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Speaker 1: You're listening to KFI AM six forty on demand.

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Speaker 2: So exciting on the Big Show today, Lots to talk about. Obviously,

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Speaker 2: the Dodgers coming back to La, a little bit of

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Speaker 2: momentum in their favor. The series tied one to one

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Speaker 2: after a brutal game on Friday night. And if you

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Speaker 2: weren't listening to the show that we were doing here

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Speaker 2: on Friday night, because maybe you were listening to the Dodgers,

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Speaker 2: I totally understand. But we'll get into what's happening there

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Speaker 2: in that world. Also a big show today, Like I said,

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Speaker 2: Rob Cavalla will be joining us. That's why we were

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Speaker 2: playing a little bit of that green Day that you

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Speaker 2: heard coming in from break there. I hear, you know,

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Speaker 2: it's so funny. I hear somebody talking. I hear that

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Speaker 2: microphone again with the clicking in the background. And we

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Speaker 2: had this issue last week and it might have been

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Speaker 2: was it is traffic?

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Speaker 3: I think it was traffic.

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Speaker 2: Yeah, well we'll see if it goes away. I don't

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Speaker 2: think I hear it anymore. They went away. They remember that,

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Speaker 2: they were say they're like, oh snap, I would say

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Speaker 2: this if you were if you're gonna breathe and click.

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Speaker 2: You're welcome to it. Own it, you know what I'm saying, Like,

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Speaker 2: make it a bit, make it a part of the show.

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Speaker 2: By the way, speaking of bits, it's Halloween week. It's

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Speaker 2: a weird thing here because Halloween's on a Friday, so

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Speaker 2: obviously people are going to probably be going out on Friday.

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Speaker 2: I think that we have a game. There's a game

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Speaker 2: scheduled on Friday, isn't there in the World series? Do

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Speaker 2: you know when the next one is? I know Monday,

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Speaker 2: we have one. I guess it kind of depends on

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Speaker 2: how it goes Friday and Saturday. Friday game six, if necessary,

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Speaker 2: same thing for Saturday game seven. Got it? So this

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Speaker 2: is all going to be wrapped up here in the

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Speaker 2: next week or so. And how you feeling. I see

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Speaker 2: you got the little lat you get the black and

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Speaker 2: white Dodger's hat. I was wearing my shirts yesterday in

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Speaker 2: the last few couple of days, just to ring in

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Speaker 2: the series. Oh my god, but that first one hit

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Speaker 2: different we can't use but not like that. That's so real.

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Speaker 2: And of course now you know you have a motor

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Speaker 2: last night through what is called a complete game that

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Speaker 2: hasn't happened since I want to say, I think it's

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Speaker 2: been ten years since somebody threw a complete game in

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Speaker 2: the World Series, and essentially what that means is that

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Speaker 2: it's the only pitcher that the Dodgers had last night

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Speaker 2: was Yoshinobu Yamamoto. Nine innings of one run ball in

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Speaker 2: front of a sold out crowd against a devastating Blue

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Speaker 2: Jays offense. He did the same thing at the Milwaukee

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Speaker 2: Brewers back in Game two of the NLCS that was

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Speaker 2: eleven days prior. Four hits walked nobody, struck out eight,

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Speaker 2: and retired each of the last twenty batters he faced,

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Speaker 2: becoming the first pitcher since Kurt Shilling back in two

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Speaker 2: thousand and one to throw back to back complete games

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Speaker 2: in the postseason. The last time a pitcher retired the

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Speaker 2: final twenty batters in the playoffs, Don Larson was offering

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Speaker 2: a perfect game in the nineteen fifty six Worlds Series.

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Speaker 2: Go Dodgers. A lot of energy. Different situation than we

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Speaker 2: had on Friday night last night in Los Angeles. Take

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Speaker 2: a listen.

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Speaker 3: Mom's watch bar downtown. It was standing room only.

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Speaker 4: With the sea of Dodger blue and eyes glued to

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Speaker 4: every screen.

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Speaker 2: I understand that you know you're a reporter, you're you know,

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Speaker 2: maybe you want to stay impartial. Can we get a

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Speaker 2: little more energy here?

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Speaker 4: I mean this is like the sea of Dodger blue

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Speaker 4: and eyes glued to every screen.

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Speaker 5: How much would I bet?

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Speaker 1: I'm betting ten thousand on the Dodgers, just on this

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Speaker 1: game on the seriales on Betty fifty thousand.

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Speaker 5: Australia. Wait, time here for the.

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Speaker 2: Game, Nikki.

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Speaker 3: Don't even your people. I don't sound like those ones.

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Speaker 5: Uh yeah, not at all, Astralia. Time here, pull the gume,

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Speaker 5: pull the guy.

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Speaker 3: Back to back. Fans came in hopeful, we're.

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Speaker 1: Gonna come back.

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Speaker 3: We gotta get this dog for La.

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Speaker 1: We're gonna do it.

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Speaker 3: But anxious.

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Speaker 5: It's Jaffney, a rollerba series.

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Speaker 3: Knowing what was at Steet in game two.

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Speaker 2: Let's get this woman a little espresso. You know, it's

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Speaker 2: just talk. We gotta get on the edge of your

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Speaker 2: seat here with that track. You got Dodgers, you got hopeful,

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Speaker 2: you got anticipation, you have world series.

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Speaker 6: P'tesfinitely gonna have a game Saxe and seven. Now they're

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Speaker 6: gonna take it back to Toronto, and I do not

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Speaker 6: I want to wait.

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Speaker 1: That at August.

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Speaker 2: Yeah, I think that's really well said, because obviously we

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Speaker 2: saw we first night in Toronto was not a good night.

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Speaker 2: I don't think anybody's had that bad of a night

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Speaker 2: in Toronto ever in history. I'm talking to like regular

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Speaker 2: people just walking around, you know what I'm saying. They

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Speaker 2: were all celebrating very on Friday night, very very uh

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Speaker 2: quietly though they were, they were off for a little way,

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Speaker 2: so hey, you know, a little rested, little sluggish's like they're.

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Speaker 7: Not using the wrestlers Laws series.

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Speaker 5: Dodger in vibe, I said, Dodger Jim Vibe Toge.

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Speaker 8: Woke up in the middle innings with back to back

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Speaker 8: hits that flipped the momentum.

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Speaker 2: Listening to her track, I'm sorry, I'm sure it's a

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Speaker 2: great reporter, but listening to her report this next to

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Speaker 2: all these people cheering is just blowing my mind.

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Speaker 8: Momentum from there, the Dodgers and never looked back, piling

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Speaker 8: on runs in, silencing Blue Jay fans out by out.

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Speaker 4: And they're gonna win.

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Speaker 5: We love Yamamoto.

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Speaker 3: With a five to one win, the boys in Blue

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Speaker 3: are headed home. We're just gonna relish this win, and

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Speaker 3: Dodger Nation is ready to welcome them.

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Speaker 9: Back.

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Speaker 3: It's gonna go crazy.

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Speaker 10: It's going to go so crazy.

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Speaker 4: We're off upsited am I to get them on Monday

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Speaker 4: to Casino.

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Speaker 2: I personally, I love these packages because I love hearing

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Speaker 2: Angelina's I love hearing people celebrating and being excited about

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Speaker 2: the Dodgers. But I will say I'm ready to retire

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Speaker 2: the Boys in Blue thing. You can say it if

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Speaker 2: you're a regular person, if you're a fan, but if

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Speaker 2: you're writing copy for television, for broadcast or whatever, we

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Speaker 2: got to stop with Boys in Blue. It's just too much.

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Speaker 2: It's like it's become washed out, washed up, one of

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Speaker 2: those you know.

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Speaker 6: It was a rollercoaster of emotions as you just saw there.

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Speaker 6: It was so fun to watch because in the beginning,

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Speaker 6: everyone's confident, They're like, we got this in the bag,

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Speaker 6: yesterday didn't count. Then in the middle everyone's a little

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Speaker 6: bit more quiet when I asked them how they felt,

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Speaker 6: and then at the end they're like, I.

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Speaker 3: Told you we got it.

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Speaker 6: So obviously that's what comes with watching sports and loving sports.

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Speaker 6: But all these fans here tell me they are so

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Speaker 6: excited for Monday night, for that game to return back

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Speaker 6: to LA And they again are confident that we're going

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Speaker 6: to win it all.

