Bringing The Darkness To The Light

Bringing The Darkness To The Light with Catherine Nadal

Chris Poland on Nuclear Messiah, and the Sound of Metal Reborn Through Memory, Sobriety, and Collaboration

Guest, Chris Poland Lead Guitarist for Megadeth

From Megadeth Memories to a New Creative Chapter

In this episode of Bringing the Darkness to the Light, host Catherine Nadal welcomes guitarist Chris Poland, best known as a former guitarist for Megadeth and later for instrumental rock-jazz work with OHM. Catherine opens by recalling how Megadeth’s music was part of her teenage years, tied to parking lots, boom boxes, leather jackets, and the rebellious energy of heavy metal culture. The conversation quickly turns toward Chris’s current creative life, including his upcoming book and his work connected to Nuclear Messiah, a concept-driven metal project featuring major rock and metal talents.

Writing the Book and Looking Back Honestly

Chris explains that the book project began after meeting Matt Herring at a Comic Con event. After talking with Matt over several days, Chris asked him to help write his story, and the two have now been working on it for about a year and a half. He says the process has brought up some darker memories, but he hopes much of the book will also be funny and meaningful. Catherine, as an author herself, connects with the process of choosing which memories to tell and recognizes how personal and revealing that kind of reflection can be.

A Guitar Life Sparked by Family, Records, and Feeling

Chris traces his musical beginnings back to childhood, when he sat with a record player and learned guitar by ear. He remembers the moment he played a song all the way through and realized he could be in a band. He says his mother was an opera singer and also played guitar, and that his cousin Eddie Boris inspired him by playing through a Fender guitar, Fender amp, and Jordan Boss Tone fuzz. Chris recalls learning songs such as “Mississippi Queen,” and being influenced by Led Zeppelin, Jeff Beck, Cream, Hendrix, and other players whose tone and feeling mattered to him more than simply copying notes.

Megadeth as “Fast Led Zeppelin”

Catherine asks what led Chris into heavy metal and thrash, since many of his early influences were blues-based rock and fusion. Chris explains that he and Gar Samuelson had been in a fusion band called The New Yorkers when their manager connected Gar with Dave Mustaine, who needed a drummer. Gar later encouraged Chris to audition for Megadeth. Chris says he understood the music as “fast Led Zeppelin,” because Dave’s writing was strong, distorted, fast, and progressive, while still fitting naturally with the muting, speed, and intensity Chris already knew. He reflects that “Peace Sells” was one of the easier songs, yet once they played it live, everyone realized it had become the defining track.

Gar Samuelson, Sobriety, and the Road Not Taken

A deeply personal part of the episode centers on Chris’s friendship with drummer Gar Samuelson and his own sobriety. Chris says that from the first time he played with Gar, he was almost always at Gar’s house jamming, and he describes Gar as an artist whose presence inspired him. He also discusses being asked at one point to return to Megadeth, but says his manager Janie Hoffman warned him that if he rejoined the band, he would die. Chris had recently gotten sober and realized he could not risk returning to an environment where drug use might pull him back in. Catherine connects this to the life-changing courage sometimes required to choose survival over the more glamorous path.

Nuclear Messiah, Collaboration, and the Songs That Stand Out

The second half of the episode highlights songs connected to Nuclear Messiah Black Flame. Chris discusses “Death and Glory,” saying it has a punk energy and that Thor’s vocal sounds completely committed. He talks about “Electric Burn,” crediting Derek Hughes and Jurgen Engler for bringing it in, while praising Chris Adler’s drumming and Marty Friedman’s guitar work. Chris explains how different drummers change the way he plays: Vinny’s pocket-style drumming leads him one direction, while Chris Adler’s intensity sends him somewhere else. He says many of his solos are spontaneous and often best captured in the first few takes, before the original feeling disappears.

