1 00:00:00,440 --> 00:00:01,160 Speaker 1: Taking a Walk. 2 00:00:01,240 --> 00:00:03,640 Speaker 2: My biggest teacher now is YouTube. 3 00:00:03,680 --> 00:00:06,680 Speaker 3: You know, I spend hours watching all my favorite drummers, 4 00:00:06,680 --> 00:00:08,200 Speaker 3: and I think that's such a huge asset. 5 00:00:08,720 --> 00:00:09,560 Speaker 2: Now you can just. 6 00:00:09,840 --> 00:00:12,200 Speaker 3: Watch a drum play through and see exactly what's happening, 7 00:00:12,200 --> 00:00:14,080 Speaker 3: and you have so much access to information that. 8 00:00:14,360 --> 00:00:15,640 Speaker 2: It's become a great tool. 9 00:00:15,720 --> 00:00:18,160 Speaker 3: But I see it, you know, being able to listen 10 00:00:18,320 --> 00:00:21,200 Speaker 3: to as many drummers and just kind of you know, 11 00:00:21,320 --> 00:00:24,279 Speaker 3: add different colors to your to your palette and to 12 00:00:24,440 --> 00:00:26,520 Speaker 3: your to your arsenal of sounds. 13 00:00:26,720 --> 00:00:30,640 Speaker 4: Welcome. This is the Taking a Walk Podcast with Buzz Night, 14 00:00:31,120 --> 00:00:34,599 Speaker 4: the podcast that delves into the stories of musicians and 15 00:00:34,640 --> 00:00:38,120 Speaker 4: their passion for their music. Today, Buzz is joined by 16 00:00:38,159 --> 00:00:42,480 Speaker 4: drummer Nick Collins. Nick is Phil collins Son and he's 17 00:00:42,479 --> 00:00:46,080 Speaker 4: carving out his own musical journey. Here's Buzz Night and 18 00:00:46,200 --> 00:00:48,360 Speaker 4: Nick Collins on Taking a Walk. 19 00:00:50,120 --> 00:00:53,160 Speaker 1: Nick Collins, it's so great to have you on this 20 00:00:53,440 --> 00:00:56,080 Speaker 1: virtual edition of the Taking a Walk Podcast. 21 00:00:56,920 --> 00:00:58,520 Speaker 2: Of course, thank you so much for having me. 22 00:00:58,560 --> 00:01:02,680 Speaker 1: Man, Congratulations on all of your work. We're going to 23 00:01:02,760 --> 00:01:06,440 Speaker 1: talk about the effect and how excited you are about that, 24 00:01:06,720 --> 00:01:10,080 Speaker 1: but I do want to get into a little, uh 25 00:01:10,560 --> 00:01:13,679 Speaker 1: talk about your father and your work with him as well. 26 00:01:13,720 --> 00:01:16,120 Speaker 1: First of all, how is your dad these days? 27 00:01:16,520 --> 00:01:17,680 Speaker 2: Yeah, yeah, he's doing good. 28 00:01:17,720 --> 00:01:22,680 Speaker 3: He's uh retired, uh, you know, until until maybe he 29 00:01:22,720 --> 00:01:25,200 Speaker 3: gets the itch again to do it. But at the 30 00:01:25,240 --> 00:01:28,000 Speaker 3: moment he's he's enjoying the retired life. 31 00:01:28,720 --> 00:01:32,440 Speaker 1: Well, how does it make you feel when fans and 32 00:01:32,640 --> 00:01:36,760 Speaker 1: fellow musicians are wowed by your playing? 33 00:01:37,680 --> 00:01:37,840 Speaker 3: Oh? 34 00:01:37,920 --> 00:01:38,360 Speaker 2: It's great. 35 00:01:38,520 --> 00:01:40,400 Speaker 3: I mean, you know, obviously, it's a it's a huge 36 00:01:40,400 --> 00:01:43,280 Speaker 3: compliment in a in an honor that you know, get 37 00:01:43,319 --> 00:01:47,200 Speaker 3: to do things people like it, that's great. Obviously If 38 00:01:47,400 --> 00:01:49,360 Speaker 3: people don't like it, that's fine too, you know what 39 00:01:49,360 --> 00:01:53,240 Speaker 3: I mean. I think it's it's awesome to be to 40 00:01:53,320 --> 00:01:55,480 Speaker 3: be doing this the thing that that I love, you know, 41 00:01:55,760 --> 00:01:59,360 Speaker 3: and uh, I've been very lucky to have been able 42 00:01:59,400 --> 00:02:02,120 Speaker 3: to do it in different context, different artists and bands, 43 00:02:02,160 --> 00:02:05,360 Speaker 3: and so yeah, it's a very huge compliment. 44 00:02:06,160 --> 00:02:09,440 Speaker 1: Well, besides your dad, talk about the other drummers that 45 00:02:10,160 --> 00:02:12,160 Speaker 1: you've studied very closely. 46 00:02:13,080 --> 00:02:15,720 Speaker 3: Oh yeah, I mean, dude, the laundry list goes on 47 00:02:15,800 --> 00:02:18,120 Speaker 3: and on, you know, it's always always growing. But I 48 00:02:18,160 --> 00:02:24,080 Speaker 3: think my main drum heroes are Danny Carey, John Bonham, 49 00:02:24,919 --> 00:02:31,639 Speaker 3: Abe Cunningham, who from Deftones, Stuart Copeland. I mean there's 50 00:02:31,639 --> 00:02:33,880 Speaker 3: so much John Theodore from Mars Veulta and Queens of 51 00:02:33,919 --> 00:02:37,120 Speaker 3: the Stone Age. It's just so many all the time. 52 00:02:37,560 --> 00:02:39,359 Speaker 3: Taylor Hawkins, he was a huge one. 53 00:02:39,560 --> 00:02:39,760 Speaker 2: You know. 54 00:02:39,800 --> 00:02:43,359 Speaker 3: It's like different eras of like what in different parts 55 00:02:43,360 --> 00:02:46,000 Speaker 3: of my life and which drummers really grabbed me at 56 00:02:46,040 --> 00:02:48,840 Speaker 3: different times, you know, like growing up it was obviously 57 00:02:48,880 --> 00:02:53,440 Speaker 3: apart from my dad, the first three were bottom and 58 00:02:53,480 --> 00:02:56,000 Speaker 3: then Taylor Hawkins and Chad Smith from the Chili Peppers. 59 00:02:56,040 --> 00:02:59,320 Speaker 3: And Taylor and Chad I felt this huge you know, 60 00:02:59,600 --> 00:03:04,200 Speaker 3: I really idolized them just because it felt like I 61 00:03:04,280 --> 00:03:06,760 Speaker 3: these were like my generation of guys, you know, like 62 00:03:06,800 --> 00:03:09,080 Speaker 3: they had you know when I when I say Bonham 63 00:03:09,080 --> 00:03:11,359 Speaker 3: and Stuart Copeland that you know they'd been around for 64 00:03:11,400 --> 00:03:14,320 Speaker 3: such a long time that you know, those are their 65 00:03:14,840 --> 00:03:17,400 Speaker 3: favorite drummers. And it felt like with Chad and Taylor, 66 00:03:17,440 --> 00:03:19,360 Speaker 3: it was like, oh, this is like the new the 67 00:03:19,400 --> 00:03:21,360 Speaker 3: new guys that those are like my guys, and it 68 00:03:21,400 --> 00:03:22,959 Speaker 3: was like, you know, not like my dad's guys and 69 00:03:23,000 --> 00:03:24,760 Speaker 3: stuff like that. So I felt like a real connection 70 00:03:24,840 --> 00:03:26,160 Speaker 3: to them and it made me fall in love with 71 00:03:26,200 --> 00:03:28,280 Speaker 3: the idea of being in a band and you know, 72 00:03:28,360 --> 00:03:31,080 Speaker 3: playing live and and then since you know, different eras 73 00:03:31,080 --> 00:03:33,639 Speaker 3: where I get started getting into prog music. And that's 74 00:03:33,639 --> 00:03:37,000 Speaker 3: when Danny Carey, Gavin Harrison, I started really John Theodore 75 00:03:37,120 --> 00:03:39,360 Speaker 3: looking up to them, but the same way that I'll 76 00:03:39,400 --> 00:03:41,440 Speaker 3: also look up to like the jazz fusion world, and 77 00:03:41,560 --> 00:03:44,440 Speaker 3: you know, get into guys like Billy Cobbham or even 78 00:03:44,640 --> 00:03:47,760 Speaker 3: more newer guys like Larnel Lewis from Starky Puppy. 79 00:03:47,760 --> 00:03:48,920 Speaker 2: You know, they all have such. 80 00:03:48,720 --> 00:03:51,160 Speaker 3: An equal influence on me, because to me, that's the 81 00:03:51,160 --> 00:03:52,880 Speaker 3: best teacher is just being able to listen to as 82 00:03:53,000 --> 00:03:55,000 Speaker 3: much music and as many drummers as possible. 