No Name Tim on Guerillas of Destiny Theme, Ace Austin Entrance Theme, Brittnie Brooks Entrance Theme

When my buddy Ace Austin asked me to make his newest theme,

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we were out in Vegas together.

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he said, I'm looking for something that's a little more new metal ish guitar ish.

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I was so excited because no one had asked me to make a theme like that yet, I'd always

wanted to.

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So to be able to do that and show, guys, I can also do this within this space.

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was a real door opener and even eye opener to me because I'm like, I think I can do this.

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I really want to do this.

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Can I do this?

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So back before I started doing themes pretty heavily, and as I've been a fan in wrestling,

one of the themes that I had heard that I was just like, all right, cool, this goes on the

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playlist, this is at the gym every day, is the Gorillaz of Destiny theme.

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And I'm like, oh, cool, No Name Tim, he must be pretty sick.

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And then all of a sudden I start hearing all this other music come from No Name Tim and

same thing.

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This must be a really cool dude, great.

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And then all of a sudden we start talking, all of a sudden you're on the show.

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So I feel like even before us being like, cool, we occupy the same space.

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It's just like, man, these songs are awesome.

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And now you're on the show.

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And I thank you for making the time, my friend.

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Dude, thank you so much for having me.

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I feel like this has been an extremely long time coming.

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You and I, can't remember when we had our first interaction, but uh I just remember it

being just very natural, like just kind of like, you know, kindred music spirit type

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stuff.

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um and I've been, when you started the pod, I remember being super excited for you and,

and, and, and proud of you and thinking it was such a cool thing to, you know, highlight,

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you know, not just musicians, but music and wrestling and that connection and the through

lines and.

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you know, the various people that have been a part of it.

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ah But at the same time, I'm like, man, like, why hasn't, why hasn't John asked me to be

on yet?

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And then last week, it just so happens you hit me like, Hey, did I ever send you the link?

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And I was like, I never got a link.

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And then it was, and then we made it happen as soon as we could.

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So I'm super excited to be here.

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a little bit behind the scenes too, which is for many people who's like, I want to come on

the show.

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Or many people I want to get on the show and it's like, Hey, let's make it happen.

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A lot of the times like awesome.

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And then I wait like a couple of weeks or like a month.

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I'm like, Hmm, I wonder.

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And then I'm like, did I ever send the link?

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They're like, Like great.

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So one one for anybody who wants to do their podcast with guests, always send your link,

always send your calendar link and then check like 10 minutes afterwards to make sure you

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did.

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Cause otherwise you'll end up like this schmuck.

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But yeah, but yeah, I'm happy.

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I'm super excited to be here.

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Super excited to talk to you.

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Same here.

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And one of the things for, like I was saying before we had even started talking was you

have a lot of these songs that precede you both in wrestling and out of wrestling.

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one thing that I've always really appreciated about composers and producers is the

composers and producers that can kind of go into different styles, right?

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I think that there's in the industry and just not just wrestling, but in music in general,

you have people who are very much one style and that's great.

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They're really good at that style.

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You get what they get from that style.

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Right.

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But then, especially when you're working in an industry where you want to be able to

create the sound that anyone's asking for, you know, you think of Hiku Leo, Natalatanga in

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WWE.

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You think of like Fallen Grey.

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You think of Brittany Brooks.

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You think of all these people that you've worked with and all of those have very different

feels and different styles.

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So for you, I'd love for you to walk a little bit through some of your process in terms of

creating a theme when you're talking to a talent and then.

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You know, for me, know my kind of primary style is heavy rock and metal, things like that,

but you're able to do all these different things too.

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So for you, is there more of a style for you that like, this is my comfort, or are you

just kind of like, hey, I'm the jack of all trades and whatever you need to do, we got it

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done.

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So I do pride myself in being uh extremely versatile across the board.

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uh Chalk that up to just 21 years now of being in the music industry and being a producer

and being a writer and working with uh rappers and R &B singers and pop artists and bands

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and just kind of accumulating that over the years.

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uh I would say that the rap and

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pop realm is more of my comfort zone.

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And when I started uh doing themes, it was where I settled and what people were kind of

coming to me for.

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um But over the years, thankfully, I've had other people reach out and request something

that's a little more rock oriented or a little more metal oriented.

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um

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When my buddy Ace Austin asked me to make his newest theme, he was like, hey man, I kind

of want something.

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Thank you.

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He's like, Hey, I, we were out in Vegas together.

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Um, and he asked me if I would be down to make him something new.

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And I said, absolutely.

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And he said, I'm looking for something that's a little more new metal ish guitar ish.

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I'm, I was so excited because no one had asked me to make a theme like that yet, but I've

always, I'd always wanted to.

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So to be able to do that and show, guys, I can also do this within this space.

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um, was a real door opener and even eye opener to me because I'm like, I think I can do

this.

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I really want to do this.

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Can I do this?

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Um, but as far as like the, the process was working with talent and, and, and creating a

theme for them, for me, it all starts with, okay, who are you?

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Um, what is, you know, as a gimmick and as a person.

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And it really just comes down to me saying, Hey, send me three to four references of.

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of what you're looking for, the vibe.

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I wanna get in the world, in the space of what you're looking for so that I'm not just

kind of throwing darts at a wall.

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I wanna be able to dial in the sound and then move forward from there, make sure I'm in

the correct space and then we can go.

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I love that.

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And it sounds so similar to the way that I've done it too, is, you know, what do you want

people to know about you before you hit the ring?

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And you kind of nailed on something that I think is important that a lot of people don't

think about.

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It's the gimmick, right?

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Obviously of the wrestler that you're working with, but a lot of the times and in

wrestling and in media, you can say there's a lot of sameness to, okay, cool.

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Like it's an undead character or they're just a really good wrestler or something like

that.

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But when you dial into who the person is kind of outside of that,

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even if you're really sticking to the gimmick, you can still throw things in there that

make it very focused about that wrestler.

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I think that I forget what YouTuber I was watching a while ago, but it resonated with me

about like, they do rebookings and things like that.

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And they were just like, everybody in wrestling kind of has a similar trajectory of like,

I enter wrestling, I want championships, I do good or bad things, you so there is a level

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of like sameness there.

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but every person's individual story is unique.

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And if you focus on those points, then you're able to drive that home.

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So I'm always excited to hear it's like, hey, it's not just the gimmick that we're

focusing on, but we're also focusing on who you are and what would this mean to you and

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how can we deliver that to the audience?

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Yeah.

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Right, right.

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Exactly.

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Because I want it to be as much as an extension of the character as it is the person.

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I mean, maybe that's going like a little too deep and unnecessary, but to me, it's the,

that's coming from, you know, working on records for major label artists and that kind of

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thing.

