PipemanRadio Interviews Parris Mayhew About SK8BORED FIGHT & RISE OF THE AGGROS

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Hi, you have THENTO censure.
Wow, crazy young, Wake up America.

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It's time for the Adventures of pipe
Man on W four c Y dot

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com vis Pompass number one internet radio
station. Here's your host, the HiPE

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Man. This is pipe Man here
on the Adventures of pipe Man W four

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c Y Radio. And I'm very
excited about our next guest who. I

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think it's one of the cool with
dudes in music because it's just all about

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the music, okay, and it's
rare nowadays, and there's some badass music

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that you're gonna have to check out
that's new. So let's welcome to a

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show parents from Agros. How are
you? I'm great, Dean. How

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are you doing? I'm doing phenomenal. You like my background there? I

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love it. I don't have to
hold up the album every five minutes,

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II know, right there you go. And I'm actually impressed. I positioned

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myself so perfectly that it's like I'm
part of the graphic. You know.

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It's amazing. So tell us about
this new song, Skateboard Fight. First

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of all, I just want to
say right off the bat too, besides

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it being a badass song, I
love the ode to old school where you're

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having like a duel with guitars,
okay, because it's always cool and I

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I also loved that there were a
couple of secret little, you know,

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guest appearances in the video, not
as people, but guest appearances that people.

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I'm thinking, I don't even want
to tell the listeners what it is,

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because I want them to watch the
video and find it for themselves,

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kind of like where's Waldough. It
is kind of a nice surprise, I

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mean, And it kind of happened
that way for myself because you know,

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this is the third video from the
album, and I kind of wanted the

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all the videos to feel like they
were the same night, like some fictional

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night in my memory, and so
each one is kind of a continuation,

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but I didn't want them to be
in the same places in one of the

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One of the things that was great
about growing up as a kid in New

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York City was you explored the city
on your skateboard or your bike, ride

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around for hours, an hour and
hours, and you could go in a

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different direction every night for years,
and you know, discover the city.

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That's how I did. That's how
I discovered hardcore music was riding my bike

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or riding my skateboard down to the
Lower east Side and and I found this

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little bar on Avenue A, which
was an abandoned neighborhood at time, like

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they literally there were there were big
banners on all the buildings that said rent

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strike, and all the all the
storefronts, every storefront on Avenue was boarded

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up except for one Raised Egg Egg
Cream and the Selka, a little restaurant,

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and one deli, but all the
rest of it was boarded up.

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And there was this one bar called
the Park in Tavern, and I would

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just go in there and uh and
uh and I and the guy served me,

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which was insane, you know,
because I was fourteen. And but

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there was this plunk rock club across
the street, and I just saw these

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kids accumulating over there. So eventually
I just wandered over there, and that's

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how I discovered it. But I
wanted that kind of feeling in the video,

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is this idea of being out at
night, because I don't think I

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saw the sun, you know,
except for in the morning during my entire

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teens and twenties, right because we
would, you know, we would I

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would sleep until five, you know, I would go out and at like

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nine and then I would get home
at like seven in the morning every day

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for years and years and years.
But so, you know, so I

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definitely wanted it to be a night
vision. In the first two videos,

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I feel like I managed to capture
completely different feeling. But when I was

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putting together this third video, you
know, the very first thing I shot

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was the guitar duel Nice Chuck,
because Chuck was in town. You know,

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he lives he lives in Maine,
and he's in a couple of bands,

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so he's torn quite a bit busy
guy and yet just have to take

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advantage of when he's around. And
he was like, I'm going to be

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in town for a day and I'm
playing with you know, I'm playing with

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Carnivore ad somewhere and our gig will
be over at about midnight, so I

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could probably meet you at one thirty
or two in the morning. And so

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I said, okay, meet me
at the base the Williamsburg Bridge at two,

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you know, and then and I
would be there waiting with the camera

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and maybe, you know, if
anybody who I could get to help on

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that night, he was my wife, So it was just me and my

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wife. And then I set up
the cameras and Chuck showed up, and

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I just had him take out his
guitar and we'd like face off, and

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I said, listen, this is
this is a duel. This is like

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a fight to the death guitar battle, you know. And then we you

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know, and so I set up
the camera like over my shoulder, like

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you'd see a gunfight scene in a
Clint Eastwood movie or something, and then

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Chuck just starts playing his guitar,
doing his thing and smiling and looking at

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the camera or whatever, and like
I stopped the cameras. I was like,

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no, Chuck, this is a
battle. Don't look at the camera,

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look at me. You know,
this is a duel. And so

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he finally he got the point of
how what I wanted, you know,

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I didn't get a lot of prep
time. It explained it to him.

