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Colin and Paul host the podcast "Two Music Boneheads" discussing various music topics. They cover artists, genres beyond rock and roll, social impact of music, the music business, production, lyrics, live music, and personal music influences. They share their backgrounds in music and experiences in the music industry. The first episode includes a discussion on their first three impactful album purchases, with Colin mentioning "The Edgar Winter Group's They Only Come Out at Night" and Paul discussing Three Dog Night's "Golden Biscuits" cassette. They encourage feedback and aim to incorporate listener suggestions in future episodes. Hello and welcome to the inaugural episode of Two Music Boneheads. This is going to be a podcast about all things music. My name is Colin. And I'm Paul. And we're going to talk about, once again, all different aspects of music. So it'll be artists. We'll go into depth on certain artists. We're going to talk to genres. It isn't all just going to be rock and roll, although primarily will be rock and roll and its spin-offs. But we can talk other genres as well. And we are going to do that as well. And we'll talk about the social impact of music. And what we mean by that is how music affects us all personally, in society, in our own lives. We all have songs that just hit us in the heart or tell what we're looking to find or follow along with what we like to listen to. So we're also going to talk about the music business, that nasty music business that has messed up so many people but, on the other hand, helped a lot of people. And then we'll talk about production and the production of music and albums. Yeah, and production is interesting in and of itself as how the production of a certain song can really change that particular song. And all you have to do is just listen to cover versions because all the cover versions is always the same song but with always a different production. And we'll talk about lyrics and how those impact you, how they affect what you think. We'll talk about live music. And what we want to stress here is that these are our personal opinions. And although we may like or not like certain things, that doesn't mean anything about what you like. It's just our opinion. Everyone has their own opinions and feelings about music. That's right. And there is no such thing as bad music to us. Everybody just likes what they like. We each have those two flaps on the side of our head to where we take in our music. And whatever makes those two flaps happy is a good thing, whether it's for us or whether for anyone else. So the next thing we wanted to do was give a brief introduction of each of us, where we're from, and what influenced us initially in music and took us to where we are today. So, Paul, why don't you go first? Okay. Yeah, my name is Paul. Also, one thing we forgot to mention is that this show is based out of Reno. We live in Reno, Nevada. We've both been here way too long. And so, anyway, originally, though, originally I was born and raised in Ohio in the Cleveland area. As a kid and a teenager, I grew up listening to WMMS in Cleveland, which was a seminal FM rock station back in those days, classic rock almost before it was classic rock. It would be similar to those in the West Coast of growing up listening to KSAN in San Francisco, a format which was wide-open classic rock. And when I say wide-open, it means not a playlist of 600 to 900 songs. The whole studio was full of albums, and anything could be played at any time. So that really helped form my musical opinion. When I turned 23, I moved out to Reno because I owned, at that point in time, I was fortunate enough to buy a used record store that still is in existence in Reno. It's called Recycled Records. I've been there for 40 years. So in those 40 years, I came across everything, and I talked about everything, and I was very interactive with my customers. And so that is what sort of formed me to where I am now. I'm no longer there. I sold the business in 2019, but 40 years in the music business is a pretty good start. Nice. My name's Colin, and I live in Reno, Nevada, and I would like to actually live here even longer. I plan to live here a long time. So that's part of my plan. I grew up in Reno, which was a place back in the 60s and 70s that was like the black hole of music. There was nothing happening here. Groups didn't play here very often. It was hard to find stuff. It was hard to listen to things on the radio because there wasn't a lot going on. So I listened to KGLR, which was an FM station, and they did play album sides and things. That's what exposed me to albums. I listened to KCBM, which was an AM station, and that's where I originally started listening to music, which was all 45 and real pop-type things. So that was my exposure, but I had to learn mostly