1 00:00:00,400 --> 00:00:01,120 Speaker 1: Taking a Walk. 2 00:00:01,200 --> 00:00:03,600 Speaker 2: My biggest teacher now is YouTube. 3 00:00:03,640 --> 00:00:06,600 Speaker 3: You know, I spend hours watching all my favorite drummers, 4 00:00:06,640 --> 00:00:09,080 Speaker 3: and I think that's such a huge asset. Now you 5 00:00:09,119 --> 00:00:11,520 Speaker 3: can just watch a drum play through and see exactly 6 00:00:11,600 --> 00:00:13,720 Speaker 3: what's happening, and you have so much access to information 7 00:00:13,840 --> 00:00:15,200 Speaker 3: that it's become. 8 00:00:14,960 --> 00:00:15,640 Speaker 4: A great tool. 9 00:00:15,680 --> 00:00:18,120 Speaker 3: But I see it, you know, being able to listen 10 00:00:18,280 --> 00:00:21,160 Speaker 3: to as many drummers and just kind of you know, 11 00:00:21,280 --> 00:00:23,160 Speaker 3: add different colors to. 12 00:00:23,040 --> 00:00:25,560 Speaker 2: Your to your palette and to your to your arsenal 13 00:00:25,600 --> 00:00:26,480 Speaker 2: of sounds. 14 00:00:26,680 --> 00:00:30,600 Speaker 1: Welcome. This is the Taking a Walk Podcast with Buzznight, 15 00:00:31,080 --> 00:00:34,559 Speaker 1: the podcast that delves into the stories of musicians and 16 00:00:34,600 --> 00:00:38,040 Speaker 1: their passion for their music. Today, Buzz is joined by 17 00:00:38,120 --> 00:00:42,440 Speaker 1: drummer Nick Collins. Nick is Phil collins Son and he's 18 00:00:42,440 --> 00:00:46,040 Speaker 1: carving out his own musical journey. Here's Buzz Night and 19 00:00:46,159 --> 00:00:48,320 Speaker 1: Nick Collins on Taking a Walk. 20 00:00:50,120 --> 00:00:53,120 Speaker 4: Nick Collins, it's so great to have you on this 21 00:00:53,400 --> 00:00:56,040 Speaker 4: virtual edition of the Taking a Walk Podcast. 22 00:00:56,880 --> 00:00:58,480 Speaker 2: Of course, thank you so much for having me. 23 00:00:58,520 --> 00:01:02,680 Speaker 4: Man, Congratulations on all of your work. We're going to 24 00:01:02,760 --> 00:01:06,400 Speaker 4: talk about the effect and how excited you are about that, 25 00:01:06,680 --> 00:01:10,360 Speaker 4: but I do want to get into a little, uh 26 00:01:10,520 --> 00:01:13,680 Speaker 4: talk about your father and your work with him as well. 27 00:01:13,680 --> 00:01:16,080 Speaker 4: First of all, how is your dad these days? 28 00:01:16,480 --> 00:01:17,679 Speaker 2: Yeah, yeah, he's doing good. 29 00:01:17,680 --> 00:01:22,640 Speaker 3: He's uh retired, uh, you know, until until maybe he 30 00:01:22,680 --> 00:01:25,160 Speaker 3: gets the itch again to do it. But at the 31 00:01:25,200 --> 00:01:28,000 Speaker 3: moment he's he's enjoying the retired life. 32 00:01:28,720 --> 00:01:32,400 Speaker 4: Well, how does it make you feel when fans and 33 00:01:32,600 --> 00:01:37,840 Speaker 4: fellow musicians are wowed by your playing? Oh? 34 00:01:37,880 --> 00:01:38,400 Speaker 2: It's great. 35 00:01:38,480 --> 00:01:40,360 Speaker 3: I mean, you know, obviously, it's a it's a huge 36 00:01:40,360 --> 00:01:42,840 Speaker 3: compliment in a in an honor that you. 37 00:01:42,800 --> 00:01:46,720 Speaker 2: Know, get to do things people like it, that's great. 38 00:01:46,720 --> 00:01:49,040 Speaker 3: Obviously If people don't like it, that's fine too, you 39 00:01:49,080 --> 00:01:51,760 Speaker 3: know what I mean. I think it's it's awesome to 40 00:01:51,840 --> 00:01:55,160 Speaker 3: be to be doing this the thing that that I love, 41 00:01:55,240 --> 00:01:58,280 Speaker 3: you know, and uh, I've been very lucky to have 42 00:01:58,960 --> 00:02:01,520 Speaker 3: been able to do it in different context, different artists 43 00:02:01,560 --> 00:02:05,360 Speaker 3: and bands, and so yeah, it's a very huge compliment. 44 00:02:06,160 --> 00:02:09,400 Speaker 4: Well, besides your dad, talk about the other drummers that 45 00:02:10,160 --> 00:02:12,160 Speaker 4: you've studied very closely. 46 00:02:13,040 --> 00:02:15,720 Speaker 3: Oh yeah, I mean, dude, the laundry list goes on 47 00:02:15,760 --> 00:02:18,120 Speaker 3: and on, you know, it's always always growing. But I 48 00:02:18,120 --> 00:02:24,040 Speaker 3: think my main drum heroes are Danny Carey, John Bonham, 49 00:02:24,880 --> 00:02:31,600 Speaker 3: Abe Cunningham, who from Deftones, Stuart Copeland. I mean there's 50 00:02:31,600 --> 00:02:33,840 Speaker 3: so much John Theodore from Mars Vilta and Queens of 51 00:02:33,880 --> 00:02:37,120 Speaker 3: the Stone Age. It's just so many all the time. 52 00:02:37,200 --> 00:02:39,400 Speaker 3: Coming Taylor Hawkins, he was a huge one. 53 00:02:39,560 --> 00:02:39,720 Speaker 2: You know. 54 00:02:39,800 --> 00:02:43,320 Speaker 3: It's like different eras of like what in different parts 55 00:02:43,360 --> 00:02:46,000 Speaker 3: of my life and which drummers really grabbed me at 56 00:02:46,000 --> 00:02:48,840 Speaker 3: different times, you know, like growing up it was obviously 57 00:02:48,880 --> 00:02:53,440 Speaker 3: apart from my dad, the first three were bottom and 58 00:02:53,480 --> 00:02:55,960 Speaker 3: then Taylor Hawkins and Chad Smith from the Chili Peppers. 59 00:02:56,000 --> 00:02:59,280 Speaker 3: And Taylor and Chad I felt this huge you know, 60 00:02:59,600 --> 00:03:04,160 Speaker 3: I really idolized them just because it felt like I 61 00:03:04,240 --> 00:03:06,720 Speaker 3: these were like my generation of guys, you know, like 62 00:03:06,800 --> 00:03:09,040 Speaker 3: they had you know when I when I say Bonham 63 00:03:09,040 --> 00:03:11,359 Speaker 3: and Stuart Copeland that you know they'd been around for 64 00:03:11,360 --> 00:03:12,399 Speaker 3: such a long time. 65 00:03:12,200 --> 00:03:15,520 Speaker 2: That you know, those are their favorite drummers. 66 00:03:15,560 --> 00:03:17,840 Speaker 3: And it felt like with Chad and Taylor, it was like, oh, 67 00:03:17,880 --> 00:03:20,320 Speaker 3: this is like the new the new guys that those 68 00:03:20,360 --> 00:03:21,800 Speaker 3: are like my guys, and it was like, you know, 69 00:03:21,840 --> 00:03:23,640 Speaker 3: not like my dad's guys and stuff like that. So 70 00:03:23,680 --> 00:03:25,200 Speaker 3: I felt like a real connection to them and it 71 00:03:25,240 --> 00:03:26,720 Speaker 3: made me fall in love with the idea of being 72 00:03:26,760 --> 00:03:29,720 Speaker 3: in a band and you know, playing live and and 73 00:03:29,800 --> 00:03:32,240 Speaker 3: then since you know, different eras where I get started 74 00:03:32,240 --> 00:03:35,400 Speaker 3: getting into prog music. And that's when Danny Carey, Gavin Harrison, 75 00:03:35,600 --> 00:03:38,400 Speaker 3: I started really John Theodore looking up to them, but 76 00:03:38,480 --> 00:03:40,120 Speaker 3: the same way that I'll also look up to like 77 00:03:40,160 --> 00:03:42,600 Speaker 3: the jazz fusion world, and you know, get into guys 78 00:03:42,640 --> 00:03:46,440 Speaker 3: like Billy Cobbham or even more newer guys like Larnel 79 00:03:46,520 --> 00:03:47,720 Speaker 3: Lewis from Starky Puppy. 80 00:03:47,760 --> 00:03:48,520 Speaker 2: You know, they all have. 81 00:03:48,480 --> 00:03:51,040 Speaker 3: Such an equal influence on me because to me, that's 82 00:03:51,040 --> 00:03:52,680 Speaker 3: the best teacher is just being able to listen to 83 00:03:52,680 --> 00:03:54,960 Speaker 3: as much music and as many drummers as possible. 