1
00:00:00,080 --> 00:00:08,440
Speaker 1: Request Left Show is a production of iHeart Radio, and.

2
00:00:08,320 --> 00:00:12,319
Speaker 2: In Part two we talk about Steve's later years, the

3
00:00:12,360 --> 00:00:16,720
Speaker 2: evolution of the Average White Band, that incredible my guitar

4
00:00:16,880 --> 00:00:20,600
Speaker 2: Jiff Lee weeps moment that Prince did at the Rock

5
00:00:20,640 --> 00:00:22,720
Speaker 2: and Roll Hall of Fame with you know Prince and

6
00:00:22,760 --> 00:00:27,040
Speaker 2: Steve Winwood, and also his work with Duran Durant, Tom Petty.

7
00:00:27,400 --> 00:00:30,240
Speaker 2: Please check out part one first and get to know

8
00:00:31,480 --> 00:00:33,200
Speaker 2: one of the people that I admired the most.

9
00:00:33,320 --> 00:00:44,400
Speaker 1: All right, Steve Roddy, Ladies and gentlemen, what's up, what's up?

10
00:00:44,440 --> 00:00:46,400
Speaker 2: What's up? I know it's been a long time, but

11
00:00:46,560 --> 00:00:49,320
Speaker 2: here it is the long awaited part two of our

12
00:00:49,360 --> 00:00:53,400
Speaker 2: special one on one QLs with my hero, my idol,

13
00:00:53,680 --> 00:00:56,760
Speaker 2: Steve Rome. So in part one Steve was talking about

14
00:00:56,760 --> 00:01:00,400
Speaker 2: going up in Brighton, England. His drumming influence is him

15
00:01:00,400 --> 00:01:04,680
Speaker 2: being a tap dancer playing in Brownstone, and that conversation

16
00:01:04,840 --> 00:01:06,840
Speaker 2: ended with him just joining the Average White Man.

17
00:01:07,000 --> 00:01:09,720
Speaker 1: So let's start with part two right now. This is

18
00:01:09,760 --> 00:01:10,839
Speaker 1: a special one on one.

19
00:01:10,760 --> 00:01:14,840
Speaker 2: Quest Love Supreme with Steve Roon the Great All right,

20
00:01:17,160 --> 00:01:22,080
Speaker 2: Alan Gory clearly is of the Ilk of Ray. Charles

21
00:01:24,319 --> 00:01:31,080
Speaker 2: Hamish has a wonderful like falsetto and you know, they're

22
00:01:31,120 --> 00:01:35,840
Speaker 2: they're extremely soulful. But how how much of the marketing

23
00:01:36,319 --> 00:01:39,840
Speaker 2: of these funky white boys are they were lying on

24
00:01:40,360 --> 00:01:42,000
Speaker 2: during this time period a lot.

25
00:01:41,920 --> 00:01:43,840
Speaker 3: Of people who actually told average white band was a

26
00:01:43,840 --> 00:01:47,640
Speaker 3: black man and when and when we moved.

27
00:01:47,360 --> 00:01:51,120
Speaker 4: Down on stage, they date, what the hell is this?

28
00:01:51,560 --> 00:01:51,720
Speaker 3: You know?

29
00:01:52,200 --> 00:01:53,440
Speaker 4: And there was a lot there.

30
00:01:53,320 --> 00:01:58,800
Speaker 3: Was a lot of okay, show us really that that

31
00:01:58,880 --> 00:02:00,800
Speaker 3: went on yet, I mean there was a lot of it.

32
00:02:01,360 --> 00:02:04,600
Speaker 4: But the band could play. The band was authentic.

33
00:02:05,160 --> 00:02:07,320
Speaker 3: Do we We weren't trying to be anything else other

34
00:02:07,360 --> 00:02:09,080
Speaker 3: than average white band and play soul music.

35
00:02:09,120 --> 00:02:11,520
Speaker 4: We love soul music. It was just what we did.

36
00:02:12,720 --> 00:02:14,920
Speaker 3: I mean, I've had guys, I've had I've had bands

37
00:02:15,000 --> 00:02:17,080
Speaker 3: with guys that I've been played in with bands, and

38
00:02:17,120 --> 00:02:20,280
Speaker 3: we've been playing average white band stuff. And I remember

39
00:02:20,280 --> 00:02:22,480
Speaker 3: we played at Long Beach once and average White band

40
00:02:22,520 --> 00:02:25,120
Speaker 3: were playing across the street right and I think they

41
00:02:25,160 --> 00:02:28,120
Speaker 3: were opening for Tara Power. And I got hold of

42
00:02:28,120 --> 00:02:31,520
Speaker 3: Honnie and Alan and they came over and I had

43
00:02:31,600 --> 00:02:34,440
Speaker 3: them sit in with my band and show them how

44
00:02:34,480 --> 00:02:39,960
Speaker 3: it was done. And it was that they were They

45
00:02:40,000 --> 00:02:42,880
Speaker 3: were like, oh, so that's what it is, and I think.

46
00:02:43,320 --> 00:02:47,400
Speaker 3: I think that you'll find that with bands when people

47
00:02:47,440 --> 00:02:49,200
Speaker 3: come and sit in with like you know, it's there's

48
00:02:49,400 --> 00:02:52,200
Speaker 3: if there's two or three of us from the Heartbreakers

49
00:02:52,200 --> 00:02:56,079
Speaker 3: that are playing together, right, you get that they get

50
00:02:56,120 --> 00:02:58,120
Speaker 3: that feeling of what that was like, and it's a

51
00:02:58,120 --> 00:03:01,000
Speaker 3: powerful thing. I remember when I was playing with George

52
00:03:01,000 --> 00:03:04,920
Speaker 3: Harrison mm hmm, and and Ringo was set at the rehearsal.

53
00:03:05,320 --> 00:03:07,920
Speaker 3: Ringo was there and and Ray Cooper had another drum

54
00:03:08,000 --> 00:03:10,040
Speaker 3: kits set up because he played double drums with me

55
00:03:10,080 --> 00:03:12,720
Speaker 3: sometimes and some stuff back there, and I said to

56
00:03:12,800 --> 00:03:16,200
Speaker 3: ring and the ringer, let's said. So Ringo came up

57
00:03:16,240 --> 00:03:18,400
Speaker 3: on the stage and started to play, and all of

58
00:03:18,440 --> 00:03:22,560
Speaker 3: a sudden, it was like, Oh, this is what the

59
00:03:22,560 --> 00:03:23,480
Speaker 3: Beatles felt like.

60
00:03:23,840 --> 00:03:27,920
Speaker 4: Yeah, right, there's a there's a way of that's those

61
00:03:27,919 --> 00:03:28,840
Speaker 4: people when those guys.

62
00:03:31,080 --> 00:03:33,560
Speaker 2: Let me ask you this much then, because I know

63
00:03:33,760 --> 00:03:38,960
Speaker 2: that as a drummer, the bass player emma drummer are

64
00:03:39,040 --> 00:03:42,680
Speaker 2: married to each other. Now you're in a group with

65
00:03:44,240 --> 00:03:48,560
Speaker 2: two interchangeable bass players and two interchangeable guitarists. Yes, who

66
00:03:48,560 --> 00:03:50,680
Speaker 2: do you prefer on bass? And who do you prefer

67
00:03:50,720 --> 00:03:52,880
Speaker 2: on guitar? Do you prefer Alan Gory on bass or

68
00:03:52,920 --> 00:03:54,040
Speaker 2: Haym and Stewart on bass.

69
00:03:54,280 --> 00:03:58,480
Speaker 3: Well, they're both, they're both different that they both played.

70
00:03:58,520 --> 00:04:00,680
Speaker 4: They both played different different thing.

71
00:04:00,720 --> 00:04:04,960
Speaker 3: Alan Alan had like a real nice round, round sound

72
00:04:05,120 --> 00:04:07,520
Speaker 3: with the bass, and Hamish. Hamish had this sort of

73
00:04:07,560 --> 00:04:10,760
Speaker 3: more more more aggressive, sort of like schoolboy crashed.

74
00:04:10,960 --> 00:04:12,440
Speaker 4: That's the way you're playing playing the bass.

75
00:04:12,480 --> 00:04:16,760
Speaker 2: He would playing with the pick correct U Yeah, okay, yeah,

76
00:04:16,800 --> 00:04:18,799
Speaker 2: but who had the better pocket for you at least?

77
00:04:19,120 --> 00:04:22,120
Speaker 3: But both the same. I mean, they were both both

78
00:04:22,240 --> 00:04:25,520
Speaker 3: both great bass players. I mean, it was it was,

79
00:04:25,760 --> 00:04:26,360
Speaker 3: it was a joy.

80
00:04:26,400 --> 00:04:26,800
Speaker 4: I mean.

81
00:04:28,480 --> 00:04:30,760
Speaker 3: When Alan picked up the guitar and started to play

82
00:04:30,839 --> 00:04:33,280
Speaker 3: play the way that he played, he would play guitar,

83
00:04:33,440 --> 00:04:36,720
Speaker 3: and then how how Honye would would would fit these

84
00:04:36,800 --> 00:04:39,800
Speaker 3: rhythm patterns to Alan picking.

85
00:04:40,160 --> 00:04:42,920
Speaker 4: Yeah, and how it was it was it would look

86
00:04:43,200 --> 00:04:43,480
Speaker 4: you know.

87
00:04:44,000 --> 00:04:46,760
Speaker 2: Okay, A question I always wanted to ask. Or and

88
00:04:46,800 --> 00:04:50,520
Speaker 2: B nineteen seventy six Person The Person Live album, which

89
00:04:50,520 --> 00:04:53,560
Speaker 2: incidentally is probably any any list I make of my

90
00:04:53,560 --> 00:04:56,520
Speaker 2: favorite albums of Walter, that's number one. So there's a

91
00:04:56,560 --> 00:05:01,039
Speaker 2: moment on TLC where you guys go absolutely ape shit

92
00:05:01,080 --> 00:05:03,279
Speaker 2: in the zone, and that's kind of the moment where

93
00:05:03,480 --> 00:05:09,640
Speaker 2: I assume that it's Hamas Stewart taking this harmonics bassilo

94
00:05:10,760 --> 00:05:13,080
Speaker 2: you know, kind of like Jack Opistoria's portrait to Tracy

95
00:05:13,520 --> 00:05:20,080
Speaker 2: playing harmonics, Like it sounds like a yeah, yeah, yeah

96
00:05:20,680 --> 00:05:24,000
Speaker 2: right during that moment, because even when I was looking

97
00:05:24,080 --> 00:05:28,840
Speaker 2: up old photos, there's five photos of that period between

98
00:05:28,880 --> 00:05:32,960
Speaker 2: seventy five and seventy eight in which both of them

99
00:05:33,000 --> 00:05:36,080
Speaker 2: are playing bass at the same time. So I assume

100
00:05:36,120 --> 00:05:37,840
Speaker 2: that that was a part of TLC. Every night at

101
00:05:37,880 --> 00:05:40,960
Speaker 2: least for that tour. Are they both playing bass at

102
00:05:40,960 --> 00:05:43,880
Speaker 2: the same time, because I've never seen I've seen guitarist

103
00:05:43,920 --> 00:05:44,560
Speaker 2: play tandem.

104
00:05:44,600 --> 00:05:46,560
Speaker 4: There was one song that we had two bases of

105
00:05:46,600 --> 00:05:47,440
Speaker 4: I forget what it was.

106
00:05:47,360 --> 00:05:51,880
Speaker 2: Now, probably love your Life It could be right, Yeah, yeah,

107
00:05:51,920 --> 00:05:54,159
Speaker 2: I was gonna say, because Hamis is like sort of

108
00:05:54,160 --> 00:06:00,960
Speaker 2: go to like that's his go to ye rhythm reference,

109
00:06:01,120 --> 00:06:03,520
Speaker 2: and he kind of plays a bass like a guitarist.

110
00:06:03,560 --> 00:06:05,080
Speaker 2: But yeah, I always.

111
00:06:04,839 --> 00:06:07,320
Speaker 3: Yeah, I mean, yeah, that's that's the thing is Hankys

112
00:06:07,480 --> 00:06:10,080
Speaker 3: is gonna he has a way of playing. I mean,

113
00:06:10,320 --> 00:06:12,440
Speaker 3: I can't say one of them was better than than

114
00:06:12,480 --> 00:06:15,359
Speaker 3: the other. I mean, they just said it would just

115
00:06:16,839 --> 00:06:19,719
Speaker 3: it would they figure it out which one which one

116
00:06:19,760 --> 00:06:21,680
Speaker 3: was going to play bass on which song it was.

117
00:06:22,040 --> 00:06:23,400
Speaker 4: It was never really a fight.

118
00:06:23,240 --> 00:06:26,320
Speaker 3: Over it who was going to play bass, but it

119
00:06:26,480 --> 00:06:28,640
Speaker 3: was maybe have you said, what's you let me played bass?

120
00:06:28,680 --> 00:06:31,680
Speaker 4: Let me okay, and then playing guitar.

121
00:06:31,680 --> 00:06:35,920
Speaker 3: And it would always we'd always, we'd always work at

122
00:06:35,960 --> 00:06:39,359
Speaker 3: tracks until that that thing just sort of fell in

123
00:06:39,360 --> 00:06:41,760
Speaker 3: in the place, into the into the into the into

124
00:06:41,800 --> 00:06:42,240
Speaker 3: the pocket.

125
00:06:42,839 --> 00:06:47,200
Speaker 2: Okay. So that said, during Alan Gory's uh, pick up

126
00:06:47,240 --> 00:06:51,120
Speaker 2: the piece of solom you and him are literally hitting

127
00:06:51,120 --> 00:06:53,760
Speaker 2: these riffs at the same time. Now, is this a

128
00:06:53,800 --> 00:06:58,320
Speaker 2: result of listening kind of muscle memory? No, No muscle

129
00:06:58,400 --> 00:07:00,320
Speaker 2: muscle memory where you know what he's want to do

130
00:07:00,360 --> 00:07:02,760
Speaker 2: one a solo or let.

131
00:07:02,640 --> 00:07:04,680
Speaker 4: Me tell you something about that album.

132
00:07:05,000 --> 00:07:09,400
Speaker 3: Yes, we recorded I think maybe we recorded in Pittsburgh.

133
00:07:09,440 --> 00:07:13,560
Speaker 3: We recorded in Philadelphia, and we and we played we

134
00:07:13,600 --> 00:07:17,000
Speaker 3: played in Cleveland and most of the most and there

135
00:07:17,040 --> 00:07:19,360
Speaker 3: was another one too, I think maybe maybe new But

136
00:07:19,480 --> 00:07:21,640
Speaker 3: there's like four different concerts over the course of a

137
00:07:21,720 --> 00:07:27,160
Speaker 3: year that we recorded. That solo section was always in there, okay,

138
00:07:27,600 --> 00:07:31,559
Speaker 3: but everybody liked the solo from a different place. Most

139
00:07:31,560 --> 00:07:34,800
Speaker 3: of it, the bulk of that album is taken from.

140
00:07:34,400 --> 00:07:40,800
Speaker 4: From Cleveland, Cleveland, Cleveland. But there was this song here.

141
00:07:40,800 --> 00:07:42,960
Speaker 3: I don't even I can't remember which ones, but I remember,

142
00:07:43,000 --> 00:07:45,480
Speaker 3: but I remember this whole thing that we were sitting

143
00:07:45,480 --> 00:07:48,200
Speaker 3: there the solos in pick up the pieces.

144
00:07:50,560 --> 00:07:52,520
Speaker 4: Okay, I like the one from there. I like the

145
00:07:52,520 --> 00:07:53,040
Speaker 4: one from there.

146
00:07:53,080 --> 00:07:57,520
Speaker 3: I like and and so I re said, well, let's

147
00:07:57,960 --> 00:07:59,880
Speaker 3: see what happens please to that.

148
00:08:00,960 --> 00:08:05,800
Speaker 2: Oh wow, oh man, Like in my mind, in my mind,

149
00:08:05,800 --> 00:08:08,120
Speaker 2: you guys are the tightest motherfuckers. That was like, whoa,

150
00:08:08,200 --> 00:08:11,240
Speaker 2: they know exactly what's gonna happen. Okay, well, explain to

151
00:08:11,280 --> 00:08:16,200
Speaker 2: me listening how much how much how much sweetening post

152
00:08:16,200 --> 00:08:19,160
Speaker 2: sweetening has to happen after you get the tapes? Like,

153
00:08:19,240 --> 00:08:21,960
Speaker 2: do they go and sing some parts over? Are you

154
00:08:22,120 --> 00:08:24,800
Speaker 2: like I dropped a drumstick? Let me hit the snare?

155
00:08:24,920 --> 00:08:27,040
Speaker 3: No? No, never, I never did anything. No.

156
00:08:28,120 --> 00:08:29,920
Speaker 4: It was basically what you heard is what you got.

157
00:08:30,440 --> 00:08:31,239
Speaker 2: That is crazy.

158
00:08:31,880 --> 00:08:34,240
Speaker 3: Maybe they'd be a vocal line or something that would

159
00:08:34,400 --> 00:08:36,840
Speaker 3: nest be necessary to but it was.

160
00:08:37,280 --> 00:08:40,760
Speaker 4: It was spot. I mean really, if there was.

161
00:08:40,800 --> 00:08:43,520
Speaker 3: Like a little bit they just changed to the vocal maybe,

162
00:08:44,000 --> 00:08:48,080
Speaker 3: but it basically what you heard was what you got.

163
00:08:48,480 --> 00:08:49,000
Speaker 4: That was it.