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Speaker 2: Back to back, baby, back to back baby. Indeed, go Dodgers. Toronto,

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Speaker 2: Canada tough place to be. It's so cold up there

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Speaker 2: that I don't know if you've seen. Of course you

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Speaker 2: saw if you've been watching. The Rogers Center was originally

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Speaker 2: called the SkyDome. It's got a roof on it. It's

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Speaker 2: so cold there. I mean even in Boston, in Chicago

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Speaker 2: they play outside, but Toronto's like, no, we got to

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Speaker 2: put a roof over them. That's wild. They do that also,

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Speaker 2: I believe in Arizona, I think the Diamondbacks play in

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Speaker 2: an air conditioned stadium for the opposite reason obviously.

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Speaker 5: But what's cool.

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Speaker 2: About Roger Center also is that there are hotel rooms

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Speaker 2: that are inside the SkyDome inside Roger Center, and I

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Speaker 2: guess the top does retract, which is cool. So if

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Speaker 2: it is nice there the few days that it's nice

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Speaker 2: in Toronto, they can pull the top off and then

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Speaker 2: have an actual baseball game outside. It's just weird to

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Speaker 2: play baseball inside, don't you think I feel? Can you

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Speaker 2: imagine a field of dreams if you build it a

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Speaker 2: SkyDome with a retractable roof? They will come. Here's some

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Speaker 2: more info about the hotel rooms inside Roger Center.

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Speaker 5: Yeah, it is really cool.

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Speaker 9: It's something that I think maybe we should see.

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Speaker 5: In God, you're standing on your change right.

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Speaker 7: I don't know if that could happen.

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Speaker 5: But we got some exciting fans out here, some young

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Speaker 5: Dodger fans. We got a five. But these these seats

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Speaker 5: are great. Check out the seats over in center field.

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Speaker 2: Those are also really cool.

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Speaker 9: An exclusive look at one of the most unusual ways

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Speaker 9: to watch the World Series Marriott Hotel rooms attached to

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Speaker 9: Toronto's Rogers Center.

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Speaker 7: Tawny could easily hit a home run to like right

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Speaker 7: where we are.

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Speaker 2: I said that when we were coming here, as we might.

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Speaker 7: Get a ball.

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Speaker 9: The only place in North America with beds overlooking a

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Speaker 9: Major League baseball field.

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Speaker 3: I've never seen anything like this before.

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Speaker 2: I wonder if they can see in. You know, you

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Speaker 2: got a guy there in his robe, sitting in the

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Speaker 2: bed watching a game.

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Speaker 7: Can you see that you went from Saskatchewan to be here.

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Speaker 10: For the Saskatchewan We came for the good luck.

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Speaker 9: This room is two stories with the bedroom up top.

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Speaker 9: Also the view World Series prices started around two thousand

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Speaker 9: dollars a night now climbing to almost ten thousand.

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Speaker 2: Wow, but relatively speaking, I feel like that's probably a

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Speaker 2: pretty good deal.

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Speaker 9: Or your closest friends wearing Dodger blue. Are you guys

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Speaker 9: just gonna stand here like this all day?

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Speaker 7: Yes?

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Speaker 5: We are.

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Speaker 3: I think we're beat food and sure the jail.

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Speaker 7: Story into the skybox.

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Speaker 9: The hotel's GM giving us a tour of the skybox

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Speaker 9: big enough for twenty five people.

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Speaker 7: It is unbelievable that we're in a hotel right now.

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Speaker 9: You are in a hotel right now, which is crazy

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Speaker 9: considering what's going on here. Hotel rooms that feel more

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Speaker 9: like stadium seats surrounded by fifty thousand baseball fans.

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Speaker 5: So this is where people yell, well, it's God Dodger.

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Speaker 2: Can you imagine if you weren't anticipating this, you got

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Speaker 2: to your hotel. Maybe it's a business trip, all right.

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Speaker 2: I got you with a view of third base if

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Speaker 2: you didn't want to be at the baseball game. Can't

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Speaker 2: be that dumb, all right? Coming up, lots more to

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Speaker 2: talk about here on the Andy Reestmeyer Show. We've got

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Speaker 2: a look into what or who rather are buying classic cars. Now,

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Speaker 2: this is kind of exciting as a person who likes

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Speaker 2: old cars first on purpose or first not on purpose. Rather,

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Speaker 2: I couldn't afford anything else except for an old beater,

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Speaker 2: old hooptie. Now they're getting kind of valuable. It's pretty exciting. Plus.

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Speaker 2: Rob Cavallo, Grammy Award winning producer, the mega hit man

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Speaker 2: behind the Goo Goo Dolls, Green Day, Dave Matthews Band,

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Speaker 2: Alanis Morrisset, My Chemical Romance, and so many more, will

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Speaker 2: join us in about fifteen minutes to talk about his career,

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Speaker 2: and we're going to break down one of the Good

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Speaker 2: Doll's classic songs to talk about what makes it tick.

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Speaker 2: That's all coming up. It's I AM six forty live

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Speaker 2: everywhere on the iHeartRadio app.

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Speaker 1: You're listening to KFI AM six forty on demand.

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Speaker 2: Beautiful Los Angeles day, gorgeous out there, nice little breeze,

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Speaker 2: listening to some My Chemical Romance, thinking about my father

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Speaker 2: taking me into the city to see a marching band.

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Speaker 2: Just one of the many songs produced by super producer

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Speaker 2: Rob Cavalla, who will be joining us live and studio

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Speaker 2: here in just about ten fifteen minutes or so. Exciting,

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Speaker 2: very cool, very lucky to have him here. We're going

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Speaker 2: to talk about his career. I love that there's so

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Speaker 2: many cool music things that we get to talk about

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Speaker 2: on this show, but this is especially exciting. We had

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Speaker 2: John Tesh last week, but we wanted to talk to

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Speaker 2: Rob because I think that the era of music that

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Speaker 2: he was influential in producing was a very special era

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Speaker 2: because it was kind of the end of the major

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Speaker 2: studio system, where they were spending thousands of dollars a

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Speaker 2: day to rent out these beautiful, huge, legendary studios on

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Speaker 2: Sunset Boulevard and in Hollywood. It was right before computers

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Speaker 2: came in and made recording fortunately more accessible to a

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Speaker 2: lot of people. But unfortunately the music industry obviously changed

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Speaker 2: a lot, and I think there was less emphasis and

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Speaker 2: less excitement about going into these big studios and making

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Speaker 2: these big records. So if you listen back to those

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Speaker 2: big hits from the late nineties especially, you've got these

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Speaker 2: incredible productions. So we're going to talk to him about

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Speaker 2: that and how the music industry has changed. The man

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Speaker 2: has three Grammys. He also was the chairman of Warner

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Speaker 2: Brothers Music, which of course is just across the street here,

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Speaker 2: so we'll talk about that too. In a little bit

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Speaker 2: if you look towards the west. Actually, I guess we

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Speaker 2: got to look towards the east. It's not the West wing,

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Speaker 2: it's the East wing that is gone.

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Speaker 1: Now.

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Speaker 2: President Jnald Trump ordered the demolition of the East Wing

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Speaker 2: as part of his still to be approved plan to

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Speaker 2: build a three hundred million dollars ballroom. This week, you

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Speaker 2: might have seen videos of wrecking cruise tearing down the

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Speaker 2: two story offices and the reception rooms. So what they're

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Speaker 2: losing was an in house movie theater didn't know they

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Speaker 2: had that, and a covered walkway to the White House,

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Speaker 2: which has been seen in a lot of photographs over

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Speaker 2: the years. There was also a garden dedicated to Jackie

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Speaker 2: Kennedy that has been uprooted. Like I said, it's part

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Speaker 2: of this plan to build a three hundred million dollars ballroom.

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Speaker 2: But the East Wing was mostly known as a place

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Speaker 2: where first Ladies and their teams worked. Of course, over

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Speaker 2: the years, like one hundred years of it being there,

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Speaker 2: they worked on everything from stopping drug abuse and boosting

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Speaker 2: literacy to beautifying and preserving the White House itself. So

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Speaker 2: a pretty interesting article today on KTLA dot com talks

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Speaker 2: about sort of the history of what was going on

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Speaker 2: in the East Wing, starting with First Lady Roslind Carter.

