Burnt Out Wreck and Roll
Muirsical Conversation with Gary Moat
Muirsical Conversation with Gary Moat
They say things come in threes and from a musically positive standpoint that was true for Gary Moat, front man and songwriter of old-school guitar rock outfit Burnt Out Wreck, last November.
An extremely well-received WinterStorm main stage set (leading to crowd chant of "one more song!") dovetailed with the same day announcement that the band would be playing the main stage of Bonfest 2020 (sadly now cancelled due to the Covid-19 pandemic).
There was also the officially licenced re-releases of the three Heavy Pettin studio albums, of whom Gary Moat was a pivotal, primary songwriting and drumming piece back in the melodic rock-metal 80s.
2019 also saw the release of Burnt Out Wreck’s second album This is Hell, a weighty and gritty release that was the perfect follow up to rock solid debut album, Swallow.
Gary Moat sat down with FabricationsHQ to talk about those end of 2019 successes, the 80s rise and label fall of Heavy Pettin, This is Hell and what’s in the future for Burnt Out Wreck…
An extremely well-received WinterStorm main stage set (leading to crowd chant of "one more song!") dovetailed with the same day announcement that the band would be playing the main stage of Bonfest 2020 (sadly now cancelled due to the Covid-19 pandemic).
There was also the officially licenced re-releases of the three Heavy Pettin studio albums, of whom Gary Moat was a pivotal, primary songwriting and drumming piece back in the melodic rock-metal 80s.
2019 also saw the release of Burnt Out Wreck’s second album This is Hell, a weighty and gritty release that was the perfect follow up to rock solid debut album, Swallow.
Gary Moat sat down with FabricationsHQ to talk about those end of 2019 successes, the 80s rise and label fall of Heavy Pettin, This is Hell and what’s in the future for Burnt Out Wreck…
Ross Muir: I’d like to start with your 2019 WinterStorm set, which went down extremely well – in fact other than having to be cut short due an over-run because of earlier technical issues it’s hard to think if it being received any better…
Gary Moat: Yeah, the audience reaction was great and even better than I expected it be – it was really amazing; they were clapping along, smiling and even dancing! [laughs]
RM: Nor is this a band that are an early festival/ second band on act…
GM: Thank you. It was really nice to see such a crowd for an earlier set – just looking at the size of the crowd, looking up at a full balcony; it was as I always envisaged for this band but we’ve been let down in the past – but not that day!
RM: That set also showcased how you have come on collectively, and grown stronger, as a band; similarly you have got stronger as a vocalist…
GM: The audience brings that out of a band, and me. I react to an audience as they react to us and let’s be honest if you’re playing to two guys and their dog you’re not giving it large [laughter] so a great crowd makes all the difference.
The band are stronger, yes, but the thing is we hadn’t rehearsed for about seven weeks because some of us live so far apart; we just don’t get the chance to rehearse together.
We arrived at bassist Alex Carmichael’s house about half past eleven at night, after driving for about eight hours, the day before WinterStorm. We arrived just in time for Alex to say "right, get the guitars out, we’ll sit in the living room and have a jam."
We strummed through the set and that was our WinterStorm rehearsal [laughs], from half past eleven at night until about one in the morning.
I remember saying to Alex "your neighbours are going to think we’re having a very early New Year party in here!"
RM: That points to a symbiotic band relationship, if you can jam out a rehearsal like that…
GM: After the first album came out we rehearsed twice a week; you hope that embeds it all in to their heads and it made us bond in to the band we are now.
But with the stuff on the second album we hadn't rehearsed that at all; we had to rehearse individually through demos I sent to the band so they could learn the songs up before coming in to the studio to lay their individual parts down.
RM: That second album, This is Hell, was another November highlight for Burnt Out Wreck – FabricationsHQ gave it Feature Review status for that month. What separates it from the debut is that it’s very much a band album whereas Swallow was more of a project with then lead guitarist Adrian Dunn.
GM: And that’s what I was hoping for with the second album, a band album.
It might not be exactly as I hear it in my mind before recording, the way the band play parts of it, but at the end of the day it’s all the better for it because that’s what I always thought would happen with the band.
And it sounds brilliant.
RM: That’s interesting. Are you almost a control room in your own head then -- in that you know what you want to hear before it’s even recorded?
GM: Well, the problem with writing your own songs is you also know how they should sound – or it’s that way with me anyway.