Musical Dreams, Favorite Moments, and Looking at Yourself

Chris and Catherine also discuss dreams, musical symbolism, and several more songs. Chris recalls dreams about being supposed to play with Mountain while stuck in jail, and another about sitting in with Metallica but not knowing the songs. He then discusses “For a Madman Only,” praising the fuzz guitar, keyboard layers, and the way the final mix came together, and “Ride the Sky,” where Arthur Brown’s vocal inspired one of Chris’s favorite guitar moments on the record. The episode closes with “Look at Yourself,” which Chris calls the most progressive song on the album and praises for Sebastian Bach’s vocal performance, harmonies, and the song’s strong arrangement. Catherine thanks Chris Poland and Muncie Risi from Skateboard Marketing, then sends listeners toward Chris Poland online, Carlos Cruz, OHM, and the wider Nuclear Messiah project.

Bringing The Darkness To The Light with Catherine Nadal

Crimson Glory Reborn: Ben Jackson on Legacy, Midnight, and Chasing the Hydra

Guest Ben Jackson from the Band Crimson Glory

A Metal Legend Steps Into the Light

In this episode of Bringing the Darkness to the Light, host Catherine Nadal welcomes Ben Jackson, guitarist for the 1980s metal band Crimson Glory. Catherine opens by expressing her excitement as a longtime fan of 1980s music and says she hopes to uncover stories that may not have been told before. Ben explains that Crimson Glory has been active again after a long absence, beginning with the single “Triskaideka” and continuing with a new album, Chasing the Hydra, released through BraveWords Records.

Crimson Glory’s Comeback and a New Chapter

Ben describes Crimson Glory’s return as a busy and rewarding comeback. After releasing “Triskaideka,” the band introduced two newer members, Travis Wills on vocals and Mark Borgmeyer on guitar. Since then, Crimson Glory has played European festivals, reintroduced itself to fans, and completed the album Chasing the Hydra. Ben says the response has been strong, with reviews praising the album and fans commenting that the new music sounds like classic Crimson Glory. The band is also preparing for a run of festival dates beginning in Spain.

Bandcamp, Fan Access, and a New Era of Connection

Catherine and Ben discuss how modern technology has changed the relationship between bands and fans. Ben mentions a live Bandcamp listening party where fans could chat directly with band members and ask questions. Catherine notes that this kind of interaction did not really exist in the 1980s, when fans often had little chance to meet their musical heroes unless they were somehow chosen from the crowd. Ben says Crimson Glory now makes itself available at shows for signings, photos, and casual fan interaction without charging extra.

Sarasota, Florida, and the Birth of Crimson Glory

Looking back to the band’s origins, Ben explains that Crimson Glory grew out of earlier bands he had formed with drummer Dana Burnell while they were still in high school. The lineup eventually came together with Jon Drenning, Jeff Lords, and vocalist Midnight. Ben says the group began in Sarasota, Florida, playing cover songs at parties and clubs before deciding that if they wanted a serious future, they needed to write original music. Around 1983, while still very young, they shifted away from covers and began developing their own sound.

Florida’s 1980s Metal Scene

Ben recalls that Florida had a strong music scene in the early 1980s, especially around Tampa. He mentions bands such as Savatage, Power Surge, Death, Morbid Angel, Deicide, and Roxx Gang as part of the broader Florida rock and metal environment. He describes the era as an exciting time when heavy metal was thriving, clubs were active, and fans embraced the music and fashion of the decade. Crimson Glory’s first album began taking off around 1985 and 1986 after recording demos at Morrisound in Tampa and signing with Par Records in the United States and Roadrunner Records in Europe.

Heavy Metal, Censorship, and Music as Therapy

Catherine brings up the 1980s controversy around censorship, parental concern, and artists like Dee Snider defending heavy metal. Ben recalls that period, including the Judas Priest court case, and says people questioned whether heavy metal was dangerous. Both Catherine and Ben contrast that older suspicion with today’s understanding that music can help people emotionally. Ben says music has been therapy for him, and he has heard from fans who say Crimson Glory’s albums helped carry them through difficult periods in their lives.

Ben’s First Pull Toward the Guitar

Catherine asks Ben how he first found himself holding a guitar. Ben says he was drawn to music as a child, listening to records by artists such as the Beatles, Iron Butterfly, Santana, and others. At first, he wanted to be a drummer, but by around age thirteen his focus shifted to guitar. He says the desire was not accidental; he thought about it, dreamed about it, and knew he wanted to play. He also describes growing up in a musical home, where his father played jazz piano on a baby grand and his parents listened to records regularly.