83 00:03:55,880 --> 00:03:59,160 Speaker 1: You know, we had Kenny Aronoff on the podcast previously, 84 00:03:59,240 --> 00:04:02,760 Speaker 1: and Kenny talked about a lot of his disciplines to 85 00:04:02,840 --> 00:04:06,880 Speaker 1: sort of stay in tune and primed for every performance, 86 00:04:07,040 --> 00:04:11,440 Speaker 1: you know, his whole practice session and regiment. How do 87 00:04:11,520 --> 00:04:13,800 Speaker 1: you go about that sort of process? 88 00:04:14,560 --> 00:04:15,320 Speaker 2: Yeah, I think. 89 00:04:15,440 --> 00:04:17,640 Speaker 3: I mean when I'm on tour, it's a different thing 90 00:04:17,680 --> 00:04:20,520 Speaker 3: to when I'm like at home, and it's more studio stuff. 91 00:04:20,880 --> 00:04:23,080 Speaker 2: You know, on tour I do. I am very disciplined 92 00:04:23,120 --> 00:04:23,960 Speaker 2: in like a warm up. 93 00:04:23,880 --> 00:04:26,839 Speaker 3: Routine, just because when you're doing it you know, playing 94 00:04:26,839 --> 00:04:29,080 Speaker 3: two and a half hours every night. You want to 95 00:04:29,120 --> 00:04:31,520 Speaker 3: make sure that you're not hurting yourself. So I'll go 96 00:04:31,600 --> 00:04:35,080 Speaker 3: through like a thirty to forty five minute warm up 97 00:04:35,120 --> 00:04:37,800 Speaker 3: routine with like a metronome and go through a bunch 98 00:04:37,800 --> 00:04:40,440 Speaker 3: of different rudiments at different speeds and get my body 99 00:04:40,440 --> 00:04:42,640 Speaker 3: warmed up and just get the blood flowing to the wrists. 100 00:04:42,920 --> 00:04:45,400 Speaker 3: And because I used to have some risk problems, I 101 00:04:45,400 --> 00:04:47,520 Speaker 3: started using heavier sticks and that kind of took a 102 00:04:47,520 --> 00:04:48,880 Speaker 3: lot of it away. But I still want to make 103 00:04:48,920 --> 00:04:51,320 Speaker 3: sure that I'm you know, able to keep it up 104 00:04:51,360 --> 00:04:55,000 Speaker 3: for as long as possible. But I do also realize 105 00:04:55,040 --> 00:04:56,360 Speaker 3: I need to do a better job of that when 106 00:04:56,360 --> 00:04:58,120 Speaker 3: I'm at home or when I'm like, you know, just 107 00:04:58,240 --> 00:05:00,880 Speaker 3: this week, we were rehearsing with the effect, you know, 108 00:05:00,960 --> 00:05:04,600 Speaker 3: I I'll like just jump into rehearsals and then now 109 00:05:04,640 --> 00:05:06,560 Speaker 3: I'm like, oh, my arm kind of hurts, you know, 110 00:05:06,560 --> 00:05:08,400 Speaker 3: And I should like, just because it's rehearsals does not 111 00:05:08,520 --> 00:05:10,560 Speaker 3: mean you should not warm up, you know, just because 112 00:05:10,600 --> 00:05:11,239 Speaker 3: it's not a show. 113 00:05:11,600 --> 00:05:13,280 Speaker 2: So that's something I've got to get better at. 114 00:05:13,320 --> 00:05:16,200 Speaker 3: But definitely taking care of myself, you know, and staying active, 115 00:05:16,240 --> 00:05:18,320 Speaker 3: going to the gym and you know, always making sure 116 00:05:18,360 --> 00:05:22,120 Speaker 3: that my body is in shape because drumming is very 117 00:05:22,120 --> 00:05:24,760 Speaker 3: physical and I don't want to be injuring myself. And 118 00:05:24,839 --> 00:05:27,400 Speaker 3: so far everything's been good. I try to make that 119 00:05:27,440 --> 00:05:28,120 Speaker 3: a priority. 120 00:05:29,120 --> 00:05:32,919 Speaker 1: I love what I saw online the Grooves of Genesis, 121 00:05:32,960 --> 00:05:38,479 Speaker 1: that whole presentation there with Duke's intro and cinema show 122 00:05:38,640 --> 00:05:42,760 Speaker 1: and behind the lines, so many great songs. Watcher of 123 00:05:42,800 --> 00:05:46,800 Speaker 1: the Skies, did you have fun doing that particular session. 124 00:05:47,720 --> 00:05:48,560 Speaker 2: Yeah, that was great. 125 00:05:48,640 --> 00:05:50,120 Speaker 3: I mean, you know, the shout out to the guys 126 00:05:50,120 --> 00:05:52,839 Speaker 3: at Drumio. They were you know, they're incredible guys in 127 00:05:52,920 --> 00:05:54,800 Speaker 3: the platform that they've built. I mean, I've been a 128 00:05:54,800 --> 00:05:57,160 Speaker 3: fan of theirs for since I was like twelve, you know, 129 00:05:57,400 --> 00:05:59,760 Speaker 3: looking up look watching those videos on YouTube. So to 130 00:05:59,760 --> 00:06:02,080 Speaker 3: find be in the space and doing stuff with them 131 00:06:02,160 --> 00:06:04,840 Speaker 3: was really awesome. That that was probably like two years 132 00:06:04,880 --> 00:06:07,359 Speaker 3: ago that we filmed it, which is a trip because 133 00:06:07,400 --> 00:06:09,479 Speaker 3: like you know, not all the videos have come out yet, 134 00:06:09,480 --> 00:06:12,240 Speaker 3: so we had like another video come out in like January, 135 00:06:12,960 --> 00:06:14,800 Speaker 3: and like, you know, I remember my girlfriend being like, 136 00:06:14,839 --> 00:06:16,359 Speaker 3: you look really young, and I'm like, yeah, that was 137 00:06:16,360 --> 00:06:20,000 Speaker 3: two years ago, like you know, I've aged, but no, 138 00:06:20,160 --> 00:06:21,640 Speaker 3: that was a lot of fun. It was a lot 139 00:06:21,680 --> 00:06:25,280 Speaker 3: of rehearsal, and because basically we shot a course about 140 00:06:25,560 --> 00:06:27,920 Speaker 3: my dad's playing, and you know, that's kind of that 141 00:06:28,080 --> 00:06:30,600 Speaker 3: was the live stream that we did and that's out 142 00:06:30,640 --> 00:06:32,960 Speaker 3: on YouTube. And we actually did a more in depth 143 00:06:33,000 --> 00:06:35,640 Speaker 3: course about each of those songs kind of by themselves, 144 00:06:35,640 --> 00:06:36,760 Speaker 3: plus some additional ones. 145 00:06:37,200 --> 00:06:38,359 Speaker 2: And it was great fun, you know. 146 00:06:38,400 --> 00:06:40,680 Speaker 3: I mean, I think to me, it was it felt like, 147 00:06:40,760 --> 00:06:42,839 Speaker 3: this is the thing I want to do for my dad. 148 00:06:43,120 --> 00:06:46,640 Speaker 3: And you know, also, I think the younger generation maybe 149 00:06:46,680 --> 00:06:48,480 Speaker 3: don't know my dad as a drummer and know him 150 00:06:48,520 --> 00:06:51,760 Speaker 3: more as the Indianraa guy or the Tarzan guy. And 151 00:06:51,839 --> 00:06:54,359 Speaker 3: I feel like I wanted to showcase like, no, you know, 152 00:06:54,440 --> 00:06:56,640 Speaker 3: my dad was a was a badass drummer, you know. 153 00:06:56,680 --> 00:06:58,920 Speaker 2: And that was after doing the Genesis thing. 154 00:06:58,960 --> 00:07:02,240 Speaker 3: We shot like a huge core and I learned forty songs, 155 00:07:02,240 --> 00:07:03,960 Speaker 3: like some of the songs we were playing in the show, 156 00:07:04,000 --> 00:07:05,680 Speaker 3: but then a bunch of other of like the really 157 00:07:05,680 --> 00:07:08,599 Speaker 3: heavy prog tunes that which we didn't do it in rehearsal. 158 00:07:08,680 --> 00:07:10,560 Speaker 3: So it was a lot of work and a lot 159 00:07:10,600 --> 00:07:12,360 Speaker 3: of pressure, but it was, you know, a great time. 160 00:07:12,400 --> 00:07:14,000 Speaker 3: I had a lot of fun doing that session and 161 00:07:14,080 --> 00:07:16,559 Speaker 3: so many great drum parts, and it is a weird 162 00:07:16,600 --> 00:07:19,040 Speaker 3: thing when you're trying to explain and teach parts that 163 00:07:19,160 --> 00:07:21,560 Speaker 3: you didn't write or that you weren't involved in, you know, 164 00:07:21,560 --> 00:07:23,960 Speaker 3: because I'm like, this is like some of these songs 165 00:07:23,960 --> 00:07:25,920 Speaker 3: were thirty years before I was even born, you know. 166 00:07:25,920 --> 00:07:29,080 Speaker 2: What I mean, So like it can be a bit interesting. 