WEBVTT - Kenny Aronoff

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<v Speaker 1>Welcome, Welcome, Welcome to the Bob Left Sets podcast, recorded

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<v Speaker 1>live here at the tune In Studios in Venice, California.

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<v Speaker 1>My guest this week is America, probably the world's most

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<v Speaker 1>famous drummer, the man you recognize from Melancamp, Fogerty, so

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<v Speaker 1>many other acts. Melissa ether rids the Kennedy Senator honors

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<v Speaker 1>Kenny aroon Off doing Bob Okay, so it's hard to

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<v Speaker 1>find a date because you're so busy. So what do

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<v Speaker 1>you got going on right now? Well, Tomon flying to

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<v Speaker 1>Chicago to do a the Chicago Drum Show. It's it's

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<v Speaker 1>with a lot of drummers perform, and I don't do

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<v Speaker 1>as many of those anymore. But what I'm gonna do,

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<v Speaker 1>I'm one of the feature drummers, is I'm gonna use

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<v Speaker 1>my I'm gonna perform, but I'm also doing a kind

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<v Speaker 1>of a teamwork speech, because it really is what drummers are.

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<v Speaker 1>We serve songs, we serve artists, we serve bands, and

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<v Speaker 1>so I have a whole multimedia thing I do. So

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<v Speaker 1>I perform, but I have the whole show. I have

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<v Speaker 1>a whole show. Okay, you put it together yourself. You

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<v Speaker 1>have a consultant. No I put together myself, but I've

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<v Speaker 1>been working with about four or five years ago. I

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<v Speaker 1>decided to start getting into the speaking thing, you know,

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<v Speaker 1>and like anything else, okay, with your motivation giving back

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<v Speaker 1>or money or both making money and giving and giving back.

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<v Speaker 1>Wisdom is that. Okay, I'm just getting all the story.

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<v Speaker 1>So anyway, I because that's so important to me. I decided,

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<v Speaker 1>and I've been doing these drum clinics for like thirty

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<v Speaker 1>five years, but now it's more about inspiration. When I

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<v Speaker 1>wrote my autobiography, I came with all these things and

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<v Speaker 1>with the bottom lines, I'm gonna go do that and

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<v Speaker 1>fly back Sunday night. Monday. I pack and then I

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<v Speaker 1>go on the road for six weeks with Fogerty NonStop

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<v Speaker 1>and zz Top together. It's a great package, most of

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<v Speaker 1>the East Coast and a little bit in the Midwest.

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<v Speaker 1>Then I come home for two days and then I

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<v Speaker 1>go to Europe for three weeks with my own band

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<v Speaker 1>called Supersonic Blues Machine featuring Billy Gibbons, and the two

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<v Speaker 1>albums I made was Supersonic uh. You know, we feature

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<v Speaker 1>like guitar players like Billy Gibbons, Steve Lucasur, Eric Garrells,

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<v Speaker 1>Walter Trout, Robin Ford, Warren Haynes, I really to be

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<v Speaker 1>honest with you, and I don't really want to go

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<v Speaker 1>on the voad for nine weeks. I mean, you know,

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<v Speaker 1>I have a wife at home and i'd like to.

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<v Speaker 1>This is the first time I ever said that, you know,

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<v Speaker 1>I always like, well whatever, But so yeah, that's a

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<v Speaker 1>pretty crazy schedule. On top of which, you know, I'm

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<v Speaker 1>editing a book, another book, and I gotta keep his

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<v Speaker 1>speaking thing going, and I'm just dealing with lots of

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<v Speaker 1>business sessions and all this stuff while I'm on the road.

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<v Speaker 1>Now do you like this level of chaos? Well, I

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<v Speaker 1>definitely have been addicted to it most of my life.

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<v Speaker 1>I'm just starting at my right as we were talking

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<v Speaker 1>about how we're now seven, kind of getting into mm hmmm,

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<v Speaker 1>how do I want to manage my time? You know what?

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<v Speaker 1>You know, one of my one of the things that

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<v Speaker 1>mean the most to me, and I'm trying to filter

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<v Speaker 1>on my time and what I do in today towards

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<v Speaker 1>those things. Now, let's let's assume you were home for

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<v Speaker 1>a week, or let's say you went to a desert

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<v Speaker 1>island for a week. Would you freak out or would

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<v Speaker 1>you say, God, it's great to have a week off

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<v Speaker 1>for the first time. I would what I would do

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<v Speaker 1>and one day I can't take a whole day off,

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<v Speaker 1>but but I can knowing that I have some time

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<v Speaker 1>during the day to have off. Then I you know,

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<v Speaker 1>I always have work with me. So it kind of

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<v Speaker 1>like I reward myself. I work a little bit. I

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<v Speaker 1>just won't work as much as I would in the past,

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<v Speaker 1>or I just work all day and then just look

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<v Speaker 1>out at the beach. Now I want to get on

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<v Speaker 1>the beach, you know, or hang out and go shopping

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<v Speaker 1>with my wife or whatever it is. It's just relaxes

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<v Speaker 1>the mind. And you know, I always have to be

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<v Speaker 1>when I get on a plane. There's two things I

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<v Speaker 1>do well, three things sleep, uh, my office, and I

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<v Speaker 1>like to watch movies, you know, so like watch the

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<v Speaker 1>bomby iPad, you're download, No, I do well more and

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<v Speaker 1>more becoming that you know you're on United and then

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<v Speaker 1>they say download appened. Then you get more more, but

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<v Speaker 1>then fifty percent time it doesn't work right. It's like like, well,

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<v Speaker 1>the big thing now you know it's Netflix. You can

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<v Speaker 1>download to the iPad, so you don't have to worry

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<v Speaker 1>about a connection. So, uh, how far out are you booked?

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<v Speaker 1>I'm booked you already. Someone tried to book me. They're

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<v Speaker 1>trying to book me to be the musical director for

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<v Speaker 1>this event in two thousand nineteen, and I'm trying to

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<v Speaker 1>hire Sammy Hagar to do it with me, because then

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<v Speaker 1>I've been getting into this musical director type thing where

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<v Speaker 1>you know, a huge, you know, wealthy you guy wants

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<v Speaker 1>to put on this huge event and I end up

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<v Speaker 1>being a musical director, and which is It's tedious and

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<v Speaker 1>a lot of work, everything from monitors to you know,

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<v Speaker 1>the schematics of of the each band and how many

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<v Speaker 1>mikes and how high the stage is and or how

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<v Speaker 1>hi the risers. I mean, it's just everything. So what

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<v Speaker 1>did your wife say about being on the road all

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<v Speaker 1>the time. Well, we haven't been on the road six

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<v Speaker 1>weeks or nine weeks since we met, which was thirteen

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<v Speaker 1>years ago, so we're not looking forward to that at all.

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<v Speaker 1>But um, she is fin you up a three year

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<v Speaker 1>nursing school. This nursing program is like med school. It's

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<v Speaker 1>I've never seen anything like It's it's kind of caite

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<v Speaker 1>my first marriage. I was with somebody who was in

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<v Speaker 1>law school, and I thought that was insane. Now I'm

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<v Speaker 1>I'm in my my marriage with my wife and I'm

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<v Speaker 1>watching to go through this. I just would like to

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<v Speaker 1>be here with her, but it is what it is. Well,

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<v Speaker 1>we'll get We'll be fine. And did your first marriage

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<v Speaker 1>break up because you were on the road? Oh yeah,

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<v Speaker 1>Oh my god, dude, I was. I was the model

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<v Speaker 1>rock and roll guy. Just debauchery. I mean, look at

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<v Speaker 1>my My book is called Sex Drums Rocking Roll, but

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<v Speaker 1>probably back then it might have had a little bit

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<v Speaker 1>of sex, drugs rocking roll. I mean we were I

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<v Speaker 1>was with Mellencamp and we went in eight years from

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<v Speaker 1>playing in clubs to arenas uh and sold out three

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<v Speaker 1>and sixty uh you know seats, you know, no opening act,

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<v Speaker 1>three hours show. So we were young. Audience was young.

