other people trying out and they were, they were older too, but they went with my voice.
Me. And I've had a good deal of theatrics going on as well. So that was, you know, kind of helped the stage. So we. Yeah, it was. Thank God for Dave's Dave Smith, rest his soul.
[00:22:17] Speaker C: Yeah, it sounds like you had a pretty incredible time doing that because you were going to clubs, staying out late, but still going to school. Your parents wanted you to get home, you know, get rest.
[00:22:28] Speaker A: But my parents were wonderful in the sense that they were very. They were very supportive, you know. You know, here we are coming to a country we knew really nothing about.
You know, my father had gotten a job in Wichita, Kansas. We came into New York originally and I loved New York when I was a kid. And then we, then we ended up going there and that's where I met all these musicians and just didn't know what I was going to do. And I was a bit, you know.
You know, nobody could, you know, had an accent, a real thick brummy accent up from Birmingham, which is a completely. Everybody thinks everybody speaks one way over there. Our vocabulary is the same, but we have different accents. If you go to the north, there's the northern accent, Liverpool, which is close to Brahma, but not. And in Manchester and in the south is different. So it's a little bit like here, you know, south, what have you to some degree. But yeah, I, I had a few friends and you know, the sports were. So, you know, we only knew football as what you call soccer over here.
[00:23:34] Speaker C: Right.
[00:23:35] Speaker A: So there was. I just really got into music and I just went in my. Stayed in my Room all day. You know, when I wasn't at school. That's all I do, listen to records. And. And one thing led to another, and then the songwriting thing came in at about 16, I guess. Okay.
[00:23:50] Speaker C: Paid off. Yeah. I read.
[00:23:52] Speaker A: Tell me if I'm speak. Tell me if I'm talking too much.
[00:23:55] Speaker C: But no, no, you're doing perfect. I love it.
And with your songwriting, I did hear on a podcast, you were talking about one of your first songs, that one of your earlier songs that you wrote that Jim you thought would be a good Jim Crochet song was something about I Went to the Doctor. I think it was.
[00:24:16] Speaker A: Oh, my God.
[00:24:18] Speaker C: I like to dig deep.
[00:24:20] Speaker A: I talked about that. I can't believe I. Yeah, it was funny because I just. I had pulled that out the other night. I don't know why I did. It's. It was about an abortion. I wrote it when I was probably going on 16. Yeah. I was about. And I was having a laugh with myself. It's a horrible thing, but. A doctor knocks up the girl. The girl doesn't want to have.
Doesn't want to have a. A child with him. So he performs the operation himself.
And then he breaks down and cries that he did it in the street. And then the police come to arrest him.
[00:24:56] Speaker C: My.
[00:24:57] Speaker A: You know, I don't know how it ends, but it. But it was, you know. Oh, my God. I. It's so.
It's just. It's such a horrible song, but it's. It's got a sense of humor to it. And I think.
[00:25:14] Speaker C: Allison's Restaurant.
[00:25:16] Speaker A: Yeah, I think that it was. It was. And then I. But I wrote another song that. In around that same time called lady of Mine that was almost very country esque, which is a much better song. And it was kind of, you know, very influenced by the group, the band. And I was just trying. You know, when you're. First of all, when you're doing the early stages of this, you're really just mucking about, as we say, you know, you're just trying new. Trying things to find your own voice. You know, in my case, there were many voices.
[00:25:48] Speaker C: I love it, though.
[00:25:49] Speaker A: And I had to look. But it paid off in so many different ways because when I. There was a period of time I was doing commercials in New York, and in that I could sound like anybody, you know, from Peter Gabriel to Stain and all that I was getting, you know, because they wanted voices of the times, you know, and I'd be doing these commercials, so. And I didn't have to give My, you know, cry little sister voice away, which is my.
[00:26:14] Speaker C: I tried singing that the other day. That's a hard song to sing.
[00:26:18] Speaker A: It is. I didn't realize how. And other people, from Marilyn Manson to this one and the other one, just saying, wow. No idea that song was going to be that difficult. It's just.
It's simply complex.
[00:26:32] Speaker C: It's simply G. It's all U.
[00:26:37] Speaker A: As long as it's not simply red, which I like, by the way. Well.
[00:26:43] Speaker C: And then in my digging also, I found out something that I just thought was the greatest thing I'd ever heard. When you moved to Colorado, you were sitting in on theatrical music classes and as a student or at a college campus in Colorado and you weren't enrolled as a student.
[00:27:02] Speaker A: I beg your pardon, that you weren't.
[00:27:04] Speaker C: Enrolled as a student, but you were sitting in on these classes.
[00:27:07] Speaker A: My friend Mark, who won't give out his last name, he was from Bone Player. And I spoke to him a few years ago and he. Great. He used to come in and play on sessions that I was doing with my little, you know, track recorder or four tracks. And I just got. I really want to. Because I didn't know how to literally write, you know, to do. I wanted to study orchestration. Could have all these ideas in my head. And so he said, well, you come into so and so's class. He's really cool. He's from Boston and us that and the other.
