Attack of Tim Cappello!

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It's time for Movie Meltdown's Attack of the Killers soundtrack. The live transmission has begun, and we're into the final hour of hell. What's up? Welcome to Movie Meltdown's Attack of the Killer soundtrack. I'm Brian.

I'm Misty. I'm Jay. And we're coming to you live via digital recording from the outskirts of the Whirling Tiger. Woo! Home of tonight's very special appearance.

Yeah. Misty, how fired up are you? I'm so excited. I actually intend to leave the house. That's rare for you these days.

It's very. I'll go out for certain things, but concerts and stuff, I'm just like, ugh, people. Especially at night. I don't like going out at night. Bell rang.

It scared me. But yes. Should I say who we're going to see? Or do you want to say who we're going to see? No, go ahead and tell them.

We are going to see the glorious splendor that is the sexy sax man, Tim Capello. That is how he has been and forever will be known. The sexy sax man. I wonder if you prefer Tim or Timmy. I've actually seen him credited as Timmy.

So I don't know. I was going to ask him what's the way he likes to be addressed. When he emailed you, did he sign off in any particular fashion? Sexy socks man. Yeah.

Sergio? What was the wax that we saw? The oil. Sergio's hot wax or oil. I'm so disappointed in myself for having not bought that.

Yeah. Maybe tonight. Could be. There will be merch. Get your merch.

Come to his show. Get your merch. That's what I'm telling you now. Isn't it late? Is this going out directly?

He's on tour. He can go to many cities. Whatever city you're in right now, look for him. Go see the Sexy Sax Man. Buy some merch.

I haven't seen him yet, but I'm pretty sure I can almost guarantee that you will not be disappointed. How could you? I mean, he's glorious. Well, I mean, we know who we're talking about. We know what we're here for.

Should we go ahead and kick off the music and get right into it? Because we know we have to play the main song, so we'll just get people into it right now. Wasn't the very first episode that you did of this that I was on, wasn't that one of my choices? I don't know. You also did the theme song at one point, too.

The Cry Little Sister. I might have doubled up on Lost Boys. You might have. It seems like something I would do. It does.

But yeah, we definitely played Cry Little Sister on this before, but... If nothing else, I mean, on his episode, we have to play the greatest song ever. I still believe. That is not a good rendition. We'll just have him do it.

Because it's the best. Does anybody feel like going to vampire church? Let's do it. Then. Woo!

40 days, only a spark to light my way. I want to give out. I want to give in. This is our crime. This is our sin.

But I still believe, still believe through the pain, through the grief, through the lies. Rise through the wars. I don't mind the fact Out. At sea Hoping the waves Don't cover me Turned and tossed Upon. The waves When the darkness comes I feel the breeze But I.

Still believe Still believe Through the cold Through the heat Through the rain, through the tears, through the crowds. I'll march this road. I'll climb this hill upon my knees. If I have to, I'll take my place upon this stage. I'll wait till the.

End of time for you. I still. Believe through the shame through the grief through the heartache through the tears. We need all the hope. We can get.

Which i didn't realize it was an actually actually a cover song the call yeah i didn't know that yeah yeah because to me there's only one version of that song that matters. I mean he he claimed it from him i mean really they were just sitting there not doing anything with it obviously and he was like uh give me that i'll i'll take it from here. Was he doing that song before the movie came out i wonder or was it like already in his repertoire you should ask i didn't know if it was already like something he was already doing or if. This is something that was scripted, but they were like, hey, we need you to do this song for the movie. Yeah, that's what I want to find out, because I've heard differing stories on...

Well, actually, I mean, I've heard so many things about Schumacher over the years. I think a lot of good things. I think he turned out some great films. But, yeah, I don't know with that one how much of it was planned out ahead of time and what he pieced together in editing. So, yeah, it'll be interesting to hear his side of it.

I don't even know if I'll be able to speak or if I'll just be like, it's a sexy sex man. Were we talking about the, uh, Turner version or the Tina Turner song? Sure. Because he played a part in her movie of what's love got to do with it. Yeah.

I think himself, right? He was her keyboardist and... eventually saxophone player because he did. Every goddamn thing oh yeah i read online. He can play drums he can because that's one of the other movies he's in he's playing drums so it's. Yeah a man of many talents and wonders who also is in the song we don't need another hero i love that song.

Out of the ruins Out from the wreckage Can't make the same mistake. This time. Last generation. We are the ones left behind. And I wonder when we are ever going to change.

Living under the fear till nothing else remains. Looking for something We can rely on There's got to be something better out there Love. And compassion That day is coming. All else are cats that's building the air. And I wonder when we are.

Ever gonna change. Living under the fear till nothing else remains. All the children say we we do with our lives we leave our ways among. Remember, no matter where you go. There you are.

It's awesome. And yeah, it's one of those, it's so perfectly made for that movie and the fact that she's in that movie. Wait a minute, which movie? Thunderdome. Oh yeah, Thunderdome.

Hell yeah, Thunderdome was awesome. A weird alternate future apocalyptic universe version of Tina Turner, essentially. Because she's still awesome like Tina Turner, but the world's falling apart. We gotta fight for water or whatever. That's what we were talking about.

This was like reality. Fight for gasoline. Wait, oh no, that's what we're about to do now. Yeah. We just haven't donned the assless chaps yet.

Yet. Speak for yourself. You guys don't see. Misty's concert attire. Hey, I'm Jared.

I'm Andy. I'm Kristen. We're Repeat Repeat and you're listening to Movie Meltdown. Hell yeah. Which we have met him at a convention before and he was delightful and I'm hoping he'll be equally delightful.