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So we shot like the close ups
of the gun battle, and then he

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came back to town like two months
later, and that's when we shot the

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really high angle shots of the gun
battle. And then on a completely the

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other night, we shot the close
ups of the hands. You know,

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I just did it. I always
do it in little increments. So I

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had, you know, this basically
empty palette but with the guitar duo in

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there. And I was just driving
around. I was shooting on this TV

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show called Evil, because I'm a
camera operator, and and we we were

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out shooting out on Staten Island and
I and I had heard about this Wu

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Tang Clan sign street sign and I'd
never seen it, and I thought,

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you know, that would be kind
of a cool thing to shoot for the

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video. You know, it's a
taste in New York. You know,

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New Yorkers loved their music, and
you know they they paid tribute to uh

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other, you know, to New
York musicians with these streets sign It's an

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odd thing. I mean, I
guess you know in La they do the

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stars and yeah, here we like
street you know. And I didn't realize

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how many there were. I knew
about the Joey ramone one, and I

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had heard about a couple other ones. I'd seen the Duke Ellington one up

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in Harlem. But so, you
know, one night we wrapped on Evil

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at like two o'clock in the morning, and I ran up to the grips

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and I was like, hey,
man, can I borrow this? Can

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I borrow a two K rolling stand
and a century stand and a bunch of

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mayfor clamps and a sentry you know, all this rip equipment. They're looking

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at me like what do you need
that for? I said, I'm going

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to go shoot something. They were
like, we just been shooting for fourteen

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hours. It's you know, it's
two point thirty in the morning. You're

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going to go out and shoot something. I was like, gotta go out

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when I came. So I went
out and I found the Wu Tang sign

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and it was like way higher than
any street sign because it was kind of

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on a highway. It wasn't on
the street corner. Huh. So that's

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why I needed these two I needed
these extra stands. So I had this

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one stand that went like twenty ft
in the air, but I had to

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attach another stand to the end of
that so I can go like another fifteen

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feet higher or something crazy like that. And then I clamped the camera to

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it and taped it up and hoisted
the whole thing up, and cops kept

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rolling by and they would stop and
look at me, like what's this guy

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doing. They never bothered me,
and I shot that shot. And once

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I had that Wu Tang shot,
I felt like I had to go and

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collect all the other ones. So, you know, even though I blew

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the surprise, it definitely you get
this feeling like I'm traveling through the city

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and I'm stopping. You know,
my friend Terry Stacey, who's a famous

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cinematographer, he saw the video and
he's like, he's like, you know,

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Paris, your video is kind of
like a love letter to New York.

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I love it, and you didn't
blow the whole surprise because there's also

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two other things there that are my
two favorites of a certain band and me

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too. People have to people have
to watch for that. Well, without

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telling what it is, I'll tell
you why I did it the way I

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did it because I didn't show this. I didn't show street signs because,

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oddly enough, there are no street
signs dedicated to these to this, these

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two members of probably the most popular
New York band. You know, right,

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how is that even possible? Because
you know, these these street signs

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are lobbied for by fans, and
I guess you know people nobody feels the

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need to lobby for a band that's
sold one hundred million records. They lobby

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for the little guys or the people
that they view as the little guys.

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So you know, Charlie Parker and
run Dy and seeing people like that all

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have signs or people that are proud
in their neighborhood. I imagine the sign

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was lobbied for by the people in
the neighborhood. But yeah, I felt

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like, you know, all that, all that, all those, even

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though I'm not directly influenced by a
lot of the artists that I showcase in

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there, you it's just it's just, you know, when you're in New

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Yorker and you're influenced by all these
big artists who are basically your neighbors in

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a way, so it makes them
feel reachable. It just felt like something

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I wanted to include in the video. It's definitely a different vibe in LA.

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Who as somebody who experienced both in
the eighties, both New York and

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LA, it's like such a different
vibe because well, New Yorkers anyway,

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like you're saying, it's more of
a community, and it's more of you're

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all for each other. Where in
LA they're all in competition with each other,

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and it's like totally like that too. And the snobbery sometimes back in

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the eighties of some of the bands. Ironically, there's a couple that I

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knew back then that I couldn't stand
back then because they thought they were all

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that in the Bull of Cherries,
and nowadays they're actually really nice guys because

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they got, you know, humbled
a few runs down the ladder exactly.

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You know, it's odd. It's
like, after I started shooting some of

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the signs, I began to realize
that I was actually you know how I

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say that, you know, I
feel a kin to them because they're kind

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of like neighbors. I feel.
I realized that there was like a six

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degree of Kevin Bacon situation because you
know, the first sign I shot was

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the Wu Tang sign, and I
actually worked with method Man a couple of

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times on Blue Bloods. He's a
recurring character on the TV show Blue Bloods

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that I was shooting. So I
shot, I've shot method Man. And

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the second one I shot was Charlie
Parker Street Avenue B and Uh. I'm

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a music publisher and I published quite
a bit of Charlie Parker's music, which

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I inherited from my father who met
and and UH did that business with Parker

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and UH and then of course the
BC boys, you know, as teenagers.