Remembering Midnight

A large part of the interview focuses on Midnight, Crimson Glory’s original vocalist. Ben says Midnight was the last major piece to join the band, coming in after the musicians were already together. At the time, Midnight was known more for playing acoustic guitar and singing softer, folky material such as Pink Floyd and Led Zeppelin songs. Once he tried singing heavy rock and metal material, the band immediately realized he was special. Ben also shares the story of Midnight’s name, saying Midnight had already been known by that name in high school after a girl in California gave him the nickname shortly before she died in an accident.

Honoring a Friend Through Music

Ben also discusses the memorial tribute show Crimson Glory performed for Midnight at the ProgPower festival in Atlanta after his passing. The band was invited to appear and honor him, and singers from many other bands joined the performance. Ben says each Crimson Glory song featured different guest vocalists, with around seventeen or eighteen singers participating throughout the set. He describes the event as deeply special, memorable, and meaningful because of how loved Midnight was in the prog metal community.

Travis Wills and the Return to Classic Crimson Glory

Catherine asks how Crimson Glory sounds now with current vocalist Travis Wills. Ben says the band has returned strongly to the feel of its first two albums. While previous singers such as Wade Black and Todd La Torre were talented and important to the band’s history, Ben says Travis captures more of the essence of Midnight while still bringing his own voice and style. He believes the band currently sounds better live than it ever has, with Travis handling the old material well and bringing health, control, and consistency to the stage.

The New Songs: Red in the Sun, Chasing the Hydra, and Broken Together

The episode features several songs from the new album. Ben describes “Red in the Sun” as a powerful opening track written by Jeff Lords and Travis Wills, chosen because it has the heavy energy and excitement needed to begin the album. He calls “Chasing the Hydra” the title track and says its opening riff intentionally echoes the band’s older song “Red Sharks,” immediately signaling classic Crimson Glory. He describes “Broken Together” as more mysterious and emotional, beginning with a mellow acoustic section before developing into a harmony-driven piece that many fans have identified as one of the album’s strongest connections to the band’s earlier sound.

Touring, Fan Favorites, and Armor Against Fate

Catherine asks which songs Ben looks forward to playing live. He says he never tires of the classic material from the first two albums because audiences still love it, but he is especially excited to perform new songs such as “Angel in My Nightmare,” “Beyond the Unknown,” and “Pearls of Dust.” He closes the interview by discussing “Armor Against Fate,” a song he says reflects on time, regret, fate, past decisions, and the things left unsaid. Catherine thanks Ben for the interview, and the episode closes with “Armor Against Fate,” followed by the show’s outro.

Bringing The Darkness To The Light with Catherine Nadal

From Operation Babylift to Rock Stages:

Guest, Tyson Leslie on Vixen, Collaboration, Nashville, and a Life in Music

Catherine Nadal Opens Bringing the Darkness to the Light

In this episode of Bringing the Darkness to the Light, host Catherine Nadal welcomes musician Tyson Leslie, a keyboardist, guitarist, bassist, vocalist, songwriter, and performer known for his work with multiple bands, including Vixen. Catherine explains that she met Tyson about a year earlier at M3 through her friend Jack Frost, and she opens the interview by noting how impressed she was after learning more about Tyson’s wide-ranging music career and ongoing projects.

Operation Babylift and Growing Up in Colorado

Tyson shares that he came to the United States through Operation Babylift after the Vietnam War. He explains that, after the war ended, many orphaned babies were flown out of Vietnam on cargo planes and Pan Am planes, sometimes in difficult and unusual conditions. Tyson was brought to the United States, placed in the Midwest, and adopted by a Caucasian family in Greeley, Colorado. He says he is grateful for that outcome because he knows his life would likely have been very different otherwise.

Discovering Music as a Child

Catherine asks when Tyson first became involved with music, and Tyson says his mother remembers him playing piano at about age three, picking out simple melodies like “Mary Had a Little Lamb.” His father did not play music, but often gave him toy instruments, including small organs, drums, and guitars. Tyson later took classical piano lessons, then became inspired by bands and artists he saw on MTV, including Mötley Crüe, Quiet Riot, Twisted Sister, Prince, and Michael Jackson. After winning a talent contest and earning $100, he bought his first guitar from a pawn shop and taught himself to play.