That was kind of what sold me because these days I'm pretty particular on who I even want to talk to. It's like so much trying to put episodes together anyway and then definitely trying to work in special guests so it's like a lot of times anymore i'm just like they're too much trouble i don't know that person they might not be interesting they might not be cool but we know both are true of tim because we met him before and he was super cool and very. Interesting yes he is one of my favorite photos in my top five photos of me with celebrities would be me and timmy capello. All right, we've held out as long as we can stand it. We're excited to sit down and talk with him, so let's get to it as we get to know more about Tim Capella.

Usually I start at the very beginning with people and kind of figure out how they got where they ended up. So when you were little, were you immediately sort of drawn to music or what was it artistically that you kind of gravitated toward? There was never any choice for me. My father was a trumpet player, a conductor, and owned a music school. Wow.

So we would go down... after school every day, me and my friends. And, you know, from the age of like three, he would bring me and I would pound on the piano and beat on the drums. And it was just all these, it was so fascinating to me, all these ways you could make noise. And, um, it, it just stuck. It just became a thing that I just, that was the center of my, social life as well was going down there.

So I decided, my father kind of made a deal with me. You can play the drums, but you have to play a classical instrument too. So he shoved the cello on me. And I. Even cooler version of the sax, the cello.

Yeah, right. I actually made a mistake because I was fascinated by jazz and the sound of the string bass. So I thought it was called a cello. I was only like three or four. So I, I said, Oh, I want to play that cello.

And he was overjoyed because he was a frustrated cellist. So even though I was pointing at a bass, he was like, that's that. Okay. You can play the drums. It's all right.

Yeah. Yeah. Yeah. It was, it was, I didn't get the best of that deal, but, but, but I did get to, Take drum lessons and, you know, which is a great basis, I think, to start out your musical. You can't have any of the rest of it without a good bottom line.

That's right. Yeah. That's right. It's all about the pocket. Yeah.

So then I guess moving forward as you got into it, at what point did you decide, I think this is going to be like attempt to be a career and, you know, everything? Uh-huh. Well, from cello, I stopped that and... I kept playing drums, but I got interested in the piano. I thought it was a great way to learn harmony.

You could play something by yourself and sing along with it. It was just a great way to also visualize harmony. So I learned sort of the piano by myself and then went to a jazz teacher. yeah and by that time i was pretty much done with the drums as well as the cello and so i was a pianist for a little while and then at about 13 i picked up the saxophone as well but kept on with my uh with my keyboard lessons. Was there something specific about the sax? As later it became so synonymous with you, was there a connection immediately?

Kind of like what classical people do say about the cello. The tenor saxophone is around the same range as a cello. And people always say, oh, well, the cello sounds very much like a human voice. To me, the saxophone sounded more like a human voice that I was used to. I wasn't too crazy about its scratchiness and its sort of inherent softness.

That's not the way we spoke. With a saxophone, you can go from a whisper to a scream. You can't really scream on a cello. It's got a little soul to it. Where so many other wind instruments, it's kind of hard to get to that level.

They've got classical built into them, but You know, there's no soul to it. It's not... I mean, you know, the saxophone was invented as a... for marching bands. Yeah. So that it was kind of built on different versions of a clarinet, but something that was made of brass so it could be louder.

Yeah. And so when military bands or sporting events or whatever, it was something that... And then it just sort of caught on with, it was the perfect, by coincidence, it was the perfect match with jazz music, right? So it was 1870, the saxophone was invented by Adolph Sax. And when jazz started at the, end of the 19th century beginning of the 20th century it really i think people just realized this was a great jazz instrument it was loud but you didn't have to play it super loud you had a lot of variation in the song um in the sounds you could make you because you had a read that let you go up and down sort of like a cello or a violin where it would let you slide um That really gave it a vocal quality to it.

And were you influenced by specific people? Were you leaning towards jazz or was it more of rock? Oh, yeah. What kind of people were you into, I guess, early on? Early on, I was mostly a jazzer.

My favorites were, well, it was interesting. My father died when I was very young. And he had a wall in the basement that just went around the whole room of LPs. And one day I just was flipping through and I saw this record that sort of intrigued me by a man named Lenny Tristano. And he was a pianist, but I loved what he did.

And I loved the fact that he taught saxophone players, some very influential saxophone players. So I became interested in that kind of jazz. I became interested in more progressive. He was very progressive as well, but more of the 60s John Coltrane, you know, and people that were, like Ornette Coleman, people that were really progressive as well as, you know, my... particular hero was Captain Beefheart, who played soprano saxophone. That definitely gets into the rock world.

Yes. But on the other hand, because of that, there's huge holes in my knowledge of rock music, because I was only into the really progressive side of it. And people like Joe Henderson and Coltrane and Charlie Parker, Lester Young, those people so if you were to ask me what the songs are on Led Zeppelin 4 I wouldn't be able to tell you a thing so and still to this day I haven't gone back and listened to what everybody was listening to. So much yeah it's like everybody's kind of hit and miss but I mean I guess we're definitely jumping ahead but by the time you get to I mean working with somebody as big as Peter Gabriel like What led to kind of getting in that level? Because, I mean, that's pretty huge at that point for him.

Yeah, well, I was studying at the New England Conservatory, a saxophone major. And I was lucky enough to have gone to school with a fantastic drummer who also had a brother who was older and who was also a famous and amazing talent. The Marotta Brothers, M-A-R-O-T-T-A. Jerry was in my class in school. His brother Rick was older.