And. And I said, yeah, because I was always sneaking into the piano rooms which were across the road from me, right? Just go. Nobody ever questioned that I'd have like all these books I was studying just about theory and all of this. Just kind of getting to know a bit more because I was not, you know, properly trained. And so that in the back of the class and at one day, after about six months go by and the teacher came, he said, hey, Red, call me Red, because I read. And I said. He said, hey, are you enrolled here? And I'm going like, truth be told, I'm not. He said, well, how did you get in here? I said, I heard your class was great and I'm trying to learn. I don't have the kind of funds it takes to go to school here.
I was about 18, 19, I guess, so I was doing those classes and at nighttime I was going down to Denver to play in an all R and B band in what's an area called Five Points, which was all, you know, which was great. I had taken up the bass and I got myself a gig playing from 11 to 3 in the morning there. And I'd get up and go over to these classes, you know. So he getting back to Mr. So. And so, the teacher, the music teacher, he said, well, let's see what you've got. He said. I said, what do you. Let's go over to piano. So I go over there and play him.
He said, we're playing your songs. And I started playing him some stuff. He said, would you learn how to play piano? I said, I taught myself, you know. He said, really? And he said, show me what else you'd like. And I was playing some composition stuff that was kind of movie score stuff. And then I'd play him some songs and. And you go out. Songs are great. He wasn't that. I mean, you know, when somebody's 36, 37 years old, when you're 18, they seem really old. They do, you know, and he wasn't that old when you think about it, you know, and. Cause I knew his age. And so he said, well, I tell you what, you can sit in on my classes, but if you ever get a Grammy, I want you. I need to be the first person that you credit as somebody that supported you.
[00:29:38] Speaker C: Did you do that?
[00:29:39] Speaker A: I didn't, but Eminem got the gram. I got. You know, I was on. I wrote the song on that album, you know, the. You're never over the chorus thing. And, you know, but I. I mean, I.
I'm sure he. I never got a call. Okay, let's just. In today's time, you. If you could find somebody. And, you know, I've changed my name, so who the hell is she telling that so.
[00:30:08] Speaker C: But anyway, now we know the real reason he changed his name.
That's awesome, though. I love that. Yeah, I loved that little.
Finding out that fact. I was like, that is just. You would not be able to probably get away with that in this day and age. But the fact that you were able to do that and that how much it brought to your, you know, learning to do the piano and your music.
[00:30:31] Speaker A: And I only went. I was only in those classes for about a year's time, but I learned a lot. I could figure everything out after a while because it. I was always horrible at math and I thought music, all that writing out stuff was very mathematic, but, you know, I'm not the best at it. But, I mean, I do once. You mean, there are other composers in that world of doing film that are far better. That's why Jerry Bruckheimer, who I worked with long ago on a Movie. He always said you should go into orchestrating films and being a music composer. And I'm. And I've done it, you know, I just felt, you know, I like what I do. I'm able to do that sometimes I go and, and you know, and write songs and go out and perform. I like the mix of it all. And now doing musicals. And again, I don't look at myself as like, you know, I think Hans Zimmer, who I know is great and he wanted me to be part of his camp at one point. And I just felt like these guys are far. They like can do. It's a lot of work doing that and you've got to. You're constantly pleasing the producers and the directors and everybody's got a different idea.
And I mean, mind you, I would, if I were in there just doing that, I would, I would definitely have every respect to the plan.
[00:31:48] Speaker C: Right? Yeah, I love. I just, that little thing was so. I thought that was so precious, but. So we have a 25 year anniversary coming up this year of an album.
[00:31:58] Speaker A: Called G Tom Mac.
[00:32:00] Speaker C: Yeah. Yes.
[00:32:02] Speaker A: That's the album we were talking about earlier. I can't believe it was 25 years ago. My God, it's just like. But that album was just one of those things that. For the good graces of television when television was starting to get more hip with their music, you know, like Felicity and Roswell and God, I mean the list goes on, but Baywatch, of all things. You know, my music seemed to be everywhere and, and I didn't, you know, they were. DreamWorks took care of the licenses. So I never knew what, you know, we didn't have all the access we have now to find out. I would see my statements. You know, I go, this is amazing. You know, I mean so many, you know, the WBCW shows and that and, and many others. And it still goes on, you know, with a lot of my music, my songs.
[00:32:54] Speaker C: They license around 50 movies, 100 television shows. Is that correct?
[00:33:00] Speaker A: Usually, yeah. Probably over a hundred something.
[00:33:03] Speaker C: Probably, yeah. That's amazing.
[00:33:05] Speaker A: It's sort of like, how many women have you been with?
I don't remember.
