WEBVTT - QLS Classic: Steve Ferrone Pt. 2 0:00:00.080 --> 0:00:08.440 Request Left Show is a production of iHeart Radio, and. 0:00:08.320 --> 0:00:12.319 In Part two we talk about Steve's later years, the 0:00:12.360 --> 0:00:16.720 evolution of the Average White Band, that incredible my guitar 0:00:16.880 --> 0:00:20.600 Jiff Lee weeps moment that Prince did at the Rock 0:00:20.640 --> 0:00:22.720 and Roll Hall of Fame with you know Prince and 0:00:22.760 --> 0:00:27.040 Steve Winwood, and also his work with Duran Durant, Tom Petty. 0:00:27.400 --> 0:00:30.240 Please check out part one first and get to know 0:00:31.480 --> 0:00:33.200 one of the people that I admired the most. 0:00:33.320 --> 0:00:44.400 All right, Steve Roddy, Ladies and gentlemen, what's up, what's up? 0:00:44.440 --> 0:00:46.400 What's up? I know it's been a long time, but 0:00:46.560 --> 0:00:49.320 here it is the long awaited part two of our 0:00:49.360 --> 0:00:53.400 special one on one QLs with my hero, my idol, 0:00:53.680 --> 0:00:56.760 Steve Rome. So in part one Steve was talking about 0:00:56.760 --> 0:01:00.400 going up in Brighton, England. His drumming influence is him 0:01:00.400 --> 0:01:04.680 being a tap dancer playing in Brownstone, and that conversation 0:01:04.840 --> 0:01:06.840 ended with him just joining the Average White Man. 0:01:07.000 --> 0:01:09.720 So let's start with part two right now. This is 0:01:09.760 --> 0:01:10.839 a special one on one. 0:01:10.760 --> 0:01:14.840 Quest Love Supreme with Steve Roon the Great All right, 0:01:17.160 --> 0:01:22.080 Alan Gory clearly is of the Ilk of Ray. Charles 0:01:24.319 --> 0:01:31.080 Hamish has a wonderful like falsetto and you know, they're 0:01:31.120 --> 0:01:35.840 they're extremely soulful. But how how much of the marketing 0:01:36.319 --> 0:01:39.840 of these funky white boys are they were lying on 0:01:40.360 --> 0:01:42.000 during this time period a lot. 0:01:41.920 --> 0:01:43.840 Of people who actually told average white band was a 0:01:43.840 --> 0:01:47.640 black man and when and when we moved. 0:01:47.360 --> 0:01:51.120 Down on stage, they date, what the hell is this? 0:01:51.560 --> 0:01:51.720 You know? 0:01:52.200 --> 0:01:53.440 And there was a lot there. 0:01:53.320 --> 0:01:58.800 Was a lot of okay, show us really that that 0:01:58.880 --> 0:02:00.800 went on yet, I mean there was a lot of it. 0:02:01.360 --> 0:02:04.600 But the band could play. The band was authentic. 0:02:05.160 --> 0:02:07.320 Do we We weren't trying to be anything else other 0:02:07.360 --> 0:02:09.080 than average white band and play soul music. 0:02:09.120 --> 0:02:11.520 We love soul music. It was just what we did. 0:02:12.720 --> 0:02:14.920 I mean, I've had guys, I've had I've had bands 0:02:15.000 --> 0:02:17.080 with guys that I've been played in with bands, and 0:02:17.120 --> 0:02:20.280 we've been playing average white band stuff. And I remember 0:02:20.280 --> 0:02:22.480 we played at Long Beach once and average White band 0:02:22.520 --> 0:02:25.120 were playing across the street right and I think they 0:02:25.160 --> 0:02:28.120 were opening for Tara Power. And I got hold of 0:02:28.120 --> 0:02:31.520 Honnie and Alan and they came over and I had 0:02:31.600 --> 0:02:34.440 them sit in with my band and show them how 0:02:34.480 --> 0:02:39.960 it was done. And it was that they were They 0:02:40.000 --> 0:02:42.880 were like, oh, so that's what it is, and I think. 