167 00:07:29,200 --> 00:07:30,880 Speaker 3: But I thought it was you know, it was good 168 00:07:30,880 --> 00:07:33,800 Speaker 3: fun and you know, I'm excited for that course to 169 00:07:33,840 --> 00:07:36,320 Speaker 3: finally come out. When it does, you know, there's just 170 00:07:36,360 --> 00:07:38,560 Speaker 3: a you know, some copyright things that need to be 171 00:07:38,600 --> 00:07:39,040 Speaker 3: cleared up. 172 00:07:39,080 --> 00:07:41,720 Speaker 1: First, I thought it was fantastic, And I have to 173 00:07:41,800 --> 00:07:44,960 Speaker 1: tell you, Nick, you make it look really easy, and 174 00:07:45,000 --> 00:07:45,600 Speaker 1: I know it's not. 175 00:07:46,960 --> 00:07:48,040 Speaker 2: Ah, thank you so much. 176 00:07:48,120 --> 00:07:51,360 Speaker 3: No, I mean, you know, like it's I've been around 177 00:07:51,400 --> 00:07:54,200 Speaker 3: those parts for a while, but it's definitely takes a 178 00:07:54,240 --> 00:07:57,120 Speaker 3: long time of getting it down like I wouldn't you know, 179 00:07:57,160 --> 00:07:58,400 Speaker 3: I'm not going to be like, oh yeah, I just 180 00:07:58,440 --> 00:08:00,400 Speaker 3: went in there and just played them, you know, Like 181 00:08:00,440 --> 00:08:05,400 Speaker 3: that was maybe two months worth of repetition, multiple days 182 00:08:05,440 --> 00:08:07,880 Speaker 3: a week to try and be comfortable with the songs 183 00:08:07,920 --> 00:08:10,680 Speaker 3: because some of those songs are just like really complex 184 00:08:10,760 --> 00:08:12,600 Speaker 3: and a lot of improv, and when you're trying to 185 00:08:12,640 --> 00:08:15,400 Speaker 3: learn somebody's improv, it's very you know, I can get 186 00:08:15,520 --> 00:08:16,120 Speaker 3: very tricky. 187 00:08:16,720 --> 00:08:19,280 Speaker 1: I was privileged to see your dad play with Genesis 188 00:08:19,280 --> 00:08:22,120 Speaker 1: a few times, also to see him play with a 189 00:08:22,400 --> 00:08:26,200 Speaker 1: brand X, and I wanted to share one of those 190 00:08:26,280 --> 00:08:31,320 Speaker 1: experiences that I'll never forget. It was the Trick of 191 00:08:31,360 --> 00:08:37,000 Speaker 1: the Tail tour, and it was the dual drumming of 192 00:08:37,080 --> 00:08:43,360 Speaker 1: your dad and the great Bill Bruford. I was wondering 193 00:08:43,559 --> 00:08:46,880 Speaker 1: if you ever got to see any sort of video 194 00:08:47,080 --> 00:08:48,920 Speaker 1: form anything from that tour. 195 00:08:49,800 --> 00:08:51,760 Speaker 2: I've seen videos. I don't know if it's from that tour. 196 00:08:51,800 --> 00:08:55,240 Speaker 3: I've seen some videos of him and my dad and 197 00:08:55,280 --> 00:08:58,920 Speaker 3: Bill doing cinema show that may have been from the 198 00:08:58,960 --> 00:09:01,360 Speaker 3: seconds out or before for that, like maybe that the 199 00:09:01,400 --> 00:09:02,560 Speaker 3: tour after Trick of the Tale. 200 00:09:02,880 --> 00:09:04,840 Speaker 2: I'm not sure when that video was, but I've seen 201 00:09:04,880 --> 00:09:05,240 Speaker 2: some of it. 202 00:09:05,320 --> 00:09:07,840 Speaker 3: I mean, you know, Bill is another guy who's become 203 00:09:07,880 --> 00:09:10,680 Speaker 3: such a big influence, and he's like the prog drummer 204 00:09:10,720 --> 00:09:11,360 Speaker 3: of the seventies. 205 00:09:11,440 --> 00:09:14,080 Speaker 2: You know, it was in every great prog band, Bill Bruford. 206 00:09:13,679 --> 00:09:15,560 Speaker 3: Was in it at some point, you know, and he's 207 00:09:16,000 --> 00:09:18,360 Speaker 3: what a great drummer and that was you know that 208 00:09:18,480 --> 00:09:20,640 Speaker 3: the double drums became a theme in my life, from 209 00:09:20,679 --> 00:09:23,000 Speaker 3: watching those videos to watching him and Chester do it 210 00:09:23,040 --> 00:09:25,320 Speaker 3: to actually watching it live between them. 211 00:09:25,400 --> 00:09:27,800 Speaker 2: So yeah, I mean, amazing stuff. 212 00:09:28,320 --> 00:09:31,320 Speaker 1: It was the Ohio Theater in Columbus, Ohio where I 213 00:09:31,360 --> 00:09:35,160 Speaker 1: saw it and our mind was completely blown from that 214 00:09:35,280 --> 00:09:37,000 Speaker 1: show and it changed us really. 215 00:09:37,559 --> 00:09:38,760 Speaker 2: Oh wow, that's amazing. 216 00:09:39,120 --> 00:09:39,480 Speaker 4: Yeah. 217 00:09:39,880 --> 00:09:42,200 Speaker 1: And of course were you able to sort of go 218 00:09:42,280 --> 00:09:45,120 Speaker 1: back and study some of the Brand X work from 219 00:09:45,160 --> 00:09:45,600 Speaker 1: your dad? 220 00:09:46,280 --> 00:09:48,800 Speaker 2: Yeah, we didn't do as much for the course. You know. 221 00:09:48,840 --> 00:09:51,600 Speaker 3: It's it's funny like I've kind of gotten more into 222 00:09:51,640 --> 00:09:55,280 Speaker 3: the brand Deck stuff more recently, you know, after the 223 00:09:55,280 --> 00:09:58,760 Speaker 3: Genesis thing and getting into the Prague side of their 224 00:09:58,880 --> 00:10:01,920 Speaker 3: sound and getting into Brand X and the more fusion stuff. 225 00:10:01,960 --> 00:10:04,040 Speaker 3: It started really impacting me also as a drummer, and 226 00:10:04,080 --> 00:10:07,520 Speaker 3: like going from playing the really heavy, loud beats to 227 00:10:07,640 --> 00:10:12,000 Speaker 3: like the really quiet, intricate, more fusiony stuff. But you know, 228 00:10:12,559 --> 00:10:14,520 Speaker 3: that's some great material with Brand X, and we did 229 00:10:14,600 --> 00:10:16,360 Speaker 3: I think we broke down maybe one or two for 230 00:10:16,400 --> 00:10:18,760 Speaker 3: the Drummo thing. But now it's you know, it's one 231 00:10:18,800 --> 00:10:21,320 Speaker 3: of those things that I get into more now, Like 232 00:10:21,640 --> 00:10:23,920 Speaker 3: it's just you know, the evolution of what you listen 233 00:10:24,000 --> 00:10:27,920 Speaker 3: to and what you decide to get into. And yeah, 234 00:10:28,080 --> 00:10:29,880 Speaker 3: you know, I mean, it's it's funny to see that 235 00:10:30,080 --> 00:10:32,920 Speaker 3: different sides of like my dad's playing, which I haven't, 236 00:10:33,000 --> 00:10:36,000 Speaker 3: you know, been familiar with until I'm like twenty one 237 00:10:36,080 --> 00:10:37,040 Speaker 3: or twenty you know what I mean. 238 00:10:37,080 --> 00:10:39,600 Speaker 2: It's strange to be like, oh, you did this too. 239 00:10:39,679 --> 00:10:42,600 Speaker 3: You're not just this guy, you also happen to do 240 00:10:42,640 --> 00:10:44,360 Speaker 3: something that's completely totally different. 241 00:10:45,559 --> 00:10:48,720 Speaker 1: And on the dual drumming theme, what's your personal take 242 00:10:48,920 --> 00:10:53,320 Speaker 1: on the dual drumming that was so part of the 243 00:10:53,360 --> 00:10:56,520 Speaker 1: Allman Brothers and obviously The Grateful Dead as well. 244 00:10:57,600 --> 00:10:58,640 Speaker 2: Yeah, I thought it was great. 245 00:10:58,640 --> 00:11:00,840 Speaker 3: I mean, you know, I think it's like my opinion 246 00:11:00,920 --> 00:11:04,080 Speaker 3: is always dependent on like the context, you know. I 247 00:11:04,080 --> 00:11:06,600 Speaker 3: think as like as a drummer, you kind of want 248 00:11:06,600 --> 00:11:08,720 Speaker 3: to go into be like I don't need another drummer. 