84 00:03:55,840 --> 00:03:59,120 Speaker 4: You know, we had Kenny Aronoff on the podcast previously, 85 00:03:59,240 --> 00:04:02,760 Speaker 4: and Kenny talked about a lot of his disciplines to 86 00:04:02,840 --> 00:04:06,880 Speaker 4: sort of stay in tune and primed for every performance, 87 00:04:07,000 --> 00:04:11,440 Speaker 4: you know, his whole practice session and regiment. How do 88 00:04:11,480 --> 00:04:13,760 Speaker 4: you go about that sort of process? 89 00:04:14,520 --> 00:04:15,280 Speaker 2: Yeah, I think. 90 00:04:15,440 --> 00:04:17,600 Speaker 3: I mean when I'm on tour, it's a different thing 91 00:04:17,680 --> 00:04:20,480 Speaker 3: to when I'm like at home, and it's more studio stuff. 92 00:04:20,839 --> 00:04:21,760 Speaker 2: You know, on tour I do. 93 00:04:22,040 --> 00:04:24,320 Speaker 3: I am very disciplined in like a warm up routine, 94 00:04:25,120 --> 00:04:27,000 Speaker 3: just because when you're doing it, you know, playing two 95 00:04:27,000 --> 00:04:29,200 Speaker 3: and a half hours every night. You want to make 96 00:04:29,200 --> 00:04:31,839 Speaker 3: sure that you're not hurting yourself. So I'll go through 97 00:04:31,920 --> 00:04:35,560 Speaker 3: like a thirty to forty five minute warm up routine 98 00:04:35,560 --> 00:04:37,840 Speaker 3: with like a metronome and go through a bunch of 99 00:04:37,839 --> 00:04:40,679 Speaker 3: different rudiments at different speeds and get my body warmed 100 00:04:40,760 --> 00:04:42,599 Speaker 3: up and just get the blood flowing to the wrists. 101 00:04:42,880 --> 00:04:44,120 Speaker 2: And because I used to have some. 102 00:04:44,120 --> 00:04:47,160 Speaker 3: Risk problems, I started using heavier sticks and that kind 103 00:04:47,160 --> 00:04:48,479 Speaker 3: of took a lot of it away. But I still 104 00:04:48,520 --> 00:04:50,640 Speaker 3: want to make sure that I'm you know, able to 105 00:04:50,880 --> 00:04:53,680 Speaker 3: keep it up for as long as possible. But I 106 00:04:54,240 --> 00:04:55,920 Speaker 3: do also realize I need to do a better job 107 00:04:55,960 --> 00:04:57,560 Speaker 3: of that when I'm at home or when I'm like, 108 00:04:57,640 --> 00:04:59,800 Speaker 3: you know, just this week, we were rehearsing with the Effect, 109 00:05:00,000 --> 00:05:04,120 Speaker 3: and you know, I I'll like just jump into rehearsals 110 00:05:04,120 --> 00:05:06,360 Speaker 3: and then now I'm like, oh, my arm kind of hurts, 111 00:05:06,400 --> 00:05:07,600 Speaker 3: you know, and I should just like, just because it's 112 00:05:07,600 --> 00:05:10,080 Speaker 3: rehearsals does not mean you should not warm up, you know, 113 00:05:10,240 --> 00:05:12,440 Speaker 3: just because it's not a show. So that's something I've 114 00:05:12,440 --> 00:05:14,840 Speaker 3: got to get better at. But definitely taking care of myself, 115 00:05:14,880 --> 00:05:17,040 Speaker 3: you know, and staying active going to the gym and 116 00:05:17,200 --> 00:05:20,240 Speaker 3: you know, always making sure that my body is in 117 00:05:20,320 --> 00:05:23,320 Speaker 3: shape because drumming is very physical and I don't want 118 00:05:23,320 --> 00:05:24,560 Speaker 3: to be injuring myself. 119 00:05:24,600 --> 00:05:27,279 Speaker 2: And so far everything's been good. I try to make 120 00:05:27,320 --> 00:05:28,120 Speaker 2: that a priority. 121 00:05:29,080 --> 00:05:32,880 Speaker 4: I love what I saw online the Grooves of Genesis, 122 00:05:32,920 --> 00:05:38,440 Speaker 4: that whole presentation there with Duke's intro and cinema show 123 00:05:38,600 --> 00:05:42,719 Speaker 4: and behind the lines, so many great songs. Watcher of 124 00:05:42,760 --> 00:05:46,440 Speaker 4: the Skies, did you have fun doing that particular session? 125 00:05:47,720 --> 00:05:49,559 Speaker 2: Yeah, that was great. I mean, you know, the shout 126 00:05:49,560 --> 00:05:50,560 Speaker 2: out to the guys at Drummio. 127 00:05:50,680 --> 00:05:53,480 Speaker 3: They were you know, they're incredible guys in the platform 128 00:05:53,520 --> 00:05:55,080 Speaker 3: that they've built. I mean, I've been a fan of 129 00:05:55,120 --> 00:05:57,640 Speaker 3: theirs for since I was like twelve, you know, looking 130 00:05:57,720 --> 00:05:59,920 Speaker 3: up look watching those videos on YouTube. So to find 131 00:06:00,200 --> 00:06:02,200 Speaker 3: be in the space and doing stuff with them was 132 00:06:02,200 --> 00:06:05,080 Speaker 3: really awesome. That that was probably like two years ago 133 00:06:05,640 --> 00:06:07,479 Speaker 3: that we filmed it, which is a trip because like 134 00:06:07,520 --> 00:06:09,440 Speaker 3: you know, not all the videos have come out yet, 135 00:06:09,480 --> 00:06:12,200 Speaker 3: so we had like another video come out in like January, 136 00:06:12,920 --> 00:06:14,760 Speaker 3: and like you know, I remember my girlfriend being like, 137 00:06:14,800 --> 00:06:16,320 Speaker 3: you look really young, and I'm like, yeah, that was 138 00:06:16,320 --> 00:06:17,039 Speaker 3: two years ago. 139 00:06:17,800 --> 00:06:20,400 Speaker 2: Like you know, I've aged, but no, that was a 140 00:06:20,480 --> 00:06:20,920 Speaker 2: lot of fun. 141 00:06:21,120 --> 00:06:23,880 Speaker 3: It was a lot of rehearsal, and because basically we 142 00:06:24,160 --> 00:06:27,040 Speaker 3: shot a course about my dad's playing, and you know, 143 00:06:27,080 --> 00:06:29,440 Speaker 3: that's kind of that was the live stream that we 144 00:06:29,480 --> 00:06:32,240 Speaker 3: did and that's out on YouTube, and we actually did 145 00:06:32,240 --> 00:06:34,360 Speaker 3: a more in depth course about each of those songs 146 00:06:34,480 --> 00:06:36,719 Speaker 3: kind of by themselves, plus some additional ones. 147 00:06:37,200 --> 00:06:38,320 Speaker 2: And it was great fun, you know. 148 00:06:38,360 --> 00:06:40,640 Speaker 3: I mean, I think to me, it was it felt like, 149 00:06:40,720 --> 00:06:42,839 Speaker 3: this is the thing I want to do for my dad. 150 00:06:43,120 --> 00:06:46,640 Speaker 3: And you know, also, I think the younger generation maybe 151 00:06:46,680 --> 00:06:48,480 Speaker 3: don't know my dad as a drummer and know him 152 00:06:48,480 --> 00:06:51,560 Speaker 3: more as the Indi era guy or the Tarzan guy, 153 00:06:51,680 --> 00:06:53,960 Speaker 3: and I feel like I wanted to showcase like, no, 154 00:06:54,160 --> 00:06:56,320 Speaker 3: you know, my dad was a was a badass drummer, 155 00:06:56,440 --> 00:06:58,839 Speaker 3: you know. And that was after doing the Genesis thing. 156 00:06:58,920 --> 00:07:02,200 Speaker 3: We shot like a huge core and I learned forty songs, 157 00:07:02,240 --> 00:07:03,920 Speaker 3: like some of the songs we were playing in the show, 158 00:07:03,960 --> 00:07:05,640 Speaker 3: but then a bunch of other of like the really 159 00:07:05,640 --> 00:07:08,600 Speaker 3: heavy prog tunes that which we didn't do it in rehearsal. 