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<v Speaker 1>Girls were throwing their bars underwear at us. I mean,

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<v Speaker 1>you do the math. You're on the road for right,

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<v Speaker 1>we should come home for a week, you go go back

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<v Speaker 1>out for eight weeks and you eat this NonStop. I

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<v Speaker 1>mean maybe other people the difference today is they say,

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<v Speaker 1>is today their cell phone cameras? So I don't think

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<v Speaker 1>you can probably get away with a lot of that behole,

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<v Speaker 1>no way, no, never mind, the me too movement. Oh

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<v Speaker 1>tell me about it. I mean I should be in

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<v Speaker 1>jail because for just you know, I mean when when

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<v Speaker 1>what's his name? And I'll frank, you know, put his

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<v Speaker 1>hand on something. Girls, how many times I did that?

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<v Speaker 1>But we were laughing. Everybody was laughing about it, you know,

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<v Speaker 1>the girls. I talked to the girls women, because they're

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<v Speaker 1>not young spintin. They'll go like this, I take pictures

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<v Speaker 1>with my hands up in the air now, and I

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<v Speaker 1>don't sue me. Don't sue me. They go like, I'll

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<v Speaker 1>sue you if you don't touch me. That's the other side. Okay,

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<v Speaker 1>I'm not clutching that because I'm being caught in the across.

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<v Speaker 1>I'm I'm But the thing is what you're talking about too.

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<v Speaker 1>It's like, man, you could be a picture and this

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<v Speaker 1>happened before, where I just you know, you've had a

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<v Speaker 1>couple of glass wine and you just or take can

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<v Speaker 1>a picture, but your hand goes around the way so

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<v Speaker 1>you're pulling in a little close and you could look

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<v Speaker 1>at the picture and go like wow. But when you

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<v Speaker 1>were doing it was just like ah, yeah, come here,

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<v Speaker 1>you know, like letting up in the moment kind of moment,

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<v Speaker 1>but with no motivation or any any agenda. But the

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<v Speaker 1>picture tells the story, as Rod Stewart once sang, So

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<v Speaker 1>you're from western Massachusetts. What was it like growing up

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<v Speaker 1>in the fifties and sixties and western mass You know

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<v Speaker 1>stock Bridge? Right? I do? But my audience doesn't, all right,

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<v Speaker 1>Well that I just want to let them know that.

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<v Speaker 1>You know, so the stock Bridge, as you know, is

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<v Speaker 1>a was a very unique place to grow up. Um

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<v Speaker 1>in Western Masster were all these little towns three miles apart,

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<v Speaker 1>and I grew up in the hippest, coolest of them all, Stockbridge.

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<v Speaker 1>Uh you know, we had a summer stock theater right

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<v Speaker 1>down the half a mile down the hill from me.

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<v Speaker 1>So we I mean I was hanging out with Anne

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<v Speaker 1>Bancroft and h you know, Franklin Jell And when he

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<v Speaker 1>was just making it they're doing summer stock. How do

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<v Speaker 1>you end up hanging out with them? Well? Oh kay,

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<v Speaker 1>that's a good question. The real reason why I met

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<v Speaker 1>is because in that area they had summer stock. Bill Gibson,

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<v Speaker 1>who wrote The Miracle Worker, lived in stock Which and

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<v Speaker 1>I went to school with his son, and uh, He

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<v Speaker 1>was friends with Arthur Penn, who was a director who

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<v Speaker 1>had done I think he directed Bill Gibson's play Golden

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<v Speaker 1>Boys on Broadway. He convinced our dependent build a house

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<v Speaker 1>on the same street in stock which is is a building.

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<v Speaker 1>I know, I'm jumping, I have it. Didn't Arthur Penn

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<v Speaker 1>direct Alice's restaurant, just you know, right, okay, But going

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<v Speaker 1>back to um So, Arthur Penn builds a house on

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<v Speaker 1>your street, on the street. And and ironically, my brother

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<v Speaker 1>lives on that street. Identical twindentical twin who's a doctor.

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<v Speaker 1>And this is like a dirt road. I mean when

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<v Speaker 1>I say street, there might be like eight houses on it,

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<v Speaker 1>you know. And it's in woods and everything in pond

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<v Speaker 1>and you know, and your parents do what for a living?

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<v Speaker 1>And my mom was a school teacher. My dad worked

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<v Speaker 1>for Peter J. Swite suits to the division of Kimberley

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<v Speaker 1>claud There were these paper mills that ran My dad

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<v Speaker 1>was studied chemistry and his specialty was in paper. And

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<v Speaker 1>there are these mills that would run there was a

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<v Speaker 1>river that would run down Vermont, New Hampshire into Massachusetts

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<v Speaker 1>and Connecticut. They had these mills and and in the

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<v Speaker 1>town over three miles away, which is radically different than

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<v Speaker 1>my town as far as uh it was more like

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<v Speaker 1>we called it them. It was like one of the Greaser's,

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<v Speaker 1>the tough guys. But they had the mill there, and

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<v Speaker 1>so my dad would commute three miles a day down down.

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<v Speaker 1>That's why he moved to western Massachusetts job. It was

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<v Speaker 1>either that or they we're gonna go to um Minnesota.

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<v Speaker 1>My mom went from she's from New York and went, well, no,

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<v Speaker 1>at least Stockbridge is two and a half hours from

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<v Speaker 1>New York Minnesota. So but anyway, so I'm I'm at

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<v Speaker 1>my my friend Tommy's house on the street, the Gibsons,

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<v Speaker 1>and I remember it was my turn. He had a

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<v Speaker 1>house a little they had a little cottage, and we

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<v Speaker 1>would jam and play rock and roll out there, you know,

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<v Speaker 1>probably smoke a little pot was thirteen, and we had

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<v Speaker 1>the black lights, and it was my turn to go

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<v Speaker 1>down to the house and sneak some beers out of

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<v Speaker 1>the fridge. I go down there, I'm a little buzz,

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<v Speaker 1>grabbed two or three beers, and all of a sudden,

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<v Speaker 1>Mrs Gibson, his mom, who's the therapist, says, Kenny, is

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<v Speaker 1>that You're like, oh shit, I'm busted, and I screamed,

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<v Speaker 1>put the beers baxtures, come out of here and say

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<v Speaker 1>hi to everybody. They're having a dinner on a porch

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<v Speaker 1>at night, the candles and the wines going, and there

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<v Speaker 1>is a Bancroft, Mel Gibson and Franklin No not Mel

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<v Speaker 1>gives it wait Mel Brooks so and they would come

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<v Speaker 1>up and do Summer stock just to get out of

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<v Speaker 1>the city. That's how it all tied. And then I

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<v Speaker 1>eventually was in a musical there. And you know, my

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<v Speaker 1>mom loved the theater because she grew up New York,

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<v Speaker 1>so she was always getting his tickets. And then she'd

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<v Speaker 1>get she knew Arthur pen and then we'd be backstage

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<v Speaker 1>meeting Richard Dreyfus or whoever, Goldie Han, whoever was there

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<v Speaker 1>acting and and and then you mentioned this Alice's Restaurant.

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<v Speaker 1>There was this little diner in stock Bridge, and I

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<v Speaker 1>was in fifth grade. I was a little kid trying

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<v Speaker 1>to hang out with these kind of cool guy people,

0:11:07.559 --> 0:11:10.280
<v Speaker 1>and there was this lady called Alice's. Yeah, this little diner,

0:11:10.320 --> 0:11:14.319
<v Speaker 1>and then she uh eventually hooked up with all these

0:11:14.320 --> 0:11:16.280
<v Speaker 1>people would come in there like Arlo Guthrie and all

0:11:16.280 --> 0:11:19.800
<v Speaker 1>the hippies, and and the famous story about Alice's restling

0:11:19.840 --> 0:11:23.760
<v Speaker 1>for the audience is that they eventually got this church

0:11:23.880 --> 0:11:28.120
<v Speaker 1>in Housatonic, another little town three miles away on the river,

0:11:28.320 --> 0:11:31.360
<v Speaker 1>and they got this church and they lived in it

0:11:31.400 --> 0:11:34.600
<v Speaker 1>like hippies, like you know, Woodstock was only two hours away.