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We were all friends and and Uh
Adam Yaok was possibly going to be

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the bass player of the Chromags at
one point, but he was going away

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to college up and barred, and
he said he could. He was like,

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yeah, I'll definitely come down on
the weekends and we'll play. But

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the guys, guys in my band
didn't like the idea of somebody being a

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weekend warrior, right, which is
silly. And we also asked Mike Diamond

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to play drums with us early on, you know, or it wasn't like

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we asked him. He was just
talk, you know, because you know,

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you're a bunch of kids standing on
a street corner and you're trying to

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figure things out, and we were
like, yeah, maybe Mike can play

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drums. Oh, let's get at
him. But we actually asked Adam how

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to sit down meeting with him in
Roger Murretz van uh the front. It

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was me, Roger and and Adam
and he was and Adam was, you

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know, on board one hundred percent. You know, Adam was a big

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fan of like heavy hardcore music,
even though he went off and became a

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hip hop icon. So what does
it feel like one more thing. I'm

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sorry, run DMC run the sign
I directed her on DMC video. That's

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cool. Yeah, So anyway,
that's that. What does it feel like,

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by the way, like being at
this stage and looking back and thinking

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back of when you're a kid on
the street to New York, like just

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thinking about doing this stuff. It's
very strange, you know. The last

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video I did is in two sections. It's called City Kids, which also

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relates to what we're talking about.
But the second half of the videos of

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the song is called Ghosts of New
York. And to a large extent,

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I feel like there's not a street
corner in New York I can't stand on

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without feeling, you know, like
a little haunted. Right. I can't

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tell you how many times I get
off the crowded subway train and like,

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out of the corner of my eye, I see, you know, like

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Jimmy Gestapo from Murphy's Law. And
I don't mean like the guy I see

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all the time on the street,
but I mean like the sixteen year old

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you can stopo like and first split
second I'm like, oh, there's Jimmy,

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and of course it's not him,
or I'll see Eric Hasenova the original

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singer of the Chromanks, or I'll
see the Beastie Boys, you know at

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fifteen sixteen, or any number of
the extraordinary people that I was privileged to

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be friends with at that age,
you know. So I definitely feel like

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there's a little haunting going on all
the time because I have so many memories

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connected to so many places. Every
subway stop I get off, every every

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street I walk down, every restaurant
I go to, every bar I sit

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down at. I can think of
like when Joe Jackson was sitting in Blanches

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and the jukebox hadn't changed in years, and he sat down one afternoon.

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I was in There was just me
and joe Jackson in there, and I

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was shooting pool and Joey Jackson was
sitting at the bar having drink, which

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was nothing unusual, but the songs
on the jukebox hadn't changed in years.

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They were actually singles, you know. And then he's sitting there at the

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bar and all of a sudden,
the record changes and the song Stepping Out,

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his song Stepping Out, a huge
hit at the time, came on

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the jukebox and he just went the
jukebox and he looked for it. And

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he took his drink and he just
like finished it, put it down,

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He pushed himself his barstool back away
from the bar. He got up and

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left and I never saw him again. Wow. But the Blanches without thinking

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about that or thinking about David Johansson
sitting there, are the guys and the

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BC boys who hung out there all
the time, or Dante Ross who produced

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the ever last Great album, and
you know, so many people that hung

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out there. And Earl from the
Bad Range used to shoot pool there every

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day. So all these people were
just you know, the background of my

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life when I was a teenager,
and I feel like all that's still there,

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00:15:50.879 --> 00:15:52.840
you know, I'm still connected with
some of them, like Jimmy I

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see often. Yeah, you know, it's interesting when you're talking about being

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fourteen earlier. I have that same
experience, Like I've been in the Rainbow

220
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recently and like go in there.
I'm like, how the fuck at fifteen

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years old was I in the Rainbow? And then I think about it,

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I'm like, oh, yeah,
you'd go to a gig and then you'd

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walk with the band over and like
it was just like that, you know,

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and you're sitting there hanging out with
Lemmy at the Rainbow, you know,

225
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type of thing, you know,
at fifteen years old. And it

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kind of it's weird looking back on
it, because at the time it was

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just really cool, but you didn't
realize how cool it was, right,

228
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I mean, I couldn't have,
you know, it was just a part

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of life. I mean I remember
discovering The Bad Brains when I was,

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you know, a very middle and
teenager, and and they were just a

231
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local band. You know, I
couldn't have even understood the value that they

232
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had. I just knew that I
loved them, and I couldn't understand why,

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I why I liked them as much
as I liked Rush. Yeah.

234
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But and you know, and I
saw this, you know, the Stray

235
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Cats back then when they were called
the Tomcats. They used to rehearse at

236
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this at a studio on Avenue Bay
and be called Tucasa. And I remember

237
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when I first heard about them,
and somebody was telling me, oh,

238
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yeah, there's this band that rehearses
over Tucsa's just three of them and one

239
00:17:17.160 --> 00:17:19.359
of them stands up while he plays
the drums, and they look like cowboys

240
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or something. And and I went
and saw them in Maxis Kansas City,

241
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and it was you know, just
you know, you couldn't throw a rock

242
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with hot hitting an extraordinarily talented musician. Back then, there was just so

243
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many, you know, you look
at you'd look down the bar and you'd

244
00:17:33.200 --> 00:17:37.799
see Rick Rubin sitting there, or
you know, you know, Pete Steele

245
00:17:37.920 --> 00:17:41.119
used to come and watch me dj
at uh at King Tutswawa Hut and you'd

246
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see hr walking through Tompkins Square Park
reading the Bible and yeah, and did

247
00:17:47.799 --> 00:17:51.960
you watch that Beatles thing speaking?
I think it was Rick Rubin and Paul

248
00:17:52.079 --> 00:17:56.079
McCartney did this thing recently and they're
playing I saw the ads for it,

249
00:17:56.119 --> 00:18:00.920
but I haven't seen it. Yeah, So they're playing music and listening to

