Andy Frasco's World Saving Podcast - EP 226: Bob Moses

Episode Date: July 3, 2023

A very special weekly motivation from the Rock God Himself. Hallowed be thy axe, Shawnald. And when you're out there, surfin with the dolphins, watch for those slick, prehensile appendages y'all. On the Interview Hour we got electronic duo, Bob Moses! Straight outta Canada, these dudes are the real deal. Follow them at bobmosesmusic.com Watch this episode streaming now!! Psyched to partner up with our buddies at Volume.com! Check out their roster of upcoming live events and on-demand shows to enrich that sweet life of yours. Call, leave a message, and tell us how you really feel: [phone]  Check out our new single, You Do You streaming on Spotify and Apple Music now! And while you're at it, give a big middle finger to the bigots in your life Follow us on Instagram @worldsavingpodcast For more information on Andy Frasco, the band and/or the blog, go to: AndyFrasco.com Check out our good friends that help us unwind and sleep easy while on the road and at home: dialedingummies.com Produced by Andy Frasco, Joe Angelhow, & Chris Lorentz Audio mix by Chris Lorentz Featuring: Wrinkled Skin, Wrinkled Sheets

Mr. Frasco, what do you have to say to all those deep state conspiracy theorists out there who say Andy Frasco is that guy from LMFAO? LMFAO! Hey Andy, it's Megan. Sorry we didn't get to say goodbye before our big exit last night, but I wanted to thank you for everything you did to make our wedding as amazing as it was. And I know it meant so much to Tony that you came out for it. Also, I know the wedding got pretty wild, but some of the stories I'm hearing from the uncles, I'm starting to wonder if you actually went through with putting mushroom chocolates on the dessert table.

I thought you were joking about it before, but it would explain a lot. Also, what did you say to Grandma Gail? She can't stop talking about you, and she just asked me for your number. Anyway, I've got to get back, but yeah, I guess I'd just like to talk after we get back from the honeymoon. Andy, this is Megan's grandma. I just wanted to say how happy the night we spent together made me after Megan's wedding. I haven't felt like that in a long time.

The chocolates that you gave me made me feel so horny and sexual. I haven't felt that way since my husband died. I miss you already I can't wait to see you again the next time Hopefully you can come over and I can make you my world famous brisket Okay baby I miss you Alright and we're live. Andy Frasco's World's Saved Podcast.

I'm Andy Frasco. How's our heads? How's our minds? Are we staying out of trouble? My mind is great. I'm looking at the ocean right now. Gorgeous. We are in the Outer Banks, North Carolina.

We've been staying here for three or four days now. Sounds about right, yeah. And it's been staying here for three or four days now. Sounds about right. And it's been unbelievable. I've learned how to surf. I've gone to stand up. I've been riding NAR, shredding NAR. I walked down to the beach the other day. I look up. It was literally the Jewish

Kelly Slater. He was, I mean, as barreled as you can get with that type of hair, okay? The way he was trying, it was amazing. You're amazing. Thank you. Proud of you.

We got damn Skippy as my co-host. Once again, just slinging fucking merch. We are doing record numbers in merch. What can I say? My guy. I'm good at what I do. You know, when you make us money, I get happy. I'm here to make daddy happy.

Daddy is very, very happy right now Wow what a tour What a tour It's always the end of the tour Where I feel like I'm just going to fucking miss this shit out of you I always feel the same way Andy And that's why I just book another one with you Thank you

I'm coming back Are you coming back? Anytime I told him if I'm not on the road with Stranger, I'm on the road with you. God damn it. Let's go. Always. That's my show pony. Oh man. These Outer Banks people are

fucking insane. They're literally, I thought you drank hard. Yeah. These people drink hard. You said they were getting a little annoying at the merch table. What was going on? I've never gotten frustrated at the merch table. You'm a man of the people. You are. I like to talk to everybody. I like to see what they do. What's your name? What's your job? All that. These people, they are going so hard. One person just crowd surfed onto the merch table. I'm not even playing

and was holding two beers. They were double fisting. I've never seen crowd members just take it upon themselves to crowd surf. Did you see there was a chick last night? Normally, Andy's the one that's calling the shots here. They're just literally... But the thing is, they're all sweet as hell.

Did you ever get in a fight? Did you get in a fight with anybody? No. There was a couple people that needed to be removed from the area. But like, you know, it's all in good fun. I'm not going to get mad at someone for drinking. I tore with Andy Frasco. But it was wild.

I tore with Andy Frasco where binge drinking is allowed on tour. Speaking of that, happy day off. Happy day off. Cheers, everyone. We're drinking tequila today because we're on the beach. I mean, tequila feels like a beach drink, right? It really does, yeah. I think it kind of helps the sun.

You don't even get as burnt. You become one with the sand. Well, it's been a great tour. Cheers, brother. Damn, Skippy, you're the man. We have half a week left. We got shows every single day until Peach Fest. Every day. We're going for it.

You love to just jam pack them, don't you? No, it's an interesting philosophy. Yeah. Why go on tour for two months and have a bunch of days off? Yeah. Just go on tour for three weeks and have two days off. Yeah. Yeah, I think that's why I had a mental breakdown last week And Brian Schwartz had to fly to Charlotte to see if I'm okay

He was there for you He was there, it was so funny when that happened I was like, fuck, because I was being dramatic Because I was going through the pneumonia And I'm like, oh, I fucking hate, oh man, I'm burnt out, blah, blah, blah And Schwartz never gets really concerned about me. Right. Until he does.

Until he does. And he got really concerned. I was like talking about burning out and quitting and shit. He's like, whoa, I got to get my ass to Charlotte before shit goes down. Anything you do, Andy, though, you do it to the max. That's the thing. I do. That's the problem with me.

This is why, I don't know, maybe that's why I have addict traits. Right, right. That's why I have to control what I do. That's a problem with me. This is why, I don't know, maybe that's why I have addict traits. That's why I have to control what I do. I can't really do crazy choices. You're such a sweet person. You love us all to the max. Also, the doctor says you got walking pneumonia. That thing was

sprinting. That was the freaking I don't know, the flow Joe. And we still performed. And like I was beat up. I was tired, but you know, I wasn't contagious and we were playing and I got a shout out to my body one more time. Let's go.

Shout out to your body. We got it. We got all the boys here. Andy Avila, you want to come in here? Come on. I know. I know you're, I know. Get in here.

Give it up. Andy Avila is here. Get in here. Avila. Come right between come in here? Come on. I know you're... I know... Get in here. Give it up. Andy Avila is here. Get in here. Avila. Give him a mic. How are you doing? I just woke up. You just woke up.

Oh, you know. We got home really late last night. Yeah, we did. And I saw your ass. It was a man stew last night in the jacuzzi. Yeah, a little bit in the hot tub just to cool down. The whole band was in the hot tub. There's five dudes in a hot tub.

It was nice. Man stew. It makes you sleep better, I feel like, because you hit the hot tub, and after playing a big show like that, it's like you're going to cool down, chill out. 10 minutes, 20 minutes is all you need in the man's tube. Isn't the summer tour the best?

If the AC works in the van, summer tours are the best. Yeah, shout out to Volition. What the fuck? What's going on with our AC? It works now We had to figure it out though Don't hit us

Hit us with all this Like technical shit That we have to do To get the van working We're not that type of person Fuck no No But it's been good

You been having fun You been relaxing Hell Hell no No I've been relaxing I'm doing laundry right now You know Clean pants

You know you have to have clean pants You got the undies They clean That's the only thing Problem about summer tour We sweat through Too much Yeah yeah Right now, you know, clean pants are, you know, you have to have clean pants. You got to have clean pants. You got the undies? They clean? That's the only thing, probably, about summer tour. We sweat through fucking too much. Too much. Yeah, yeah. My sweat, my pants, like, reek after three shows.