164
00:08:49,600 --> 00:08:54,560
Speaker 2: You're breaking my heart, man, Yeah, it's badass bad That

165
00:08:54,640 --> 00:08:58,360
Speaker 2: bad was badass, and we didn't we didn't play with

166
00:08:58,400 --> 00:08:59,040
Speaker 2: the click either.

167
00:08:59,120 --> 00:09:01,800
Speaker 3: That was the thing we'd where you get at the end.

168
00:09:01,800 --> 00:09:03,839
Speaker 3: We got, we were at that. We were at all

169
00:09:03,880 --> 00:09:05,400
Speaker 3: at the same place every time.

170
00:09:05,600 --> 00:09:09,360
Speaker 2: You're the packet king. Yeah, I've been. I've been stalking

171
00:09:09,720 --> 00:09:13,960
Speaker 2: the current president of Atlantic, Craig Calman, uh to let

172
00:09:13,960 --> 00:09:20,440
Speaker 2: me listen to all of the recorded live tapes of

173
00:09:20,480 --> 00:09:23,480
Speaker 2: you guys, because I yeah, you know, I know if

174
00:09:23,480 --> 00:09:23,800
Speaker 2: you go.

175
00:09:23,800 --> 00:09:26,000
Speaker 3: In there, if you go if you actually get access

176
00:09:26,040 --> 00:09:29,640
Speaker 3: to all that stuff, what they have, there's outtakes of

177
00:09:29,720 --> 00:09:33,000
Speaker 3: stuff and different versions of stuff that we did, right,

178
00:09:33,720 --> 00:09:38,600
Speaker 3: It's I think part of it was, yeah, like if

179
00:09:38,600 --> 00:09:41,760
Speaker 3: I ever Lose This Heaven, we all we all listened

180
00:09:41,840 --> 00:09:44,000
Speaker 3: to that. I mean, I remember when I was out

181
00:09:44,040 --> 00:09:46,080
Speaker 3: here with Bloodstone and I used to love to ride

182
00:09:46,160 --> 00:09:49,679
Speaker 3: downtown and listen to that album. It was it was

183
00:09:49,760 --> 00:09:51,959
Speaker 3: just kind of like a soundtrack for Downtown, you know,

184
00:09:52,480 --> 00:09:55,120
Speaker 3: and if I ever Lose This Heaven, it was just

185
00:09:55,160 --> 00:09:59,040
Speaker 3: a great what a great track. But you know when

186
00:09:59,200 --> 00:10:02,280
Speaker 3: when when we were into the studio, they tried cutting

187
00:10:02,280 --> 00:10:03,839
Speaker 3: that song a couple of times with a couple of

188
00:10:03,880 --> 00:10:06,960
Speaker 3: different people and everybody had got sort of gone in

189
00:10:07,000 --> 00:10:10,240
Speaker 3: there what I heard, and they copied the same.

190
00:10:11,080 --> 00:10:12,920
Speaker 4: It's very simplistic bass.

191
00:10:12,679 --> 00:10:17,439
Speaker 3: Jump, but the drum field that the Quincy had used

192
00:10:17,440 --> 00:10:21,440
Speaker 3: for for the for the thing. When I went in

193
00:10:21,480 --> 00:10:23,480
Speaker 3: and sat down, I decided to play just to play

194
00:10:23,520 --> 00:10:25,679
Speaker 3: that song, I mean, and I just sat there and

195
00:10:25,679 --> 00:10:28,040
Speaker 3: I remember and listened to the first the first sake

196
00:10:28,120 --> 00:10:29,319
Speaker 3: of it. I don't know even know if that was

197
00:10:29,320 --> 00:10:32,120
Speaker 3: the one we used it, but I remember Roger Ball

198
00:10:32,200 --> 00:10:34,040
Speaker 3: coming over and kissing me on the top of my head.

199
00:10:35,120 --> 00:10:37,320
Speaker 2: Yeah, was that the song you recorded with him in

200
00:10:37,320 --> 00:10:37,800
Speaker 2: the studio?

201
00:10:38,800 --> 00:10:40,520
Speaker 4: No, I don't remember what the first song. I don't

202
00:10:40,600 --> 00:10:41,960
Speaker 4: remember what the first song was.

203
00:10:42,120 --> 00:10:44,760
Speaker 2: Were there were there any songs of Robbie on the

204
00:10:44,760 --> 00:10:46,880
Speaker 2: cut the Cake album? Or is that all you?

205
00:10:46,920 --> 00:10:50,160
Speaker 3: No? It's or me where we was gone?

206
00:10:50,440 --> 00:10:55,120
Speaker 2: All right? So, you know, because you joined Durand around

207
00:10:55,120 --> 00:10:57,680
Speaker 2: in eighty seven, I'm certain that you could tell the

208
00:10:57,679 --> 00:11:02,800
Speaker 2: difference between kind of the teen idol fandom of like

209
00:11:02,840 --> 00:11:06,560
Speaker 2: screaming girls and regular fans who just like into the

210
00:11:06,559 --> 00:11:11,120
Speaker 2: sound and into the band. What was you know again?

211
00:11:11,360 --> 00:11:15,760
Speaker 2: I know there was a novelty or curiosity of these

212
00:11:15,880 --> 00:11:19,319
Speaker 2: funky ass white boys or whatever. But at least between

213
00:11:20,040 --> 00:11:26,560
Speaker 2: seventy five and eighty seven is there. What are the

214
00:11:26,600 --> 00:11:27,280
Speaker 2: fans like?

215
00:11:28,240 --> 00:11:32,920
Speaker 3: They were wherever Durham went. There were the days right

216
00:11:33,000 --> 00:11:37,480
Speaker 3: and the directions. Yeah, they used to they used to be.

217
00:11:37,640 --> 00:11:40,959
Speaker 3: They camp outside of the studio and they were all

218
00:11:41,120 --> 00:11:44,720
Speaker 3: very nice, you know. I mean I remember when we

219
00:11:44,720 --> 00:11:47,480
Speaker 3: were in London and we were recording as there was

220
00:11:47,480 --> 00:11:50,840
Speaker 3: this girl, Michelle. I was still in touch with her, right,

221
00:11:51,520 --> 00:11:54,560
Speaker 3: I was there and I had my kids with me, okay,

222
00:11:54,800 --> 00:11:57,920
Speaker 3: and they were little. They go out and there was

223
00:11:58,040 --> 00:12:00,400
Speaker 3: there was like there was this gate, you know, and

224
00:12:00,440 --> 00:12:02,040
Speaker 3: they go out and they sort of talk to the

225
00:12:02,280 --> 00:12:06,280
Speaker 3: Duranis through the gate and finally Michelle said, I said, Michelle,

226
00:12:06,920 --> 00:12:08,840
Speaker 3: you want to look after after the kids because I

227
00:12:08,920 --> 00:12:12,080
Speaker 3: was inside working, right, And they go out there and

228
00:12:12,080 --> 00:12:15,600
Speaker 3: they'd sit with the Durani's and they'd have chips and

229
00:12:15,760 --> 00:12:17,800
Speaker 3: candy and they were just hanging.

230
00:12:18,080 --> 00:12:20,640
Speaker 4: They love. My kids loved hanging out with these with

231
00:12:20,679 --> 00:12:21,280
Speaker 4: these fans.

232
00:12:21,440 --> 00:12:25,120
Speaker 3: And I mean Michelle said to me, she said, wow,

233
00:12:25,720 --> 00:12:27,040
Speaker 3: you wouldn't do that now, would you?

234
00:12:27,360 --> 00:12:29,920
Speaker 5: And I said, well maybe not, but but back then

235
00:12:30,600 --> 00:12:32,880
Speaker 5: they were they were they were so nice that I mean,

236
00:12:33,120 --> 00:12:35,840
Speaker 5: they were they were just fans, and they all they

237
00:12:35,880 --> 00:12:37,440
Speaker 5: wanted was another photograph?

238
00:12:37,960 --> 00:12:40,040
Speaker 2: Right? Was it like that for a w B though,

239
00:12:40,640 --> 00:12:42,600
Speaker 2: like that level fandom?

240
00:12:43,080 --> 00:12:45,600
Speaker 3: No, no, No, I think it was a totally different

241
00:12:45,679 --> 00:12:47,520
Speaker 3: different thing that with the average white man.

242
00:12:47,600 --> 00:12:52,400
Speaker 4: It was sex basically, it was. It was sex and

243
00:12:52,480 --> 00:12:55,360
Speaker 4: dragon rock and roll with with with with average white man.

244
00:12:55,480 --> 00:12:59,400
Speaker 3: But but I think I think it was it was

245
00:12:59,440 --> 00:13:01,679
Speaker 3: a different Yeah, I mean, you know, I was.

246
00:13:01,760 --> 00:13:03,719
Speaker 4: I think I was like thirty five or something.

247
00:13:03,480 --> 00:13:06,480
Speaker 3: And I think, and I think and I think that

248
00:13:06,640 --> 00:13:12,439
Speaker 3: Duran Duran Duran also started to mature as as as men.

249
00:13:12,600 --> 00:13:14,880
Speaker 3: I mean, you know when when they first started, they

250
00:13:14,920 --> 00:13:17,240
Speaker 3: were came straight straight out of college to be the

251
00:13:17,280 --> 00:13:20,800
Speaker 3: biggest band on the planet. Right, it was wild, you know,

252
00:13:21,200 --> 00:13:22,960
Speaker 3: and that's why they had that some wild boys.

253
00:13:23,320 --> 00:13:24,400
Speaker 2: Yeah, I see.

254
00:13:24,920 --> 00:13:27,000
Speaker 3: So then by the time I joined them, I was

255
00:13:27,040 --> 00:13:29,120
Speaker 3: the I was the oldest teen idol and they were

256
00:13:29,160 --> 00:13:31,000
Speaker 3: they would they calmed down somewhat, you know.

257
00:13:31,640 --> 00:13:33,880
Speaker 2: Okay, yeah, you guys were seriously.

258
00:13:33,960 --> 00:13:36,320
Speaker 3: But you know what was funny was at one point

259
00:13:36,400 --> 00:13:39,720
Speaker 3: nobody really took Duran Duran that seriously, you know. I

260
00:13:39,760 --> 00:13:43,000
Speaker 3: mean other than being like a team, they were phenomenon

261
00:13:43,080 --> 00:13:44,600
Speaker 3: a team phenomenon, you.

262
00:13:44,600 --> 00:13:48,360
Speaker 2: Know really and then a good musicianship though.

263
00:13:48,600 --> 00:13:49,160
Speaker 4: But they did.

264
00:13:49,240 --> 00:13:51,920
Speaker 3: Yeah, eventually it was like they were working on it.

265
00:13:52,120 --> 00:13:53,720
Speaker 3: I mean, like they said, they came out and then

266
00:13:53,800 --> 00:13:56,000
Speaker 3: you know, and then they were great producing out now

267
00:13:56,440 --> 00:14:00,079
Speaker 3: and you know that that could put that together of

268
00:14:00,200 --> 00:14:03,160
Speaker 3: Bernard Edwards and they worked together and in the power

269
00:14:03,160 --> 00:14:06,760
Speaker 3: station and studios and all the money and all the

270
00:14:06,760 --> 00:14:09,079
Speaker 3: time to do a record and make make a song happen.

271
00:14:09,240 --> 00:14:12,400
Speaker 4: You know, But they started to they started to.

272
00:14:13,320 --> 00:14:17,520
Speaker 3: Mature as as people are musicians and you know, now

273
00:14:19,680 --> 00:14:22,360
Speaker 3: they've been around a long time and they and they

274
00:14:22,480 --> 00:14:25,720
Speaker 3: still they still valid and still make music and aren't

275
00:14:25,840 --> 00:14:27,880
Speaker 3: just sort of resting on their laurels. And you know,

276
00:14:27,920 --> 00:14:31,520
Speaker 3: we were around around they just really matured into a

277
00:14:31,720 --> 00:14:33,640
Speaker 3: bunch of really great players.

278
00:14:34,080 --> 00:14:36,080
Speaker 2: Well, shout out to durand A and they just got

279
00:14:36,080 --> 00:14:37,480
Speaker 2: a I'm part of the Rock and Roll Hall of

280
00:14:37,520 --> 00:14:41,560
Speaker 2: Fame committee, So I'm very happy that they got inducted finally.

281
00:14:41,760 --> 00:14:45,040
Speaker 4: Absolutely, yeah, that's fantastic news.

282
00:14:45,120 --> 00:14:50,000
Speaker 3: But they but but yes, absolutely that you can't say

283
00:14:50,040 --> 00:14:50,880
Speaker 3: that they're not valid.

284
00:14:50,880 --> 00:14:53,960
Speaker 4: They've been making records. I mean I remember I remember,

285
00:14:54,160 --> 00:14:55,280
Speaker 4: you know, I was working.

286
00:14:54,960 --> 00:14:58,400
Speaker 3: With George Harrison and I go over to London and

287
00:14:58,760 --> 00:15:00,240
Speaker 3: they had an apartment on Sloan Street.

288
00:15:00,280 --> 00:15:01,760
Speaker 4: They get me an apartment on So and I have

289
00:15:01,800 --> 00:15:05,960
Speaker 4: to drive out to the rehearsals at Race Studios. I

290
00:15:06,040 --> 00:15:08,000
Speaker 4: get there, ride there, Oh, I take a ride down

291
00:15:08,040 --> 00:15:09,560
Speaker 4: the King's Road. I get in my car.

292
00:15:09,840 --> 00:15:11,760
Speaker 3: I'm driving down the King's Road and I see this

293
00:15:11,840 --> 00:15:17,680
Speaker 3: guy and I say this, a little muscle muscle bound, buffed,

294
00:15:18,080 --> 00:15:20,600
Speaker 3: and I say, that looks like Warren Coocarillo.

295
00:15:21,040 --> 00:15:23,600
Speaker 4: But he's skinny, skinny.

296
00:15:23,320 --> 00:15:25,960
Speaker 3: Rock and roll guy, a little skinny rock and roll guitarist.

297
00:15:27,200 --> 00:15:29,280
Speaker 3: And and then I look and it is Warren. And

298
00:15:29,360 --> 00:15:30,800
Speaker 3: I hadn't seen him in a couple of years, and

299
00:15:30,840 --> 00:15:33,200
Speaker 3: he'd been pumping iron and he buffed out, you know,

300
00:15:34,080 --> 00:15:37,080
Speaker 3: and I, Warren, what the hell you're in town?

301
00:15:38,000 --> 00:15:39,920
Speaker 4: He said, I need you to do a session for me.

302
00:15:39,960 --> 00:15:42,120
Speaker 3: And this is what I'm still driving very slowly right

303
00:15:42,160 --> 00:15:44,960
Speaker 3: and King So and I I got the window down

304
00:15:45,000 --> 00:15:48,080
Speaker 3: and say, well, I don't know what my schedule is.

305
00:15:48,120 --> 00:15:50,560
Speaker 3: He said, let me know, and he takes reaches into

306
00:15:50,600 --> 00:15:52,960
Speaker 3: his bag and takes a cassette and he throws it

307
00:15:52,960 --> 00:15:55,320
Speaker 3: through my car window and said, that's the song. Give

308
00:15:55,360 --> 00:15:57,640
Speaker 3: me a call when you get when you find out

309
00:15:57,680 --> 00:16:00,480
Speaker 3: what you're scheduled. So I drive off down the road

310
00:16:00,480 --> 00:16:02,360
Speaker 3: and I take this cassette and a puppet in the cassette

311
00:16:02,360 --> 00:16:08,600
Speaker 3: player in the car and it's the ordinary world. Oh

312
00:16:08,680 --> 00:16:11,200
Speaker 3: And I call up Bar and I say, you don't

313
00:16:11,240 --> 00:16:12,240
Speaker 3: need me to play on this.

314
00:16:12,360 --> 00:16:15,520
Speaker 4: You know this, You could just put out this demo

315
00:16:15,720 --> 00:16:17,560
Speaker 4: right now. This is a hit record. You know this

316
00:16:17,600 --> 00:16:18,880
Speaker 4: is great, this is a hit song.

317
00:16:19,440 --> 00:16:21,040
Speaker 3: And he's like, no, no, no, we want you to

318
00:16:21,040 --> 00:16:23,160
Speaker 3: play with So they insisted I play on it. I

319
00:16:23,200 --> 00:16:25,720
Speaker 3: don't know if I bought anything else to it, but boy,

320
00:16:25,760 --> 00:16:27,960
Speaker 3: what a beautiful song and what a great hit record

321
00:16:27,960 --> 00:16:29,000
Speaker 3: that was in them young.

322
00:16:29,640 --> 00:16:32,360
Speaker 2: So I have a question about your your studio sound.

323
00:16:32,440 --> 00:16:37,520
Speaker 2: So the thing that always attracted me to your sound

324
00:16:37,600 --> 00:16:40,680
Speaker 2: was your tone, particularly the snap of your snare, Like

325
00:16:41,040 --> 00:16:43,400
Speaker 2: I think, like you really came alive on the soul

326
00:16:43,440 --> 00:16:46,240
Speaker 2: Search and record. Just your drumming technique, Like I love

327
00:16:46,320 --> 00:16:48,880
Speaker 2: the fact that you know, we now live in the

328
00:16:48,960 --> 00:16:52,960
Speaker 2: age where and drummers hate when I start speaking down

329
00:16:53,000 --> 00:16:57,520
Speaker 2: on gospel chops, you know, but for me, God with you,

330
00:16:58,720 --> 00:17:03,760
Speaker 2: I know, but for me, gospel chops is if you're

331
00:17:03,760 --> 00:17:07,000
Speaker 2: a chef you got to know how much garlic and

332
00:17:07,040 --> 00:17:09,440
Speaker 2: salt and pepper and spices to add to your meal.

333
00:17:10,240 --> 00:17:13,080
Speaker 2: And sometimes you can overdo it, but you always have

334
00:17:13,200 --> 00:17:14,240
Speaker 2: these clean feels, so.