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It's, it's about telling their story is, you know, as they've lived it.

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So a lot of times those personal things are also informing the character of the wrestler.

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And I remember I set that tone from the gate when I did uh the G.O.D.

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theme.

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Well, first I did a uh unreleased new singles theme for Tama.

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That's how that ball kind of got rolling.

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uh Yeah, yeah, yeah.

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He originally contacted me asking me for new solo music because they were going to rebrand

him a little bit.

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But then him and his brother continue to get bigger and bigger as G.O.D.

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and that kind of ship sailed.

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And then he circled back almost a

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calendar year later to some of the other ideas that I had worked up for him was like, I

think this will work great for me and my brother.

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Can we, you know, repurpose this into a G.O.D.

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theme?

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And that's kind of how that started.

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uh But I remember talking to him and being like, I want this to represent you as a person

as much as it like I want you it to be something that you would listen to in the back

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before you hit the curtain, as much as it be the connection to you and the fans, because

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That's something a lot of people don't think about is in wrestling, first, if you're at a

show, right?

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Your first connection to your favorite wrestler isn't necessarily seeing them.

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It's audibly hearing the music that represents them.

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And that's why I feel like it is so important to have something that is dialed in, that is

personal to you, that represents you because of that connection.

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If you don't have that connect, it's not going to be as powerful as it should be.

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Yeah, absolutely.

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And you think about someone like Gorillaz, a Destiny 2, and that was kind of around the

time of the Full Bullet Club and that they were doing all those things all in, you know,

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and you have such a difference in voice.

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And specifically you, think, with that song at that time, because, you know, we, the

composer that works generally with New Japan and has for a while has a sound that they

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have, even if they're going for more of a hip hop style or rock or metal style, it sounds

very much like a him.

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And then you go over at that time to WWE and you know, you have CFOs who were doing great

work too.

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And we know a lot of the different composers over time, but when you hear something like

your song, the Gorillaz of Destiny song, and you think about it at that time, it felt so

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different than what you hear for everybody else too.

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And I always felt like Gorillaz of Destiny were kind of like very street, you know, very

tough, very much just like we're going to hurt you in every flavor at any time.

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And it was just like, you hear that.

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And I felt like being in New Japan and even going wherever else, was just like, you knew

that it was something different.

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You knew that it hit differently and you knew that there was another name doing it.

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you know, I'll even say for myself, there are things that I do that if you kind of go

through my catalog, you'll hear little things that are like, that's the John thing,

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whether it's in like a, you know, Spanish trap style or metal style or whatever.

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It's just, there's little things and maybe, maybe you guys don't hear it all the time or

maybe you do.

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I'm just glad that you're so hyper perceptive.

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Thank you.

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Welcome to the show.

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Um, but I'm just, I'm just always like, okay, there are those little things, but with you

and with that one, it was just like, man, it's so different, so unique.

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And, um, it definitely came through for them.

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And then you have all of this other music, like you said, and I want you to highlight a

little bit of what you had said a second ago.

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You said that you've also worked for other major artists as well.

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Yeah, yeah, yeah.

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I mean, over the years I've worked with, um I mean, the list is kind of extensive.

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um yeah, right?

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Yeah, exactly.

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uh Armbar.

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um So I, but the main artists I work with, who I'm kind of like his in-house guys, artists

from Canada, from Toronto named Kofi.

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um I do the majority of stuff.

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executive producers last album and have been on every one of his albums since 2018.

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I've worked on records for the late great Nipsey Hussle, um Simba.

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um Currently, I've been working a lot on stuff for Wale, Chris Brown.

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um Will all those things make projects?

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Who knows?

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It's the, I always joke that my discography of just miss out

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You

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insane, whether it was a sample clearance issue like it was with Schoolboy Q or whether

it's albums getting pushed back and getting songs falling off, that kind of thing.

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uh But uh yeah, I've worked with so many insanely talented individuals uh at the major

label and at the independent level in my career, which is just, uh it's awesome.

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mean, music's the best.

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Absolutely, yeah.

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And you talked about Wale also.

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Wale is big into wrestling also as we know.

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Shout out to all those guys.

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you know, when you talk about working with a lot of these bigger artists, even outside of

wrestling, how has the work that you've done with those guys influenced the music that you

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do for wrestlers?

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it's all, it's all it does.

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know, it's over the years, it's just been, you know, stacking experience upon experience

and stacking, you know, um, just, you know, getting, getting reps under your belt, right?

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uh, it, it's, it's funny to me how, I shouldn't say funny.

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It's very interesting to me how similar the music industry and the wrestling industry is.

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uh You know having having me having so many friends now who are professional wrestlers uh

And you know also having friends in the music business and being in the music industry uh

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It's just the parallels are eerily similar uh You know the the the art is is different but

the ways that the art all the Construction around the art is is very much same uh

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But yeah, it's helped.

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It's helped a lot, whether it's, you know, dealing with artists and being able to

communicate with talent and that sort of thing, or just even from a, uh a creation

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standpoint.

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uh Again, just working in so many different genres and working with so many different

artists, having that ability that uh hopefully whatever a wrestler might be coming to me

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for is something that I can create.

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If it's not, or I feel like it is out of my wheelhouse or something that

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I they would be better off going somewhere else.

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have like, my ego is not too big to be like, Hey, I don't think I'm the best person for

this.

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Maybe you should reach out to John.

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Maybe you should reach out to somebody else because I think that they can give you what

they're looking for better than I can.

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You know, I'm not one to be like, yeah, I'll do it.

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And then just figure it out and give them whatever.

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I don't want to just give them whatever.

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Um, I think everybody deserves to have the best possible.

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song possible.

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Yeah.

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And you also know what that sounds like too, you know, both from working with big artists,

working with lots of wrestlers.

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So for you, you really have a key into what your strengths are and even kind of what your

sub-strengths are.

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Right.

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And that's like, when you think of a certain style that maybe you're not familiar with,

you're like, okay, cool.

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Now you have this rolodex of people that you can reach out to and work with.

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And it's one of these, it's one of these things, like you said, it's about what do know

you can do?

201

00:15:13,000 --> 00:15:15,626

And I know for me years ago, it was just like,

202

00:15:15,626 --> 00:15:18,688

Versatility, when I was like, okay, how do you make it in the industry?

203

00:15:18,688 --> 00:15:20,289

Versatility is key, right?

204

00:15:20,289 --> 00:15:29,383

And no matter how versatile you are, it's like, there are always going to be those things

that you're just like, man, I could do like 90 % of it, but it's that extra 10 % that's

205

00:15:29,383 --> 00:15:30,814

really going to push it.