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Speaker 2: She was the first lady to have her own office

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Speaker 2: in the East Wing, and she said she wanted a

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Speaker 2: place that she could go where she didn't have to

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Speaker 2: dress up and didn't have to put on makeup. Heard

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Speaker 2: that that's how I ended up on the radio. So

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Speaker 2: she said that her favorite route to the office in

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Speaker 2: the winter times was through the basement, past the laundry

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Speaker 2: rooms and workshops under the White House, passed a bomb shelter,

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Speaker 2: and the thermostats upstairs. Remember this was the Carter administration.

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Speaker 2: This was the seventies, early seventies. It would have been there.

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Speaker 2: There would have been a late sevent excuse me, there

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Speaker 2: would have been a lot of energy issues happening then.

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Speaker 2: So President Carter's energy conservation program made the East Wing

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Speaker 2: so cold she was forced to wear long underwear. So

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Speaker 2: that was a situation where they were practicing what they preach.

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Speaker 2: They were saying, hey, everybody, turn your heat down, and

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Speaker 2: we're actually going to do it too. Nancy Reagan also

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Speaker 2: worked there. The whole idea for just Say No, and

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Speaker 2: the campaign for Just Say No was not birthed there,

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Speaker 2: but at least was worked on there. The whole anti

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Speaker 2: drug program she made a hallmark of her White House era.

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Speaker 2: Hillary Clinton did not have her office in the East Wing,

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Speaker 2: but instead in the West Wing because she went to

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Speaker 2: be integrated physically with the president's team. Michelle Obama, of course,

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Speaker 2: Laura Bush, Milannia Trump, and Jill Biden all also spent

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Speaker 2: time in the East Way. All right, so there you go.

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Speaker 2: We'll see that the new ballroom coming soon. I think

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Speaker 2: that'd be a good that'd be a good Halloween costume, Nicky,

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Speaker 2: don't you think. I don't know if that first lady. No, no, no,

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Speaker 2: the you could go as the three hundred million dollar ballroom.

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Speaker 3: I don't know about that.

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Speaker 2: Yeah. No, you'd get like a box and you could

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Speaker 2: put you know, you paint the windows on it, you

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Speaker 2: paint it white, you draw like.

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Speaker 3: A dire Oh yeah yeah, yeah, yeah yeah.

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Speaker 2: I mean it's so tough. I was thinking about this

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Speaker 2: last night. I went to dinner and we were all talking,

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Speaker 2: what would you go for Halloween? Ass I feel like

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Speaker 2: there's no shared things that have happened this year that

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Speaker 2: are good.

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Speaker 11: Well, I mean, we've had this discussion off air about

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Speaker 11: all the famous deaths this year that would make fabulous

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Speaker 11: Halloween costumes.

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Speaker 2: That's always yeah, But like you wouldn't do that in

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Speaker 2: a place where you wanted pictures taken of yourself.

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Speaker 10: You know.

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Speaker 11: I've had some questionable costumes. So I dressed as Joan

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Speaker 11: Rivers when she died.

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Speaker 2: That seems like a tribute, though, you know, as long

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Speaker 2: as you're doing it, I think in a tribute and

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Speaker 2: you're not like if they died some horrible way and

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Speaker 2: you're representing their death or something like that.

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Speaker 11: She did die during throat surgery, so I kind of

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Speaker 11: had a throat.

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Speaker 2: With ah man. I knew you were going to do.

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Speaker 2: I knew it. And then let's see, last night you

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Speaker 2: went as a share from Turnback Time.

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Speaker 3: Yes, I did.

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Speaker 11: It was all butts out and lots of near nudity,

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Speaker 11: but it was great.

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Speaker 3: I'm doing it again next week's.

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Speaker 2: Jullie Night in LA For that, I had somebody. It's

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Speaker 2: so funny that you said it, because at dinner, somebody

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Speaker 2: came up to me and said, Hey, there's a party

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Speaker 2: going on in the back room. It's somebody's birthday party.

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Speaker 2: But they did a costume party because they're obviously it's

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Speaker 2: so close to Halloween, and we're like, oh cool, Yeah,

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Speaker 2: what's up? You know what what are they going as?

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Speaker 2: And the girl I would say she was probably I

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Speaker 2: thought she was my age, in my mid to late thirties.

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Speaker 2: I thought she was around my age. She said, Oh,

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Speaker 2: she's going to share from some music video nobody's ever heard.

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Speaker 3: Of, typical genre, some long.

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Speaker 2: Ago music video. And I was like what music. I

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Speaker 2: was like, is she going as share from Turnback Time?

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Speaker 2: That iconic look on the on the destroyer, on the

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Speaker 2: military ship, on the aircraft carrier. That's the word I

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Speaker 2: was looking for. She was like, yes, that is who

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Speaker 2: I've never heard. And I was like, oh, man, but

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Speaker 2: you're right. Young people no culture.

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Speaker 3: They know nothing.

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Speaker 11: They don't even know who Will Smith and Ben Affleck is.

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Speaker 2: That's not they got to know Will Smith at least

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Speaker 2: from the slab.

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Speaker 3: It's true.

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Speaker 11: No, you know, bored op Sam's daughter doesn't know who

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Speaker 11: Will Smith is and she's a teenager.

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Speaker 2: I mean maybe that's good parenting though at the same.

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Speaker 3: Time, who likes Will Smith.

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Speaker 2: It's am Sex forty. We're live everywhere on the iHeart

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Speaker 2: Radio app Coming up. Rob Cavallo, super producer joining us

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Speaker 2: in studio, cannot wait to talk to him. Plus at

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Speaker 2: three o'clock hour, we're talking about what happened this week

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Speaker 2: in Los Angeles, looking back to see if it's possible

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Speaker 2: that the state of California could have done more to

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Speaker 2: prevent the Palisades fire. We'll get into it. A six forty.

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Speaker 1: You're listening to KFI AM six forty on demand.

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Speaker 2: Three time Grammy winner one hundred and thirty million records sold.

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Speaker 2: When that meant something, when that was when that was

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Speaker 2: a real I mean sure, sure, absolutely as far as

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Speaker 2: but when people really bought records and it meant something

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Speaker 2: to buy a record back then. You have been a

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Speaker 2: producer for some of the I think biggest songs from

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Speaker 2: my life Google alls, like I said, Green Day, Alanis

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Speaker 2: Morris said, Dave Matthews Band. The list goes on and on,

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Speaker 2: and really we were listening to Iris. I think that

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Speaker 2: is it true that was like the most played song

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Speaker 2: of all time or something like that on terrestrial radio?

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Speaker 10: Pretty true? Yeah, there was an interesting statistic where you

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Speaker 10: know it did a million spins. That's just insane when

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Speaker 10: you think a radio station can only really play a

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Speaker 10: record sixty seventy times a week at most. Yeah, yeah,

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Speaker 10: that's incredible. It was because it was a multi format hit.

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Speaker 10: We had pop, hot a see, alternative rock, every kind

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Speaker 10: of rock.

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Speaker 2: Yeah, everybody loved that.

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Speaker 10: Every style of station could play it.

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Speaker 2: Yet I've always loved the Google Dolls, And I mean,

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Speaker 2: I think that and Back to the Future are the

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Speaker 2: reason that I learned how to play guitar. That I

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Speaker 2: wanted to be a guy in a band because I

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Speaker 2: remember seeing like Johnny in the Iris video and being like,

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Speaker 2: what is that? You know? And I would liken it too,

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Speaker 2: the same way like when I when I first saw

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Speaker 2: James Dean or I heard Nirvana, where like something happened

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Speaker 2: in my brain that was like, oh, this is you

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Speaker 2: should pay attention to this. And I wonder, you know,

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Speaker 2: when you think about all these bands like like like

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Speaker 2: goog Dolls, like Green Day, like like the Black Parades,

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Speaker 2: my Chemical Romance, rather, is there anything that sort of

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Speaker 2: I mean, you've met probably everybody in the industry. Is

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Speaker 2: there anything that you kind of think ties everybody together?

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Speaker 2: They all do? They all share something?