0:02:43.320 --> 0:02:47.400 I think that you'll find that with bands when people 0:02:47.440 --> 0:02:49.200 come and sit in with like you know, it's there's 0:02:49.400 --> 0:02:52.200 if there's two or three of us from the Heartbreakers 0:02:52.200 --> 0:02:56.079 that are playing together, right, you get that they get 0:02:56.120 --> 0:02:58.120 that feeling of what that was like, and it's a 0:02:58.120 --> 0:03:01.000 powerful thing. I remember when I was playing with George 0:03:01.000 --> 0:03:04.920 Harrison mm hmm, and and Ringo was set at the rehearsal. 0:03:05.320 --> 0:03:07.920 Ringo was there and and Ray Cooper had another drum 0:03:08.000 --> 0:03:10.040 kits set up because he played double drums with me 0:03:10.080 --> 0:03:12.720 sometimes and some stuff back there, and I said to 0:03:12.800 --> 0:03:16.200 ring and the ringer, let's said. So Ringo came up 0:03:16.240 --> 0:03:18.400 on the stage and started to play, and all of 0:03:18.440 --> 0:03:22.560 a sudden, it was like, Oh, this is what the 0:03:22.560 --> 0:03:23.480 Beatles felt like. 0:03:23.840 --> 0:03:27.920 Yeah, right, there's a there's a way of that's those 0:03:27.919 --> 0:03:28.840 people when those guys. 0:03:31.080 --> 0:03:33.560 Let me ask you this much then, because I know 0:03:33.760 --> 0:03:38.960 that as a drummer, the bass player emma drummer are 0:03:39.040 --> 0:03:42.680 married to each other. Now you're in a group with 0:03:44.240 --> 0:03:48.560 two interchangeable bass players and two interchangeable guitarists. Yes, who 0:03:48.560 --> 0:03:50.680 do you prefer on bass? And who do you prefer 0:03:50.720 --> 0:03:52.880 on guitar? Do you prefer Alan Gory on bass or 0:03:52.920 --> 0:03:54.040 Haym and Stewart on bass. 0:03:54.280 --> 0:03:58.480 Well, they're both, they're both different that they both played. 0:03:58.520 --> 0:04:00.680 They both played different different thing. 0:04:00.720 --> 0:04:04.960 Alan Alan had like a real nice round, round sound 0:04:05.120 --> 0:04:07.520 with the bass, and Hamish. Hamish had this sort of 0:04:07.560 --> 0:04:10.760 more more more aggressive, sort of like schoolboy crashed. 0:04:10.960 --> 0:04:12.440 That's the way you're playing playing the bass. 0:04:12.480 --> 0:04:16.760 He would playing with the pick correct U Yeah, okay, yeah, 0:04:16.800 --> 0:04:18.799 but who had the better pocket for you at least? 0:04:19.120 --> 0:04:22.120 But both the same. I mean, they were both both 0:04:22.240 --> 0:04:25.520 both great bass players. I mean, it was it was, 0:04:25.760 --> 0:04:26.360 it was a joy. 0:04:26.400 --> 0:04:26.800 I mean. 0:04:28.480 --> 0:04:30.760 When Alan picked up the guitar and started to play 0:04:30.839 --> 0:04:33.280 play the way that he played, he would play guitar, 0:04:33.440 --> 0:04:36.720 and then how how Honye would would would fit these 0:04:36.800 --> 0:04:39.800 rhythm patterns to Alan picking. 0:04:40.160 --> 0:04:42.920 Yeah, and how it was it was it would look 0:04:43.200 --> 0:04:43.480 you know. 0:04:44.000 --> 0:04:46.760 Okay, A question I always wanted to ask. Or and 0:04:46.800 --> 0:04:50.520 B nineteen seventy six Person The Person Live album, which 0:04:50.520 --> 0:04:53.560 incidentally is probably any any list I make of my 0:04:53.560 --> 0:04:56.520 favorite albums of Walter, that's number one. So there's a 0:04:56.560 --> 0:05:01.039 moment on TLC where you guys go absolutely ape shit 0:05:01.080 --> 0:05:03.279 in the zone, and that's kind of the moment where 0:05:03.480 --> 0:05:09.640 I assume that it's Hamas Stewart taking this harmonics bassilo 0:05:10.760 --> 0:05:13.080 you know, kind of like Jack Opistoria's portrait to Tracy 0:05:13.520 --> 0:05:20.080 playing harmonics, Like it sounds like a yeah, yeah, yeah 0:05:20.680 --> 0:05:24.000 right during that moment, because even when I was looking 0:05:24.080 --> 0:05:28.840 up old photos, there's five photos of that period between 0:05:28.880 --> 0:05:32.960 seventy five and seventy eight in which both of them 0:05:33.000 --> 0:05:36.080 are playing bass at the same time. So I assume 0:05:36.120 --> 0:05:37.840 that that was a part of TLC. Every night at 0:05:37.880 --> 0:05:40.960 least for that tour. Are they both playing bass at 0:05:40.960 --> 0:05:43.880 the same time, because I've never seen I've seen guitarist 0:05:43.920 --> 0:05:44.560 play tandem. 