And I don't see any royalties and I don't see any royalties coming in.
[00:33:20] Speaker C: Well, Fast Time at Fast times at Ridgemount High. I remember I was pretty young when I saw that. And it was the first time that I had seen a sex scene in a movie.
[00:33:30] Speaker A: Yeah.
[00:33:30] Speaker C: And I was like, I remember as a kid, I was like, what did I just see? Rewind. Did I see that? Rewind and then my mom walked in. She's like, what are you watching?
[00:33:40] Speaker A: You and a bunch. And many other moms.
[00:33:42] Speaker C: Yes. Yes.
[00:33:44] Speaker A: Well, I'm proud to say that I had. My song was playing in the sort of lead up to that.
[00:33:49] Speaker C: Yes.
[00:33:50] Speaker A: Which was interesting enough to look in your eyes. And then it went into Jackson Brown's Somebody's Baby, I think. Right. It was just all. When they were going. When they went out to the pool house, you know.
[00:34:01] Speaker C: Right.
[00:34:02] Speaker A: But, yeah, it was Cameron Crowe, who, you know, was the first time he had ever heard of me.
And he came to a show or something like that with Irving Azov, who was my record guy at the time, who was a manager. And I. I always knew Cameron Crowe as being a journalist, you know, for Rolling Stone magazine, and a very good one at that. But he had written Fast Times at Reachmont High. And so he took the song. He loved the song, and put it in a movie over that scene with Amy Hecklin, who was the director. So. And they both found it to really work well, you know, And I had written. I'd written the song for that, you know, I knew what the scene was. I didn't get to really watch. I did, I guess. I. Yeah, they sent me a clip. That's right. I'm just. Memory brings that back. Yeah.
[00:34:52] Speaker C: Well, and speaking of that, I know when we talked previous to this, you had mentioned with Lost Boys, you just had the script. You didn't have, like, the. The, you know, any video or anything from the movie. So you wrote the Cry Little Sister from just the script.
[00:35:12] Speaker A: That's right.
Joel Schumacher, who I'd already known, and he was a big fan of my work, rang me up, asking me if I would be. I was living in New York at the time and asked me if I would like to take a go at his new movie called Lost Boys that he was directing.
And I said, well, when can I take a look at it? He said, well, we're filming. We're in Santa Cruz right now, filming. Told me the premise of the film, and I said, what if I send you a script? Maybe you get a vibe, get an idea of what it is? And I said, sure, send it along. And I never. The mo. The films in the past, all these films, I'd always got to watch the film to get a vibe from it, you know, or a clip or whatever.
[00:35:57] Speaker C: Right.
[00:35:57] Speaker A: And so I got the script and I read it one night, and I was just so taken by it. I thought it was just so, like that horror and humor meeting in the Middle. It was very cool. And I got up the next day. I started writing, got inspired, started writing the song. And little by little, I went up to my studio and just all these kinds. My friend Mike Mineri, who was in. We had these two little. Three little studio rooms, and he was. I heard this. This beat going on. I said, what the blazes is that? And I went in and he said, oh, just working on something. And I said, can I take that and bring it in? I wanted. You know. And it just. And I just started working on, you know, the melody and the chord thing and finally got the chorus. And then it was kind of written in, like, you know, and I started working on the lyrics, I think, you know, took about three hours in total. And then we brought in some kids to sing the backing vocal parts. And, yeah, the demo was quite good. And then we sent it. I sent it off to Joel and he called me three days later, and he just.
I remember his voice was coming over my answer machine, and I was still in bed, and so I got up and I. He said, joel. He says, joel, pick up. And I could hear crying little sister in the background, you know. And I said, what's up? And he said, been playing this song on set, mate. It's unbelievable. Everybody's going, what is that? And you say, well, it's themed to this movie. And so it was just a shock to me because I never saw. I didn't see any.
I don't think I would have written that song if I would have seen the film.
[00:37:31] Speaker C: Right.
[00:37:31] Speaker A: I just. I just think everything in my imagination of what it was to look like was.
Yeah, it was a bit darker, you know, in my. You know. But, you know, living in New York in the 80s, it was, you know, crack miles on the street, you know, it was just like this circus of the worst, you know, and it was interesting. Just sort of, you know, you are. I'm a victim. Not a victim, but I'm a product of my surroundings, you know, like what I take in creatively.
Product. Did I say that? Anyway? You know what I'm talking about.
[00:38:05] Speaker C: Yeah.
[00:38:06] Speaker A: So. But anyway, yeah. And then when I saw it, went out to see the film and see where everything was going, and I thought, wow, this nothing. What I thought it was gonna look like when I. And I thought it looked great. And then. Yeah, there's so many magical factors to what went on with how we placed the song. Because in the beginning, they had my voice in the beginning, and it was in the middle, and I just take my voice out in the intro or going, you know, a scene going over the water or whatever.