0:11:34.920 --> 0:11:38.800
<v Speaker 1>So they all had they had this famous Thanksgiving and

0:11:38.840 --> 0:11:41.120
<v Speaker 1>they had all this garbage and they didn't know what

0:11:41.160 --> 0:11:43.479
<v Speaker 1>to do with it. So they put it in uh

0:11:43.679 --> 0:11:46.679
<v Speaker 1>the v W bus, a hippie v W bus, right

0:11:47.160 --> 0:11:48.680
<v Speaker 1>and loaded up. They go to the dump, but the

0:11:48.760 --> 0:11:52.120
<v Speaker 1>dump is is closed, so they know what to do that.

0:11:52.160 --> 0:11:54.000
<v Speaker 1>They're all stone and high and they just dump it

0:11:54.040 --> 0:11:56.840
<v Speaker 1>on the side of the road down an embankment. Now,

0:11:56.920 --> 0:12:01.320
<v Speaker 1>my best friend's dad was the chief of police, officer Obie,

0:12:01.320 --> 0:12:07.240
<v Speaker 1>you remember that was my This this big menacine cop.

0:12:07.800 --> 0:12:12.440
<v Speaker 1>And he finds out that this is gardenge. Ok, we're

0:12:12.440 --> 0:12:15.079
<v Speaker 1>getting the real story story for the song is they

0:12:15.160 --> 0:12:17.839
<v Speaker 1>just dumped on a day you couldn't dump. Did they

0:12:17.880 --> 0:12:19.440
<v Speaker 1>put it in the dump or they put it on

0:12:19.480 --> 0:12:21.040
<v Speaker 1>the side of the road, not in the dump, Not

0:12:21.120 --> 0:12:23.319
<v Speaker 1>in the dump because they couldn't get in and This

0:12:23.400 --> 0:12:25.720
<v Speaker 1>was like an embankment, like the road and then there's

0:12:25.760 --> 0:12:27.720
<v Speaker 1>the guard rail and then it goes drops down on

0:12:27.760 --> 0:12:30.760
<v Speaker 1>a grassy hill. They saw it there, but they don't

0:12:31.080 --> 0:12:33.600
<v Speaker 1>you know, they're their names were on letters they had picked.

0:12:33.600 --> 0:12:36.840
<v Speaker 1>I mean it was the evidence was there in the movie.

0:12:36.880 --> 0:12:38.040
<v Speaker 1>And I don't know if this is too. In the

0:12:38.080 --> 0:12:40.280
<v Speaker 1>movie they say they have to submit the evidence of

0:12:40.320 --> 0:12:43.160
<v Speaker 1>the judge and he's blind. That had to be a joke,

0:12:43.480 --> 0:12:46.600
<v Speaker 1>I would think, so I can that. Yeah, So anyway,

0:12:47.000 --> 0:12:49.840
<v Speaker 1>and so they didn't. They just were told to clean

0:12:49.920 --> 0:12:51.920
<v Speaker 1>up your mess. And they ended up bringing it all

0:12:51.960 --> 0:12:53.920
<v Speaker 1>the way down to the barge in New York City

0:12:54.040 --> 0:12:56.440
<v Speaker 1>for whatever reason they before they dumped it and so

0:12:56.920 --> 0:12:59.760
<v Speaker 1>Arlo Guthie wrote a song called Alice's Restaurant, which we

0:12:59.800 --> 0:13:02.439
<v Speaker 1>can it was a funny story with great lyrics. Arlot

0:13:02.520 --> 0:13:05.400
<v Speaker 1>lives in that area. Arthur Penn thought it was time

0:13:05.440 --> 0:13:08.640
<v Speaker 1>to make a movie out of this whole scene. And

0:13:08.679 --> 0:13:10.440
<v Speaker 1>then I was I could have been in it, but

0:13:10.480 --> 0:13:13.480
<v Speaker 1>I was like, no, that's not cool. Okay, before the

0:13:13.520 --> 0:13:16.040
<v Speaker 1>song comes out, because I'm growing up, like you know,

0:13:16.720 --> 0:13:19.520
<v Speaker 1>hour and twenty away whatever, I know about it from

0:13:19.520 --> 0:13:21.559
<v Speaker 1>the song, But did you know about it when it happened.

0:13:21.840 --> 0:13:23.640
<v Speaker 1>Oh yeah, it was a big deal. Oh yeah, it

0:13:23.679 --> 0:13:25.520
<v Speaker 1>was a big deal. They were my I kind of

0:13:25.520 --> 0:13:27.840
<v Speaker 1>looked up to all those guys. They were all older

0:13:27.880 --> 0:13:30.320
<v Speaker 1>than me and and I thought they were the coolest,

0:13:30.360 --> 0:13:32.040
<v Speaker 1>and you know, I was. I wanted to be part

0:13:32.040 --> 0:13:34.559
<v Speaker 1>of their gang. But I couldn't drive. Alan was a bicycle,

0:13:34.960 --> 0:13:37.720
<v Speaker 1>and you know, so I was kind of I always

0:13:37.720 --> 0:13:40.120
<v Speaker 1>go to the restaurant because it was like just a

0:13:40.160 --> 0:13:41.800
<v Speaker 1>mile from my house and just get on my bike

0:13:42.400 --> 0:13:45.400
<v Speaker 1>or walked down. It was a food any good killer.

0:13:46.000 --> 0:13:47.880
<v Speaker 1>It was like it was like a real diner, a

0:13:47.880 --> 0:13:50.680
<v Speaker 1>cool diner. In Alice was a great cook, and she

0:13:50.720 --> 0:13:54.600
<v Speaker 1>eventually created Alice Is at Avalok, which was right above

0:13:55.200 --> 0:13:57.760
<v Speaker 1>tang Wood in Lennox on the Hill. She took over

0:13:57.760 --> 0:14:01.880
<v Speaker 1>the whole place became the Coose Restaurant hun And you know, Okay,

0:14:01.920 --> 0:14:05.040
<v Speaker 1>so you're growing up. Your mother is into theater. Did

0:14:05.080 --> 0:14:08.000
<v Speaker 1>she make you take piano lessons? Yeah? What they age?

0:14:08.040 --> 0:14:11.000
<v Speaker 1>Did you start piano lessons? Well, it started when I

0:14:11.040 --> 0:14:13.640
<v Speaker 1>can't remember. She put each one of us on her

0:14:13.720 --> 0:14:16.520
<v Speaker 1>lap and she teach us a song. And each each

0:14:16.559 --> 0:14:18.560
<v Speaker 1>kid who was I had my brother, twin brother, and

0:14:18.600 --> 0:14:21.080
<v Speaker 1>my sister was four years younger. We learned these songs

0:14:21.120 --> 0:14:24.320
<v Speaker 1>and then you know, she was of the back down everybody.

0:14:24.400 --> 0:14:26.160
<v Speaker 1>You know, if you're gonna be musical or be a

0:14:26.160 --> 0:14:30.240
<v Speaker 1>well rounded kid, you studied piano. But one day I'm

0:14:30.600 --> 0:14:33.200
<v Speaker 1>it's like nineteen sixty four and I'm outside playing with

0:14:33.200 --> 0:14:35.520
<v Speaker 1>my brother and my mom screams at us to come

0:14:35.560 --> 0:14:37.600
<v Speaker 1>in the house. I thought I was in trouble, but

0:14:37.680 --> 0:14:40.480
<v Speaker 1>I wasn't. On our black and white r c A

0:14:40.520 --> 0:14:43.600
<v Speaker 1>TV set with the rabbit ears and the tinfoil, you know,

0:14:44.120 --> 0:14:47.080
<v Speaker 1>was he had Salivan show guess Who. And I'm sitting

0:14:47.120 --> 0:14:49.640
<v Speaker 1>there looking at these four guys with long hair. I

0:14:49.680 --> 0:14:52.000
<v Speaker 1>could not I was. I was bouncing off the walls.