And you wear all black, so it's just, like, white salt. Yeah, it's like fucking tie-dye. It's like fucking tie-dye. Without wanting to have tie-dye. You ready for Pete's Fest? You ready? Fuck yeah, I'm ready for Pete's Fest. It's going down.

I don't know about the main stage. It's our first time at the main stage. I know. People are talking shit. They want us on the pool deck, but fuck it. We got to grow. You can only crowd surf to the pool so many times. Yeah, that's why.

Thank you. Exactly. Exactly. Kill it, baby. Kill it. Go. Thank you, Andy Alva. Thank you for being on the show.

Andy Alva. Andy beats over here. We might as well get the whole crew here. Another guy, he's actually going to do the pitch for Dialed In Gummies because he reps Dialed In Gummies so hard. Jason. Jason, get over here. He guy, he's actually going to do the pitch for Dialed In Gummies because he reps Dialed In Gummies so hard. Jason. Jason, get over here. He's drinking coffee. Get over here, you homogenous, lovely man.

You homogenous, lovely man. Get over here. Laysen Dillon, our sound man, our show pony. He's been having to fix my keyboard and now he's fixing the coffee machine. He can't stop fixing things. He can't stop fixing things. Jason Burdette, how you doing buddy? Bring it in here Jay Getting greedy on the coffee machine

It wasn't ready yet, I'm like no I need it now Just woke up I've never seen a man sleep so much in my life This man sleeps Yeah, I'm like a damn koala bear How you doing? I need 22 hours of sleep a day Oh my god, how you feeling about the tour?

Sad that it's over, you ready to go home? Glad we're out of a fucking brewery. Yeah, brewery shows are not that tight. They can be. Some of them can be. Pisco was great. Pisco Brewery was great. I mean, the crew last night and the staff was great.

Just some of those spots are just not cool. Sometimes they don't think that, oh yeah, we're putting on a professional music show. At a place where we're making booze. Where you're making the booze, that's where you want the show to be. Yeah, that could be dangerous. The venue there was a little dicey, but the crowd was good. And the crew was good. Yeah.

Yeah, the crew was great. What's been going on with my keyboard? I don't know. We're going to find out today, actually. You're going to open it up and shit? No, I'm just going to take a listen to it today on headphones and make sure that it's actually working right. And maybe it's that party machine.

Thing's been riddled with problems lately. Yeah, what's going on? It might just need to be rewired. Who knows, man? Fuck. There's a lot going on with that fucking thing. You know, we got to do our Dialed in Gummies promo, and I feel like you're the man for the promo this week

because every time I come home, you're asking me for a fucking case of dialed in gummies. Dude, I go through them like crazy. That's part of the reason why I sleep so well. Why? Because of the gummies? Yeah. Why do you like them? Well, one, the flavor. The flavor's great and because

they're homogenous. Let's go. Big words. Big words here in the fucking podcast today. How about that? Wake it up and say homogenous. Let's go. So if you literally, you know, if you take half, you're getting half the dose. And I think it was sometime last year

I had them in my backpack, right? The container melted. Oh, fuck. But because they're homogenous I was able to weigh it divide that shit up evenly and still got my even 10 dose or 10 milligrams but they're great you weighed it I weighed it

like a drug dealer like a drug dealer like a fucking addict he's like I need my fix I know my exact fix I'm such a lightweight when it comes to weed that anything more than 10 yeah be knocked on my ass for days. I have panic attacks after 10 milligrams, so I smoke mids.

The roulette? Yeah. Ooh, double. The roulette was insane. The 50 milligrams versus everyone else had 10. One person had 50, and of course it was me who got the 50. Fuck that. Your face was so green.

You had a green jacket on and your face matched it perfectly. And that's the moment we knew you lost. I saw my body enter a different realm. And I was looking at my body, watching my body. It was so meta. I was like, fuck this. But if you're in the Denver area and you want to have a perfect dosage of marijuana

in a gummy, grab yourself some dialed-in gummies. It's the best. Jason, we love you. Try the syrup, too. The syrup's good. Oh, you love the syrup. Putting those in cocktails and shit, don't you? Yeah, yeah. Oh, yeah. It goes great in margarine. Anything citrusy.

What's it look like? Oh, I was going to let that one slide. It looks like **** it does. Alright, guys. Get out of here, Jason. Thanks for being on the show. Thank you, Jason. What a great plug for Dialed in Gummies. Let's get all the show ponies in here. Bo Balinski, get in here.

We've got a tour manager working hard. This man works harder than any guy I've ever met in my life. Bo Balinski, how we doing? How you guys doing? What's up? I gotta ask you something, Bo. You're gonna be sad when Skippy leaves, huh?

Sure am. Do you think Jason's jealous that you found another love interest? I don't think so. I think we've got a nice three-way relationship thing going. You guys all just like... You guys let me have my own room. I appreciate it. But do you guys all share a room together? Always. So do you guys split one...

One person has to split a bed with somebody? Jason and I always volunteer to sleep together. Does that make you... Oh, because you're snoring. I'm cool with that. You guys snore crazy. Do you guys ever wake each other up snoring? No. No? Fucking sick fucks. We go snore crazy. Do you guys ever wake each other up snoring? No.

Fucking sick fucks. We go butt to butt. We'll enter a room and I'll go, you want that side, right? I know what side he likes to sleep on and shit. Immediately, we know where we're at. We're back to back. Sometimes, we roll over and we're face to face. Wake up in the middle of the night like, oh, I startled you a little bit,

but look at that face. How could you be upset? This is the best crew on the planet. Oh, man. I think if anything, Jason should be a little more jealous because he's hopping off to her first. I know. Oh, yeah. You got two days. You're not doing Peace Fest. I forgot. Yeah, I know. You're always

on that outer. Don't you come here? Outer Banks? Oh, it's your anniversary. Common law, baby. When you're together with someone for 15 years, you don't even have to get married. You just start calling it an anniversary. So shout out to Common Law.

Let's fucking go. How you doing, Bo? You tired? Stressed out? You feeling good? Yeah, but I mean, we got a day off. I'm not... Nah. I feel like we're good, right? We're going to have a chill day. We're going gonna go to sushi Fuck yeah

Maybe hit the beach again Oh my god Everyone Get some more stew Yeah Get up here Get up here You wanna do the pitch for volume.com

Before we bring our mayor Our lord and savior Volume.com It's uh For artists I don't remember the volume one You edit the fucking podcast with me Every week

You don't know the fucking plug For volume.com They are Volume.com? They are... Volume.com! Head over there for all of your video needs. No, no, no, no, no, no, no, no. These guys pay us too much for this fucking shitty-ass promo. Volume.com.

If you're in a band, if you're an entertainer, get on there. Be a content creator. That's all you got to do. Volume.com slash creator. Live streams are the way of the future, people. Albums are cool. They come in... I mean cool I mean it's great you get the album no problem but people need content

and they need content now so you need to get out there and join volume.com and be one of the content creators and if you're not a content creator and you just want to listen to badass live concerts or our podcasts we're sweaty as hell

it's fucking humid as shit out here in North Carolina. Go to volume.com. All the podcasts are archived. And a bunch of shows are archived. You can watch Daniel Donato. You can watch Grateful Dead, I think. You can watch Phish, maybe. I'm just making up bands,

but they're probably on there. They're probably on there. So get yourself out there and listen to volume.com, or watch volume. So get yourself out there and listen to Volume.com or watch Volume.com shows. That was a plug. Way to go, Bo. That was a great plug. I'll pretend like you're

talking and I'll just do the talk. What a week. What a tour. It's been fun. I like it's been a lot and that's okay, but we're out here. So thank you for working hard. I know the van has been having trouble. My keyboard's been a lot and that's okay, but we're out here. So thank you for working hard. I know the van has been having trouble. My keyboard's been having trouble,

but we're fucking killing it. Jason, the nerds downstairs. So we can start working on that next. All right. All right. All right, Bo,

get out there, go get some work done so we can go eat some sushi. Last but not least, our show pony is eating. He's eating cereal, looking out the window, just pondering life through

a hangover. Sean Echols, get over here, buddy. Come on. Come on, bud. My show pony. Get over here. There he is. The man who's just out here day by day, working his ass off, getting the things he needs to get done.