250
00:18:00.279 --> 00:18:06.799
like different Beatles songs and Paul McCartney
at one point, there's one song that

251
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comes on and he's like, you
know, back then, I was just

252
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playing with my bloke John and he
goes and now I'm like, oh my

253
00:18:14.920 --> 00:18:18.880
god, I was playing with John
Lennon. Like it was like he and

254
00:18:18.000 --> 00:18:22.960
he's saying, like I'm fanboy in
right now, like he was fanboying out

255
00:18:22.000 --> 00:18:26.799
that he was playing with John Lennon, but like he didn't really think about

256
00:18:26.799 --> 00:18:30.200
it. Back then, it was
just his friend. I mean, I

257
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mean, I can totally identify that. I mean, I remember at one

258
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point after the Cromaggs had broken up
and I had started this other band and

259
00:18:37.240 --> 00:18:41.720
we'd written a bunch of songs and
we couldn't find a singer. You know,

260
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we were brainstorming on what to do, and you know, Pete Steele

261
00:18:45.839 --> 00:18:48.359
was just a friend of ours,
and so I called up Pete and I

262
00:18:48.440 --> 00:18:52.440
was like, listen, we have
an entire album written and you just want

263
00:18:52.480 --> 00:18:56.119
to record it, you know,
would you consider coming down and listening to

264
00:18:56.279 --> 00:18:59.079
it? And he Pete, I
don't know how he got that. I

265
00:18:59.079 --> 00:19:02.680
guess he drove his crazy the car
over there, but to Elmerhurst, Queens,

266
00:19:03.160 --> 00:19:06.880
to where my friend who was playing
guitar in that band lived with his

267
00:19:07.000 --> 00:19:10.680
mom and his grandma. And he
had this little teeny bedroom that was like

268
00:19:11.720 --> 00:19:15.119
so small that we had the drums
we had set up in his little bedroom.

269
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It was just a snare drum or
ride symbol of the high hat and

270
00:19:18.799 --> 00:19:22.799
the bass drum and the school and
that was between like you can barely fit

271
00:19:22.880 --> 00:19:26.440
that between the bed and the wall. And Pete came in and he climbed

272
00:19:26.480 --> 00:19:30.559
up on his like little single bed
and stood in the corner with his head

273
00:19:30.640 --> 00:19:33.240
up by the ceiling, and you
know, we were all like I was

274
00:19:33.279 --> 00:19:37.759
sitting on this guy's desk. You
know, we were like literally all on

275
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top of each other. And Pete
just took out his little notebook and and

276
00:19:42.079 --> 00:19:49.599
we played basically an hour's worth of
music instrumentally while he took notes. And

277
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sometimes when we finished songs, Pete
would say, what were you thinking when

278
00:19:55.200 --> 00:19:57.720
you wrote that? Like, you
know, so he can get a vibe

279
00:19:57.759 --> 00:20:00.559
of what to write down, because
he because it was his job to write

280
00:20:00.559 --> 00:20:03.720
the lyrics and stuff. And then
you know, we we we spent the

281
00:20:03.799 --> 00:20:08.079
afternoon playing songs for him and asking
his crazy questions and then and then he

282
00:20:08.119 --> 00:20:11.799
went off and ultimately we never made
that record. But uh, you know,

283
00:20:11.960 --> 00:20:17.319
looking back now, if I tell
this story, I'm telling this story

284
00:20:17.359 --> 00:20:19.359
about how crazy it was that Pete
Steele was in my friend's basement, in

285
00:20:19.440 --> 00:20:23.119
my friend's mom's house, right most
to just this guy that was just a

286
00:20:23.200 --> 00:20:26.519
pile of arms, and there were
so many people like, oh, you

287
00:20:26.559 --> 00:20:30.000
know, like you know, just
even like you know, different kinds of

288
00:20:30.079 --> 00:20:32.720
success, like one of the guys
that we hung out with every night.

289
00:20:32.839 --> 00:20:36.519
Was come all from the Jerky Boys, and the Jerky Boys was you know,

290
00:20:36.640 --> 00:20:41.240
a cultural a worldwide cultural phenomenon.
Yeah, but he was just one

291
00:20:41.240 --> 00:20:42.359
of the guys that hung out on
the street with us, and he would

292
00:20:42.400 --> 00:20:45.200
come in sometimes and he would say, oh, you should come over and

293
00:20:45.240 --> 00:20:48.079
listen to these tapes I've been making, and we just you know, they

294
00:20:48.079 --> 00:20:48.759
were always funny, but we thought, you know, what are you going

295
00:20:48.839 --> 00:20:52.480
to do with this? And then
like two years later he was world famous

296
00:20:52.480 --> 00:20:56.039
and making a movie with Disney.
Right. It was just there was just

297
00:20:56.160 --> 00:21:00.920
something magnetic about that neighborhood, you
know, where so many people came out

298
00:21:00.960 --> 00:21:04.119
of it, you know, white
zombie beastie boys like the Jerky Boys,

299
00:21:04.519 --> 00:21:08.480
producers, actors. It's just such
a strange thing. You know. I

300
00:21:08.920 --> 00:21:11.440
often say, like, if I
could go back to that street corner,