335
00:17:16,400 --> 00:17:18,320
Speaker 3: Really good piece of meat, really good cut of meat

336
00:17:18,320 --> 00:17:19,520
Speaker 3: with too much spices and.

337
00:17:19,840 --> 00:17:24,359
Speaker 2: Sometimes you don't need spices, you know. So that said,

338
00:17:24,840 --> 00:17:28,840
Speaker 2: can you walk me through a typical session for AWB, like,

339
00:17:29,800 --> 00:17:31,720
Speaker 2: you know, like do you have a say in the

340
00:17:31,760 --> 00:17:35,920
Speaker 2: tone of your drums? You know, like I know that

341
00:17:36,000 --> 00:17:39,800
Speaker 2: your signature gretch set kind of comes in at the

342
00:17:39,880 --> 00:17:42,520
Speaker 2: tail end of the tour, Like are you allowed to

343
00:17:42,560 --> 00:17:44,480
Speaker 2: tune your drums or is it a thing where like

344
00:17:44,560 --> 00:17:47,919
Speaker 2: the engineer says, don't touch my microphones, don't touch my drums,

345
00:17:48,040 --> 00:17:48,680
Speaker 2: just play.

346
00:17:48,840 --> 00:17:50,600
Speaker 4: At that point in time, I did it. I did

347
00:17:50,640 --> 00:17:52,640
Speaker 4: it myself, you know, I was my own.

348
00:17:53,160 --> 00:17:55,520
Speaker 3: I mean, I can't say that I'm really a great

349
00:17:55,800 --> 00:17:57,840
Speaker 3: drum tuner other than the fact that I want to

350
00:17:57,920 --> 00:17:58,239
Speaker 3: dank thing.

351
00:17:58,359 --> 00:17:59,720
Speaker 4: I want the dank thing to sound like.

352
00:18:00,440 --> 00:18:05,720
Speaker 3: Right, the first cut the cake was was it was

353
00:18:05,760 --> 00:18:09,040
Speaker 3: the sonar kit that they had in the studio Atlantic.

354
00:18:09,160 --> 00:18:11,800
Speaker 4: It was in a little box, right You ever see

355
00:18:11,800 --> 00:18:12,040
Speaker 4: that to.

356
00:18:12,080 --> 00:18:15,560
Speaker 3: Photographs of that drum kit, It's like in a little

357
00:18:15,560 --> 00:18:17,280
Speaker 3: box and the symbols were right there, and it was

358
00:18:17,880 --> 00:18:19,840
Speaker 3: and that was that was, that was, that was cut

359
00:18:19,840 --> 00:18:22,920
Speaker 3: the cake. And then by the time but the time

360
00:18:22,920 --> 00:18:27,840
Speaker 3: he got around to soul searching, it was I got.

361
00:18:28,200 --> 00:18:30,200
Speaker 3: I wanted to always wanted a Gret drum kit and

362
00:18:30,200 --> 00:18:32,800
Speaker 3: I could afford one, and I got That's when I got.

363
00:18:33,480 --> 00:18:36,160
Speaker 2: So there wasn't such a thing as we'll endorse you,

364
00:18:36,320 --> 00:18:37,160
Speaker 2: here's a free kit.

365
00:18:38,280 --> 00:18:41,080
Speaker 3: Well, the endorsement that I had with Gretch at that

366
00:18:41,119 --> 00:18:43,240
Speaker 3: point was they gave me a fifty percent discount.

367
00:18:43,440 --> 00:18:47,639
Speaker 2: Okay, now they give you away, but back then, it

368
00:18:47,720 --> 00:18:50,520
Speaker 2: wasn't giving a set that you didn't Okay, I see.

369
00:18:50,720 --> 00:18:52,480
Speaker 3: And I got this drum kit and I set it

370
00:18:52,520 --> 00:18:54,360
Speaker 3: up and set it up in the in the studio,

371
00:18:55,200 --> 00:18:57,600
Speaker 3: and there was something that I wanted to try because

372
00:18:57,720 --> 00:19:01,720
Speaker 3: I always felt that there was, uh you talk about

373
00:19:01,720 --> 00:19:03,720
Speaker 3: the sound of the tone of the snare drop, that

374
00:19:03,880 --> 00:19:06,400
Speaker 3: there wasn't quite the pop that I wanted to get

375
00:19:06,400 --> 00:19:08,240
Speaker 3: at the crack that I wanted to get out of

376
00:19:08,280 --> 00:19:13,000
Speaker 3: the drum with the microphone just on the top. So

377
00:19:13,680 --> 00:19:16,680
Speaker 3: Jean Paul, who was Les Paul's son, was our engineer,

378
00:19:17,040 --> 00:19:19,639
Speaker 3: and I said, I said, GM could we put the

379
00:19:20,080 --> 00:19:23,280
Speaker 3: microphone like underneath the snare on facing up so that

380
00:19:23,320 --> 00:19:25,439
Speaker 3: we can and we can blend those two things so

381
00:19:25,480 --> 00:19:28,440
Speaker 3: that we can get the christness of the snare underneath

382
00:19:28,520 --> 00:19:31,240
Speaker 3: plus the pop on the top. And he said, yeah, sure,

383
00:19:31,240 --> 00:19:33,360
Speaker 3: we can do that. So they they they that's when

384
00:19:33,400 --> 00:19:36,919
Speaker 3: they started to do that. And then I then in

385
00:19:37,040 --> 00:19:40,520
Speaker 3: soul Searching, I actually asked him to put like a

386
00:19:40,520 --> 00:19:43,359
Speaker 3: little delay or a little echo on there as on

387
00:19:43,400 --> 00:19:46,160
Speaker 3: the underneath as well, And that's why it has that

388
00:19:46,280 --> 00:19:50,800
Speaker 3: sort of roomy sort of yeah, and and and that

389
00:19:50,960 --> 00:19:52,240
Speaker 3: was it was.

390
00:19:52,119 --> 00:19:52,480
Speaker 4: It was.

391
00:19:52,560 --> 00:19:56,040
Speaker 3: It was such great fun to be able to experiment

392
00:19:56,080 --> 00:19:58,000
Speaker 3: with stuff like that back in those days.

393
00:19:58,200 --> 00:20:00,160
Speaker 4: You know, a Reef Marden was very old.

394
00:20:01,080 --> 00:20:03,560
Speaker 2: Trying to say, how how is a Reef Martin as

395
00:20:03,600 --> 00:20:08,639
Speaker 2: a coach incredible? Are you guys writing in that studio?

396
00:20:10,080 --> 00:20:12,800
Speaker 3: We were in there writing as we Sometimes we'd start,

397
00:20:12,920 --> 00:20:15,280
Speaker 3: we'd have an idea of a groove and then we'd

398
00:20:15,560 --> 00:20:19,000
Speaker 3: write it in the studio. It was expensive, but not

399
00:20:19,080 --> 00:20:21,240
Speaker 3: as expensive as would be to do that today.

400
00:20:22,119 --> 00:20:26,679
Speaker 2: You're talking about the studio that's Atlantic Records. M Yes, okay,

401
00:20:26,720 --> 00:20:30,800
Speaker 2: so yeah, I worked when we did the Hamilton brutally Yeah.

402
00:20:31,640 --> 00:20:35,040
Speaker 2: I worked on the Hamilton Cast album at that particular studio,

403
00:20:35,320 --> 00:20:38,520
Speaker 2: and I always wanted to know, okay, one, did they

404
00:20:38,560 --> 00:20:43,280
Speaker 2: only have one studio? And how does time get how

405
00:20:43,320 --> 00:20:46,679
Speaker 2: does time get divided? Like do you have just a

406
00:20:46,680 --> 00:20:48,040
Speaker 2: week to get in the studio and then we got

407
00:20:48,040 --> 00:20:49,720
Speaker 2: to get out because the reef is coming or Bette

408
00:20:49,760 --> 00:20:51,560
Speaker 2: Midler's coming or I know.

409
00:20:51,600 --> 00:20:53,399
Speaker 4: We used to just go in and start recording and then

410
00:20:53,560 --> 00:20:55,880
Speaker 4: we were there. That was it was.

411
00:20:56,000 --> 00:20:56,399
Speaker 2: That was it.

412
00:20:56,440 --> 00:20:58,800
Speaker 3: We'd have like a couple of weeks or something and

413
00:20:58,920 --> 00:21:01,959
Speaker 3: we just work in there. Sometimes we got That's how

414
00:21:02,000 --> 00:21:04,720
Speaker 3: Benny and Benny and us got recorded was because we

415
00:21:04,800 --> 00:21:08,800
Speaker 3: got stuck. We sort of got we weren't going anywhere.

416
00:21:08,840 --> 00:21:12,560
Speaker 3: So somebody suggested us doing an album with Benny King,

417
00:21:13,040 --> 00:21:14,639
Speaker 3: and then we did the Benny King album and then

418
00:21:14,680 --> 00:21:16,639
Speaker 3: went back to I think it was Soul Searching. I

419
00:21:16,640 --> 00:21:17,600
Speaker 3: think it was Soul searching.

420
00:21:17,840 --> 00:21:22,480
Speaker 2: May no, it may or maybe Warmer communications.

421
00:21:22,320 --> 00:21:24,440
Speaker 4: Warman communication. I think it was Warman Communications.

422
00:21:24,760 --> 00:21:26,960
Speaker 2: So do you guys work out in sound check or like,

423
00:21:27,040 --> 00:21:30,639
Speaker 2: how is songwriting traditionally done well?

424
00:21:30,720 --> 00:21:34,520
Speaker 3: We we always had a tape recorder running at all

425
00:21:34,640 --> 00:21:38,119
Speaker 3: times because what we discovered was that we jam, and

426
00:21:38,200 --> 00:21:42,639
Speaker 3: out of the jam would come something that the nucleus

427
00:21:42,640 --> 00:21:46,639
Speaker 3: of a song. Yeah, but this is where a reef

428
00:21:46,760 --> 00:21:49,199
Speaker 3: was really good when we were in the studio, was

429
00:21:49,320 --> 00:21:51,040
Speaker 3: we go in and we start to play this song,

430
00:21:51,200 --> 00:21:54,320
Speaker 3: and we play and we played this song then and

431
00:21:54,359 --> 00:21:56,879
Speaker 3: then the reef would say, everybody come in, and we

432
00:21:56,960 --> 00:22:00,760
Speaker 3: come in and he gets to a certain point in

433
00:22:00,800 --> 00:22:03,280
Speaker 3: the song, like we'd be playing, still looking for this

434
00:22:03,480 --> 00:22:08,040
Speaker 3: groove right right, still trying to find and he would say, okay,

435
00:22:09,440 --> 00:22:17,280
Speaker 3: this two bars right and there it was, Oh, okay, okay,

436
00:22:17,359 --> 00:22:18,879
Speaker 3: I get it. That's where we are with it. This

437
00:22:18,960 --> 00:22:22,280
Speaker 3: is this is where that the song is going to be. Yeah, okay,

438
00:22:22,320 --> 00:22:26,800
Speaker 3: it would be this. He spot a section of the

439
00:22:26,800 --> 00:22:29,360
Speaker 3: song that was where he wanted the thing to sit.

440
00:22:29,720 --> 00:22:30,560
Speaker 2: And that's the magic.

441
00:22:30,680 --> 00:22:33,520
Speaker 3: And then you guys know, there's the magic. Now, now

442
00:22:33,560 --> 00:22:36,639
Speaker 3: go and do that, you know, school boy, schoolboy crash.

443
00:22:36,800 --> 00:22:37,320
Speaker 1: We tried.

444
00:22:37,440 --> 00:22:40,720
Speaker 3: We must have done it about twenty twenty two, twenty

445
00:22:40,760 --> 00:22:44,159
Speaker 3: four times when and it just would not hang together,

446
00:22:44,400 --> 00:22:48,840
Speaker 3: would not would not really, and so we said, okay,

447
00:22:49,520 --> 00:22:52,760
Speaker 3: pack it up, go home, go out, come back tomorrow.

448
00:22:53,119 --> 00:22:55,000
Speaker 3: We'll do it. We'll do it tomorrow fresh when you

449
00:22:55,080 --> 00:22:57,560
Speaker 3: come in. We all went off to that stuff, went

450
00:22:57,600 --> 00:23:01,160
Speaker 3: out and came back back the next day. We walk

451
00:23:01,200 --> 00:23:03,480
Speaker 3: in there. Okay, let's run it down. So we run

452
00:23:03,520 --> 00:23:06,879
Speaker 3: it down, and he said, okay, let's do let's do

453
00:23:06,920 --> 00:23:08,760
Speaker 3: a take. Let's do a take. We did the take,

454
00:23:09,080 --> 00:23:10,800
Speaker 3: and then we went in and listened and it just

455
00:23:10,840 --> 00:23:13,679
Speaker 3: wouldn't No, here we go again. It's not it's just

456
00:23:13,720 --> 00:23:16,960
Speaker 3: not hanging together. And and Gene Paul says, you want

457
00:23:16,960 --> 00:23:21,200
Speaker 3: to listen to the run through. He had the presence

458
00:23:21,200 --> 00:23:23,000
Speaker 3: of mind to press that record bat in the first

459
00:23:23,040 --> 00:23:25,320
Speaker 3: time school question.

460
00:23:25,160 --> 00:23:27,680
Speaker 2: And the run through is what you sat with? Did

461
00:23:27,680 --> 00:23:28,159
Speaker 2: he loop that?

462
00:23:29,240 --> 00:23:30,520
Speaker 4: Nope, you just.

463
00:23:30,480 --> 00:23:33,240
Speaker 2: Went the run through wound up being the master version

464
00:23:33,520 --> 00:23:42,840
Speaker 2: the run through? Was it? Wow? In seventy seven, especially

465
00:23:42,840 --> 00:23:46,480
Speaker 2: on the Montro and your second appearance on Soul Train,

466
00:23:47,040 --> 00:23:49,960
Speaker 2: you guys had a bongo player in the group. Who

467
00:23:50,080 --> 00:23:50,600
Speaker 2: was that guy?

468
00:23:51,200 --> 00:23:52,080
Speaker 4: Semi figure out?

469
00:23:52,560 --> 00:23:55,119
Speaker 2: That was Semi figure out? Okay, yeah, what was the

470
00:23:55,200 --> 00:23:56,520
Speaker 2: idea of letting him in the group.

471
00:23:57,560 --> 00:24:00,879
Speaker 4: Well, Sammy was crazy.

472
00:24:01,680 --> 00:24:02,040
Speaker 2: Sammy.

473
00:24:02,119 --> 00:24:03,360
Speaker 4: Sammy was a guy around town.

474
00:24:03,400 --> 00:24:06,160
Speaker 3: He used to play in a band called Racist from

475
00:24:06,200 --> 00:24:06,840
Speaker 3: Puerto Rico.

476
00:24:07,160 --> 00:24:07,880
Speaker 2: Wait what.

477
00:24:09,800 --> 00:24:10,200
Speaker 4: Racist?

478
00:24:10,280 --> 00:24:10,440
Speaker 2: Yeah?

479
00:24:11,040 --> 00:24:14,160
Speaker 4: Racist Racist?

480
00:24:14,840 --> 00:24:20,480
Speaker 3: And Sammy was the best Sammy Davis impersonator ever really well,

481
00:24:20,520 --> 00:24:24,800
Speaker 3: I should say it is because he's still alive, really yeah.

482
00:24:24,840 --> 00:24:28,119
Speaker 3: And he was a very funny guy, and we started

483
00:24:28,119 --> 00:24:30,280
Speaker 3: doing things like Queen and My Soul and everything.

484
00:24:29,920 --> 00:24:31,280
Speaker 4: And it was like, look at the use of the

485
00:24:31,359 --> 00:24:33,280
Speaker 4: cast Sammy. Sammy came with us.

486
00:24:33,320 --> 00:24:35,320
Speaker 2: You didn't feel like it was in your way. No,

487
00:24:35,960 --> 00:24:37,840
Speaker 2: because the thing is on the live I don't know

488
00:24:37,880 --> 00:24:40,760
Speaker 2: if you ever listened to via the Montro seventy seven

489
00:24:41,359 --> 00:24:45,560
Speaker 2: live album, but his presence there really doesn't allow you

490
00:24:46,520 --> 00:24:50,240
Speaker 2: to do your peronisms. So in my mind it's like, oh,

491
00:24:50,359 --> 00:24:52,399
Speaker 2: you got to be more tight. It was. It was.

492
00:24:52,680 --> 00:24:54,520
Speaker 4: It was a little different animal, but it was. It

493
00:24:54,560 --> 00:24:56,480
Speaker 4: was cool. I love Sammy, you know.

494
00:24:56,880 --> 00:25:01,600
Speaker 3: The only thing that used to annoy me felt savvy

495
00:25:02,480 --> 00:25:04,399
Speaker 3: was he had this giant rainstick.

496
00:25:05,680 --> 00:25:08,320
Speaker 4: Nice. Yeah, it was huge.

497
00:25:08,400 --> 00:25:10,520
Speaker 3: I mean it was probably like six foot tall, and

498
00:25:10,560 --> 00:25:13,520
Speaker 3: he would we used to travel on a legit and

499
00:25:13,600 --> 00:25:16,160
Speaker 3: he would bring this thing in the on the on

500
00:25:16,200 --> 00:25:19,359
Speaker 3: the plane and lay it down right down the middle

501
00:25:19,400 --> 00:25:22,199
Speaker 3: of the leg. It's tiny, right, so it would be

502
00:25:22,240 --> 00:25:24,320
Speaker 3: right and take up most of the thing.