Rock God. Rock God. Everyone, I mean, everyone says it. You are the Rock God. Do you feel it? Yes. I mean, it's been great, man. How are you doing?

Good. See, I'm tired. Are you tired? Yeah, but we got the day off. We can recharge right now. It's going to be great. We're going to Virginia Beach. Oh, yeah. You're home.

My rock and roll journey. My first band, Menace. Played at Lynn Haven Junior High School talent show. 1993-2. Something like that. I don't know. Yeah, man. Then my other metal band, Malicious Encounter.

Cox High School. We're going back to the stomping grounds of metal. I'm excited. We played there once and it stomping grounds of metal. I'm excited. We played there once and it was a really small place or something like that. I'm stoked to go. I got my brother's old bass player, Pat, who's a lawyer now, coming out. I'm trying to resurface all my old buddies

from high school and stuff. It's been like 20-some years. Amazing. I'm going in. What's it like going back to a town where you were a fucking... You're an army brat or a navy brat, you've been your army brat or a Navy brat that you've been in all these towns like only for two years, but like Virginia Beach feels like Springfield to you because you've been there, you were there for a long time.

I was there from, and thanks, thank you for this microphone. In the 80s, I was alive. And first through fifth grade, went to Trentwood Elementary School. Holy shit. My parents bought a house and we moved around a bunch. We came back in eighth grade. I was the new kid in eighth grade. It to Trentwood Elementary School. Holy shit. My parents bought a house and we moved around a bunch and we came back in eighth grade. I was the new kid in eighth grade. It was awesome. It sucked. But that's why I got all

A's. Well, whatever makes you who you are. Cuts you out, right? Carves you out. But yeah, so I was there more there than most places in my life. Maybe that's why you have trust issues. Why? Because you always had to go to a different school to find new friends.

I don't know if it's trust issues, but it's like, you know what I'm saying? Like angst. You have this angst. That's why you play guitar so good. That was the one constant in my life was guitar. I got moved around every time. I didn't have friends longer than two years a lot

until I met these motherfuckers. That's why it's fucked up. It's cool to see the world when you're a kid, but as a kid getting pulled to all these different jobs that your parents are doing, it's got to be fucked up. Yeah, it's tough. I didn't have friends.

My buddies were like Dolabs, your homies, your whole life. I had my brother and my parents. It's different. Yeah, it's different. Well, you got us, Sean. You're never fucking leaving my parents, but you know, it's like until I was in band. Yeah, it's different. Well, you got us, Sean, and you're never fucking leaving my sight. Let's go, motherfuckers. Yes. Hear that

Luke from the special? He's in our band. Shred a week, Lukey. Shred a week, Lukey. All right, Sean, thanks for being on the show. Go eat some cereal. Go drink some water. We're out here in these streets. And I just want to say also, when it comes to Sean, if you see Sean,

make sure you have him break down his theory on tubes at some point, okay? Oh, yeah. What is it? Everything. Well, Sean, do you want to come back over for one second? Because this is pretty serious. What does this mean? Everything in life. Tubes are alive? Interconnected series of tubes. Cars are tubes. The vans are tubes.

Buses are tubes. Trains are tubes. Trains are tubes. Planes are tubes. What's the blood in your system running through right now? Veins, which are tubes. Thank you. Just keep going. What are you hearing through right now? What's that? My ears? Your ears. Yeah. The canals? The canals. They're ear tubes.

Series of tubes. Positives. We could keep going. Last night, we were in the hot tube. I mean, the hot tub. Look we were in the hot tube I mean the hot tub but look Skippy's really enjoying my theories it's just life's just a series of tubes people navigate them

navigate them properly holy shit that is the weekly that is the weekly motivation I don't need to say nothing that is the weekly motivation come on

you want it's a complex series of tubes ladies and gentlemen give us the weekly motivation here's the weekly motivation I said this to Bobulinski and he reminded me Excuse me So, you know, life is just kind of like that tunnel

You're heading right for it There's a light at the end of the tunnel That light at the end of the tunnel is either a way out Or it's a train coming right at you Good luck, everybody Oh my god What the fuck? I've never seen this man give me

What? He's on one Truth bombs Truth bombs. Truth bombs out here. Sean Eccles. God damn. See, everyone... This whole band surprised me.

Every single goddamn day. This is what the beach does to us. I know. We're recharged. We're feeling good. We're ready for the week. We're going to have a great week. We got Bob Moses on the show this week.

You know Bob Moses? I do now. Dude, badass. These guys are fucking badass, and they're blowing up. What? Oh, my God. That's our other show pony. Ladies and gentlemen, Floyd Kellogg finally wakes up.

It's 4 p.m. Come on. Get over here. 4 p.m. Unbelievable. Get over here. We don't have time, Floyd, for you to just fucking take your time over here. Grab a piece of bacon.

Come on. Floyd, seriously, it's been 20 minutes. My biological father. He finally came up here. Floyd, I saw Floyd. Get over here. In the middle, right here. Drink some of that Bloody Mary.

Come on. I saw Floyd yesterday surfing with dolphins. I saw it. I saw it. Did you see that? How was that experience for you Floyd I got some dolphin come on me

hell yeah so what was it like were you feeling euphoric out there just I know you love the ride that Shred the Gnar I thought I was

in danger for a minute why you got scared for a second I was like what do you do in urban water with dolphins did you think it was a shark I was like, what do you do in urban water with dolphins?

I was like, wait a minute. People do this all the time. They pet them and have fetish shit with them. Because you know what else happens. They have prehensile dicks. There's an elbow in it. It can grab you. They'll take you down in a rape cave. Interesting.

You know some weird shit, man. Skippy, what have you been up to lately? I'm terrified of Dobbins. Are you okay? Okay, good. All right. Thanks, Floyd. Thanks for your rendezvous.

Thank you, Floyd. Wow. He left it all on the stage. He left it all on the stage. You're hearing his voice. It sounds like Kermit the Frog. Times are tough out here. I've been surfing all day, and I rock a show,

but my life is so hard. I've got to talk like this. It's not easy being Floyd. No. But we got Bob Moses. These guys are badass Canadians. They're in the EDM world or dance music world, but great musicians,

great songwriters. Their story is amazing. Hey, Chris, play some Bob Mose while I pimp them out a little bit before we start the interview. I love these guys. It's my first time meeting them. It's a very inspiring story. They knew each other in high school, and then they moved to New York. One of the guys got really big in music early in his life. And then the other guy was working on music. Then they go to New York and they meet again. And they joined a band because they weren't friends in high school.

And then they became musical partners and started blowing up. Now they're fucking huge. It's fucking awesome. So you're going to love this interview. Guys, thank you for everything. This has been a great week. Shout out to Volume. Shout out to Dialed and Gummies.

Next week, when this podcast airs, the weekend, we are playing in Rochester, New York. We're coming. And with Ripe. That'll be fun. Ripe and I will be a fun show. And then Buffalo, we're back reunited with the Little Stranger Boys. Let's go. Cobblestone. Cobblestone live, baby. We're back reunited with the Little Stranger Boys. Let's go. Cobblestone Live, baby.

We're going back to the motherland where Bo first entered a chick. And we're back. We're going to see all his little girlfriends are going to show up and say, Hi, Bo. I always see him out there.

It's going to be fun. So guys, stay happy. Stay positive. Skippy, it's been a pleasure. Always a pleasure in my life working with you, bro. Likewise. Love you, bud. Anytime you want, you got a seat in our van. Let's go. I know Little Strangers first, so you're number one, but we are your side bitches.

You are. They're my bottom bitch. They're your bottom bitch. I'll get the residue from whatever happens afterwards. There's no sloppy seconds in that van. No, there is. All right, guys. Love you. Peace.