206

00:15:30,814 --> 00:15:33,366

And if I can't do that, then I got to know who to reach out to.

207

00:15:33,366 --> 00:15:36,597

And, you know, for me, that's always vocals.

208

00:15:36,657 --> 00:15:45,246

I just started doing vocals on things, but like when I do vocals on a few things, it's

very like kill, switch, engage, very heat, that kind of stuff, which...

209

00:15:45,246 --> 00:15:46,607

I love those guys in Killswitch.

210

00:15:46,607 --> 00:15:52,960

love like a lot of that music and obviously like I talked about, but like then someone's

like, oh, can you bring a rapper in?

211

00:15:52,960 --> 00:15:53,711

And I'm like, yes, please.

212

00:15:53,711 --> 00:15:55,552

Cause I can't do that.

213

00:15:55,552 --> 00:15:57,343

And then you all of a have this roll of decks of people.

214

00:15:57,343 --> 00:16:00,574

It's like, oh, it's, cool to be able to see those merge.

215

00:16:00,574 --> 00:16:02,555

And, it's humbling too.

216

00:16:02,555 --> 00:16:05,517

Cause you'll see that someone's like, man, I just did this.

217

00:16:05,517 --> 00:16:06,698

I hope this is okay.

218

00:16:06,698 --> 00:16:10,150

And this is like, okay for millions of years to come.

219

00:16:10,150 --> 00:16:12,221

Like, geez, man, like, I don't know how you do that.

220

00:16:12,221 --> 00:16:14,142

And I've always said that about everybody.

221

00:16:14,142 --> 00:16:15,092

Yeah.

222

00:16:15,851 --> 00:16:24,357

But yeah, I'm just, I'm the same way if something like I am, I like to say, uh, like, um,

you are a guitar player.

223

00:16:25,058 --> 00:16:28,280

I am a guy who can play guitar.

224

00:16:28,281 --> 00:16:32,184

There are, there's a huge difference between that, right?

225

00:16:32,184 --> 00:16:36,868

Like if I need a guitar player, I need somebody else to come in and play guitar.

226

00:16:36,868 --> 00:16:41,285

If I can just like, whether I'm, you know, stacking some stuff.

227

00:16:41,285 --> 00:16:46,039

power chords and rhythm stuff, cool, but that's not my bag.

228

00:16:46,039 --> 00:16:50,242

um Same with vocals, like not a vocalist.

229

00:16:50,303 --> 00:16:51,844

Gonna have to find somebody else.

230

00:16:51,844 --> 00:17:00,582

But like I know enough and can do enough to get things to where they need to be um on my

own, which I do take my pride in.

231

00:17:00,582 --> 00:17:09,549

again, certain things you just, you can't help but kind of go out and bring someone else

in, which is, you know, again,

232

00:17:09,561 --> 00:17:11,977

It's just knowing when that needs to be done.

233

00:17:12,022 --> 00:17:21,002

Yeah, but the thing is too, like even don't undersell yourself on guitar too, because

again, Ace Austin and the Fallen Grey theme, which is the theme that I had most recently

234

00:17:21,002 --> 00:17:22,562

heard before we hopped on our interview here.

235

00:17:22,562 --> 00:17:27,942

I know you just did the one for Britney, but I had just heard that one and I was just

like, okay, cool.

236

00:17:27,942 --> 00:17:33,002

This is, I would say number one, the theme is awesome, but number two, the guitar, I was

like unexpected.

237

00:17:33,002 --> 00:17:34,282

I'm like, I love that.

238

00:17:34,282 --> 00:17:41,866

And it's unexpected because, you know, with again, talking about some of the catalog that

you have, it's just like, okay, cool.

239

00:17:41,866 --> 00:17:43,828

Tim can really rip on this too.

240

00:17:43,828 --> 00:17:49,574

And you know, with Fallen Grey, she's somebody who's been coming up recently and she's

been doing banger work.

241

00:17:49,574 --> 00:17:57,142

She's somebody that just, again, like talks about promos on socials and really tries to

bring her brand out.

242

00:17:57,142 --> 00:18:00,945

And for her to be working with you, number one, good show, Fallen, great taste.

243

00:18:00,945 --> 00:18:02,908

Fallen, great taste, absolutely.

244

00:18:02,908 --> 00:18:05,790

Talk to us a little bit how you started working with her too.

245

00:18:06,213 --> 00:18:09,746

So that was through Brittany Brooks.

246

00:18:09,746 --> 00:18:14,120

uh So I met Brittany through Chris Bay.

247

00:18:14,120 --> 00:18:17,213

Chris Bay is one of my best friends in life.

248

00:18:17,213 --> 00:18:19,308

uh Met Brittany.

249

00:18:19,308 --> 00:18:24,455

Chris Bay too, I'm glad he's doing a little bit better, but ugh, man, everyone just give

all your love to him.

250

00:18:24,469 --> 00:18:29,132

dude, he is just one of the best humans walking this planet.

251

00:18:29,132 --> 00:18:37,538

Um, from just a personal friendship standpoint and every other standpoint and measurable

metric there is, um, love him to death.

252

00:18:37,538 --> 00:18:42,020

Um, I could, I could talk a whole podcast about him if we had to.

253

00:18:42,721 --> 00:18:43,222

yeah.

254

00:18:43,222 --> 00:18:50,206

Um, so we, but I, Brittany, I had done, um, I had done the theme for Brittany previously.

255

00:18:50,497 --> 00:19:02,212

And then from my understanding, ah Grey had talked to Brittany and then Brittany was the

one that made that connection.

256

00:19:02,212 --> 00:19:04,663

She gave her my contact info.

257

00:19:04,663 --> 00:19:08,775

She reached out to me and was like, Hey, I'm looking to get a new theme done.

258

00:19:08,775 --> 00:19:12,667

ah Would you be willing to take a shot at it?

259

00:19:12,667 --> 00:19:14,197

And I said, absolutely.

260

00:19:14,238 --> 00:19:18,099

So that was kind of like how that whole communication started there.

261

00:19:18,294 --> 00:19:19,534

I love that too.

262

00:19:19,534 --> 00:19:27,094

And one thing that I think goes undersold, and a lot of people come and they're like, how

do you get started doing themes, you know, and how do you reach out to people?

263

00:19:27,094 --> 00:19:30,774

And I tell people all the time, like, yes, I do a lot of client outreach.

264

00:19:30,774 --> 00:19:32,474

I do do a lot of client outreach.

265

00:19:32,474 --> 00:19:36,174

And you know, that's through whatever, socials, Facebook, email, whatever you can.

266

00:19:36,174 --> 00:19:39,974

And with a catalog like you have, could be like, hey, here's the stuff that I've done.