0:05:44.600 --> 0:05:46.560 There was one song that we had two bases of 0:05:46.600 --> 0:05:47.440 I forget what it was. 0:05:47.360 --> 0:05:51.880 Now, probably love your Life It could be right, Yeah, yeah, 0:05:51.920 --> 0:05:54.159 I was gonna say, because Hamis is like sort of 0:05:54.160 --> 0:06:00.960 go to like that's his go to ye rhythm reference, 0:06:01.120 --> 0:06:03.520 and he kind of plays a bass like a guitarist. 0:06:03.560 --> 0:06:05.080 But yeah, I always. 0:06:04.839 --> 0:06:07.320 Yeah, I mean, yeah, that's that's the thing is Hankys 0:06:07.480 --> 0:06:10.080 is gonna he has a way of playing. I mean, 0:06:10.320 --> 0:06:12.440 I can't say one of them was better than than 0:06:12.480 --> 0:06:15.359 the other. I mean, they just said it would just 0:06:16.839 --> 0:06:19.719 it would they figure it out which one which one 0:06:19.760 --> 0:06:21.680 was going to play bass on which song it was. 0:06:22.040 --> 0:06:23.400 It was never really a fight. 0:06:23.240 --> 0:06:26.320 Over it who was going to play bass, but it 0:06:26.480 --> 0:06:28.640 was maybe have you said, what's you let me played bass? 0:06:28.680 --> 0:06:31.680 Let me okay, and then playing guitar. 0:06:31.680 --> 0:06:35.920 And it would always we'd always, we'd always work at 0:06:35.960 --> 0:06:39.359 tracks until that that thing just sort of fell in 0:06:39.360 --> 0:06:41.760 in the place, into the into the into the into 0:06:41.800 --> 0:06:42.240 the pocket. 0:06:42.839 --> 0:06:47.200 Okay. So that said, during Alan Gory's uh, pick up 0:06:47.240 --> 0:06:51.120 the piece of solom you and him are literally hitting 0:06:51.120 --> 0:06:53.760 these riffs at the same time. Now, is this a 0:06:53.800 --> 0:06:58.320 result of listening kind of muscle memory? No, No muscle 0:06:58.400 --> 0:07:00.320 muscle memory where you know what he's want to do 0:07:00.360 --> 0:07:02.760 one a solo or let. 0:07:02.640 --> 0:07:04.680 Me tell you something about that album. 0:07:05.000 --> 0:07:09.400 Yes, we recorded I think maybe we recorded in Pittsburgh. 0:07:09.440 --> 0:07:13.560 We recorded in Philadelphia, and we and we played we 0:07:13.600 --> 0:07:17.000 played in Cleveland and most of the most and there 0:07:17.040 --> 0:07:19.360 was another one too, I think maybe maybe new But 0:07:19.480 --> 0:07:21.640 there's like four different concerts over the course of a 0:07:21.720 --> 0:07:27.160 year that we recorded. That solo section was always in there, okay, 0:07:27.600 --> 0:07:31.559 but everybody liked the solo from a different place. Most 0:07:31.560 --> 0:07:34.800 of it, the bulk of that album is taken from. 0:07:34.400 --> 0:07:40.800 From Cleveland, Cleveland, Cleveland. But there was this song here. 0:07:40.800 --> 0:07:42.960 I don't even I can't remember which ones, but I remember, 0:07:43.000 --> 0:07:45.480 but I remember this whole thing that we were sitting 0:07:45.480 --> 0:07:48.200 there the solos in pick up the pieces. 0:07:50.560 --> 0:07:52.520 Okay, I like the one from there. I like the 0:07:52.520 --> 0:07:53.040 one from there. 