No need to be looking over your shoulder When you can just come over And we can work this out just fine Tom and Jimmy, how we doing, guys? We're good, how are you, man? I'm doing good, I'm doing good. A lot of questions. Have you ever had a dry spell in your creative process where maybe you're burnt out,

maybe you're just doing too much and you're trying to write new tunes and it just wasn't coming out, maybe because of low dopamine, maybe because you're overworked? You ever had any dry spells in the band? We get stuck, but I think we've always had a pretty constant knock on wood output of maybe that'll last for a minute. We've been stuck on songs and maybe sometimes we've spent like when we were younger like you get attached to stuff a bit like more like you're like now we're older and we kind of know okay like skip that one start

another one or like work on something else you know we're not as attached i think as we used to be to the whole thing and you realize sometimes you have to write for the wastebasket um but you know luckily there hasn't been like a month or something where it's like oh i have no idea what to do or what to write or what to say so i mean i mean i think the worst that we've been falling prey to is that like you know maybe all our ideas are shit but there's still ideas yeah you know yeah you gotta throw rather have shitty ideas and no ideas. Yeah. I'd rather have like 10 shitty ideas and then just keep coming.

Then no ideas. Like Jimmy just said. So, I mean, I mean all these great people like Quincy Jones and Pharrell and all these guys have always said like work, go in and do the work. Like the work is different from inspiration.

Like inspiration is going to ebb and flow you're going to get ideas the ideas aren't really yours but your job is to go in and do the actual work like quincy jones always said like learn the learn the method like learn theory and learn how the instruments work and learn how to produce and learn like the actual mechanics of it because the inspiration is going to come and go and that's kind of like separate and pharrell says like just go in and do the work every day because like you know it's gonna come and go and also like um i saw a quote by daniel art arsham or however you say his name that visual artist recently that said like most great things are either made by accident or by like by mistake or just you know you didn't

or you stumbled upon them and it's just about like going in and making stuff every day like trying to try to leave the judgment to later yeah and i think we try we try to employ that it's hard to leave the judgment to later but what do you think is the uh your favorite accident from your musical catalog i mean they're all sort of like little happy accidents you know you just stumble into the ideas but you know i think anytime any like really i mean you know, I think any time, any like really. I mean, you know, now we've gotten like kind of a wide array of songs that, you know, we're really grateful to have a catalog that people kind of want to come see. So I'd say any of those, you know.

Yeah. Yeah. They all feel like accidents. It all feels like an accident. Yeah. Do you ever feel like, you know, it's like I i'm really into um studying athletes and how they just every day just grind it out grind it out free throws jump shots preparing for that time where you know their their magic moment how do you how do you approach that on the road do you guys ideas on the road but like there's there's the like

there's the having an idea part and then there's the like actually going in and fleshing it out part and like when you're at home you go in to the studio even when you don't have an idea and you and you start just trying to make something and and when you're on the road typically you get an idea and you say oh okay i'll work on that later or like you record it in your phone or like you know you you do like the bare bones to memorize it and then you you like file it in to work on later so we don't typically have like there's been a couple times where where we've been on the road and had a few days off

and booked a studio session and done something. Enough to Believe came out that way and Desire came out that way. But that's rare because usually we're so busy when we're on the road. Right.

Especially with you guys having a kid. Jimmy's having a kid. What about you, Tom? You got a girlfriend, wife, anything? Or you just... I got a wife, I got a kid, and I got another kid coming soon. Oh, let's go, boys.

Damn, delegation. Let's fucking go. This fucking life won't throttle enough, you know? Yeah. Who taught you work ethic? Was it your parents or was it like a teacher? Who taught you to stay focused on the music and not let the party get to your head?

I think that's probably like a natural thing. Just like Tom and I, this is interesting because we both grew up in the same city. We went to the same high school. Didn't you guys go to the same middle school too? There's no middle school in Canadaada there's just uh it's not in vancouver yeah but like yeah we went to we finished i guess what would be middle school together right like grade six and seven of elementary and then we went over to high school together and the thing is is that we were at this school where like a lot of kids it was like a sort of like a

prep school for going to like ivy leagues and stuff and like tom and i always wanted to do music but we were surrounded by this culture of like you know you have to go become a doctor a lawyer go do something crazy and we both wanted to do music and also in vancouver it felt like a difficult goal to have you know like in america it's like if you're in la in new york or even if you just have an american passport you can get to a city sorry american citizen you can get to a city where there's a vibe but like canada you know we're so grateful to be there but to quote robin williams it does feel like a loft apartment over a really great party you know like great gatsby star at least growing up it did you know like you know like it's like oh a lot of our favorite bands are

in like all the big labels are there and it just feels like there's a musical history and things to them like there's a the culture of america is so important in the world you know yeah and we grew up so close to it and so you really feel it you know and i think that the the ambition to be a successful musician coupled with being in this environment that was like you need to work your ass off even to get what's called like a like a you know a normal job and so I think it kind of sinked into our mind like damn we're gonna have to work like 10 times harder than all these kids that want to be doctors lawyers whatever because not only are we in Canada to make it harder but like we're in vancouver we're disconnected we're at this school no one gives a

shit and it just set off this work environment or this work ethic of like you gotta hustle you know right and i've just felt that since i was a teenager and i know tom felt the same way so i think it's environment i think it's where we grew up i think it's where we grew up. I think it's a lot of factors, but those all played a part for sure. Yeah, it seems like it's harder to break a band from Canada into America for some reason. I mean,

we moved to the States for that reason, because we started the band in New York. I mean, I moved to the States because I thought, oh, if I'm on the East Coast, I can drive out anywhere. I can drive four hours in any direction and hit more people

than I can driving across Canada and back. Right. So, I'm sorry. What about the grants? Don't Canadians give grants to musicians to help them keep their dreams going? They do. Did you guys take the grants? Don't Canadians give grants to musicians to help them keep their dreams going?

They do. Did you guys take any grants? We never got any grants, I don't think. Canada has a really good support in the arts program. I think our fear was that we grew up listening to a heavy dose of alternative Canadian

radio, which is awesome. Vancouver alternative radio in the late 90s, early 2000s, to a heavy dose of like alternative canadian radio which is awesome like vancouver alternative radio in the late 90s early 2000s you know we had like all the big american bands but also canada has a lot of really awesome acts and unfortunately some of them only stay big in canada and i think our fear was to put all this time effort and energy in something that felt contained because of where it was made geographically. That felt sort of like... And there's so many talented Canadian bands that

they'll get big, they'll start playing arenas in Canada, go down and have to play 600-person clubs in the States, and then they're like, we don't want to start from square one again. Right. And we thought, you know what? If we can make it in America, there's probably a pretty good chance when we go back to Canada, people will hopefully accept it as well. And thankfully, you know what, if we can make it in America, there's probably a pretty good chance when we go back to Canada, people will hopefully accept it as well.

And thankfully, you know, we tour great in Canada. We don't do as many of the small little places that, you know, I think a typical band that's quite big in Canada would do. But we're fortunate to be able to go back to the major cities, have great shows. And I'm so happy we made the move that we did and and and you know had the band in brooklyn and all that and rather than the other way around well also i don't think bob mose would exist if it wasn't like and it's what it is like we were made because of brooklyn you know right like bob moses exists the way it does like Like when Jimmy and I started working together, I mean,

we, we knew we wanted to make cool, super cool sounding electronic music, but we wanted to write like the best songs we possibly could. And we didn't know exactly what that was going to be like, whether that was going to be like more like a justice vibe or a broken bells vibe or like a, what were we going to do you know and so or like and then so it was because of the rave scene in brooklyn that we

were a part of that we kind of gravitated towards frank and tony and that sound of what the sort of sound that we found and started in and started experimenting with. And that was sort of like the birth of Bob Moses in the sense of sonically and the name and all that stuff. You know, and I think that I think that we might have been a different band. Well, first of all, we might not have ever met up if we hadn't been in New York. And well, first of all, we might not have ever met up if we hadn't been in New York. And secondarily, I think that we might have been a totally different band if we had been in some different scene in some different city. New York very much shaped our sound and what we became.