If I do a demo with guitars on it, drums or a drum machine and backing vocals, it sounds as it should on the album; I’ve got those demos on a little eight-track in my bedroom but when you take it out of that smaller environment and give it to the band to rehearse and record it’s always going to sound much better, especially with live drums.
But it’s hard work getting through to people what’s in my head [laughs] because sometimes they’ll just look at me, or say "really?" [laughs] because it might seem odd to them at the time – some of them haven’t really done anything like this before.
But when they play it back, or hear the master, they don’t disagree with what they are hearing or will say "you were right!"
RM: Which sums up the sum of the parts on This is Hell; it’s a great old school guitar-rock album but a lot edgier than the debut, as highlighted through songs such as the title track...
Gary Moat: Yeah, the audience reaction was great and even better than I expected it be – it was really amazing; they were clapping along, smiling and even dancing! [laughs]
RM: Nor is this a band that are an early festival/ second band on act…
GM: Thank you. It was really nice to see such a crowd for an earlier set – just looking at the size of the crowd, looking up at a full balcony; it was as I always envisaged for this band but we’ve been let down in the past – but not that day!
RM: That set also showcased how you have come on collectively, and grown stronger, as a band; similarly you have got stronger as a vocalist…
GM: The audience brings that out of a band, and me. I react to an audience as they react to us and let’s be honest if you’re playing to two guys and their dog you’re not giving it large [laughter] so a great crowd makes all the difference.
The band are stronger, yes, but the thing is we hadn’t rehearsed for about seven weeks because some of us live so far apart; we just don’t get the chance to rehearse together.
We arrived at bassist Alex Carmichael’s house about half past eleven at night, after driving for about eight hours, the day before WinterStorm. We arrived just in time for Alex to say "right, get the guitars out, we’ll sit in the living room and have a jam."
We strummed through the set and that was our WinterStorm rehearsal [laughs], from half past eleven at night until about one in the morning.
I remember saying to Alex "your neighbours are going to think we’re having a very early New Year party in here!"
RM: That points to a symbiotic band relationship, if you can jam out a rehearsal like that…
GM: After the first album came out we rehearsed twice a week; you hope that embeds it all in to their heads and it made us bond in to the band we are now.
But with the stuff on the second album we hadn't rehearsed that at all; we had to rehearse individually through demos I sent to the band so they could learn the songs up before coming in to the studio to lay their individual parts down.
RM: That second album, This is Hell, was another November highlight for Burnt Out Wreck – FabricationsHQ gave it Feature Review status for that month. What separates it from the debut is that it’s very much a band album whereas Swallow was more of a project with then lead guitarist Adrian Dunn.
GM: And that’s what I was hoping for with the second album, a band album.
It might not be exactly as I hear it in my mind before recording, the way the band play parts of it, but at the end of the day it’s all the better for it because that’s what I always thought would happen with the band.
And it sounds brilliant.
RM: That’s interesting. Are you almost a control room in your own head then -- in that you know what you want to hear before it’s even recorded?
GM: Well, the problem with writing your own songs is you also know how they should sound – or it’s that way with me anyway.
If I do a demo with guitars on it, drums or a drum machine and backing vocals, it sounds as it should on the album; I’ve got those demos on a little eight-track in my bedroom but when you take it out of that smaller environment and give it to the band to rehearse and record it’s always going to sound much better, especially with live drums.
But it’s hard work getting through to people what’s in my head [laughs] because sometimes they’ll just look at me, or say "really?" [laughs] because it might seem odd to them at the time – some of them haven’t really done anything like this before.
But when they play it back, or hear the master, they don’t disagree with what they are hearing or will say "you were right!"
RM: Which sums up the sum of the parts on This is Hell; it’s a great old school guitar-rock album but a lot edgier than the debut, as highlighted through songs such as the title track...
RM: There's also a clear and defined lyrical anger to This is Hell and a number of the songs...
GM: I would say so, yes. There are angry moments on there, but we’re all a couple of years older, aren’t we? It's angry old man syndrome [laughs] and what bothers you, who annoys you or what’s going on around you.
There are times I'd rather be with my horses! [laughs]
GM: I would say so, yes. There are angry moments on there, but we’re all a couple of years older, aren’t we? It's angry old man syndrome [laughs] and what bothers you, who annoys you or what’s going on around you.
There are times I'd rather be with my horses! [laughs]
Gary Moat and four-legged friend. Given recent successes for Burnt Out Wreck 'why the long face' jokes do not apply.
RM: Live, Burnt Out Wreck – in original five-piece line-up up and more recently as a quartet – have a discernible presence about them.