0:07:53.080 --> 0:07:57.520 I like and and so I re said, well, let's 0:07:57.960 --> 0:07:59.880 see what happens please to that. 0:08:00.960 --> 0:08:05.800 Oh wow, oh man, Like in my mind, in my mind, 0:08:05.800 --> 0:08:08.120 you guys are the tightest motherfuckers. That was like, whoa, 0:08:08.200 --> 0:08:11.240 they know exactly what's gonna happen. Okay, well, explain to 0:08:11.280 --> 0:08:16.200 me listening how much how much how much sweetening post 0:08:16.200 --> 0:08:19.160 sweetening has to happen after you get the tapes? Like, 0:08:19.240 --> 0:08:21.960 do they go and sing some parts over? Are you 0:08:22.120 --> 0:08:24.800 like I dropped a drumstick? Let me hit the snare? 0:08:24.920 --> 0:08:27.040 No? No, never, I never did anything. No. 0:08:28.120 --> 0:08:29.920 It was basically what you heard is what you got. 0:08:30.440 --> 0:08:31.239 That is crazy. 0:08:31.880 --> 0:08:34.240 Maybe they'd be a vocal line or something that would 0:08:34.400 --> 0:08:36.840 nest be necessary to but it was. 0:08:37.280 --> 0:08:40.760 It was spot. I mean really, if there was. 0:08:40.800 --> 0:08:43.520 Like a little bit they just changed to the vocal maybe, 0:08:44.000 --> 0:08:48.080 but it basically what you heard was what you got. 0:08:48.480 --> 0:08:49.000 That was it. 0:08:49.600 --> 0:08:54.560 You're breaking my heart, man, Yeah, it's badass bad That 0:08:54.640 --> 0:08:58.360 bad was badass, and we didn't we didn't play with 0:08:58.400 --> 0:08:59.040 the click either. 0:08:59.120 --> 0:09:01.800 That was the thing we'd where you get at the end. 0:09:01.800 --> 0:09:03.839 We got, we were at that. We were at all 0:09:03.880 --> 0:09:05.400 at the same place every time. 0:09:05.600 --> 0:09:09.360 You're the packet king. Yeah, I've been. I've been stalking 0:09:09.720 --> 0:09:13.960 the current president of Atlantic, Craig Calman, uh to let 0:09:13.960 --> 0:09:20.440 me listen to all of the recorded live tapes of 0:09:20.480 --> 0:09:23.480 you guys, because I yeah, you know, I know if 0:09:23.480 --> 0:09:23.800 you go. 0:09:23.800 --> 0:09:26.000 In there, if you go if you actually get access 0:09:26.040 --> 0:09:29.640 to all that stuff, what they have, there's outtakes of 0:09:29.720 --> 0:09:33.000 stuff and different versions of stuff that we did, right, 0:09:33.720 --> 0:09:38.600 It's I think part of it was, yeah, like if 0:09:38.600 --> 0:09:41.760 I ever Lose This Heaven, we all we all listened 0:09:41.840 --> 0:09:44.000 to that. I mean, I remember when I was out 0:09:44.040 --> 0:09:46.080 here with Bloodstone and I used to love to ride 0:09:46.160 --> 0:09:49.679 downtown and listen to that album. It was it was 0:09:49.760 --> 0:09:51.959 just kind of like a soundtrack for Downtown, you know, 0:09:52.480 --> 0:09:55.120 and if I ever Lose This Heaven, it was just 0:09:55.160 --> 0:09:59.040 a great what a great track. But you know when 0:09:59.200 --> 0:10:02.280 when when we were into the studio, they tried cutting 0:10:02.280 --> 0:10:03.839 that song a couple of times with a couple of 0:10:03.880 --> 0:10:06.960 different people and everybody had got sort of gone in 0:10:07.000 --> 0:10:10.240 there what I heard, and they copied the same. 0:10:11.080 --> 0:10:12.920 It's very simplistic bass. 0:10:12.679 --> 0:10:17.439 Jump, but the drum field that the Quincy had used 0:10:17.440 --> 0:10:21.440 for for the for the thing. When I went in 0:10:21.480 --> 0:10:23.480 and sat down, I decided to play just to play 0:10:23.520 --> 0:10:25.679 that song, I mean, and I just sat there and 0:10:25.679 --> 0:10:28.040 I remember and listened to the first the first sake 0:10:28.120 --> 0:10:29.319 of it. I don't know even know if that was 0:10:29.320 --> 0:10:32.120 the one we used it, but I remember Roger Ball 0:10:32.200 --> 0:10:34.040 coming over and kissing me on the top of my head. 0:10:35.120 --> 0:10:37.320 Yeah, was that the song you recorded with him in 0:10:37.320 --> 0:10:37.800 the studio? 