301
00:21:12.119 --> 00:21:17.359
I would, you know, to
see all these extraordinary people that were that

302
00:21:17.440 --> 00:21:19.839
were famous, but they weren't famous
then. Yeah, you know, I

303
00:21:19.880 --> 00:21:25.839
think it's so strange that so many
of those people went off to make their

304
00:21:25.960 --> 00:21:30.559
mark and we all gravitated to each
other with no inkling of what the future

305
00:21:30.720 --> 00:21:37.079
might bring, and the cool thing
is is nobody back then did it on

306
00:21:37.480 --> 00:21:42.599
before that reason, you know,
like you did it because of the love

307
00:21:42.880 --> 00:21:47.519
of the art. You know,
I think sometimes, well a lot of

308
00:21:47.559 --> 00:21:52.440
times nowadays, you have these artists
that they're doing it to get famous instead

309
00:21:52.519 --> 00:21:56.720
of because they just love the art. And and that's why they get famous,

310
00:21:56.839 --> 00:22:02.359
is because they just love the art
and don't care. I mean,

311
00:22:02.440 --> 00:22:03.880
yeah, that's I mean, that's
today's culture, is the culture of fame

312
00:22:04.160 --> 00:22:08.279
without accomplishment. You know. I
was having a conversation with somebody earlier about

313
00:22:08.480 --> 00:22:11.759
you know, they were saying,
you know, do you you know,

314
00:22:11.839 --> 00:22:15.920
you put so much work into your
record and into your videos, like you

315
00:22:15.960 --> 00:22:21.599
know, because the discussion was like
about how you don't world class production isn't

316
00:22:22.240 --> 00:22:26.359
isn't isn't not only required anymore,
but it's just something that shouldn't be bothered

317
00:22:26.400 --> 00:22:32.400
with because you won't because you know, you know, making a Seal album

318
00:22:32.519 --> 00:22:36.440
or making a Michael Jackson album,
that kind of thing is just not necessary

319
00:22:36.519 --> 00:22:40.240
because it will never sell those kinds
of records or something like that. And

320
00:22:40.640 --> 00:22:41.880
then they said, you know,
they use this phrase, you know,

321
00:22:41.920 --> 00:22:45.319
you've got to get more ears on
your music, and I was like,

322
00:22:45.400 --> 00:22:51.720
Oh, that's such a modern uh
streaming service and doctrination technique, you know,

323
00:22:52.200 --> 00:22:56.519
right, you getting more ears listening
to your music. Like so basically,

324
00:22:56.799 --> 00:23:00.400
you know, get get your music
on every streaming service there is possible,

325
00:23:02.039 --> 00:23:03.880
so you can get as many ears
on your music. That's success.

326
00:23:03.960 --> 00:23:10.559
That's how people there the music business
is trying to indoctrinate you into believing success

327
00:23:10.759 --> 00:23:15.640
is achieved now. But I would
certainly rather have much less ears on my

328
00:23:15.799 --> 00:23:19.319
music and not give it away for
free, yeah, you know, and

329
00:23:19.960 --> 00:23:26.839
not make streaming services billions of dollars
while the artist makes nothing because they're convinced

330
00:23:26.880 --> 00:23:30.000
they have to get more ears on
their music. Yeah, even like competitors

331
00:23:30.079 --> 00:23:36.079
of mine, you know, doing
streaming radio and stuff like that. I

332
00:23:36.200 --> 00:23:40.119
run into people all the time that
they just think that they shouldn't have to

333
00:23:40.200 --> 00:23:44.759
pay, like I pay for licensing
royalties and everything, because I see what

334
00:23:45.039 --> 00:23:48.400
artists go through. I always did, and like, you're working, you

335
00:23:48.559 --> 00:23:52.519
deserve to get paid. And like
these other people sometimes are like, well,

336
00:23:52.839 --> 00:23:55.640
they should just let me play their
music, and I'm like, no,

337
00:23:55.839 --> 00:24:00.000
they shouldn't. Maybe you should pay
your royalties and get license to play

338
00:24:00.160 --> 00:24:04.359
our music, you know, like
I mean they're using it to benefit so

339
00:24:04.839 --> 00:24:08.640
I think everybody should benefit. Like
you know, if I'm going to benefit,

340
00:24:08.960 --> 00:24:12.720
you as the artist should benefit too. And I hate to say it,

341
00:24:12.839 --> 00:24:19.640
Laws was right in the bottom line
to our conversation was I, you

342
00:24:19.720 --> 00:24:23.240
know, I feel like I have
a world class production on my on that

343
00:24:23.519 --> 00:24:29.759
Agros record behind you. Certainly the
music videos are world class, you know,

344
00:24:29.920 --> 00:24:34.480
I because I feel like that's my
job as a musician to take my

345
00:24:34.680 --> 00:24:41.200
music to its final stages where it
will live forever as best it possibly can.

346
00:24:41.599 --> 00:24:44.400
And I do that for myself.
Yeah, you know, I don't

347
00:24:44.599 --> 00:24:48.000
do it for all the ears that
might be on it on the streaming service.

