Steven: What's goin' on buddy? How you been? I guess my first question is, why'd you guys pick 'Howlin‘' for the 7"?

Broc: Hey man, I've been well thanks. Trying to keep it weird. 

Two reasons I guess. One being that I feel it's a strong song that represents Rosa pretty well. The other being we only had two mixes complete from the new album. Can I ask you the same question? 

Steven: True. It’s a killer track and you’re right, it screams the Rosa Maria vibe. Whenever I hear it I can see Bobby’s hips shakin’ and you snarling over the mic makin’ everyone clap along. Good choice.

Similar situation for me I guess. When Jae from Oracle asked me to do a 7” at the beginning of the year, I only had the one track completed and mixed. At that point I’d just lost interesting in around ten songs and thrown them away, so I asked if I could split it with you guys hahaha. Thanks for the assist!

Let's get the boring 7” stuff outta the way early in this, then get into the good shit, agreed? Anything fun, weird or any stories worth telling about the writing, recording or mixing of 'Howlin’'? I’m interested to know how you guys write as a band. Who was the most out of time when you guys recorded the clapping?

Broc: Agreed. We actually played a fundraiser the night before recording 'Howlin’' for our good friend Steve Ralph at Berowra RSL. It was also Bobby Diamond's birthday, so naturally we hit things fairly hard that night at his family home. I remember the deadly combo of mixing champagne with Baileys and spending the morning as a band stopping at several service stations and roadside stopovers for me to throw up everything I'd consumed that night. I was a pale green colour the whole recording and the clapping was definitely the least of my problems. But to answer your question, it was in fact myself who couldn't clap in time. I still can't clap and sing. It's tricky. I believe I wrote the main riff and the chord progression and got the band to do what they do best - bring it to life and write their own parts. 

Now you mentioned that you had tossed away ten songs before moving onto 'Release Your Love'. What is it about this song that made you stick it out and was given the Misty Lanes approval? 

Steven: I think I witnessed your struggle to keep in time firsthand when I came down to record keys for your new record, after a few takes you had to hand the shaker over to Owen to record haha. Speaking of that, your new record is on the horizon, right? Did my keys make the final cut? Pretty sure I hit a few dud notes in some of those takes.

That's a tough question. I think 'Release Your Love' just had more energy than the rest of the songs I'd written around that time. I want the new batch of songs to be a step up from the first record in pretty much every way - the songwriting, recording, and mixing - and I think the other tracks just kinda felt like I was repeating myself. I might revisit them to see what's worth saving, but I think I've got a few better ones in the works now that'll hopefully be done before the years out.

Here's one for you, what was the last record you bought?

Broc: Hahaha Owen has had to take over many more times than he should have to. I told him the other day he will end up having to play and record a whole Rosa Maria album one day. 

Steven, your keys saved the record. Gave it some extra class and a nice contrast. Especially when there are three guitars in our band haha. 

Well, send over the songs you don't use. I'm struggling haha. For someone who played most (if not all) the instruments, recorded and mixed your first release, is it hard to even enjoy the songs? There must be a temptation to analyse everything when you listen back? 

Last record I bought was At Home by Shocking Blue. Recorded in 1969 and the second album by the Dutch band. Great record. I got a feeling you've heard it. Speaking of records, I heard you were invited to play some records at an event earlier this year and caused some commotion for playing too much french beat music?

Steven: Rad, glad to hear I made the cut! You can take some of my old demos man haha, maybe they need that Rosa spice. Collab on the next 7"?

Of course, when you're writing and recording by yourself you leave yourself wide open to analyse everything, but at the same time, I'm also pretty hopeless at most instruments, and am pretty lazy with recording and mixing so when I do listen back I'm usually just stoked if I can hear all the instruments and they're in time. The limitations of my own ability dictate the songs, and Misty Lanes is kind of a document of me learning how to do things on my own. I have other bands where I'm just a contributor to the larger picture and we spend more time analysing the finer details so with Misty Lanes, it's an outlet where I can work fast when I have time. I'll only work on a song over maybe three days then move on, or else I will start overanalysing things and it'll take the fun out of the project. But on the contrary, I do have about half a dozen songs that I began about two years ago that I want to take to other musicians that will later be Misty Lanes songs, I just don't have the time, confidence and brainpower to get those to that point yet - probably a product of overanalysis, right?

Ahh the Happy Magazine launch at the Marly, I don't know how everyone got behind my "being kicked off story", seems like a lot of people ask about that haha. On the night, I posted a story on Instagram at about 1am during my set just captioned "I've been told if I don't play more 'commercial music' I'll be kicked off", which got more responses than anything else I've ever posted on the Misty Lanes social media pages! It is true, the bar manager gave me a USB and said "play something off this, it's a Friday and people are leaving because you keep playing this French shit". Obviously, I ignored that and continued the set of strictly 70's French disco and pop, and the Marly was cleared in about half an hour; mission accomplished.

Have you guys got any pre-show rituals, dream rider requests, bans on certain items in the band? Give me some insight into the most un-rock and roll things that happen in the band. Also, did someone once tell me Chris is the OG Milky Bar kid or am I just making that up? And is Red's real name Red Velvet?

Broc: Collab 7 is a great idea. We should do it. Very great insight into your process. I definitely learnt some things after reading that. 

100% true, Chris is the OG Milky Bar kid. Very handsome boy. And yes, Red's last name is Velvet. As far as I know. 

We are 100% rock 'n' roll Steven. You should know that. I think the only bans we have are that Pat & myself are not allowed to be trusted with any sort of room key or car key, and that Bobby isn't allowed to purchase cling wrap (can't tell that story). Before every gig, we all just pray that Pat is going to turn up on time. He always does but keeps us guessing every show.

Steven: Maybe one last question before we scoot off to our day jobs of flipping burgers and serving tea and coffee to the elderly... What bands in Sydney, actually no, what Australian bands are you currently diggin’? Who should we go out and see this weekend or see when they roll through town?

Broc: Is that what you do, Steven? You're too talented to be flipping burgers or making tea. If you're reading this and you haven't seen the Satanic Togas live, go see them as soon as you can. One of my favourite live bands. Organised chaos. 

Absolute pleasure chatting with you man. Can't wait to see the Misty Lanes plane keep flying. Much love, Rosey Daniels.

Steven: Thankfully no, those hospitality days are over and I now spend my working life making bespoke chicken coops from recycled piñatas. It’s been a pleasure Rosey, and I look forward to our collaboration in the not too distant future. God bless you, and god bless Rock and/or Roll!

This is Major General Lanes, signing off.