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Speaker 10: Yeah, there's a couple of things. I mean, besides the

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Speaker 10: obvious lots of talent they share kind of usually a

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Speaker 10: pretty rough childhood really, yeah, and very but also the

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Speaker 10: idea that they were on stage usually early in their life,

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Speaker 10: and they got positive feedback forming in front of people,

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Speaker 10: and that becomes a feeling that they're almost addicted to

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Speaker 10: when they want Yeah, so they want to create that

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Speaker 10: in their life. I think that another and the other

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Speaker 10: thing is this is that they love songs, They love songwriting,

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Speaker 10: and they love the idea that, oh I could make

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Speaker 10: a song like that, but it could be mine.

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Speaker 2: So how did you get involved? I mean, it was

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Speaker 2: Green Day the start of it for you. That opened

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Speaker 2: all the doors I think to the other things.

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Speaker 10: Yes, because I was I was flailing around at the

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Speaker 10: Warner Brothers A and R department inside some things that

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Speaker 10: definitely didn't work. And then I changed my tune. I

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Speaker 10: had this moment where it was like, wait a minute,

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Speaker 10: don't sign things that you think are going to be successful.

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Speaker 10: Sign things that you love, that you feel that you

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Speaker 10: want to listen to. And that changed everything.

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Speaker 2: Really, So that was kind of and and Green Day

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Speaker 2: San Diego? Right or were they were?

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Speaker 7: They?

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Speaker 10: L O, they're from there, They're from like Oakland.

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Speaker 2: Oh that's right. Sorry, I was thinking Blake Twinity two,

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Speaker 2: same era, completely different concept. So they're they're playing music

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Speaker 2: that at that time I think was like what the

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Speaker 2: ephemeral youth sounded like. And I think to get that

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Speaker 2: to get on board with that in the early nineties,

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Speaker 2: I mean, did you know that when that happened, that

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Speaker 2: was going to be something that was going to explode

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Speaker 2: like that.

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Speaker 10: Everybody wishes they have a crystal ball. Yeah, I can't

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Speaker 10: say that I had a crystal ball. What I can

440
00:21:37,000 --> 00:21:38,680
Speaker 10: say was is when I heard it, I felt like,

441
00:21:38,720 --> 00:21:40,840
Speaker 10: oh my god, this is me. I would play this

442
00:21:40,880 --> 00:21:42,520
Speaker 10: in my car over and over and over again. And

443
00:21:42,520 --> 00:21:44,119
Speaker 10: that's what spoke to you, and you just followed that

444
00:21:44,160 --> 00:21:45,959
Speaker 10: and I just did it. I didn't care because at

445
00:21:45,960 --> 00:21:48,680
Speaker 10: that time everything was grunge, right. It was no pop

446
00:21:48,680 --> 00:21:51,280
Speaker 10: punk at that point. And one of these that's why

447
00:21:51,320 --> 00:21:53,760
Speaker 10: Green Day signed with me was because I had signed

448
00:21:53,760 --> 00:21:56,719
Speaker 10: this little group called the Muffs, which were from Orange County.

449
00:21:57,040 --> 00:21:59,720
Speaker 10: Two girls, two guys, and they were playing pop punk too.

450
00:21:59,760 --> 00:22:01,960
Speaker 10: But I did that two years earlier in ninety one.

451
00:22:02,640 --> 00:22:03,000
Speaker 5: Wow.

452
00:22:03,320 --> 00:22:05,720
Speaker 10: And then when Billy Joe and the guys met me,

453
00:22:05,760 --> 00:22:08,320
Speaker 10: they were like, wait, so you signed the Muffs and

454
00:22:08,359 --> 00:22:08,720
Speaker 10: then you.

455
00:22:08,760 --> 00:22:11,200
Speaker 2: Produced it, which was like street cred for you. Yes,

456
00:22:11,280 --> 00:22:12,560
Speaker 2: and you did.

457
00:22:12,359 --> 00:22:13,879
Speaker 10: That at a major label and they were like, we

458
00:22:13,920 --> 00:22:16,359
Speaker 10: don't know any other major label guy that's done that.

459
00:22:17,240 --> 00:22:21,000
Speaker 2: When you think about that era and your identity then

460
00:22:21,040 --> 00:22:24,359
Speaker 2: as a producer, because some guys start as musicians, you

461
00:22:24,359 --> 00:22:29,240
Speaker 2: were coming from the label side of it. What kind

462
00:22:29,280 --> 00:22:31,399
Speaker 2: of producer do you think you are in terms of

463
00:22:31,760 --> 00:22:35,320
Speaker 2: are you like the tour? Are you the guy who's like,

464
00:22:35,440 --> 00:22:37,800
Speaker 2: don't talk to me for five minutes when I come

465
00:22:37,840 --> 00:22:41,560
Speaker 2: into the room. I'm just stating here, Oh like, how

466
00:22:41,640 --> 00:22:43,280
Speaker 2: is it that you know? Because I imagine that wouldn't

467
00:22:43,280 --> 00:22:44,840
Speaker 2: have worked with the pop punk kids.

468
00:22:44,880 --> 00:22:47,919
Speaker 10: Oh no, I first of all, I would say that

469
00:22:49,280 --> 00:22:51,760
Speaker 10: if there was maybe maybe I'm the invisible man. I'd

470
00:22:51,760 --> 00:22:53,520
Speaker 10: like to I'd like not to have a sound, even

471
00:22:53,560 --> 00:22:55,200
Speaker 10: though some people have accused me of having a sound.

472
00:22:55,280 --> 00:22:56,280
Speaker 2: Ooh.

473
00:22:56,320 --> 00:22:59,600
Speaker 10: And the reason why this is because I'll produce uh,

474
00:22:59,640 --> 00:23:01,560
Speaker 10: because I been in bands, and I played every instrument

475
00:23:01,600 --> 00:23:05,600
Speaker 10: in bands for a lead singer, and I was an engineer.

476
00:23:06,320 --> 00:23:10,520
Speaker 10: I create a new way of doing the record based

477
00:23:10,560 --> 00:23:13,000
Speaker 10: on what the band's needs are. So that's why Dave

478
00:23:13,000 --> 00:23:15,400
Speaker 10: Matthews will sound like Dave Matthews, Hid rock will sound

479
00:23:15,400 --> 00:23:16,880
Speaker 10: like kid Rock. I'm not going to do the same

480
00:23:16,920 --> 00:23:19,400
Speaker 10: for as I would do for Green Day.

481
00:23:19,800 --> 00:23:24,200
Speaker 2: You're unlocking the I think we got another we got

482
00:23:24,240 --> 00:23:26,879
Speaker 2: another clicker on the line here. I think somebody else's

483
00:23:26,880 --> 00:23:29,240
Speaker 2: microphone is up in the studio. No, I just swear

484
00:23:29,280 --> 00:23:30,840
Speaker 2: I hear it. I don't, do you hear it? Okay,

485
00:23:30,920 --> 00:23:32,879
Speaker 2: maybe it's in my head and I'm going crazy. I

486
00:23:32,880 --> 00:23:35,159
Speaker 2: have been hearing it out of door. Yeah it's not

487
00:23:35,200 --> 00:23:38,520
Speaker 2: who does anyway? Well, so I think about that era too,

488
00:23:38,760 --> 00:23:40,720
Speaker 2: and then you've got good dolls, and then these hits

489
00:23:40,800 --> 00:23:42,639
Speaker 2: just start happening, and you get to a point where

490
00:23:43,000 --> 00:23:46,440
Speaker 2: you are like at the top of the big studio

491
00:23:47,680 --> 00:23:53,080
Speaker 2: era of music, where it was before both technology created

492
00:23:53,560 --> 00:23:57,520
Speaker 2: a monster that would disassemble the record the record industry,

493
00:23:58,240 --> 00:24:00,480
Speaker 2: or at least turn it on its head. Yes, but

494
00:24:00,600 --> 00:24:03,119
Speaker 2: in o I would also create new opportunities for people

495
00:24:03,119 --> 00:24:05,240
Speaker 2: to make stuff in their homes. But I want to

496
00:24:05,240 --> 00:24:09,160
Speaker 2: go back to nineteen ninety six, seven eight. There's these

497
00:24:09,200 --> 00:24:11,960
Speaker 2: records that sound this way, and I think it's obviously

498
00:24:12,040 --> 00:24:14,199
Speaker 2: because there's a lot of great I mean the great songs,

499
00:24:14,240 --> 00:24:17,399
Speaker 2: great singing. This is before the widely adopted sort of

500
00:24:17,600 --> 00:24:20,480
Speaker 2: computerization of everything. It was like we didn't quantize everything.