This is a band who really are enjoying themselves – singing off-mic, catching glances, smiling at each other…
GM: Very much so. I don’t think they really have to think about what they are playing now and that helps give them that time to relax or enjoy it and Miles Goodman, our guitarist, he’s just up there singing everything and loving it. When you let him go he’s like a clockwork bunny! [laughter].
It’s great that all comes across but I think that, at WinterStorm for example, they were genuinely surprised at the size of the crowd and they just reacted to that with big grins.
In fact at one point I made the mistake of looking over at Miles just in time to see him doing the Angus devil horns; I just about lost the plot and started laughing because I don’t usually see that; I’m too busy looking out at the audience.
RM: Miles is a great rhythm player but has also stepped up on recent shows to show he can put his hands to lead work too. In fact I’d go as far as to say he might well be your secret weapon.
GM: He really is. I tried so hard to get him for the band because he was playing with so many other groups around where we live; he eventually said "OK I’ll do it" and I was so happy he said yes because I just knew he would be the right fit for us; and he is.
RM: As a band, Burnt Out Wreck are very old school, no frills guitar rock in contemporary grittier, clothing.
It's also refreshing to hear a band unashamedly take those High Voltage influences – AC/DC reference intended – and making it part of their own sound.
GM: It’s what I love but I think a lot of people are doing that now, though, aren’t they?
I was talking to Tom Russell at WinterStorm and he was telling me about the first time he met the Airbourne singer Joel O’Keeffe. Tom said to him "You sound a lot like AC/DC" and he replied "Do we? But everyone in Australia sounds like us" [laughs].
Tom said Joel was genuinely surprised by the question but then that is what comes out of Australia isn’t it?
All the Oz bands are just awesome; they adopted that sound early and that was it!
RM: Another positive announcement, and release, from the end of last year was the officially licenced reissues of the Heavy Pettin studio albums.
GM: That’s right, it all fell together quite well around the time of WinterStorm.
The albums are, as you said, officially licenced re-releases, distributed by Cherry Red and released on Burnt Out Wreckords, which is my wife Claire and I.
Hopefully these re-releases will be mutually beneficial to all parties and the songwriters because we didn’t get a fair deal first time around, especially with the last album, The Big Bang.
RM: You put a wee video out after those albums came out where you were very honest and open, mentioning you genuinely found it difficult to listen to those albums now.
GM: I do, that’s right. As I said on that video every single thing we did, and were about, went into those albums; it was all about the five of us being together.
In fact we were never really away from each other, in the studio, or playing live – throughout that time in Heavy Pettin it was all for one and one for all – the five musketeers! But it was just crazy times.
I had a massive response to that video but I had been in doubt as to whether to put it out or not.
When I looked at it once it was done, I thought to myself "are you sure?" [laughs] but it got so many great comments.
But it’s smashing to see those albums back out and Gordon and Hamie are back out there as Heavy Pettin, giving it large, so good luck to them.
RM: You’re "crazy times" comment is telling because when it started to take off for Heavy Pettin you were still five very young guys with a lot to take on, especially given how quickly an impact was made and the subsequent "Scottish Def Leppard" comments.
GM: It was but I think you are probably right, we were just too young I suppose.
Coming from Scotland, and Glasgow, we were just not prepared for that at all; there was nothing in Glasgow that compared to being sent down to London to meet with these massive record companies of the day and what they expect of you.
You just don’t know what you’re doing and it really is like being thrown in the deep end because you are so out your depth [laughs]. But you just tend to just get on with; that’s how you get through it.
RM: Thirty-plus years on, and given how it all spluttered out with The Big Bang, the sixty-five thousand dollar question becomes do you feel you deserved a bigger piece of the pie or is it a case of it was what it was?
GM: I just think, at the time, the record company had ploughed so much cash into the band that they were obviously looking at every option available to promote us, including putting us on Song For Europe for the Eurovision Song Contest.
The idea behind that was, obviously, to get to so many millions of people across Europe with one song.
They hoped, if that had been successful, they would have recouped some money but when that didn’t happen they were looking to drop the band because they felt they just couldn’t go on putting money into it.
But it was a crazy period and they had bands like The Little Angels coming right up behind us.
Times were changing as the eighties became the nineties and labels were changing their priorities and preferences.
This is a band who really are enjoying themselves – singing off-mic, catching glances, smiling at each other…
GM: Very much so. I don’t think they really have to think about what they are playing now and that helps give them that time to relax or enjoy it and Miles Goodman, our guitarist, he’s just up there singing everything and loving it. When you let him go he’s like a clockwork bunny! [laughter].