Learning Instruments by Necessity

Tyson explains that much of his musicianship came from necessity. If a band lost a bass player, he learned bass. When he worked at the piano bar Howl at the Moon in Kansas City, he had to jump between instruments and became a better drummer by playing regularly. He listened to drummers such as Neil Peart, Mike Portnoy, and jazz-fusion players, while also exploring many different styles. Although he is known as a rock musician in Nashville, he says he plays country, R&B, hip hop, classical, fusion, and whatever else he is hired to perform.

Corey Taylor, Vixen, and Major Career Moments

Tyson identifies Corey Taylor from Slipknot as the first major artist he worked with, in a project that later connected to Corey’s CMFT material. He then discusses moving to Nashville in 2015, briefly playing country music with Tracy Lawrence, and eventually joining the Vixen camp. Tyson also recalls Eddie Trunk’s 40th anniversary show as one of the most surreal moments of his career because he shared the stage with artists he grew up admiring, including Alice Cooper, Sammy Hagar, Kevin Cronin, and others. He also mentions playing before an enormous crowd with Bret Michaels at the NFL Draft in Pittsburgh.

Life with Vixen and the Fan Experience

Catherine asks about Tyson’s role in Vixen, and he explains that although the band’s brand is built around being an all-female hard rock band, male keyboard players have been part of the live setup in different ways over the years. Tyson says he was originally asked to remain somewhat invisible in photos and videos, which he understood, but that his role has evolved and he is now included more openly in certain moments, such as end-of-show bows. Catherine and Tyson also talk about how bands from the 1980s still transport fans back to earlier times through songs that carry memory, identity, and nostalgia.

Tyson’s Original Music and “Little Green Honda”

The interview turns to Tyson’s solo work, beginning with “Little Green Honda.” Tyson explains that the song was inspired by a female singer in an early-2000s band whose worn-out Honda Civic could not go in reverse, had a cracked windshield, and had to be pushed out of parking spots after gigs. He wrote the song as a tongue-in-cheek, high-energy power-pop track influenced by Butch Walker and Marvelous 3. Tyson says the album was his first solo record, and he produced it, wrote it, and played most of the instruments, with friends contributing drums, guitars, and backup vocals.

Collaboration, “Burning Time,” and the Mercenaries Concept

Catherine then highlights “Burning Time,” which Tyson released under the concept name Mercenaries. Tyson explains that he chose that name because the idea was to bring in “badass” hired musicians to execute the job. The track features major players including Billy Sheehan on bass, Roxy Petrucci from Vixen on drums, Jimmy Bell on guitar, and Todd La Torre from Queensrÿche on vocals and co-writing. Tyson says Todd rearranged the song and elevated it beyond what Tyson had originally imagined, reinforcing Tyson’s belief that collaboration often makes music stronger.

Rock Cruises, Nashville, and Musical Community

Catherine asks about rock cruises such as Monsters of Rock and the ’80s Cruise, and Tyson describes them as uniquely fun because musicians and fans are all together on the ship, with nowhere else to go. Artists watch each other’s shows, run into fans in cafeterias, sign memorabilia, and sometimes join unexpected late-night moments such as karaoke. Tyson also describes Nashville’s Broadway scene as sensory overload, with multiple floors of live music, constant requests, country and rock bands, and musicians moving quickly between venues. He explains that his own schedule is driven by a busy calendar of piano shows, downtown Nashville gigs, Vixen dates, travel, and special events.

“Cradle to the Grave” and Closing Thoughts

The show closes with Tyson discussing “Cradle to the Grave.” Catherine says the track felt country to her, while Tyson explains that his influence was more T. Rex, with big vocals, a big sound, and a fun party energy. He says he wrote lyrics while stopped at traffic lights, then developed the song with collaborators who added drums, backing vocals, and guitar. Tyson describes the song as playful and somewhat nonsensical, with the feeling of going as hard as possible and having fun as if it were the end of the world. He directs listeners to find him by searching Tyson Leslie on social media, YouTube, SoundCloud, Spotify, Apple Music, and other platforms before the episode ends with the song.