Rick was already into the New York music session scene. He was playing with people like Aretha Franklin and Steely Dan. And he was just, he was just, he was in it. Yeah. And so either Jerry, who was Peter Gabriel Strummer at the time, he said, I was up in Boston at New England, and I wanted to come down and study with Lenny Tristano.

So he said, well, why don't you come down? Let's get a place together, split the rent, and I'm already doing some work, and so maybe I can get you on some gigs. And one of the brothers got me pretty much every gig I ever did. That's a good deal. Or one away.

Like in other words, they would get me a gig. Somebody would see me on that gig and then give me another gig. So they really were– without them, I never would have– like in other words, we were playing with sort of a James Taylor imitator who was pretty popular on the East Coast that no one remembers anymore. But there was an opening act, a comedian– And he said, who's the piano player? And I raised my hand.

He said, would you mind coming up and doing some stuff with me? We'll improvise. We'll see what it's like. I have a couple of pieces that might use some music. And that was Billy Crystal before he was famous.

And so I went up. It worked out great. I was his pianist for five years maybe. Even played some saxophone with him. And when he had sort of jazzy kind of pieces.

He did a lot of character stuff early on. Right. And was into Sammy Davis Jr. And all that. We were talking about, he had a bit called Face, which was an old jazz guy.

And he would tell these funny stories about, you know, this was a dying breed of guys who were really, really funny dudes. And- just had their own way. They were intellectuals and they were just really advanced people in every way, musically and intellectually and emotionally. They had this wonderful thing. So he wrote this and we were sort of working on it together and I was playing the saxophone.

He said, bring your sax this time. And we did it on Saturday Night Live. It went over great and was a real turning point in his career. Well, and then, yeah, I was just– I know leading up to eventually Happy at the Tina's, I mean, was there a step in between? Oh, God, a million.

Yeah, I was like getting from working with Peter Gabriel and then just where it gets around and does Tina approach you or how do you end up with Tina? So I was with– You know, some local bands that had record deals. People had record deals in those days. What's a record? This was the mid-70s.

People would sign with Columbia or Warner Brothers, even if they weren't well-known. If they thought that there was a chance, you know, they would just throw as many bands against the wall and see who would stick. So you were always working with some band that never amounted to anything but made two records for Columbia. Or two or three records for Warner Brothers or A & M or, you know, when there were real record deals. Yeah.

You know, they paid for everything. They paid for your studio time. They gave you an advance. That was the gold. Ticket for an up and coming band.

If you get signed, even if you don't go anywhere. Yeah, that's right. And they would even give you tour support. Yeah. Nobody does anything like that now.

Yeah. They would put you on the road and you'd play the Roxy in LA and you'd play the bottom line in New York. And you'd get a chance to play a lot of places. They'd put you on the road maybe for three or four weeks just to see how it felt. They never told you the truth.

Well, that's their job. They would just say, you guys are awesome. You guys are really killing it. Meanwhile, they're going, I'm not crazy about the reaction. We might cut these guys as soon as this contract is up.

Yeah, exactly. They're definitely not going to get picked up. So we did a lot of that. Everybody was working in the 70s. So, again, my friend Jerry...

Well, there was a guy... I was always playing in clubs. I was just always around, always sitting in or playing with some local band. And all really good people. And so...

Managers, agents, lawyers. Lawyers were always in the mix. Would come down, record people, and hunt to see who could be the next Springsteen or whatever. Yeah. And so sometimes sidemen would get gigs.

So I got a gig with a guy named Eric Carman. Oh, yeah. All by myself. Yeah. He was a big soundtrack guy, too.

Yeah, right. He was on Dirty Dancing, I think. Yes. Something Eyes. Hungry Eyes.

Hungry Eyes. Yeah, I remember him. So he had another hit. But before that, he was with a group called The Raspberries out of Cleveland. And they had Never Gonna Fall In Love Again.

They had Go All The Way. That was a big hit, huge hit for them. And then Eric went on his own because he was the lead singer and the piano player. And had All By Myself and, you know, a couple other hits. And so I did him.

Then there was this really great sort of combination between... He was kind of like a Lou Reed, but with a lot of reggae thrown in. And a very... Like he was very... Very intellectual.

He was really a poet. But he also was really funky and especially with reggae because he had a very reggae sounding voice named Garland Jeffries. And although he didn't make too much of a splash, he was always around. So then from Garland, Jerry Murata was in that band too. And he got me into Peter's band.

And so I did one record and one tour with Peter. And then I went to Carly Simon's band. And then I went to Tina's band. Because his brother Rick, the older Murata brother, Tina's manager was looking for a saxophone player and a keyboard player. So Rick said, I know a guy that can do both.

He could save yourself some money. Two in one. Yeah. Yeah. So that's how I got into Tina's band.

And it was funny because the way I did my audition, they were at this point, Tina was not much private dancer. It hadn't come out, but what's love got to do with it? Hadn't quite hit. So she was still doing her, Disco Inferno kind of days. That dip in between, you know, after the couple breaks up, you know.

It's amazing that she ended up being able to come out and make. It on her own. Oh, yeah. So, yeah. So this was just before she really hit big.

Yeah. We were doing McDonald's conventions, really tiny little casinos. And she had all these contracts that she had to fulfill even after stuff started to hit. So we were still doing McDonald's conventions when she was at the top of the charts. That's crazy.

You know, because you can't renege. On a contract. No, once you're signed on, yeah. It's not good karma. So what she did was she was playing some little gig and she had me play a solo from offstage.