503
00:25:24,960 --> 00:25:26,640
Speaker 4: And as that as we would go to take off,

504
00:25:26,680 --> 00:25:27,320
Speaker 4: it would be like.

505
00:25:30,720 --> 00:25:36,200
Speaker 2: It was just annoying, but he was a he's.

506
00:25:36,080 --> 00:25:38,320
Speaker 3: A funny guy, Sammy. I love SEMy to death. He

507
00:25:38,400 --> 00:25:39,520
Speaker 3: was he was just really great.

508
00:25:39,600 --> 00:25:43,480
Speaker 2: Devin, how are band decisions made? Like? Is it is

509
00:25:43,480 --> 00:25:45,960
Speaker 2: it the idea that you all get to say? Or

510
00:25:46,720 --> 00:25:49,359
Speaker 2: who are these alphas that say this is what we

511
00:25:49,359 --> 00:25:49,800
Speaker 2: should do?

512
00:25:50,280 --> 00:25:51,280
Speaker 4: We'd have a bad meeting.

513
00:25:52,280 --> 00:25:55,800
Speaker 2: Okay, are you guys by seventy nine, are you guys

514
00:25:57,040 --> 00:25:59,600
Speaker 2: still friends? Are you kind of phoning in from home?

515
00:26:01,080 --> 00:26:02,640
Speaker 2: Are you tired of each other yet?

516
00:26:02,760 --> 00:26:06,760
Speaker 3: Or seventy nine you're talking about the Arista years?

517
00:26:06,880 --> 00:26:09,520
Speaker 2: Well, no, no, feel no threat before you go to ft.

518
00:26:09,560 --> 00:26:12,879
Speaker 3: Yeah, you know, we we were, We were still upt in,

519
00:26:12,960 --> 00:26:15,359
Speaker 3: were still held many on making making Vega.

520
00:26:15,840 --> 00:26:20,600
Speaker 2: Now, why was there an exodus to Arista? Because also

521
00:26:20,640 --> 00:26:24,800
Speaker 2: Aretha goes to Arista as well. Like I noticed that

522
00:26:24,840 --> 00:26:28,560
Speaker 2: there's there's at least four or five Atlantic acts that

523
00:26:29,040 --> 00:26:31,679
Speaker 2: get wooed away by Clive Davis, and.

524
00:26:31,760 --> 00:26:34,680
Speaker 3: That I think that's what That's what I have management management,

525
00:26:34,680 --> 00:26:37,600
Speaker 3: we're pushing heavily for us to move from Atlantic to

526
00:26:37,640 --> 00:26:42,879
Speaker 3: go to Arista. I don't, I know, I wasn't not

527
00:26:42,920 --> 00:26:44,520
Speaker 3: sure about it because I love being.

528
00:26:44,440 --> 00:26:49,000
Speaker 2: Atlantic now without without ruffling you know, And here's the thing.

529
00:26:49,240 --> 00:26:51,760
Speaker 2: I'm I'm actually friends with Foster. I'm a fan of

530
00:26:51,800 --> 00:26:54,560
Speaker 2: his work, Like I love the New Birthed too, you

531
00:26:54,600 --> 00:26:57,159
Speaker 2: know all that stuff. And you know, and I'll admit

532
00:26:58,240 --> 00:27:02,000
Speaker 2: that maybe younger in my twenty the thirties, you know,

533
00:27:02,600 --> 00:27:05,280
Speaker 2: I might side ey the fact that Wow, like Chicago

534
00:27:05,359 --> 00:27:07,240
Speaker 2: used to sound some Wayne, then they got with Foster.

535
00:27:07,800 --> 00:27:09,680
Speaker 2: And then Earth Wind and Fire used to sound some Wayne,

536
00:27:09,680 --> 00:27:13,240
Speaker 2: then they got with Foster. Now you know, Sean comes

537
00:27:13,280 --> 00:27:17,960
Speaker 2: out when I'm nine, So you know I'm not I'm

538
00:27:18,000 --> 00:27:21,679
Speaker 2: not cynical, So I will say the nine year old me,

539
00:27:22,720 --> 00:27:24,719
Speaker 2: I loved you know what you're going to do for me.

540
00:27:25,000 --> 00:27:29,760
Speaker 2: I loved Into the Night, you know, I loved helpings

541
00:27:29,800 --> 00:27:31,879
Speaker 2: on it like I like those songs, like I listened

542
00:27:31,920 --> 00:27:37,600
Speaker 2: to Shine constantly. But clearly it's a more mature sound.

543
00:27:38,600 --> 00:27:43,000
Speaker 4: Yeah, I wasn't very I mean, there was a what

544
00:27:43,119 --> 00:27:43,760
Speaker 4: can we David?

545
00:27:43,760 --> 00:27:46,600
Speaker 3: It's fun because he's a great musician, right yeah, And

546
00:27:46,640 --> 00:27:51,560
Speaker 3: I think he's a great producer. But I don't think

547
00:27:52,359 --> 00:27:55,920
Speaker 3: that he was in a tune. I think he's more

548
00:27:56,040 --> 00:27:58,520
Speaker 3: tuned to artists than he is with a band.

549
00:27:59,720 --> 00:28:02,560
Speaker 4: Okay, because average.

550
00:28:02,160 --> 00:28:09,040
Speaker 3: White band was such such a special combination of how

551
00:28:09,080 --> 00:28:12,680
Speaker 3: the how the parts of everybody fit together to make

552
00:28:13,280 --> 00:28:15,720
Speaker 3: to make average White band. I understand that the producer

553
00:28:15,720 --> 00:28:17,480
Speaker 3: has got to do, you know this his job to

554
00:28:17,480 --> 00:28:20,800
Speaker 3: come in make some changes. But I don't think that

555
00:28:20,840 --> 00:28:24,159
Speaker 3: you can actually lose the essence of a band like

556
00:28:24,280 --> 00:28:28,360
Speaker 3: average White band without having having some some some problems.

557
00:28:28,680 --> 00:28:32,200
Speaker 3: And and the the problem that I found with it

558
00:28:32,280 --> 00:28:35,960
Speaker 3: was when we finished that album and we sat down

559
00:28:36,000 --> 00:28:39,920
Speaker 3: and started to play it, six people with the band

560
00:28:41,120 --> 00:28:43,680
Speaker 3: one sounding right, So we.

561
00:28:43,720 --> 00:28:46,440
Speaker 2: Had to have the elements of overproduction that you had

562
00:28:46,440 --> 00:28:50,640
Speaker 2: in the studio. It didn't trans it didn't translate live right.

563
00:28:50,880 --> 00:28:53,000
Speaker 3: No, And we ended up getting we had to get

564
00:28:53,000 --> 00:28:54,920
Speaker 3: and we got another keyboard player to come in and

565
00:28:54,920 --> 00:28:57,360
Speaker 3: play with us, and we got a couple of background

566
00:28:57,440 --> 00:29:01,080
Speaker 3: vocalists to come in with us. And I found myself

567
00:29:01,120 --> 00:29:05,800
Speaker 3: sitting on stage playing those songs and saying, ware the

568
00:29:05,880 --> 00:29:07,200
Speaker 3: hell did everage want band go?

569
00:29:09,760 --> 00:29:14,040
Speaker 2: I see at the turn of the eighties, especially on

570
00:29:14,160 --> 00:29:17,360
Speaker 2: like songs like catch me before I have to testify whatever,

571
00:29:17,520 --> 00:29:20,520
Speaker 2: Like this is sort of the introduction of like you know,

572
00:29:20,760 --> 00:29:23,640
Speaker 2: I could hear the sensonic drums or like sort of

573
00:29:23,680 --> 00:29:28,320
Speaker 2: drum machine, you know, and kind of the Filma and

574
00:29:28,440 --> 00:29:31,800
Speaker 2: Louise car Jump for a lot of these bands who

575
00:29:31,840 --> 00:29:34,120
Speaker 2: were killing in the seventies. And this goes for the

576
00:29:34,160 --> 00:29:38,240
Speaker 2: Ohio players in the comedy everyone they have a decision

577
00:29:38,280 --> 00:29:43,600
Speaker 2: to make to either sink or swim. How aware of

578
00:29:43,640 --> 00:29:49,680
Speaker 2: you of what technology is and your role in it?

579
00:29:49,720 --> 00:29:55,120
Speaker 2: Is it like, Okay, this Roger Lynn box might replace me.

580
00:29:55,240 --> 00:29:58,080
Speaker 2: Do I embrace it and learn how to program it?

581
00:29:58,400 --> 00:30:01,840
Speaker 2: Or the Simmons drum was like, do I roll with

582
00:30:01,840 --> 00:30:04,280
Speaker 2: the punches or do I just fight the power and

583
00:30:04,320 --> 00:30:07,680
Speaker 2: be like, Nope, I'm not learning technology, I'm playing drums.

584
00:30:08,040 --> 00:30:10,200
Speaker 4: Well, I like I like the Simmons drums.

585
00:30:10,520 --> 00:30:12,160
Speaker 3: I mean I used the must stay with Me tonight,

586
00:30:12,280 --> 00:30:16,240
Speaker 3: Jeffrey Osmond and I had to fight George do for

587
00:30:16,360 --> 00:30:19,360
Speaker 3: that because I said, I said to George, we cut

588
00:30:19,400 --> 00:30:21,280
Speaker 3: it with the real jumpkin And I said, yeah, George,

589
00:30:21,280 --> 00:30:24,400
Speaker 3: I said, I think this thing could use I'd heard

590
00:30:24,440 --> 00:30:27,200
Speaker 3: that blinded me with science, and I thought, right, I

591
00:30:27,280 --> 00:30:27,440
Speaker 3: like that.

592
00:30:27,480 --> 00:30:28,480
Speaker 4: I like the sound of that.

593
00:30:29,280 --> 00:30:31,200
Speaker 2: So you you were all you were all for it.

594
00:30:31,880 --> 00:30:34,160
Speaker 3: I was all for I was all for that. I mean,

595
00:30:35,040 --> 00:30:37,760
Speaker 3: drum machines had never interested me. Really, the program or anything.

596
00:30:37,920 --> 00:30:40,640
Speaker 3: I mean, I mean even though I did program at

597
00:30:40,680 --> 00:30:43,320
Speaker 3: the so misled on the Duranda and things started off

598
00:30:43,360 --> 00:30:46,000
Speaker 3: as me programming something for them to play too. They

599
00:30:46,000 --> 00:30:48,400
Speaker 3: were writing in the studio, so I programmed that, and

600
00:30:48,400 --> 00:30:49,640
Speaker 3: then I had to figure out how to play.

601
00:30:50,520 --> 00:30:54,160
Speaker 2: So what were your opinions on like people that clearly

602
00:30:54,200 --> 00:30:58,280
Speaker 2: were going to define the era, i e. Princess music.

603
00:30:58,560 --> 00:31:02,560
Speaker 2: You know the fact that now deep snare sounds are

604
00:31:03,360 --> 00:31:05,600
Speaker 2: kind of the thing that's involved, kind of the opposite

605
00:31:05,640 --> 00:31:08,920
Speaker 2: of what was your signature sound? Are you are you

606
00:31:09,000 --> 00:31:11,120
Speaker 2: with us or are you sort of fighting?

607
00:31:12,520 --> 00:31:16,240
Speaker 3: No? I mean, I mean, look, I used to fight

608
00:31:16,440 --> 00:31:19,160
Speaker 3: the click. I mean when they first started saying, you know,

609
00:31:19,520 --> 00:31:21,240
Speaker 3: we got a cut with a click. I mean, I

610
00:31:21,240 --> 00:31:23,640
Speaker 3: think when you're talking about the songs you're talking about,

611
00:31:23,840 --> 00:31:25,560
Speaker 3: all of a sudden we were cutting stuff to a

612
00:31:25,600 --> 00:31:26,920
Speaker 3: click and just sort of walk in there and it

613
00:31:26,960 --> 00:31:28,640
Speaker 3: was played to the click, and that.

614
00:31:28,960 --> 00:31:29,600
Speaker 4: Was that was it.

615
00:31:30,280 --> 00:31:32,880
Speaker 3: When before we used to go in and have to

616
00:31:32,960 --> 00:31:39,960
Speaker 3: find the tempo right, the tempo would come from the song. Okay,

617
00:31:39,960 --> 00:31:41,480
Speaker 3: this is the song's tempo and this is what we're

618
00:31:41,480 --> 00:31:44,360
Speaker 3: playing it at okay, and you know, and it was

619
00:31:44,440 --> 00:31:48,960
Speaker 3: it was kind of uninvolved. You know, I had when

620
00:31:49,280 --> 00:31:52,080
Speaker 3: you know, when people started to play, I'd worked hard

621
00:31:52,120 --> 00:31:55,840
Speaker 3: on my tempo and I remember a ref you know,

622
00:31:56,000 --> 00:31:57,920
Speaker 3: you say we're going to cut this with a click,

623
00:31:57,960 --> 00:32:04,040
Speaker 3: and I'm like, oh, come on, Areca. Yeah, some of it,

624
00:32:04,960 --> 00:32:08,560
Speaker 3: but but no, I mean even even the early stuff

625
00:32:08,560 --> 00:32:09,920
Speaker 3: with Shacker, Love is fulling on me.

626
00:32:10,800 --> 00:32:12,720
Speaker 4: The click that's playing.

627
00:32:13,280 --> 00:32:16,760
Speaker 3: But I'm every woman cut with a click?

628
00:32:18,040 --> 00:32:18,360
Speaker 4: Played that?

629
00:32:18,600 --> 00:32:21,840
Speaker 2: Please answer this morning? Who is playing bass on Some Love?

630
00:32:22,560 --> 00:32:23,480
Speaker 2: Is that her brother Mark?

631
00:32:27,960 --> 00:32:28,800
Speaker 4: Anthony Jackson?

632
00:32:29,120 --> 00:32:33,240
Speaker 2: That's Anthony Jackson playing Some Love? I think so wow,

633
00:32:33,960 --> 00:32:34,560
Speaker 2: it's crazy.

634
00:32:34,680 --> 00:32:37,520
Speaker 3: Okay, that was the day we cut A Reef would

635
00:32:37,520 --> 00:32:39,680
Speaker 3: put aside the whole day to cut Love is fulling

636
00:32:39,760 --> 00:32:39,960
Speaker 3: on me.

637
00:32:40,080 --> 00:32:40,960
Speaker 4: We did it in one take.

638
00:32:42,480 --> 00:32:44,240
Speaker 2: Yeah, I was going to say, for a song to

639
00:32:44,280 --> 00:32:48,360
Speaker 2: get cut, how long when you're not working on your

640
00:32:48,400 --> 00:32:52,040
Speaker 2: projects per se, when you're working as a session musician,

641
00:32:52,400 --> 00:32:55,240
Speaker 2: how long do you guys have to get it right?

642
00:32:56,440 --> 00:32:59,840
Speaker 3: Well, you know, shacka with a Reef with Shaka was

643
00:32:59,840 --> 00:33:02,080
Speaker 3: was like we go in and we've had a definite

644
00:33:02,080 --> 00:33:04,959
Speaker 3: idea about how this thing would would be right, and

645
00:33:04,960 --> 00:33:06,320
Speaker 3: we go in and we rehearse the.

646
00:33:06,240 --> 00:33:08,200
Speaker 4: Parts and we get everything and run it down, Run

647
00:33:08,240 --> 00:33:08,680
Speaker 4: it Down.

648
00:33:09,040 --> 00:33:12,480
Speaker 3: Shaka would show up, like you know, whenever she showed

649
00:33:12,560 --> 00:33:16,560
Speaker 3: up two o'clock in the afternoon or something. And when

650
00:33:16,600 --> 00:33:18,400
Speaker 3: she walked in there and she got in that booth

651
00:33:18,440 --> 00:33:21,000
Speaker 3: and she opened her mouth, everything went out the window.

652
00:33:21,920 --> 00:33:22,680
Speaker 4: Everything changed.

653
00:33:23,520 --> 00:33:25,480
Speaker 2: Okay, So you had the vibe with her.

654
00:33:25,960 --> 00:33:28,520
Speaker 3: Yeah, it was like, oh okay, with all the stuff

655
00:33:28,520 --> 00:33:31,200
Speaker 3: that we've been sitting there rehearsing and rehearsing and rehearsing.

656
00:33:32,480 --> 00:33:34,120
Speaker 4: It was it was all about it.

657
00:33:34,120 --> 00:33:36,840
Speaker 3: It was her and she would it would.

658
00:33:36,720 --> 00:33:40,920
Speaker 2: Change one thing that I just found out your work

659
00:33:41,000 --> 00:33:45,280
Speaker 2: with the Burke Family. Yes, I wasn't aware that the

660
00:33:45,360 --> 00:33:50,320
Speaker 2: Invisible Man Band was basically the Five Stairsteps as another name. Yes,

661
00:33:51,280 --> 00:33:54,560
Speaker 2: and a lot of hip hop fans are unaware that

662
00:33:54,560 --> 00:33:57,560
Speaker 2: that's you drumming on Keep Rising to the Top. Yeah,

663
00:33:58,040 --> 00:34:01,120
Speaker 2: when you're when you're drumming with other acts.

664
00:34:01,400 --> 00:34:04,400
Speaker 3: Again, my favorite, my favorite percussion part on All Night Thing.

665
00:34:05,640 --> 00:34:09,439
Speaker 3: Duly played the percussion on that the cow bell. Yeah,

666
00:34:09,640 --> 00:34:14,399
Speaker 3: all I want to go added they ding ding ding

667
00:34:14,719 --> 00:34:20,879
Speaker 3: ding chicken gom think don't don't get right, think don't.