Bringing The Darkness To The Light with Catherine Nadal

Shaun Murphy on Brand New Blues, Legendary Collaborations, and a Life in Music

Guest, Shaun Murphy, American Blues and R&B Singer-Songwriter

Catherine Nadal Welcomes Shaun Murphy

In this episode of Bringing the Darkness to the Light, host Catherine Nadal welcomes Shaun Murphy, an American blues and R&B singer-songwriter known for her powerful vocal style. Catherine explains that she was introduced to Shaun through her cousin Tommy Del Rossi, who has played drums on several of Shaun’s albums and produced her most recent album in his new home studio. Shaun describes recording at Tommy’s studio, Coming Soon Sounds, praising his professionalism, ideas, and ability to help the project come together smoothly.

Recording with Tommy Del Rossi at Coming Soon Sounds

Shaun says the band originally had been recording elsewhere but decided to move the project to Tommy’s home studio, where everything “gelled.” She describes the studio as a meaningful new chapter for Tommy and says the musicians were excited for him while hoping to keep him as their drummer. Catherine reflects on how common home studios have become in Nashville and how fortunate Tommy was to find a home that could support that kind of professional recording setup.

Working with Eric Clapton, Bob Seger, and Phil Collins

Catherine then walks through Shaun’s impressive career, noting her work with major artists including Little Feat, Bob Seger, Meat Loaf, Eric Clapton, the Moody Blues, Herbie Hancock, Phil Collins, Glenn Frey, and Joe Walsh. Shaun says she especially remembers touring and recording with Eric Clapton, including performing at Live Aid, where the roar of the crowd during “Layla” was so physically powerful that the musicians stepped back in shock. She also reflects on working with Bob Seger for decades and on recording Behind the Sun with Clapton, where Phil Collins produced with remarkable focus and efficiency.

Stories of Alice Cooper, Michael Bolton, Glenn Frey, and Joe Walsh

Shaun shares several colorful memories from her career. She recalls singing background vocals on Alice Cooper’s Hey Stoopid sessions and taking a break when Alice brought rattlesnakes into the control room. She discusses knowing Michael Bolton since the early 1980s, when his band opened for Seger, and remembers receiving demos of his future hits. Shaun also talks about working with Glenn Frey and Joe Walsh, describing Joe’s habit of buying children’s toys at gas stations during bus tours to use as humorous stage props.

Little Feat, Theater, Meat Loaf, and the Path to a Solo Career

When Catherine asks who encouraged Shaun’s solo career, Shaun points to Little Feat, with whom she worked for many years and whose members encouraged her songwriting. She explains that she had originally started as a solo artist and later spent time in theater, including the Detroit production of Hair, where she unexpectedly encountered Meat Loaf, who already knew her from festival appearances. Shaun says she later performed in Hair on Broadway and in Washington, D.C., briefly thinking she might become an actress before music ultimately won out.

The Songs: “Mama’s Home,” “Brand New Blues,” and “Killing Time”

Catherine and Shaun discuss several songs from the new album. Shaun says “Mama’s Home” came from her friend Jay Edwards, whose voice she compares to a Chris Stapleton-like sound and whose songwriting she admires. She explains that “Brand New Blues” came from Doug Jones and Roger Mason, who created the song using AI as a demo tool; Shaun liked it so much that she replaced one of her own songs with it and named the album after it. Shaun also discusses “Killing Time,” written by Chris Anderson of The Outlaws, describing it as a sad breakup song about someone trapped in heartbreak while time passes.

AI, Social Media, Signs, and the New Album Release

Catherine asks Shaun about changes in the music business, including AI, streaming, and social media. Shaun says AI can be useful for demos, especially for lyricists who do not play instruments, but she would not release a finished AI-generated recording as her own single. She also sees value in social media helping songs spread quickly, while warning that it can become dangerous without guardrails. Shaun reflects on early family music influences, theater, stage confidence, and the signs that helped guide her career. Near the close, she says the new record was still being finalized, with a presale underway, and notes that the album comes out May 25.

Closing with “I’m Gonna Take the Money”

Catherine closes the interview by asking about “I’m Gonna Take the Money,” written by Darrell Burgess, Joanna Cotton, and Angie Russell. Shaun explains that the song began with a more country feel, but the band steered it toward blues rock. She shares where listeners can find her online, including Facebook, her private group Shaun Murphy, Her Life in Music, X as Shaun Murphy Band, and YouTube as Shaun Murphy Band. The episode ends with the song playing out and the program’s closing credits.