0:14:52.200 --> 0:14:53.840
<v Speaker 1>I was. I couldn't believe what I was seeing. It was,

0:14:54.040 --> 0:14:55.920
<v Speaker 1>I said, man who? These guys said, well, those are

0:14:55.920 --> 0:14:59.440
<v Speaker 1>the Beatles. And I was enamored by ringo stars, do

0:14:59.560 --> 0:15:02.920
<v Speaker 1>rum kids, it and the whole thing. And I literally

0:15:03.000 --> 0:15:04.880
<v Speaker 1>naively asked my mom to call him up and get

0:15:04.920 --> 0:15:07.800
<v Speaker 1>me in the band. I had no other I did.

0:15:08.160 --> 0:15:13.560
<v Speaker 1>I didn't know any other way to do it. Well,

0:15:13.600 --> 0:15:17.080
<v Speaker 1>pause briefly and get right back to Kenny Aaronoff, recorded

0:15:17.120 --> 0:15:22.760
<v Speaker 1>live in the tune In Studios in Venice, California. This

0:15:22.800 --> 0:15:25.840
<v Speaker 1>podcast is brought to you by tune In, which brings

0:15:25.880 --> 0:15:31.119
<v Speaker 1>together all the live, sports, music, news and podcasts you love, original,

0:15:31.240 --> 0:15:35.440
<v Speaker 1>live and on demanded audio, all in one place. Go

0:15:35.600 --> 0:15:38.320
<v Speaker 1>to tune in dot com slash left sense to download

0:15:38.360 --> 0:15:45.000
<v Speaker 1>and listen. Now more with legendary drummer Kenny Aaronoff. Were

0:15:45.040 --> 0:15:46.920
<v Speaker 1>you a big fan of music? Were you listening on

0:15:46.960 --> 0:15:51.240
<v Speaker 1>the transistor? The big thing was my parents always had

0:15:51.320 --> 0:15:53.840
<v Speaker 1>jazz and classical music on the turntable, you know, and

0:15:53.880 --> 0:15:57.120
<v Speaker 1>they and show tunes because from New York, you know,

0:15:57.120 --> 0:15:59.640
<v Speaker 1>it was like you just show tunes, you know, and

0:16:00.480 --> 0:16:04.320
<v Speaker 1>musicals and you know, West Side Story and this story

0:16:04.360 --> 0:16:06.320
<v Speaker 1>and that story, you name it. It was there and

0:16:06.360 --> 0:16:08.320
<v Speaker 1>they would take us. I don't know if you knew this,

0:16:08.360 --> 0:16:12.360
<v Speaker 1>but in Lennox they had obviously the bost pontif New Orchestra,

0:16:12.640 --> 0:16:15.520
<v Speaker 1>but they had this thing called Music in and in

0:16:16.000 --> 0:16:20.000
<v Speaker 1>sixties had a huge jazz uh program up there, and

0:16:20.480 --> 0:16:23.400
<v Speaker 1>I would go up there. Uh. It was somebody thought of,

0:16:23.560 --> 0:16:26.160
<v Speaker 1>you know, let's let's create a program out of the city.

0:16:26.640 --> 0:16:28.640
<v Speaker 1>Get out of New York in the summer and go

0:16:28.680 --> 0:16:31.160
<v Speaker 1>to the Booshers, and they created a whole thing. And

0:16:31.200 --> 0:16:34.320
<v Speaker 1>I'd see Dave blue Back every summer, Ray Charles, I'd

0:16:34.360 --> 0:16:39.160
<v Speaker 1>see Charles mingus h. I wish I had seen Coltrane

0:16:39.480 --> 0:16:43.120
<v Speaker 1>and el Fitzgerald, all these great jazz us, And so

0:16:43.520 --> 0:16:46.600
<v Speaker 1>I was right there. Man, Okay, so you see the Beatles.

0:16:46.880 --> 0:16:49.240
<v Speaker 1>How do you get a drum? Kid? I couldn't. I

0:16:49.280 --> 0:16:52.120
<v Speaker 1>couldn't afford it. So my mom goes down to New

0:16:52.200 --> 0:16:58.520
<v Speaker 1>York Manny's of course, gets a snare drum. How don't

0:16:58.520 --> 0:17:03.280
<v Speaker 1>she know to go to Manny's. Somebody told her somebody

0:17:03.400 --> 0:17:05.879
<v Speaker 1>because they were in that whole circle of music and

0:17:05.880 --> 0:17:07.880
<v Speaker 1>and they knew a lot of New Yorkers. This guy,

0:17:07.960 --> 0:17:10.600
<v Speaker 1>Dick Cats, was a jazz pianist who actually lived in

0:17:10.600 --> 0:17:13.480
<v Speaker 1>a house in summer and he was studying at the

0:17:13.560 --> 0:17:17.520
<v Speaker 1>music in he was doing taking workshops and giving workshops.

0:17:17.640 --> 0:17:19.959
<v Speaker 1>Who says Manny's is the place to go because there

0:17:20.000 --> 0:17:23.760
<v Speaker 1>was not really a drum shop there. Definitely wanted maybe

0:17:23.800 --> 0:17:25.680
<v Speaker 1>there was a music store in our area, but not

0:17:26.160 --> 0:17:28.159
<v Speaker 1>not not in stock but that's for sure. It was

0:17:28.200 --> 0:17:30.520
<v Speaker 1>like three times over. So we're down there. My mom

0:17:30.600 --> 0:17:34.359
<v Speaker 1>goes listen to my kid wants to she says, Mrs Aaronoff,

0:17:35.080 --> 0:17:37.200
<v Speaker 1>here's a snare um. You buy this snare at um.

0:17:37.240 --> 0:17:39.639
<v Speaker 1>If he doesn't like it in three months or six months,

0:17:39.760 --> 0:17:41.960
<v Speaker 1>you bring it back and we'll give you your money back.

0:17:42.480 --> 0:17:45.000
<v Speaker 1>Who does that? I don't remember. I just remember going

0:17:45.040 --> 0:17:47.280
<v Speaker 1>to me and he's you know, other than seeing the

0:17:47.320 --> 0:17:51.120
<v Speaker 1>young Gene Cornish there and then all other famous musicians

0:17:51.920 --> 0:17:54.720
<v Speaker 1>as a young kid, they would buy and sell stuff

0:17:54.720 --> 0:17:56.520
<v Speaker 1>so fast you would save your money for a guitar

0:17:56.720 --> 0:17:59.119
<v Speaker 1>and they go, what do you want feder strata caster? Okay,

0:17:59.160 --> 0:18:02.639
<v Speaker 1>bring it down? How about this? How much money you

0:18:02.680 --> 0:18:04.800
<v Speaker 1>got in your wallet? Touch? As they said today, how

0:18:04.840 --> 0:18:06.760
<v Speaker 1>much money you got in your wall? I'm like what

0:18:07.119 --> 0:18:10.040
<v Speaker 1>they would They would push you in and out right exactly, dude.

0:18:10.040 --> 0:18:12.440
<v Speaker 1>It was like ruthless. It's like I was nervous when

0:18:12.480 --> 0:18:15.960
<v Speaker 1>I get in there, absolutely like they do the right thing,

0:18:16.080 --> 0:18:18.280
<v Speaker 1>you know, I know. Okay, So you got the snare

0:18:18.400 --> 0:18:20.520
<v Speaker 1>drum and then I got a symbol and I stood

0:18:20.600 --> 0:18:25.119
<v Speaker 1>up and played. Okay, did you take lessons? Well you

0:18:25.160 --> 0:18:29.159
<v Speaker 1>know that in no, not high school in uh junior

0:18:29.240 --> 0:18:31.960
<v Speaker 1>huh even less than that, like up to grade six times.