668
00:34:21,239 --> 00:34:24,399
Speaker 2: I was gonna ask, did you guys track live? Because

669
00:34:24,400 --> 00:34:27,920
Speaker 2: even with you matching their ad libs at the end

670
00:34:28,120 --> 00:34:31,120
Speaker 2: with the drum fills or whatever, Like, was that song

671
00:34:31,480 --> 00:34:34,040
Speaker 2: just cut at the same time with everyone or.

672
00:34:34,280 --> 00:34:38,800
Speaker 3: Yeah, we cut it like yeah, and and then I

673
00:34:38,880 --> 00:34:40,879
Speaker 3: mean basically we cut it live. The vocals are live

674
00:34:40,920 --> 00:34:43,200
Speaker 3: as well. And and then I guess they did a

675
00:34:43,280 --> 00:34:45,680
Speaker 3: bit of the ad libs and stuff. They loved it,

676
00:34:45,800 --> 00:34:48,160
Speaker 3: so they just either kept it or did another they

677
00:34:48,480 --> 00:34:48,920
Speaker 3: redid it.

678
00:34:49,680 --> 00:34:51,840
Speaker 2: Did you have a relationship with the Five Steer Steps?

679
00:34:51,920 --> 00:34:51,960
Speaker 3: Like?

680
00:34:52,040 --> 00:34:54,840
Speaker 2: Why you know? What was your relationship with the Burke family.

681
00:34:56,440 --> 00:34:59,680
Speaker 4: It was a guy called Alex Masucci who used to

682
00:34:59,800 --> 00:35:04,239
Speaker 4: work fan your records? Okay, who was who had who

683
00:35:04,280 --> 00:35:04,800
Speaker 4: was a friend with?

684
00:35:06,120 --> 00:35:09,280
Speaker 3: I guess he signed Clarence and and uh and and Alex.

685
00:35:10,560 --> 00:35:11,920
Speaker 4: I met Alex to to.

686
00:35:12,680 --> 00:35:14,400
Speaker 3: I used to go and hang out with Ray Bretto

687
00:35:14,440 --> 00:35:17,800
Speaker 3: and all those people up there at the Corso and

688
00:35:18,080 --> 00:35:19,840
Speaker 3: and Alex asked me to play on this record, So

689
00:35:19,880 --> 00:35:21,759
Speaker 3: I just want to play. I wasn't even aware of

690
00:35:21,880 --> 00:35:23,520
Speaker 3: the Stairsteps things connection.

691
00:35:23,640 --> 00:35:27,120
Speaker 2: No, it was just you realize that the guy did child.

692
00:35:28,080 --> 00:35:31,600
Speaker 4: No, I had no idea. Oh wow, matter fact, this

693
00:35:31,760 --> 00:35:36,480
Speaker 4: is all news to me right now. Wait seriously, yeah, seriously.

694
00:35:36,760 --> 00:35:39,160
Speaker 2: You don't know that the five stairsteps, an invisible man

695
00:35:39,239 --> 00:35:42,239
Speaker 2: man that did all right thing. And well surely you

696
00:35:42,360 --> 00:35:45,360
Speaker 2: know that. I mean, you know Kenny burkean Yeah, oh yeah.

697
00:35:45,200 --> 00:35:47,080
Speaker 4: I spoke to Kenny not so long ago. And you

698
00:35:47,160 --> 00:35:47,840
Speaker 4: know what's funny.

699
00:35:47,960 --> 00:35:51,120
Speaker 3: It's in northern California, up near Carmel. There's a radio

700
00:35:51,280 --> 00:35:54,919
Speaker 3: station and they play all night thing all the time.

701
00:35:55,760 --> 00:35:59,919
Speaker 2: Dude, it's that was a black That was a black

702
00:36:00,239 --> 00:36:05,920
Speaker 2: radio staple and seventy nine eighty. You know, even in

703
00:36:06,040 --> 00:36:10,000
Speaker 2: my dad's band, like the my the way that you know,

704
00:36:10,440 --> 00:36:12,680
Speaker 2: my dad would do like five sets a night, but

705
00:36:12,840 --> 00:36:14,680
Speaker 2: his band would have to do three dance sets of

706
00:36:14,760 --> 00:36:17,640
Speaker 2: like the songs of the day or whatever, and they

707
00:36:17,719 --> 00:36:19,839
Speaker 2: used to kill that song. I of course I should

708
00:36:19,880 --> 00:36:22,440
Speaker 2: have known that was you drumming, because you know, again

709
00:36:22,560 --> 00:36:27,640
Speaker 2: you have the perfect pocket by this point, How do

710
00:36:27,760 --> 00:36:32,919
Speaker 2: you Are you your own manager? Are you your own negotiator?

711
00:36:33,080 --> 00:36:33,319
Speaker 3: Yeah?

712
00:36:33,640 --> 00:36:35,480
Speaker 4: I do on my own stuff. You know, I've done that.

713
00:36:35,520 --> 00:36:37,360
Speaker 3: I mean, there was a couple of people would come

714
00:36:37,400 --> 00:36:40,279
Speaker 3: in and say, you know, I'd really like to manage you,

715
00:36:40,320 --> 00:36:43,720
Speaker 3: and I'm like, well, you know, so you just keep.

716
00:36:43,600 --> 00:36:46,080
Speaker 2: Your own dates, keep your own dates, and you keep

717
00:36:46,640 --> 00:36:50,200
Speaker 2: Now at that point, are you like, are you a

718
00:36:51,239 --> 00:36:55,399
Speaker 2: quadruple scale guy or are you like whole album give

719
00:36:55,480 --> 00:36:59,520
Speaker 2: me twenty thousand or whatever, double Scoe, double scope, So

720
00:36:59,560 --> 00:37:02,920
Speaker 2: you were still a scale guy, double scale. Yeah, and

721
00:37:03,239 --> 00:37:08,040
Speaker 2: you could make a solid living just absolutely. You never

722
00:37:08,160 --> 00:37:13,200
Speaker 2: ran out of work. Is there is there a particular

723
00:37:13,320 --> 00:37:16,279
Speaker 2: song that you were asked to play on that got

724
00:37:16,360 --> 00:37:19,000
Speaker 2: away that you weren't able to play on because you

725
00:37:19,080 --> 00:37:23,120
Speaker 2: had something else to do. No, John Robinson miss a

726
00:37:23,200 --> 00:37:25,120
Speaker 2: date on Thriller or Off the Wall or something like,

727
00:37:25,520 --> 00:37:25,799
Speaker 2: you do this.

728
00:37:25,840 --> 00:37:28,960
Speaker 4: Gig real quick, you can't do it, like no, I

729
00:37:29,000 --> 00:37:29,920
Speaker 4: don't think. I don't think.

730
00:37:29,960 --> 00:37:35,959
Speaker 2: So okay, okay, So you know NB eighties. Of course

731
00:37:36,080 --> 00:37:39,800
Speaker 2: you know you'll you'll join Duran Durant. But could you

732
00:37:39,920 --> 00:37:42,360
Speaker 2: talk about the the Clapton period?

733
00:37:43,160 --> 00:37:44,319
Speaker 4: Yeah, yeah, it was great.

734
00:37:44,760 --> 00:37:45,759
Speaker 2: How did you guys hook up?

735
00:37:46,640 --> 00:37:48,800
Speaker 3: I was with Duran Durant and we were in London

736
00:37:49,120 --> 00:37:53,480
Speaker 3: and we got invited to a Bob Goldors Sniper's.

737
00:37:53,080 --> 00:37:55,640
Speaker 4: Party which is at the hard Rock Cafe.

738
00:37:56,880 --> 00:37:59,960
Speaker 3: And I went there and I was hanging out there

739
00:38:00,040 --> 00:38:03,279
Speaker 3: here and it's funny, you just spanned out by a

740
00:38:03,400 --> 00:38:06,399
Speaker 3: were there and and and they had they had little

741
00:38:06,440 --> 00:38:09,880
Speaker 3: squabble going with with Deranda, and I was like there

742
00:38:09,960 --> 00:38:12,840
Speaker 3: was like rival rib theres like this rival thing between

743
00:38:12,880 --> 00:38:18,000
Speaker 3: them and uh and so, uh, I'm at this party

744
00:38:19,239 --> 00:38:21,600
Speaker 3: and Phil Collins comes up to me and I've met

745
00:38:21,640 --> 00:38:24,560
Speaker 3: Phill a couple of times before and feels like, hey, Steve,

746
00:38:24,640 --> 00:38:28,560
Speaker 3: did you ever meet Eric Clapton? And I said, well, no,

747
00:38:28,719 --> 00:38:30,920
Speaker 3: I said, I met him once. He came to an

748
00:38:30,920 --> 00:38:33,000
Speaker 3: average white band show and I just met him briefly,

749
00:38:34,040 --> 00:38:34,600
Speaker 3: just to say hello.

750
00:38:34,760 --> 00:38:35,360
Speaker 4: That was about it.

751
00:38:35,960 --> 00:38:37,799
Speaker 3: He said, we come over, come over, and Pie's come

752
00:38:37,840 --> 00:38:39,319
Speaker 3: over here with him, come over and hang out with us.

753
00:38:39,760 --> 00:38:41,480
Speaker 3: So I go over and I sit down and I'm

754
00:38:41,520 --> 00:38:44,400
Speaker 3: there with Eric and we're just sitting there talking. We

755
00:38:44,560 --> 00:38:46,520
Speaker 3: talked for a bit and I remember what the conversation

756
00:38:46,719 --> 00:38:50,120
Speaker 3: was about, really, you know, and uh. And then I said, well,

757
00:38:50,400 --> 00:38:52,239
Speaker 3: I better get back over to my crowd over.

758
00:38:52,320 --> 00:38:54,160
Speaker 4: There's nice meeting you. That was and I did to

759
00:38:54,160 --> 00:38:55,719
Speaker 4: see you Phil, And I went back over and I

760
00:38:55,800 --> 00:38:58,040
Speaker 4: hung out with my band a lot, and that was it.

761
00:38:58,560 --> 00:39:02,440
Speaker 3: Go back to New York and uh, and I get

762
00:39:02,480 --> 00:39:06,120
Speaker 3: this phone call and guy said, listen, would you would

763
00:39:06,160 --> 00:39:07,680
Speaker 3: you like to go and play with there at Clapton?

764
00:39:08,520 --> 00:39:10,959
Speaker 4: I don't know well that sounds like fun. Yeah, what's

765
00:39:11,080 --> 00:39:11,680
Speaker 4: what's the geek?

766
00:39:11,800 --> 00:39:14,760
Speaker 3: And they said, well, he's playing a couple of clubs,

767
00:39:15,360 --> 00:39:19,440
Speaker 3: one in Boston and one in New York m And

768
00:39:19,520 --> 00:39:21,480
Speaker 3: I said, well, yeah, great, he's in the band Greg

769
00:39:21,560 --> 00:39:22,879
Speaker 3: filling games in Nathan East.

770
00:39:23,600 --> 00:39:26,279
Speaker 2: Ah, okay, well my buddy's my man.

771
00:39:26,960 --> 00:39:30,399
Speaker 3: Okay, yeah, fine, that sounds good. And so we went

772
00:39:30,520 --> 00:39:33,040
Speaker 3: up to Boston and we we we rehearsed a bit.

773
00:39:33,080 --> 00:39:36,879
Speaker 3: I think Eric wound up in the hospital after day

774
00:39:36,960 --> 00:39:42,360
Speaker 3: one of the one of his drinking periods, and so

775
00:39:42,520 --> 00:39:45,160
Speaker 3: we were just rehearsed on our own and and and

776
00:39:45,320 --> 00:39:48,080
Speaker 3: then he showed up with us last day or two rehearsal,

777
00:39:48,440 --> 00:39:50,120
Speaker 3: and then we went and played in this club, and

778
00:39:50,160 --> 00:39:51,960
Speaker 3: then we went down and played the club in New York,

779
00:39:52,040 --> 00:39:52,839
Speaker 3: this club in New York.

780
00:39:53,360 --> 00:39:57,000
Speaker 2: When you're in this position, you know, when I drum

781
00:39:57,080 --> 00:40:01,600
Speaker 2: with other people, I to think like a shape shifter,

782
00:40:02,040 --> 00:40:06,200
Speaker 2: like I don't think I have a definitive sound. My

783
00:40:06,360 --> 00:40:10,080
Speaker 2: default sound, of course, is your sound, which, weird enough,

784
00:40:10,280 --> 00:40:13,120
Speaker 2: I never use. Even though if I were to just

785
00:40:13,160 --> 00:40:17,480
Speaker 2: start drumming, I would basically say what would Faron do?

786
00:40:17,640 --> 00:40:21,319
Speaker 2: Right now? Even though my brand of drumming is kind

787
00:40:21,360 --> 00:40:25,040
Speaker 2: of way different than that. However, I do find myself

788
00:40:25,080 --> 00:40:28,480
Speaker 2: shape shifting a lot, like currently right now with DiAngelo,

789
00:40:30,960 --> 00:40:36,040
Speaker 2: I'm sort of somewhere in between Tiki Forwood of Funkadelic

790
00:40:36,239 --> 00:40:41,280
Speaker 2: and Jerome Brayley h drumming in ways I haven't drummed before.

791
00:40:41,840 --> 00:40:46,879
Speaker 2: But for you, if you're with Clapton, is how hard

792
00:40:46,960 --> 00:40:51,120
Speaker 2: is it to not channel Ginger Baker, like Okay, should

793
00:40:51,160 --> 00:40:54,480
Speaker 2: I give him a cream moment or like or is

794
00:40:54,520 --> 00:40:56,480
Speaker 2: it just strictly like I'm gonna drum like I do?

795
00:40:57,160 --> 00:40:59,080
Speaker 4: Yeah, I mean, I think, I think. I think.

796
00:40:59,120 --> 00:41:02,719
Speaker 3: I always refer to Okay, I defer to the song

797
00:41:02,960 --> 00:41:06,560
Speaker 3: first and played. I just go and play the song,

798
00:41:06,600 --> 00:41:09,520
Speaker 3: and I don't think about anything. But in listening to

799
00:41:09,640 --> 00:41:11,640
Speaker 3: the song. When I'm listening to the song, there's always

800
00:41:11,680 --> 00:41:13,839
Speaker 3: bits that sort of stand out that go like, oh, well,

801
00:41:14,280 --> 00:41:18,120
Speaker 3: if I don't play that, then I noticed that it's

802
00:41:18,160 --> 00:41:19,800
Speaker 3: big enough, big enough moment for me.

803
00:41:21,360 --> 00:41:22,080
Speaker 4: I should play I.

804
00:41:22,080 --> 00:41:22,600
Speaker 2: Should do that.

805
00:41:22,960 --> 00:41:25,080
Speaker 4: And sometimes that's stuff like that. I don't notice some

806
00:41:25,200 --> 00:41:26,160
Speaker 4: stuff until later.

807
00:41:26,239 --> 00:41:29,640
Speaker 3: But I mean, I never really, I never really think

808
00:41:29,719 --> 00:41:34,719
Speaker 3: too much about I mean, I played a bit of replaced.

809
00:41:34,760 --> 00:41:38,719
Speaker 3: Like a lot of people in bands, I mean, I

810
00:41:38,840 --> 00:41:42,160
Speaker 3: remember I did a I did a I played for

811
00:41:42,280 --> 00:41:45,359
Speaker 3: this band called the Pooh et Poo. It's a it's

812
00:41:45,400 --> 00:41:51,400
Speaker 3: a like we need a pooh. They're Italian band and

813
00:41:51,480 --> 00:41:54,439
Speaker 3: they've been together for like over forty years and they're

814
00:41:54,520 --> 00:41:58,320
Speaker 3: sort of like progressive rock band and they've been together

815
00:41:58,440 --> 00:42:04,000
Speaker 3: forever and and and their drummer, Stephano, retired, and they

816
00:42:04,080 --> 00:42:07,400
Speaker 3: asked me to go and do this, do an album

817
00:42:07,520 --> 00:42:10,719
Speaker 3: and sort of to move them forward, not just one

818
00:42:10,800 --> 00:42:13,319
Speaker 3: album and a bit of a tour, just to keep them,

819
00:42:13,480 --> 00:42:16,040
Speaker 3: just to keep them going. And I went over and

820
00:42:16,120 --> 00:42:18,319
Speaker 3: did that, and and there was I had to listen

821
00:42:18,400 --> 00:42:20,480
Speaker 3: to a lot of their music and I did, and

822
00:42:21,400 --> 00:42:23,960
Speaker 3: that he did, Stefano would recorded he sort of know

823
00:42:24,080 --> 00:42:26,200
Speaker 3: that you give it a nod. And but the rest

824
00:42:26,200 --> 00:42:27,879
Speaker 3: of the time I played myself and try to bring

825
00:42:28,000 --> 00:42:32,879
Speaker 3: something something to the song. And then so I did

826
00:42:32,920 --> 00:42:36,040
Speaker 3: this interview and this dis guy says to me, I

827
00:42:36,160 --> 00:42:40,319
Speaker 3: don't know if you realize that how big a thing

828
00:42:40,440 --> 00:42:43,680
Speaker 3: this is that you're doing, replacing Stefano in a band

829
00:42:43,760 --> 00:42:47,319
Speaker 3: that's been together for that long. And I said, well,

830
00:42:48,320 --> 00:42:49,280
Speaker 3: I've done it before.

831
00:42:50,440 --> 00:42:50,880
Speaker 5: I did it.

832
00:42:51,120 --> 00:42:53,759
Speaker 4: I did it with Duran Duran, I did it with

833
00:42:53,920 --> 00:42:55,959
Speaker 4: an average white band.

834
00:42:56,520 --> 00:42:56,920
Speaker 2: I did it.

835
00:42:57,040 --> 00:42:59,000
Speaker 4: I did it with I did it with with Eric.