about music by reading magazines. So I bought Circus Magazine, New Music Express, other British magazines to learn what was out there as a possibility and then go buy things and listen to it and decide if I liked it or not, but I would read articles and decide based upon a review whether it was worth spending my money on or not. And I was Recycled Records' first customer. Colin is what I refer to as a Wells guy because the story used to be on Wells Avenue here in Reno. And I was only there for about three years, two to three years when I first started. And yeah, so I've known Colin for a long time. I've given Paul a lot of money over the years. Yeah, he did. He paid for a couple of my vacations all by himself. Yeah, you should be thanking him. I am thanking him. I thank all my customers. I couldn't do what I did if I didn't have customers. I was very fortunate in regards to that. I wouldn't have been your customer if you didn't have good stuff to buy. Yeah, we tried to always have stuff that was interesting, and that's just it. When you're working at a record store and people are coming in, the best way to approach your customers and build good relationships with them is find out what they're listening to and talk to them about it. And that's how I was able to learn an awful lot about a lot of different things. And some of them I accepted, and I liked and jumped in and joined and was very happy to do so. And other things I listened to and maybe not. But once again, it's just opinions. So anyway, that being said, we also want to mention that with this feedback, we are looking for feedback and comments and stuff. So if you like what we're saying, that's great. Tell us about it. If you don't like what we're saying, tell us about it too. We're not going to take much... We'll take constructive criticism, but if you just want to just troll us, then that's fine too. Yeah, we won't get our feelings hurt. But at the same time, after this show, we'll do a lot of other things. So we'll have a wide variety of aspects that we cover. And if you want to hear something specific or you have a certain group that you want us to cover or don't cover or what have you, let us know. We'll be happy to incorporate that into our discussion. Or at least consider it. At the very least consider it. Because if somebody wants to hear about... I'm not even going to say a band, but who knows. All right. So today we're going to talk about two different subjects. The first would be the first three albums that each of us purchased. Right. And I'm going to sort of clarify that a little bit. We'll say the first three albums that we purchased that had a lasting impression on us. One of my first albums was a Sherry Lewis record with Lamb Chop and stuff like that. So I'd really rather not have to talk about that. I'd rather keep that in the side. But we're going to talk about those first three. You've talked about it already now. I didn't get too deep into it. It was fairy tale. And also, Paul, you can't talk about the first albums you stole. You've got to pay for them. Oh, yeah, that's true. Well, all these ones I did, I didn't steal. Okay. Yet. No. And in fact, well, we'll get into other subjects at other times. So let's go. We'll take turns going through the first three albums that each of us, I would say, started settling in our musical taste. So Colin, go ahead with your first one. Yeah, so the first album I bought was the Edge of Your Winter Group. They only come out at night. And I got the album right here. And I just looked it out of my collection. Hadn't looked at it for a while. There it is. There it is. Big gatefold with big pictures of everybody in there. Rick Derringer just passed away last year. Yeah, very disappointing. But it's got a picture of Rick Derringer down at the bottom because he did provide support here. But it was Ronnie Montrose. Oh, it was Montrose. That's no slouch either. No. That's right. So great album. The reason I bought the album was I was into singles forever. And then Frankenstein came out. I heard it on the radio. So I got to buy the long version of that. The single just won't do. So I went out and splurged and bought the album. Then that hooked me on buying albums from that point on. That's all I bought were albums because all the other tracks on the albums kind of tied things together instead of just having one song by someone you played and then that was it. So, you know, I'd free ride. Other great songs on this album too, but that was what brought me into the fold for collecting basically. I'm trying to see some of the other songs. It's got Altamira hanging around. And the Frankenstein. How long is the Frankenstein on this? Well, I haven't looked in a while, but it's probably six and a half minutes. Oh, really? Oh, that would be great. That's my guess. That would be great. Oh, 445. That's it? Wow. That's probably