0:10:38.800 --> 0:10:40.520 No, I don't remember what the first song. I don't 0:10:40.600 --> 0:10:41.960 remember what the first song was. 0:10:42.120 --> 0:10:44.760 Were there were there any songs of Robbie on the 0:10:44.760 --> 0:10:46.880 cut the Cake album? Or is that all you? 0:10:46.920 --> 0:10:50.160 No? It's or me where we was gone? 0:10:50.440 --> 0:10:55.120 All right? So, you know, because you joined Durand around 0:10:55.120 --> 0:10:57.680 in eighty seven, I'm certain that you could tell the 0:10:57.679 --> 0:11:02.800 difference between kind of the teen idol fandom of like 0:11:02.840 --> 0:11:06.560 screaming girls and regular fans who just like into the 0:11:06.559 --> 0:11:11.120 sound and into the band. What was you know again? 0:11:11.360 --> 0:11:15.760 I know there was a novelty or curiosity of these 0:11:15.880 --> 0:11:19.319 funky ass white boys or whatever. But at least between 0:11:20.040 --> 0:11:26.560 seventy five and eighty seven is there. What are the 0:11:26.600 --> 0:11:27.280 fans like? 0:11:28.240 --> 0:11:32.920 They were wherever Durham went. There were the days right 0:11:33.000 --> 0:11:37.480 and the directions. Yeah, they used to they used to be. 0:11:37.640 --> 0:11:40.959 They camp outside of the studio and they were all 0:11:41.120 --> 0:11:44.720 very nice, you know. I mean I remember when we 0:11:44.720 --> 0:11:47.480 were in London and we were recording as there was 0:11:47.480 --> 0:11:50.840 this girl, Michelle. I was still in touch with her, right, 0:11:51.520 --> 0:11:54.560 I was there and I had my kids with me, okay, 0:11:54.800 --> 0:11:57.920 and they were little. They go out and there was 0:11:58.040 --> 0:12:00.400 there was like there was this gate, you know, and 0:12:00.440 --> 0:12:02.040 they go out and they sort of talk to the 0:12:02.280 --> 0:12:06.280 Duranis through the gate and finally Michelle said, I said, Michelle, 0:12:06.920 --> 0:12:08.840 you want to look after after the kids because I 0:12:08.920 --> 0:12:12.080 was inside working, right, And they go out there and 0:12:12.080 --> 0:12:15.600 they'd sit with the Durani's and they'd have chips and 0:12:15.760 --> 0:12:17.800 candy and they were just hanging. 0:12:18.080 --> 0:12:20.640 They love. My kids loved hanging out with these with 0:12:20.679 --> 0:12:21.280 these fans. 0:12:21.440 --> 0:12:25.120 And I mean Michelle said to me, she said, wow, 0:12:25.720 --> 0:12:27.040 you wouldn't do that now, would you? 0:12:27.360 --> 0:12:29.920 And I said, well maybe not, but but back then 0:12:30.600 --> 0:12:32.880 they were they were they were so nice that I mean, 0:12:33.120 --> 0:12:35.840 they were they were just fans, and they all they 0:12:35.880 --> 0:12:37.440 wanted was another photograph? 0:12:37.960 --> 0:12:40.040 Right? Was it like that for a w B though, 0:12:40.640 --> 0:12:42.600 like that level fandom? 0:12:43.080 --> 0:12:45.600 No, no, No, I think it was a totally different 0:12:45.679 --> 0:12:47.520 different thing that with the average white man. 0:12:47.600 --> 0:12:52.400 It was sex basically, it was. It was sex and 0:12:52.480 --> 0:12:55.360 dragon rock and roll with with with with average white man. 0:12:55.480 --> 0:12:59.400 But but I think I think it was it was 0:12:59.440 --> 0:13:01.679 a different Yeah, I mean, you know, I was. 0:13:01.760 --> 0:13:03.719 I think I was like thirty five or something. 