Yeah. I want to talk about those New York, that beginning years. Before I do that. I want to, I was curious, like, did you guys like each other in high school? Like, were you homies?

Like, did you guys think you guys were full of shit? Like what was the vibe? Why? Yeah. We weren't close in high school. Yeah. That's what I heard.

Funny. Cause we're best friends now, but like, we were just on different paths in high school and we were both the other guy doing music. You know, Tom was doing singer, songwriter, acoustic stuff. It was, that was awesome. And he had a buzz going and I was like playing in both the other guy doing music. Tom was doing singer songwriter acoustic stuff

that was awesome and he had a buzz going and I was playing in clubs playing trance music so at that time those two worlds couldn't have been further apart but we both sort of knew we were the other guy taking music seriously So there was like this respect of

like alright this guy's doing his own thing maybe it's not what I'm doing at the moment. Just amazing how that, how New York brought you guys together. Like, well, what was it in New York that you just felt like you're a Sympathia?

Cause Tom, you went to Berkeley, right? Yeah. I went to Berkeley for a year. Yeah. No one ever finishes Berkeley. Like what's,

give me your take on that. Like why, why? Yeah. No one ever finishes Berklee. Give me your take on that. I don't know. I think that I went to Berklee because I finished high school. I had started playing punk and rock bands. And then I had my first high school girlfriend and I got all sappy and I want to be i did the acoustic thing because i was like sick of sick of the politics of band and i wrote all the songs anyways and you know i mean yeah um and then that and then i put this little ep out and i kind of did well like jimmy said and i had a bit of a buzz going and then i had like a a development deal with this record company and i deferred. My family's all quite academic. Like my grandfather was a theoretical physicist

and my mom was a lawyer and my dad is an engineer and my stepmom's a doctor. Everybody's like very academic. So there was a lot of this pressure to go to school and get a degree and become educated. And I really wanted to do music. So I had, because I had like some real buzz going in Vancouver,

I was able to defer university for a year and then do like, do this sort of development deal, which ended up like a complete disaster, basically. Like I wanted, well, I mean, they wanted to make me into like,

they really liked my acoustic thing, but I sort of felt, felt like, well, this is just me like writing the songs and before I've produced them. And like, this is not, you know what I mean? Like, this is not what I want to do do and they really wanted to try and make me into like you know jeff buckley or something and i love jeff buckley but i didn't want to be

i didn't want to be just like a singer songwriter dude and um in the studio i tried i was trying to experiment with the studio and push stuff and make stuff sound cool but they just kind of wanted to make it more like let's make a radio hit you know and so we really just like went like this and we kind of didn't get on and it wasn't great it was a it was a very informative experiment experience but not not a creatively fulfilling or successful one and then so and then i kind of went to university because i didn't you know i didn't really know what else to do and i was a bit lost and um and i kind of was basically just flunking out of university because i was just doing music all the time playing clubs and stuff and then my mom suggested well why don't you go why don't you apply to berkeley because then you're like still

going to school but it's like music you know and so i did that and um i got a partial scholarship but even with the partial scholarship being from canada like the the university is just so expensive in the states that my parents couldn't really afford to send me to brooklyn even though i had some help you know yeah from the scholarship so and plus my dad was a was a professor at ubc so i could like basically go to school for free so yeah that it was like spend tons of money to go do a music degree or go to school at a great university for free and that was kind of like a hard sell not only to my parents but to me so anyways we all agreed that I would go for one year at least and then see what happened. And so I think I kind of went,

I was just always trying to like kick the can down the road in terms of like, I want to keep doing music. I want to keep trying. What's the next best step, you know? And so going to Berkeley seemed like the next best step. And I thought I'd figure out the rest later. And so I went and i had a great time

i learned a ton and you know part back to your question about like why you where you learned work ethic i think like part of my work ethic was just like being scared shitless about the future you know and being scared shitless like i know i want to do this music thing and i don't it seems impossible and everybody tells me it's impossible and so i just have to like basically work like all i have to do is focus on this until it either becomes reality or i've decided that i have to fail and go do something else you know yeah so that was especially evident at berkeley I was staying in this like, we rented me this super shitty apartment in Alston. And yeah, I know. And like with like mice and rats and all this shit.

And so we, you know, I just worked super hard. And then so and then I started playing gigs right away because I didn't want to just like be in the school. You know, I was trying to like, I always had this idea of like you have to like be playing and like getting in the scene you know yeah and so after a year at Berkeley I just realized like it's great here but finishing a music degree is not what I need to do to like get me further towards my goal of having a music career so I'm just gonna like try and figure out the next step and the next step for me was to move to either LA or New York and I had already been playing in New York quite a bit at like different little venues and stuff right and um I was able to like finagle some like student visa extension program to allow me to stay

on the stage or something like that and so i just like that was the next kick of the can you know down the road get me so get me to new york yeah yeah you know and you know what's wild about it's like that idea of getting a degree and having 160 000 in debt and then like oh yeah now you're a musician you know it's like what the fuck yeah like that's like the worst that's a horrible idea unless your folks unless that's nothing to your folks. Lots of kids at Berkeley, that's nothing to their folks. That's fine.

Not even the trust fund. Their parents are wealthy enough that they can send them and it's not that big a deal. That's cool. I think that's great if that's your thing. But that wasn't my situation. I think that the price of secondary education in America is ridiculous anyways, but it seems even more ridiculous. If you're studying pre-med or you're going to be an engineer

or you're learning how to code in San Francisco, or you're doing something that has a very obvious next step in practical application. Then I can, at least I can see like the rationale between behind doing it. But if you're literally just doing it to become a musician, yeah, it feels like not the best way.

Yeah. You can learn everything just off the internet and working hard. The thing, the thing that was great about Berkeley was like the, the people I met, the connections I made. And also like the, the extracurricular stuff,

like, you know, in the year that I was there, like Derek Sivers, who started CD baby came and gave a talk. John Mayer came and gave a talk. Paul Simon came and gave a talk. John Mayer came and gave a talk. Paul Simon came and gave a talk. Lindsey

Buckingham came and gave a talk. You know what I mean? Beyonce's manager and dad came and gave a talk. That was pretty nuts to be able to get and see all those people in a room of 100 people telling you advice. Yeah, and that's beautiful too. And it's like,

man, I just think beautiful too. And it's like, man, I just think about that. Like my parents and my family's all like education and scientists and stuff. There must have been a ton of pressure for you to succeed and show them that you could actually fucking do this, you know? Not go on the path of your family

with education and stuff. Were your parents supportive of the idea at first, or was it always like pulling teeth to get them to understand your vision? Oh, I was very lucky. My parents were super supportive. My mom and dad had different styles of showing their support. My dad's from Scotland, and he's very much like, I support you in music. My dad's a great musician himself, but he's very much like you know i support you in music

my dad's a great musician himself but he was always like you know you got to find your own way and and figure it out you know and my mom was a bit more like okay well let's talk how do you what she likes to you know she would sort of say like well what do you think is the best way to do that and what are you going to do she liked to like hear what i had to think about it and her you know that was her idea yeah so i mean but they were both yeah and my stepmom and stepdad i mean my stepdad introduced me to nirvana so he was super supportive and my stepmom was supportive as well so yeah everybody was pretty supportive in their own way um but there was still a i i don't know if it was partially i mean it's obviously my own take on it but there was still... I don't know if it was partially...

I mean, it's obviously my own take on it, but there was still, to my feeling, an undercurrent of like, okay, that's nice you want to be a musician, and give it a shot, and we support you. But we look forward to talking to you in a few years when you realize that the world is real and you need to get a real job.