two and a half to three. Yeah. You know, singles back in those days were certainly edited to just get more, you know, it was all about keeping it under three minutes forever. And then that got broken by a few different people. But it was pretty common through the 60s and 70s to have everything in around three minutes. So I bought that album in 1972 at Mirabelli's Records in Reno, which was the main place to buy records in Reno. Okay. All right. Well, my first record was actually a cassette, and it was Three Dog Night Golden Biscuits, which was an early greatest hits for Three Dog Night. I got turned on to Three Dog Night because when I was still in grade school, I was more of an AM radio guy. And the AM stations we had was Wixie 1260 in Cleveland, but there was this 100,000-watt giant in Detroit called CKLW. So I grew up in the 60s listening to Detroit, which was all Motown and everything, which gave me my appreciation for soul music, a lot of it. And Three Dog Night was all over the charts from about 1970 through 73, 72, 73, actually maybe even late 60s. So I just got that and just went crazy, and Three Dog Night was actually my first concert I ever went to. I went in the eighth grade with my sister. It was my first real love in music, the first thing I actually really collected, and we'll talk about collecting, too, obviously with my record store and things. I know all about collectors and collecting, and I am one myself. So that was my first one, and, you know, you just couldn't go wrong. Three Dog Night made a history of having hits that they never wrote. Three Dog Night didn't write any of their own hits. They would instead just pick and choose from really good artists and make it their own. Once again, we talk about production and how production can really change things. So Laura Nero wrote Eli's Coming, and it doesn't sound anything like Three Dog Night. Randy Newman wrote Mama Told Me Not to Come, and Paul Williams wrote Old Fashioned Love Song, and Hoyt Axton wrote Joy to the World and Never Been to Spain. So it was just a way for me, by liking Three Dog Night, it almost directed me towards other artists because of them taking those artists' songs and making them their own. So my second album I bought was like a couple weeks later. I bought the Doogie Brothers' Taloose Street, which I also have here. Another beautiful album. Oh, look at that one, Naked Girl. I looked at that a lot. Wow, I can imagine. This was a nice album because every song on it was really good, well produced. The music, Rockin' Down the Highway. Jesus is just all right. Holy mackerel. Yeah, really great album. Rockin' Down the Highway was a great song. That's what hooked me on Doogie Brothers then for a long time. Quite a few albums after that were really good as well. Right, I was a big Captain in Me fan. Yeah, Captain in Me. Tiny Girl was just what a great riff. I mean, out of that was probably my favorite one for a long time. But like with these albums, that album hadn't come out yet. So this is the most current album, and I bought this again at Mirabelli's. Okay. Mirabelli's was a local landmark record store. Pretty much most of the record stores in Reno all died right around 2000 when all the record stores were dying. With the exception of my store, Recycled Records. Sometimes you don't have to be any better, you just got to last. You got to find a way to last, and we made it through all that. You got to be flexible. That's right. My second album was pretty much a landmark album. David Bowie and The Rise and Fall of Ziggy Stardust and Spiders from Mars. I heard Suffragette City, and I just had to get it. And then once I got it, I mean, that album was just so good I couldn't not play it. I mean, just track after track. It's one of those few albums where there's really no filler, it seems. Every song is pretty notable and pretty solid. And to have a group together like that, put together with that, with that whole glam, Ziggy background in mind, yeah, set me off. And I still am a Bowie fan and liked him all the way through for the most part. I just think, at least speaking for the 70s, that Bowie could do no wrong. And for you to say that about any artist that they can go for a 10-year period at least where just one album after the other is good, good, good, good, good, is very, very rare. So, yeah. Yes, great album. I love that album. Yeah. Agreed. And number three for you. Number three for me is no surprise. It's Led Zeppelin IV. All right. And I went through my collection to pull this out. I have like a whole bunch of Led Zeppelin IVs in albums. You have all these gatefold records. That's right. Gatefold. Gatefolds are really cool. With the release, with the words, the stairway to heaven. You know, back in the day when we'd get gatefold records in it, recycled records, you'd open them up and sometimes they would, you'd spill