267

00:19:39,974 --> 00:19:47,670

It's great that you have names that people may recognize too, but I tell people, listen,

if you're doing great work and you're really selling to...

268

00:19:47,670 --> 00:19:54,650

any of these wrestlers who really need something, because the music is part, just like

their gear, just like their walk out to the ring, just like all of this stuff.

269

00:19:54,650 --> 00:19:55,830

The music is so important.

270

00:19:55,830 --> 00:20:02,850

If you're really delivering to them, the referrals that you'll get from people are so

beneficial and so important.

271

00:20:02,850 --> 00:20:13,630

And I tell people who are getting into this, I'm like, never just do the bare minimum,

because you may think that it's the you may think it's like, OK, cool, just get this one

272

00:20:13,630 --> 00:20:14,650

done and then we're done.

273

00:20:14,650 --> 00:20:16,316

But people will notice.

274

00:20:16,316 --> 00:20:18,167

And then those referrals don't come.

275

00:20:18,167 --> 00:20:21,748

And then you are working with Brittany and she's like, Hey, Fallon needs something.

276

00:20:21,748 --> 00:20:26,749

You're the first person on her mind, you know, or even at that, they love that theme.

277

00:20:26,749 --> 00:20:29,570

Fallon is probably just like, Hey, you know what?

278

00:20:29,570 --> 00:20:32,791

I'm going to go ahead and just ask Brittany who did yours.

279

00:20:32,791 --> 00:20:35,031

And then it just, the flood gates open from there.

280

00:20:35,031 --> 00:20:38,132

So the fact that you're doing that great work is awesome.

281

00:20:38,132 --> 00:20:45,854

so Brittany, again, you've worked with for a while, you did a theme for her before, and

then you just ended up doing a brand new theme for her, which is sick.

282

00:20:46,806 --> 00:20:48,572

We'll just keep using that word.

283

00:20:48,572 --> 00:20:49,846

No name, fame is sick.

284

00:20:49,846 --> 00:20:50,558

That's what it is.

285

00:20:50,558 --> 00:20:52,723

oh

286

00:20:52,723 --> 00:20:52,863

it.

287

00:20:52,863 --> 00:20:54,943

Yeah, that was a fun one.

288

00:20:54,943 --> 00:20:57,444

Let me flex the pop chops a little bit.

289

00:20:57,444 --> 00:21:01,485

um But yeah, to your point about the...

290

00:21:01,665 --> 00:21:09,968

If you do great work and you can stand on your work, if you can do great work and be a

solid human and just...

291

00:21:09,968 --> 00:21:14,266

I'm convinced that maybe...

292

00:21:14,266 --> 00:21:22,150

10 % of the work I've gotten is because my work is good and the other 90 % is just because

I'm a good hang.

293

00:21:22,150 --> 00:21:33,056

And, you know, I respect people and I respect their space and, you know, I'm just me and

authentic and I try and take care of people the best I can.

294

00:21:33,056 --> 00:21:42,839

Like, I really truly believe that because there's millions of talented musicians and

composers and creators out there, but like,

295

00:21:42,839 --> 00:21:45,734

you know, to separate yourself, like you do have to be solid.

296

00:21:45,734 --> 00:21:47,677

And I truly do believe that.

297

00:21:47,860 --> 00:21:48,861

Yeah, absolutely.

298

00:21:48,861 --> 00:21:50,422

And that's not even just gear or anything.

299

00:21:50,422 --> 00:21:53,942

That's just being able to dial into what a talent needs, right?

300

00:21:53,942 --> 00:22:02,350

Being able to write what makes sense to them and just being, you know, I also tell people

a lot of the time, like this is a business side of it too, but it is personal, like you

301

00:22:02,350 --> 00:22:08,504

said, and you got to be able to work with people and if they've got feedback for you, it's

not a you thing.

302

00:22:08,504 --> 00:22:09,675

It's a, okay, cool.

303

00:22:09,675 --> 00:22:10,536

This is what I'm looking for.

304

00:22:10,536 --> 00:22:11,016

All right, cool.

305

00:22:11,016 --> 00:22:11,957

Let me see what I can do.

306

00:22:11,957 --> 00:22:12,867

Here's what makes sense.

307

00:22:12,867 --> 00:22:17,194

You also got to be a little bit of a translator and that's something that I think is

really important.

308

00:22:17,194 --> 00:22:19,806

wrestlers would be like, I'm sorry if I'm not explaining this correctly.

309

00:22:19,806 --> 00:22:28,421

I'm like, you're not supposed to, I'm supposed to be able to take what you're saying and

figure out how to make that come into your ears and out of the speakers in the way that

310

00:22:28,421 --> 00:22:29,251

you're describing.

311

00:22:29,251 --> 00:22:30,778

you know, I just,

312

00:22:30,778 --> 00:22:38,383

it's, it's, that is a communication thing where it's, you know, it, it is a talent in

itself, right?

313

00:22:38,383 --> 00:22:47,200

Because most, most wrestlers aren't also creators or understand how music works or

understand how composition works.

314

00:22:47,200 --> 00:22:55,596

And they might ask for some things that just aren't possible or don't make sense can

textually as a song.

315

00:22:55,596 --> 00:22:57,497

And you have to kind of.

316

00:22:57,549 --> 00:23:08,337

figure out a way around that to give them something that still hits what they're looking

for, but also will make sense in a music context, right?

317

00:23:08,337 --> 00:23:13,680

uh Which can be difficult or they might not know to explain it or they might...

318

00:23:13,680 --> 00:23:14,661

Some guys are really...

319

00:23:14,661 --> 00:23:15,952

And girls are really good at it.

320

00:23:15,952 --> 00:23:16,993

They just kind of get it.

321

00:23:16,993 --> 00:23:17,843

They know it.

322

00:23:17,843 --> 00:23:19,264

Some just don't care.

323

00:23:19,264 --> 00:23:20,765

Like some people are really particular.

324

00:23:20,765 --> 00:23:23,427

Others are just like, do your thing.

325

00:23:23,427 --> 00:23:24,728

You know, like...

326

00:23:24,852 --> 00:23:27,333

I'd be like, Ace gave me no references.

327

00:23:27,333 --> 00:23:31,244

He was like, I'm coming out to this right now on the Indies and it's cool.

328

00:23:31,244 --> 00:23:33,135

So could you just kind of make something?

329

00:23:33,135 --> 00:23:37,756

And then very first thing I made, he's like, yep, that's it.

330

00:23:37,756 --> 00:23:41,207

Other people are like, I want it like this and it needs to be like this and can we have it

like this?

331

00:23:41,207 --> 00:23:42,357

Or can you try this?