So this is really Tina's personality. She... So there was this saxophone coming from nowhere. And she said, that was a guy we were trying out. Maybe we'll keep him.

And so then that started it. She kept me. And that started it. So I learned the whole thing. I learned all the keyboard parts and everything that, you know, if there was percussion, I would have to learn that.

If there was harmonica, I'd have to learn that. We were called utility players because we could play guitar and keyboards and saxophone, of course. There's usually all of the saxophones, but at least tenor and alto and whatever you had to do because you couldn't give it to the drummer to play. They were busy. Everybody else in the band was busy.

By that time, you'd already kind of adopted what became your signature look. So did that tie in? Because later, like, was she assigning specific things to you? Because I know there's a clip I'd seen from probably later into the tour, but like, private dancer and you had this extended saxo. Thank you.

Thank you. So by that time, had she already just kind of gotten attached to you and wanted to make you a bigger part of it? No, that was all about clothes. No. That was all about her costume change.

Costume change. So she had a little curtain thing, and then she'd give it over to somebody, either me or Kenny Moore usually, and then she would, that's when she could take a breather. Yeah. Get a glass of water and have the girls change her clothes. That explains it so that solo is a really long set in there so she's probably like go ahead stretch well.

Yeah and and then and then i had that and then by the time we had gotten to the wildest dreams tour then i also had a big percussion thing to one of the dancers same idea yeah costume change. Well we i mean we're definitely into the soundtrack stuff. So that, by the time you get there, we start getting towards, you know, beyond the Thunderdome. Sure. And that definitely ties in.

I mean, once you work yourself into the videos, you are the perfect person because everybody in Max world is shirtless and wearing chains. And so they kind of tied it into what I guess you were already sort of doing to some extent. Yeah. I did definitely didn't get it. Of course.

Sorry. And the codpiece. Don't forget the, the codpiece. You have to have the codpiece. Um, Well, she got that for me.

Yeah. She bought that for me. She– She wanted to see you in there. She definitely– she was in Berlin and they were shopping and they passed by one of these sort of high-end leather stores, sex shops, and she saw the cut piece in the window. She said, Timmy.

And she ran out and got it and in her way just said, wear this at all times. So do you still have the original copy? Oh, God, no. Nobody wanted the copies after he was done with it. Let's just say they take a beating.

I just didn't know if it had its own little special- It's in a glass case somewhere. In a museum for like- No. It's much more disgusting than that. That's why it's sealed in the case. It just gets wet and then dries out, then gets wet, then dries out.

Because you're sweating all over it, right? So the sweat is pouring down. The thing is wet. The girls have to, the wardrobe girls have to get it dried out. And then you do that for a couple few years.

So there were a lot of them. How many cod pieces would you say that you go through in a regular concert tour? After she got me that first one, then it was up to me. She certainly wasn't going to get me another one. I think it's like a lifetime subscription to Cod Pieces.

So then I would have to go to sex shops and try to find one. And by now, I have my own people that I go to. You have your own custom. To make these custom shirts and to make things like cod pieces and whatever I want, any pieces of gear, belts with chains or whatever. And then I just go to Home Depot.

Where most rock stars get their shots. Right. $ 1. 69 a foot. And I have one of those things that you break into chain metal. Bolt cutter.

Bolt cutters. Yeah. And I have it written down as a file. And I know how long each of the pieces are. And then.

You've got it broken down to a science. Yeah. I mean, it doesn't take me very long. What happens is the oil gets on it and it starts to turn a little dark. So I am definitely due for a new set.

When is the last time that you changed the set? Before I came on this tour. So I'm not going to bring this big damn bolt cutter with me. So every time I go home, I make myself a new set of stuff. If I need a new codpiece... if I need some new pants or shirts or whatever.

You know, it's very, right now, the thing that I don't like is I have not found a person who can do the tie-dye on the pink and purple pants that I did in The Lost Boys. These people were film people. They really knew So I'm on the hunt because so usually I'll just go to Latina shops where they have stretch jeans. And so I'm actually wearing women's jeans that might have some rips in them or whatever. But that's the only, you know, then because then you need like a master tie dyer who knows how to blot.

It seems like there would be somebody on Etsy that would be able to get a niche market. For this. I'm going to have to find somebody. We're putting the word out. You guys listening.

If you know how to tie dye. Get hold of it. And then you got to remember, it's got to put up with getting soaked every night. Sweat. And then sweat and grease.

And then you got to wash it. And so what happens is what was pink over here and purple over here just starts to become a sort of a pink-purple color. And so that's my next project because I don't really like wearing jeans. Originally, were you drawn to that look or did it all just stem from that Tina one day said, put this on? You know, I'm a hippie.

I was born in 1955. So that's my, the 60s is my thing. I was never a big fan of like the Garcia tie dye. Yeah. But I loved the blot.

I thought, oh, I love pastels. My first wife was a designer and had a store in Greenwich Village and she was really drawn to pastels. So our whole house was done in pastels. I thought, oh, this would be great. I got to do something different than I'm doing with Tina because I was just wearing stretch jeans.

Yeah. You know, I would go to a place in London or something and just buy them out of my size. And then I thought, no, I got to take this one step further. Give it your own spin. I really want that.

And so, yeah, so now I got to find it again. Sorry I derailed. I'll do it. Oh, no. I'll find it.

Yeah. Sorry, I derailed the whole serious conversation with the codpiece. Well, you got to get to the codpiece. But I mean, I guess that leads to that because we're coming off of Thunderdome. So again, it's a perfect tie-in leading to The Lost Boys.