seeds on your lap because so many people would use a gatefold record to sift the seeds out of their pot back in the day. That was your record. No, they weren't mine. Like, I got it out of more than a handful of records where you'd open up a record and the seed would roll down in front of you and stuff. But this was, boy, what a great album for Led Zeppelin. I mean, I would say if you were going to get any Led Zeppelin to start with, this would be the one to start with. Yeah. I mean, because it's just got, there's just hit after hit after hit. And once again, no bad feelings. And, yeah, and you know what was intriguing back then was the album came out in the record store and there was no name of the album, the band, anything on it. It was just the cover. So you had to know what you were looking for. They didn't have a sticker on it? No, they didn't have stickers. They didn't have a sticker on it. Usually they'll put a little sticker. And then later they had that black sticker that said so-so and stuff on it. But originally there wasn't anything on it. Yeah, in fact, it's just called Led Zeppelin. The reason it's only called Four is because the other ones were, yeah, and they were all just named Led Zeppelin. Yeah, and that's why they put that sleeve around Houses of the Holy because they didn't have anything written on that one either. So Atlantic had to put something on it to make people know. The sleeve on Houses? Wasn't the sleeve on Into the Outdoor? No, the thing that goes around it like a wrapper. It's a wraparound thing that's about three inches wide piece of paper. Oh, okay. I didn't know that. I didn't know that. But this one, yeah, I mean, you know, Fairway to Heaven, Black Dog, Rock and Roll, and even the other stuff, you know, Mr. Mountain Top and, yeah, When the Levee Breaks, Going to California. So, yeah, another really, really classic album. But back then it was all brand new, back in 72. Yeah, and we hadn't heard those songs for 5,000 different times. No, so after I got that album it's like there's no way I'm going to go buy a single ever again. The album is what makes sense to piece together what material a group is playing. Right. But what was still mysterious too is they didn't have a picture of the band in it or anything else. So you had to kind of wonder what does this band look like that I'm listening to? I don't know because unless you find a magazine with a picture in it, you don't know. You don't have the internet to go to, so you're guessing. That's pretty funny that they, yeah. That's interesting that they didn't put any kind of identifying thing. Is it on the spine? No. Nope, nothing on the spine either. You just got to know what your album is. It's a mystery record. That's right. Kind of like Smell the Glove, but on a pad. Solid glove. Yeah, but it's a more serious album. Yeah, a little bit more. My third album was The Twelve Dreams of Dr. Sardonicus by a group called Spirit. Spirit would probably be best known with this by a song, a 70s hit of theirs called I Got a Line on You. It was formed from J. Ferguson, who wrote the ones at Shakedown Cruise and what was the other one of his? I can't think of it. I can't think of it anyway. J. Ferguson, Randy California, who was named that by, turns out was named it by Jimi Hendrix called him Randy California. I forget who he was playing for. But either way, it's a psychedelic album that came out in, can I say 71, maybe 72? Really psychedelic. The hits on it were a song called Nature's Way and another one, a minor hit called Mr. Skin. And for whatever reason, this song has just resonated with me. I really, once again, it's a full album that I really, really like. I still, after all these years, would easily consider it in my top 10 and maybe even top five albums. So I was just fortunate that I found it early and just stuck with it. I used to just play the one side that had those two hits that I mentioned earlier. But then all of a sudden I flipped it over one day and it's like, oh my gosh, I'm missing all this other stuff on the other side. And it was really, really worthwhile. So those are what kind of set us, as you can tell by the way we're discussing them, albums that kind of set us on our way, that kind of set us on our musical journey, as we all take, as we all just go through and listen to things to determine what it is that we like and we don't like. So now that we've covered our first three albums we bought, now let's talk about the next subject, which is rhythm guitarists. We wanted to list our top five each, rhythm guitarists, and have a little discussion about why we believe there are great rhythm guitarists who maybe we didn't choose, but there's a lot of rhythm guitarists out there. I think one of the things that I would qualify this with is there's a lot of guitarists that also play some rhythm guitar, but they're lead guitarists. And