0:13:03.480 --> 0:13:06.480 And I think, and I think and I think that 0:13:06.640 --> 0:13:12.439 Duran Duran Duran also started to mature as as as men. 0:13:12.600 --> 0:13:14.880 I mean, you know when when they first started, they 0:13:14.920 --> 0:13:17.240 were came straight straight out of college to be the 0:13:17.280 --> 0:13:20.800 biggest band on the planet. Right, it was wild, you know, 0:13:21.200 --> 0:13:22.960 and that's why they had that some wild boys. 0:13:23.320 --> 0:13:24.400 Yeah, I see. 0:13:24.920 --> 0:13:27.000 So then by the time I joined them, I was 0:13:27.040 --> 0:13:29.120 the I was the oldest teen idol and they were 0:13:29.160 --> 0:13:31.000 they would they calmed down somewhat, you know. 0:13:31.640 --> 0:13:33.880 Okay, yeah, you guys were seriously. 0:13:33.960 --> 0:13:36.320 But you know what was funny was at one point 0:13:36.400 --> 0:13:39.720 nobody really took Duran Duran that seriously, you know. I 0:13:39.760 --> 0:13:43.000 mean other than being like a team, they were phenomenon 0:13:43.080 --> 0:13:44.600 a team phenomenon, you. 0:13:44.600 --> 0:13:48.360 Know really and then a good musicianship though. 0:13:48.600 --> 0:13:49.160 But they did. 0:13:49.240 --> 0:13:51.920 Yeah, eventually it was like they were working on it. 0:13:52.120 --> 0:13:53.720 I mean, like they said, they came out and then 0:13:53.800 --> 0:13:56.000 you know, and then they were great producing out now 0:13:56.440 --> 0:14:00.079 and you know that that could put that together of 0:14:00.200 --> 0:14:03.160 Bernard Edwards and they worked together and in the power 0:14:03.160 --> 0:14:06.760 station and studios and all the money and all the 0:14:06.760 --> 0:14:09.079 time to do a record and make make a song happen. 0:14:09.240 --> 0:14:12.400 You know, But they started to they started to. 0:14:13.320 --> 0:14:17.520 Mature as as people are musicians and you know, now 0:14:19.680 --> 0:14:22.360 they've been around a long time and they and they 0:14:22.480 --> 0:14:25.720 still they still valid and still make music and aren't 0:14:25.840 --> 0:14:27.880 just sort of resting on their laurels. And you know, 0:14:27.920 --> 0:14:31.520 we were around around they just really matured into a 0:14:31.720 --> 0:14:33.640 bunch of really great players. 0:14:34.080 --> 0:14:36.080 Well, shout out to durand A and they just got 0:14:36.080 --> 0:14:37.480 a I'm part of the Rock and Roll Hall of 0:14:37.520 --> 0:14:41.560 Fame committee, So I'm very happy that they got inducted finally. 0:14:41.760 --> 0:14:45.040 Absolutely, yeah, that's fantastic news. 0:14:45.120 --> 0:14:50.000 But they but but yes, absolutely that you can't say 0:14:50.040 --> 0:14:50.880 that they're not valid. 0:14:50.880 --> 0:14:53.960 They've been making records. I mean I remember I remember, 0:14:54.160 --> 0:14:55.280 you know, I was working. 0:14:54.960 --> 0:14:58.400 With George Harrison and I go over to London and 0:14:58.760 --> 0:15:00.240 they had an apartment on Sloan Street. 0:15:00.280 --> 0:15:01.760 They get me an apartment on So and I have 0:15:01.800 --> 0:15:05.960 to drive out to the rehearsals at Race Studios. I 0:15:06.040 --> 0:15:08.000 get there, ride there, Oh, I take a ride down 0:15:08.040 --> 0:15:09.560 the King's Road. I get in my car. 0:15:09.840 --> 0:15:11.760 I'm driving down the King's Road and I see this 0:15:11.840 --> 0:15:17.680 guy and I say this, a little muscle muscle bound, buffed, 0:15:18.080 --> 0:15:20.600 and I say, that looks like Warren Coocarillo. 0:15:21.040 --> 0:15:23.600 But he's skinny, skinny. 0:15:23.320 --> 0:15:25.960 Rock and roll guy, a little skinny rock and roll guitarist. 