160 00:07:08,640 --> 00:07:10,520 Speaker 3: So it was a lot of work and a lot 161 00:07:10,560 --> 00:07:12,320 Speaker 3: of pressure, but it was, you know, a great time. 162 00:07:12,400 --> 00:07:13,960 Speaker 3: I had a lot of fun doing that session and 163 00:07:14,040 --> 00:07:16,560 Speaker 3: so many great drum parts. And it is a weird 164 00:07:16,560 --> 00:07:19,000 Speaker 3: thing when you're trying to explain and teach parts that 165 00:07:19,120 --> 00:07:21,520 Speaker 3: you didn't write or that you weren't involved in, you know, 166 00:07:21,520 --> 00:07:23,880 Speaker 3: because I'm like, this is like some of these songs 167 00:07:23,920 --> 00:07:25,880 Speaker 3: were thirty years before I was even born, you know 168 00:07:25,880 --> 00:07:29,040 Speaker 3: what I mean, So like it can be a bit interesting, 169 00:07:29,160 --> 00:07:30,840 Speaker 3: But I thought it was you know, it was good 170 00:07:30,840 --> 00:07:33,760 Speaker 3: fun and you know, I'm excited for that course to 171 00:07:33,840 --> 00:07:36,280 Speaker 3: finally come out. When it does, you know, there's just 172 00:07:36,320 --> 00:07:38,560 Speaker 3: a you know, some copyright things that need to be 173 00:07:38,560 --> 00:07:39,000 Speaker 3: cleared up. 174 00:07:39,040 --> 00:07:41,720 Speaker 4: First, I thought it was fantastic, And I have to 175 00:07:41,760 --> 00:07:44,920 Speaker 4: tell you, Nick, you make it look really easy, and 176 00:07:44,960 --> 00:07:45,600 Speaker 4: I know it's not. 177 00:07:46,920 --> 00:07:47,960 Speaker 2: Ah, thank you so much. 178 00:07:48,120 --> 00:07:51,360 Speaker 3: No, I mean, you know, like it's I've been around 179 00:07:51,360 --> 00:07:54,160 Speaker 3: those parts for a while, but it's definitely takes a 180 00:07:54,200 --> 00:07:57,120 Speaker 3: long time of getting it down like I wouldn't you know, 181 00:07:57,120 --> 00:07:58,400 Speaker 3: I'm not going to be like, oh yeah, I just 182 00:07:58,400 --> 00:08:00,360 Speaker 3: went in there and just played them, you know, Like 183 00:08:00,400 --> 00:08:05,360 Speaker 3: that was maybe two months worth of repetition, multiple days 184 00:08:05,400 --> 00:08:07,880 Speaker 3: a week to try and be comfortable with the songs 185 00:08:07,920 --> 00:08:10,680 Speaker 3: because some of those songs are just like really complex 186 00:08:10,720 --> 00:08:12,560 Speaker 3: and a lot of improv, and when you're trying to 187 00:08:12,640 --> 00:08:15,400 Speaker 3: learn somebody's improv, it's very you know, I can get 188 00:08:15,480 --> 00:08:16,080 Speaker 3: very tricky. 189 00:08:16,680 --> 00:08:19,240 Speaker 4: I was privileged to see your dad play with Genesis 190 00:08:19,280 --> 00:08:22,120 Speaker 4: a few times, also to see him play with a 191 00:08:22,360 --> 00:08:26,160 Speaker 4: brand X, and I wanted to share one of those 192 00:08:26,240 --> 00:08:31,280 Speaker 4: experiences that I'll never forget. It was the Trick of 193 00:08:31,320 --> 00:08:36,960 Speaker 4: the Tail tour, and it was the dual drumming of 194 00:08:37,080 --> 00:08:43,360 Speaker 4: your dad and the great Bill Bruford. I was wondering 195 00:08:43,520 --> 00:08:46,840 Speaker 4: if you ever got to see any sort of video 196 00:08:47,040 --> 00:08:48,880 Speaker 4: form anything from that tour. 197 00:08:49,760 --> 00:08:51,720 Speaker 2: I've seen videos. I don't know if it's from that tour. 198 00:08:51,760 --> 00:08:55,200 Speaker 3: I've seen some videos of him and my dad and 199 00:08:55,240 --> 00:08:58,880 Speaker 3: Bill doing cinema show that may have been from the 200 00:08:58,920 --> 00:09:01,360 Speaker 3: seconds out or before for that, like maybe that the 201 00:09:01,360 --> 00:09:03,600 Speaker 3: tour after Trick of the Tale. I'm not sure when 202 00:09:03,600 --> 00:09:05,559 Speaker 3: that video was, but I've seen some of it. I mean, 203 00:09:05,640 --> 00:09:08,079 Speaker 3: you know, Bill is another guy who's become such a 204 00:09:08,120 --> 00:09:11,360 Speaker 3: big influence, and he's like the prog drummer of the seventies. 205 00:09:11,400 --> 00:09:13,160 Speaker 3: You know, it was in every great prog band. Bill 206 00:09:13,200 --> 00:09:15,240 Speaker 3: Bruford was in it at some point, you know, and 207 00:09:15,280 --> 00:09:17,760 Speaker 3: he's what a great drummer, and that was you know 208 00:09:18,160 --> 00:09:20,320 Speaker 3: that the double drums became a theme in my life, 209 00:09:20,440 --> 00:09:22,800 Speaker 3: from watching those videos to watching him and Chester do 210 00:09:22,880 --> 00:09:25,280 Speaker 3: it to actually watching it live between them. 211 00:09:25,360 --> 00:09:27,800 Speaker 2: So yeah, I mean, amazing stuff. 212 00:09:28,320 --> 00:09:31,320 Speaker 4: It was the Ohio Theater in Columbus, Ohio where I 213 00:09:31,360 --> 00:09:35,160 Speaker 4: saw it and our mind was completely blown from that 214 00:09:35,240 --> 00:09:36,959 Speaker 4: show and it changed us really. 215 00:09:37,520 --> 00:09:38,720 Speaker 2: Oh wow, that's amazing. 216 00:09:39,080 --> 00:09:39,480 Speaker 1: Yeah. 217 00:09:39,880 --> 00:09:42,160 Speaker 4: And of course were you able to sort of go 218 00:09:42,280 --> 00:09:45,120 Speaker 4: back and study some of the Brand X work from 219 00:09:45,160 --> 00:09:45,560 Speaker 4: your dad? 220 00:09:46,280 --> 00:09:48,000 Speaker 2: Yeah, we didn't do as much for the course. 221 00:09:48,520 --> 00:09:51,400 Speaker 3: You know, it's funny like I've kind of gotten more 222 00:09:51,400 --> 00:09:55,040 Speaker 3: into the Brand Deck stuff more recently, you know, after 223 00:09:55,120 --> 00:09:57,800 Speaker 3: the Genesis thing and getting into the Prague side of 224 00:09:58,520 --> 00:10:01,280 Speaker 3: their sound and getting into Brand X and the more 225 00:10:01,320 --> 00:10:03,840 Speaker 3: fusion stuff. It started really impacting me also as a drummer, 226 00:10:03,840 --> 00:10:07,360 Speaker 3: and like going from playing the really heavy, loud beats 227 00:10:07,400 --> 00:10:11,520 Speaker 3: to like the really quiet, intricate, more fusiony stuff. But 228 00:10:11,720 --> 00:10:14,200 Speaker 3: you know, that's some great material with Brand X, and 229 00:10:14,240 --> 00:10:16,000 Speaker 3: we did I think we broke down maybe one or 230 00:10:16,000 --> 00:10:18,480 Speaker 3: two for the Drummo thing. But now it's you know, 231 00:10:18,480 --> 00:10:20,600 Speaker 3: it's one of those things that I get into more now, 232 00:10:21,200 --> 00:10:23,600 Speaker 3: Like it's just you know, the evolution of what you 233 00:10:23,679 --> 00:10:27,880 Speaker 3: listen to and what you decide to get into. And yeah, 234 00:10:28,040 --> 00:10:29,880 Speaker 3: you know, I mean, it's it's funny to see that 235 00:10:30,080 --> 00:10:32,880 Speaker 3: different sides of like my dad's playing, which I haven't, 236 00:10:32,960 --> 00:10:35,959 Speaker 3: you know, been familiar with until I'm like twenty one 237 00:10:36,080 --> 00:10:38,199 Speaker 3: or twenty you know what I mean. It's strange to 238 00:10:38,440 --> 00:10:40,280 Speaker 3: be like, oh, you did this too. You're not just 239 00:10:41,040 --> 00:10:43,559 Speaker 3: this guy, you also happen to do something that's completely 240 00:10:43,600 --> 00:10:44,360 Speaker 3: totally different. 241 00:10:45,520 --> 00:10:48,680 Speaker 4: And on the dual drumming theme, what's your personal take 242 00:10:48,880 --> 00:10:53,280 Speaker 4: on the dual drumming that was so part of the 243 00:10:53,320 --> 00:10:56,480 Speaker 4: Allman Brothers and obviously The Grateful Dead as well. 244 00:10:57,600 --> 00:10:58,560 Speaker 2: Yeah, I thought it was great. 245 00:10:58,640 --> 00:11:00,840 Speaker 3: I mean, you know, I think it's like my opinion 246 00:11:00,880 --> 00:11:04,040 Speaker 3: is always dependent on like the context, you know. I 247 00:11:04,040 --> 00:11:06,559 Speaker 3: think as like as a drummer, you kind of want 248 00:11:06,600 --> 00:11:08,720 Speaker 3: to go into be like I don't need another drummer. 