249 00:11:08,880 --> 00:11:10,480 Speaker 3: I could do everything, you know what I mean, Like 250 00:11:10,520 --> 00:11:12,360 Speaker 3: there's like that ego side of things. But I think 251 00:11:12,400 --> 00:11:15,559 Speaker 3: when Genesis were doing it, it was such an amazing 252 00:11:16,000 --> 00:11:18,520 Speaker 3: asset to have to the to the show, not only 253 00:11:18,600 --> 00:11:21,760 Speaker 3: just in like the progue bits and the instrumental parts 254 00:11:21,760 --> 00:11:24,160 Speaker 3: where both my dad and whether it was Bill or Chester, 255 00:11:25,280 --> 00:11:27,920 Speaker 3: when they would play it became it just added this 256 00:11:28,000 --> 00:11:31,719 Speaker 3: layer to the music both visually and you know, sonically. 257 00:11:32,080 --> 00:11:34,480 Speaker 3: But I also think, you know, to have those drum 258 00:11:34,520 --> 00:11:38,080 Speaker 3: featured moments where you know, not every band can just 259 00:11:38,160 --> 00:11:40,160 Speaker 3: get two guys to do to do. 260 00:11:40,120 --> 00:11:41,679 Speaker 2: It at that level, you know what I mean. 261 00:11:41,720 --> 00:11:43,319 Speaker 3: I think you can get some guys where I don't know, 262 00:11:43,360 --> 00:11:44,920 Speaker 3: a lead singer a band will go and play some 263 00:11:45,440 --> 00:11:47,600 Speaker 3: you know, toms or something, but it doesn't you know, 264 00:11:47,720 --> 00:11:50,120 Speaker 3: to have two guys who were just like absolute monsters 265 00:11:50,160 --> 00:11:53,560 Speaker 3: at drums, doing and playing off of each other and 266 00:11:53,679 --> 00:11:56,720 Speaker 3: creating compositions together. I thought it was you know, it 267 00:11:56,760 --> 00:11:58,800 Speaker 3: became something that I was just so familiar with from 268 00:11:58,840 --> 00:12:01,240 Speaker 3: watching all the live DVD and just being there and 269 00:12:01,280 --> 00:12:05,640 Speaker 3: watching the shows, you know, like later on. And it 270 00:12:05,679 --> 00:12:08,160 Speaker 3: was a weird thing when I joined Genesis, and it 271 00:12:08,200 --> 00:12:10,720 Speaker 3: was just me because we had something similar in my 272 00:12:10,800 --> 00:12:12,680 Speaker 3: dad's band where me and the percussionists would do a 273 00:12:12,720 --> 00:12:17,160 Speaker 3: drum bit, like a drum part kind of not a solo, 274 00:12:17,240 --> 00:12:19,400 Speaker 3: like a drum duo kind of thing, and we'd play 275 00:12:19,440 --> 00:12:21,800 Speaker 3: off of each other. But with Genesis, you know, we 276 00:12:21,800 --> 00:12:24,600 Speaker 3: didn't do that because my dad can't play drums anymore. 277 00:12:25,480 --> 00:12:29,120 Speaker 3: But you know, it was tricky playing navigating some of 278 00:12:29,160 --> 00:12:33,360 Speaker 3: the instrumental songs which used to have double drum featured moments, 279 00:12:33,440 --> 00:12:35,240 Speaker 3: you know, especially Cinema Show had like a call and 280 00:12:35,320 --> 00:12:37,800 Speaker 3: response on the snares and it was just me and 281 00:12:37,880 --> 00:12:39,679 Speaker 3: so I think, you know, Daniel Pierce, who was one 282 00:12:39,679 --> 00:12:41,560 Speaker 3: of the backing singers, did do a little bit of 283 00:12:41,640 --> 00:12:44,360 Speaker 3: Timbali's to like do have that effect, like the call 284 00:12:44,400 --> 00:12:47,199 Speaker 3: and response. But it was also for me trying to 285 00:12:47,240 --> 00:12:49,960 Speaker 3: find like, okay, how can I play the groove but 286 00:12:50,080 --> 00:12:52,520 Speaker 3: also still include some of that double drum stuff because 287 00:12:52,520 --> 00:12:54,520 Speaker 3: it's hard when you're just one person. When you know, 288 00:12:54,559 --> 00:12:56,120 Speaker 3: back then it would be like Chester would keep the 289 00:12:56,160 --> 00:12:58,120 Speaker 3: groove going and my dad would go and you know, 290 00:12:58,280 --> 00:12:59,760 Speaker 3: play off the keyboards or something. 291 00:12:59,800 --> 00:13:02,040 Speaker 2: So so it was a bit tricky to find the 292 00:13:02,120 --> 00:13:02,760 Speaker 2: right balance. 293 00:13:02,800 --> 00:13:04,600 Speaker 3: But you know, by the end it was you know, 294 00:13:04,760 --> 00:13:07,760 Speaker 3: I think we got it down by the end, hopefully. 295 00:13:08,320 --> 00:13:15,920 Speaker 1: I pretty sure you did. So the great movie Whiplash, 296 00:13:16,000 --> 00:13:19,360 Speaker 1: I guarantee you probably saw it. The question is did 297 00:13:19,400 --> 00:13:20,640 Speaker 1: it scar you for life? 298 00:13:21,800 --> 00:13:23,920 Speaker 2: That's you know what's funny is the Whiplash. When I 299 00:13:23,920 --> 00:13:24,800 Speaker 2: did the drummo thing. 300 00:13:24,880 --> 00:13:29,679 Speaker 3: One of the first time listening videos was the song Whiplash, 301 00:13:29,720 --> 00:13:31,800 Speaker 3: which I've seen the movie Whiblash, but for some reason 302 00:13:31,840 --> 00:13:33,960 Speaker 3: didn't connect the song. I've just like, I was like, 303 00:13:34,040 --> 00:13:36,720 Speaker 3: something sounds familiar about it. But then you know, Brandon 304 00:13:36,720 --> 00:13:40,319 Speaker 3: starts riffing off Whiplash quotes and you know it's threatening 305 00:13:40,320 --> 00:13:41,720 Speaker 3: to throw a symbol at me, and that's when I 306 00:13:41,760 --> 00:13:43,960 Speaker 3: was like, oh, that's from Whiplash, you know what I mean. 307 00:13:44,480 --> 00:13:47,280 Speaker 3: But I really liked the movie when it came out. 308 00:13:47,320 --> 00:13:49,120 Speaker 3: I was young enough where like it was just like 309 00:13:49,360 --> 00:13:51,040 Speaker 3: it made me really interested in jazz. 310 00:13:51,679 --> 00:13:53,559 Speaker 2: But you know it is now I. 311 00:13:53,520 --> 00:13:56,240 Speaker 3: Look at it and I can see why it would 312 00:13:56,280 --> 00:13:59,280 Speaker 3: upset some people just because it's very unhealthy. But I 313 00:13:59,320 --> 00:14:01,360 Speaker 3: think that was the point point, like the point and 314 00:14:01,400 --> 00:14:02,200 Speaker 3: the great you know. 315 00:14:02,280 --> 00:14:04,560 Speaker 2: JK. Simmons is amazing in that movie, and. 316 00:14:04,480 --> 00:14:07,400 Speaker 3: Like that role, like where you really hate the teacher 317 00:14:07,440 --> 00:14:09,839 Speaker 3: and you hate the band leader. I think it was 318 00:14:09,880 --> 00:14:13,280 Speaker 3: supposed to be kind of influenced by Buddy Rich. Obviously 319 00:14:13,520 --> 00:14:15,360 Speaker 3: I'm not I'm not sure. I never met Buddy Rich, 320 00:14:15,400 --> 00:14:17,320 Speaker 3: but that was what I've heard that that was the 321 00:14:17,360 --> 00:14:20,360 Speaker 3: influence of of like the harsh the harshness and I think, 322 00:14:20,400 --> 00:14:21,920 Speaker 3: you know, maybe it was a bit extra, but it's 323 00:14:21,960 --> 00:14:24,120 Speaker 3: a movie, you know what I mean. Like it's also 324 00:14:24,160 --> 00:14:26,080 Speaker 3: you know, when when Miles Teller puts his hand in 325 00:14:26,120 --> 00:14:28,880 Speaker 3: the you know, jug of water and he's all bleeding, 326 00:14:28,920 --> 00:14:30,560 Speaker 3: I'm like, that doesn't happen either, you. 327 00:14:30,520 --> 00:14:30,960 Speaker 2: Know what I mean. 328 00:14:31,000 --> 00:14:34,560 Speaker 3: It's it's it's the dramatization of the of of Hollywood. 