0:15:27.200 --> 0:15:29.280 And and then I look and it is Warren. And 0:15:29.360 --> 0:15:30.800 I hadn't seen him in a couple of years, and 0:15:30.840 --> 0:15:33.200 he'd been pumping iron and he buffed out, you know, 0:15:34.080 --> 0:15:37.080 and I, Warren, what the hell you're in town? 0:15:38.000 --> 0:15:39.920 He said, I need you to do a session for me. 0:15:39.960 --> 0:15:42.120 And this is what I'm still driving very slowly right 0:15:42.160 --> 0:15:44.960 and King So and I I got the window down 0:15:45.000 --> 0:15:48.080 and say, well, I don't know what my schedule is. 0:15:48.120 --> 0:15:50.560 He said, let me know, and he takes reaches into 0:15:50.600 --> 0:15:52.960 his bag and takes a cassette and he throws it 0:15:52.960 --> 0:15:55.320 through my car window and said, that's the song. Give 0:15:55.360 --> 0:15:57.640 me a call when you get when you find out 0:15:57.680 --> 0:16:00.480 what you're scheduled. So I drive off down the road 0:16:00.480 --> 0:16:02.360 and I take this cassette and a puppet in the cassette 0:16:02.360 --> 0:16:08.600 player in the car and it's the ordinary world. Oh 0:16:08.680 --> 0:16:11.200 And I call up Bar and I say, you don't 0:16:11.240 --> 0:16:12.240 need me to play on this. 0:16:12.360 --> 0:16:15.520 You know this, You could just put out this demo 0:16:15.720 --> 0:16:17.560 right now. This is a hit record. You know this 0:16:17.600 --> 0:16:18.880 is great, this is a hit song. 0:16:19.440 --> 0:16:21.040 And he's like, no, no, no, we want you to 0:16:21.040 --> 0:16:23.160 play with So they insisted I play on it. I 0:16:23.200 --> 0:16:25.720 don't know if I bought anything else to it, but boy, 0:16:25.760 --> 0:16:27.960 what a beautiful song and what a great hit record 0:16:27.960 --> 0:16:29.000 that was in them young. 0:16:29.640 --> 0:16:32.360 So I have a question about your your studio sound. 0:16:32.440 --> 0:16:37.520 So the thing that always attracted me to your sound 0:16:37.600 --> 0:16:40.680 was your tone, particularly the snap of your snare, Like 0:16:41.040 --> 0:16:43.400 I think, like you really came alive on the soul 0:16:43.440 --> 0:16:46.240 Search and record. Just your drumming technique, Like I love 0:16:46.320 --> 0:16:48.880 the fact that you know, we now live in the 0:16:48.960 --> 0:16:52.960 age where and drummers hate when I start speaking down 0:16:53.000 --> 0:16:57.520 on gospel chops, you know, but for me, God with you, 0:16:58.720 --> 0:17:03.760 I know, but for me, gospel chops is if you're 0:17:03.760 --> 0:17:07.000 a chef you got to know how much garlic and 0:17:07.040 --> 0:17:09.440 salt and pepper and spices to add to your meal. 0:17:10.240 --> 0:17:13.080 And sometimes you can overdo it, but you always have 0:17:13.200 --> 0:17:14.240 these clean feels, so. 0:17:16.400 --> 0:17:18.320 Really good piece of meat, really good cut of meat 0:17:18.320 --> 0:17:19.520 with too much spices and. 0:17:19.840 --> 0:17:24.359 Sometimes you don't need spices, you know. So that said, 0:17:24.840 --> 0:17:28.840 can you walk me through a typical session for AWB, like, 0:17:29.800 --> 0:17:31.720 you know, like do you have a say in the 0:17:31.760 --> 0:17:35.920 tone of your drums? You know, like I know that 0:17:36.000 --> 0:17:39.800 your signature gretch set kind of comes in at the 0:17:39.880 --> 0:17:42.520 tail end of the tour, Like are you allowed to 0:17:42.560 --> 0:17:44.480 tune your drums or is it a thing where like 0:17:44.560 --> 0:17:47.919 the engineer says, don't touch my microphones, don't touch my drums, 0:17:48.040 --> 0:17:48.680 just play. 0:17:48.840 --> 0:17:50.600 At that point in time, I did it. I did 0:17:50.640 --> 0:17:52.640 it myself, you know, I was my own. 0:17:53.160 --> 0:17:55.520 I mean, I can't say that I'm really a great 0:17:55.800 --> 0:17:57.840 drum tuner other than the fact that I want to 0:17:57.920 --> 0:17:58.239 dank thing. 