249 00:11:08,880 --> 00:11:10,480 Speaker 2: I could do everything, you know what I mean, Like 250 00:11:10,520 --> 00:11:11,960 Speaker 2: there's like that ego side of things. 251 00:11:11,960 --> 00:11:14,480 Speaker 3: But I think when Genesis were doing it, it was 252 00:11:14,520 --> 00:11:17,960 Speaker 3: such an amazing asset to have to the to the show, 253 00:11:18,040 --> 00:11:20,920 Speaker 3: not only just in like the progue bits and the 254 00:11:20,960 --> 00:11:23,200 Speaker 3: instrumental parts where both my dad and whether it was 255 00:11:23,240 --> 00:11:27,240 Speaker 3: Bill or Chester when they would play it became it 256 00:11:27,360 --> 00:11:29,960 Speaker 3: just added this layer to the music both visually and 257 00:11:30,640 --> 00:11:33,520 Speaker 3: you know, sonically. But I also think, you know, to 258 00:11:33,600 --> 00:11:37,480 Speaker 3: have those drum featured moments where you know, not every 259 00:11:37,480 --> 00:11:40,040 Speaker 3: band can just get two guys to do to do 260 00:11:40,080 --> 00:11:41,719 Speaker 3: it at that level, you know what I mean. I 261 00:11:41,760 --> 00:11:43,319 Speaker 3: think you can get some guys where I don't know, 262 00:11:43,360 --> 00:11:44,880 Speaker 3: a lead singer a band will go and play some 263 00:11:45,400 --> 00:11:47,600 Speaker 3: you know, toms or something, but it doesn't you know, 264 00:11:47,679 --> 00:11:50,080 Speaker 3: to have two guys who were just like absolute monsters 265 00:11:50,120 --> 00:11:53,520 Speaker 3: at drums, doing and playing off of each other and 266 00:11:53,640 --> 00:11:56,680 Speaker 3: creating compositions together. I thought it was you know, it 267 00:11:56,720 --> 00:11:58,760 Speaker 3: became something that I was just so familiar with from 268 00:11:58,840 --> 00:12:01,200 Speaker 3: watching all the live DVD and just being there and 269 00:12:01,240 --> 00:12:05,600 Speaker 3: watching the shows, you know, like later on. And it 270 00:12:05,640 --> 00:12:08,120 Speaker 3: was a weird thing when I joined Genesis, and it 271 00:12:08,200 --> 00:12:10,679 Speaker 3: was just me because we had something similar in my 272 00:12:10,800 --> 00:12:12,599 Speaker 3: dad's band where me and the percussionists would do a 273 00:12:12,679 --> 00:12:17,120 Speaker 3: drum bit, like a drum part kind of not a solo, 274 00:12:17,200 --> 00:12:19,400 Speaker 3: like a drum duo kind of thing, and we'd play 275 00:12:19,400 --> 00:12:21,760 Speaker 3: off of each other. But with Genesis, you know, we 276 00:12:21,800 --> 00:12:24,560 Speaker 3: didn't do that because my dad can't play drums anymore. 277 00:12:25,480 --> 00:12:29,120 Speaker 3: But you know, it was tricky playing navigating some of 278 00:12:29,120 --> 00:12:33,360 Speaker 3: the instrumental songs which used to have double drum featured moments, 279 00:12:33,400 --> 00:12:35,240 Speaker 3: you know, especially Cinema show had like a call and 280 00:12:35,320 --> 00:12:37,800 Speaker 3: response on the snares and it was just me and 281 00:12:37,840 --> 00:12:39,600 Speaker 3: so I think, you know, Daniel Pierce, who was one 282 00:12:39,640 --> 00:12:41,520 Speaker 3: of the backing singers, did do a little bit of 283 00:12:41,600 --> 00:12:44,320 Speaker 3: Timbali's to like do have that effect, like the call 284 00:12:44,400 --> 00:12:47,200 Speaker 3: and response. But it was also for me trying to 285 00:12:47,200 --> 00:12:49,960 Speaker 3: find like, okay, how can I play the groove but 286 00:12:50,040 --> 00:12:52,480 Speaker 3: also still include some of that double drum stuff because 287 00:12:52,480 --> 00:12:54,520 Speaker 3: it's hard when you're just one person. When you know, 288 00:12:54,559 --> 00:12:56,079 Speaker 3: back then it would be like Chester would keep the 289 00:12:56,120 --> 00:12:58,120 Speaker 3: groove going and my dad would go and you know, 290 00:12:58,240 --> 00:13:00,920 Speaker 3: play off the keyboards or something. So well, it was 291 00:13:01,000 --> 00:13:03,320 Speaker 3: a bit tricky to find the right balance, but you know, 292 00:13:03,400 --> 00:13:05,080 Speaker 3: by the end it was you know, I think we 293 00:13:05,400 --> 00:13:07,720 Speaker 3: got it down by the end, hopefully. 294 00:13:08,320 --> 00:13:15,880 Speaker 4: I pretty sure you did. So the great movie Whiplash, 295 00:13:16,000 --> 00:13:19,319 Speaker 4: I guarantee you probably saw it. The question is did 296 00:13:19,360 --> 00:13:20,600 Speaker 4: it scar you for life? 297 00:13:21,800 --> 00:13:23,880 Speaker 2: That's you know what's funny is the Whiplash. When I 298 00:13:23,880 --> 00:13:24,800 Speaker 2: did the drummo thing. 299 00:13:24,840 --> 00:13:29,640 Speaker 3: One of the first time listening videos was the song Whiplash, 300 00:13:29,720 --> 00:13:31,800 Speaker 3: which I've seen the movie Whiplash, but for some reason 301 00:13:31,840 --> 00:13:33,960 Speaker 3: didn't connect the song. I've just like, I was like, 302 00:13:34,000 --> 00:13:36,679 Speaker 3: something sounds familiar about it. But then you know, Brandon 303 00:13:36,720 --> 00:13:40,280 Speaker 3: starts riffing off Whiplash quotes and you know it's threatening 304 00:13:40,320 --> 00:13:41,720 Speaker 3: to throw a symbol at me, and that's when I 305 00:13:41,760 --> 00:13:43,920 Speaker 3: was like, oh, that's from Whiplash, you know what I mean. 306 00:13:44,480 --> 00:13:47,280 Speaker 3: But I really liked the movie when it came out. 307 00:13:47,280 --> 00:13:49,080 Speaker 3: I was young enough where like it was just like 308 00:13:49,320 --> 00:13:52,560 Speaker 3: it made me really interested in jazz. But you know 309 00:13:52,640 --> 00:13:54,760 Speaker 3: it is now I look at it and I can 310 00:13:54,840 --> 00:13:58,120 Speaker 3: see why it would upset some people just because it's 311 00:13:58,240 --> 00:14:00,600 Speaker 3: very unhealthy. But I think that was the point, like 312 00:14:00,800 --> 00:14:02,160 Speaker 3: the point and the great you know. 313 00:14:02,280 --> 00:14:02,520 Speaker 1: JK. 314 00:14:02,600 --> 00:14:04,560 Speaker 2: Simmons is amazing in that movie, and. 315 00:14:04,440 --> 00:14:07,360 Speaker 3: Like that role, like where you really hate the teacher 316 00:14:07,440 --> 00:14:09,800 Speaker 3: and you hate the band leader. I think it was 317 00:14:09,840 --> 00:14:11,880 Speaker 3: supposed to be kind of influenced by Buddy Rich. 318 00:14:12,920 --> 00:14:14,319 Speaker 2: Obviously I'm not I'm not sure. 319 00:14:14,360 --> 00:14:16,480 Speaker 3: I never met Buddy Rich, but that was what I've 320 00:14:16,520 --> 00:14:19,160 Speaker 3: heard that that was the influence of of like the harsh, 321 00:14:19,440 --> 00:14:20,880 Speaker 3: the harshness, and I think, you know, maybe it was 322 00:14:20,880 --> 00:14:22,560 Speaker 3: a bit extra, but it's a movie, you know. 323 00:14:22,560 --> 00:14:22,960 Speaker 2: What I mean. 324 00:14:23,040 --> 00:14:25,600 Speaker 3: Like it's also you know, when when Miles Teller puts 325 00:14:25,600 --> 00:14:28,280 Speaker 3: his hand in the you know, jug of water and 326 00:14:28,280 --> 00:14:30,440 Speaker 3: he's all bleeding, I'm like, that doesn't happen either, you 327 00:14:30,480 --> 00:14:32,640 Speaker 3: know what I mean. It's it's it's the dramatization of 328 00:14:32,680 --> 00:14:34,520 Speaker 3: the of of Hollywood. 