332

00:23:42,357 --> 00:23:43,158

Can you do this?

333

00:23:43,158 --> 00:23:44,658

Which is also fine.

334

00:23:44,658 --> 00:23:49,760

There's no one right or wrong way or uh perfect way to make it.

335

00:23:49,760 --> 00:23:51,382

Sometimes things just come together.

336

00:23:51,382 --> 00:23:55,733

Sometimes things take a little more moving around, shuffling around, depending on the

situation.

337

00:23:55,733 --> 00:24:01,915

But to your point, yeah, you're not, they're not necessarily supposed to be able to

perfectly communicate to us.

338

00:24:01,915 --> 00:24:07,415

It's for us to sift through and be like, okay, that's a really cool idea.

339

00:24:07,415 --> 00:24:09,297

Okay, that works too.

340

00:24:09,297 --> 00:24:11,257

Let's build off of that.

341

00:24:11,257 --> 00:24:17,171

That's why I kind of asked for three or four references because they might send a couple

that are just kind of like.

342

00:24:17,171 --> 00:24:24,117

way out there that like, yeah, these are really cool songs, but they might not

contextually work for you.

343

00:24:24,117 --> 00:24:33,545

But this other thing, this, this vibe, this space right here, this musical space, this can

work or, know, I want to combine this in this.

344

00:24:33,545 --> 00:24:38,109

Well, we can't because they're way too polar opposite and it's just not going to work.

345

00:24:38,109 --> 00:24:45,034

But if I do an intro that's kind of like this and then build it into something that's like

this, then we're good to go.

346

00:24:45,034 --> 00:24:46,034

uh

347

00:24:46,034 --> 00:24:49,597

And I think that's important to be able to take those references and be like, Hey, you

know what?

348

00:24:49,597 --> 00:24:52,199

Like maybe from this, you're talking about this.

349

00:24:52,199 --> 00:24:54,330

And from this, you're talking about the complete vibe.

350

00:24:54,330 --> 00:25:00,544

usually when talent will send something gratefully, there haven't been a lot of times

where it's been like, all right, cool.

351

00:25:00,544 --> 00:25:01,165

Guess what?

352

00:25:01,165 --> 00:25:06,368

I'm going to send you a salsa theme, a heavy metal theme, a rap track, and then Zydeco or

something.

353

00:25:06,368 --> 00:25:10,671

it's like, you know, gratefully, it's not that, but at the same time you are right.

354

00:25:10,671 --> 00:25:15,370

Where sometimes you'll get three or four completely different things, but you'll kind of

listen in and you're like, all right.

355

00:25:15,370 --> 00:25:18,912

The thing that I'm hearing here is maybe these are in kind of the same tempo.

356

00:25:18,912 --> 00:25:24,155

And what you're talking about is, okay, like that's the feel that we need, at least for

speed and things like that.

357

00:25:24,155 --> 00:25:32,950

But you sent over this song and this song, for example, like has choruses or something

like, let's say someone sends over Seth Rollins theme or someone sends over Bailey's theme

358

00:25:32,950 --> 00:25:34,391

where it started with the choir and stuff.

359

00:25:34,391 --> 00:25:35,521

it's like, okay, cool.

360

00:25:35,521 --> 00:25:37,162

This is what you're talking about.

361

00:25:37,162 --> 00:25:41,185

And you're able to kind of take those elements and be like, well, here's what I did from

this.

362

00:25:41,185 --> 00:25:42,125

See if you dig it.

363

00:25:42,125 --> 00:25:43,956

And if you're, if you're in that.

364

00:25:43,956 --> 00:25:45,408

then we're in the space.

365

00:25:45,408 --> 00:25:48,431

But yeah, it goes back to what we were talking about, right?

366

00:25:48,431 --> 00:25:54,048

Just really try to figure out like each wrestler hears what makes the most sense for you

based on what you're delivering.

367

00:25:54,048 --> 00:25:56,671

Again, you send us all the information and we make it happen.

368

00:25:56,671 --> 00:26:05,030

And on that, before we get to some of these other questions here, what has been one of the

toughest themes that you've had to do and for who was it?

369

00:26:05,454 --> 00:26:08,693

Ooh, toughest themes.

370

00:26:09,425 --> 00:26:11,494

Honestly, it would.

371

00:26:11,773 --> 00:26:18,897

I won't say toughest, but the challenge, the biggest challenge was the one for Grey.

372

00:26:18,897 --> 00:26:23,159

um Because it was a lot of different parts.

373

00:26:23,159 --> 00:26:29,713

was a lot of me really kind of fitting things around and piecing things together.

374

00:26:29,713 --> 00:26:40,669

And then also just really being like, okay, like I had gotten the, um the Ace Austin theme

out.

375

00:26:40,669 --> 00:26:45,333

You know, so, so I had, I'd proven that like, okay, I can do some heavier stuff, right?

376

00:26:45,333 --> 00:26:51,717

I can do a more rock theme, but now it was like, okay, now you got to show you can do it

again.

377

00:26:51,717 --> 00:26:54,038

Cause anybody can do it once.

378

00:26:54,079 --> 00:26:55,630

I had to show that I could do it again.

379

00:26:55,630 --> 00:26:59,603

Like I can do all these other types of records, you know, no problem.

380

00:26:59,603 --> 00:27:02,845

But now I got to prove that I can do this for someone else again.

381

00:27:02,845 --> 00:27:05,387

So that was a little, a little daunting to me.

382

00:27:05,387 --> 00:27:06,738

um

383

00:27:06,738 --> 00:27:10,821

But I wouldn't say it was a difficulty because I had a blast making that thing.

384

00:27:10,821 --> 00:27:12,713

I had a blast with that.

385

00:27:12,874 --> 00:27:17,708

But again, was more so the pressure of, got a show, I can do this again.

386

00:27:17,708 --> 00:27:22,942

not just to her and to them, but to me.

387

00:27:23,163 --> 00:27:33,704

So that was probably it uh as far as like kind of pressure and complexity and that sort of

thing.

388

00:27:33,704 --> 00:27:40,449

That's how I felt when I did Mercedes Martinez and Diamantes theme too, because I've

worked with Mercedes over the years.

389

00:27:40,449 --> 00:27:40,940

thank you.

390

00:27:40,940 --> 00:27:41,400

Thank you.

391

00:27:41,400 --> 00:27:48,896

That one was probably one of the ones I'm most proud of because that was the first time I

had done, I guess you would call it like Latin trap, Spanish trap.

392

00:27:48,896 --> 00:27:52,559

um Please, I am a six foot one gringo.

393

00:27:52,559 --> 00:27:54,461

So excuse me for a second here.