And because it. My voice sounded. It was much more of a surprise when it came on in the middle of the film when Cave and all that and when it goes over the water and you know, the clouds and that stuff.
So. But yeah, it was one of those things that just happened to have a life in that movie and a life of its own outside the movie.
[00:38:58] Speaker C: Well. And Joel thought for you to be the singer of that song as well, correct?
[00:39:04] Speaker A: Well, yeah, there were.
There was a lot. Joel really, and Dick Donner, rest his soul, they were adamant about my voice being the voice of, you know, that voice and the song of the film. Atlantic Records at the time wanted to have one of their artists sing it. You know, they gave them the great good gracious of like, hey, you know, we'll listen. I think. Oh, who was it? Bill Collins did a try.
God, I can't remember. Some metal. A couple of other metal singers, Steve Perry and a few others, you know, and Joel just said they're all great voices, but they don't have the quality that Gerard has.
[00:39:44] Speaker C: I could not imagine that song being sung by anybody else.
[00:39:47] Speaker A: Well, it has been, but not.
[00:39:50] Speaker C: But it's not the original, right?
[00:39:53] Speaker A: But yeah, so it just, you know, it was just one of those things, you know, tapped into the right vibe at the right time and just, you know, that film was really pretty synchronicity of its best.
[00:40:05] Speaker C: You know, speaking of other people singing your songs, like Marilyn Manson covered it, churches covered it. How does that work for another artist if they want to cover another artist's song?
[00:40:17] Speaker A: Well, you don't have to pay for it. You basically, you know, if it goes in a movie or TV and it's. But you basically have the rights to use the song. And I as a writer and publisher get paid once it's aired, you know.
[00:40:34] Speaker C: Okay.
[00:40:34] Speaker A: And it's. Yeah, it's not like. But it's.
I mean, honestly. Well, the days when radio was really big, you had. You got a lot of cash from that and you got. And also from movies and TV shows. In my world, you know, what's. What's called performances, you know, done very well with that.
[00:40:54] Speaker C: Yeah, I think was the churches on Netflix. For Netflix.
[00:40:58] Speaker A: I love her, by the way. I like Lauren Berry. I think it's one of my favorites.
[00:41:03] Speaker C: Yeah, it's very haunting.
[00:41:05] Speaker A: She did a real. She definitely did a great interpretation of it.
[00:41:08] Speaker C: And then the other thing I wanted to mention too is in the Lost Boys, the.
I think it's the rock opera. The song Once Upon.
[00:41:19] Speaker A: Yeah. That's in Cry Little Sister, the rock opera. Yeah.
[00:41:21] Speaker C: That song just got me. It. It reminds me it has the essence of Cry Little Sister because it has the kids in it. But that song is so beautiful, I could not stop listening to it.
[00:41:37] Speaker A: Well, thank you so very much. It's one of my favorite songs that I wrote from that for the musical. And it was originally going to be in Lost Boys, but, you know, where things went with that. But I'm really happy about Crying Little Sister becoming a rock opera because it was something, you know, I felt that it could be a magnificent way to really pay homage to the female factor that came from Lost Boys, you know, Mean Star.
[00:42:04] Speaker C: Right.
[00:42:04] Speaker A: And, yeah, I just. I just. I can't get into the story right now, but I really feel it's got the sensibility.
Well, like I said, it's sort of like what Wicked did with the wizard of Oz. You know, you brought.
You.
You invented something out of something, you know, reinvented a character that basically flew in in the best way. No pun intended.
[00:42:32] Speaker C: Right.
[00:42:33] Speaker A: But it's just got, you know, and I feel that, that, you know, Lost Boys is an amazing franchise in itself, and it has. Hopefully the musical will just, you know, fingers crossed that it'll do.
Do what I hope it's. It's, you know, it's got a, you know, it definitely has a. A commercial value to what. Where it's going now.
[00:42:53] Speaker C: Right.
[00:42:54] Speaker A: But.
And meaning that in a good way. I don't mean commercial like, oh, it's, you know, but. But it's. And hopefully it brings in a whole new audience as well, you know.
[00:43:04] Speaker C: Right. Well, and that's because of the Lost Boys is how we were able to get in contact with you. We ran into Jameson at a con, and we weren't even, like, at a table or at the, you know, his signing or anything. We were at the elevator, and I was having issues getting the elevator button to come on. And I was doing the. If the light's not on, it's not coming. And this other kid was like, no, you pressed it. It's coming.
[00:43:31] Speaker A: I'm like, I'm glad we're. I wasn't on that. I mean, I. That's my biggest fear, getting stuck on.
[00:43:36] Speaker C: An elevator outside before we got on the elevator. But Jameson walked up and he goes, oh, I had this issue earlier. You have to hit the button up in this corner. And I'm like, oh, you're brilliant. And we got in the elevator and we were Chatting with him and stuff.