so my thought is the criteria for rhythm guitarists is when you go to see a band live, they got a guitarist that plays leads on stage and a guitarist that plays rhythm guitar. And that's what makes them a rhythm guitarist. A lot of guys that are just the lead player in a band, they play a lot of rhythm guitar on the albums because you've got to record an album and lay down a bunch of tracks. So they have to play it all. But when they're on stage, they're just doing the leads and following through on things in between the leads. And you've got a rhythm guitarist there that's backing it up, holding the beat down, keeping with the drummer, and keeping that song moving forward. And in many cases, playing that riff. It's the riff, not necessarily the solos that people tend to remember in music. So yeah, I agree 100%. I think we don't want to get stuck with... There are a lot of... I mean, I could pull out a couple bands just immediately. Van Halen or Led Zeppelin or... The Who. The Who. All have just one guitarist. Those guys play both sides of things. I mean, if you talk about riffs, Jimmy Page playing Kashmir is a great riff, and a very popular riff. But he's also a lead player, so he wouldn't necessarily make this list. Okay. Colin, go ahead with your list. I'll go through. I'll start from my number five to my number one. So my number five is Derek St. Holmes, who played rhythm guitar and sang for Ted Nugent for, I think, the first five of his albums once he became a solo artist. Okay, so he wasn't part of Hasbro... He wasn't part of Amboy Dukes. No, no. And I don't know where he originated from before. No, that's fine. But he was a great rhythm guitar player and a really great singer. He helped that band come up with a lot of great tunes, writing and playing rhythm guitar. He went on to do some other things after Ted, but then he came back and he did a couple of separate albums later on in his career. One was another one on your list. Yeah, and I don't want to... We're not going to give that away yet. But at the same time, he was an all-around great rhythm guitar player and I think the fact that he was singing vocals on a lot of the famous songs helped. What was the last album that he did with them? Do you know? I think the last album... I think he played on Spirit of the Wild. Okay. In 2000, he played on one just called Ted Nugent. But he played on... He played on Ted Nugent. Ted Nugent's one that had a string the whole time. Free For All, Catscatch Fever, the double Gonzo Live album. Oh, okay. So that's right through the heart of some of the best of Ted's stuff. Yeah, that's right. Which is considered Ted's stuff, but that's a Derek Channel stuff too. Okay, cool. All right, my number five. I was going to go with number one back then, you know. I'm going to go with... I'm going to go with Dave Grohl from the Foo Fighters. And while a lot of people think he should be more considered a guitarist, the Foo Fighters, he's just pretty much a rhythm guitarist. And he's always had good guitarists to go along with him. I just like the Foo Fighters a lot. I think they're a good, solid band. They play good rock and roll. It's got good riffs. He's writing a lot. He's playing a lot. And it's part of the sound. He doesn't do any kind of solos. He's always had people that kind of handle that heavy lifting for him. And he's a good front man. For the most part, he's enjoyable to listen to and watch for me. So I'm going to say Dave Grohl for number five. I understand your pick. And I like Dave Grohl as a person. He helps the music industry. He's done a lot of stuff. The only part I don't like about Dave Grohl is the Foo Fighters. I'm just not a Foo Fighter fan, but he does so much good stuff for the music industry that I can't debate that piece. Once again, it's just opinions. Okay. So go ahead with your number four. So my number four is Dave Peverett from Fog Hat. And I love him as a rhythm guitarist and a singer. He was the front man of Fog Hat. He was the sound of Fog Hat. Okay. And they had a lot of great songs. Fog Hat, yeah. Tell us some of those. Some people when they hear Fog Hat, they're a little foggy. I don't know. Well, everyone's heard Slow Ride. Sure. There you go. Fool for the City. I Just Want to Make Love to You. Rock and Roll Outlaws. Yeah. Anything off Energized, Honey Hush. And so, like, the first five albums were classic albums that they did. And all the way through to Stone Blue. All those were great albums. That was a good song. That was a good song. My favorite was always I Just Want to Make Love to You, which was an old. Yeah, that was off their first album. That kind of introduced them to rock. But Dave came from Savoy Brown. And he was the rhythm guitarist in Savoy Brown. Oh, okay. I think they did five albums. And, you know, he came as a rhythm guitarist. Another big British blues. Blues band. British