So I was wondering how, because Joel Schumacher is such an interesting director. So did he find out who you are from, you know, appearances with Tina? I had, he, Tina did a video called One of the Living, which was from Thunderdome. Yeah. And you're in there yeah.

But joel got his start at andy warhol's factory so i had done a spread in interview magazine andy warhol's uh big format sort of uh i. Feel like pieces and chain is no nothing unusual at andy's place. Right exactly so they had i had like leather nipples with big rings on them I was wearing. Okay, so now I have to find this. Yeah, yeah, do.

I think Debbie Harry's on the cover. How hard is this to find these days? I think Debbie Harry's on the cover. You can always find back issues with that. I don't have a copy either.

But my wife and I were thinking, oh, we'd like to see that. I'd like to see how embarrassing that is. As soon as we get out of here, that's. My first thing. Because I was wearing sort of a mini skirt, like a gladiator type of leather jacket. leather skirt and big wound up sandals that came to the knees and that whole look.

That definitely ties in to where you end up. Joel, when I went into Joel's office, he had that picture on his wall behind him. It's going to be on every wall in my house as soon as I find it. Well, when I went in, I said, I'm not sure what this is, but I get the feeling I got it. Whatever part this is.

Since you were on the wall already. Sort of getting the feeling. And when I walked in, he was like, oh, Timmy, I've been trying to get in touch with you because I would like you to sing a song in my next movie. And we just shook on it, and it was a 30-second meeting. So you had no idea how big the production was going to be?

Because that was, I was just reading a thing with Alex Winter said that was his first day of shooting was when you were recording the whole, and he's like, he gets there and like, it's all these people and bonfires and you're up on the stage with the sax and like, he's just like, what movie did I. Get myself into? So did you have any idea what you were getting yourself into for that scene? Well, you got to remember that Santa Cruz, That's just another night in Santa Cruz. They do that every night.

There's always a couple of bands on that stage. And there was always a pit. And they were always, always headbanging. So they didn't give a shit that it was a saxophone. People do that whole thing.

People headbanging to saxophone? What's wrong with this picture? They're like, I don't know about the sax, but I like his outfit. I'm sticking with this guy. Yeah.

So, you know, and I play pretty hard. It's almost, some of my screaming is almost non-saxophone-like. Yeah. You know, it's mostly a soulful or jazzy kind of instrument. And I always wanted to make it more, I wouldn't say like a guitar, but like more like, say, a guitar that had effects on it where you could get a scream out of it.

And, you know, always going for the big high notes or big low notes or trying to get different sounds out of it. And so it doesn't strike me as too strange. that they would have gone, I never seen it, but okay, we'll head bang to this. I never seen it before, but it sounds to me like, yeah, this could have been a guitar playing those parts. And like I said, Santa Cruz, that's all they did. They didn't need, those weren't extras.

Oh, no, they just showed up. Those were the people that just showed up. So the only problem was that they kept jumping on the stage. And Mike Chapman, who was the director of photography, who I thought was a security guy, just kept throwing him off the stage onto the crowd because he couldn't get his shots. And how much direction did he give you in that performance, Joel Schumacher?

Or was it just do your thing? Zero. As far as I showed up in my outfit. He's like, I've sketched this drawing of you. I want you to wear this.

Yeah. No. They didn't. They just said, come the way you want to come. Yeah.

I showed up with the, you know, because Joel's a hippie too. Oh, yeah. So the pants was great. You know, if I had showed up in black leather pants and, you know, a rubber dog collar or, you know what I mean? If it had been straight metal.

It's trying too hard at that point too. You're dialing it back a little. It wouldn't have stood out. It wouldn't have been as memorable. Yeah, exactly.

You've got to have– I've always felt that you've got to have some wrong in what you're doing. You have to feel like maybe this might not work or– you know what I mean? Because then you're pushing the envelope. Yeah. Yeah.

Like you want to do– just the right amount of wrong is important I think. You don't want to just show up straight down the middle. That's never been interesting to me. Okay, when you were filming that part in the movie, did you realize how long-lasting that movie itself and the entirety of it would last in culture today? Because, I mean.

I can't even say it's a cult classic. It's just a straight up, it's like a classic. It's beloved by so many people. Did you think that this many years later there would still be so many people coming out to conventions and specifically that movie? Did it feel like it at the time?

Zero. Nobody cared at all when the film came out. People thought that my performance was weird and extremely short, which it is. So lots of people were like, you're only in it for like 10 seconds. But yet still so memorable.

Like my friends, like why did I spend money on this? And then when I became their father's age, still nobody gave a shit. Then Saturday Night Live happened. That sort of changed things because people started coming to me And saying, are you upset about this? You know what I mean?

Like, they're making fun of you. Well, that's what they do on Saturday Night Live. You're making fun of Barry Gibb. You're making fun of... You know what I mean?

Michael Jackson. It's an honor. You haven't made it until you've been made fun of. I thought it was absolutely an honor, especially to be played by Jon Hamm. There's two...

I'm trying to decide which... of these tombstones. One is played by Jon Hamm. The other is banned from CBGBs. Did you really get banned from CBGBs? I got banned from CBGBs for being too lewd.

Lewd? Yes, too lewd. Is that with the loincloth? That was with the G-string and the... sort of i wouldn't call it pornography it was sort of soft core pornography with a little bit of hints of nudity but it was done in a very sort of um upbeat positive kind of way and i think had i been again like Black Leather, S & M, they wouldn't have had a problem with that. Yeah, and this is CBGB's.

I mean, it's rock and roll. They're supposed to want to do that. Once again, just push the envelope. On the list of people banned from CBGB's, I don't think I would. Have guessed that.