And we got off the elevator and Jeremy looks at me, he's like, that was Jameson Newlander. I'm like, no way.
And he's like, yeah. And then we went up to his table and got his autograph and pictures and stuff later. And we were joking around. I said, jameson, I didn't. I'm sorry, I didn't recognize you. And he goes, oh, no, that's. That's okay. And we kept joking around about being elevator buddies because we kept running into him in the elevator all weekend.
[00:44:18] Speaker A: Yeah, well, hey, it was meant to be then. Yeah, it was.
[00:44:21] Speaker C: It was. And that was. There was a couple other people there. Well, from Lost Boys. It was Chance. Chance was there and Jameson. And then they had other.
[00:44:34] Speaker A: Where was this? In Minneapolis?
[00:44:36] Speaker C: It was.
[00:44:36] Speaker A: Yeah.
[00:44:37] Speaker D: I thought I seen you sitting out in the lobby area of the hotel.
[00:44:40] Speaker A: I was. Me.
[00:44:42] Speaker D: Yeah, I thought so.
[00:44:43] Speaker A: I wasn't there. I.
I've not been in Minneapolis. I would have remembered that. Okay.
[00:44:48] Speaker C: But it was our first con. It was fun.
[00:44:52] Speaker A: It's always. Yeah. I mean, especially when we all do them together, which we've done more of that over in Europe than here.
I mean, when all of us, Kiefer, Jason, Billy, and. And it's massive, you know, I don't know how big that one. These things are like 50,000, 60,000 people coming out through a weekend, you know, that's crazy. It is, but it's been great. And Lost Boys has such a.
You know, it's timeless. It really, it's. It's always playing somewhere in the world, right.
As a movie.
[00:45:24] Speaker C: Oh, totally. And even kids that are younger know it.
[00:45:29] Speaker A: Oh, yeah. Well, my audience, just in the first few rows, as much as I can see with the lights, are mainly like 20 somethings. 20, mid 20s to early 30s. Yeah. So you knew that they grew up with their parents letting them watch it, you know. You know.
[00:45:43] Speaker C: Right.
[00:45:43] Speaker A: And so I. I was fascinated. I've always been fascinated by that, you know, because our show, by the way, is so. I'm so proud of it because it's. We got this massive screen and it's got all this stuff and I'm completely. Every song. I'm. I'm in tune with what's going on with the screen, so I play against it and so. Or with it. And. Yeah, we've been getting great reviews for every show we do in the. In the cons and stuff. So it's been good.
[00:46:12] Speaker C: I come on out. Yes, we can make one. We want.
[00:46:17] Speaker A: What was the Minneapolis con called?
[00:46:19] Speaker C: Crypticon.
[00:46:20] Speaker D: Yeah.
[00:46:20] Speaker A: Oh, right, I've heard of that.
[00:46:22] Speaker C: Yeah. So I'll have to, you know, maybe send out a message to the group at the Crypticon group and see if we can maybe get them to get some Lost Boys. Get people.
[00:46:32] Speaker D: We want to go to that thing in Santa Cruz in June.
And then we just found out that my mom's coming that same weekend, so we can't come.
[00:46:43] Speaker C: Yeah, she'll be coming here from Tennessee and so we won't be able to go out to California.
[00:46:49] Speaker A: Mom's coming. But it's a shame.
Yeah, no, it's a shame that your mom's coming.
[00:46:55] Speaker C: Well, and I saw that your concert. You were having that concert in Tennessee the end of June, and I just. I wanted to. Want us to be able to do that, too, but it's so hard with our work that we don't get much time off, so.
[00:47:11] Speaker A: Yeah. Well, that is in Kingsport, Tennessee, and it is called Smokey Terror. I can't believe I remember.
[00:47:20] Speaker C: I love that.
[00:47:21] Speaker A: Yeah. I love going down to those parts of the world, parts of the country.
[00:47:26] Speaker C: I love Tennessee.
[00:47:27] Speaker A: That's on. That's May 30th and June 1st. First. Okay. And I think it's going to be along with Corey Feldman and Jameson Newlander.
[00:47:37] Speaker C: Jameson's going too, huh?
[00:47:39] Speaker A: Yeah.
[00:47:40] Speaker C: Very cool. He's going to have a busy month.
[00:47:44] Speaker A: You know, there's certain times I can't go out and do these shows live, but I'm going to be doing a lot more come the summer and into the fall and. Yeah. So have me up to Minneapolis. I would love that.
[00:47:58] Speaker C: Oh, for sure.
And.
[00:48:01] Speaker A: But what. What I was going to say is. Yeah, just the amount of pre production that goes on with don't yout Forget About Me and Cry Little Sister and.
And this documentary, it's like never.
I'm lucky to get the weekend off, you know, and even that sometimes I'm having to doodle with stuff, you know, but.