394

00:27:54,461 --> 00:28:00,256

But this was one of the ones where Mercedes, I had worked with her for years and she was

like, all right, cool.

395

00:28:00,256 --> 00:28:03,442

Here's this theme and then here's Diamantes theme that they did for AEW.

396

00:28:03,442 --> 00:28:10,154

And there was kind of this merge of like, I don't want to make a mashup because I'm also,

I also don't come from the mashup world.

397

00:28:10,154 --> 00:28:15,545

So I'm very weird when it comes to like, Hey, taking these two things, putting them

together, licensing things like that.

398

00:28:15,545 --> 00:28:19,516

So for me, I'm always just like, I'd rather create something in the vein.

399

00:28:19,516 --> 00:28:23,427

And, you know, I had never really done Spanish trap before and or Latin trap.

400

00:28:23,427 --> 00:28:32,620

And one of the things that I've told students of mine over time is what are the most

important skills you can have in music is to be able to just listen and analyze whatever

401

00:28:32,620 --> 00:28:33,320

that looks like.

402

00:28:33,320 --> 00:28:39,322

However deep you decide to go into that, you need to be able to listen in and be like,

okay, cool, pick out different things.

403

00:28:39,322 --> 00:28:40,222

What's going on?

404

00:28:40,222 --> 00:28:41,892

What are some of the rhythmic things going on?

405

00:28:41,892 --> 00:28:43,263

What are some of the instruments?

406

00:28:43,263 --> 00:28:51,285

And I remember going into that when I'm being like, this might be one of the ones I got to

pass on, but I was just like, you know what, let me see if I can really hit something

407

00:28:51,285 --> 00:28:52,165

hard.

408

00:28:52,265 --> 00:28:56,726

And it took a little bit longer than it usually does, but at the end they were like, dude,

this is sick.

409

00:28:56,726 --> 00:28:58,447

Like it represented them.

410

00:28:58,447 --> 00:29:01,288

hear them using it in AEW and Ring of Honor.

411

00:29:01,288 --> 00:29:02,608

And I'm just like, dude,

412

00:29:03,824 --> 00:29:12,454

months ago I probably wouldn't have been able to do something like this but that was one

of the ones where even like there's no guitar in that one and Yeah, as the silly guitarist

413

00:29:12,454 --> 00:29:17,119

wittily middly all that you always try to fit in guitars somewhere even if it's like a

harmonic

414

00:29:17,264 --> 00:29:22,295

just subconsciously start to reach for it where you're like, wait, no, no, no, no, no.

415

00:29:22,295 --> 00:29:22,958

Keep that down there.

416

00:29:22,958 --> 00:29:24,008

I don't need it.

417

00:29:24,589 --> 00:29:25,890

Yeah.

418

00:29:26,270 --> 00:29:27,665

Right, right, right, right.

419

00:29:27,665 --> 00:29:29,356

but that one was like, yeah, there was none of it.

420

00:29:29,356 --> 00:29:31,368

And you just kind of rely on like, okay, cool.

421

00:29:31,368 --> 00:29:32,408

Here's what we're going for.

422

00:29:32,408 --> 00:29:36,295

And that's when you really lean into what the wrestler is asking for.

423

00:29:36,295 --> 00:29:37,122

And like, all right, cool.

424

00:29:37,122 --> 00:29:38,292

Let's really get it there.

425

00:29:38,292 --> 00:29:49,820

And then like you said, doubling it again, there's an unreleased theme that I had done for

Tessa and Raina Esi out in, I forget if it was in CMLL or AAA, I think it was CMLL.

426

00:29:49,820 --> 00:29:51,312

And that one was a very similar thing.

427

00:29:51,312 --> 00:29:57,839

That one's probably another one of my favorites, she had gotten, Tessa had gotten put back

into singles competition.

428

00:29:57,839 --> 00:30:04,539

So that one may not make the light of day soon, but that one was another one where was

like you said, you got to be able to do it again.

429

00:30:04,539 --> 00:30:06,812

You got to be able to figure out, okay, can I do it again?

430

00:30:06,812 --> 00:30:08,777

And yeah.

431

00:30:08,777 --> 00:30:10,328

of surprise yourself and you're like, okay, no.

432

00:30:10,328 --> 00:30:12,130

And then you just build that confidence, right?

433

00:30:12,130 --> 00:30:20,474

So now it's, you know, when I do have people asking for those kinds of things, there's

still that little bit of like, Ooh, like I got to do it again.

434

00:30:20,474 --> 00:30:24,530

And it's, you know, it hasn't been, you know, what I've been known for.

435

00:30:24,530 --> 00:30:31,345

It's, out of my comfort zone a little bit, you know, and I don't, I don't mind going out

of the comfort zone, but there's always that little piece in there.

436

00:30:31,345 --> 00:30:33,547

That's like, this isn't really your thing.

437

00:30:33,547 --> 00:30:34,739

I hope that.

438

00:30:34,739 --> 00:30:37,299

that I can do it, you know, and I hope I can get there.

439

00:30:37,299 --> 00:30:43,579

But also too, if I ever make a theme for somebody and it's just not it, I'm like, okay,

that's fine.

440

00:30:43,579 --> 00:30:45,199

You know, wasn't what you were looking for.

441

00:30:45,199 --> 00:30:48,939

I couldn't pull it off for whatever reason, you know, like it happens.

442

00:30:48,939 --> 00:30:55,019

It's no different than, you know, working on a bunch of records for people and then none

of them making the album.

443

00:30:55,019 --> 00:31:01,519

It's like, I know you recorded to five or six of them, you know, but they just didn't make

the cut for whatever reason.

444

00:31:01,519 --> 00:31:04,686

And you can't take it personal because it's not personal.

445

00:31:04,686 --> 00:31:10,734

And then you just kind of build and go off of there, you know, add it, add the unreleased

stuff to the, to the catalog.

446

00:31:10,734 --> 00:31:17,092

And then you've always got it to pull out in case someone else needs something else or

someone else needs a record like that or those sorts of things.

447

00:31:17,266 --> 00:31:17,977

I love that.

448

00:31:17,977 --> 00:31:27,650

So now we're going to get into a little Music City Rumble here where we are going to have

you book one singles match for men, one women's singles match, and one tag team match.

449

00:31:27,650 --> 00:31:30,444

And we're going to be having musicians versus musicians.

450

00:31:30,444 --> 00:31:35,270

So you get to pick the musicians wrestling in each of these matches and then say who would

go over.

451

00:31:35,423 --> 00:31:36,024

Okay.

452

00:31:36,024 --> 00:31:36,474

Okay.

453

00:31:36,474 --> 00:31:36,764

Okay.

454

00:31:36,764 --> 00:31:37,095

Okay.