0:18:32.040 --> 0:18:35.400
<v Speaker 1>That music teacher that taught everybody ever or there used

0:18:35.440 --> 0:18:38.160
<v Speaker 1>to be. That's what instructor exactly, That's what I called him,

0:18:38.240 --> 0:18:41.320
<v Speaker 1>right right, So band instructor, and he kind of taught

0:18:41.359 --> 0:18:43.800
<v Speaker 1>me how the hold the sticks, and he needed he

0:18:43.920 --> 0:18:46.520
<v Speaker 1>saw that I was in the drums and it was boring. Man.

0:18:46.560 --> 0:18:49.480
<v Speaker 1>I had to plan a pad and learned to read,

0:18:49.560 --> 0:18:51.840
<v Speaker 1>and it was like not fun, was not the Beatles.

0:18:52.480 --> 0:18:55.120
<v Speaker 1>As far from the Beatles as you give me, so

0:18:55.160 --> 0:18:57.160
<v Speaker 1>I would. But but that was the beginning of me,

0:18:57.240 --> 0:19:00.159
<v Speaker 1>you know, trying to read. Trying to to me was

0:19:00.200 --> 0:19:02.359
<v Speaker 1>like and and and and move forward. In the high

0:19:02.359 --> 0:19:04.480
<v Speaker 1>school and junior I had nothing to do with the

0:19:04.520 --> 0:19:07.200
<v Speaker 1>marching band and nothing that wasn't cool. I was playing

0:19:07.200 --> 0:19:11.119
<v Speaker 1>at clubs, playing Hendricks and the Stones and Beatles and

0:19:11.160 --> 0:19:12.879
<v Speaker 1>stuff like that. Why would I want to listen to

0:19:12.880 --> 0:19:16.720
<v Speaker 1>a squeaky clarinet? Okay, so you have your snare, drum

0:19:16.760 --> 0:19:19.400
<v Speaker 1>and a symbol. At what point do you form a band? Well,

0:19:19.480 --> 0:19:21.959
<v Speaker 1>right away it was called the Alley Cats, and uh

0:19:22.000 --> 0:19:24.600
<v Speaker 1>actually have a picture not on me, but and I

0:19:24.720 --> 0:19:28.399
<v Speaker 1>stand up and play. And then for Christmas or Hanuka

0:19:28.440 --> 0:19:31.240
<v Speaker 1>or whatever. Basically you had the band. Did the band

0:19:31.320 --> 0:19:34.200
<v Speaker 1>play any gigs? The first gig. There was a thing

0:19:34.280 --> 0:19:37.800
<v Speaker 1>called the Grange meeting. And what the Grange meeting was

0:19:38.160 --> 0:19:41.159
<v Speaker 1>all the elderly's of stock Bridge would meet once a

0:19:41.240 --> 0:19:43.679
<v Speaker 1>month at the town hall and they discussed how to

0:19:43.760 --> 0:19:48.080
<v Speaker 1>keep the the the looks and the vibe of Stockbridge,

0:19:48.760 --> 0:19:52.880
<v Speaker 1>you know, preserved, you know, to say, you know, they

0:19:52.920 --> 0:19:55.800
<v Speaker 1>go over things and the month, and the mother of

0:19:55.800 --> 0:19:58.359
<v Speaker 1>the piano player, she wasn't too elderly, but she was

0:19:58.440 --> 0:20:01.000
<v Speaker 1>part of the Grange meeting, said wow, would you like

0:20:01.040 --> 0:20:04.000
<v Speaker 1>to have my boy and he and his band come

0:20:04.040 --> 0:20:06.960
<v Speaker 1>down and entertain us. We get a call and we

0:20:07.000 --> 0:20:10.280
<v Speaker 1>think we're up playing mass and square guard parents, you know,

0:20:10.359 --> 0:20:14.280
<v Speaker 1>throw my Snares symbol in the in the station wag

0:20:14.320 --> 0:20:16.879
<v Speaker 1>and we go down. We set up and to me

0:20:16.960 --> 0:20:19.159
<v Speaker 1>it was like I was on the Sulvan Show. I

0:20:19.200 --> 0:20:21.400
<v Speaker 1>mean it was like and we're playing, you know, all

0:20:21.400 --> 0:20:23.639
<v Speaker 1>these Beatles songs and a couple of Beach Boys songs.

0:20:23.920 --> 0:20:27.320
<v Speaker 1>We get done. It was maybe five songs and everyone's

0:20:27.359 --> 0:20:29.840
<v Speaker 1>up dancing and all going like that's what they'd call

0:20:29.880 --> 0:20:33.440
<v Speaker 1>a rock band, Like it was new, that's that's that's

0:20:33.520 --> 0:20:35.920
<v Speaker 1>what the Beatles do. You know, it was this new thing.

0:20:36.440 --> 0:20:38.879
<v Speaker 1>And we get done, and I'm shutting my eyes and

0:20:38.920 --> 0:20:42.320
<v Speaker 1>picturing the whole thing. I'm in complete love and flipped

0:20:42.320 --> 0:20:44.160
<v Speaker 1>out about this. And they said, do you know any

0:20:44.200 --> 0:20:46.480
<v Speaker 1>more songs? And we said no, So we played the

0:20:46.520 --> 0:20:48.800
<v Speaker 1>same five again. Wow. Wow, I thought the story was

0:20:48.800 --> 0:20:51.600
<v Speaker 1>gonna go opposite. You were playing for the town elders

0:20:51.600 --> 0:20:53.480
<v Speaker 1>and they were gonna say springtime for Hitler and get

0:20:53.480 --> 0:20:58.320
<v Speaker 1>all the sting. So okay, So that was the beginning.

0:20:58.440 --> 0:21:00.879
<v Speaker 1>So when do you get a full drum kid? Well,

0:21:01.000 --> 0:21:04.040
<v Speaker 1>the next Christmas hun a good time, you know, I

0:21:04.040 --> 0:21:05.960
<v Speaker 1>got a base from next birthday. I got a Floria

0:21:06.040 --> 0:21:08.240
<v Speaker 1>toime next and I saved up my money for the

0:21:08.320 --> 0:21:10.720
<v Speaker 1>rack time. I just put it together slowly but sure.

0:21:10.760 --> 0:21:12.919
<v Speaker 1>And I still have that kid and the funny stories

0:21:12.960 --> 0:21:16.680
<v Speaker 1>that snared him. Um. When I got older, it was

0:21:16.720 --> 0:21:19.360
<v Speaker 1>a kind of it only has six lugs, and when

0:21:19.359 --> 0:21:23.040
<v Speaker 1>you only have six lugs, the standard is ten maybe eight.

0:21:23.480 --> 0:21:26.359
<v Speaker 1>It was six because the less lugs and more ringky

0:21:26.400 --> 0:21:29.520
<v Speaker 1>the drummers. For jazz drummers, that's you don't play loud

0:21:29.560 --> 0:21:32.199
<v Speaker 1>and you want lots of tone and dynamics and you

0:21:32.240 --> 0:21:34.919
<v Speaker 1>control every with your hands. So that was interesting at

0:21:34.920 --> 0:21:37.000
<v Speaker 1>a six lug and I realized it wasn't really good

0:21:37.080 --> 0:21:39.960
<v Speaker 1>rock and roll drum, so I gave it to some

0:21:40.080 --> 0:21:43.439
<v Speaker 1>kid for a couple of bags of homegrown pot. Now

0:21:43.600 --> 0:21:48.840
<v Speaker 1>check this out. Whenever became famous, that kid, Carl Landa

0:21:49.000 --> 0:21:51.760
<v Speaker 1>emails me and goes, Kenny, I was about to sell

0:21:51.800 --> 0:21:53.680
<v Speaker 1>you snare them on eBay? Would you like to buy

0:21:53.680 --> 0:21:55.080
<v Speaker 1>it back? So when I call up a guy who

0:21:55.160 --> 0:21:58.040
<v Speaker 1>knows about buying and selling old drums, just it's probably