[00:48:21] Speaker C: But anyway, it's good to be busy sometimes.
[00:48:24] Speaker A: Yeah.
[00:48:25] Speaker C: But it's nice to have a break.
[00:48:26] Speaker A: Yeah, exactly.
[00:48:28] Speaker C: So the one. Go ahead.
[00:48:30] Speaker A: You have more questions. I mean, I don't mean to.
[00:48:32] Speaker C: No, I was. There was a couple things that I wanted to bring up. One I thought was kind of funny with us being from Minnesota and it kind of plays into your song with Kiss that. That you wrote. Do you want to tell us a little bit about how that I was.
[00:48:49] Speaker A: In Minnesota when I wrote the song?
[00:48:50] Speaker C: I think it was Duluth, Minnesota.
[00:48:53] Speaker A: Yeah. Yeah. It was wild. I mean, we. I was playing a Gig there, this is early on. And I just gotten signed, I think. No, no, I hadn't. I was just out doing gigs, I can't remember. And I was signed. My manager, you know, So I was in a bar after the gig, and it was just like this girl in leather and just. She was just having. Probably taking the piss out of everyone, but she had a whip and everything. She said, hey, weren't you playing it? Blah, blah, blah. And I'm going, yeah, blah, blah, blah. The bar was kind of packed. Yeah, it was a hotel, she said. And she. You could tell she was getting a little trashed. And she said. And then she said what? She said. She said, you got a guitar up in your bedroom in your room. And I said, I do. And she said, well, how about we go up there and I give you a good whipping? And I said, well, I'd rather go up and write a song about it.
And so that's where that sort of came from. And I. I was kind of like, I loved AC dc, you know, I just thought, you know, well, I should go camp. And I did have no idea that.
I mean, I just wrote it, made a demo of it. And then their producer, Vinnie Pono, was producing the Unmasked album. And he said, so. And he wanted to produce what would have been my first album. What was my first album. I play. He said, play me everything you got. And so I was. And I'm going. I played him. Is that you? And I said, you know, I'm not really think feeling that this is really part of the.
The thread of the album, you know.
[00:50:20] Speaker C: Right.
[00:50:20] Speaker A: He said, would you mind if I place this as a hit song, man? And I'm going like, well, he said, would you mind if I played it for Kiss? And I'm going, like, that's kind of daft. You know, they do. They write their own songs. I knew that. You know.
[00:50:31] Speaker C: Right.
[00:50:32] Speaker A: They don't need a hit. And I'm thinking like, oh, this. You know. Anyway, so they played it for them and they loved it and they went and recorded it.
[00:50:39] Speaker D: It's awesome.
[00:50:41] Speaker C: Is in. I love that. When I saw.
[00:50:44] Speaker A: Could have been my second cover. I think I had my first cover by the R and B band called Tavares, which I wrote. Had written that song Bad Times for the movie, Jerry Bruckheimer's film Defiance, that was in 1980 or something. And I had. So I had no idea what you did to writing songs for movies. I wrote that song. Then he had me write three or four more. It was a movie There was around John Michael Vincent, Teresa Saldana, and everybody that went on to be in the Sopranos just about.
And. But it was the first time I ever did music for a film, and I was just, you know, that's a whole story in the documentary. It's pretty funny because I had no idea how much money I was going to make, and it was far more than what I ever thought. And I was behind my rent and, you know, I was literally, I better figure something else out. And it was like, yeah, I was able to stay in LA just a little bit longer.
[00:51:41] Speaker C: It was a nice surprise. Definitely.
[00:51:43] Speaker A: It was.
[00:51:43] Speaker C: Yeah. You've done so much over your career. Just reading everything going down the list and, I mean, trying to research and dig into all of, you know, because we love to dig into, you know, little things that people don't know or that are little known. And so I had a lot of fun. But there was. I think this was one of my bigger projects to really get into digging down deep.
One little gem that I found when I was researching as well. Back in 2009, you were on an Internet radio show, which I thought was great because I completely forgot about the Internet radio shows.
[00:52:23] Speaker A: Right. That's right.
[00:52:24] Speaker C: It was called Vamp Radio.
And you did an interview with Corey Haim.
[00:52:29] Speaker A: We did, yeah. Corey Haim and I. I remember we did a few of those back in the day, because my publicist was really said, no, we got it. You got to do these. These would be great. You know, they were small things, but they kind of blew up. And so I asked Cory, I said, you know, because I was looking after him for a little bit because he was really. He just kind of getting cleaned up and looking after him by letting him stay at my place. He was definitely with the plan. You know, he's a lovely. He was a lovely guy, you know, said just a lot of talent and misplacements.
[00:53:03] Speaker C: Right.
[00:53:04] Speaker A: I could say with the child star kind of thing. No, but he wasn't statistical. He was just a genuinely giving person.