348
00:24:48.039 --> 00:24:49.759
I don't care about a million streams
that are going to make you know,

349
00:24:51.359 --> 00:24:55.559
Spotify a billion dollars. I care
about the people who actually like my

350
00:24:55.720 --> 00:25:00.559
music, the fetishists who listen and
you know, seek out and and want

351
00:25:00.599 --> 00:25:02.880
to listen to it. So I
make it the best I can for myself

352
00:25:02.960 --> 00:25:06.519
first and then for them. And
I'm not interested in the casual listener.

353
00:25:06.839 --> 00:25:11.240
I'm only listening. I'm only concerned
with the fetishes, the fanatic and one

354
00:25:11.319 --> 00:25:18.279
of us. And that's again that's
og because like that's how it was.

355
00:25:18.400 --> 00:25:22.279
And looking at this video skateboard fight, like, it's the type of video

356
00:25:23.160 --> 00:25:27.000
that you can't just put the video
on and go about what you're doing.

357
00:25:27.480 --> 00:25:30.880
I think you really got to sit
there and just watch it because the creativity

358
00:25:32.000 --> 00:25:34.079
that you put into it. Plus
I want that skateboard by the way,

359
00:25:34.119 --> 00:25:40.920
because that was badass with the wheels
lighting up and then and then the kicktail

360
00:25:41.039 --> 00:25:45.039
lighting up and stuff and sparking.
I need that, you know. I

361
00:25:45.119 --> 00:25:48.000
had to. I had to make
skateboarding more cinematic than just you know,

362
00:25:48.200 --> 00:25:51.480
I had to make it kind of
like that dream thing I said, you

363
00:25:51.519 --> 00:25:55.279
know, of my memories, right, the same thing with the guitar duel.

364
00:25:55.480 --> 00:25:59.559
You know, it's amazing how so
much of this developed as I was

365
00:25:59.640 --> 00:26:04.920
going because I had recorded the song
completely without thought of there being a guitar

366
00:26:06.039 --> 00:26:11.519
solo. I was almost ready to
release the album when I just started Chuck

367
00:26:11.680 --> 00:26:15.799
Lenihan from The Crumbsuckers, and how
you know, he's another one of those

368
00:26:15.880 --> 00:26:18.759
people that I knew, one of
these extraordinary people that I knew from my

369
00:26:18.839 --> 00:26:22.440
youth, and I realized, you
know, I could just call him up

370
00:26:23.480 --> 00:26:27.359
and see what he could what he
could do, And it was the very

371
00:26:27.480 --> 00:26:32.599
It was the first song I sent
him. And I sent him the song

372
00:26:33.000 --> 00:26:36.599
and I hadn't spoken to him in
like over a decade. Wow, And

373
00:26:36.720 --> 00:26:40.000
I just I sent him the song
and I wrote, try playing a solo

374
00:26:40.200 --> 00:26:42.559
at you know, two minutes,
you know, or one minute thirty seconds

375
00:26:44.440 --> 00:26:48.839
and play through that whole section.
And he sent me back some tracks the

376
00:26:48.920 --> 00:26:55.440
next day, and it was one
of those things where like he started playing,

377
00:26:55.880 --> 00:26:59.359
he was playing something very strong and
then laid back a little bit,

378
00:26:59.359 --> 00:27:00.880
and then he played some really strongly, he laid back a little bit,

379
00:27:02.279 --> 00:27:07.799
and so I was listening to it
and I am, I just don't really

380
00:27:07.920 --> 00:27:11.079
like this section. I don't like
this section. I don't like this section.

381
00:27:11.160 --> 00:27:14.319
I don't like this section. Uh. And I sent it back to

382
00:27:14.440 --> 00:27:18.359
Chuck. I was like filling these
blanks and uh. And he was like,

383
00:27:18.440 --> 00:27:22.720
Oh, I'm going to be on
tour for like two weeks, so

384
00:27:22.240 --> 00:27:23.920
give me it. Give me two
weeks to do it. I was like,

385
00:27:23.960 --> 00:27:26.880
all right. But I was in
the studio the next day and my

386
00:27:27.000 --> 00:27:30.640
engineer was like, he goes,
well, you know these gaps that are

387
00:27:30.680 --> 00:27:36.240
in here are they're very symmetrical,
like he plays, and there's a blank

388
00:27:36.279 --> 00:27:37.559
spot. Then he plays, there's
a blank spots. He plays there's a

389
00:27:37.559 --> 00:27:41.039
blank spot. He goes, why
don't you just fill in those blanks?

390
00:27:41.640 --> 00:27:42.119
And I was like, oh,
that would be cool, you know,

391
00:27:42.200 --> 00:27:47.599
like an old style Judas Priest,
Joe Perry, Steve, Steven Tyler,

392
00:27:47.680 --> 00:27:53.039
I mean, Joe Perry Brad Whitford
duel. And so I just laid in

393
00:27:53.119 --> 00:27:56.440
the tracks and then I sent them
to Chuck and I was like, okay,

394
00:27:56.519 --> 00:28:00.400
don't don't do anything. And and
I love the fact that we had

395
00:28:00.480 --> 00:28:03.799
that. And then of course immediately
I thought and I'd already started to shoot

396
00:28:03.839 --> 00:28:08.720
the video, you know, you
know, because that's the way I do.