Bringing The Darkness To The Light with Catherine Nadal

Guest John Torra - Lead Vocalist of Fire ‘N Ice

John Torra on Classic Rock Roots, Building a Band, and Bringing Glam Metal Back to the Stage

Catherine Nadal Welcomes John Torra of Fire ‘N Ice

In this episode of Bringing the Darkness to the Light, host Catherine Nadal welcomes John Torra, lead vocalist of Fire ‘N Ice. Catherine recalls seeing the band perform live at Dingbatz, where they appeared on a bill that included Ray West from Spread Eagle, and remembers being immediately struck by their crowd interaction and energy. She explains that the interview will introduce the band, promote its new album High Roller, and explore how John first became involved with music and eventually helped build Fire ‘N Ice.

Discovering Guitar, Singing, and the Sound of the ’80s

John says his musical journey began when he received his first guitar at age 13, initially inspired by guitar heroes such as Jimmy Page and Keith Richards. By age 15, he discovered that he could sing as well, eventually realizing music was the career he wanted to pursue. A turning point came when his father introduced him to Van Halen, while his uncle exposed him to bands including Cinderella, Dokken, and Ratt. John says he became fascinated by the visual style, high-energy performance, leather, teased hair, flashy guitar work, and celebratory spirit of the glam metal and hard rock scene.

Family Influence and Developing His Voice

John explains that music was already part of his family history. His father had been a drummer in bands influenced by Kiss, Led Zeppelin, Aerosmith, Journey, Van Halen, Judas Priest, Ozzy Osbourne, and other classic hard rock acts. When John began playing, his father returned to the drums so they could jam together. John also credits his uncle as a brutally honest vocal mentor who pushed him to improve without formal lessons. Describing himself as something of a “parrot,” John says his childhood ability to imitate cartoon characters helped him learn to reproduce different vocal sounds, from the rasp of Tom Keifer to higher or more nasal styles associated with singers such as Sebastian Bach, Don Dokken, and Vince Neil. Over time, he worked to move beyond imitation and identify his own voice.

How Fire ‘N Ice Came Together

John describes the formation of Fire ‘N Ice as a determined effort to find musicians who shared his commitment to the music and image he loved. Frustrated by the limited original rock scene on Long Island, he posted an ad online and was contacted by musicians in New Jersey interested in bands such as Van Halen, Y&T, Cinderella, and Sweet. Although the first lineup did not last, John stayed in contact with bassist Mark and later connected with guitarist Shane and drummer Mike. When the four finally rehearsed together in January 2023, their first song was a cover of “Shout at the Devil.” John says the chemistry was immediate, especially after hearing Mike’s Tommy Lee-inspired drumming, and the band recognized that it had found its sound.

From Hypnotized to High Roller

The band’s first release was a four-song EP called Hypnotized, featuring “Rock This Night,” “Escape into the Night,” “Lust for Love,” and the title track. John explains that the EP was largely recorded and produced by the band themselves as an early demonstration of their style. After listeners responded positively and the group began playing frequent live shows, they decided to record a full album. The resulting album, High Roller, took about a year to complete and was recorded with producer Beto, who repeatedly challenged the band to improve each performance until the recording matched their vision. John says the album draws inspiration from the polished hard rock sound of bands such as Dokken, Cinderella, Quiet Riot, Winger, Skid Row, Aerosmith, and Van Halen.

Songs, Live Shows, and Coming Home

John discusses several songs from High Roller during the interview. The title track grew from drummer Mike’s interest in dice, casinos, and New York–New Jersey crime-film imagery, becoming a song about a reckless gambler living dangerously. “Don’t You Cry,” written largely by Mark, showcases the band’s ability to feature more than one lead singer and became a melodic, audience-friendly ballad. “Lust for Love,” the first full song John wrote with the band, began with feelings from a difficult past relationship but was shaped into a more universal song about painful love. John closes by discussing “Coming Home,” which he wrote about long drives, late nights, rehearsals, shows, recording sessions, and being away from family and loved ones while traveling between Long Island and New Jersey. He also promotes upcoming Whiskey a Go Go performances with Dokken, Steelheart, and Slaughter, saying Fire ‘N Ice intends to keep working, supporting the scene, and moving toward the next level.