501
00:24:20,480 --> 00:24:24,760
Speaker 2: There wasn't auto tune on everything. The big studio was

502
00:24:24,800 --> 00:24:28,199
Speaker 2: a moment. And I think about records like Dizzy Up

503
00:24:28,240 --> 00:24:31,080
Speaker 2: the Girl, like Gutterflower, that you can hear the sound

504
00:24:31,080 --> 00:24:34,240
Speaker 2: of the room, you can hear the orchestras, these rock bands,

505
00:24:34,240 --> 00:24:38,840
Speaker 2: these huge productions, and I think that something changed. We

506
00:24:38,880 --> 00:24:40,920
Speaker 2: got away from that. Yeah, do you think it's time

507
00:24:40,960 --> 00:24:43,159
Speaker 2: we go back to having some I would love to

508
00:24:43,160 --> 00:24:44,480
Speaker 2: hear that sonic quality again.

509
00:24:44,520 --> 00:24:47,600
Speaker 10: Well, here's the wild thing is that I love that sound. Yeah,

510
00:24:47,640 --> 00:24:50,040
Speaker 10: And so I actually built my own place so I

511
00:24:50,080 --> 00:24:51,960
Speaker 10: can have that sound and I don't have to pay

512
00:24:52,000 --> 00:24:53,200
Speaker 10: three thousand dollars a day.

513
00:24:53,160 --> 00:24:54,480
Speaker 2: Right, because that's what it used to be.

514
00:24:54,680 --> 00:24:56,879
Speaker 10: Yeah, and I'm an engineer, plus the musician. I mean,

515
00:24:56,920 --> 00:24:58,160
Speaker 10: it was insanely expensive.

516
00:24:58,280 --> 00:25:01,040
Speaker 2: It was insanely expensive, the food, I know. I mean,

517
00:25:01,040 --> 00:25:03,000
Speaker 2: and you had these budgets for these labels that were

518
00:25:03,000 --> 00:25:05,280
Speaker 2: giving these money to these bands to make these music

519
00:25:05,320 --> 00:25:08,200
Speaker 2: videos that cost a million dollars apiece.

520
00:25:07,920 --> 00:25:09,600
Speaker 10: Yeah, or an average of two hundred thousand.

521
00:25:09,680 --> 00:25:12,280
Speaker 2: That's crazy. And that the songs themselves, I mean, they

522
00:25:12,280 --> 00:25:15,880
Speaker 2: would just lock out somewhere like on Sunset for what

523
00:25:16,040 --> 00:25:19,800
Speaker 2: six months? Oh, hell yeah, that's out of control. That's outrageous.

524
00:25:19,800 --> 00:25:22,480
Speaker 10: Actually locked into like a big room with Fleetwood Mac

525
00:25:22,520 --> 00:25:26,640
Speaker 10: once for nine months. So fun, all of them, uh,

526
00:25:26,680 --> 00:25:27,200
Speaker 10: most of them?

527
00:25:27,240 --> 00:25:27,640
Speaker 2: Wow?

528
00:25:27,960 --> 00:25:28,280
Speaker 10: Yeah?

529
00:25:28,320 --> 00:25:29,760
Speaker 2: How many times did the band break up and get

530
00:25:29,760 --> 00:25:30,680
Speaker 2: back together during that time?

531
00:25:30,720 --> 00:25:30,880
Speaker 7: Oh?

532
00:25:31,000 --> 00:25:35,399
Speaker 2: Just three of four? When you think about that era too,

533
00:25:35,840 --> 00:25:37,800
Speaker 2: you know, Steve Lelly White was also a big producer,

534
00:25:37,960 --> 00:25:39,760
Speaker 2: and I think it's beautiful to listen to those records

535
00:25:39,800 --> 00:25:42,880
Speaker 2: because you have a lot of real instruments that sound

536
00:25:42,920 --> 00:25:45,960
Speaker 2: the best they ever would sound. Yeah, because it's still

537
00:25:46,080 --> 00:25:48,800
Speaker 2: a lot of tape, still a lot of transformers and

538
00:25:48,800 --> 00:25:53,119
Speaker 2: tubes and great microphones, super clarity, really talented engineers, because

539
00:25:53,160 --> 00:25:55,920
Speaker 2: you had to hire a great engineer who knew what

540
00:25:55,960 --> 00:25:57,760
Speaker 2: he was doing, because otherwise, you know, it was there

541
00:25:57,800 --> 00:26:01,200
Speaker 2: was actually a risk say that, which was you could

542
00:26:01,200 --> 00:26:03,760
Speaker 2: actually end up with a record that didn't sound good

543
00:26:03,880 --> 00:26:06,639
Speaker 2: and wouldn't work because actually a big risk it was

544
00:26:06,680 --> 00:26:08,320
Speaker 2: too clean or unwieldy.

545
00:26:08,440 --> 00:26:11,760
Speaker 10: No, the idea of a studio sound from scratch. It's

546
00:26:11,800 --> 00:26:13,359
Speaker 10: not like just oh, let's just take this sample, it's

547
00:26:13,359 --> 00:26:13,960
Speaker 10: already perfect.

548
00:26:14,040 --> 00:26:14,240
Speaker 3: Yeah.

549
00:26:14,240 --> 00:26:15,920
Speaker 10: You actually had to place mics and make sure they're

550
00:26:15,920 --> 00:26:17,560
Speaker 10: in phase and do all this little bore the audience

551
00:26:17,600 --> 00:26:20,440
Speaker 10: with that. Well, I mean, I'm hanging on every work,

552
00:26:20,640 --> 00:26:23,200
Speaker 10: but that sound is I'll tell you what was great

553
00:26:23,240 --> 00:26:25,200
Speaker 10: about the studio because you started with the Black Parade, right,

554
00:26:25,280 --> 00:26:27,760
Speaker 10: So I heard that as I was coming in, and

555
00:26:29,000 --> 00:26:32,200
Speaker 10: so the Black Parade. I got to the studio early

556
00:26:32,240 --> 00:26:33,359
Speaker 10: one day and this is the kind of thing that

557
00:26:33,400 --> 00:26:35,119
Speaker 10: only happens if you're at a studio. Yeah, for the

558
00:26:35,119 --> 00:26:39,720
Speaker 10: most part of some kind. And who came early, Gerard,

559
00:26:39,800 --> 00:26:42,560
Speaker 10: So it's just me and him, and he was saying,

560
00:26:42,600 --> 00:26:44,720
Speaker 10: you know, we should have this idea of the Black Parade.

561
00:26:44,760 --> 00:26:46,800
Speaker 10: It's like a parade. It starts from very far away,

562
00:26:47,080 --> 00:26:49,000
Speaker 10: and it gets closer and closer. It gets louder and

563
00:26:49,040 --> 00:26:50,639
Speaker 10: louder and louder and big and huge, and then it

564
00:26:50,640 --> 00:26:52,439
Speaker 10: gets farther and farther away. As it goes past you.

565
00:26:53,560 --> 00:26:55,959
Speaker 10: He goes, I have this idea. Why don't you take like, uh,

566
00:26:57,359 --> 00:27:04,800
Speaker 10: you know, the like the graduation theme of March. Oh yeah,

567
00:27:05,119 --> 00:27:07,880
Speaker 10: he's like, can you do one of those? Like he's

568
00:27:07,880 --> 00:27:11,560
Speaker 10: he's sort of leaning against the piano playing. He goes,

569
00:27:11,600 --> 00:27:14,840
Speaker 10: do one of those that's sort of like starts small,

570
00:27:14,960 --> 00:27:17,800
Speaker 10: but instead of that melody, but like that melody, just

571
00:27:17,800 --> 00:27:19,920
Speaker 10: make it go down. So I had one of those

572
00:27:19,960 --> 00:27:22,440
Speaker 10: moments where I was like, you know what, I don't

573
00:27:22,440 --> 00:27:25,600
Speaker 10: think yep, just play and I just literally came out

574
00:27:25,600 --> 00:27:26,200
Speaker 10: of my hand.

575
00:27:26,119 --> 00:27:29,200
Speaker 5: Ding ding ding, Dean oh Man.

576
00:27:29,400 --> 00:27:34,200
Speaker 10: Ding ding. And then he went when it was oh.