blues-based band. So he brought blues and then turned it into just, like, classic rock. Question. Going back just to your previous guys. Was Derek St. Holmes British? Almost sounds like it might be. I don't think so. With a name like Derek St. Holmes, I thought it might be British. I was just wondering. Okay. Don't know. But, you know, and just a little tidbit of information on Foghat. Yeah. They came up with the name Foghat because when a couple of the guys in the group were kids and they were playing games and someone came in the game and had a problem, they would say, oh, that's a Foghat. Really? And so they used that later. That's kind of a strange word when you think about it. Yeah. Yeah. Okay. Well, there you go. All right. Well, my number four is Bob Weir from the Grateful Dead. I am not a particularly big Grateful Dead fan. But you can't deny the history and the music that the dead made, and he just happened to be in a band with a younger and hotter guitar player with Jerry Garcia. So he went in his own direction, and when you consider how, I don't know, detailed, how, I don't want to use the word special, because it's sort of what the Grateful Dead put out there, he was a big part of all that. And I can't deny the fact that he was a good guitarist as well. Well, they were a big jam band. Big jam band. If you're jamming, you just hold it together. Hold it together while Jerry went playing around and all the other things. So, yeah, I have a lot to say. They're great players. They can support the other band members and do their job well. And make the whole thing sound better, right? Yeah. Because if you're doing your job well, then it makes it easier for everybody else to. All right, number three. Okay, my number three is Brad Whitford from Aerosmith, and that's an easy choice to make. Sure. He always held the sound together. I don't know that he ever played any leads. Joe Perry was the lead man, and Brad just held it together. And he gave you all those riffs. Once again, when you're thinking of a rhythm guitarist, you're thinking of the riff. So, Sweet Emotion or Walk This Way, that's the riff. That's not the lead guy doing it. That's your rhythm guy doing it. Yeah, and when you listen to Catch Your Wings album, all those songs on there have great chords in it that he just hangs back there and keeps it together. And he doesn't sing. He doesn't do anything else. He just plays the rhythm guitar. There you go. There you go. Okay, my number three guy is Chuck Berry. And this is going back a little bit to the 50s and stuff, but the reason we're talking about all these rock and roll guitarists and all these rhythm guitarists is because they all played chords, and Chuck Berry's the guy who's, for the most part, really popularized. He didn't invent those chords, per se, but he certainly popularized it in rock and roll. So, what I'm doing here is sort of giving a nod to the, one might say, the original innovator of rock chords, or at least the one who got the most notoriety for bringing them to the public. So, he would play solos every now and then. I actually got a chance to see him a couple times, and they were nothing to write home about. You didn't go to a Chuck Berry concert to see the virtuosity of Chuck Berry. The only thing I remember is mostly him doing a lot of those three-chord changes, you know, which, in fact, he had a little thing about him. When he would go on tour, he would just go by himself. He would go into each town and go to the musicians' union and say, I need a bass player, a keyboard player, and a drummer, and they would just get three guys locally to play with him. And the reason being is you wouldn't even have a musician's card and the Chuck Berry chords and stuff like that. It's not far from rocket science, but it caught. It was one of the most famous. It caught on in a big way. So, Chuck Berry is my number three. How about your number two? My number two is Rudolf Schenker from the Scorpions. Are you guys getting a feel for Colin and his British rock leanings, shall we say? Well, I get it. It's all good. It's my old-school rock leanings. Sure. All that old British-based, blues-based rock and roll was a big part of all that. Yeah. Well, Michael Schenker, you know, great guitar player, but his brother is the guy who held it together for the Scorpions since 71. He was the guy playing all the rhythm guitar all the way through. There were a couple of songs where he played a lead on an album because they would let him, because he wrote the song, so go ahead, like, coast to coast, something like that. Otherwise, when you go see the Scorpions, back in the day, it was Uli John Roth. He was the lead guitarist. When he left, then they got Matthias Jabs, and he was the lead guitarist, and Rudolf always just held the beat and kept it going. Had the riff. And you always knew with this flying V, he was