0:21:58.040 --> 0:22:00.560
<v Speaker 1>worth four to six hundred dollars. So I bought the

0:22:00.600 --> 0:22:03.800
<v Speaker 1>thing back for four dollars. Wow. How many drum sets

0:22:03.800 --> 0:22:06.400
<v Speaker 1>do you have? Well, I've had. I've been up as

0:22:06.480 --> 0:22:09.159
<v Speaker 1>much as fourteen. But I'm starting to get rid of

0:22:09.200 --> 0:22:11.320
<v Speaker 1>them because it just takes up too much space. They'm

0:22:11.359 --> 0:22:15.040
<v Speaker 1>not going to use them. And your original drums were Ludwig,

0:22:15.680 --> 0:22:18.520
<v Speaker 1>just like Ringo tweeted the other day that it's fifty

0:22:18.520 --> 0:22:21.200
<v Speaker 1>five years since he got his first Ludwig. Kid, And

0:22:21.240 --> 0:22:23.520
<v Speaker 1>what do you play now? Tom? I've been with Tom

0:22:23.520 --> 0:22:26.760
<v Speaker 1>of thirty five years. What's the real difference between drums?

0:22:27.440 --> 0:22:31.359
<v Speaker 1>Definitely the manufacturing if if first of all, if any

0:22:31.400 --> 0:22:34.160
<v Speaker 1>company can't make a good sounding drum now, they shouldn't

0:22:34.160 --> 0:22:36.920
<v Speaker 1>be in the business. It's not rocket science anymore. It

0:22:37.320 --> 0:22:41.119
<v Speaker 1>is a formula. But you know, um, the thing I

0:22:41.160 --> 0:22:43.919
<v Speaker 1>like about tomah whose they came on strong. It was

0:22:43.920 --> 0:22:48.000
<v Speaker 1>a family run business and out of Japan, and their

0:22:48.119 --> 0:22:53.199
<v Speaker 1>hardware was extraordinary. They're very creative and innovative company. And

0:22:53.240 --> 0:22:56.159
<v Speaker 1>they they they're a little in common and they and

0:22:56.240 --> 0:22:58.280
<v Speaker 1>I was blown away. And then it was Billy come

0:22:58.400 --> 0:23:03.240
<v Speaker 1>from mahavishn Orchestra, Alvin Jones, Uh, all these different cool

0:23:03.320 --> 0:23:07.920
<v Speaker 1>drummers literally de Vito from Billy Joel. Uh didn't be.

0:23:08.280 --> 0:23:11.560
<v Speaker 1>I really dug their roster and then I played their

0:23:11.600 --> 0:23:15.680
<v Speaker 1>equipment and it was unbelievable. It just sounded great. Now

0:23:16.640 --> 0:23:21.120
<v Speaker 1>almost every company has a great sounding drum. But the consistency,

0:23:21.760 --> 0:23:24.720
<v Speaker 1>they've never let me down. At any level of drum,

0:23:24.800 --> 0:23:28.960
<v Speaker 1>whether it's for the beginner, the quality is extremely high. Uh.

0:23:29.000 --> 0:23:31.199
<v Speaker 1>And they believe you know you don't you know, you

0:23:31.240 --> 0:23:35.560
<v Speaker 1>don't be cheap in any level on anything. And that's

0:23:35.600 --> 0:23:38.080
<v Speaker 1>how you get somebody to fall in love with your product.

0:23:38.320 --> 0:23:41.240
<v Speaker 1>And as they graduate up to the expensive kids, you

0:23:41.280 --> 0:23:45.080
<v Speaker 1>know that they're committed. And uh, yeah, I could leave time.

0:23:45.359 --> 0:23:47.359
<v Speaker 1>I remember a lot of companies tried to grab him

0:23:47.359 --> 0:23:49.280
<v Speaker 1>when I was big like Pearl. They I was a

0:23:49.400 --> 0:23:52.880
<v Speaker 1>Nashville recording a lot down there and the Pearl which

0:23:52.960 --> 0:23:55.399
<v Speaker 1>headquarters there. They brought me in they wanted they were

0:23:55.400 --> 0:23:58.119
<v Speaker 1>trying to offer me to switch, and I said, look it,

0:23:58.160 --> 0:24:02.560
<v Speaker 1>unless you offer me something that Tom has already given me,

0:24:02.840 --> 0:24:05.000
<v Speaker 1>I can't. I'm not gonna leave a company for a

0:24:05.080 --> 0:24:08.600
<v Speaker 1>lateral move. It's gotta be something. What is there? I mean,

0:24:09.119 --> 0:24:12.000
<v Speaker 1>more advertising now I get I'm I'm I get plenty

0:24:12.040 --> 0:24:15.800
<v Speaker 1>of advertising, more drum clinics and maybe guaranteed, you know,

0:24:15.880 --> 0:24:17.439
<v Speaker 1>but I'm on tour all the time. You know, it

0:24:17.480 --> 0:24:23.480
<v Speaker 1>didn't make sense. Okay, Um, I'm just thinking a question

0:24:23.520 --> 0:24:27.159
<v Speaker 1>about the drums that fascinated me, but it eludes me

0:24:27.240 --> 0:24:30.400
<v Speaker 1>right this very second. But ultimately you get hooked in

0:24:30.640 --> 0:24:34.080
<v Speaker 1>with Tanglewood and you go to Boston to be taught drums.

0:24:34.119 --> 0:24:36.600
<v Speaker 1>Why don't you tell my audience about that? Well, when

0:24:36.600 --> 0:24:38.320
<v Speaker 1>I was a kid, there was no school rock and

0:24:38.320 --> 0:24:40.560
<v Speaker 1>in our family everybody went to college and I was

0:24:40.600 --> 0:24:44.080
<v Speaker 1>a given. Um. You know, post World War Two. You know,

0:24:44.640 --> 0:24:48.480
<v Speaker 1>my dad, my grandparents came from Russia. Education education. My

0:24:48.560 --> 0:24:51.520
<v Speaker 1>dad gets an education. But before you can even really

0:24:51.520 --> 0:24:55.840
<v Speaker 1>get starready, flying bombers over Berlin, bombing the ship out

0:24:55.880 --> 0:24:59.480
<v Speaker 1>of Hitler at last fifty And when did you find

0:24:59.480 --> 0:25:02.520
<v Speaker 1>out about? Uh? Pretty young, because he had these books

0:25:02.520 --> 0:25:05.120
<v Speaker 1>where he was he was the navigator and bomba deere.

0:25:05.560 --> 0:25:10.480
<v Speaker 1>I had pictures of like the pictures that scrap books of,

0:25:11.160 --> 0:25:14.240
<v Speaker 1>you know, Bombay's opening and bombs going down and what

0:25:14.280 --> 0:25:17.119
<v Speaker 1>do you talked about it? Not really, you know, but

0:25:17.119 --> 0:25:19.359
<v Speaker 1>but I I still I have his suit, his his

0:25:19.560 --> 0:25:22.840
<v Speaker 1>uh whatever he was, you know, I have the Sudi

0:25:22.880 --> 0:25:27.240
<v Speaker 1>war um and uh, my my brother has all his

0:25:27.880 --> 0:25:31.919
<v Speaker 1>all those pictures and you know, and my brother smartly.

0:25:32.920 --> 0:25:35.560
<v Speaker 1>They were ten people in these these big, huge bombers,

0:25:36.320 --> 0:25:39.680
<v Speaker 1>and they started that the whole Spielberg type of thing.

0:25:39.880 --> 0:25:42.399
<v Speaker 1>They would get together every year. They still probably are,

0:25:42.440 --> 0:25:44.560
<v Speaker 1>but you know, there's only a few left. And there

0:25:44.600 --> 0:25:48.800
<v Speaker 1>were six people in that plane of his. That's out

0:25:48.840 --> 0:25:51.119
<v Speaker 1>of the ten that were still alive when they started

0:25:51.160 --> 0:25:53.920
<v Speaker 1>doing this. Then there was four and the last three,

0:25:54.000 --> 0:25:57.879
<v Speaker 1>ironically was pilot, co pilot and navigator my dad. And

0:25:57.880 --> 0:26:00.480
<v Speaker 1>then we were all the guys up front last week.