Well, yeah. Billy Crystal came to me. He said, you know, I went to CBGB's because there was a band that had a similar name to a band that you had for a while, so I thought you reformed the band. So I went down, and the band was throwing live bait into the audience. That's okay.

How could you possibly get banned from that club? It says a lot about you. But that's what he said. He said, this is just too much. This is just too much.

I'm not into this. It was that middle area there. It was just uncomfortable enough. They were like... Well, you know, and this is pre-Prince too.

Yeah. So... It. Was progressive, but it was very slow. At that point.

Yeah. Once he... You know, they just wanted... You know, and... Like, G.G.

Allen could play there. He could do whatever he wanted. And did. Yeah. But that was fine.

Because that's what was expected of him, though. Well, yeah. If you book him, you know the kind of grossness you're getting. Well, I mean, they knew what they were going to get from me, too. Because I had played there and really sold the place out many times.

So he was actually doing something that was bad for him because I always sold the place out. And I spent a lot of money on advertising. I really wanted to build up the band. I was into the band. It was named the Ken Dolls.

And so we all had, they all had blonde wigs and they all had, you know, one would have a cabana outfit, the other would have a safari outfit, and that's what we did. And I played in a G-string. So I think just the fact that it was fun. Can't have that. You can't have, you can't have fun.

You have to pretend like you're a badass and a tough guy, you know. That's weird that that rubbed the wrong way. You guys are having fun. Get out of here. Yeah.

So, I don't know. That may be the one for my tombstone. I think I'm a little prouder of that. I'm very proud that Jon Hamm played me, but. That's better than Mimicked by Peter Griffin.

I hadn't seen that one until recently. I was like, Peter Griffin in the outfit from The Lost Boys. Yeah. It's not a pretty thing, so no. Put that way down on the list.

I don't know. Did you have more Lost Boys stuff? I don't know. I'm just stuck on the, yeah. You were talking about you didn't know how long that would last.

Oh, yeah. Well, so like I said, then came Saturday Night Live. And then maybe, but it wasn't right after that. It was maybe three, maybe two. 2015 when I was the people that would be watching the Lost Boys for the first time when I was their grandfather's age.

For some weird reason that just clicked. And then all of a sudden everybody was calling me for conventions. Can you play a club? Can you get an act together? Can you make an album?

Can you do this? Can you do that? And that's the way it stays now. I said yes to everything and And now we're here talking. I think horror fandom kind of changed at that point, too.

Oh, yeah? There had always been these hardcore fans, but they were all by themselves in their basement watching their movies. And the convention scene kicked in. Yeah. And it just solidified everybody.

Plus, the internet had become such a thing that suddenly everybody had a way to get together and be like, oh, I love this. You love this, too. So everybody kind of came together right at that time. It also was a really good meme thing. Yeah.

It just– it was short enough. Attention spans in younger people were short enough too that just memes and little gifs and stuff like that where they would just do something funny with it became very popular. And for some of them, they might not even know what it was. They're like, what is this one? It's like, oh, it's from this movie.

You should watch it. Right. That's how they learned about it. It really started. You know, where I'd be standing on a flying saucer or something like that.

You know that wasn't real wait a minute well that i was just gonna that's what i was telling them earlier how much everything kind of hit at that point for you too because in the span of a couple of years there you go once once you're in like thunderdome then it's like lost boys and then the next thing you're you're composing a soundtrack for something and you're on miami vice and like so you've got all this stuff that kind of hits within a couple of years. Like how prepared for you all of that at one time? No, that's not true. No? No, it's not true.

After I decided to leave Tina in 99, after I did a Ringo Starr tour, I didn't want to travel anymore. I had been traveling since I was 19. At that point, what's 90? So I'm in my mid forties. And I, it was just too much time on the road being somebody's second banana.

It was starting. I, I, it, it actually happened where Tina and Elton were supposed to do a gig in, and did do a gig for Y2K. Yeah. In Vegas where they played together. And we were supposed to do a tour, but they got into a fight and that broke up that.

But they still had this contract to do Y2K at some casino. And I said, you know, all the yelling and screaming, all the fog machines, all the, you know, just like everybody being like on edge. you know, wondering if the lighting person is yelling at the sound man and Tina's yelling at Elton and Elton's, you know, like everybody's just running around trying to make this work on a really high level at a very short. Amount of time. And it wasn't exactly, even at that point, wasn't exactly a ton of money. Yeah.

So when somebody offered me a Y2K gig that I could sleep in my own bed and make almost as much money as a week of craziness, all I had to do was just show up with some friends, play some tunes that we liked, and I would go home with a lot of cash. So I said, I think I'm going to stay local. And then so for like till this started with the conventions and everything like that, I wound up just doing local gigs. And I put that entirely behind me. Stopped working out, cut my hair, just, you know, I would do like really high-end weddings and really high-end parties, fundraisers, things like that, things in a tuxedo.

Money was good. I was leading the bands. But I wound up, after a while, I really developed a horrible anxiety condition from it because they were also a lot of pressure. And when you're leading a band like that, It doesn't matter who's screwing up. You're the one they're looking at.

You're right in the middle. And if they don't come out with the appetizer right away, they're not looking at the guy who didn't come out with it. They're looking at you and they're coming and yelling at you. So as it built, it hasn't really been that long since I haven't been doing that. Yeah.

Um, So, like pre-COVID, maybe I'm thinking 2018, 2017. All those gigs went away anyway. Yeah. So, then Cameo got me through COVID beautifully. And my wife was able to work at home.