329 00:14:34,560 --> 00:14:35,600 Speaker 2: But I thought it was a good movie. 330 00:14:35,680 --> 00:14:38,479 Speaker 3: You know, I understood the you know, the message, and 331 00:14:38,480 --> 00:14:41,360 Speaker 3: and obviously I think it's not supposed to be taken literally. 332 00:14:41,560 --> 00:14:43,920 Speaker 3: You know, if a teacher was really like that, then 333 00:14:43,960 --> 00:14:46,080 Speaker 3: there'd be a problem because I don't think that's really healthy. 334 00:14:46,120 --> 00:14:48,560 Speaker 3: But I think for a movie and to almost put 335 00:14:48,600 --> 00:14:52,400 Speaker 3: drums in the limelight, especially jazz drumming, which became this huge, 336 00:14:52,840 --> 00:14:56,400 Speaker 3: you know thing around the world when that movie came out, I. 337 00:14:56,320 --> 00:14:57,840 Speaker 2: Think it was great to be able to feature the 338 00:14:57,880 --> 00:14:58,560 Speaker 2: drums that way. 339 00:14:59,080 --> 00:15:01,280 Speaker 4: We'll be right back with more of the Taken a 340 00:15:01,280 --> 00:15:09,520 Speaker 4: Walk Podcast. Welcome back to the Taking a Walk Podcast. 341 00:15:10,040 --> 00:15:13,320 Speaker 1: Who are the teachers? Aside from your father? Obviously that 342 00:15:13,520 --> 00:15:17,240 Speaker 1: made an impact on you and really shaped you to 343 00:15:17,280 --> 00:15:18,200 Speaker 1: this moment today. 344 00:15:18,880 --> 00:15:21,600 Speaker 3: Yeah, I mean I've only really had one drum teacher. 345 00:15:22,320 --> 00:15:26,640 Speaker 3: His name is John Pierre Espiritu Santo, and I started 346 00:15:26,680 --> 00:15:29,560 Speaker 3: taking lessons with him when I first moved to Miami, Florida, 347 00:15:29,600 --> 00:15:33,040 Speaker 3: and I was like eleven or twelve, and you know, 348 00:15:33,080 --> 00:15:35,080 Speaker 3: originally I kind of wanted to be a soccer player. 349 00:15:35,120 --> 00:15:37,200 Speaker 2: That's really that was what I wanted to do. 350 00:15:37,760 --> 00:15:39,600 Speaker 3: And then I moved to Miami and kind of realized 351 00:15:39,640 --> 00:15:42,400 Speaker 3: I'm not that good at soccer, and I'm like, oh, 352 00:15:42,560 --> 00:15:44,080 Speaker 3: I guess I'm okay at this other thing. Let me 353 00:15:44,080 --> 00:15:45,800 Speaker 3: take this more seriously. But my technique, you know, I 354 00:15:45,840 --> 00:15:48,360 Speaker 3: played drums and I had a good sense of groove 355 00:15:48,400 --> 00:15:50,720 Speaker 3: and rhythm, but my technique was just not there. 356 00:15:51,200 --> 00:15:53,080 Speaker 2: And so he really was able to. 357 00:15:54,640 --> 00:15:56,600 Speaker 3: Help me, hone in on that technique, and he was, 358 00:15:56,840 --> 00:15:58,600 Speaker 3: you know, taught me about all the different rudiments but 359 00:15:58,640 --> 00:16:01,800 Speaker 3: also different Latin grooves, which at the time, I you know, 360 00:16:02,680 --> 00:16:07,800 Speaker 3: didn't understand why I was playing boson nova or samba. 361 00:16:07,840 --> 00:16:09,080 Speaker 2: I was like, this is this, you know, don't want 362 00:16:09,080 --> 00:16:10,040 Speaker 2: to play Foo Fighters music? 363 00:16:10,080 --> 00:16:10,480 Speaker 4: Like what do you? 364 00:16:10,480 --> 00:16:11,440 Speaker 2: Why are we doing this? 365 00:16:11,760 --> 00:16:14,120 Speaker 3: But then I've understood as I got older, and then 366 00:16:14,160 --> 00:16:17,360 Speaker 3: I started getting into progressive music and polyrhythms. I was like, no, 367 00:16:17,440 --> 00:16:19,000 Speaker 3: it was about the lim in dependence, you know. So 368 00:16:19,000 --> 00:16:21,480 Speaker 3: I'm very grateful to for him teaching me that. 369 00:16:21,600 --> 00:16:23,080 Speaker 2: But you know, we don't we don't. 370 00:16:23,080 --> 00:16:26,440 Speaker 3: I don't take lessons necessarily anymore. Honestly, My biggest teacher 371 00:16:26,520 --> 00:16:27,600 Speaker 3: now is YouTube. 372 00:16:27,640 --> 00:16:27,840 Speaker 4: You know. 373 00:16:27,880 --> 00:16:30,800 Speaker 3: I spend hours watching all my favorite drummers, and I 374 00:16:30,800 --> 00:16:34,080 Speaker 3: think that's such a huge asset that I don't think, 375 00:16:34,840 --> 00:16:38,200 Speaker 3: you know, young people nowadays realize how lucky we are 376 00:16:38,320 --> 00:16:40,760 Speaker 3: to have the access to YouTube, because I you know, 377 00:16:40,800 --> 00:16:43,240 Speaker 3: I talk about it with different guys and they're like, yeah, well, 378 00:16:43,280 --> 00:16:44,800 Speaker 3: back when I was grown up, it's like you had 379 00:16:44,840 --> 00:16:47,600 Speaker 3: to like rewind the DVR and like try and like 380 00:16:47,640 --> 00:16:49,400 Speaker 3: play it so you could see what was happening, or 381 00:16:49,520 --> 00:16:51,200 Speaker 3: just like you just had to listen, whereas now you 382 00:16:51,200 --> 00:16:53,680 Speaker 3: can just watch a drum play through and see exactly 383 00:16:53,680 --> 00:16:55,840 Speaker 3: what's happening, and you have so much access to information 384 00:16:55,920 --> 00:16:57,720 Speaker 3: that it's become a great tool. 385 00:16:57,760 --> 00:16:59,880 Speaker 2: But I see it, you know, being able to. 386 00:16:59,800 --> 00:17:02,320 Speaker 3: Listen and to as many drummers and just kind of 387 00:17:03,040 --> 00:17:06,200 Speaker 3: you know, add different colors to your to your palette 388 00:17:06,200 --> 00:17:09,080 Speaker 3: and to your to your arsenal of sounds. I think 389 00:17:09,160 --> 00:17:12,160 Speaker 3: that's such a you know, big asset nowadays. 390 00:17:12,720 --> 00:17:15,760 Speaker 1: And the interesting thing about YouTube as a teacher is 391 00:17:16,200 --> 00:17:19,080 Speaker 1: it doesn't really do any good to get angry at 392 00:17:19,119 --> 00:17:22,639 Speaker 1: YouTube for like teacher. 393 00:17:23,000 --> 00:17:25,199 Speaker 3: Yeah, you can get angry at yourself, but you know, 394 00:17:25,280 --> 00:17:27,040 Speaker 3: or you see like you know, I will say sometimes 395 00:17:27,040 --> 00:17:29,639 Speaker 3: on YouTube it's like, you know, you'll see some seven 396 00:17:29,720 --> 00:17:33,120 Speaker 3: year old from you know, Japan or something and he's 397 00:17:33,160 --> 00:17:34,800 Speaker 3: just like way better than you, and you're just like 398 00:17:34,840 --> 00:17:36,320 Speaker 3: it makes you like, you're. 399 00:17:36,160 --> 00:17:38,520 Speaker 2: Like, what the hell is? You know, it's I But 400 00:17:38,880 --> 00:17:39,600 Speaker 2: that's the only. 401 00:17:39,440 --> 00:17:42,159 Speaker 3: Thing I think, you know, you can maybe get you 402 00:17:42,240 --> 00:17:44,040 Speaker 3: lose sight of what the point is and be and 403 00:17:44,080 --> 00:17:46,840 Speaker 3: because you see so many people that are just so great, 404 00:17:47,280 --> 00:17:49,200 Speaker 3: and it can like damage your confidence. But I think 405 00:17:49,359 --> 00:17:51,080 Speaker 3: it's better to just look at it and an approach 406 00:17:51,119 --> 00:17:52,960 Speaker 3: of like a learning side of things. And you see 407 00:17:52,960 --> 00:17:55,440 Speaker 3: these people and it's you know, what can you take 408 00:17:55,440 --> 00:17:58,160 Speaker 3: from these different drummers to add to your own? 409 00:17:58,720 --> 00:18:00,560 Speaker 2: Uh, to your own drum? 410 00:18:01,040 --> 00:18:04,040 Speaker 1: So let's talk about the Effect. How did the Effect 411 00:18:04,240 --> 00:18:08,000 Speaker 1: come together? Talk about all the key players there in 412 00:18:08,040 --> 00:18:11,240 Speaker 1: the band that make up the Effect, and how excited 413 00:18:11,280 --> 00:18:12,400 Speaker 1: you are about the project. 