Yeah, I'll clap to that. That's good parenting. That's good parenting right there. Shout out to the parents. My parents are great. My parents are great parents, you know? So, you know, and then speaking of that, then Jimmy, your success since you're 18,

tell me about Ultra Records and like, did you guys know about each other by 18 yet? Like, did you know that, you know, that Jimmy was starting to pop off, Tom? Or did you... This is like completely different. You guys, you were at Berklee. Jimmy, were you in New York? I was in New York.

Yeah. When I had made that... So I did that remix for Sia that got put on Ultra Records, which I remember... At 18? I did that when... Yeah, I was just finishing finishing i just had left vancouver and that was like the first song and they signed it and like they were going to give me like a record deal and all this and they just put out that big dead mouse album and i remember it was like very exciting you know yeah and but i also was kind of like i was in new york and there

was this whole like cool underground scene and i was like oh i don't know if i want to make this kind of stuff you know like you're when you're 18 i feel like at least me anyway i was very wishy-washy and very like apprehensive about the whole thing right i felt like you don't have an identity yet yeah that's what i felt with the record deal in vancouver like i a similar situation. Like you're 18, you don't have an identity and somebody is trying to tell you like, this went a little bit. Well,

do this. Yeah. This is going to, you know what I mean? And that, and as an 18 year old, you're a bit like, fuck off.

Yeah. I didn't feel like the thing is, is like Pete, I remember Pete Tong played it. And like, I went to the ultra Christmas party and they were like, this is one of the highest selling singles we've had all year. And like, they were like, you should just keep making more of this.

And I wasn't into it, you know? Right. Like, and, and like exactly what Tom said, it's like, you're conflicted because it's like, oh damn, I've been working really hard. Something's taking off. I don't want to be one of those self-sabotaging musicians you always hear about that does something great and then goes like, nah, fuck it. I'm going to go make some weird shit.

Yeah, no, I hear you. always hear about that does something great and then goes like nah fuck it i'm gonna go make some weird shit and like just push it and like so you're like i was really conflicted but in the mean but i had this feeling in my gut i was like i was also hanging around enough like talented and music and djs who had made it to kind of know, oh, there's this thing in the DJ world where you make a track, it's popular for a month, and then they're on to the next thing. And shelf life isn't really that big of a thing unless you get really lucky and have a huge hit that ends up being popular forever.

But I really loved songs. And a lot of DJ tracks at the time, what was big, they weren't really song-focused. They were tracks. And I was like, it'd weren't really song focused. They were tracks, you know? And I was like, it'd be really great to be able to mix this dance music culture with songs and do it in a way that had the, you know, longevity of a new order or something, a Depeche mode or a way to do that. And that was just in my head back then.

But I didn't really know how to make that happen, you know? Yeah. And I was like, you know yeah and i was like you know what this ultra records progressive thing this doesn't feel like it and i'm gonna go back to the drawing board and i started ghost producing for other acts my solution was i was like which is basically like for me going to like the university of how to make records right you know right and around right before tom and i started working together, I linked up with this guy, Philip Young, from a group called Mandy, who are famous for this hit Body Language and ran a record label. And, you know, they were real DJs running a record label, making money.

And also Philip was an incredibly good A&R and knew what worked on a dance floor. And so when I was working with him and Tom and I started working together, Philip was actually very instrumental and inspiring Tom and I in like almost being like a mentor figure. So we started when like I would work with him and like back then we had this arrangement where like when Tom and I were starting out, like he would pay for our flights to Europe. They would help pay for accommodations when we were touring. And he would be like, I would go work for them in the studio

a few days a week. And Tom and I would like, you know, tour in Europe. Like they would just help, you know? And he was very, very instrumental and almost being like an A&R figure and mentor, even though we never released music with him. What did he teach you?

Like what did he teach you about the world? Kind of like, he just, he was this really interesting mix of a guy who had great eclectic musical taste. Like he loved indie rock. He loved pop music. He used to work at Jive. And so he knew it was hard to find someone who understood the whole landscape of the things that Tom and I were interested in, you know, because you can find advice from people who are very like horse blinders.

So they only look at the house music scene and that's all they think of, or they only look at pop and major labels. And that's all they think of. Philip could dance. Philip had had great success, but also understood underground culture. And so we knew that if we had kind of written something that had a poppy, like Philip could, we kind of, there was a moment in time where Philip was like, oh, this is sick. We kind of knew it probably had covered the pop accessibility with enough underground thing to make it new and cool. And so he was sort of like a barometer as well as some other people at the time. But he was very sort of influential on us about like as someone,

as a soundboard to test stuff on, you know? And I think at the time when we were finding our identity, that was really, really, really useful. We had a few people that were sort of like mentors at the time. And I think, you know, I think we've said this a few times in interviews, like for any up and coming artists, finding someone, whether it's a friend or someone who wears a

label, wherever you find it, someone who has a musical opinion that you genuinely trust, that is so valuable. You know? I just think this is fucking... This is the one thing I love about life is how much you were looking for a guy like Tom

and how Tom was looking for a guy like Tom and how Tom was looking for a guy like you and you guys fucking grew up together without really knowing each other's vibes. I just think that's the beauty of, you know, if we open our eyes a little bit, we're always going to find what we're looking for

in a sense. Tell me, like you said about the Ultra thing, if you didn't realize, you could have just kept chasing the money. You could have kept chasing the paycheck and making these remixes that weren't with your soul.

Or you could say, nah, I hear you on that. I have dough now. I want to do my own thing. So you guys meet in Brooklyn, I guess right How did you guys What was that first interaction with each other

On like hey We went to school together Who reached out to who Tell me about that story of like your first meeting Like each others Like inspired by each others musically To write songs Well we ended up having a rehearsal space across

a lowes parking lot in the same neighborhood uh-huh and you used to have to walk across the parking lot to get to the subway right and so, we connected there and, um, it was kind of like, what are you doing here? You know, like we, we,

we had this, the rehearsal space, like we had like a, so fucking crazy studios, I guess, like really close to each other for like almost a year. We didn't even know. And then we ran into each other and we said,

what's up. And then we, you know, we went for dinner and uh because when you're a lonely canadian in new york that's what you didn't you see i'm canadian let's fucking have dinner yeah so you know we just linked up and um we linked up and uh and we had dinner and then we were kind of just like talking about what we'd

been up to since high school, you know, reminiscing and like filling each other in on, on the few years that had passed since we'd last seen each other. And, um, we decided, oh,

let's just, let's get into studio. Let's like, just mess around and see what happens, you know, then, and then we ended up having studio. Let's like, just mess around and see what happens, you know, then, and then we ended up having a studio session and like instant,

instant chemistry, like instant musical chemistry. Yeah. And it was really good. And, um, do you remember that first song? Yeah.

Oh, we wrote like six songs in three days. Well, six ideas, but we wrote this one thing called rolling fool which we were really excited about which has never seen the light of day why not and it's like okay but i remember that was the kind of thing so like we booked a studio session to work with each other for like i think a like a week right and then tom went back home for sort of christmas back to canada because he was thinking about moving back home and we had these like like we wrote a bunch of demos in that week you know like like i still

have the folder somewhere um and we were both really impressed with kind of we knew it was the beginning of like oh this could be really great if we like spent every day 16 hours a day and one day a week partying um working on this. And so he decided, I was like, come live with me. And Tom moved in and he moved in February 11th, 2011. And that was the moment that we

just started going at it full tilt, you know? Fucking awesome. And then, dude, this is a fucking amazing story, bro. Tom, you were going to go home? You were going to go home? We used to say,

yeah, we used to like, the neighborhood that we had our studio in, it was like a shitty fucking neighborhood. It was right next to a super fund and a big garbage heap where all the garbage trucks parked in Brooklyn. Yeah.