Bringing The Darkness To The Light with Catherine Nadal

Guest, Mike Krompass from The Fell - the Creative Fire Behind a Modern Rock Sound

Introducing Mike Krompass and The Fell

In this episode of Bringing the Darkness to the Light, host Catherine Nadal welcomes Mike Krompass, guitarist for the band The Fell, as well as a multi-platinum producer, songwriter, mixer, engineer, multi-instrumentalist, and music executive. Catherine explains that she recently saw The Fell perform in Liverpool, New York, at the start of their tour and became an immediate fan of the band’s energy, sound, and songwriting. She especially praises the song “Footprints,” describing it as the kind of track she can play repeatedly without wanting to turn it off.

A Lifelong Musician with a Wide Range of Influences

Mike explains that he started playing guitar at four years old and knew from a young age that music was what he wanted to do. He recalls seeing Michael Jackson in concert as a child and being inspired by guitarist Jennifer Batten, while also growing up with a wide range of musical influences including funk, disco, metal, progressive rock, R&B, the Beatles, Prince, Stevie Wonder, Earth, Wind & Fire, Extreme, Mr. Big, Dokken, Dio, and Michael Jackson. Although his parents were not musicians, he was influenced by musical figures in his extended family and later learned a great deal from guitarists, drummers, music stores, studios, and working musicians around him.

From Toronto to Los Angeles, Nashville, the UK, and Back

Mike describes growing up in Toronto and eventually moving to Los Angeles to pursue his rock-star dreams. Although that path did not unfold exactly as he imagined, Los Angeles opened doors into film, television, songwriting, production, and working with pop, country, and rock artists. He also spent years moving between Los Angeles and Nashville, where he became immersed in the songwriting culture and appreciated the respect Nashville gives to songwriters. After time in the UK, he returned to Toronto, carrying with him a broad international career shaped by persistence, adaptability, and a refusal to limit himself to one genre or role.

How The Fell Came Together

The conversation turns to the formation of The Fell. Mike says the project began because he wanted to reconnect with his own musical passion after years of producing and writing for other artists. He wanted to create rock music for himself, with guitar solos and songs that came from his own roots. He reached out to Billy Sheehan, who quickly responded and suggested they start a band rather than simply work as hired players. Mike was also working with singer Toby Rand, whose voice, songwriting, stage presence, and modern rock energy helped complete the core sound. Although the project was delayed for years because of other commitments, Mike says the chemistry between himself, Billy, and Toby was the magic that eventually brought The Fell back together.

Footprints, Trippin, and the Band’s Sound

Catherine and Mike discuss several songs from The Fell, beginning with “Footprints,” which Mike says was one of the earliest songs written with Toby Rand and was intended to have a mainstream radio feel with a strong hook. He also talks about the video, which was shot in a World War II-era bunker in Poland and later reworked with footage from other videos. They then discuss “Trippin,” which Mike says has a different feel and hints of Faith No More influence, especially in the chorus melody. Mike explains that while the songs may sound different from one another, they share a sonic identity through the drum sounds, large guitar tones, and the focus on strong songwriting beneath the rock production.

Producing, Touring, and What Comes Next

The final portion explores Mike’s production skills, the practical advantage of being able to record drums, guitars, bass sketches, and vocals in his own studio, and his effort not to overproduce The Fell so the band can still sound authentic live. He discusses drummer Nick’s role as the newest band member, the group’s early tour dates, plans for overseas shows, and the importance of building awareness through live performances and streaming numbers. Mike also talks about his companies, including Noise Nation X, Noise Nation Records, and BCMG Recordings, which work in music licensing, film and television placements, artist development, and catalog representation. The episode closes with Catherine encouraging listeners to follow Mike and The Fell, then rolling out with the band’s song “Kill Switch.”

Bringing The Darkness To The Light with Catherine Nadal

Guest, Joseph Azzopardi from Upper Lip

Bringing The Darkness To The Light with Catherine Nadal

Guest, Rene Benton

Guest, Vinny Appice

Guest, Niecie