577
00:27:33,520 --> 00:27:36,399
Speaker 2: That's okay. Here we keep going. We're on a delay

578
00:27:36,400 --> 00:27:36,720
Speaker 2: so they.

579
00:27:36,680 --> 00:27:40,359
Speaker 10: Can iPhone or something we had and and then I

580
00:27:40,359 --> 00:27:42,479
Speaker 10: made it sound bigger. I started playing with both and

581
00:27:42,480 --> 00:27:44,200
Speaker 10: big and fat, and then we made it and were

582
00:27:44,359 --> 00:27:44,880
Speaker 10: ramped back.

583
00:27:45,040 --> 00:27:47,439
Speaker 2: That is so cool. That is so exciting, I mean,

584
00:27:47,520 --> 00:27:49,320
Speaker 2: and and so that's is that you playing on the

585
00:27:49,720 --> 00:27:50,520
Speaker 2: on the record too?

586
00:27:50,720 --> 00:27:51,959
Speaker 10: Yeah, get out of touch?

587
00:27:52,000 --> 00:27:53,000
Speaker 2: Sure amazing.

588
00:27:53,040 --> 00:27:55,240
Speaker 10: Although I will tell you I had to smoke cigarettes.

589
00:27:55,240 --> 00:27:58,440
Speaker 10: I couldn't. When it came time to actually cut the thing,

590
00:27:58,480 --> 00:28:01,560
Speaker 10: I was nervous for some re ison't about the performance,

591
00:28:01,760 --> 00:28:04,280
Speaker 10: even because it's there's more to it than notes in

592
00:28:04,320 --> 00:28:07,160
Speaker 10: the beginning, and I wanted to make it sound kind

593
00:28:07,160 --> 00:28:10,520
Speaker 10: of spooky and kind of the thing, and I felt

594
00:28:10,560 --> 00:28:14,040
Speaker 10: like I wasn't getting the vibe. So I kept smoking cigarettes.

595
00:28:14,080 --> 00:28:15,439
Speaker 10: And I was the only guy in that band that

596
00:28:15,480 --> 00:28:18,600
Speaker 10: didn't smoke. Everybody smoked but me. I was the non smoker.

597
00:28:18,800 --> 00:28:23,240
Speaker 10: Oh no, no, there's a funny picture of us where

598
00:28:23,240 --> 00:28:26,600
Speaker 10: everybody is not smoking except for me, because that's our

599
00:28:26,640 --> 00:28:30,000
Speaker 10: inside joke, right, because I was like, I was turning

600
00:28:30,000 --> 00:28:30,879
Speaker 10: green in the middle of.

601
00:28:31,400 --> 00:28:33,960
Speaker 2: Oh man, Well, it's a great song.

602
00:28:34,080 --> 00:28:36,520
Speaker 10: We got the vibe. I got the vibe of that thing, you.

603
00:28:36,560 --> 00:28:39,160
Speaker 2: Know for sure, the feel on that piano figure at

604
00:28:39,160 --> 00:28:40,960
Speaker 2: the beginning of that. And I think that.

605
00:28:40,920 --> 00:28:43,440
Speaker 10: There's another part of the story which is really amazing,

606
00:28:43,480 --> 00:28:46,840
Speaker 10: which is that we had this other song called carry

607
00:28:46,880 --> 00:28:49,320
Speaker 10: On that wasn't really quite working on its own. We

608
00:28:49,360 --> 00:28:52,000
Speaker 10: couldn't figure it out. And then we were like, wait

609
00:28:52,040 --> 00:28:54,360
Speaker 10: a minute, what if we take the first half of

610
00:28:54,440 --> 00:28:57,960
Speaker 10: the Black Parade where it goes from small to big

611
00:28:58,040 --> 00:29:02,320
Speaker 10: and stick it onto the you know, the carry On song,

612
00:29:02,400 --> 00:29:03,880
Speaker 10: You turn that into one big thing.

613
00:29:04,240 --> 00:29:04,560
Speaker 2: Wow.

614
00:29:04,560 --> 00:29:06,560
Speaker 10: And that happened because we were in a big studio

615
00:29:06,560 --> 00:29:08,640
Speaker 10: and we were able to throw on the marching band.

616
00:29:08,720 --> 00:29:11,280
Speaker 2: Yeah yeah, right, and that's when you have that huge sound.

617
00:29:11,320 --> 00:29:13,520
Speaker 2: So we got to take a quick break when we

618
00:29:13,560 --> 00:29:16,040
Speaker 2: come back, though, I want to talk about what I think.

619
00:29:16,440 --> 00:29:18,080
Speaker 2: You know, I'm not an expert at all, but what

620
00:29:18,200 --> 00:29:20,720
Speaker 2: I think the Rob Cavallo signature is which I think

621
00:29:20,800 --> 00:29:23,960
Speaker 2: is somewhere in ear candy Land. Okay, I'll and I'll

622
00:29:24,000 --> 00:29:26,520
Speaker 2: support this with a few a few thoughts coming up

623
00:29:27,000 --> 00:29:30,760
Speaker 2: more with Rob Cavallo, one of my favorites producer here

624
00:29:30,800 --> 00:29:33,400
Speaker 2: in studio on KFIM six forty. We're live everywhere on

625
00:29:33,440 --> 00:29:34,400
Speaker 2: the iHeartRadio app.

626
00:29:35,680 --> 00:29:39,560
Speaker 1: You're listening to kfi AM six forty on demand.

627
00:29:43,760 --> 00:29:48,080
Speaker 2: In studio right now with Rob Cavallo, music producer of

628
00:29:48,080 --> 00:29:51,280
Speaker 2: that song and so many others. Black Walline, of course,

629
00:29:51,400 --> 00:29:53,520
Speaker 2: was from the Goo Dolls record Dizzy Up the Girl

630
00:29:53,600 --> 00:29:56,520
Speaker 2: back in nineteen ninety eight, is when that came out. Wow,

631
00:29:57,200 --> 00:29:59,480
Speaker 2: And we're going to get into I want to go

632
00:29:59,560 --> 00:30:02,640
Speaker 2: like sort of listen to a couple of moments and

633
00:30:02,680 --> 00:30:05,120
Speaker 2: then as a producer, tell me what you know, if

634
00:30:05,160 --> 00:30:08,360
Speaker 2: you remember anything about it specifically, if there's anything interesting

635
00:30:08,360 --> 00:30:10,800
Speaker 2: that you can share some stories from recording it. Before

636
00:30:10,800 --> 00:30:12,440
Speaker 2: we get into that, though, take me back to nineteen

637
00:30:12,480 --> 00:30:15,560
Speaker 2: ninety seven, nineteen eighty eight of making this record and

638
00:30:15,640 --> 00:30:18,040
Speaker 2: sort of you had done some stuff with the Goo

639
00:30:18,160 --> 00:30:21,440
Speaker 2: Dolls beforehand, right, and then when it came time now

640
00:30:21,480 --> 00:30:25,840
Speaker 2: to do this record that ended up being a smash hit, right,

641
00:30:25,920 --> 00:30:27,720
Speaker 2: name had been on the radio. I think the guy

642
00:30:27,760 --> 00:30:30,280
Speaker 2: at k Rock spun name, and then they became a band,

643
00:30:30,320 --> 00:30:32,880
Speaker 2: a band band, right, and they were really cool, like

644
00:30:33,360 --> 00:30:34,920
Speaker 2: punk band before right.

645
00:30:35,000 --> 00:30:37,600
Speaker 10: I actually signed them originally thinking they were going to

646
00:30:37,640 --> 00:30:40,280
Speaker 10: be like Green Day, because that's what they kind of sounded. Yeah,

647
00:30:40,320 --> 00:30:42,840
Speaker 10: and then Johnny came in and started writing acoustic ballads.

648
00:30:43,240 --> 00:30:44,920
Speaker 10: And the next thing, you know, Kevin Weatherly a K

649
00:30:45,080 --> 00:30:46,960
Speaker 10: Rock is saying, I'm not playing your single. I'm playing

650
00:30:46,960 --> 00:30:47,880
Speaker 10: this one called.

651
00:30:47,760 --> 00:30:48,760
Speaker 2: Name Get out of Town.

652
00:30:48,760 --> 00:30:50,000
Speaker 10: And then we were like, no, don't do it. And

653
00:30:50,040 --> 00:30:51,920
Speaker 10: then oh my god, he was so right.