It’s great that all comes across but I think that, at WinterStorm for example, they were genuinely surprised at the size of the crowd and they just reacted to that with big grins.
In fact at one point I made the mistake of looking over at Miles just in time to see him doing the Angus devil horns; I just about lost the plot and started laughing because I don’t usually see that; I’m too busy looking out at the audience.
RM: Miles is a great rhythm player but has also stepped up on recent shows to show he can put his hands to lead work too. In fact I’d go as far as to say he might well be your secret weapon.
GM: He really is. I tried so hard to get him for the band because he was playing with so many other groups around where we live; he eventually said "OK I’ll do it" and I was so happy he said yes because I just knew he would be the right fit for us; and he is.
RM: As a band, Burnt Out Wreck are very old school, no frills guitar rock in contemporary grittier, clothing.
It's also refreshing to hear a band unashamedly take those High Voltage influences – AC/DC reference intended – and making it part of their own sound.
GM: It’s what I love but I think a lot of people are doing that now, though, aren’t they?
I was talking to Tom Russell at WinterStorm and he was telling me about the first time he met the Airbourne singer Joel O’Keeffe. Tom said to him "You sound a lot like AC/DC" and he replied "Do we? But everyone in Australia sounds like us" [laughs].
Tom said Joel was genuinely surprised by the question but then that is what comes out of Australia isn’t it?
All the Oz bands are just awesome; they adopted that sound early and that was it!
RM: Another positive announcement, and release, from the end of last year was the officially licenced reissues of the Heavy Pettin studio albums.
GM: That’s right, it all fell together quite well around the time of WinterStorm.
The albums are, as you said, officially licenced re-releases, distributed by Cherry Red and released on Burnt Out Wreckords, which is my wife Claire and I.
Hopefully these re-releases will be mutually beneficial to all parties and the songwriters because we didn’t get a fair deal first time around, especially with the last album, The Big Bang.
RM: You put a wee video out after those albums came out where you were very honest and open, mentioning you genuinely found it difficult to listen to those albums now.
GM: I do, that’s right. As I said on that video every single thing we did, and were about, went into those albums; it was all about the five of us being together.
In fact we were never really away from each other, in the studio, or playing live – throughout that time in Heavy Pettin it was all for one and one for all – the five musketeers! But it was just crazy times.
I had a massive response to that video but I had been in doubt as to whether to put it out or not.
When I looked at it once it was done, I thought to myself "are you sure?" [laughs] but it got so many great comments.
But it’s smashing to see those albums back out and Gordon and Hamie are back out there as Heavy Pettin, giving it large, so good luck to them.
RM: You’re "crazy times" comment is telling because when it started to take off for Heavy Pettin you were still five very young guys with a lot to take on, especially given how quickly an impact was made and the subsequent "Scottish Def Leppard" comments.
GM: It was but I think you are probably right, we were just too young I suppose.
Coming from Scotland, and Glasgow, we were just not prepared for that at all; there was nothing in Glasgow that compared to being sent down to London to meet with these massive record companies of the day and what they expect of you.
You just don’t know what you’re doing and it really is like being thrown in the deep end because you are so out your depth [laughs]. But you just tend to just get on with; that’s how you get through it.
RM: Thirty-plus years on, and given how it all spluttered out with The Big Bang, the sixty-five thousand dollar question becomes do you feel you deserved a bigger piece of the pie or is it a case of it was what it was?
GM: I just think, at the time, the record company had ploughed so much cash into the band that they were obviously looking at every option available to promote us, including putting us on Song For Europe for the Eurovision Song Contest.
The idea behind that was, obviously, to get to so many millions of people across Europe with one song.
They hoped, if that had been successful, they would have recouped some money but when that didn’t happen they were looking to drop the band because they felt they just couldn’t go on putting money into it.
But it was a crazy period and they had bands like The Little Angels coming right up behind us.
Times were changing as the eighties became the nineties and labels were changing their priorities and preferences.
GM: As I’ve said before it’s a shame we didn’t get the chance – with the Big Bang – to show what we could really do, which would have included making a video and getting it and the album played in America because obviously that album was made with America in mind.
At least that’s what they were hoping for but we got dropped, the license was given to another label and that’s where everything got screwed up because they just put it out however they wanted, with a crazy unapproved cover and the title of Big Bang, not The Big Bang.