329 00:14:34,520 --> 00:14:35,640 Speaker 2: But I thought it was a good movie. 330 00:14:35,640 --> 00:14:38,440 Speaker 3: You know, I understood the you know, the message, and 331 00:14:38,600 --> 00:14:41,320 Speaker 3: obviously I think it's not supposed to be taken literally. 332 00:14:41,520 --> 00:14:43,920 Speaker 3: You know, if a teacher was really like that, then 333 00:14:43,960 --> 00:14:46,080 Speaker 3: there'd be a problem because I don't think that's really healthy. 334 00:14:46,080 --> 00:14:48,520 Speaker 3: But I think for a movie and to almost put 335 00:14:48,600 --> 00:14:52,360 Speaker 3: drums in the limelight, especially jazz drumming, which became this huge, 336 00:14:52,840 --> 00:14:56,200 Speaker 3: you know thing around the world when that movie came out, 337 00:14:56,200 --> 00:14:57,760 Speaker 3: I think it was great to be able to feature 338 00:14:57,760 --> 00:14:58,520 Speaker 3: the drums that way. 339 00:14:59,040 --> 00:15:01,240 Speaker 1: We'll be right back with more of the Taken a 340 00:15:01,280 --> 00:15:09,479 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 341 00:15:10,000 --> 00:15:13,280 Speaker 4: Who are the teachers? Aside from your father? Obviously that 342 00:15:13,480 --> 00:15:17,200 Speaker 4: made an impact on you and really shaped you to 343 00:15:17,240 --> 00:15:18,160 Speaker 4: this moment today. 344 00:15:18,840 --> 00:15:19,040 Speaker 2: Yeah. 345 00:15:19,080 --> 00:15:22,400 Speaker 3: I mean, I've only really had one drum teacher. His 346 00:15:22,480 --> 00:15:26,880 Speaker 3: name is John Pierre Espiritu Santo, and I started taking 347 00:15:26,960 --> 00:15:29,520 Speaker 3: lessons with him when I first moved to Miami, Florida, 348 00:15:29,600 --> 00:15:33,040 Speaker 3: and I was like eleven or twelve, and you know, 349 00:15:33,080 --> 00:15:35,000 Speaker 3: originally I kind of wanted to be a soccer player. 350 00:15:35,080 --> 00:15:37,840 Speaker 3: That's really that was what I wanted to do. And 351 00:15:37,880 --> 00:15:39,920 Speaker 3: then I moved to Miami and kind of realized I'm. 352 00:15:39,800 --> 00:15:42,560 Speaker 2: Not that good at soccer, and I'm like, oh, I 353 00:15:42,600 --> 00:15:44,200 Speaker 2: guess I'm okay at this other thing. Let me take 354 00:15:44,200 --> 00:15:44,840 Speaker 2: this more seriously. 355 00:15:44,880 --> 00:15:46,680 Speaker 3: But my technique, you know, I played drums and I 356 00:15:46,720 --> 00:15:49,320 Speaker 3: had a good sense of groove and rhythm, but my 357 00:15:49,440 --> 00:15:50,720 Speaker 3: technique was just not there. 358 00:15:51,200 --> 00:15:53,080 Speaker 2: And so he really was able to. 359 00:15:54,600 --> 00:15:56,600 Speaker 3: Help me, hone in on that technique, and he was, 360 00:15:56,840 --> 00:15:58,560 Speaker 3: you know, taught me about all the different rudiments but 361 00:15:58,600 --> 00:16:01,760 Speaker 3: also different Latin grooves, which at the time, I you know, 362 00:16:02,640 --> 00:16:07,760 Speaker 3: didn't understand why I was playing boson nova or samba. 363 00:16:07,800 --> 00:16:09,040 Speaker 2: I was like, this is this you? I don't want 364 00:16:09,040 --> 00:16:10,800 Speaker 2: to play Foo Fighters music? Like what do you? Why 365 00:16:10,840 --> 00:16:11,400 Speaker 2: are we doing this? 366 00:16:11,720 --> 00:16:14,120 Speaker 3: But then I've understood as I got older, and then 367 00:16:14,120 --> 00:16:17,320 Speaker 3: I started getting into progressive music and polyrhythms. I was like, no, 368 00:16:17,400 --> 00:16:18,960 Speaker 3: it was about the lim in dependence, you know. So 369 00:16:19,000 --> 00:16:21,520 Speaker 3: I'm very grateful to for him teaching me that. 370 00:16:21,560 --> 00:16:23,040 Speaker 2: But you know, we don't we don't. 371 00:16:23,040 --> 00:16:26,440 Speaker 3: I don't take lessons necessarily anymore. Honestly, My biggest teacher 372 00:16:26,480 --> 00:16:27,560 Speaker 3: now is YouTube. 373 00:16:27,640 --> 00:16:27,800 Speaker 2: You know. 374 00:16:27,840 --> 00:16:30,800 Speaker 3: I spend hours watching all my favorite drummers, and I 375 00:16:30,800 --> 00:16:34,040 Speaker 3: think that's such a huge asset that I don't think, 376 00:16:34,800 --> 00:16:38,160 Speaker 3: you know, young people nowadays realize how lucky we are 377 00:16:38,320 --> 00:16:40,720 Speaker 3: to have the access to YouTube, because I you know, 378 00:16:40,760 --> 00:16:43,240 Speaker 3: I talk about it with different guys and they're like, yeah, well, 379 00:16:43,240 --> 00:16:44,800 Speaker 3: back when I was grown up, it's like you had 380 00:16:44,840 --> 00:16:47,560 Speaker 3: to like rewind the DVR and like try and like 381 00:16:47,600 --> 00:16:49,400 Speaker 3: play it so you could see what was happening, or 382 00:16:49,520 --> 00:16:51,160 Speaker 3: just like you just had to listen, whereas now you 383 00:16:51,200 --> 00:16:53,640 Speaker 3: can just watch a drum play through and see exactly 384 00:16:53,680 --> 00:16:56,200 Speaker 3: what's happening, and you have so much access to information that. 385 00:16:56,400 --> 00:16:57,680 Speaker 2: It's become a great tool. 386 00:16:57,760 --> 00:17:00,000 Speaker 3: But I see it, you know, being able to listen 387 00:17:00,080 --> 00:17:03,240 Speaker 3: and to as many drummers and just kind of you know, 388 00:17:03,360 --> 00:17:06,320 Speaker 3: add different colors to your to your palette and to 389 00:17:06,480 --> 00:17:10,360 Speaker 3: your to your arsenal of sounds. I think that's such 390 00:17:10,400 --> 00:17:12,160 Speaker 3: a you know big asset nowadays. 391 00:17:12,680 --> 00:17:15,719 Speaker 4: And the interesting thing about YouTube as a teacher is 392 00:17:16,160 --> 00:17:19,080 Speaker 4: it doesn't really do any good to get angry at 393 00:17:19,080 --> 00:17:22,520 Speaker 4: YouTube for like teacher. 394 00:17:23,000 --> 00:17:25,159 Speaker 3: Yeah, you can get angry at yourself, but you know, 395 00:17:25,280 --> 00:17:27,000 Speaker 3: or you see like you know, I will say sometimes 396 00:17:27,040 --> 00:17:29,600 Speaker 3: on YouTube it's like, you know, you'll see some seven 397 00:17:29,680 --> 00:17:33,080 Speaker 3: year old from you know, Japan or something and he's 398 00:17:33,119 --> 00:17:34,760 Speaker 3: just like way better than you, and you're just like 399 00:17:34,800 --> 00:17:36,840 Speaker 3: it makes you like, You're like, what the hell is 400 00:17:36,920 --> 00:17:39,960 Speaker 3: you know, it's like but that's the only thing I think, 401 00:17:40,240 --> 00:17:42,879 Speaker 3: you know, you can maybe get you lose sight of 402 00:17:42,880 --> 00:17:44,640 Speaker 3: what the point is and be and because you see 403 00:17:44,640 --> 00:17:47,520 Speaker 3: so many people that are just so great and it 404 00:17:47,520 --> 00:17:49,840 Speaker 3: can like damage your confidence. But I think it's better 405 00:17:49,880 --> 00:17:51,280 Speaker 3: to just look at it and an approach of like 406 00:17:51,280 --> 00:17:53,439 Speaker 3: a learning side of things. And you see these people 407 00:17:53,480 --> 00:17:55,840 Speaker 3: and it's you know, what can you take from these 408 00:17:55,880 --> 00:17:59,520 Speaker 3: different drummers to add to your own uh, to your 409 00:17:59,520 --> 00:18:00,000 Speaker 3: own drum? 410 00:18:01,040 --> 00:18:04,000 Speaker 4: So let's talk about the Effect. How did the Effect 411 00:18:04,240 --> 00:18:07,960 Speaker 4: come together? Talk about all the key players there in 412 00:18:08,000 --> 00:18:11,200 Speaker 4: the band that make up the Effect, and how excited 413 00:18:11,240 --> 00:18:12,360 Speaker 4: you are about the project. 