836
00:42:58,920 --> 00:43:02,879
Speaker 3: Clappton, because there was basically that introduction was Phil Collins saying,

837
00:43:02,960 --> 00:43:04,719
Speaker 3: I can't do this. I got my own gig to

838
00:43:04,760 --> 00:43:05,760
Speaker 3: do try.

839
00:43:05,640 --> 00:43:07,800
Speaker 4: Steep, so then I had to go I have to

840
00:43:08,280 --> 00:43:12,680
Speaker 4: to go do that with Phil Collins. There's been Stan

841
00:43:12,800 --> 00:43:15,640
Speaker 4: Lynch with the Heartbreakers. I've replaced.

842
00:43:16,360 --> 00:43:21,399
Speaker 3: I've replaced so many people, great drummers that have done

843
00:43:21,840 --> 00:43:27,920
Speaker 3: at great moments, that have had iconic i'd say iconic moments,

844
00:43:29,200 --> 00:43:31,200
Speaker 3: and I don't think too many people have missed them,

845
00:43:31,480 --> 00:43:34,040
Speaker 3: you know. I mean, it's just that I've gone and

846
00:43:34,160 --> 00:43:38,080
Speaker 3: done that and and but I play the song and

847
00:43:38,200 --> 00:43:40,960
Speaker 3: I don't really think too much about what everybody else

848
00:43:41,000 --> 00:43:45,000
Speaker 3: plays when I listen. When I listen to something, there's

849
00:43:45,000 --> 00:43:47,000
Speaker 3: certain fields that it's like, well, you know that's that

850
00:43:47,120 --> 00:43:49,200
Speaker 3: I can't not play that, that's got to be there

851
00:43:49,560 --> 00:43:52,759
Speaker 3: right right. But I listen more to the song than

852
00:43:52,800 --> 00:43:54,120
Speaker 3: I do to what the drumm's paying.

853
00:43:54,640 --> 00:43:57,560
Speaker 2: So one of the most magical nights that I've ever seen.

854
00:43:58,360 --> 00:44:00,759
Speaker 2: One was the first time I ever seen you play live,

855
00:44:01,960 --> 00:44:06,160
Speaker 2: and two you're playing drums for another hero of mine,

856
00:44:06,719 --> 00:44:08,560
Speaker 2: which is Prince. I was there in the Rock and

857
00:44:08,680 --> 00:44:11,040
Speaker 2: Roll Hall of Fame. Yeah, then they go when you

858
00:44:11,120 --> 00:44:14,799
Speaker 2: guys do my guitar gently weeps. Was this at all

859
00:44:15,640 --> 00:44:16,760
Speaker 2: sound checked or rehearsed?

860
00:44:17,960 --> 00:44:19,400
Speaker 4: Well, we rehearsed.

861
00:44:19,640 --> 00:44:22,879
Speaker 3: We rehearsed here with Elements of the Heart. But Tom

862
00:44:22,960 --> 00:44:26,200
Speaker 3: Scott Thurston was playing bass. When we got to New York.

863
00:44:27,400 --> 00:44:32,600
Speaker 3: There was Windwood, and there was Jim Cabbaldi, and Jim

864
00:44:32,760 --> 00:44:35,160
Speaker 3: was a very funny guy, and and and he was

865
00:44:35,200 --> 00:44:38,080
Speaker 3: playing he was going to play percussion there right, and

866
00:44:38,520 --> 00:44:42,920
Speaker 3: and Jeff Young was playing keyboards as well, and and

867
00:44:43,040 --> 00:44:46,360
Speaker 3: then Prince materialized over there, and I'm like.

868
00:44:47,800 --> 00:44:52,000
Speaker 4: I said, what's Winwood was sitting? I said, what's Princeton.

869
00:44:52,080 --> 00:44:53,319
Speaker 4: I don't I don't know he's coming.

870
00:44:53,800 --> 00:44:55,719
Speaker 3: He said, no, no, no, he said, I think he's still.

871
00:44:55,800 --> 00:44:58,080
Speaker 3: This is sort of like last minute addition to the band.

872
00:44:58,760 --> 00:45:01,760
Speaker 3: And there was a little bit of an uneasiness because

873
00:45:01,800 --> 00:45:06,319
Speaker 3: apparently what had happened was Olivia wanted people that were

874
00:45:06,360 --> 00:45:10,880
Speaker 3: connected with George to play. Olivia Harrison wanted were connected

875
00:45:10,880 --> 00:45:15,279
Speaker 3: with you. But the Grammy people have persuaded them to

876
00:45:15,400 --> 00:45:19,600
Speaker 3: let Prince come and play, right, So I said to Winwood.

877
00:45:19,640 --> 00:45:20,239
Speaker 3: I said, I'm going to.

878
00:45:20,280 --> 00:45:23,560
Speaker 4: Go over and say hello to him. So he said,

879
00:45:24,320 --> 00:45:25,960
Speaker 4: would say you're not and I said, yeah, I'm going

880
00:45:26,000 --> 00:45:27,279
Speaker 4: to go over. I'm not frightened him.

881
00:45:27,560 --> 00:45:28,480
Speaker 2: So I go.

882
00:45:28,800 --> 00:45:30,520
Speaker 4: I go on and I say, Hi, Prince, how are

883
00:45:30,520 --> 00:45:34,080
Speaker 4: you doing, Steve Ronnie? Nice to meet you. And he says, oh,

884
00:45:34,160 --> 00:45:36,080
Speaker 4: he says, I know who you are and as it,

885
00:45:36,320 --> 00:45:36,560
Speaker 4: and I.

886
00:45:36,560 --> 00:45:40,799
Speaker 3: Thought, I feel for you right right, yeah, I played

887
00:45:40,840 --> 00:45:44,920
Speaker 3: on a feel for it, and I said, well, we

888
00:45:45,000 --> 00:45:46,319
Speaker 3: had a little bit of a chat and I said, okay,

889
00:45:46,320 --> 00:45:47,239
Speaker 3: well I'm going to go back over there.

890
00:45:47,640 --> 00:45:48,440
Speaker 4: Really nice to meet you.

891
00:45:48,719 --> 00:45:53,200
Speaker 3: Yeah, And I go back over and women like, what's

892
00:45:53,280 --> 00:45:53,839
Speaker 3: what did he say?

893
00:45:53,840 --> 00:45:55,640
Speaker 4: And I said, he's really nice, go over and say

894
00:45:55,680 --> 00:45:56,200
Speaker 4: hello to him.

895
00:45:56,200 --> 00:45:59,960
Speaker 3: Don't introduce you. So all of a sudden, I hear

896
00:46:00,120 --> 00:46:05,960
Speaker 3: Schoolboy Crashed being played I hate something and I thought

897
00:46:06,000 --> 00:46:08,080
Speaker 3: it was like somebody from the from the Lehman Band

898
00:46:08,160 --> 00:46:10,880
Speaker 3: or something, just messing with me, you know. And I

899
00:46:10,960 --> 00:46:13,160
Speaker 3: look across the stage and Prince is looking right at

900
00:46:13,239 --> 00:46:15,280
Speaker 3: me playing Schoolboy Crash and I'm.

901
00:46:15,200 --> 00:46:17,239
Speaker 4: Like, dang, he does know who I am.

902
00:46:18,719 --> 00:46:22,759
Speaker 2: You're god, but you know.

903
00:46:22,920 --> 00:46:25,479
Speaker 3: And so we played a little bit and then Tom

904
00:46:25,719 --> 00:46:27,440
Speaker 3: sort of went up to Prince and said, listen, just

905
00:46:27,520 --> 00:46:31,400
Speaker 3: take that solo at the end, and you know, just

906
00:46:32,200 --> 00:46:36,919
Speaker 3: did you guys? I had no idea, and he put

907
00:46:36,960 --> 00:46:38,759
Speaker 3: on a whole show. He put on the whole show.

908
00:46:38,840 --> 00:46:41,560
Speaker 3: When he fell into the audience, we had no idea.

909
00:46:41,600 --> 00:46:43,839
Speaker 3: We thought he'd fallen off the stage. The whole band

910
00:46:43,960 --> 00:46:48,560
Speaker 3: was we just killed Prince. And then the guy big

911
00:46:48,680 --> 00:46:50,760
Speaker 3: drag catches him and pushing him back up on the stage,

912
00:46:50,800 --> 00:46:52,560
Speaker 3: and then the guitar went up on the top and

913
00:46:52,600 --> 00:46:53,400
Speaker 3: then everybody was like.

914
00:46:54,000 --> 00:46:56,840
Speaker 4: Where did that go? You know, that was it was.

915
00:46:57,320 --> 00:46:59,080
Speaker 4: It was a show for us. It wasn't for them.

916
00:46:59,360 --> 00:47:03,120
Speaker 2: It was as he told me that that was. I

917
00:47:03,239 --> 00:47:06,400
Speaker 2: asked him, I said, was that a revenge solo? Because

918
00:47:06,480 --> 00:47:09,480
Speaker 2: you know, Rolling Stone had comprised a one hundred best

919
00:47:09,520 --> 00:47:13,920
Speaker 2: guitarist lists. Yeah, and they never mentioned Prince, which to

920
00:47:14,120 --> 00:47:17,040
Speaker 2: me is like, dude, he's a monster on guitar. How

921
00:47:17,080 --> 00:47:21,600
Speaker 2: do you guys not? And you know, he he sort of,

922
00:47:23,560 --> 00:47:27,279
Speaker 2: you know, it's kind of scoffed, like, well, they know now,

923
00:47:27,640 --> 00:47:30,160
Speaker 2: you know, that's sort of But I you know, I

924
00:47:30,400 --> 00:47:34,399
Speaker 2: instantly felt like that was his moment to let them

925
00:47:34,560 --> 00:47:38,440
Speaker 2: know that, you know, I'm a motherfucker or guitar.

926
00:47:38,800 --> 00:47:41,800
Speaker 3: It's an incredible solo. It's just incredible. It was just

927
00:47:43,160 --> 00:47:43,840
Speaker 3: just incredible.

928
00:47:48,600 --> 00:47:51,279
Speaker 2: Of all the bands that you've been anchor members of,

929
00:47:52,640 --> 00:47:56,879
Speaker 2: what is the more favorable for you as far as

930
00:47:58,480 --> 00:47:59,960
Speaker 2: just experiences? Is it the Heartbreak?

931
00:48:01,040 --> 00:48:03,799
Speaker 3: I spent twenty five years with Tom Petty and the Heartbreakers.

932
00:48:04,520 --> 00:48:07,400
Speaker 3: That's the longest that I'd ever ever associated myself with

933
00:48:07,480 --> 00:48:10,920
Speaker 3: any band. I loved that band, and I love the

934
00:48:11,000 --> 00:48:15,800
Speaker 3: experience of making music with that band. You know, constantly,

935
00:48:16,160 --> 00:48:21,719
Speaker 3: always relevant, always fresh, always doing something new. Tom's motto was,

936
00:48:21,880 --> 00:48:23,239
Speaker 3: I may have made a lot of money, but it's

937
00:48:23,280 --> 00:48:24,760
Speaker 3: not going to stop me from being an artist.

938
00:48:25,560 --> 00:48:27,759
Speaker 4: What more could you want? Yeah?

939
00:48:29,080 --> 00:48:31,320
Speaker 2: What was Do you remember the last show that you

940
00:48:31,400 --> 00:48:31,839
Speaker 2: did with him?

941
00:48:32,400 --> 00:48:32,600
Speaker 3: Yeah?

942
00:48:32,920 --> 00:48:33,520
Speaker 4: Hollywood Bowl?

943
00:48:34,440 --> 00:48:35,480
Speaker 2: Was there anything particularly?

944
00:48:35,840 --> 00:48:38,560
Speaker 3: I got inducted into the Rock Walk in Brighton, in

945
00:48:38,640 --> 00:48:41,359
Speaker 3: my hometown in England on the pier right. They gave

946
00:48:41,400 --> 00:48:43,600
Speaker 3: me this plaque and they put a plaqueup on the

947
00:48:43,640 --> 00:48:49,320
Speaker 3: pier and Julia, my fiance, she she she decided that

948
00:48:49,960 --> 00:48:52,880
Speaker 3: she was going to start off like getting people to

949
00:48:52,960 --> 00:48:56,959
Speaker 3: make one of those little films with they say, oh, congratulations, Steve.

950
00:48:57,040 --> 00:48:59,439
Speaker 4: You know all these people leaving nice messages, right.

951
00:49:00,400 --> 00:49:03,120
Speaker 3: And she got older, she got older Nathan, and Nathan

952
00:49:03,480 --> 00:49:06,360
Speaker 3: just went crazy and got like, you know, Eric Clapton

953
00:49:06,520 --> 00:49:07,759
Speaker 3: to say stuff and.

954
00:49:08,200 --> 00:49:10,560
Speaker 4: All these people. And she was trying to get me

955
00:49:10,680 --> 00:49:13,719
Speaker 4: to watch it for the longest time, right, I know you.

956
00:49:17,320 --> 00:49:19,799
Speaker 3: So, so we're going over to England to do this thing,

957
00:49:19,880 --> 00:49:22,160
Speaker 3: and we're sitting waiting for the plane and she says,

958
00:49:22,239 --> 00:49:24,359
Speaker 3: she pulls out a computer and she says, right, we're

959
00:49:24,400 --> 00:49:25,319
Speaker 3: going to look at this now.

960
00:49:25,360 --> 00:49:26,040
Speaker 4: And I said okay.

961
00:49:26,560 --> 00:49:28,880
Speaker 3: And I sat there and I see all these people

962
00:49:29,120 --> 00:49:32,960
Speaker 3: that left beautiful messages for me, and I was just

963
00:49:33,360 --> 00:49:36,480
Speaker 3: sitting there's done. It was so nice that everybody. All

964
00:49:36,520 --> 00:49:38,600
Speaker 3: the stuff that people were saying. It was like being

965
00:49:38,640 --> 00:49:39,480
Speaker 3: at my own funeral.

966
00:49:39,719 --> 00:49:43,920
Speaker 4: People say the nicest stuff about something. And it got

967
00:49:44,160 --> 00:49:45,359
Speaker 4: it got to the very end.

968
00:49:46,040 --> 00:49:50,439
Speaker 3: And she put Tom introducing me at the Hollywood Bowl

969
00:49:51,440 --> 00:49:54,759
Speaker 3: and he used to and saying one of the best

970
00:49:54,840 --> 00:49:57,560
Speaker 3: musicians I ever played with, and he said I was

971
00:49:57,600 --> 00:50:00,520
Speaker 3: a great person too. Did I help a lot other people?

972
00:50:00,800 --> 00:50:02,879
Speaker 3: I guess maybe because I did the stuff in AA

973
00:50:03,080 --> 00:50:06,960
Speaker 3: or something. And I just lost it in the airport.

974
00:50:07,120 --> 00:50:11,800
Speaker 4: I just started blubbering. I just I just couldn't. It

975
00:50:11,920 --> 00:50:15,800
Speaker 4: was it was and she was like, I'm sorry, I'm sorry, Like, no,

976
00:50:16,000 --> 00:50:19,000
Speaker 4: this is this is good teas. This is good tea.

977
00:50:19,239 --> 00:50:21,640
Speaker 2: I think it's good too. That's that's kind of a

978
00:50:21,760 --> 00:50:25,279
Speaker 2: theme on the show. Like I for at least five years,

979
00:50:25,320 --> 00:50:29,200
Speaker 2: I hate it when people bestowed praise on me, and

980
00:50:29,320 --> 00:50:32,960
Speaker 2: so I'm fighting tooth and nail and kind of learning

981
00:50:33,040 --> 00:50:35,440
Speaker 2: to accept love and appreciation.

982
00:50:35,800 --> 00:50:37,920
Speaker 3: You know, because we listen, there's there's something that that

983
00:50:38,160 --> 00:50:40,120
Speaker 3: that that your that your people who are going to

984
00:50:40,160 --> 00:50:42,759
Speaker 3: watch it, that they should they should see that when

985
00:50:42,800 --> 00:50:45,200
Speaker 3: we when you inducted me into the rock walk down

986
00:50:45,239 --> 00:50:48,160
Speaker 3: here in the the in in Los Angeles, when we

987
00:50:48,239 --> 00:50:50,320
Speaker 3: played pick Up the Pieces, I think we looked I

988
00:50:50,400 --> 00:50:51,920
Speaker 3: think we looked that pretty good together.

989
00:50:52,080 --> 00:50:53,160
Speaker 2: We absolutely did.

990
00:50:54,320 --> 00:50:54,480
Speaker 3: You know.

991
00:50:54,640 --> 00:50:56,160
Speaker 2: You know what I want to ask about that night?

992
00:50:57,200 --> 00:50:59,520
Speaker 2: How you know it's weird. The weirdest part about that

993
00:50:59,640 --> 00:51:04,319
Speaker 2: whole was it wasn't until I left that I realized

994
00:51:04,920 --> 00:51:08,440
Speaker 2: that was Steve Perry I was playing with. He's such

995
00:51:08,480 --> 00:51:11,120
Speaker 2: a he's so mysterious. I thought Steve Perry is like

996
00:51:11,200 --> 00:51:13,520
Speaker 2: one of the I thought he was a roadie or something,

997
00:51:14,200 --> 00:51:15,279
Speaker 2: and he was so nice to us.

998
00:51:15,840 --> 00:51:19,279
Speaker 3: That was The funniest thing. Steve am really good friends

999
00:51:19,280 --> 00:51:22,080
Speaker 3: with Steve learn him for a long time. And he's

1000
00:51:22,320 --> 00:51:25,000
Speaker 3: very much reclusive. But he and I was always trying

1001
00:51:25,000 --> 00:51:27,319
Speaker 3: to encourage. Man, you know, if I had a voice

1002
00:51:27,440 --> 00:51:29,399
Speaker 3: like that, i'd be out there. Oh but I don't

1003
00:51:29,440 --> 00:51:31,440
Speaker 3: have the range that I used to. I said, man,

1004
00:51:31,560 --> 00:51:32,120
Speaker 3: you can sing.