And like, it was like, you know, it took us like an hour to get there every day on the subway. It was like a bit of a slog, you know? And we, um,

we used to say like walking to and from the subway, man, if we ever make it, dude, like we've got like a great story, you know, like our, it's a good,

it's a good story. Like, you know, cause we used to think we always used to analyze like, what's the secret? What do you like? What, you know like our it's a good it's a good story like you know because we used to think we always used to analyze like what's the secret what do you like what you know you we'd always grown up reading all about like you know all our favorite bands and their stories and obviously you know when you tell a story in hindsight when you're going through the life of a story it just seems like every day like oh here's another day it seems a bit more monotonous but when you tell it backwards and you just talk about the highlights and you leave out

the fact that like you had to go you know to 7-eleven and get a diet coke or whatever it seems more exciting but yeah we always used to joke about like man if we ever make it like you know the there's quite a few serendipitous moments, so to speak, in our life that are in us meeting and then what's happened that kind of do make you... When we were feeling down in the dumps and sort of hopeless and sort of like, oh, God. What years was that? Sorry? What years were that when you're feeling down in the dumps and feeling hopeless?

2011, 2012, 2012 2013 the beginning you know because we we i moved into jimmy's in 2011 and then we worked for about eight months before we kind of thought like hmm okay well this this could be a vibe what we're doing here and then like bob moses kind of was born like maybe year in, and then it took like another year of kind of like working on a few ideas and putting out a couple of little things. And then like 2012, and then it was like 2013. But then we started getting,

you know, 2012 that, that year we started getting like a few gigs. Like we, somebody would fly us to Miami and like let us sleep on their floor and we play for like a hundred bucks. And yeah, somebody fly San Francisco and we play for like 100 bucks and yeah somebody fly to san francisco and we play for like 150 bucks and and and and and then 2013

was the first year that like the end of 2013 we got invited to play burning man at robot heart and we played it and then that was and then the set came that they recorded the set and they released it in the beginning of september and then october of that year was the first month that we had gigs every week we had two gigs a weekend every every weekend that month and we were we had gotten like two or three more gigs but we couldn't do them because we were already booked yeah and i remember being like oh my god like we're like this is real you know yeah i just turned down we just turned down like two good gigs for like for like at the time what we thought was like decent money you know i'm like we just turned them down because we're already booked this is insane oh my god you know like and then from then it's just been like, busy, busy,

busy. Let's fucking go, boys. I fucking love this story. I fucking love it, dude. This is tight. Okay, so do you got a little time? Can we talk for a little longer? Is that cool? Yeah, tell us. Okay, so now let's talk about Days Gone By, like 2014. So you guys are on a buzz.

When did you start making Days Gone By? So we signed with Domino in beginning of 2014, end of 2013, somewhere in there, because we had put out this around the time that Tom was talking about. So end of 2013,

we did Burning Man, and then we put out this thing in October called the Far From the Tree EP, which had this song All I Want and Far From the Tree, and it was like, oh oh there's a buzz like we played a release party and it was like sold out with like you know 300 additional people on the guest list kind of thing and it was like oh this is a thing happening and around that same time uh was when we were like the label that had we had started with scissor and thread who like was very instrumental in the beginning of our career we realized that oh we might be outgrowing this and might need to

get onto a bigger label you know does he have management are you guys were you guys running business by yourself our friend was managing us who yeah like serendipitously now owns the label we're on this fucking crazy story dude he doesn't own it but yeah sorry he's the but he like so toby andrews was the guy that uh managed us and he was working for a pr firm at the time and toby and us had been friends for a minute and he started managing us and he was the one that went out and actually astral works was one of the initial labels that wanted to sign us way back then and it was domino and i forget who else a couple others domino was the one because this is like i'm gonna try and make a long story short here but like domino had all these acts like fortet the kills arctic monkeys uh they had Caribou Junior Boys. They basically did rock and roll and dance music in a way that we thought was cool.

And we're like, we want to do rock and roll and dance music. And they're the only people that seem to get that. And so we met with Susan, the A&R from Domino, for lunch. And I remember she said, what do you guys need? Before, what do you guys like need before we were before like what do you guys need from us and tom and i were like just give us some money leave us alone and we'll go and like deliver a record basically you know i could love you guys okay like i think we can do that and we took that money and rented a studio spot in williamsburg we went from a hundred dollar a

month studio where the next door neighbor was a noise band that like we had to pick which times we were going to be there so we could record vocals without like getting through the mic yeah and we were able to afford like a twelve hundred dollar studio uh which at the time was a massive upgrade yeah you know yeah and that's where we started working on days gone by was this in in in williamsburg and it was just like we took some of the little demos that we had already started um we went to london for a bit to tour and worked at metropolis studios and wrote some songs there but over the course of the next year we were basically just locked away in that room like touring and making Days Gone By. Yeah so like

what did you not like in the Metropolis sessions that you couldn't find versus what you found in your Williamsburg sessions was it just felt more comfortable in Williamsburg than in London or what? I mean it was comfortable both places I think

like we the way that we've always made music is like it's very much like you know because it's the production and the writing process kind of blended together because it's of the nature the kind of music it is you know yeah um so we we were just like drum up ideas and metropolis in london we we came up with a bunch of ideas and i think um i forget what ideas started where but like they definitely um they definitely some of them definitely made it on the record i think um but we were just kind of like we were always touring right we were always and it was more like dj style touring so it was like we were always touring, right? We were always, and it was more like DJ style touring. So it was like, we were always, most weekends we would go away and do gigs, right?

So like we were over in London because we were touring in Europe and so we'd kind of like go tour on the weekends and then come back in the studio and then from like Monday to Thursday, be in the studio. And then like Friday, Saturday, Sunday, go do gigs and then come back Monday, be in the studio and then Friday, Saturday, Sunday go do gigs and then come back Monday, Thursday in the studio. Metropolis was just a while we were over in London

that was just our base. Then we came back to Williamsburg and kind of wrapped it all up. How long did it take? How long did the record take? Good question. Probably probably a year i mean it's hard because like it's like it doesn't really work like that it's just like you're always writing you're always coming up with ideas and then like when the time makes sense and when you have enough things start coalescing into like a release yeah so like we were like we we had put out the ep

we signed with domino and we were still writing and we were just writing and then so then the next thing was i think we signed the deal in march of 2014 and that metropolis time was that was in april or may of 2014 is what we were over there for the spring and then the album came out in september of 2015 which means you would have had to have handed it in six months before because they needed like six months time back then so it's pretty quick probably around a year yeah and the crazy thing is we started the writing sessions and ended the record both at metropolis and the funny thing is people if you google metropolis you're going to be like oh damn they worked at a baller studio partly true a friend

of toby's work there and they gave us like this glorified sort of it was next to like the janitor's room and where they fixed all the stuff there was like this tiny little room that we basically got almost for free right tom i don't know how much it costs i just remember it being like yeah it was like the small little tiny room in the back but it was great it was nice it had a little vocal booth like for us it was perfect you know i had nice speakers and it sounded okay and it was just like a little it was kind of like what we had it was nicer than what we had in williamsburg maybe about the same as what we had in Williamsburg you know like it was like a small maybe a 15 by 20 room or less 15 by 12

with some sound treatment on the walls and like some speakers and a desk and we put our laptops and we had some guitars and maybe an amp in there and we just and a keyboard and just have at her you know as you get more successful is there more pressure

writing better songs or less pressure? I think you know there's an audience. You know? Say that again? Which, you know that what you're making will have an audience, where when you're starting out, that's not a guarantee, you know? Right.

And so I think with that, there comes some sort of expectation, but I think you have to ignore that and make what you really just make what you want to make. And as you get more successful and as you realize no one really knows anything, including yourself, the more free you get with the idea of just make what you want to like because there's a good chance someone else will hopefully like it yeah as opposed to trying to guess what people will like uh which is a dangerous that's a dangerous game you know because you don't really know what people will like um well yeah if you're not making it for yourself and you're guessing oh i think we should make this because like other people might like it sure you might get lucky and get right with that but you also if that's the only reason you're making it and people don't like it then you're going to find yourself in this conundrum of oh i did something i only did

something for the reason of other people liking it and now i don't even like this and that's when like it becomes a bit of a disaster you know yeah it's like that dewey Cox syndrome We need more didgeridoos Or we need a goat Bare bones We're overthinking It's like the same thing with life We overthink life I think As we get older We think of what is happiness

We start thinking about what is happiness Instead of just being happy in the moment Like when you guys were just fucking broke Living by a trash can, you weren't worrying about fucking the $1,200 a month fucking apartment. You were worried about dude, we just got a cool studio. Even though it's by some trash cans, fuck it.