And all that money went elsewhere, it certainly didn’t come back to the band; there’s probably a guy sitting in the Caribbean looking out across the beach on Heavy Pettin money.
RM: Back in that Heavy Pettin day and given you have always had a good voice, was there any point when you thought about exchanging the drum kit for the front-of-stage microphone?
GM: Not at all. Gordon Bonnar and myself were a songwriting partnership and that, and drumming, was all I wanted to do.
When we decided to step up with Heavy Pettin we also decided to get a front man; prior to that Gordon had been the singer and while he did his best, we wanted to create a different, or bigger, dynamic.
We found Hamie (Stephen Hayman); he came in, I taught him how to sing the songs and that was us set because I honestly had no interest in being the singer.
I really enjoyed writing songs and playing the drums; there was never a thought to me becoming a front man.
RM: That changed later of course with first Mother’s Ruin and, now, Burnt Out Wreck.
Did you feel comfortable now, taking that front man roll?
GM: I’m not really ever comfortable in that roll to be honest; I still get nervous to this day because you just never know what’s going to happen when you walk on to that stage, it could go either way [laughs].
But back in Glasgow I used to get up with different bands and sing an AC/DC number here and there in the pubs and clubs, just for the fun of it. So I used to do it, but that was just with friends and to have a good time.
RM: I believe you are a far better and even rangier singer than you were back when recording Swallow, the Burnt Out debut album. Do you do any vocal training, or exercise the voice?
GM: No, nothing at all! I have seen singers that do all that sort of stuff, or exercise the voice just half an hour before they go on stage; they might go and find a broom cupboard to do it [laughs] and then they come out of that same broom cupboard hoarse [laughter].
I mean what good is that? [laughs] – even just half an hour singing at a gig is very important so you want to make sure you still have your voice in the half an hour before the gig!
I might sing a little during the day of the gig, but lower ranges, just singing along to a song playing in the car, but not immediately before the gig.
I was talking to Dave Meniketti about this very thing not long ago and asking him for advice about whether I should and he said "I don’t do it either!" [laughs].
He’s probably supposed to but he’ll go away to do a bit of vocal practice and then just picks the guitar up instead! But that’s just Dave, whom I absolutely love.
And when you listen to Dave and Y&T they are still awesome; so if it’s good enough for Dave it’s good enough for me! [laughs]
RM: At the opposite end of that vocal spectrum are the singers who will rehearse the entire set a couple of hours before they go on – that’s just crazy, on so many vocal levels.
GM: I know! I first came across that back when Heavy Pettin supported KISS and the Canadian band Helix were also on the bill – that’s exactly what their singer did, every night.
That just killed me. I remember Hamie and myself just laughing at the absurdity of it [laughs].
RM: To wrap up, and having talked about the past and the present, what’s in the future for Burnt Out Wreck for 2020 and beyond?
GM: Well, once the pandemic is over, definitely a lot more gigs. We did a few at the end of 2019 with Pete Way Band and did some of our own in January, including London and the Skegness Rock and Blues Festival main stage, which was great; we also played Glasgow and Edinburgh in February.
There would have been Bonfest again this year but sadly that's been cancelled; we also have other festivals asking us to come and play later in the year or next year and even the possibility of going to Australia.
But Australia is not set in stone by any means; we’re still working on that.
RM: The home of Oz Rock; you’d love that.
GM: Yeah, other than the frightening thought of getting on a plane to Australia; takes me all my time to get in the van! [laughter]. I honestly don’t know how the band would get me through that one…
RM: I can tell you how – with the assistance of your own Burnt Out Wreck blended whisky.
GM: That bottle would be gone in about half an hour and I’d be lying out on the passenger aisle [laughs].
I honestly can’t think about it Ross, not right now at least; it’s too much!
RM: Well we’ll cross that Indian ocean when we come to it; meanwhile here’s to the further successes of Burnt Out Wreck, whatever continent that may be on…
GM: [laughs] Well that’s the plan; we’ll be trying our best to write and release more good rock albums.
In fact I was sitting strumming away earlier; I’m song writing constantly so we’ll just get on with it and we’ll see what happens!
At least that’s what they were hoping for but we got dropped, the license was given to another label and that’s where everything got screwed up because they just put it out however they wanted, with a crazy unapproved cover and the title of Big Bang, not The Big Bang.
And all that money went elsewhere, it certainly didn’t come back to the band; there’s probably a guy sitting in the Caribbean looking out across the beach on Heavy Pettin money.