1005
00:51:32,640 --> 00:51:34,799
Speaker 4: You know, what are you gonna do? If I had

1006
00:51:34,840 --> 00:51:36,240
Speaker 4: that voice, I'd be out there singing.

1007
00:51:36,320 --> 00:51:40,239
Speaker 2: Now. Don't just thinking that he can't sing anymore or no,

1008
00:51:40,480 --> 00:51:41,160
Speaker 2: he can still sing.

1009
00:51:41,239 --> 00:51:43,839
Speaker 3: He still makes records, but he's he has a lot

1010
00:51:43,880 --> 00:51:46,200
Speaker 3: of a lot of insecurity about it, you know. But

1011
00:51:47,600 --> 00:51:50,680
Speaker 3: he's just a wonderful singer and a wonderful human being.

1012
00:51:50,760 --> 00:51:53,480
Speaker 3: He's just a great guy, you know. And and and

1013
00:51:53,640 --> 00:51:56,480
Speaker 3: so he liked to go He was sort of liking

1014
00:51:56,600 --> 00:51:59,920
Speaker 3: to go to see people rehearse and sitting in rehearsals,

1015
00:52:00,080 --> 00:52:02,160
Speaker 3: and so he liked to be around that, you know.

1016
00:52:02,280 --> 00:52:05,040
Speaker 4: So I told him that, you know, Hamish was in

1017
00:52:05,120 --> 00:52:06,319
Speaker 4: town for this thing, and.

1018
00:52:06,960 --> 00:52:09,160
Speaker 3: And and I said, we're gonna we're gonna be rehearsing

1019
00:52:09,239 --> 00:52:10,840
Speaker 3: over the rehearsal studio.

1020
00:52:10,840 --> 00:52:12,440
Speaker 4: And he said can I come? And say, yeah, sure

1021
00:52:12,480 --> 00:52:15,480
Speaker 4: of course. So we get over there and we start playing.

1022
00:52:15,560 --> 00:52:19,520
Speaker 3: I think it was person to person and when we're

1023
00:52:19,520 --> 00:52:25,520
Speaker 3: playing it, I'm I'm missing a harmony in a vocal harmony.

1024
00:52:25,560 --> 00:52:29,640
Speaker 3: I'm like, I'm missing a note, you know, And and

1025
00:52:29,920 --> 00:52:34,080
Speaker 3: and Hamry said, well what we'll They're all seeing the like, no,

1026
00:52:34,200 --> 00:52:36,640
Speaker 3: there's a note missing. Not ho much one it is,

1027
00:52:36,719 --> 00:52:40,040
Speaker 3: but it's missing. And they were trying and they're really

1028
00:52:40,040 --> 00:52:42,480
Speaker 3: annoying that there's nothing missing. Steve, and I'm getting more

1029
00:52:42,520 --> 00:52:46,120
Speaker 3: and more upped. Steve is sitting there and he knows

1030
00:52:46,200 --> 00:52:49,799
Speaker 3: exactly what note is missing. So so Steve says, can

1031
00:52:49,840 --> 00:52:52,799
Speaker 3: I can? I yeah, come come, So he sit there,

1032
00:52:52,920 --> 00:52:56,000
Speaker 3: boom and there it was right that, Yeah, there you

1033
00:52:56,080 --> 00:52:57,000
Speaker 3: see that was missing.

1034
00:52:57,200 --> 00:52:59,520
Speaker 4: And I said, you're in the band. And what I said,

1035
00:52:59,520 --> 00:52:59,880
Speaker 4: you're in the.

1036
00:53:00,480 --> 00:53:04,840
Speaker 2: Good I've got that moment like I thought he was early.

1037
00:53:05,280 --> 00:53:06,480
Speaker 2: And then he's playing percussion.

1038
00:53:06,880 --> 00:53:09,239
Speaker 4: Yeah, he's playing cowbell. He said, he's right out the

1039
00:53:10,760 --> 00:53:13,160
Speaker 4: But the funniest thing was was.

1040
00:53:13,200 --> 00:53:15,400
Speaker 3: When I when I introduced him, it was that all

1041
00:53:15,440 --> 00:53:17,839
Speaker 3: the audience is like looking at me, right, And I said,

1042
00:53:18,360 --> 00:53:20,920
Speaker 3: let's start over that side there on background vocals. We

1043
00:53:21,040 --> 00:53:23,800
Speaker 3: got Steve Perry and everybody sort of went huh.

1044
00:53:25,760 --> 00:53:27,520
Speaker 2: I was on the drum set, like wait a minute,

1045
00:53:27,560 --> 00:53:30,080
Speaker 2: this is Steve Perry this whole time, Like I did

1046
00:53:30,160 --> 00:53:34,960
Speaker 2: not know he needs to sing more, man, he needs.

1047
00:53:34,840 --> 00:53:37,640
Speaker 4: To please please. I'm going to tell you, you know,

1048
00:53:38,480 --> 00:53:39,359
Speaker 4: pointing to this thing.

1049
00:53:39,480 --> 00:53:44,720
Speaker 3: He's just he's got this voice that's just so special.

1050
00:53:44,760 --> 00:53:47,840
Speaker 3: He's got an instrument that's so special. And and I

1051
00:53:47,920 --> 00:53:50,440
Speaker 3: don't know, I don't know anybody now from you know

1052
00:53:50,560 --> 00:53:53,560
Speaker 3: that's in it from area that can sing in the

1053
00:53:54,239 --> 00:53:56,000
Speaker 3: in the same key as they did back in the

1054
00:53:56,120 --> 00:53:59,080
Speaker 3: eighties and the or even the nineties. But you know,

1055
00:53:59,239 --> 00:54:01,560
Speaker 3: you can drop a he as long as you can sing,

1056
00:54:02,440 --> 00:54:06,280
Speaker 3: because you know, I mean, I get I get annoyed,

1057
00:54:06,400 --> 00:54:08,880
Speaker 3: you know when you talk about the gospel chops.

1058
00:54:09,200 --> 00:54:10,760
Speaker 4: Yes, I get annoyed.

1059
00:54:10,960 --> 00:54:14,400
Speaker 3: The people who think they're on on America's got talent

1060
00:54:14,680 --> 00:54:17,000
Speaker 3: and they got like thirty seconds to sing every dang

1061
00:54:17,080 --> 00:54:19,239
Speaker 3: note that they can that's in the book.

1062
00:54:19,640 --> 00:54:20,640
Speaker 4: And I hear people.

1063
00:54:20,480 --> 00:54:22,879
Speaker 3: Singing those songs like that, and it's like, just sing

1064
00:54:23,000 --> 00:54:26,919
Speaker 3: the dangs. Sing the Might the word mean something, don't?

1065
00:54:27,200 --> 00:54:29,799
Speaker 4: It ain't about what you can do with it. Make

1066
00:54:29,960 --> 00:54:30,560
Speaker 4: that word?

1067
00:54:30,640 --> 00:54:32,760
Speaker 3: You know. I heard somebody singing some of that somebody

1068
00:54:32,840 --> 00:54:35,360
Speaker 3: did a cover of a average white band some and

1069
00:54:35,400 --> 00:54:36,520
Speaker 3: they sent me this singer that was.

1070
00:54:36,920 --> 00:54:43,319
Speaker 2: Well singing all them. Yeah, okay, I'm gonna I'm gonna

1071
00:54:43,320 --> 00:54:45,120
Speaker 2: wrap this up momentarily. I just have a few more

1072
00:54:45,200 --> 00:54:50,160
Speaker 2: questions left. Number one of your career, as far as

1073
00:54:50,480 --> 00:54:56,080
Speaker 2: your actual performance is concerned, what do you feel is

1074
00:54:56,239 --> 00:55:01,840
Speaker 2: your most memorable satisfactory performance in terms of drumming, in

1075
00:55:01,960 --> 00:55:05,439
Speaker 2: terms of tone, like if I want to know what's

1076
00:55:05,520 --> 00:55:12,520
Speaker 2: the definitive three steven songs? What is it? And I

1077
00:55:12,560 --> 00:55:16,040
Speaker 2: don't mean popular, I just mean in terms of, yeah,

1078
00:55:16,520 --> 00:55:18,960
Speaker 2: you you locking it in the pocket?

1079
00:55:21,320 --> 00:55:23,840
Speaker 4: Well, I mean I have to say, I have to

1080
00:55:23,920 --> 00:55:25,279
Speaker 4: say school boy crush.

1081
00:55:25,719 --> 00:55:28,960
Speaker 2: Okay, and were you playing were you playing the bells

1082
00:55:29,280 --> 00:55:30,560
Speaker 2: and drums at the same time?

1083
00:55:31,080 --> 00:55:34,239
Speaker 4: No, I added that as an afterthought on the recording. Okay, cool,

1084
00:55:34,600 --> 00:55:38,520
Speaker 4: Yeah that was but every time you do it, yeah,

1085
00:55:38,640 --> 00:55:42,040
Speaker 4: I just hold the bells. But but but I just

1086
00:55:42,160 --> 00:55:45,080
Speaker 4: thought it's just so kind of that that sort of

1087
00:55:45,200 --> 00:55:47,920
Speaker 4: fit the song somehow. And then and then all the

1088
00:55:48,000 --> 00:55:49,480
Speaker 4: rappers liked it, so that was good.

1089
00:55:51,640 --> 00:55:55,640
Speaker 3: Yes, exactly that Wildflowers, the whole album with Tom Petty

1090
00:55:55,719 --> 00:55:57,160
Speaker 3: was that was his amazing experience.

1091
00:55:58,520 --> 00:56:00,080
Speaker 4: I love the album Secret.

1092
00:55:59,800 --> 00:56:04,520
Speaker 2: Story, Pat, I love so much he's been on our show.

1093
00:56:05,040 --> 00:56:06,800
Speaker 3: I think that's one of the most beautiful albums.

1094
00:56:07,880 --> 00:56:10,400
Speaker 2: I wanted to ask you about the Glow Sessions, but

1095
00:56:11,440 --> 00:56:14,520
Speaker 2: I will just because you know, that was definitely Rick

1096
00:56:14,560 --> 00:56:23,080
Speaker 2: James's craziest period in his career. But I mean the book, Yeah,

1097
00:56:23,520 --> 00:56:26,560
Speaker 2: I know. I was going to say, from one to ten,

1098
00:56:26,920 --> 00:56:30,840
Speaker 2: how crazy were the Rick James Glowed Sessions? Great? But

1099
00:56:31,320 --> 00:56:33,440
Speaker 2: and that was a lot of reverb on those sneers, man,

1100
00:56:33,960 --> 00:56:35,040
Speaker 2: yeah it was.

1101
00:56:35,280 --> 00:56:39,120
Speaker 4: It was crazy. But Rick Man, well, he just had

1102
00:56:39,200 --> 00:56:41,879
Speaker 4: such an energy that was really cool. I love these music.

1103
00:56:41,960 --> 00:56:44,160
Speaker 3: I mean, I just I went and saw bad I

1104
00:56:44,200 --> 00:56:46,880
Speaker 3: went saw this little band playing in one of one

1105
00:56:46,920 --> 00:56:49,200
Speaker 3: of the clubs in Los Angeles, I forget Peppermint or

1106
00:56:49,239 --> 00:56:52,600
Speaker 3: something like that at school, and and it's that they

1107
00:56:52,640 --> 00:56:58,120
Speaker 3: were playing. They were playing some Rick James and they

1108
00:56:58,120 --> 00:57:01,240
Speaker 3: were like, man, that's a great what a great energy.

1109
00:57:01,080 --> 00:57:04,400
Speaker 2: That sum Yes, give it to me baby, Yes, all right.

1110
00:57:04,480 --> 00:57:07,719
Speaker 2: So I was going to say, what was the hardest

1111
00:57:08,200 --> 00:57:11,600
Speaker 2: session you ever had in your your cannon?

1112
00:57:13,120 --> 00:57:14,719
Speaker 4: Oh hardest, like.

1113
00:57:14,840 --> 00:57:18,160
Speaker 2: Take after take after take after take after take didn't

1114
00:57:18,240 --> 00:57:20,560
Speaker 2: nail it got through by the skin of my teeth,

1115
00:57:21,040 --> 00:57:21,200
Speaker 2: you know.

1116
00:57:21,240 --> 00:57:23,280
Speaker 3: It was the schoolboy Crush was was pretty hard. But

1117
00:57:23,720 --> 00:57:25,960
Speaker 3: I think there was a song one secret story. I

1118
00:57:26,000 --> 00:57:28,440
Speaker 3: forget what it's called now, but there's this and it

1119
00:57:28,560 --> 00:57:33,240
Speaker 3: was it's in seven four and and Pat wanted wanted

1120
00:57:33,320 --> 00:57:35,200
Speaker 3: to keep the bass drum beat, but he had to

1121
00:57:35,560 --> 00:57:37,320
Speaker 3: done something with the sink clap and the sort of

1122
00:57:37,360 --> 00:57:39,040
Speaker 3: busting overbeat over this book.

1123
00:57:41,080 --> 00:57:44,680
Speaker 4: The bubblet uh and and I had to figure out what,

1124
00:57:44,960 --> 00:57:46,480
Speaker 4: what what how to play it?

1125
00:57:46,560 --> 00:57:49,160
Speaker 3: So I said, well, yeah, I said, tell you what,

1126
00:57:50,400 --> 00:57:53,240
Speaker 3: Just run the tape and I'll play and and see

1127
00:57:53,280 --> 00:57:54,720
Speaker 3: if I can come up with something. And I was

1128
00:57:54,840 --> 00:57:57,080
Speaker 3: trying to figure out how to play this thing and

1129
00:57:57,280 --> 00:57:59,680
Speaker 3: just playing, and then finally I got settled into this

1130
00:57:59,760 --> 00:58:03,560
Speaker 3: one sort of pattern with it, and I tried to

1131
00:58:03,680 --> 00:58:06,280
Speaker 3: do something and I almost fell off off the drum.

1132
00:58:06,160 --> 00:58:07,880
Speaker 4: Kit doing it, and so I just abandoned it.

1133
00:58:08,880 --> 00:58:10,480
Speaker 3: And then I went and I went in, and then

1134
00:58:10,520 --> 00:58:12,520
Speaker 3: I went in. I went back in there and said, okay,

1135
00:58:12,640 --> 00:58:15,160
Speaker 3: was there anything in there in that and he said, yes,

1136
00:58:15,240 --> 00:58:19,120
Speaker 3: you played it once was it is says post.

1137
00:58:18,960 --> 00:58:20,720
Speaker 4: My feet off of the ground at the same time.

1138
00:58:20,720 --> 00:58:23,000
Speaker 3: It's just I had to really sort of I had

1139
00:58:23,040 --> 00:58:25,200
Speaker 3: to go in and sit down on woodshed a little

1140
00:58:25,200 --> 00:58:27,240
Speaker 3: bit just to get comfortable with my balance and as

1141
00:58:27,280 --> 00:58:29,360
Speaker 3: I played that, but it doesn't sound that much, but

1142
00:58:29,760 --> 00:58:30,560
Speaker 3: it's just a little bit.

1143
00:58:30,600 --> 00:58:33,320
Speaker 2: It's just you were kind of going there with the

1144
00:58:33,880 --> 00:58:36,000
Speaker 2: especially with the Brian Auger stuff, like you were doing

1145
00:58:36,040 --> 00:58:40,520
Speaker 2: a lot of you know, quasi prog rocketsh like id

1146
00:58:40,960 --> 00:58:44,120
Speaker 2: meters and yeah, yeah, I was young.

1147
00:58:44,200 --> 00:58:47,240
Speaker 4: I was very useful with Brian Oga. I was twenty

1148
00:58:47,320 --> 00:58:50,480
Speaker 4: three years old. I listened to that stuff and it's like, wow,

1149
00:58:50,600 --> 00:58:51,280
Speaker 4: it's so young.

1150
00:58:52,480 --> 00:58:54,880
Speaker 2: So I want to mention before going you have a

1151
00:58:54,920 --> 00:58:58,560
Speaker 2: new project Ebunctions and that's yeah, yeah, you on drums

1152
00:58:58,600 --> 00:59:03,280
Speaker 2: and Jeff back one keys and what he Mankowski on vocals,

1153
00:59:03,880 --> 00:59:06,520
Speaker 2: Ethan Farmer, Yeah, and same area.

1154
00:59:06,840 --> 00:59:07,600
Speaker 4: That was fun to do.

1155
00:59:07,840 --> 00:59:10,640
Speaker 3: We did that in the lockdown at my studio and

1156
00:59:10,920 --> 00:59:14,040
Speaker 3: U and they brought the songs over and and and

1157
00:59:14,160 --> 00:59:16,360
Speaker 3: a bass player they had and Jeff had done all

1158
00:59:16,400 --> 00:59:19,120
Speaker 3: the stuff with the keyboards and they'd done most of

1159
00:59:19,120 --> 00:59:22,520
Speaker 3: the rough vocals and stuff, and then they Ethan came

1160
00:59:22,600 --> 00:59:25,840
Speaker 3: over to the house and my engineer at the end

1161
00:59:25,840 --> 00:59:26,919
Speaker 3: of the guy who engineered.

1162
00:59:26,720 --> 00:59:28,920
Speaker 4: Eric Dwongur and he does the engineering for me, and.

1163
00:59:28,960 --> 00:59:31,080
Speaker 3: We'd figured out how to do it so he could

1164
00:59:31,120 --> 00:59:34,800
Speaker 3: engineer me from Long Beach, right and so and so

1165
00:59:34,960 --> 00:59:37,200
Speaker 3: he was in Long Beach and we were there.