We overthink things way too much. That's why this is a real Canadian success story, guys. This is really exciting. You don't hear a lot of Canadian success stories in the music industry, you know? I mean, when you do, they

end up being like Drake or Justin Bieber or Shawn Mendes or something crazy, you know? From the streets of Brooklyn, our boys, Bob Moses, fucking shit up all around the country. I got two more questions, if you don't mind. Sure, do them.

This is great, guys. I'm so thankful. I have to talk about Jimmy's dad, who was a songwriter. Was your dad like Brian Adams' songwriting partner? Yeah, man. He was Brian Adams' songwriting partner, but he also wrote with Aerosmith and Ozzy Osbourne, a ton of people. Alice Cooper, Joan Jett like lots of stuff what did he teach you about songwriting that you remember so well the funny thing is is that like the best thing I can say about growing

up around in a musical household was that it made the dream seem achievable it's not like he sat me down and was like here's how you write songs he was actually pretty pretty like let him figure it out on his own you know which i think is a great way to be a parent you know because i grew up around it and it's kind of like you know in in canada obviously hockey's really popular and you see a lot of the times like kids or nephews or whatever of hockey players will end up becoming hockey players themselves because they see the hard work and what's required and the the lifestyle in order to to live the dream you know right that's what i got i got a first and see basically it like seeing what it takes and how hard you have to work and you know what sort of lifestyle you have to live in order to be a

songwriter you know um and i think that was the most inspiring thing and like my dad loves like here's the thing most people that you see that do this they just love doing it you know us the love of doing it makes it not feel like work because it's fucking hard work you know right but he just he's like he we would listen to music in the car constantly like my dad loves the beatles and like he would listen to the beatles and always say like man i have no idea how they did that and like the little kid in him would come out you know yeah and it really i learned that like making music really is sort of magic you know no one really knows how it's done you can learn these skills and from both my parents i kind of learned

that like one the dream is achievable two you have to work really fucking hard and three you gotta love it you know you gotta love it more than anything because that's like you have to do it not because anyone else cares but because you care yeah because wasn't your mom a canadian musician as well yeah she was in a band called cano she was a singer and songwriter right um and so i grew up in a very musical household you know and and the funny thing is is like they both didn't like dance music so that's what i was like this is my this is my thing. This is my vibe. Yeah.

It's hard to... I say this sometimes. This is a true story. It's hard to rebel against your parents when you play Slipknot and your dad's like, Oh, yeah, they're on this label that I worked with. Do you want to go meet him? Which I guess is like, I got to go meet Slipknot, but how fucking uncool. You know?

That's like not metal at all. You're going to metal. It uncool. That's not metal at all. You're going to metal. It's the most not metal thing at all of all time. Come on, son. Let's go over there and have a cup of coffee. That's literally what it's like. How un-fucking-metal is that? I'm going and buying these hard dance vinyls

and going to raves and my dad's like, this is fucking bullshit. I was like, score. I got him yeah jimmy one dad zero that's great man it's so dude this the story is beautiful in so many ways and i just love that you guys were grew up in the same town you moved moved to New York to have these different careers. And how much you guys needed each other without even knowing you needed each other was just the chef kiss on this. So guys, keep fucking shit up out there. Keep loving each other.

Enjoy being dads and shit. And keep writing beautiful music. And my last question is, when it's all said and done, what do you want Bob Moses to be remembered by? Good question. I think just like, I mean, the ultimate goal as a musician, I think, is like to have as much music out there as possible that did as much good for as many people as possible you know like i mean the music the music that we that i grew up listening to like music changed my life music gave me like a gave me hope it gave me helped me understand the world it became like my purpose was you know my purpose in life was all around music how do i how do i i was drawn to it it seems sort of like

god to me you know if there was a god you know it seemed like this thing that was like everything is right i don't know what's wrong going on in the world but everything is right when music is involved you know and so like it came like this sort of solace to me and if we can write some music that provides that or some part of that to as to some other people that would be kind of be like you know when it's all said and done like that's really what matters you know because like that's you know the the playing big shows and all the all the sort of egoic somewhat superficial things you know i mean shows aren't superficial because it's this beautiful connection with other people but i just mean like you know success and all that stuff is great but it's when it comes down to it i think at the end of the day

what what i'll remember if i'm like on my deathbed is like i'll be like oh i had some i i had some song like i'll remember the person who comes up and said like this song saved my life or changed my life or you know yeah and i think that's um our goal hopefully we can be remembered by our music you know yeah fuck yeah what about you jimmy what do you think buddy i think i read this thing yesterday by the writer Kurt Vonnegut, which really struck a chord with me and something that I always felt, but I wish more people heard, which is he, he says this thing. He's like everyone,

if there's anyone watching this that like is aspiring to be a musician, aspiring to do anything, just create, write a poem, paint a picture, try a piece of music, not to make something for adulation, but just to experience becoming, you know, to know more about yourself and to sort of

grow your soul. Because at the end of the day, that is what the most valuable part of it is, is finding out more about yourself, you know? And I think that we've done that in our music. And so if that can connect with people and inspire people to do what we've done, I think that's the legacy that I would love to leave behind. God fucking damn it. My boys, I don't even know you.

I just want to hug you. It's fucking awesome. It's fucking bad-ass guys. Thanks so much for being on the show. Oh shit. My producer wanted me to ask you greatest, all greatest Canadian rock band of all time ask you. Greatest Canadian rock band of all time.

What is the greatest Canadian rock band of all time? Oh, boy. I think the book would say Tragically Hip. Yeah. Well, what about... What would you say? I don't know. I mean, I'm going to say Tragically Hip because they're the most Canadian rock band of all time.

What does that mean? I don't know why I thought that was funny, but why are they the most Canadian rock band of all time? Because they're like they can't get arrested outside Canada, but they're fucking huge

in Canada. I just feel like they're fucking huge in canada and like they are i just feel like they're like the quintessential like if you're like this they're the quintessential canadian rock band you know like they're huge in canada they're loved in canada they're a very canadian thing their canadianness whatever makes them special and so huge in Canada is not understood outside of Canada. Yeah, I hear you. Evidenced by the fact that they're not really that big anywhere else except Canada. Yeah.

And I think that kind of makes them very uniquely Canadian and sort of special inside Canada. uniquely canadian and and sort of special inside canada i think that like you could say there's other bands that are like you know bigger and huge worldwide and maybe they're the greatest canadian export blah blah because they're the biggest but i think that like the canadian part of it is the yeah if i hear tragically hip i can like picture myself in the car in Vancouver driving home after school. And like, I can just, there's a Canadian thing in grain where like, if I hear Neil Young or Rush,

I'll be like, Oh, last time I heard that I was in LA. And you know, but Tragically Hip is like so Canadian. Well, shout out to Tragically Hip. That's awesome.

Boys. Thank you so much for being on the show. Keep kicking ass. Um, and, I'll be rooting for you, buds. So keep awesome. Boys, thank you so much for being on the show. Keep kicking ass and I'll be rooting for you, buds. So keep rocking. Thank you. Have a good one, guys. Later. Bye.

You tuned in to the World's Health Podcast with Andy Fresco. Thank you for listening to this episode produced by Andy Fresco, Joe Angelo and Chris Lawrence. We need you to help us save the world and spread the word. Please subscribe, rate the show, give us the crazy stars, iTunes, Spotify, wherever you're picking this shit up. Follow us on Instagram at world saving podcast for more info and updates.

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