RM: Back in that Heavy Pettin day and given you have always had a good voice, was there any point when you thought about exchanging the drum kit for the front-of-stage microphone?
GM: Not at all. Gordon Bonnar and myself were a songwriting partnership and that, and drumming, was all I wanted to do.
When we decided to step up with Heavy Pettin we also decided to get a front man; prior to that Gordon had been the singer and while he did his best, we wanted to create a different, or bigger, dynamic.
We found Hamie (Stephen Hayman); he came in, I taught him how to sing the songs and that was us set because I honestly had no interest in being the singer.
I really enjoyed writing songs and playing the drums; there was never a thought to me becoming a front man.
RM: That changed later of course with first Mother’s Ruin and, now, Burnt Out Wreck.
Did you feel comfortable now, taking that front man roll?
GM: I’m not really ever comfortable in that roll to be honest; I still get nervous to this day because you just never know what’s going to happen when you walk on to that stage, it could go either way [laughs].
But back in Glasgow I used to get up with different bands and sing an AC/DC number here and there in the pubs and clubs, just for the fun of it. So I used to do it, but that was just with friends and to have a good time.
RM: I believe you are a far better and even rangier singer than you were back when recording Swallow, the Burnt Out debut album. Do you do any vocal training, or exercise the voice?
GM: No, nothing at all! I have seen singers that do all that sort of stuff, or exercise the voice just half an hour before they go on stage; they might go and find a broom cupboard to do it [laughs] and then they come out of that same broom cupboard hoarse [laughter].
I mean what good is that? [laughs] – even just half an hour singing at a gig is very important so you want to make sure you still have your voice in the half an hour before the gig!
I might sing a little during the day of the gig, but lower ranges, just singing along to a song playing in the car, but not immediately before the gig.
I was talking to Dave Meniketti about this very thing not long ago and asking him for advice about whether I should and he said "I don’t do it either!" [laughs].
He’s probably supposed to but he’ll go away to do a bit of vocal practice and then just picks the guitar up instead! But that’s just Dave, whom I absolutely love.
And when you listen to Dave and Y&T they are still awesome; so if it’s good enough for Dave it’s good enough for me! [laughs]
RM: At the opposite end of that vocal spectrum are the singers who will rehearse the entire set a couple of hours before they go on – that’s just crazy, on so many vocal levels.
GM: I know! I first came across that back when Heavy Pettin supported KISS and the Canadian band Helix were also on the bill – that’s exactly what their singer did, every night.
That just killed me. I remember Hamie and myself just laughing at the absurdity of it [laughs].
RM: To wrap up, and having talked about the past and the present, what’s in the future for Burnt Out Wreck for 2020 and beyond?
GM: Well, once the pandemic is over, definitely a lot more gigs. We did a few at the end of 2019 with Pete Way Band and did some of our own in January, including London and the Skegness Rock and Blues Festival main stage, which was great; we also played Glasgow and Edinburgh in February.
There would have been Bonfest again this year but sadly that's been cancelled; we also have other festivals asking us to come and play later in the year or next year and even the possibility of going to Australia.
But Australia is not set in stone by any means; we’re still working on that.
RM: The home of Oz Rock; you’d love that.
GM: Yeah, other than the frightening thought of getting on a plane to Australia; takes me all my time to get in the van! [laughter]. I honestly don’t know how the band would get me through that one…
RM: I can tell you how – with the assistance of your own Burnt Out Wreck blended whisky.
GM: That bottle would be gone in about half an hour and I’d be lying out on the passenger aisle [laughs].
I honestly can’t think about it Ross, not right now at least; it’s too much!
RM: Well we’ll cross that Indian ocean when we come to it; meanwhile here’s to the further successes of Burnt Out Wreck, whatever continent that may be on…
GM: [laughs] Well that’s the plan; we’ll be trying our best to write and release more good rock albums.
In fact I was sitting strumming away earlier; I’m song writing constantly so we’ll just get on with it and we’ll see what happens!
Muirsical Conversation with Gary Moat
March 2020
Burnt Out Wreck website: https://www.burntoutwreck.com/ Facebook: www.facebook.com/BurntOutWreck/
Gary Moat Photo Credits: Mark Rutherford (top image); Paul Mockford (lower image)
March 2020
Burnt Out Wreck website: https://www.burntoutwreck.com/ Facebook: www.facebook.com/BurntOutWreck/
Gary Moat Photo Credits: Mark Rutherford (top image); Paul Mockford (lower image)