397
00:28:08.839 --> 00:28:12.680
I just shoot little things. But
I abandoned everything that I shot,

398
00:28:14.240 --> 00:28:17.240
like I almost shot on entire video. I shot it on Halloween night one

399
00:28:17.319 --> 00:28:18.359
night. I thought it'd be crazy
to go out on Halloween night. I

400
00:28:18.400 --> 00:28:22.759
abandoned the nice started from scratch.
I was like, Okay, I'm gonna

401
00:28:22.759 --> 00:28:25.960
go out and shoot this guitar duel
with check In and see it go from

402
00:28:26.000 --> 00:28:27.759
there. But I love the fact
that the song developed that way. And

403
00:28:27.839 --> 00:28:32.119
then of course I when that solo
was so much fun and so cool,

404
00:28:32.160 --> 00:28:33.920
I buy a check to come and
play on most of the rest of the

405
00:28:34.000 --> 00:28:40.480
album. See that's so cool because
that's the creative process right there. Just

406
00:28:40.640 --> 00:28:44.720
like when you're really into the creative
process, it takes a life of its

407
00:28:44.839 --> 00:28:48.400
own. Instead of what I like
to call nowadays, some bands use like

408
00:28:48.480 --> 00:28:53.000
an algebraic equation to make their music, like there's no thought whatsoever. It's

409
00:28:53.079 --> 00:28:59.720
like they plug in a formula.
And you know, unfortunately to so many

410
00:28:59.799 --> 00:29:07.680
bands are still shackled by the record
record deal business of you know, getting

411
00:29:07.720 --> 00:29:11.599
it together, having them set up
the parameters how you record by giving you

412
00:29:11.759 --> 00:29:17.559
the exact just enough to be able
to make the record, you know,

413
00:29:17.720 --> 00:29:21.240
in a short amount of time.
So you have to go in there and

414
00:29:21.359 --> 00:29:27.160
just like bust it out, and
there's little or no time for whimsy or

415
00:29:27.960 --> 00:29:33.240
improvisation or creativity in the studio.
You have to be ready when you get

416
00:29:33.279 --> 00:29:36.680
in there, which I guess you
know, people are accustomed to, but

417
00:29:37.680 --> 00:29:40.440
it's not the way I do it
at all. You know, I took

418
00:29:40.519 --> 00:29:44.200
my time so much making this record. I changed it. I took tire

419
00:29:44.319 --> 00:29:47.640
songs, cut of in half,
put sections from other songs together. I

420
00:29:47.839 --> 00:29:56.079
just weaved it all together with whimsy
and just a lot of thought and it

421
00:29:56.200 --> 00:30:00.279
really is more of an art piece
than a record because it came together very

422
00:30:00.359 --> 00:30:04.400
much the way I would make a
music video or drawing or anything. And

423
00:30:04.519 --> 00:30:08.079
that's the way it should be.
I think, to me, music is

424
00:30:08.920 --> 00:30:12.799
all of the art, not like
you got an album back in the day

425
00:30:14.000 --> 00:30:18.039
and it was a complete experience.
It wasn't just the music. It was

426
00:30:18.119 --> 00:30:19.960
the album cover, it was the
artwork, it was the lyrics, it

427
00:30:21.599 --> 00:30:26.880
was everything involved. And see that's
what's cool about And I think, how

428
00:30:26.960 --> 00:30:33.759
do people first of all connect to
you guys on social and socials, but

429
00:30:33.960 --> 00:30:37.599
more importantly too, how do they, as they can see me right there,

430
00:30:37.119 --> 00:30:41.720
get the album? Now? How
do they do that? Well,

431
00:30:41.759 --> 00:30:47.559
if you're in the United States,
let me just quickly get this, which

432
00:30:47.640 --> 00:30:49.000
is, by the way, it's
funny you should say that because right now

433
00:30:49.079 --> 00:30:56.440
I'm in Costa Rica and there was
there's just skateboard park a block away from

434
00:30:56.519 --> 00:31:02.680
me. That's nice. Yeah.
But if the record that you have behind

435
00:31:02.759 --> 00:31:07.400
you, which is red transparent vinyl
and that awesome album covered by Andrew Montserrat,

436
00:31:08.119 --> 00:31:12.880
you can get that on www.
Dot Agros dot NYC. That's our

437
00:31:14.000 --> 00:31:18.960
store. We have CDs there and
you can also get a digital album on

438
00:31:18.079 --> 00:31:23.480
band camp. Band Camp is very
cool. But if you're in Europe,

439
00:31:23.519 --> 00:31:29.599
you can also get vinyl on our
band campage and there are three different vinyl

440
00:31:29.680 --> 00:31:36.640
variants in Europe. There's Ultra Clear, Orange Crush and Blood Red, and

441
00:31:36.960 --> 00:31:41.079
or you can go to Cortex.
There's quite a few places in Europe to

442
00:31:41.119 --> 00:31:48.119
get it Reality Records and but you
know, if you're in the United States,

443
00:31:48.200 --> 00:31:52.480
please get it from me by direct
from the artists Agros dot n y

444
00:31:52.640 --> 00:31:56.799
C. And those those socials that
you mentioned, I actually have them up

445
00:31:56.839 --> 00:32:05.519
on my screen. So Facebook,
uh slash Paris Mayhew or Paris dot Mayhew