So, COVID was actually quite kind to us. Yeah. And before COVID, I had done a record, Blood on the Reed. And. Then I was touring with it and it was really fun.

I really loved it. I said, oh, this is for me. This is what I've always wanted to do. And COVID hit. All my gigs got canceled on the same day.

And I went home and as luck would have it, Cameo was just, you know, Cameo was. COVID's- Finding its footing, yeah. The perfect COVID gift. And it was just sort of, It had been around for a while, but it wasn't that popular. And then COVID made it huge.

So that was such a blessing for me. I couldn't even believe it. How many just deluged with cameos. I was just doing them all day long. And then I'm twice faxed, twice boosted.

I feel pretty invincible now. everybody's opening up now. I, so I can take that record and start again. Yeah. And go ahead. I was going to say like putting that record together, how, because you've done so much with other people, how, how hard was it to kind of be like, okay, finally I can do my own thing.

So was it good finding your own sound? So instinctive. Yeah. It's just the sound that I love. That record is the sound that I love.

I love, sort of slightly obscure soul and R & B, and then taking it and putting a really heavy rock sound to it, and also putting sort of a semi-industrial Caribbean feel to it, like... Jamaican dancehall or samba or some African beats, taking that, excuse me for getting too technical, but taking that 16th note feel that makes, right? So if you're 1, 2, 3, 4, 1, 2, 3, 4, if you're just doing that, to me that gets a little boring. So I would take a soul record and then I would heavy it up with the guitars, but then I would put something. So on pretty much all of them, that's just my sound.

Not that I don't stray from it. I do stray from it, but that's me. When I make my second record, it's pretty much going to sound like that because that is what I found out that I love. And it didn't, I didn't even have to think about it. Because I would always start out with a pretty good approximation of a song I liked.

Like Teddy Pendergrass, Only You, or something like that, which I usually open my show with. Or I put a spell on you, or something like that. And then take it, and then go, okay, I need more. It's got to be heavier. I love the sound of heavy guitars.

And I love playing that sound. And then it's still not enough. I still say, no, it's got to move. It's got to move more, right? Because that real heavy guitar sound sort of weighed it down a little bit.

So then you need something to counteract that. And that's usually trying to find some unusual sounds to move it. And you put those together and that's my feeling. That's what I love. You got you got.

You got what i need i say you got you got you got what. I want only you baby. Only you only you you you you ain't never had nobody love me like you do ain't never had no please me through and through Ain't never had nobody. Talk to me this way Nobody comes close when it comes to. Loving me You, you got, you got, you got what I need I say you got, you got, you got what I want.

Only you, baby, only you, only you, you. You, you Ain't never had nobody in my life before Ain't never had nobody till you came to the door Ain't never had nobody take away. My troubles When I'm down and out, girl, you. Come running on the double You, you got, you got, you got what I need I say you got, you got, you got what I. Want You got, you got, you got, you got, you got what I need.

Only you, baby, only you. You got, you got, you got, you got, you got what I want. You got the love. You got, you got, you got, you got, you got what I need. You got, you got, you got, you got, you got what I want.

Only you, only you. So you mentioned a second album. Is that something you're possibly happening sometimes too? I'm stressing so much. I'm so sorry.

I'm stressing so much about it. I didn't know if it was something already in the works or just one of those that's like maybe in a few years or if it's already. You know what? First of all, I've got to cover the country. You know what I mean?

I've got to go back and see what towns I've played, what towns I've missed. if I can grab another two years off of this with towns that I haven't hit before, I'll be happy to do that because I'm scared shit because it's a one man show. It'll always be a one man show and very reliant on multimedia. Usually things that I've been in, things that I've done, um, Making, you know, that doing we all do the star dance during the, you know, just thinking of some little thing. So the idea of going into the locker, going into the woodshed and coming up with a whole new show is scaring me to death. But at least I'm thinking about it now.

Yeah. Well, I guess you've got to set up the show. So we'll let people know about you. You've got this tour. You want people to come out and see you.

What's the best way for them to find you? I know we saw it on Facebook. So is that your best option? Go on Facebook. Just Google me, Facebook.

And there's only one Facebook page. And it's mine. It's real. And I. Every week on Monday, I put the clubs that I'm going to be at that week.

And there's also a post, a few posts down that has the entire show. The entire list of dates. The entire tour. So, however you want to do it, great. If you want to wait till the week, but like I said, you can also look at the whole thing.

So, this is going to be a 13-week tour. And then I had an accident in Las Vegas where a wind gust blew all of my screens and all my equipment over, destroyed everything I had. Had to go back home and regroup, rebuy everything, get it all working again. So I'm making up those November so I'm on the road till September 24th I believe 25th and then going to the UK you have fans in the UK of course okay so I'm gonna be at the Edinburgh Comic-Con and then in Manchester for the love of horror in October and then November I'm doing all the makeup dates in Texas and And all the southern states while it's still– just don't make me come back to Ohio or not during December. I mean you only wear a tank top.

You can't go cold places. All right. Well, I think that's it. Thank you for being with us, man. Thank you so much.

Really a pleasure. Thanks for all the thoughtful questions, guys. I really appreciate it. So once again, a big thank you to Tim for being on the show. He's not only a great guy, but he puts on a fun and interactive musical experience, so watch for him out there on tour, and when he comes to your town, go and see him live.