1166
00:59:37,400 --> 00:59:40,280
Speaker 4: In the room and massed up, and you know, it

1167
00:59:40,440 --> 00:59:41,200
Speaker 4: really is something.

1168
00:59:41,320 --> 00:59:43,240
Speaker 3: I don't know if you've experienced this with your band,

1169
00:59:43,280 --> 00:59:46,520
Speaker 3: but it really does give something when when you can

1170
00:59:46,600 --> 00:59:49,960
Speaker 3: actually even if you if you're overdubbing to a track

1171
00:59:50,040 --> 00:59:52,720
Speaker 3: that's already there, if you if you put down bass

1172
00:59:52,760 --> 00:59:55,200
Speaker 3: and drums at the same time, it just adds that

1173
00:59:55,320 --> 00:59:59,360
Speaker 3: little feel of there's that interplay that happens between between

1174
00:59:59,520 --> 01:00:02,080
Speaker 3: between the base place. It just makes the track field.

1175
01:00:02,160 --> 01:00:03,160
Speaker 3: I think love warm up.

1176
01:00:04,000 --> 01:00:06,400
Speaker 2: So are you guys planning on like going out live

1177
01:00:06,480 --> 01:00:06,680
Speaker 2: with it.

1178
01:00:06,800 --> 01:00:09,480
Speaker 4: And moving well, I'd like to go out and play.

1179
01:00:09,640 --> 01:00:11,320
Speaker 3: We were we were doing this little gig of this

1180
01:00:11,800 --> 01:00:16,160
Speaker 3: this uh uh Pastromi I think it's called Joe's Pastrami place.

1181
01:00:16,240 --> 01:00:18,760
Speaker 3: We were playing on Friday nights. They were going there

1182
01:00:18,760 --> 01:00:21,640
Speaker 3: and playing. I was playing with Jeff. So it were

1183
01:00:21,680 --> 01:00:24,920
Speaker 3: your bunchs gonna come play and I'm too busy, But

1184
01:00:25,080 --> 01:00:27,200
Speaker 3: I would, really, I would. I would hope that we'd

1185
01:00:27,600 --> 01:00:29,920
Speaker 3: go and play a gig at least one you know

1186
01:00:31,120 --> 01:00:32,320
Speaker 3: at some point or at least one.

1187
01:00:33,440 --> 01:00:35,080
Speaker 2: There's one song I want to ask about that I

1188
01:00:35,160 --> 01:00:40,720
Speaker 2: forgot to ask about. It's It's on Shaka's fourth album,

1189
01:00:41,960 --> 01:00:45,840
Speaker 2: she did an extremely ambitious medley called Bebop Medley.

1190
01:00:46,440 --> 01:00:46,640
Speaker 4: Yeah.

1191
01:00:47,320 --> 01:00:50,360
Speaker 2: Yeah, you know, she's basically marrying all these old jazz

1192
01:00:50,360 --> 01:00:54,440
Speaker 2: song that was a reef. Yeah did you piece that together?

1193
01:00:54,960 --> 01:00:55,320
Speaker 2: Or yeah?

1194
01:00:55,360 --> 01:00:56,000
Speaker 3: We cut?

1195
01:00:56,040 --> 01:00:57,320
Speaker 4: We cut a piece of it every day.

1196
01:00:58,160 --> 01:00:58,360
Speaker 3: Yeah.

1197
01:00:59,320 --> 01:01:01,320
Speaker 2: I thought you'll did that in one fell swoop, and

1198
01:01:01,480 --> 01:01:04,480
Speaker 2: I always wanted to know how did you guys get

1199
01:01:04,520 --> 01:01:06,120
Speaker 2: that together? So you guys cut had to cut and

1200
01:01:06,200 --> 01:01:06,520
Speaker 2: paste that?

1201
01:01:06,800 --> 01:01:10,040
Speaker 3: Yeah, cut, ref would would would recall it that bit,

1202
01:01:10,120 --> 01:01:11,560
Speaker 3: and then he'd take it home and listened to it,

1203
01:01:11,560 --> 01:01:13,320
Speaker 3: and then he'd write the next bit, and then we

1204
01:01:13,440 --> 01:01:14,960
Speaker 3: come back in the next day and then we play

1205
01:01:15,040 --> 01:01:16,600
Speaker 3: the next bit, and then he tag it on and

1206
01:01:16,640 --> 01:01:18,520
Speaker 3: then we go take it away and then write the

1207
01:01:18,560 --> 01:01:18,920
Speaker 3: next bit.

1208
01:01:19,280 --> 01:01:21,080
Speaker 2: There were times where I saw you play with soccer.

1209
01:01:21,120 --> 01:01:24,080
Speaker 2: Have you guys ever attempted to do the Bebop metley live?

1210
01:01:25,720 --> 01:01:27,160
Speaker 4: I think we have done it live. I think we've

1211
01:01:27,200 --> 01:01:27,400
Speaker 4: done it.

1212
01:01:27,560 --> 01:01:31,720
Speaker 2: Jesus Age christ right exactly.

1213
01:01:32,320 --> 01:01:35,000
Speaker 4: Yeah, you know, yeah we did. I think yes, we did.

1214
01:01:35,120 --> 01:01:35,720
Speaker 4: We did it live.

1215
01:01:36,080 --> 01:01:38,000
Speaker 3: There's a there's a I think we did it at

1216
01:01:38,040 --> 01:01:43,120
Speaker 3: the concert. Maybe we did something at the roxy.

1217
01:01:43,600 --> 01:01:47,000
Speaker 2: You did you did a I've seen only maybe like

1218
01:01:47,480 --> 01:01:49,640
Speaker 2: four or five songs from that particular.

1219
01:01:49,280 --> 01:01:51,640
Speaker 4: Thing, but I think we found I think we may

1220
01:01:51,680 --> 01:01:54,120
Speaker 4: have done it there. That was that was fun.

1221
01:01:54,520 --> 01:01:57,000
Speaker 3: But you know, it's really hard because I've played with

1222
01:01:57,120 --> 01:01:59,400
Speaker 3: so many great musicians and so much that's so much

1223
01:01:59,440 --> 01:02:02,200
Speaker 3: fun playing in my career and continue to do so

1224
01:02:02,560 --> 01:02:06,760
Speaker 3: grateful and grateful for that, but it's hard to sort

1225
01:02:06,800 --> 01:02:10,040
Speaker 3: of narrow it down to say. You know, I always

1226
01:02:10,040 --> 01:02:11,640
Speaker 3: feel like I'm leaving somebody.

1227
01:02:11,360 --> 01:02:15,120
Speaker 4: Out right, So I usually I usually I use it

1228
01:02:15,160 --> 01:02:15,520
Speaker 4: when I do.

1229
01:02:15,680 --> 01:02:17,520
Speaker 3: When I do something like this, I always make a

1230
01:02:17,560 --> 01:02:22,080
Speaker 3: big point of thanking, thanking the School of Lake Local

1231
01:02:22,160 --> 01:02:25,120
Speaker 3: a though two and the School of Local forty seven.

1232
01:02:25,840 --> 01:02:27,760
Speaker 2: You know, so you really are a union guy?

1233
01:02:28,720 --> 01:02:30,680
Speaker 3: Yeah, man, I tell you, you know, they may be

1234
01:02:30,880 --> 01:02:33,320
Speaker 3: they may be they may be pay pay pay for

1235
01:02:33,400 --> 01:02:37,360
Speaker 3: a pension, and I'm like, give me the money pension.

1236
01:02:37,840 --> 01:02:39,920
Speaker 4: You know, I'm really happy that they did.

1237
01:02:40,080 --> 01:02:42,439
Speaker 2: Now, those guys are always on my case.

1238
01:02:43,280 --> 01:02:43,480
Speaker 5: You know.

1239
01:02:44,400 --> 01:02:47,040
Speaker 2: I'm kind of in a different category where I don't

1240
01:02:47,680 --> 01:02:50,360
Speaker 2: depend on that, but I also understand that musicians have

1241
01:02:50,440 --> 01:02:53,720
Speaker 2: to make a living. Oh wait, speaking of which we

1242
01:02:53,800 --> 01:02:57,360
Speaker 2: do have something in common. You were I didn't realize

1243
01:02:57,440 --> 01:03:03,960
Speaker 2: that you were in eighty five the house drummer for SNL. Yes, yeah,

1244
01:03:04,640 --> 01:03:06,840
Speaker 2: how was that gig for you? You just did it

1245
01:03:06,880 --> 01:03:07,720
Speaker 2: for one year? Correct.

1246
01:03:08,640 --> 01:03:11,360
Speaker 3: I had the gig for three seasons, but in the

1247
01:03:11,440 --> 01:03:16,400
Speaker 3: middle of the second season, I started to get really

1248
01:03:16,440 --> 01:03:19,400
Speaker 3: busy with Eric Clapton and Duran Duran, and so I

1249
01:03:19,600 --> 01:03:21,680
Speaker 3: was out of town a lot, and so funny, I

1250
01:03:21,840 --> 01:03:25,160
Speaker 3: just said, now, it's silly me keeping this gig. This

1251
01:03:25,280 --> 01:03:28,000
Speaker 3: you give it to something, so you decided to let someone, Okay. Yeah,

1252
01:03:28,840 --> 01:03:31,600
Speaker 3: So for you L, Lauren has always been really really

1253
01:03:31,720 --> 01:03:33,720
Speaker 3: nice with me. I mean he's always every time I

1254
01:03:33,880 --> 01:03:35,520
Speaker 3: always introduced myself and he.

1255
01:03:35,480 --> 01:03:36,560
Speaker 4: Says, I know who you are.

1256
01:03:39,520 --> 01:03:45,240
Speaker 2: So my final question is is there ever a thing

1257
01:03:45,760 --> 01:03:47,760
Speaker 2: as stopping.

1258
01:03:48,800 --> 01:03:49,680
Speaker 4: You know, playing?

1259
01:03:50,440 --> 01:03:54,400
Speaker 2: Yeah? No, So for you, drumming is still passion you

1260
01:03:54,520 --> 01:03:54,920
Speaker 2: still have.

1261
01:03:55,680 --> 01:03:57,840
Speaker 4: I love doing it. I love playing the drums. Yeah,

1262
01:03:58,720 --> 01:03:59,760
Speaker 4: I love making music.

1263
01:04:00,040 --> 01:04:03,360
Speaker 2: I have a dream. And I thought, you know, if

1264
01:04:03,440 --> 01:04:06,280
Speaker 2: COVID wasn't here by the time I turned fifty, I said,

1265
01:04:06,400 --> 01:04:12,120
Speaker 2: before I die, you know, And unfortunately, uh, Malcolm uh

1266
01:04:12,560 --> 01:04:17,280
Speaker 2: is no longer here with us. But before I pass away,

1267
01:04:18,440 --> 01:04:22,280
Speaker 2: I have to see the core five members of the

1268
01:04:22,360 --> 01:04:26,560
Speaker 2: group play one more time. Are you guys at all

1269
01:04:27,200 --> 01:04:28,880
Speaker 2: as far as the average white band is concerned?

1270
01:04:29,760 --> 01:04:30,160
Speaker 4: Are well?

1271
01:04:30,400 --> 01:04:33,280
Speaker 2: Is there an average white band thread on your phone?

1272
01:04:33,400 --> 01:04:33,480
Speaker 5: Now?

1273
01:04:33,840 --> 01:04:36,280
Speaker 3: You know, we took every once in a while and

1274
01:04:36,720 --> 01:04:39,200
Speaker 3: I tried to get those scotsmen to my piece.

1275
01:04:39,280 --> 01:04:41,040
Speaker 4: You know, it's like who's that.

1276
01:04:41,240 --> 01:04:43,760
Speaker 2: Who's who's that? Odds here hemus?

1277
01:04:44,960 --> 01:04:48,840
Speaker 3: Well, yeah, some it depends on the day, sometimes odds

1278
01:04:48,920 --> 01:04:51,520
Speaker 3: and sometimes the odds and sometimes you know, I mean,

1279
01:04:51,920 --> 01:04:55,080
Speaker 3: you know, uh, Molly passed away, you know, I mean

1280
01:04:55,240 --> 01:04:58,200
Speaker 3: I tried to get something back together and and and you.

1281
01:04:58,240 --> 01:05:02,360
Speaker 2: Don't easy pieces and yeah, all these projects with one

1282
01:05:02,440 --> 01:05:03,000
Speaker 2: or two members.

1283
01:05:03,120 --> 01:05:05,960
Speaker 4: But you know, I mean, I mean, you know, I

1284
01:05:06,040 --> 01:05:08,400
Speaker 4: mean I was talking actually took me with hybris.

1285
01:05:08,680 --> 01:05:09,800
Speaker 3: I thought, man, you know, it would be great to

1286
01:05:09,840 --> 01:05:12,000
Speaker 3: have quest that come produces the average right man, Now

1287
01:05:12,080 --> 01:05:13,439
Speaker 3: he enjoyed as much as we would.

1288
01:05:14,200 --> 01:05:19,439
Speaker 2: I would. I would honestly say to you, I would

1289
01:05:19,600 --> 01:05:23,680
Speaker 2: probably risk the ire of anybody I've ever worked with

1290
01:05:23,920 --> 01:05:27,120
Speaker 2: and walk away in the heartbeat if I knew that

1291
01:05:27,320 --> 01:05:30,960
Speaker 2: I could facilitate an average right White Band reunion.

1292
01:05:31,480 --> 01:05:32,800
Speaker 3: But I get I'll tell you what I do. I'll

1293
01:05:32,800 --> 01:05:35,120
Speaker 3: get your allegory's telephone number, I send it to you.

1294
01:05:35,560 --> 01:05:37,440
Speaker 2: So he's the missing piece and if he agrees with it,

1295
01:05:37,520 --> 01:05:38,800
Speaker 2: and then you think everyone else will fall.

1296
01:05:39,440 --> 01:05:40,800
Speaker 4: I think I can persuade Hambrich.

1297
01:05:40,880 --> 01:05:41,720
Speaker 3: I think that could be done.

1298
01:05:42,720 --> 01:05:45,280
Speaker 2: Yeah, I just want a proper clothing.

1299
01:05:45,960 --> 01:05:48,040
Speaker 3: Yeah, I think it would be a good thing to do, because,

1300
01:05:49,200 --> 01:05:51,320
Speaker 3: like I say, everybody can still play.

1301
01:05:51,640 --> 01:05:55,480
Speaker 4: Yes, it would. It would be fun thing to see

1302
01:05:55,480 --> 01:05:56,320
Speaker 4: what would happen.

1303
01:05:56,560 --> 01:06:00,560
Speaker 2: Your mouth of God's ears? Yeah, you know I And closing,

1304
01:06:00,760 --> 01:06:05,360
Speaker 2: I just want to say yes, I really truly hope

1305
01:06:05,400 --> 01:06:09,800
Speaker 2: that you know that literally, you know you you sparked

1306
01:06:09,960 --> 01:06:15,200
Speaker 2: a revolution of where I am right now in my life,

1307
01:06:15,280 --> 01:06:17,000
Speaker 2: like this starts with you.

1308
01:06:17,840 --> 01:06:20,240
Speaker 3: I'm truly I'm truly grateful for that because it's nice

1309
01:06:20,240 --> 01:06:23,280
Speaker 3: to see if somebody walk up to you and say, man,

1310
01:06:23,400 --> 01:06:25,080
Speaker 3: you've been a great inspiration and I can.

1311
01:06:25,080 --> 01:06:26,920
Speaker 4: Actually tell meun and say, man, that guy plays his

1312
01:06:27,000 --> 01:06:27,479
Speaker 4: ass off.

1313
01:06:27,520 --> 01:06:27,600
Speaker 3: So.

1314
01:06:29,720 --> 01:06:34,520
Speaker 2: Thank you. And also thank you for that snare drum.

1315
01:06:36,320 --> 01:06:38,400
Speaker 2: I'm literally using it all over.

1316
01:06:38,320 --> 01:06:40,080
Speaker 4: The day to use it. I saw you do it.

1317
01:06:40,200 --> 01:06:41,000
Speaker 4: I say it on the TV.

1318
01:06:42,440 --> 01:06:45,200
Speaker 2: Absolutely on the next roots album.

1319
01:06:45,720 --> 01:06:48,200
Speaker 4: Wouldn't it be wonderful if all those instruments got used

1320
01:06:48,240 --> 01:06:48,800
Speaker 4: that way down?

1321
01:06:48,800 --> 01:06:51,200
Speaker 3: I mean that that people got them and didn't just

1322
01:06:51,240 --> 01:06:52,840
Speaker 3: put them in glass cases and look at them and

1323
01:06:52,880 --> 01:06:53,720
Speaker 3: think with a lot.

1324
01:06:53,640 --> 01:06:57,560
Speaker 2: Of man that that snare has a snap like no other.

1325
01:06:57,880 --> 01:07:00,760
Speaker 2: But I thank you for that. Plays and gentlemen, the

1326
01:07:01,120 --> 01:07:07,200
Speaker 2: great Steve Roon, my musical hero on Quest Love Supreme. Hi,

1327
01:07:07,320 --> 01:07:10,000
Speaker 2: thank you for taking the time out to listen to this,

1328
01:07:10,280 --> 01:07:13,000
Speaker 2: and we will see you on the next goram all right, see,

1329
01:07:13,040 --> 01:07:20,640
Speaker 2: I'll leave. Quest Love Supreme is a production of iHeart Radio.

1330
01:07:24,040 --> 01:07:27,280
Speaker 1: For more podcasts from iHeart Radio, visit the iHeartRadio app,

1331
01:07:27,520 --> 01:07:30,560
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.