446
00:32:06.400 --> 00:32:13.480
and at Facebook Agros Army a G
G R O S Army. Instagram is

447
00:32:13.559 --> 00:32:20.680
Paris Mayhew. Instagram is also the
underscore Agros. Yeah, nice and feel

448
00:32:20.720 --> 00:32:23.920
free to be friendly on there.
I'm always happy to ask answer questions about

449
00:32:25.400 --> 00:32:32.279
the Agros and my high school band
if if I'm in the mood speaking speaking

450
00:32:32.359 --> 00:32:37.720
of high school bands. Okay,
so going back to you know, weird

451
00:32:37.839 --> 00:32:44.880
things that happened. I was a
freshman in high school and this band played

452
00:32:45.079 --> 00:32:52.160
in the high school jammaseum like like
during the school day called Oingo boingo.

453
00:32:52.839 --> 00:32:59.119
Wow. How about that? Like, who would have ever thought Danny Elfman

454
00:32:59.160 --> 00:33:04.839
would become, oh my god,
the monster of all movie composers. Like

455
00:33:05.400 --> 00:33:07.759
that's right. All was doing is
sitting there jamming out to only a lad

456
00:33:10.240 --> 00:33:17.400
in my in my gym class.
So cool stuff. Great. You know

457
00:33:17.440 --> 00:33:21.279
you're talking about the album experience that
you know I keep I'm looking at the

458
00:33:21.319 --> 00:33:24.079
album behind you, you know,
and it's you know, I did everything

459
00:33:24.160 --> 00:33:28.720
I could to make that vinyl experience
the same way it was with me.

460
00:33:28.880 --> 00:33:31.519
Like I spoke to the many vinyl
manufacturers and I said, I want this

461
00:33:31.799 --> 00:33:38.839
record to be as nice and his
quality as any rush or prints or any

462
00:33:38.920 --> 00:33:42.640
big record that I ever had,
a shad day record. I want people

463
00:33:42.680 --> 00:33:44.680
to hold this in their hand,
and I want them to feel like it's

464
00:33:45.279 --> 00:33:49.400
the best quality they can possibly get. The inner sleeve is almost the same,

465
00:33:50.319 --> 00:33:53.759
you know, card stock is the
cover, and it's full color,

466
00:33:53.839 --> 00:33:58.119
and I got all colored vinyl,
and I got two great artists to do

467
00:33:58.200 --> 00:34:01.720
the front and the back cover,
and you know, full liner notes and

468
00:34:01.759 --> 00:34:06.480
the whole deal. And of course
I made the best album I could possibly

469
00:34:06.559 --> 00:34:09.119
make. I have a lot of
great musicians playing on it. And got

470
00:34:09.119 --> 00:34:13.840
a lot of great drummers, Roy
Mayorga from Stone Sour. It plays on

471
00:34:13.960 --> 00:34:17.039
one track, fear View Mirror.
That was a great day recording that song.

472
00:34:17.159 --> 00:34:21.239
And yeah, man, I worked
on that record harder than I have

473
00:34:21.480 --> 00:34:25.480
on anything in my life except maybe
the videos. When you watch the videos,

474
00:34:25.519 --> 00:34:30.800
they are a complete experience and they
are fun to watch, and you

475
00:34:30.880 --> 00:34:36.159
got to take into consideration I shot
ninety percent of these videos by myself.

476
00:34:36.760 --> 00:34:43.599
Wow, they're basically selfies. You
know, I work in television, and

477
00:34:43.679 --> 00:34:46.599
you know, I just know exactly
what I'm gonna get and what I'm gonna

478
00:34:46.639 --> 00:34:51.320
see, so I could set up
a camera and use my imagination of what's

479
00:34:51.400 --> 00:34:53.639
going to be in the frame.
So when you're seeing all this stuff on

480
00:34:53.719 --> 00:34:59.800
me skateboarding around and jumping around with
the guitar, you know a lot of

481
00:34:59.840 --> 00:35:07.039
time times there's nobody behind the camera. Wow, that's impressive because it looks

482
00:35:07.159 --> 00:35:10.239
like a high production video. For
anybody goes and sees it, you'll see

483
00:35:10.280 --> 00:35:16.760
it looks like a high production video
and that says a lot. But you're

484
00:35:16.760 --> 00:35:22.480
a badassed artist, so that's that's
what it is. Well, thank you,

485
00:35:22.719 --> 00:35:25.480
Dean, thank you very much.
You got it. And thank you

486
00:35:25.679 --> 00:35:30.239
for giving us such great music,
and thanks for being on the Adventures of

487
00:35:30.280 --> 00:35:34.039
Pipe Man. I appreciate it.
Dean, I appreciate you inviting me back.

488
00:35:34.079 --> 00:35:37.800
I appreciate you sharing your audience with
me, and I hope you all

489
00:35:37.199 --> 00:35:42.000
listen to the Agros and watch the
videos and enjoy it. What's up?

490
00:35:42.079 --> 00:35:45.639
This is Paris made you from the
Agros and you're listening to Pipemin and W

491
00:35:45.880 --> 00:36:00.639
four CY Radio. Thank you for
listening to the Adventures of Place on W

492
00:36:01.360 --> 00:36:10.159
four c u I Radio. MHM