414 00:18:13,480 --> 00:18:17,160 Speaker 3: Yeah, the so the Effect came about Trev Lucather, who's 415 00:18:17,200 --> 00:18:18,879 Speaker 3: the guitar player and producer of the band. 416 00:18:19,480 --> 00:18:21,200 Speaker 2: His dad is Steve Lucather from Toto. 417 00:18:22,320 --> 00:18:26,320 Speaker 3: You know, we actually Leland Skalar and Amy Keys, who 418 00:18:26,320 --> 00:18:29,760 Speaker 3: were both in my dad's solo band and Toto at 419 00:18:29,800 --> 00:18:34,399 Speaker 3: different points. You know, they'd been telling Trev and I that, like, 420 00:18:34,480 --> 00:18:36,119 Speaker 3: you know, you guys need to get together. You know, 421 00:18:36,160 --> 00:18:38,679 Speaker 3: you guys would really get along, and you know, you 422 00:18:38,680 --> 00:18:40,840 Speaker 3: need to do something together. And you know, I think 423 00:18:40,880 --> 00:18:43,440 Speaker 3: we followed each other on Instagram and just like connected 424 00:18:43,760 --> 00:18:47,200 Speaker 3: on social media, you know, supported each other here and there. 425 00:18:47,960 --> 00:18:52,960 Speaker 3: But it wasn't until January of twenty twenty three, where 426 00:18:53,080 --> 00:18:55,359 Speaker 3: he was in Miami for some reason, you know, for 427 00:18:55,440 --> 00:18:57,520 Speaker 3: our TV show that kind of went south. It was 428 00:18:57,560 --> 00:19:00,480 Speaker 3: like he was going to be hosting this thing and 429 00:19:00,720 --> 00:19:03,439 Speaker 3: producer and director kind of went at it, and so 430 00:19:03,480 --> 00:19:04,400 Speaker 3: the show was canceled. 431 00:19:04,440 --> 00:19:06,160 Speaker 2: And he was like, well, I'm stuck in Miami. Who 432 00:19:06,160 --> 00:19:06,600 Speaker 2: do I know? 433 00:19:07,359 --> 00:19:10,520 Speaker 3: And so he invited me out to dinner and it 434 00:19:10,600 --> 00:19:12,199 Speaker 3: was him and his wife, Madison, and then me and 435 00:19:12,200 --> 00:19:14,000 Speaker 3: my girlfriend Isabelle, and we got together on like a 436 00:19:14,040 --> 00:19:16,360 Speaker 3: double date and that was the first time we met, 437 00:19:16,400 --> 00:19:18,720 Speaker 3: and we totally hit it off. You know, we connected 438 00:19:18,720 --> 00:19:21,280 Speaker 3: and found that we related a lot on you know, 439 00:19:21,320 --> 00:19:23,800 Speaker 3: in different ways. Almost felt like we'd live parallel lives 440 00:19:24,280 --> 00:19:26,679 Speaker 3: and just so many things that were in both of 441 00:19:26,680 --> 00:19:28,160 Speaker 3: our lives that we really were able to. 442 00:19:28,119 --> 00:19:28,760 Speaker 2: Kind of bond on. 443 00:19:29,520 --> 00:19:32,040 Speaker 3: And but at the time, you know, he did he 444 00:19:32,080 --> 00:19:34,280 Speaker 3: was he still does a lot of production work, and 445 00:19:34,000 --> 00:19:37,040 Speaker 3: I think that was the extent of what we thought 446 00:19:37,280 --> 00:19:39,240 Speaker 3: was going to happen if we work together. Was just like, oh, 447 00:19:39,280 --> 00:19:41,560 Speaker 3: I'll play on a session or you know, something like that. 448 00:19:43,720 --> 00:19:46,040 Speaker 3: But then fast forward a couple months. I was on 449 00:19:46,080 --> 00:19:49,080 Speaker 3: the road with Mike and the Mechanics and Trev sent 450 00:19:49,119 --> 00:19:50,760 Speaker 3: me a text and he's like, hey, dude, I'm thinking 451 00:19:50,800 --> 00:19:53,840 Speaker 3: of putting a group together, just an experiment. 452 00:19:54,119 --> 00:19:55,800 Speaker 2: And this is who's in the band? 453 00:19:56,560 --> 00:20:00,280 Speaker 3: Are you down? And I'm like, well maybe, I was 454 00:20:00,320 --> 00:20:01,679 Speaker 3: like what do you have in mind? And then he 455 00:20:01,760 --> 00:20:04,639 Speaker 3: sent me the guitar riff to Unwanted, Like that was 456 00:20:04,680 --> 00:20:06,520 Speaker 3: literally the first tune we ever did together, and I 457 00:20:06,520 --> 00:20:08,280 Speaker 3: was like, oh, yeah, I'm down, Like, let's do it. 458 00:20:08,760 --> 00:20:10,840 Speaker 3: I didn't get to record my parts until I got 459 00:20:10,880 --> 00:20:13,640 Speaker 3: back from the road, and then we did that first song, 460 00:20:13,680 --> 00:20:16,160 Speaker 3: and then it turned let's do another, and then two 461 00:20:16,240 --> 00:20:19,600 Speaker 3: three songs turned into well, no, let's let's actually be 462 00:20:19,680 --> 00:20:22,399 Speaker 3: a band, you know, let's actually do it. But the 463 00:20:22,440 --> 00:20:26,320 Speaker 3: funny thing is we by the we had written, recorded, 464 00:20:26,359 --> 00:20:29,119 Speaker 3: and mixed three songs before all four of us were 465 00:20:29,160 --> 00:20:32,000 Speaker 3: ever in the same room together, which is because you know, 466 00:20:32,000 --> 00:20:34,320 Speaker 3: we've done like I live in Miami, Trev lives in 467 00:20:34,440 --> 00:20:37,560 Speaker 3: la and then Steve Majoria who plays keyboards and does 468 00:20:37,600 --> 00:20:41,320 Speaker 3: background vocals, he lives in Palo Alto, like so NorCal 469 00:20:42,200 --> 00:20:45,120 Speaker 3: and then Emmett Stang who's the singer, he lives in Vegas. 470 00:20:45,480 --> 00:20:47,360 Speaker 2: So it was all being done very remotely. 471 00:20:47,400 --> 00:20:49,119 Speaker 3: But then we got together and we all kind of 472 00:20:49,119 --> 00:20:51,720 Speaker 3: really hit it off, and you know, we all really 473 00:20:51,800 --> 00:20:52,359 Speaker 3: got along. 474 00:20:52,600 --> 00:20:55,320 Speaker 2: And basically that was in June. 475 00:20:55,960 --> 00:20:59,840 Speaker 3: June was when we started the record, and basically we 476 00:21:00,000 --> 00:21:01,359 Speaker 3: finished the record by December. 477 00:21:01,480 --> 00:21:03,680 Speaker 2: It was very We didn't go like, let's write the 478 00:21:03,680 --> 00:21:05,040 Speaker 2: whole record and then record it. 479 00:21:05,040 --> 00:21:07,399 Speaker 3: It was we were just do We were recording it 480 00:21:07,440 --> 00:21:13,480 Speaker 3: and mixing it as it was being written, and you know, 481 00:21:13,680 --> 00:21:17,960 Speaker 3: everybody brings such an interesting take to the whole you 482 00:21:17,960 --> 00:21:20,480 Speaker 3: know band. You know, we never had a conversation what 483 00:21:20,560 --> 00:21:21,720 Speaker 3: kind of band do we want to be? 484 00:21:21,840 --> 00:21:22,439 Speaker 2: What genre? 485 00:21:23,160 --> 00:21:25,679 Speaker 3: Like, you know, what bands are we going to try 486 00:21:25,720 --> 00:21:27,800 Speaker 3: and emulate like it was? Literally, this is what the 487 00:21:27,840 --> 00:21:31,359 Speaker 3: four of us sound like when we are writing music together. 488 00:21:31,440 --> 00:21:34,159 Speaker 3: And you know, the first song I recorded last, But 489 00:21:34,240 --> 00:21:37,159 Speaker 3: typically what we've done is Trev. Trev will come up 490 00:21:37,160 --> 00:21:39,400 Speaker 3: with a guitar part and a guitar idea, and we'll 491 00:21:39,480 --> 00:21:42,560 Speaker 3: essentially map out a whole song's worth of like Okay. 492 00:21:42,320 --> 00:21:45,040 Speaker 2: Here's the verse, pre chorus, chorus. 