455

00:31:37,095 --> 00:31:40,927

So we got, we got men's singles, right?

456

00:31:41,368 --> 00:31:41,738

Okay.

457

00:31:41,738 --> 00:31:53,137

So we'll, we'll kick off the card with the men's singles match and we're going to do, um,

we'll do a, like a battle of like the hardcore front men.

458

00:31:53,317 --> 00:31:59,982

So we're going to do, uh, we'll do, James Pliggy, uh, the lead vocalist from harm's way.

459

00:32:00,435 --> 00:32:05,915

And I'm trying to think of like, all right, who like physicals, James is a Jack dude.

460

00:32:06,035 --> 00:32:07,395

James is a big guy.

461

00:32:07,395 --> 00:32:10,695

And I'm like, who, who are we going to have him go up against?

462

00:32:10,695 --> 00:32:21,655

So I think the, with the, the, just the overall intensity and aura, we're going to do, um,

Matt honey cut for, uh, the lead vocalist of Kubla Khan.

463

00:32:21,995 --> 00:32:24,575

We're going to have them fight and it can be in the pit.

464

00:32:24,575 --> 00:32:25,795

That's fine too.

465

00:32:25,795 --> 00:32:29,580

We'll do like a, like a no ropes, like blood sport type thing, maybe.

466

00:32:29,580 --> 00:32:30,874

death match, absolutely.

467

00:32:30,874 --> 00:32:32,415

yeah, wallet death match.

468

00:32:32,415 --> 00:32:45,445

then I'm going to put, hesitate to pick any either one of these guys, know, the potential

blowback of the other one not going over.

469

00:32:45,445 --> 00:32:57,926

But we'll put James over and what would James, we'll do a referee stoppage due to um

470

00:32:57,926 --> 00:33:01,887

That's a hard, he can, can do like the picking up pennies, punching the ground.

471

00:33:01,887 --> 00:33:04,818

Like that'll be the, that'll be the finish to the match.

472

00:33:04,818 --> 00:33:06,148

Referees got to call it.

473

00:33:06,148 --> 00:33:11,389

like Matt's still tough as shit and you know, no, no submission, no pinfall.

474

00:33:11,389 --> 00:33:12,279

He's protected.

475

00:33:12,279 --> 00:33:14,580

He just, know, ref refs got to stop it.

476

00:33:14,580 --> 00:33:16,990

That's what that'll be the men's singles match.

477

00:33:17,009 --> 00:33:19,309

Women, the women's match is hard to book.

478

00:33:19,309 --> 00:33:22,330

Um, cause it's like, it's like who.

479

00:33:22,330 --> 00:33:31,570

What's two females that I would love to see just have a nice sporting competition here?

480

00:33:32,250 --> 00:33:47,650

So I'm going to stick with, I'll pick two strong leading women of bands who both in their

own eras kind of.

481

00:33:48,094 --> 00:33:53,738

kind of broke down barriers and did things that lived in a space where not a whole lot of

females did.

482

00:33:53,738 --> 00:34:01,402

So we'll uh do Haley Williams of Paramore versus uh Debbie Harry of Blondie.

483

00:34:02,744 --> 00:34:09,228

I think they would have a nice, respectful baby face versus baby face match.

484

00:34:09,228 --> 00:34:10,348

Or Debbie could play heel.

485

00:34:10,348 --> 00:34:11,969

don't think Haley could play heel.

486

00:34:11,969 --> 00:34:13,164

uh

487

00:34:13,164 --> 00:34:14,687

Williams would also be in on that match.

488

00:34:14,687 --> 00:34:17,911

Like think if you got her on the show and she'd be like, yeah, yeah, you know what?

489

00:34:17,911 --> 00:34:18,382

Yeah.

490

00:34:18,382 --> 00:34:19,424

Sitting across from Tim.

491

00:34:19,424 --> 00:34:20,685

Yeah, that's great.

492

00:34:21,146 --> 00:34:22,226

do it.

493

00:34:22,246 --> 00:34:25,706

we'll put Haley over.

494

00:34:26,666 --> 00:34:29,366

And what would Haley's finisher be?

495

00:34:31,526 --> 00:34:33,046

Phoenix Splash.

496

00:34:33,046 --> 00:34:35,846

Haley wins, pinfall, Phoenix Splash.

497

00:34:35,846 --> 00:34:40,026

Real easy, fun match, just like hyper competitive.

498

00:34:41,166 --> 00:34:43,793

That's yeah, yeah, that'll be the women's match there.

499

00:34:43,803 --> 00:34:44,797

love that.

500

00:34:44,905 --> 00:34:46,646

And then how about our tag team?

501

00:34:47,245 --> 00:34:48,905

Tag team will put in main event.

502

00:34:48,905 --> 00:34:53,467

um This was kind of like a super fun one to think about.

503

00:34:53,587 --> 00:35:04,049

we're going to do um Havoc and Prodigy of Mob Deep versus um Juicy J and DJ Paul of Three

6 Mafia.

504

00:35:04,570 --> 00:35:07,130

It'll be a tornado tag.

505

00:35:07,871 --> 00:35:11,392

No DQ, just all the bells and whistles.

506

00:35:11,392 --> 00:35:15,693

Two of the most, right, two of the most, two of the most hardcore.

507

00:35:15,693 --> 00:35:17,393

uh

508

00:35:17,501 --> 00:35:29,788

of all time just in a a in blood bath- ah all the other members of three six can get

involved and then you know the unofficial third member of- of- mob deep alchemist can come

509

00:35:29,788 --> 00:35:38,913

down and kind of run them off we can do a whole we do a whole thing or we just keep it

straight up two on two- ah but I'm gonna put over mob deep because they're the greatest

510

00:35:38,913 --> 00:35:39,903

rap group of all time.

511

00:35:39,903 --> 00:35:47,601

And- we'll do what would mob deep we need cool tag team spike pile driver.

512

00:35:47,601 --> 00:35:48,687

Love that.

513

00:35:48,697 --> 00:35:51,443

Spike Piledriver from Mob Deep, they get the pinfall.

514

00:35:51,443 --> 00:35:53,618

um DJ Paul takes the pin.

515

00:35:53,618 --> 00:35:55,511

Juicy J would never take the pin.

516

00:35:55,553 --> 00:35:59,921

And yeah, Mob Deep goes over.

517

00:36:00,910 --> 00:36:01,670

That's great.

518

00:36:01,670 --> 00:36:09,086

And then one more question If you had to choose three songs that represent you, no name

Tim, what would those three songs be?