So I said. I said, you want to come on and do a few things I thought would help his career as well.
[00:53:16] Speaker C: Right.
[00:53:16] Speaker A: So we did a few of them, and it was a lot of fun. He loved it. And we had just, you know, just. He could, you know, his fan, his fans were coming on, and I did it really for him to sort of like, get his life back, you know, and.
But. And that was sort of. But we had fun doing it. Yeah. I do remember those Internet shows back then.
[00:53:36] Speaker C: Yeah, kind of. It was kind of surreal listening to it, knowing that it was only a year later that, you know, he had succumbed to. No.
[00:53:45] Speaker A: Yeah. About a year later, he passed away. Yeah.
Shame.
[00:53:48] Speaker C: It was a big. It's big shame. Big shame.
[00:53:51] Speaker A: Way too young and just. Yeah, just, you know, he was a good soul. And that's the one thing I got to see in him, you know, it's just if he would have just. I mean, he could have been one of those guys that surfaced. But, you know, it's that child.
You see a lot of that go on, you know.
[00:54:08] Speaker C: Yeah, well, they have a lot. There's a lot. You know, that's a lot of pressure for young children.
[00:54:13] Speaker A: Yeah, there really is.
[00:54:15] Speaker C: It is. And then, you know, the other evils of Hollywood and. But we won't get into all of that.
[00:54:21] Speaker D: Any of that music.
Yeah.
[00:54:24] Speaker A: And the evils in Hollywood are. Come in so many different fashions. And then there's a good side of Hollywood. There are, you know, having lived here long enough now, you know, I just say, you know, I get big doses of it and I get small doses. Thank God I go to New York and London enough times that I get and go on the road that I have a perspective about coming back here, because I enjoy it when I do come back, you know.
[00:54:52] Speaker C: Right.
[00:54:52] Speaker A: And. But I stay away from all the other. All that kind of rubbish that's out there. Like, you know, what I call the tmz? Rubbish.
[00:55:01] Speaker D: Any of that.
[00:55:02] Speaker A: Got it. Gotta be, Gotta be, Gotta be filmed. No matter if I'm killing somebody, vomiting or just been absolutely rude. And then every once in a while, if you're really nice, you don't get any press.
[00:55:13] Speaker C: Yeah, that is true.
[00:55:14] Speaker A: I think people getting really nice is a better idea. And I think we need a bit more of that.
[00:55:19] Speaker D: Yeah. So did any of that music with Haim ever make it out into the world?
[00:55:24] Speaker A: Well, we did. You know, I wrote a song I got into, you know, to chime in on some of the lyrics to this song called Mend Me, Mend Me.
And I still have the track. Never released it. You know, we did a little. There's a little video, I think, that of him and me doing it. I don't know if you saw that.
[00:55:42] Speaker C: I did not.
[00:55:43] Speaker A: We.
We're in the studio, yeah, recording it and. Yeah, you can get it. You can find it. But it was quite, you know, it was really fun. And it was very much of an inspired moment of his past and his sort of, you know, getting his life back. You know, hence the name Mend Knee.
[00:56:04] Speaker C: You know, Right. Yeah, I would love to listen to that. I'll have to find it.
[00:56:08] Speaker D: Yeah, me too. Is he. He sounds like he would have a good singing voice.
[00:56:12] Speaker A: You know, he did. And we did a duet, singing back and forth on the song, and that was what was really fun because, you know, I was. And he said, no, I want you to. I want you. He was so adamant about. Because when we were sitting down playing it and stuff, we were singing back and forth and so we did, and it came out. I'm really proud of.
Should be released. It should be out there. It's a very positive song. Yeah.
[00:56:37] Speaker C: Yeah, definitely.
I. I can't wait to hear it. So with everything that you have coming up, we've covered the musical.
Don't you forget about me. You've got the rock opera coming up, the Lost Boys. Rock opera. You have the Lost Boys, the musical coming up. Is there anything else that. Oh, the documentary. How did I get here? Is there anything else that you have coming up that we haven't covered?
[00:57:03] Speaker A: I hope not.
[00:57:05] Speaker D: That's enough.
[00:57:07] Speaker A: Just down alone made me tired. Yeah.
[00:57:10] Speaker C: Made me tired, too.
I'm excited to see it all and I really hope that we can make it out to one of your shows and I hope that we can, you know, make it to a con or something that you're at, because I would love to meet you in person.
I mean, we had so much fun meeting Jameson. I would love to meet you in person.
[00:57:33] Speaker A: Yeah, well, let's do that. You know, just one 800g. Tom Mac.
Book me.
[00:57:43] Speaker C: Yeah, I will definitely reach out to the people at Crypticon and see what I.
I mean, whether it's. I don't think they plan.
I think it's.