493 00:21:44,760 --> 00:21:46,680 Speaker 3: Whatever, and he'll just send it to me blank with 494 00:21:46,840 --> 00:21:50,560 Speaker 3: just the guitars, and then I will go and other 495 00:21:50,600 --> 00:21:52,360 Speaker 3: than Unwanted where I was the last one, every other 496 00:21:52,400 --> 00:21:54,440 Speaker 3: song has been this way, where I'll go and basically 497 00:21:54,440 --> 00:21:57,560 Speaker 3: write a drum part and you know, go into the 498 00:21:57,600 --> 00:22:00,280 Speaker 3: rehearsal room, and then I'll FaceTime Trev and we'll basically 499 00:22:00,359 --> 00:22:03,800 Speaker 3: bounced notes off of one another of what he likes, 500 00:22:03,880 --> 00:22:06,320 Speaker 3: what I like, what I don't like, and you know, 501 00:22:07,040 --> 00:22:10,200 Speaker 3: and then from there, I basically record the drums the 502 00:22:10,320 --> 00:22:13,320 Speaker 3: day that they're written, which is not what I'm not 503 00:22:13,440 --> 00:22:15,720 Speaker 3: very used to because usually with you know, with other 504 00:22:15,800 --> 00:22:17,800 Speaker 3: you know, with my other band, better strangers, like, I'm 505 00:22:17,880 --> 00:22:21,320 Speaker 3: very meticulous about how much work I can put it, 506 00:22:21,440 --> 00:22:23,639 Speaker 3: you know, and overthinking my drum parts and trev wanted 507 00:22:23,680 --> 00:22:25,800 Speaker 3: me to just be very instinctual, like, no, I want 508 00:22:25,840 --> 00:22:28,520 Speaker 3: to capture whatever magic you were able to get. So 509 00:22:28,560 --> 00:22:30,800 Speaker 3: then once I've done that, you know, Trevori laid down 510 00:22:30,800 --> 00:22:32,800 Speaker 3: his real guitars, and Steve Matroy will lay down his 511 00:22:32,880 --> 00:22:36,679 Speaker 3: keyboard parts, which you know he always The textual stuff 512 00:22:36,720 --> 00:22:39,280 Speaker 3: that Steve is able to create is really amazing on 513 00:22:39,320 --> 00:22:42,800 Speaker 3: a both keyboard wise and also background vocals. And then 514 00:22:43,160 --> 00:22:45,720 Speaker 3: Emmett gets together with trev and they write the lyrics 515 00:22:45,760 --> 00:22:48,480 Speaker 3: and top playing together, and you know, Emmett's voice is 516 00:22:49,040 --> 00:22:51,879 Speaker 3: the range that that guy has, not just literally on 517 00:22:51,920 --> 00:22:54,359 Speaker 3: a musical range, but I mean the fact that he 518 00:22:54,440 --> 00:22:57,160 Speaker 3: goes from being like this really heavy rock singer. 519 00:22:57,280 --> 00:22:58,840 Speaker 2: To also being able to dial it back and do 520 00:22:58,920 --> 00:22:59,760 Speaker 2: the total pop thing. 521 00:22:59,800 --> 00:23:02,200 Speaker 3: You know, it's a really you know, the whole band 522 00:23:02,280 --> 00:23:05,720 Speaker 3: is just a class musicians and it's lots of fun 523 00:23:05,720 --> 00:23:07,439 Speaker 3: to be able to create and work with those guys. 524 00:23:08,200 --> 00:23:09,960 Speaker 2: Everybody brings just so much to the table. 525 00:23:11,080 --> 00:23:15,080 Speaker 1: And what is the expectation on the band in terms 526 00:23:15,119 --> 00:23:18,199 Speaker 1: of touring and just getting out for people to see it. 527 00:23:19,080 --> 00:23:22,280 Speaker 3: Yeah, So we finished the album at the end of 528 00:23:22,359 --> 00:23:24,800 Speaker 3: last year, so we just put out another single a 529 00:23:24,840 --> 00:23:25,879 Speaker 3: couple of weeks ago, and. 530 00:23:26,080 --> 00:23:28,080 Speaker 2: Actually I was just in La last week. 531 00:23:28,119 --> 00:23:31,520 Speaker 3: We just recorded and did a video for something very 532 00:23:31,520 --> 00:23:34,080 Speaker 3: exciting that will be announced soon, so we're very pumped 533 00:23:34,080 --> 00:23:37,720 Speaker 3: about that. But no, we've got some American dates that 534 00:23:37,920 --> 00:23:41,280 Speaker 3: will be announced eventually for in May, and then we've 535 00:23:41,320 --> 00:23:45,280 Speaker 3: got a European tour happening this summer where we've got 536 00:23:45,280 --> 00:23:47,800 Speaker 3: our own headline shows, but we're also playing the Isle 537 00:23:47,800 --> 00:23:52,040 Speaker 3: of Wight Festival and also the KUP Live Festival in France, 538 00:23:52,080 --> 00:23:56,320 Speaker 3: and then we're opening for Toto in Germany, which you know, 539 00:23:56,640 --> 00:23:59,680 Speaker 3: huge shout out and thank you to you know, Luke 540 00:23:59,720 --> 00:24:02,320 Speaker 3: and everybody in the total crew for being able to 541 00:24:02,960 --> 00:24:05,280 Speaker 3: for wanting us out there and for for having us. 542 00:24:05,280 --> 00:24:06,240 Speaker 2: It's going to be a great time. 543 00:24:06,280 --> 00:24:08,639 Speaker 3: So yeah, basically, you know we're gonna be playing some 544 00:24:08,680 --> 00:24:10,600 Speaker 3: shows and getting on the road this year and hopefully 545 00:24:10,680 --> 00:24:11,240 Speaker 3: the album. 546 00:24:11,600 --> 00:24:13,280 Speaker 2: You know, we don't have a set release date. 547 00:24:13,480 --> 00:24:17,160 Speaker 3: We've released three singles so far and you know, everything's finished. 548 00:24:17,160 --> 00:24:19,600 Speaker 3: It's just basically about finding the right time and place 549 00:24:19,640 --> 00:24:22,520 Speaker 3: to put it out. Whether you know, nowadays so much 550 00:24:22,600 --> 00:24:25,719 Speaker 3: music gets put out every day on streaming services that 551 00:24:25,840 --> 00:24:28,159 Speaker 3: like if you do it wrong, you just end up 552 00:24:28,200 --> 00:24:30,760 Speaker 3: being another drop in the ocean. And I think for us, 553 00:24:30,800 --> 00:24:32,879 Speaker 3: like we believe in the record and everybody's put in 554 00:24:33,000 --> 00:24:38,080 Speaker 3: spark into the album that we feel like it deserves 555 00:24:38,119 --> 00:24:40,200 Speaker 3: the you know, to get the right attention. 556 00:24:41,280 --> 00:24:45,200 Speaker 1: And will Better Strangers still still exist as well? 557 00:24:45,720 --> 00:24:48,320 Speaker 3: Yeah, of course, you know, I'm I'm doing both, and 558 00:24:48,880 --> 00:24:51,720 Speaker 3: you know, it's funny. I grew up in from a 559 00:24:51,800 --> 00:24:55,640 Speaker 3: dad who you know, had a solo very successful solo 560 00:24:55,680 --> 00:24:58,080 Speaker 3: career and a very successful Genesis career as well, So 561 00:24:58,240 --> 00:25:00,639 Speaker 3: the idea of doing both is not something that scares me, 562 00:25:00,720 --> 00:25:03,920 Speaker 3: you know, and I really like actually doing both because 563 00:25:03,960 --> 00:25:07,040 Speaker 3: they are such different bands and like almost every way, 564 00:25:07,920 --> 00:25:09,680 Speaker 3: you know, the effect is more of a pop rock 565 00:25:09,960 --> 00:25:11,600 Speaker 3: that's what I consider it, pop rock, but we do 566 00:25:11,640 --> 00:25:13,919 Speaker 3: get pretty heavy sometimes, whereas Better Strangers is more of 567 00:25:13,920 --> 00:25:18,480 Speaker 3: a progressive, you know, progressive band, you know, with that 568 00:25:18,520 --> 00:25:21,280 Speaker 3: goes a bit heavier, maybe like the line between progressive 569 00:25:21,280 --> 00:25:25,240 Speaker 3: hard rock and progressive metal at this point. But it's great, 570 00:25:25,280 --> 00:25:28,320 Speaker 3: you know, I get different creative outlets in different ways, 571 00:25:28,359 --> 00:25:30,520 Speaker 3: and you know, it's it's been lots of fun to 572 00:25:30,520 --> 00:25:31,320 Speaker 3: be able to do both. 573 00:25:32,600 --> 00:25:36,200 Speaker 1: So when you're playing live, how much of playing live 574 00:25:36,280 --> 00:25:40,760 Speaker 1: as a drummer is about getting in a particular zone 575 00:25:41,160 --> 00:25:44,040 Speaker 1: that you're just kind of off at a different place 576 00:25:44,119 --> 00:25:45,560 Speaker 1: and it's coming so naturally. 