0:17:58.359 --> 0:17:59.720 I want the dank thing to sound like. 0:18:00.440 --> 0:18:05.720 Right, the first cut the cake was was it was 0:18:05.760 --> 0:18:09.040 the sonar kit that they had in the studio Atlantic. 0:18:09.160 --> 0:18:11.800 It was in a little box, right You ever see 0:18:11.800 --> 0:18:12.040 that to. 0:18:12.080 --> 0:18:15.560 Photographs of that drum kit, It's like in a little 0:18:15.560 --> 0:18:17.280 box and the symbols were right there, and it was 0:18:17.880 --> 0:18:19.840 and that was that was, that was, that was cut 0:18:19.840 --> 0:18:22.920 the cake. And then by the time but the time 0:18:22.920 --> 0:18:27.840 he got around to soul searching, it was I got. 0:18:28.200 --> 0:18:30.200 I wanted to always wanted a Gret drum kit and 0:18:30.200 --> 0:18:32.800 I could afford one, and I got That's when I got. 0:18:33.480 --> 0:18:36.160 So there wasn't such a thing as we'll endorse you, 0:18:36.320 --> 0:18:37.160 here's a free kit. 0:18:38.280 --> 0:18:41.080 Well, the endorsement that I had with Gretch at that 0:18:41.119 --> 0:18:43.240 point was they gave me a fifty percent discount. 0:18:43.440 --> 0:18:47.639 Okay, now they give you away, but back then, it 0:18:47.720 --> 0:18:50.520 wasn't giving a set that you didn't Okay, I see. 0:18:50.720 --> 0:18:52.480 And I got this drum kit and I set it 0:18:52.520 --> 0:18:54.360 up and set it up in the in the studio, 0:18:55.200 --> 0:18:57.600 and there was something that I wanted to try because 0:18:57.720 --> 0:19:01.720 I always felt that there was, uh you talk about 0:19:01.720 --> 0:19:03.720 the sound of the tone of the snare drop, that 0:19:03.880 --> 0:19:06.400 there wasn't quite the pop that I wanted to get 0:19:06.400 --> 0:19:08.240 at the crack that I wanted to get out of 0:19:08.280 --> 0:19:13.000 the drum with the microphone just on the top. So 0:19:13.680 --> 0:19:16.680 Jean Paul, who was Les Paul's son, was our engineer, 0:19:17.040 --> 0:19:19.639 and I said, I said, GM could we put the 0:19:20.080 --> 0:19:23.280 microphone like underneath the snare on facing up so that 0:19:23.320 --> 0:19:25.439 we can and we can blend those two things so 0:19:25.480 --> 0:19:28.440 that we can get the christness of the snare underneath 0:19:28.520 --> 0:19:31.240 plus the pop on the top. And he said, yeah, sure, 0:19:31.240 --> 0:19:33.360 we can do that. So they they they that's when 0:19:33.400 --> 0:19:36.919 they started to do that. And then I then in 0:19:37.040 --> 0:19:40.520 soul Searching, I actually asked him to put like a 0:19:40.520 --> 0:19:43.359 little delay or a little echo on there as on 0:19:43.400 --> 0:19:46.160 the underneath as well, And that's why it has that 0:19:46.280 --> 0:19:50.800 sort of roomy sort of yeah, and and and that 0:19:50.960 --> 0:19:52.240 was it was. 0:19:52.119 --> 0:19:52.480 It was. 0:19:52.560 --> 0:19:56.040 It was such great fun to be able to experiment 0:19:56.080 --> 0:19:58.000 with stuff like that back in those days. 0:19:58.200 --> 0:20:00.160 You know, a Reef Marden was very old. 0:20:01.080 --> 0:20:03.560 Trying to say, how how is a Reef Martin as 0:20:03.600 --> 0:20:08.639 a coach incredible? Are you guys writing in that studio? 0:20:10.080 --> 0:20:12.800 We were in there writing as we Sometimes we'd start, 0:20:12.920 --> 0:20:15.280 we'd have an idea of a groove and then we'd 0:20:15.560 --> 0:20:19.000 write it in the studio. It was expensive, but not 0:20:19.080 --> 0:20:21.240 as expensive as would be to do that today. 0:20:22.119 --> 0:20:26.679 You're talking about the studio that's Atlantic Records. M Yes, okay, 0:20:26.720 --> 0:20:30.800