654
00:30:52,120 --> 00:30:52,479
Speaker 5: Yeah.

655
00:30:52,560 --> 00:30:55,160
Speaker 2: I mean I think that because you know, I know

656
00:30:55,200 --> 00:30:59,480
Speaker 2: that Johnny Resnick loves Paul Westerberg. Yes, and so you

657
00:30:59,520 --> 00:31:02,800
Speaker 2: see that parallel. I think in their later work of

658
00:31:02,840 --> 00:31:06,120
Speaker 2: the late nineties, a lot you know, come through also,

659
00:31:06,280 --> 00:31:07,760
Speaker 2: even though that I think that there's a lot of

660
00:31:08,240 --> 00:31:09,840
Speaker 2: you know, you go back to the sort of Alex

661
00:31:09,880 --> 00:31:11,959
Speaker 2: Chilton influence. I mean everything, you know, everything goes back

662
00:31:11,960 --> 00:31:16,360
Speaker 2: to Alex Chulton late nineties. What's happening in the music industry?

663
00:31:16,800 --> 00:31:18,800
Speaker 10: Well, oh boy, a lot. Well it was. It was

664
00:31:18,880 --> 00:31:20,600
Speaker 10: kind of the kind of the good old days really

665
00:31:20,800 --> 00:31:22,440
Speaker 10: in the sense you could sell a lot of CDs

666
00:31:22,880 --> 00:31:25,800
Speaker 10: and you could. It was very, very cash rich. And

667
00:31:25,840 --> 00:31:28,480
Speaker 10: it was also still the time of the soundtrack. And

668
00:31:28,520 --> 00:31:30,640
Speaker 10: I say that because that's really important because what happened

669
00:31:30,680 --> 00:31:34,120
Speaker 10: was is they finished that one record that had name

670
00:31:34,160 --> 00:31:36,320
Speaker 10: on it, but they were short a few B sides,

671
00:31:36,480 --> 00:31:38,600
Speaker 10: so they asked me to come in and I recorded

672
00:31:38,640 --> 00:31:40,520
Speaker 10: like four or five B sides for them. Some of

673
00:31:40,520 --> 00:31:42,080
Speaker 10: them went into movies, like one of them went into

674
00:31:42,160 --> 00:31:45,080
Speaker 10: Tommy Boy, Oh cool, example, and every B side that

675
00:31:45,120 --> 00:31:48,520
Speaker 10: I did with them kind of did something kind of large,

676
00:31:48,560 --> 00:31:50,560
Speaker 10: even though I can't remember, but yeah, they all went

677
00:31:50,600 --> 00:31:52,320
Speaker 10: into movies and they did stuff, and it was kind

678
00:31:52,320 --> 00:31:55,040
Speaker 10: of like amazing going into Tommy Boy and seeing them

679
00:31:55,080 --> 00:31:56,480
Speaker 10: hit the road on it. And then you hear the

680
00:31:56,480 --> 00:31:59,080
Speaker 10: Googles track, right, Oh I did that, you know. And

681
00:31:59,120 --> 00:32:02,880
Speaker 10: then and then what happened is, well, my dad is

682
00:32:02,880 --> 00:32:05,040
Speaker 10: a movie producer, so he was and this guy Chruck

683
00:32:05,120 --> 00:32:08,560
Speaker 10: Roven who was uh and Don Steele. They were producing

684
00:32:08,560 --> 00:32:10,440
Speaker 10: this movie City of Angels, and they were like, we

685
00:32:10,760 --> 00:32:15,040
Speaker 10: think this should have music in it. And they were like,

686
00:32:15,080 --> 00:32:17,800
Speaker 10: can you take some of your friends down to see

687
00:32:17,800 --> 00:32:20,760
Speaker 10: this movie? Maybe they'll write some songs. Sosh I ended

688
00:32:20,840 --> 00:32:22,880
Speaker 10: up taking the Goo dolls, and I ended up taking

689
00:32:22,920 --> 00:32:26,120
Speaker 10: Alanis Moore set your friends, by the way, just your friends,

690
00:32:26,200 --> 00:32:28,120
Speaker 10: Like if someone was like, hey, Andy, take your friends

691
00:32:28,120 --> 00:32:29,960
Speaker 10: down and be like, here's my buddy from Tamas.

692
00:32:30,520 --> 00:32:32,920
Speaker 2: We we used to we used to get drunk together

693
00:32:33,040 --> 00:32:35,520
Speaker 2: down on the bars on sunset and you've got you've

694
00:32:35,520 --> 00:32:37,360
Speaker 2: got Johnny Resink, you got Alanis Moore set, and they're

695
00:32:37,360 --> 00:32:38,720
Speaker 2: watching the movie and then.

696
00:32:38,720 --> 00:32:40,560
Speaker 10: And then then, and then we were like, wow, this

697
00:32:40,600 --> 00:32:43,240
Speaker 10: is a cool movie. It's it's actually it's pretty emotional.

698
00:32:44,440 --> 00:32:45,840
Speaker 10: And I said, so, if you guys want to, you know,

699
00:32:45,960 --> 00:32:48,360
Speaker 10: try and maybe something will hit you and you'll write something.

700
00:32:48,360 --> 00:32:50,440
Speaker 10: And the next day I literally got to call it

701
00:32:50,480 --> 00:32:52,520
Speaker 10: twelve o'clock from Johnny and at one o'clock from Alanis,

702
00:32:52,520 --> 00:32:54,280
Speaker 10: and they both said exactly the same thing. I just

703
00:32:54,360 --> 00:32:57,560
Speaker 10: recorded this song. I just wrote this song. You know,

704
00:32:57,640 --> 00:32:59,800
Speaker 10: do you want to produce it? And I was like sure,

705
00:33:00,000 --> 00:33:01,320
Speaker 10: and they you know, because they sent it over and

706
00:33:01,400 --> 00:33:04,920
Speaker 10: I was like, you know, one song, of course, was Iris,

707
00:33:05,120 --> 00:33:09,000
Speaker 10: and the next song was Uninvited and those two songs,

708
00:33:09,360 --> 00:33:11,320
Speaker 10: oh my god, they just exploded.

709
00:33:11,440 --> 00:33:14,600
Speaker 2: And City of Angels, Meg Ryan Nick Cage, great movie.

710
00:33:15,880 --> 00:33:19,600
Speaker 2: The songs though, I mean that is that's that's the googodalls.

711
00:33:19,720 --> 00:33:20,680
Speaker 2: I had a signature song.

712
00:33:20,680 --> 00:33:22,680
Speaker 10: I had a running joke with Nicholas Cage that that

713
00:33:22,880 --> 00:33:25,920
Speaker 10: was pretty funny because he used to say, you know

714
00:33:26,000 --> 00:33:28,720
Speaker 10: the soundtrack did did that? You know it did eighteen

715
00:33:28,760 --> 00:33:30,640
Speaker 10: million at ten dollars a CD. It means it gross

716
00:33:30,680 --> 00:33:31,800
Speaker 10: one hundred and eighty million dollars.

717
00:33:31,880 --> 00:33:34,440
Speaker 2: Whow the soundtrack did it make more money than the movie?

718
00:33:34,480 --> 00:33:35,720
Speaker 10: Did? The movie gross ninety million?

719
00:33:35,800 --> 00:33:37,960
Speaker 2: To get out of town? This is such a different

720
00:33:37,960 --> 00:33:38,600
Speaker 2: world that we live in.

721
00:33:38,640 --> 00:33:40,400
Speaker 10: So he used to joke with me about that. He's like,

722
00:33:40,440 --> 00:33:41,800
Speaker 10: you kicked my ass on the movie.

723
00:33:42,200 --> 00:33:45,000
Speaker 2: That's so great and it's wild. I mean, you look

724
00:33:45,000 --> 00:33:47,680
Speaker 2: ahead towards than your career. You do more, more and

725
00:33:47,720 --> 00:33:50,800
Speaker 2: more and more. We have obviously a title shift in

726
00:33:50,840 --> 00:33:54,400
Speaker 2: the music business. Tastes change. But then you become the

727
00:33:55,280 --> 00:33:59,160
Speaker 2: chairman of Warner Brothers Music for a decade and change.