414 00:18:13,440 --> 00:18:17,120 Speaker 3: Yeah, the so the Effect came about Trev Lucather who's 415 00:18:17,160 --> 00:18:18,840 Speaker 3: the guitar player and producer of the band. 416 00:18:19,440 --> 00:18:21,160 Speaker 2: His dad is Steve Lucather from Toto. 417 00:18:22,280 --> 00:18:26,320 Speaker 3: You know, we actually Leland Skalar and Amy Keys, who 418 00:18:26,320 --> 00:18:29,720 Speaker 3: were both in my dad's solo band and Toto at 419 00:18:29,760 --> 00:18:34,399 Speaker 3: different points. You know, they'd been telling Trev and I that, like, 420 00:18:34,440 --> 00:18:36,080 Speaker 3: you know, you guys need to get together. You know, 421 00:18:36,119 --> 00:18:38,639 Speaker 3: you guys would really get along, and you know, you 422 00:18:38,680 --> 00:18:40,840 Speaker 3: need to do something together. And you know, I think 423 00:18:40,880 --> 00:18:43,440 Speaker 3: we followed each other on Instagram and just like connected 424 00:18:43,720 --> 00:18:47,160 Speaker 3: on social media, you know, supported each other here and there. 425 00:18:47,920 --> 00:18:52,920 Speaker 3: But it wasn't until January of twenty twenty three, where 426 00:18:53,040 --> 00:18:55,320 Speaker 3: he was in Miami for some reason, you know, for 427 00:18:55,400 --> 00:18:57,480 Speaker 3: our TV show that kind of went south. It was 428 00:18:57,520 --> 00:19:00,480 Speaker 3: like he was going to be hosting this thing and 429 00:19:00,680 --> 00:19:03,399 Speaker 3: producer and director kind of went at it and so 430 00:19:03,440 --> 00:19:04,400 Speaker 3: the show was canceled. 431 00:19:04,400 --> 00:19:06,120 Speaker 2: And he was like, well, I'm stuck in Miami. Who 432 00:19:06,160 --> 00:19:06,600 Speaker 2: do I know? 433 00:19:07,359 --> 00:19:10,480 Speaker 3: And so he invited me out to dinner and it 434 00:19:10,560 --> 00:19:12,159 Speaker 3: was him and his wife, Madison, and then me and 435 00:19:12,200 --> 00:19:13,960 Speaker 3: my girlfriend Isabelle, and we got together on like a 436 00:19:14,000 --> 00:19:16,280 Speaker 3: double date and that was the first time we met, 437 00:19:16,359 --> 00:19:18,680 Speaker 3: and we totally hit it off. You know, we connected 438 00:19:18,680 --> 00:19:21,240 Speaker 3: and found that we related a lot on you know, 439 00:19:21,280 --> 00:19:23,760 Speaker 3: in different ways. Almost felt like we'd live parallel lives 440 00:19:24,240 --> 00:19:26,639 Speaker 3: and just so many things that were in both of 441 00:19:26,680 --> 00:19:28,320 Speaker 3: our lives that we really were able to kind of 442 00:19:28,359 --> 00:19:31,600 Speaker 3: bond on. And but at the time, you know, he 443 00:19:31,640 --> 00:19:33,800 Speaker 3: did he was he still does a lot of production work, 444 00:19:33,840 --> 00:19:36,639 Speaker 3: and I think that was the extent of what we 445 00:19:36,720 --> 00:19:38,800 Speaker 3: thought was going to happen if we work together. Was 446 00:19:38,880 --> 00:19:40,679 Speaker 3: just like, oh, I'll play on a session or you know, 447 00:19:40,800 --> 00:19:45,639 Speaker 3: something like that. But then fast forward a couple months. 448 00:19:45,640 --> 00:19:47,440 Speaker 3: I was on the road with Mike and the Mechanics 449 00:19:48,160 --> 00:19:50,280 Speaker 3: and Trev sent me a text and he was like, hey, dude, 450 00:19:50,320 --> 00:19:53,760 Speaker 3: I'm thinking of putting a group together, just an experiment. 451 00:19:54,119 --> 00:19:57,280 Speaker 2: And this is who's in the band? Are you down? 452 00:19:57,600 --> 00:20:00,560 Speaker 2: And I'm like, well maybe, I was like what do 453 00:20:00,600 --> 00:20:01,240 Speaker 2: you have in mind? 454 00:20:01,320 --> 00:20:03,600 Speaker 3: And then he sent me the guitar riff to Unwanted 455 00:20:04,200 --> 00:20:06,280 Speaker 3: Like that was literally the first tune we ever did together, 456 00:20:06,320 --> 00:20:07,960 Speaker 3: and I was like, oh, yeah, I'm down, Like, let's 457 00:20:07,960 --> 00:20:10,520 Speaker 3: do it. I didn't get to record my parts until 458 00:20:10,520 --> 00:20:12,960 Speaker 3: I got back from the road, and then we did 459 00:20:13,000 --> 00:20:15,199 Speaker 3: that first song, and then it turned let's do another, 460 00:20:15,280 --> 00:20:18,480 Speaker 3: and then two three, songs turned into well, no, let's 461 00:20:18,560 --> 00:20:21,359 Speaker 3: let's actually be a band, you know, let's actually do it. 462 00:20:22,160 --> 00:20:26,280 Speaker 3: But the funny thing is we by the we had written, recorded, 463 00:20:26,320 --> 00:20:29,119 Speaker 3: and mixed three songs before all four of us were 464 00:20:29,160 --> 00:20:31,920 Speaker 3: ever in the same room together, which is because you know, 465 00:20:32,000 --> 00:20:34,280 Speaker 3: we've done like I live in Miami, Trev lives in 466 00:20:34,400 --> 00:20:37,560 Speaker 3: la and then Steve Majoriya who plays keyboards and does 467 00:20:37,600 --> 00:20:41,280 Speaker 3: background vocals, he lives in Palo Alto, like so NorCal 468 00:20:42,160 --> 00:20:45,080 Speaker 3: and then Emmett Stang who's the singer, he lives in Vegas. 469 00:20:45,480 --> 00:20:47,320 Speaker 2: So it was all being done very remotely. 470 00:20:47,359 --> 00:20:49,080 Speaker 3: But then we got together and we all kind of 471 00:20:49,080 --> 00:20:51,760 Speaker 3: really hit it off, and you know, we all really 472 00:20:51,760 --> 00:20:56,320 Speaker 3: got along. And basically that was in June. June was 473 00:20:56,359 --> 00:21:00,240 Speaker 3: when we started the record and and basically we finish 474 00:21:00,280 --> 00:21:03,040 Speaker 3: the record by December. It was very We didn't go like, 475 00:21:03,160 --> 00:21:05,119 Speaker 3: let's write the whole record and then record it. It 476 00:21:05,160 --> 00:21:07,480 Speaker 3: was we were just do We were recording it and 477 00:21:07,520 --> 00:21:13,439 Speaker 3: mixing it as it was being written, and you know, 478 00:21:13,640 --> 00:21:17,919 Speaker 3: everybody brings such an interesting take to the whole you 479 00:21:17,960 --> 00:21:20,440 Speaker 3: know band. You know, we never had a conversation what 480 00:21:20,520 --> 00:21:21,679 Speaker 3: kind of band do we want to be? 481 00:21:21,800 --> 00:21:22,440 Speaker 2: What genre? 482 00:21:23,119 --> 00:21:25,639 Speaker 3: Like you know, what bands are we going to try 483 00:21:25,680 --> 00:21:27,760 Speaker 3: and emulate like it was? Literally this is what the 484 00:21:27,800 --> 00:21:31,359 Speaker 3: four of us sound like when we are writing music together. 