standing back there keeping that chord going. There you go. All right. My number two is pretty simple, and I thought for a while about this, but Keith Richards. Keith Richards is primarily a rhythm guitarist, and, I mean, he should almost get it just for the riff from Satisfaction Alone. You know what I mean? But all those Stone songs, all over there, and Keith was, you know, he's obviously one of the big writers. Most of their stuff, like the McCartney-Lennon stuff, is all Jagger Richards, and so he was a really good writer. The Stones wouldn't be the Stones without him, but he was an elite player. They always had either Brian Jones or Mick Taylor or Ronnie Wood to handle that part of things, and Keith Richards and his five-string guitar are part of my list. Part of rock history. Yeah. Keith Richards will live forever. Yes, he will. So he'll be done doing these podcasts. He'll still be playing music. At the end of it all, after the nuclear holocaust, it'll be Cockroaches and Keith Richards. That's right. If he hasn't been killed by all that so far, I don't know whatever it was. But, you know, I said the same thing about Dick Clark, and that didn't turn out the way I hoped. But anyway, that's another story for another time. That's a good choice. So my number one, which, if I didn't pick this, I would be brain dead, which is Malcolm Young. And he's mine as well. It's my last pick as well. So we both kind of agree, and he would probably be both of our number ones. And it's probably everyone that's listening to this podcast also has the same number one, which is Angus Rose. No surprise. We all know why. We know how great he was. We've seen him play live. He's always in the back. Keeps back. Stays back. Plays all his riff. A little bit of backing vocals. He'll step to the front on the microphone when they sing some chorus, and then as soon as the chorus is done, he steps backwards and just stays back, playing his chords, and lets Angus do his thing. He's so great about what he did. He didn't try to take the limelight ever. No. And if you read any kind of biographies about the band, he was the leader. He was the guy in charge. The other guys all came and went or did their thing, but Malcolm was really, really solid, and his loss for ACDC won't be, I don't know, ever replaced. He would be irreplaceable. No, and everyone knows that. They moved on, but everyone knows who was there originally to get it all set. Just like everyone knows Bon Scott was there originally, and people can't live forever, so you've got to move on. But definitely the number one rhythm guitar player. For both of us, at least. For both of us. And since we're here, and we've got an extra minute or two, how about some other people? We had talked about Chrissie Hynde. We had talked about Joan Jett for a couple of ladies. Joan Jett, definitely. Nancy Wilson. Oh, yeah, Nancy Wilson. I'm a big glam guy, so Noddy Holder would be up there for me as well. Who's Noddy Holder with? Noddy Holder of Slade. He was the voice of Slade, but he always played a rhythm guitar. Once again, those British blues rockers. It's all good. We can talk about who, I think, are the best countries that make music, too. Oh, well, that's a show for another... Well, what's going to come in second to England? Maybe there's only one choice. Yeah, I don't know. That might upset someone, but the U.S. has come up with a lot of blues. So I can't say that. As well as Canada. You know, the interesting thing was, initially it was the United States, and then all the British guys heard it, and then they came along, and they sort of overtook it, and then the Americans kind of came back again. Yeah, it's work. But that's a story for another time. So there you go. There's our first episode. We got it out of the way. Hopefully you liked it. And if you didn't like it, let us know that, too. It's okay. We can take criticism. We hope you listen again, wherever you're catching this from. We're not really sure where that's going to be yet. And we will be doing more shows. Yeah. So... On a somewhat regular basis. Yeah. We haven't decided yet what the next show is, but you will find out. And from that point on, we'll let you know what future shows will be so you can be prepared. We might edit this show at the end and sort of add on a thing at the end to where we'll talk about our next subjects. Right. If it's something that holds interest for you, you'll make a point of listening to us. And thank you for listening to us. We really do appreciate it. We really am looking forward to getting going on this, and we hope it provides some entertainment for some people and something to listen to. Yeah. Go listen to some of the things we mentioned today, too. Everything we mentioned is definitely classic music. Yeah. Worth checking out. All right. Thanks again for listening, and have a good week, everyone. Yep. Bye.