728
00:33:59,600 --> 00:34:02,680
Speaker 10: Yeah that I was like ten years later, well, twenty ten,

729
00:34:02,720 --> 00:34:05,440
Speaker 10: I became the Well two thousand and seven, I became

730
00:34:05,600 --> 00:34:08,880
Speaker 10: a Chief creative officer of Warner Music Group. That was

731
00:34:08,880 --> 00:34:11,759
Speaker 10: an amazing job. I was kind of like up in

732
00:34:11,840 --> 00:34:15,080
Speaker 10: corporate and basically I was just a glorified producer and

733
00:34:15,719 --> 00:34:18,360
Speaker 10: the guys that were running the labels could call me

734
00:34:18,400 --> 00:34:19,879
Speaker 10: and say, you know, fix this or do that?

735
00:34:19,920 --> 00:34:20,160
Speaker 2: Cool?

736
00:34:20,400 --> 00:34:22,480
Speaker 10: And I work with everybody. Yeah, I mean, you wouldn't

737
00:34:22,480 --> 00:34:25,040
Speaker 10: believe that behind the scenes stuff that was that I

738
00:34:25,080 --> 00:34:27,800
Speaker 10: was I'm sure around doing. I mean, you know everybody

739
00:34:27,800 --> 00:34:30,880
Speaker 10: from Bruno Mars to I don't know you name it.

740
00:34:31,000 --> 00:34:33,120
Speaker 2: Yeah, I mean I know you've worked with everybody and

741
00:34:33,120 --> 00:34:38,080
Speaker 2: then move on to management as well and still creating. Essentially,

742
00:34:38,360 --> 00:34:40,600
Speaker 2: when you think about now what is happening with I

743
00:34:40,640 --> 00:34:44,080
Speaker 2: guess ai. You know, as a musician myself, I kind

744
00:34:44,080 --> 00:34:49,160
Speaker 2: of a little discouraged when people can just poop out

745
00:34:49,200 --> 00:34:53,120
Speaker 2: a whatever thing and some of it sounds convincing. I

746
00:34:53,160 --> 00:34:54,800
Speaker 2: don't know if it's good. I don't know if it

747
00:34:54,800 --> 00:34:57,080
Speaker 2: has any soul to it, but at least is convincing

748
00:34:57,200 --> 00:34:59,520
Speaker 2: enough to or I worry that it will get to

749
00:34:59,560 --> 00:35:02,080
Speaker 2: the point where it's convincing enough that people like you,

750
00:35:02,760 --> 00:35:06,759
Speaker 2: people like musicians who are who are studio musicians who

751
00:35:06,880 --> 00:35:10,479
Speaker 2: do that and they and they that's their living, won't

752
00:35:10,480 --> 00:35:11,320
Speaker 2: get the call anymore.

753
00:35:12,560 --> 00:35:14,279
Speaker 10: I'll tell you this that, well, there are some things

754
00:35:14,280 --> 00:35:16,799
Speaker 10: that it might people not get the call. You know

755
00:35:16,960 --> 00:35:19,480
Speaker 10: the computer will do that. But there's one thing for

756
00:35:19,560 --> 00:35:22,920
Speaker 10: sure I think is that when you look at how

757
00:35:23,480 --> 00:35:28,600
Speaker 10: music moves forward and how AI works, right, AI it

758
00:35:28,680 --> 00:35:31,360
Speaker 10: digests all the music that was, just as a human

759
00:35:31,680 --> 00:35:35,759
Speaker 10: we digest what we like, and then it'll analyze the

760
00:35:35,760 --> 00:35:37,920
Speaker 10: AI will analyze the genre, and then you give it

761
00:35:37,960 --> 00:35:41,160
Speaker 10: a prompt and it will sort of create something based

762
00:35:41,160 --> 00:35:45,480
Speaker 10: on the rules that were, where the really great humans

763
00:35:45,600 --> 00:35:48,839
Speaker 10: don't create something on the rules that were, they make

764
00:35:49,000 --> 00:35:51,560
Speaker 10: new rules. So in other words, like if you say Jimmy,

765
00:35:51,719 --> 00:35:55,279
Speaker 10: how I defy a computer to come up with Jimi

766
00:35:55,320 --> 00:36:00,200
Speaker 10: Hendrix where they completely obliterate the guitar or a Van

767
00:36:00,239 --> 00:36:03,200
Speaker 10: Halen or a Beatles for that matter, because like you know,

768
00:36:03,239 --> 00:36:07,200
Speaker 10: the Beatles, for example, in my history learning of it

769
00:36:07,239 --> 00:36:09,840
Speaker 10: is that they took skiffle music from the north of England,

770
00:36:10,280 --> 00:36:12,920
Speaker 10: they took big band swing, and they combined that with

771
00:36:13,000 --> 00:36:15,160
Speaker 10: American rock and roll because that's the stuff they grew

772
00:36:15,239 --> 00:36:17,120
Speaker 10: up with, right, They grew up with Chuck.

773
00:36:16,920 --> 00:36:17,440
Speaker 7: Berry and the.

774
00:36:19,120 --> 00:36:22,360
Speaker 10: Everly Brothers and what have you, right and Buddy Holly,

775
00:36:22,360 --> 00:36:25,759
Speaker 10: and they took all of those forms and stuck it together. Now,

776
00:36:25,800 --> 00:36:27,640
Speaker 10: maybe you could say to a computer, why don't you

777
00:36:27,680 --> 00:36:30,840
Speaker 10: take these four disparate elements and stick it together and

778
00:36:30,840 --> 00:36:34,400
Speaker 10: maybe it would do it. I that would be something. Yeah,

779
00:36:33,880 --> 00:36:36,160
Speaker 10: then the computer could beat us. But I don't. I

780
00:36:36,200 --> 00:36:38,000
Speaker 10: don't know. Maybe I'm giving the the I guys that

781
00:36:38,160 --> 00:36:39,520
Speaker 10: like the real trick of what they should be.

782
00:36:39,440 --> 00:36:43,320
Speaker 2: Going out, Well they all listen. Yeah, we just completely

783
00:36:43,320 --> 00:36:45,719
Speaker 2: gave it up. Well, I'll tell you what I can

784
00:36:45,760 --> 00:36:47,360
Speaker 2: you stick around for? Can we do the breakdown in

785
00:36:47,400 --> 00:36:48,520
Speaker 2: the next next block? Are you busy?

786
00:36:48,560 --> 00:36:48,960
Speaker 7: You got no?

787
00:36:49,040 --> 00:36:51,479
Speaker 2: I okay, all right, So last thing we'll talk about

788
00:36:51,480 --> 00:36:54,600
Speaker 2: before we go to break You know what, who are

789
00:36:54,640 --> 00:36:57,480
Speaker 2: you excited about music wise that you want people to

790
00:36:57,560 --> 00:36:59,759
Speaker 2: listen to? Like what is Rob Cavalla listening to?

791
00:36:59,800 --> 00:37:01,799
Speaker 10: Now? I should? Should I plug on my own artists?

792
00:37:01,880 --> 00:37:03,880
Speaker 2: I mean, sure, you can do whatever you like.

793
00:37:04,400 --> 00:37:07,440
Speaker 10: I love Death by Romy I love Henry Morris, I

794
00:37:07,480 --> 00:37:10,120
Speaker 10: love the Van Riffwood, the sixteen year old kids from

795
00:37:10,200 --> 00:37:12,480
Speaker 10: Utah there are kind of like the Beatles, Meat Green Day,

796
00:37:14,680 --> 00:37:17,719
Speaker 10: I love one Okay rock they're Japanese rock band. Want

797
00:37:17,719 --> 00:37:19,719
Speaker 10: to be the first guy to really break a Japanese band?

798
00:37:19,880 --> 00:37:23,640
Speaker 2: Oh yeah, awesome? Okay, still with Rob Cavallo here, we've

799
00:37:23,640 --> 00:37:25,719
Speaker 2: got lots more coming up on the Andy Reestmeyer Show

800
00:37:25,800 --> 00:37:27,440
Speaker 2: quick Break, We'll be right back with more right after this.

801
00:37:27,520 --> 00:37:30,160
Speaker 2: It's KFI AM six forty. We're live everywhere on the

802
00:37:30,239 --> 00:37:30,879
Speaker 2: iHeartRadio

803
00:37:30,920 --> 00:37:34,600
Speaker 1: App, KFI AM six forty on demand