485 00:21:31,400 --> 00:21:34,159 Speaker 2: And you know, the first song I recorded last. But 486 00:21:34,200 --> 00:21:35,800 Speaker 2: typically what we've done is Trev. 487 00:21:36,440 --> 00:21:38,520 Speaker 3: Trev will come up with a guitar part and a 488 00:21:38,520 --> 00:21:41,280 Speaker 3: guitar idea, and we'll essentially map out a whole song's 489 00:21:41,320 --> 00:21:44,960 Speaker 3: worth of like Okay, here's the verse, precorers, chorus, whatever, 490 00:21:45,000 --> 00:21:46,919 Speaker 3: and he'll just send it to me blank with just 491 00:21:46,920 --> 00:21:50,639 Speaker 3: the guitars, and then I will go and other than 492 00:21:50,760 --> 00:21:52,560 Speaker 3: Unwanted where I was the last one, every other song 493 00:21:52,600 --> 00:21:54,640 Speaker 3: has been this way, where I'll go and basically write 494 00:21:54,680 --> 00:21:58,160 Speaker 3: a drum part and you know, go into the rehearsal room, 495 00:21:58,160 --> 00:22:00,920 Speaker 3: and then I'll FaceTime Trev and we'll basely bounced notes 496 00:22:00,960 --> 00:22:04,520 Speaker 3: off of one another of what he likes, what I like, 497 00:22:04,600 --> 00:22:07,560 Speaker 3: what I don't like, and you know, and then from 498 00:22:07,640 --> 00:22:11,199 Speaker 3: there I basically record the drums the day that they're written, 499 00:22:11,440 --> 00:22:14,080 Speaker 3: which is not what I'm not very used to because 500 00:22:14,160 --> 00:22:16,240 Speaker 3: usually with you know, with other you know, with my 501 00:22:16,359 --> 00:22:18,360 Speaker 3: other band, better strangers, like, I'm very. 502 00:22:18,280 --> 00:22:20,960 Speaker 2: Meticulous about how much work. 503 00:22:20,720 --> 00:22:22,960 Speaker 3: I can put it, you know, and overthinking my drum parts, 504 00:22:22,960 --> 00:22:25,399 Speaker 3: and trev wanted me to just be very instinctual, like, no, 505 00:22:25,480 --> 00:22:27,640 Speaker 3: I want to capture whatever magic you were able to get. 506 00:22:28,359 --> 00:22:30,600 Speaker 3: So then once I've done that, you know, Trevill laid 507 00:22:30,600 --> 00:22:32,640 Speaker 3: down his real guitars, and Steve Matroy will lay down 508 00:22:32,680 --> 00:22:36,040 Speaker 3: his keyboard parts, which you know he always The textual 509 00:22:36,320 --> 00:22:38,640 Speaker 3: stuff that Steve is able to create is is really 510 00:22:38,680 --> 00:22:42,399 Speaker 3: amazing on a both keyboard wise and also background vocals. 511 00:22:42,400 --> 00:22:45,160 Speaker 3: And then Emmett gets together with Trev and they write 512 00:22:45,200 --> 00:22:47,880 Speaker 3: the lyrics and top playing together, and you know, Emmett's 513 00:22:47,960 --> 00:22:50,639 Speaker 3: voice is the range that that guy has, not just 514 00:22:50,800 --> 00:22:54,000 Speaker 3: literally on a musical range, but I mean the fact 515 00:22:54,040 --> 00:22:56,440 Speaker 3: that he goes from being like this really heavy rock 516 00:22:56,520 --> 00:22:58,720 Speaker 3: singer to also being able to dial it back and 517 00:22:58,720 --> 00:23:00,879 Speaker 3: do the total pop thing. You know, it's a really 518 00:23:01,280 --> 00:23:03,760 Speaker 3: you know, the whole band is just a class musicians 519 00:23:03,760 --> 00:23:06,320 Speaker 3: and it's lots of fun to be able to create 520 00:23:06,400 --> 00:23:07,399 Speaker 3: and work with those guys. 521 00:23:08,200 --> 00:23:09,919 Speaker 2: Everybody brings just so much to the table. 522 00:23:11,040 --> 00:23:15,080 Speaker 4: And what is the expectation on the band in terms 523 00:23:15,080 --> 00:23:18,159 Speaker 4: of touring and just getting out for people to see it. 524 00:23:19,040 --> 00:23:22,280 Speaker 3: Yeah, So we finished the album at the end of 525 00:23:22,320 --> 00:23:24,800 Speaker 3: last year, so we just put out another single a 526 00:23:24,800 --> 00:23:25,800 Speaker 3: couple of weeks ago, and. 527 00:23:26,040 --> 00:23:28,040 Speaker 2: Actually I was just in La last week. 528 00:23:28,080 --> 00:23:31,480 Speaker 3: We just recorded and did a video for something very 529 00:23:31,480 --> 00:23:34,040 Speaker 3: exciting that we'll be announced soon, so we're very pumped 530 00:23:34,040 --> 00:23:37,719 Speaker 3: about that. But no, we've got some American dates that 531 00:23:37,760 --> 00:23:41,080 Speaker 3: it will be announced eventually for in May, and then 532 00:23:41,080 --> 00:23:45,040 Speaker 3: we've got a European tour happening this summer where we've 533 00:23:45,080 --> 00:23:47,560 Speaker 3: got our own headline shows, but we're also playing the 534 00:23:47,560 --> 00:23:51,600 Speaker 3: Isle of Wight Festival and also the KUP Live Festival 535 00:23:51,600 --> 00:23:53,960 Speaker 3: in France, and then we're opening for Toto in Germany, 536 00:23:55,680 --> 00:23:58,159 Speaker 3: which you know, huge shout out and thank you to 537 00:23:59,080 --> 00:24:01,600 Speaker 3: you know, Luke and everybody in the total crew for 538 00:24:01,680 --> 00:24:04,159 Speaker 3: being able to for wanting us out there and for 539 00:24:04,640 --> 00:24:05,239 Speaker 3: for having us. 540 00:24:05,280 --> 00:24:06,240 Speaker 2: It's going to be a great time. 541 00:24:06,280 --> 00:24:08,600 Speaker 3: So yeah, basically, you know, we're gonna be playing some 542 00:24:08,640 --> 00:24:10,600 Speaker 3: shows and getting on the road this year and hopefully 543 00:24:10,640 --> 00:24:11,160 Speaker 3: the album. 544 00:24:11,600 --> 00:24:13,240 Speaker 2: You know, we don't have a set release date. 545 00:24:13,440 --> 00:24:17,080 Speaker 3: We've released three singles so far and you know, everything's finished. 546 00:24:17,119 --> 00:24:19,560 Speaker 3: It's just basically about finding the right time and place 547 00:24:19,600 --> 00:24:22,480 Speaker 3: to put it out. Whether you know, nowadays so much 548 00:24:22,560 --> 00:24:25,919 Speaker 3: music gets put out every day on streaming services, that like, 549 00:24:26,520 --> 00:24:28,280 Speaker 3: if you do it wrong, you just end up being 550 00:24:28,320 --> 00:24:30,760 Speaker 3: another drop in the ocean. And I think for us, 551 00:24:30,760 --> 00:24:32,879 Speaker 3: like we believe in the record and everybody's put in 552 00:24:32,960 --> 00:24:38,040 Speaker 3: spark into the album that we feel like it deserves 553 00:24:38,080 --> 00:24:40,120 Speaker 3: the you know, to get the right attention. 554 00:24:41,280 --> 00:24:45,160 Speaker 4: And will Better Strangers still still exist as well? 555 00:24:45,680 --> 00:24:48,280 Speaker 3: Yeah, of course, you know, I'm I'm doing both, and 556 00:24:48,880 --> 00:24:51,680 Speaker 3: you know, it's funny. I grew up in from a 557 00:24:51,800 --> 00:24:55,600 Speaker 3: dad who you know, had a solo, very successful solo 558 00:24:55,640 --> 00:24:58,080 Speaker 3: career and a very successful Genesis career as well, So 559 00:24:58,200 --> 00:25:00,600 Speaker 3: the idea of doing both is not something that scares me, 560 00:25:00,680 --> 00:25:03,880 Speaker 3: you know, and I really like actually doing both because 561 00:25:03,920 --> 00:25:07,000 Speaker 3: they are such different bands and like almost every way, 562 00:25:07,880 --> 00:25:09,680 Speaker 3: you know, the effect is more of a pop rock 563 00:25:09,960 --> 00:25:11,560 Speaker 3: that's what I consider it, pop rock, but we do 564 00:25:11,600 --> 00:25:13,840 Speaker 3: get pretty heavy sometimes, whereas Better Strangers is more of 565 00:25:13,880 --> 00:25:18,479 Speaker 3: a progressive, you know, progressive band, you know, with that 566 00:25:18,520 --> 00:25:21,240 Speaker 3: goes a bit heavier, maybe like the line between progressive 567 00:25:21,240 --> 00:25:25,240 Speaker 3: hard rock and progressive metal at this point. But it's great, 568 00:25:25,240 --> 00:25:28,280 Speaker 3: you know, I get different creative outlets in different ways, 569 00:25:28,320 --> 00:25:30,480 Speaker 3: and you know, it's it's been lots of fun to 570 00:25:30,520 --> 00:25:31,280 Speaker 3: be able to do both. 571 00:25:32,600 --> 00:25:36,200 Speaker 4: So when you're playing live. How much of playing live 572 00:25:36,240 --> 00:25:40,760 Speaker 4: as a drummer is about getting in a particular zone 573 00:25:41,119 --> 00:25:44,040 Speaker 4: that you're just kind of off at a different place 574 00:25:44,080 --> 00:25:45,520 Speaker 4: and it's coming so naturally. 