[00:57:52] Speaker A: Yeah, a lot of. A lot of these times they don't do have live music because that's part of what I. You know, most of them now are. I mean, I was sort of the first ones to do that, you know, back in 2009, I think, Monster Mania and in Cherry Hill, New Jersey. And that's when the first con I did. And that was an eye opener to how many fans there were, you know, I'm sure. And I performed that night through 3,000 people in a ballroom. It was amazing. Just acoustically, I did a whole thing.
[00:58:20] Speaker C: Wow.
[00:58:20] Speaker A: But on to do. As things develop, we started getting more and more into just a big, badass show. So.
[00:58:27] Speaker C: Yeah, I know they did music. A live band at the one in Minneapolis. Do you remember who played Jeremy?
[00:58:34] Speaker A: I don't.
[00:58:35] Speaker C: Oh, I want to say it was the Guy from Nightmare on Elm street, the one with the longer dark hair.
[00:58:41] Speaker A: Oh, you mean Ari Lehman? No, he was. Was he at. No, Ari Lehman. Who? I think he was in Nightmare. What was the one where he comes up out of the water?
[00:58:50] Speaker C: Oh, Jason. Yeah, they had some people.
[00:58:53] Speaker A: Jason.
[00:58:53] Speaker C: That's Friday the 13th.
[00:58:54] Speaker A: He was the first Jason.
[00:58:56] Speaker C: Okay.
[00:58:58] Speaker A: Very talented.
[00:58:59] Speaker C: But yeah, they had a couple different people that sang that weekend. It's definitely not, you know, it's like a large bar area.
It's not like three, three thousand people.
[00:59:12] Speaker A: They're finding that it's a really, you know, the ones in the UK are massive and they do it right. I mean, there's like 3,000 people at the out, what they call it, an after party concert. And the sound system, the lighting is just exquisite.
[00:59:28] Speaker C: Yeah, there's a con going on this weekend that we wanted to go to, but Supernatural, they have a con in Minneapolis this weekend.
[00:59:36] Speaker A: Oh, cool.
[00:59:37] Speaker C: But, yeah, $1,600 for gold package.
[00:59:41] Speaker A: Yeah, I've seen what they are now, what they used to be. It's. You know, people save a lot of money to go to these things. And hey, it's. It's great.
[00:59:50] Speaker C: Thank you for your time and we're very grateful doing this. This has just been wonderful.
[00:59:55] Speaker D: Yeah, thanks, G. I'm pleased.
[00:59:57] Speaker A: I'm pleased.
[00:59:58] Speaker C: Yes. We look forward to seeing all of your future projects.
Hopefully getting to come and see some of them in person.
And again, thank you. And don't be too busy. Take some time for yourself and. And rock on.
Rock on. Yes.
[01:00:15] Speaker A: Thank you very much for having me on. I really enjoyed doing this interview quite, really quite a lot. So it all good questions and nothing daft.
Thank you very much. Thank you so much for having me on.
[01:00:34] Speaker C: Thank you.
You G. Bye bye.
[01:00:36] Speaker A: Bye bye. Take care now.
[01:00:38] Speaker C: All right, Conundrum Crew, we've got a special treat for you. G sent us a song from his musical, don't you forget about me. The track you're about to hear is called Stay Always. And let me just say, it's pure G Tom Mac magic. So close your eyes, turn it up and let the vibes take over.
[01:00:58] Speaker E: If I never lived the life that led me wrong maybe I would never.
[01:01:03] Speaker A: Know the right thing Every curse along.
[01:01:06] Speaker E: The way I be the ants.
[01:01:12] Speaker A: When.
[01:01:12] Speaker E: They tell me Never set your hopes too high when they tell you to be realistic what is living if you listen to them all?
Well, I can play the part of desperate Aristotle Or I can ride this fight out strong and on and on and on and there's a moment in my day I feel the weight of.
[01:01:46] Speaker A: The darkness and the child I can't.
[01:01:48] Speaker E: Be Then the reason to be me will come alone, all alone Not a shadow of a miracle no sign of the very thing you say you should see what about the power of the waking star the one that says there is a chance tomorrow the one that keeps me strong and on and on and on and stay with me always Help me, forgive me if there really is a God Then you should know that I'll make it home if I never lived a life that led me wrong maybe I would never know the right thing Every curse along the way I beat the eyes and the crying when it really is tomorrow.
[01:03:23] Speaker A: And the.
[01:03:23] Speaker E: One thing keeps me strong and on and on and on and stay with me I always Help me, forgive me if there really is a God Stay with me help me O King if there really is a God in me should know I'll make it home.
[01:04:23] Speaker A: I'll.
[01:04:23] Speaker E: Make it home I'll make it.
[01:04:32] Speaker C: Home.
[01:04:36] Speaker E: I'll make it home.
[01:04:53] Speaker B: Thanks for hanging out with us here at Total Conundrum. Please make sure to check out our website and
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[01:05:52] Speaker E: Sam.