0:26:00.560 --> 0:26:03.120
<v Speaker 1>So my brother says, I gotta get this on film.

0:26:03.160 --> 0:26:07.480
<v Speaker 1>So he goes and he does seventeen CDs or DVDs

0:26:07.520 --> 0:26:11.080
<v Speaker 1>worth of filming interviewing these guys and my brother's psychoanas.

0:26:11.160 --> 0:26:14.879
<v Speaker 1>So he came at it from an interesting standpoint. The

0:26:15.080 --> 0:26:17.119
<v Speaker 1>night they get down there. The next day is that

0:26:17.480 --> 0:26:21.600
<v Speaker 1>like the two the weekends UH convention, my dad almost dies.

0:26:22.200 --> 0:26:26.440
<v Speaker 1>He has goes into spasms and they have to bring

0:26:26.600 --> 0:26:30.600
<v Speaker 1>the hospital and eventually they put a a pacemaker in

0:26:30.640 --> 0:26:32.720
<v Speaker 1>the defiberator. I think he may have had the pacemaker,

0:26:32.880 --> 0:26:36.359
<v Speaker 1>but he needed a defibrillator that would have he He lived,

0:26:36.400 --> 0:26:40.960
<v Speaker 1>but he could have died. And my dad said, no, no, no, no,

0:26:41.040 --> 0:26:44.439
<v Speaker 1>film filmed these guys and will film me later. And

0:26:44.440 --> 0:26:49.399
<v Speaker 1>that's what he did. So um amazing, I mean the stories,

0:26:49.400 --> 0:26:52.200
<v Speaker 1>I mean from their perspective. I'm almost dying. My dad

0:26:52.240 --> 0:26:56.520
<v Speaker 1>said he saw more planes go down. You just get

0:26:56.520 --> 0:26:58.560
<v Speaker 1>in formation and there'll be nine of them. I think

0:26:58.880 --> 0:27:01.960
<v Speaker 1>you take off, uh. And these planes were put together

0:27:02.000 --> 0:27:04.520
<v Speaker 1>with spit and glue. They they were they was the first.

0:27:04.520 --> 0:27:06.360
<v Speaker 1>That was the beginning of the air force and they

0:27:06.480 --> 0:27:09.720
<v Speaker 1>but they had to do it to to beat the

0:27:09.760 --> 0:27:11.760
<v Speaker 1>crap out of Hitler because he was taking over the

0:27:11.760 --> 0:27:15.320
<v Speaker 1>whole world. So um, they get in formation and and

0:27:15.359 --> 0:27:20.040
<v Speaker 1>the first plane would send off at a colored flare

0:27:20.080 --> 0:27:21.960
<v Speaker 1>of some sort, so you knew you had to be

0:27:22.040 --> 0:27:24.800
<v Speaker 1>with the squadron of yellow. And they get all these

0:27:24.880 --> 0:27:27.399
<v Speaker 1>nine planes up and they get in formation, and my

0:27:27.440 --> 0:27:30.399
<v Speaker 1>brother asked the pilot, you know who might maybe was

0:27:30.640 --> 0:27:34.840
<v Speaker 1>twenty at that time flying, how did you I mean

0:27:34.920 --> 0:27:37.280
<v Speaker 1>you you know, the flag was coming up from below

0:27:38.600 --> 0:27:40.560
<v Speaker 1>and they were blowing out planes out of the sky.

0:27:40.680 --> 0:27:43.119
<v Speaker 1>You see your buddies plane go. You see. It was

0:27:43.160 --> 0:27:47.440
<v Speaker 1>just absolute hell and explosions and planes were getting beat up.

0:27:47.880 --> 0:27:50.080
<v Speaker 1>And he said, how did you stay focused? He says, Mo,

0:27:50.280 --> 0:27:52.600
<v Speaker 1>My job was. I just looked at the coordinates I

0:27:52.640 --> 0:27:55.239
<v Speaker 1>had to go. I just ignored life or death. This

0:27:55.280 --> 0:27:57.360
<v Speaker 1>is where I have to go. That's my job. Do it.

0:27:57.880 --> 0:28:00.520
<v Speaker 1>And they survived a couple of times they almost had

0:28:00.560 --> 0:28:02.960
<v Speaker 1>they were running out of gas and they are One

0:28:03.000 --> 0:28:06.000
<v Speaker 1>time the bomber deer the bombay opened up and all

0:28:06.080 --> 0:28:11.920
<v Speaker 1>my dad's navigation plans went. You know how he navigated

0:28:12.000 --> 0:28:17.639
<v Speaker 1>him stars? Wow, the stars. He had to learn about

0:28:17.720 --> 0:28:20.119
<v Speaker 1>the stars in case that happened. Thank god they were

0:28:20.240 --> 0:28:22.840
<v Speaker 1>high enough that you can see. And then they had

0:28:22.880 --> 0:28:27.080
<v Speaker 1>to you know, he's using protractors and slide rules. I

0:28:27.160 --> 0:28:29.639
<v Speaker 1>remember high school chemistry. I gave up science after the

0:28:29.640 --> 0:28:34.479
<v Speaker 1>slide rules. You know they have calculators now. So anyway,

0:28:34.480 --> 0:28:36.840
<v Speaker 1>but you end up going to Boston for so what

0:28:36.880 --> 0:28:41.160
<v Speaker 1>happened was, Yeah, in high school, I saw my buddy

0:28:41.200 --> 0:28:44.320
<v Speaker 1>Tommy Gibson was getting better on drums. Uh you know

0:28:44.360 --> 0:28:46.080
<v Speaker 1>Bill Gibson's son, and I was like, God, what are

0:28:46.120 --> 0:28:48.520
<v Speaker 1>you doing? He said, Oh, I'm studying with the percussions

0:28:48.600 --> 0:28:51.479
<v Speaker 1>from the Boston Symphony Orchestra. Are depressed when I want

0:28:51.520 --> 0:28:54.400
<v Speaker 1>to do that. So I go down in the summer,

0:28:54.600 --> 0:28:58.160
<v Speaker 1>you know they're there, but in the winter he's in Boston.

0:28:58.240 --> 0:29:00.640
<v Speaker 1>So I get a bus, grahound bus to go down there,

0:29:01.040 --> 0:29:04.480
<v Speaker 1>and I go to Arthur's house. He says, what's your name?

0:29:04.680 --> 0:29:09.840
<v Speaker 1>Very menacing, slightly whiplash style, you know, like kid, what's

0:29:09.840 --> 0:29:13.280
<v Speaker 1>your name? I said, Kenny? Kenny? What Kenny arnofs? What

0:29:13.440 --> 0:29:16.920
<v Speaker 1>have you prepared for me today? I'm like, what Tommy

0:29:16.960 --> 0:29:22.480
<v Speaker 1>didn't tell me about preparing? He said, do you play marimbus? Is? No, Well,

0:29:22.560 --> 0:29:24.480
<v Speaker 1>if you prepared a timpany piece for me? Said, I've

0:29:24.480 --> 0:29:27.560
<v Speaker 1>never played timpany and I'm just getting smaller and small.