575 00:25:47,080 --> 00:25:49,639 Speaker 3: Yeah, I mean, I think again it depends on the 576 00:25:49,680 --> 00:25:53,800 Speaker 3: band and what the role is, because you know, with 577 00:25:54,000 --> 00:25:57,159 Speaker 3: the effect we play, I played a click and so 578 00:25:57,280 --> 00:26:01,040 Speaker 3: that is different because you really have you got to 579 00:26:01,040 --> 00:26:03,040 Speaker 3: be really locked in with what you're playing along too, 580 00:26:03,080 --> 00:26:05,280 Speaker 3: because if you're often it becomes a whole train wreck. 581 00:26:06,040 --> 00:26:08,080 Speaker 3: But it's a different kind of thing because you're not 582 00:26:08,119 --> 00:26:12,240 Speaker 3: really worried about whether it's with Genesis or my dad 583 00:26:12,520 --> 00:26:16,280 Speaker 3: or better strangers. Where I don't play to click, those 584 00:26:16,359 --> 00:26:17,960 Speaker 3: become more like I have to get in the zone 585 00:26:17,960 --> 00:26:19,560 Speaker 3: where I'm I got to make sure I don't let 586 00:26:19,640 --> 00:26:22,520 Speaker 3: the adrenaline take over and I'm playing things too fast 587 00:26:22,560 --> 00:26:23,040 Speaker 3: too slow. 588 00:26:23,520 --> 00:26:24,080 Speaker 2: I think with the. 589 00:26:24,040 --> 00:26:27,640 Speaker 3: Effect, it's like making sure obviously you know the songs 590 00:26:27,760 --> 00:26:31,640 Speaker 3: and really locking in and you know it comes. It's 591 00:26:31,840 --> 00:26:34,280 Speaker 3: it's a mix of muscle memory but also really being 592 00:26:34,560 --> 00:26:38,440 Speaker 3: familiar and becoming almost one with the material. That's always 593 00:26:38,440 --> 00:26:40,680 Speaker 3: something I've said to anybody when I've done you know, 594 00:26:41,119 --> 00:26:43,439 Speaker 3: the few clinics that I've done. My biggest advice is 595 00:26:43,440 --> 00:26:46,280 Speaker 3: when you get hired to or ask to play a gig, 596 00:26:46,720 --> 00:26:49,280 Speaker 3: you know, familiarize yourself with the songs in a way 597 00:26:49,400 --> 00:26:53,000 Speaker 3: where they become second nature and you're listening. You're not 598 00:26:53,080 --> 00:26:54,840 Speaker 3: just listening to them in the rehearsal room, but you're 599 00:26:54,880 --> 00:26:56,600 Speaker 3: listening to them on the way to the grocery store 600 00:26:56,680 --> 00:26:57,360 Speaker 3: or on the way to. 601 00:26:57,320 --> 00:26:58,720 Speaker 2: The gym or whatever it is. 602 00:27:00,119 --> 00:27:03,159 Speaker 3: I think that's the biggest thing, is being aware that, 603 00:27:03,320 --> 00:27:05,840 Speaker 3: like you know, this is what's best for the song, 604 00:27:06,000 --> 00:27:07,960 Speaker 3: this is what the song needs, and really kind of 605 00:27:07,960 --> 00:27:09,840 Speaker 3: getting into that mindset. 606 00:27:10,640 --> 00:27:13,679 Speaker 4: In closing, is there a dream band that you I 607 00:27:13,760 --> 00:27:16,240 Speaker 4: realize the effect is a dream right now because there's 608 00:27:16,280 --> 00:27:19,600 Speaker 4: a great amount of a serendeputy to it. But is 609 00:27:19,600 --> 00:27:24,240 Speaker 4: there some dream players that you think about and go, 610 00:27:24,400 --> 00:27:26,919 Speaker 4: my god, if I could ever do a session with 611 00:27:27,000 --> 00:27:29,399 Speaker 4: this group of people, this would be incredible. 612 00:27:30,760 --> 00:27:31,679 Speaker 2: That's a great question. 613 00:27:31,840 --> 00:27:35,480 Speaker 3: I think it really it really depends, And I mean 614 00:27:36,320 --> 00:27:39,280 Speaker 3: there's obviously the guys, like you know, I would love 615 00:27:39,320 --> 00:27:43,000 Speaker 3: to play a song with Chino from the Deftones, Gina 616 00:27:43,000 --> 00:27:46,960 Speaker 3: Moreno singing, or Maynard James Gena from Tool Singing. I 617 00:27:47,000 --> 00:27:49,360 Speaker 3: love both of those guys as you know, they're they're 618 00:27:49,400 --> 00:27:52,200 Speaker 3: singing so much in their vocal parts and their sound 619 00:27:52,480 --> 00:27:54,280 Speaker 3: that I'd love to do a song with them on it. 620 00:27:55,240 --> 00:27:57,160 Speaker 3: Then as far as musicians, I mean, there's so many. 621 00:27:57,320 --> 00:28:00,520 Speaker 3: I think off the top of my head now I'm 622 00:28:00,560 --> 00:28:04,119 Speaker 3: thinking John for Shante or Flee from the Chili Peppers. 623 00:28:04,160 --> 00:28:05,760 Speaker 3: I mean, those guys are such a big deal for 624 00:28:05,840 --> 00:28:08,000 Speaker 3: me growing up that to be able to be on 625 00:28:08,040 --> 00:28:09,520 Speaker 3: a track with them would be a dream. 626 00:28:11,359 --> 00:28:12,880 Speaker 2: I'll have to get back to you on that one, 627 00:28:12,960 --> 00:28:13,560 Speaker 2: you know what I mean. 628 00:28:13,640 --> 00:28:16,600 Speaker 3: Like, there's so many different you know, there's different producers 629 00:28:16,640 --> 00:28:19,400 Speaker 3: and you know, guys that I look up to that 630 00:28:19,400 --> 00:28:21,320 Speaker 3: that I of course I want to work with. But 631 00:28:21,359 --> 00:28:24,640 Speaker 3: also I I you know, I that in that same way, 632 00:28:24,680 --> 00:28:27,120 Speaker 3: it motivates me to try and make my own thing 633 00:28:27,119 --> 00:28:30,879 Speaker 3: and with my own uh you know, bandmates and and 634 00:28:30,960 --> 00:28:33,040 Speaker 3: be able to like create something that I believe in 635 00:28:33,080 --> 00:28:35,080 Speaker 3: and that's unique that way as well. 636 00:28:36,040 --> 00:28:38,040 Speaker 4: Well. Definitely get back to me, because I'm not going 637 00:28:38,120 --> 00:28:40,160 Speaker 4: to be surprised that anything you pull off. 638 00:28:40,280 --> 00:28:42,880 Speaker 2: Nick. Okay, amazing, Thank you so much. 639 00:28:43,200 --> 00:28:47,160 Speaker 4: Yeah, congratulations on everything. Congrats on the new project The 640 00:28:47,240 --> 00:28:50,920 Speaker 4: Effect and Better Strangers and all your work around Genesis 641 00:28:50,920 --> 00:28:54,000 Speaker 4: and your dad and Mike and the mechanics. Please tell 642 00:28:54,080 --> 00:28:57,160 Speaker 4: your dad and give them our love. And it's so 643 00:28:57,240 --> 00:28:58,640 Speaker 4: great to have you on Taking a Walk. 644 00:28:58,720 --> 00:29:01,440 Speaker 2: Nick, I appreci it. Buzz, thanks so much for having me. 645 00:29:02,680 --> 00:29:05,160 Speaker 1: Thanks for listening to this episode of the Taking a 646 00:29:05,200 --> 00:29:09,080 Speaker 1: Walk podcast. Share this and other episodes with your friends 647 00:29:09,160 --> 00:29:12,640 Speaker 1: and follow us so you never miss an episode. Taking 648 00:29:12,680 --> 00:29:16,600 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 649 00:29:16,800 --> 00:29:19,080 Speaker 1: and wherever you get your podcasts.