577 00:25:47,080 --> 00:25:49,679 Speaker 3: Yeah, I mean, I think again, it depends on the 578 00:25:49,720 --> 00:25:53,840 Speaker 3: band and what the role is, because you know, with 579 00:25:54,040 --> 00:25:57,199 Speaker 3: the effect we play, I played a click and so 580 00:25:57,320 --> 00:25:59,040 Speaker 3: that is different because you. 581 00:25:59,480 --> 00:26:00,199 Speaker 4: Really have that. 582 00:26:00,440 --> 00:26:02,400 Speaker 3: You got to be really locked in with what you're 583 00:26:02,400 --> 00:26:04,600 Speaker 3: playing along too, because if you're often it becomes a 584 00:26:04,600 --> 00:26:07,480 Speaker 3: whole train wreck. But it's a different kind of thing 585 00:26:07,520 --> 00:26:11,720 Speaker 3: because you're not really worried about whether it's with Genesis 586 00:26:11,760 --> 00:26:13,880 Speaker 3: or my dad or better strangers. Where I don't play 587 00:26:13,960 --> 00:26:17,560 Speaker 3: to click, those become more like I have to get 588 00:26:17,560 --> 00:26:19,120 Speaker 3: in the zone where I'm I got to make sure 589 00:26:19,160 --> 00:26:21,840 Speaker 3: I don't let the adrenaline take over and I'm playing 590 00:26:21,840 --> 00:26:23,040 Speaker 3: things too fast too slow. 591 00:26:23,520 --> 00:26:24,120 Speaker 2: I think with the. 592 00:26:24,080 --> 00:26:27,680 Speaker 3: Effect, it's like making sure obviously you know the songs 593 00:26:27,800 --> 00:26:31,720 Speaker 3: and really locking in and you know it comes. It's 594 00:26:31,840 --> 00:26:34,280 Speaker 3: it's a mix of muscle memory but also really being 595 00:26:34,600 --> 00:26:38,440 Speaker 3: familiar and becoming almost one with the material. That's always 596 00:26:38,480 --> 00:26:40,679 Speaker 3: something I've said to anybody when I've done, you know, 597 00:26:41,119 --> 00:26:43,440 Speaker 3: the few clinics that I've done. My biggest advice is 598 00:26:43,480 --> 00:26:46,320 Speaker 3: when you get hired to or ask to play a gig, 599 00:26:46,720 --> 00:26:49,320 Speaker 3: you know, familiarize yourself with the songs in a way 600 00:26:49,440 --> 00:26:53,040 Speaker 3: where they become second nature and you're listening. You're not 601 00:26:53,119 --> 00:26:54,880 Speaker 3: just listening to them in the rehearsal room, but you're 602 00:26:54,880 --> 00:26:56,640 Speaker 3: listening to them on the way to the grocery store 603 00:26:56,720 --> 00:26:58,160 Speaker 3: or on the way to the gym or. 604 00:26:58,119 --> 00:27:01,480 Speaker 2: Whatever it is. I think that's the biggest. 605 00:27:01,119 --> 00:27:04,760 Speaker 3: Thing, is being aware that, like you know, this is 606 00:27:04,800 --> 00:27:07,240 Speaker 3: what's best for the song, this is what the song needs, 607 00:27:07,240 --> 00:27:09,880 Speaker 3: and really kind of getting into that mindset. 608 00:27:10,640 --> 00:27:13,719 Speaker 1: In closing, is there a dream band that you I 609 00:27:13,800 --> 00:27:16,280 Speaker 1: realize the effect is a dream right now because there's 610 00:27:16,320 --> 00:27:19,600 Speaker 1: a great amount of a serendeputy to it. But is 611 00:27:19,640 --> 00:27:24,240 Speaker 1: there some dream players that you think about and go, 612 00:27:24,400 --> 00:27:26,919 Speaker 1: my god, if I could ever do a session with 613 00:27:27,040 --> 00:27:29,440 Speaker 1: this group of people, this would be incredible. 614 00:27:30,800 --> 00:27:31,719 Speaker 2: That's a great question. 615 00:27:31,880 --> 00:27:35,520 Speaker 3: I think it really It really depends, And I mean 616 00:27:36,320 --> 00:27:39,320 Speaker 3: there's obviously the guys, like you know, I would love 617 00:27:39,359 --> 00:27:43,000 Speaker 3: to play a song with Chino from the Deftones, Gina 618 00:27:43,040 --> 00:27:46,959 Speaker 3: Mareno Singing, or Maynard James Keener from Tool Singing. I 619 00:27:47,040 --> 00:27:49,400 Speaker 3: love both of those guys, as you know, they're they're 620 00:27:49,440 --> 00:27:52,080 Speaker 3: singing so much in their vocal parts and their sound 621 00:27:52,520 --> 00:27:54,280 Speaker 3: that I'd love to do a song with them on it. 622 00:27:55,240 --> 00:27:57,240 Speaker 3: Then as far as musicians, I mean, there's so many. 623 00:27:57,320 --> 00:28:00,560 Speaker 3: I think off the top of my head now I'm 624 00:28:00,600 --> 00:28:04,159 Speaker 3: thinking John for Shante or Flee from the Chili Peppers. 625 00:28:04,160 --> 00:28:05,800 Speaker 3: I mean, those guys are such a big deal for 626 00:28:05,880 --> 00:28:08,040 Speaker 3: me growing up that to be able to be on 627 00:28:08,080 --> 00:28:09,960 Speaker 3: a track with them would be a dream. 628 00:28:11,400 --> 00:28:12,800 Speaker 2: I'll have to get back to you on that. 629 00:28:12,720 --> 00:28:14,320 Speaker 3: One, you know what I mean, Like, there's so many 630 00:28:14,320 --> 00:28:17,680 Speaker 3: different you know, there's different producers and you know, guys 631 00:28:17,720 --> 00:28:20,480 Speaker 3: that I look up to that that I of course 632 00:28:20,520 --> 00:28:22,399 Speaker 3: I want to work with, but also I you know, 633 00:28:22,760 --> 00:28:25,520 Speaker 3: I that in that same way, it motivates me to 634 00:28:25,560 --> 00:28:28,080 Speaker 3: try and make my own thing and with my own 635 00:28:28,760 --> 00:28:31,639 Speaker 3: uh you know, bandmates and and be able to like 636 00:28:31,800 --> 00:28:34,399 Speaker 3: create something that I believe in and that's unique that 637 00:28:34,480 --> 00:28:35,120 Speaker 3: way as well. 638 00:28:36,080 --> 00:28:38,080 Speaker 1: Well. Definitely get back to me, because I'm not going 639 00:28:38,160 --> 00:28:40,200 Speaker 1: to be surprised that anything you pull off. 640 00:28:40,280 --> 00:28:40,520 Speaker 4: Nick. 641 00:28:40,720 --> 00:28:42,920 Speaker 2: Okay, amazing, Thank you so much. 642 00:28:43,240 --> 00:28:47,200 Speaker 1: Yeah, congratulations on everything. Congrats on the new project The 643 00:28:47,240 --> 00:28:50,959 Speaker 1: Effect and Better Strangers and all your work around Genesis 644 00:28:50,960 --> 00:28:54,040 Speaker 1: and your dad and Mike and the mechanics. Please tell 645 00:28:54,080 --> 00:28:57,520 Speaker 1: your dad give them our love. And it's so great 646 00:28:57,520 --> 00:28:58,680 Speaker 1: to have you on Taking a Walk. 647 00:28:58,760 --> 00:29:01,479 Speaker 2: Nick i aphit it Buzz. Thanks so much for having me. 648 00:29:02,720 --> 00:29:05,160 Speaker 4: Thanks for listening to this episode of the Taking a 649 00:29:05,200 --> 00:29:09,120 Speaker 4: Walk podcast. Share this and other episodes with your friends 650 00:29:09,200 --> 00:29:12,680 Speaker 4: and follow us so you never miss an episode. Taking 651 00:29:12,720 --> 00:29:16,640 Speaker 4: a Walk is available on the iHeartRadio app, Apple Podcasts, 652 00:29:16,840 --> 00:29:19,120 Speaker 4: and wherever you get your podcasts.