And we definitely need to give a big thanks to the Whirling Tiger. First off to their booker, who was so helpful in putting things together with Tim and totally got the ball rolling, so this episode wouldn't have come together without their help. And in particular, I wanted to thank the aptly named Heaven for who was our salvation as she showed up to the venue and was so nice to help us get set up inside, and we were recording right there next to the stage. So the reason our discussion with Tim sounds so good is thanks to Heaven. So, a big thank you to her.

And the Whirling Tiger in general is a terrific venue. Even after the show, Tim was talking about how great the sound was in there. I know they've put a lot of work and money into redoing the performance space there, and you can tell. So if you're in the area, definitely come by and check it out here at the Whirling Tiger. If you're further out there in the world, start driving.

Get yourself over here. It's 1335 Story Avenue in Louisville, and you can follow them on Facebook and see what they've got coming up. This is John Spencer, and you're listening to Movie Meltdown. Are you guys... familiar with rolling vengeance no jay if anyone i figured you i i knew the title but i watched the trailer it is it is tailor-made for our episode of our you know the three of us sitting down watching a ridiculous movie um basically i watched the trailer it's what happens in all these movies somebody is wrongfully killed and it's it looks like a bunch of redneck idiots being redneck idiots And somehow the rest of his family gets killed like in every action movie. And so his way of taking out his revenge or rolling vengeance is to build a giant monster truck.

Yeah, it sounds familiar. It's amazing looking. Is this a recent movie? Oh, this is 1987, I believe. So not recent.

And yeah. We won't have to worry about spoilers? No. I mean, I think we need to do a whole episode on it, so I think we will return for a full episode on it. But, yeah, after watching that trailer, and then there's an entire building the truck montage set to his song, Tim is writer and producer on Coming Up On You from Rolling Vengeance.

80s epic. Nobody knows what I know. No one feels my pain. No one hears the war drums pounding in my brain. Eyes are in your favor, but I will taste the wine.

I'm coming up on you this time. Nobody left to love me. Nothing left to lose. Never more downhearted. Never less confused.

The single thought is mine. Now your blood is mine I'm coming up on you this time I'm coming up on you this time Coming up on you this time Ancient laws are calling I have crossed the line Coming up on you this time Coming up on you this time Said I'm coming, coming Said I'm coming, coming Said. I'm coming for you Coming up. On you this time Coming up on you this time Coming up on you this time Nation walls are falling I have crossed the line Coming up on you this time Coming up on you. This time.

It's the most 80s thing ever. Awesome. And as you're listening to it, just imagine a monster truck rolling over top of people and cars and getting vengeance and it's the best thing ever. He's on a gunship song too that I really like. Yeah, I actually just was watching that video.

Have you seen the video for it? Yeah, we saw the video. The video is amazing. I didn't post the video. Like the bloody one where it's just.

Well, it's like a fan fiction world. It's like take Lost Boys and From Dusk Till Dawn and Blade and kind of mix them all together. We just saw the video where it's just the music because the one we saw was just the music and blood everywhere. Well, there's no, there's, well, this is, yeah, this is a different, there's one that's animated and it's got all of the characters as essentially anime characters. Oh, I should have posted that one.

They look super anime. And then by the end of it, we cut to live versions and you see everybody, including Tim, in his full, you know, Lost Boys kind of garb. Gorgeous. And then everybody gets sprayed with blood, blade style, because that's what you do when you open a vampire bar. Obviously.

You put blood in the sprinklers. I mean, if what we do in the shadows has taught me anything, that will work no problems. As he takes from me my last breath And then I'm waking up again. Can you feel where we're coming from? I'm sorry.

Thank you. Thank you. But yep, that song is awesome. Obviously more new bands need to come to him and be like, be part of our song, because you're awesome. I'm thinking we may even go out with that other version because he's also in the second single off of that soundtrack album is One of the Living, which is also Tina Turner, but he once again shows up and does his amazing sax thing.

So, yeah, I think that's how we should go out with One of the Living by Tina and Tim. Timmy. All right, so we'll go out with that. And with that, I will remind you, get a life, we'll provide the soundtrack. ¶ ¶ ¶ ¶. We can't stop the pain of your children.

Crying out in your head. They always said that the living would give you nothing. So now you're gonna shoot, shoot bullets of fire. Don't wanna fight, but sometimes you gotta do your part. But sometimes you've got your side.

Yeah, yeah, yahoo, yahoo In a wild town Good, collected, but savage In a wild town. Bruised, sensual, ravaged, ravaged. And it's every man for himself, every woman, every child. A new breed, ferocious and wild. And all they want to do is shoot bullets and fire.

Sometimes you've got to. You're some sort of survivor. And there's just one thing you've got to know. You've got 10 more miles to go. They want to fight.

Sometimes you've got to. You're a child. So survive. And there's just one thing you've got to know. You've got 10 more miles of years to go.

I forgot to ask my other question. What was it? When you did Lost Boys, was that song already something that was in your repertoire? Was that something that Schumacher picked out? You know what?

I'm not going to answer that because that story is a really big part of my show. Oh, okay. So we'll get that later tomorrow. If you want to bring a mic and grab it, that might be a good... So if you hear the sound change, you'll know that I'm answering her question.

If not, go to the show yourself. Yeah, there you go. If we get here early enough, we can claim a table and already have it set up. Awesome. Sorry.

I didn't mean to not answer your question, but like I said, For me, it's a very important part of my show, and I don't want to... Because it's a weird-ass story. That's all I'm going to say to everybody. It is a weird story. That means you better come out and hear it for yourself.

Awesome. All right, everybody. Bye-bye. This episode is a production of Movie Meltdown, produced and edited by The Oddity Studios. For more on how to sponsor or support the show, email producer at moviemeltdown.com.

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