519

00:36:09,370 --> 00:36:23,371

Okay, um three songs and I'm not gonna pick songs that I have been a part of or have

written um just to kind of give a little bit of representation of what has led me to make

520

00:36:23,371 --> 00:36:25,733

the songs that I do and that kind of thing.

521

00:36:28,576 --> 00:36:32,839

song one is uh by Fall Out Boy.

522

00:36:32,839 --> 00:36:34,741

Fall Out Boy is my favorite band of all time.

523

00:36:34,741 --> 00:36:37,803

um I've caught a lot of flack for that over the years.

524

00:36:37,803 --> 00:36:38,960

um

525

00:36:38,960 --> 00:36:42,562

but I go exactly go argue with the wall.

526

00:36:42,562 --> 00:36:47,385

Like I'm here to like from under the cork tree is a 10 out of 10 album, zero skips.

527

00:36:47,385 --> 00:36:48,685

Fini on high is incredible.

528

00:36:48,685 --> 00:36:59,591

uh Patrick and Pete's uh chemistry together is just second to none as far as a composer

working with someone else writing lyrics and putting things together.

529

00:36:59,591 --> 00:37:03,713

uh So fall out boy, seven minutes in heaven out of Van Halen.

530

00:37:03,713 --> 00:37:08,550

That'll be, that'll be my one song uh from a personal standpoint, you know,

531

00:37:08,550 --> 00:37:16,042

dealing with themes of depression and that sort of thing and things that Pete's gone

through and just musically it rocks and just it's a catchy tune.

532

00:37:16,042 --> 00:37:21,903

It's probably my favorite of their, you know, super, you know, out there well-known songs

we'll say.

533

00:37:21,903 --> 00:37:23,724

ah So that's one.

534

00:37:23,724 --> 00:37:28,665

um Circling back to Mobb Deep, again, greatest rap group of all time.

535

00:37:28,665 --> 00:37:36,287

ah I'm gonna pick Survival of the Fittest um from Mobb Deep.

536

00:37:36,287 --> 00:37:38,067

um

537

00:37:38,223 --> 00:37:41,864

They're just, again, best rap group of all time.

538

00:37:42,345 --> 00:37:53,690

can listen to Mobb Deep all day, their entire catalog, and their ability to just stay true

to their sound and just evolve it over time.

539

00:37:53,690 --> 00:37:57,071

Like every Mobb Deep album sounds like a Mobb Deep album, you know?

540

00:37:57,071 --> 00:38:04,174

And it's just maybe slightly different or slightly evolved, which um is something that

just I've respected over the years.

541

00:38:04,174 --> 00:38:06,139

And just growing up a hip hop head and...

542

00:38:06,139 --> 00:38:12,119

everybody who knows me just like, know, rap music was my major thing growing up.

543

00:38:12,439 --> 00:38:15,079

And so I had to pick one rap song.

544

00:38:15,079 --> 00:38:19,339

I could have done all three rap songs, but I was like, I want to give a little different

pieces of me.

545

00:38:19,419 --> 00:38:31,059

And then the third song was kind of like a tough one to pick because again, so many songs

to choose from that I feel like kind of like represent who I am.

546

00:38:31,599 --> 00:38:35,429

But I'm to pick a Nirvana song because while

547

00:38:35,429 --> 00:38:37,250

Fall Out Boy is my favorite band of all time.

548

00:38:37,250 --> 00:38:40,162

think Nirvana is the greatest band of all time.

549

00:38:40,663 --> 00:38:43,125

But I'm not going to pick one that most people would think.

550

00:38:43,125 --> 00:38:56,495

ah I'm going to pick ah Where Did You Sleep Last Night off their Unplugged album, which is

an interpolation of the In the Pine song from an old American folk song.

551

00:38:56,495 --> 00:39:05,060

um That performance from them, uh from the band as a whole, but

552

00:39:05,060 --> 00:39:13,997

Kurt especially, his vocal, ah is so beautiful and sad at the same time.

553

00:39:14,198 --> 00:39:17,440

And it's just such a haunting performance.

554

00:39:17,440 --> 00:39:32,172

But every time I listen to it and every time I hear it, ah that sadness, but also the

power and the beauty in it, it helps me to kind of make sense of the noise that goes on in

555

00:39:32,172 --> 00:39:34,580

my own head any given day.

556

00:39:34,580 --> 00:39:40,396

And it's just one of those songs where you just can't quite put your finger on it other

than the performance of it.

557

00:39:40,396 --> 00:39:44,730

Every time I hear it, just hits me in the emotions.

558

00:39:44,730 --> 00:39:46,868

It just speaks to me.

559

00:39:46,868 --> 00:39:52,183

And that's such an iconic, uh not just track, but that's such an iconic performance too.

560

00:39:52,183 --> 00:39:56,632

And there's so much legacy that goes into it and so much background into that one.

561

00:39:56,632 --> 00:40:06,145

And it's just like, to choose a song, not just by them, but to choose a song that really

sits in what I would call like a legacy record.

562

00:40:06,145 --> 00:40:10,489

I don't think that could be understated and that's an awesome choice.

563

00:40:10,870 --> 00:40:13,091

Well, Tim, thank you so much for being on the show.

564

00:40:13,091 --> 00:40:13,822

It's uh

565

00:40:13,822 --> 00:40:21,102

It's always great to talk to other entrance theme composers and one who has done so much

that you have and just be able to chat, talk to shop a little bit.

566

00:40:21,102 --> 00:40:22,984

Thanks so much for being on the show.

567

00:40:23,075 --> 00:40:24,127

Thanks for having me, man.

568

00:40:24,127 --> 00:40:27,384

I'm flattered that you would even consider to have me on here.

569

00:40:27,384 --> 00:40:28,844

It's still like surreal to me.

570

00:40:28,844 --> 00:40:29,226

and rifts.

571

00:40:29,226 --> 00:40:31,555

It's not an entrance theme show unless we have yawn.

572

00:40:31,555 --> 00:40:32,842

uh

573

00:40:32,842 --> 00:40:33,923

so much, man.

574

00:40:33,923 --> 00:40:34,333

I do.

575

00:40:34,333 --> 00:40:34,723

I do.

576

00:40:34,723 --> 00:40:35,363

appreciate it.

577

00:40:35,363 --> 00:40:37,995

I'm super humbled by everything.

578

00:40:37,995 --> 00:40:44,390

And to just be a part of the music wrestling community is just like the coolest thing.

579

00:40:44,390 --> 00:40:51,274

ah It was something I always wanted to be a part of, ah but didn't know how to even get in

there.

580

00:40:51,274 --> 00:41:00,221

And then so the fact that his luck would have it, his chance would have it, I have gotten

to be a part of it is super important to me and I love every second of it.

581

00:41:00,221 --> 00:41:01,121

So thank you.