0:29:28.040 --> 0:29:30.240
<v Speaker 1>He find says, what do you place I played drum

0:29:30.280 --> 0:29:33.040
<v Speaker 1>sets as well. Let's come down stairs and I'll have

0:29:33.120 --> 0:29:35.440
<v Speaker 1>you play some drum set. So he puts on spinning

0:29:35.440 --> 0:29:37.680
<v Speaker 1>wheels by blood, sweat and tears. In thirty seconds, he

0:29:37.720 --> 0:29:40.160
<v Speaker 1>pulls me off the chair and he points to a

0:29:40.240 --> 0:29:44.760
<v Speaker 1>rubber practice pad. That was the definitive moment where it's

0:29:44.800 --> 0:29:49.120
<v Speaker 1>like I don't need this, but something told me inside

0:29:49.160 --> 0:29:51.920
<v Speaker 1>me that I do. And that was the beginning of

0:29:51.960 --> 0:29:56.080
<v Speaker 1>some severe discipline and you know the winner. I didn't

0:29:56.080 --> 0:30:00.720
<v Speaker 1>practice a lox. There was a lesson every month, but

0:30:00.800 --> 0:30:03.560
<v Speaker 1>in the summer when he was gonna be there every

0:30:03.600 --> 0:30:06.240
<v Speaker 1>week and he's yelling at you and screaming at you,

0:30:06.640 --> 0:30:08.560
<v Speaker 1>I started practice. So then when I was starting to

0:30:08.600 --> 0:30:10.239
<v Speaker 1>go to college, there was no School of Rocks, so

0:30:10.320 --> 0:30:13.720
<v Speaker 1>I started auditioning, you know Western mass you know college

0:30:13.840 --> 0:30:15.920
<v Speaker 1>so I could be near home. And I get into

0:30:16.000 --> 0:30:19.760
<v Speaker 1>University of Massachusetts, and I had I prepared something on

0:30:20.720 --> 0:30:23.320
<v Speaker 1>vibes because my dad got a set of vibes for

0:30:23.360 --> 0:30:25.560
<v Speaker 1>me second hand at Carol's Music Shop in New York

0:30:25.720 --> 0:30:29.400
<v Speaker 1>for like three hundred bucks. Had vibes and uh My,

0:30:29.640 --> 0:30:33.160
<v Speaker 1>Tommy had timpany. At practiced on timpany and I barely

0:30:33.200 --> 0:30:38.200
<v Speaker 1>got into u mass and that's the fear of of

0:30:38.200 --> 0:30:42.560
<v Speaker 1>of failure. The day I graduated high school, I started

0:30:42.560 --> 0:30:45.240
<v Speaker 1>practicing eight hours a day, seven days a week because

0:30:45.280 --> 0:30:47.640
<v Speaker 1>I was terrified to fail. And I was terrified I

0:30:47.640 --> 0:30:49.800
<v Speaker 1>was gonna be way behind. And I was I got

0:30:49.800 --> 0:30:52.240
<v Speaker 1>to school. All these kids that were in marching band

0:30:52.320 --> 0:30:55.400
<v Speaker 1>and symphony orchestra that reading skills were better, they could

0:30:55.440 --> 0:30:58.680
<v Speaker 1>follow conductors. I was a rocker, you know, and so

0:30:59.200 --> 0:31:03.400
<v Speaker 1>I was terrified and the fear of failure. I would

0:31:03.400 --> 0:31:05.360
<v Speaker 1>practice to they throw me out of the building every night.

0:31:06.040 --> 0:31:11.720
<v Speaker 1>And it gets better because I'm starting to get better,

0:31:11.880 --> 0:31:13.840
<v Speaker 1>you know. And to teach you the reason why he

0:31:14.200 --> 0:31:17.120
<v Speaker 1>actually with this. If all happened, if your parents had

0:31:17.120 --> 0:31:19.640
<v Speaker 1>not insisted you go to college, Jess, I don't know

0:31:19.680 --> 0:31:21.480
<v Speaker 1>what I would have done. Probably I would have gone

0:31:21.520 --> 0:31:24.360
<v Speaker 1>anywhere because everybody was doing that. Everybody was going to college,

0:31:24.680 --> 0:31:27.160
<v Speaker 1>he said. But it wasn't an issue of saying, funk this.

0:31:27.280 --> 0:31:29.080
<v Speaker 1>I just want to play in a rock band. No,

0:31:29.200 --> 0:31:32.200
<v Speaker 1>because I had no business model. Living in stock which

0:31:32.280 --> 0:31:34.560
<v Speaker 1>we didn't have. There was nobody who had done it.

0:31:34.600 --> 0:31:37.200
<v Speaker 1>If I lived in New York, maybe I wouldn't done it,

0:31:37.280 --> 0:31:39.840
<v Speaker 1>but there was no business. Mom. I was like, how

0:31:39.880 --> 0:31:42.040
<v Speaker 1>do you do this? I realized that my mom wasn't

0:31:42.080 --> 0:31:44.520
<v Speaker 1>gonna get in touch of the Beatles, you know, I

0:31:44.600 --> 0:31:47.120
<v Speaker 1>realized I was I had no business. Okay. And when

0:31:47.120 --> 0:31:51.120
<v Speaker 1>you're going to college with what goal? Just to get

0:31:51.120 --> 0:31:53.040
<v Speaker 1>a degree or to then play in a rock band

0:31:53.120 --> 0:31:55.920
<v Speaker 1>or whatever, good good, good question. My brain was saying,

0:31:55.920 --> 0:31:59.600
<v Speaker 1>you get into a symphony orchestra. My heart was saying

0:31:59.720 --> 0:32:02.000
<v Speaker 1>in a rock band. And I always was playing in

0:32:02.080 --> 0:32:04.600
<v Speaker 1>rock bands, jazz bands, R and B bands, any band,

0:32:04.640 --> 0:32:07.360
<v Speaker 1>any music was fun. I just did whatever anybody. I

0:32:07.440 --> 0:32:09.720
<v Speaker 1>wasn't selective. I just as long as I was playing,

0:32:09.760 --> 0:32:11.800
<v Speaker 1>I was having a blast. And how did you slept

0:32:11.800 --> 0:32:14.200
<v Speaker 1>the drums around all the time? Not an issue? I

0:32:14.240 --> 0:32:16.960
<v Speaker 1>don't care. Somebody had a car. I didn't have a

0:32:16.960 --> 0:32:19.520
<v Speaker 1>car until I got out of college. Somebody always had

0:32:19.560 --> 0:32:22.120
<v Speaker 1>a car or something. We picked them up. They wanted me,

0:32:22.200 --> 0:32:24.840
<v Speaker 1>They get me in the drums. Okay. So you're practicing

0:32:24.880 --> 0:32:27.640
<v Speaker 1>eight hours a day at mass, the eight hours a

0:32:27.680 --> 0:32:29.360
<v Speaker 1>day at home, they getting new mass, and then you

0:32:29.440 --> 0:32:32.720
<v Speaker 1>got full load of academics and music. And so I

0:32:32.800 --> 0:32:35.520
<v Speaker 1>practiced the wee hours a night. And there was his

0:32:35.600 --> 0:32:38.560
<v Speaker 1>hot cellis is how does a cellis can be in orchestra?

0:32:39.080 --> 0:32:41.959
<v Speaker 1>And uh, she I heard going to Aspen this summer.

0:32:42.320 --> 0:32:44.400
<v Speaker 1>She was a junior and what's asking? So oh that,

0:32:44.560 --> 0:32:48.600
<v Speaker 1>but Juilliard has this incredible program at Aspen. So I

0:32:48.640 --> 0:32:51.800
<v Speaker 1>find out, I get the papers and I audition and

0:32:51.920 --> 0:32:55.000
<v Speaker 1>uh um, I don't hear from them. And it's the

0:32:55.080 --> 0:32:59.600
<v Speaker 1>end of the the the the school year, and I

0:32:59.600 --> 0:33:01.640
<v Speaker 1>I'm to go home. I got my dad station wag

0:33:01.680 --> 0:33:03.800
<v Speaker 1>and I got all my stuff and I got I'm

0:33:03.800 --> 0:33:06.040
<v Speaker 1>gonna study with Arthur Press again, and I got our

0:33:06.120 --> 0:33:08.600
<v Speaker 1>Almond Brothers type band and uh and so I'm a

0:33:08.600 --> 0:33:11.040
<v Speaker 1>head about two miles out of town. I go, oh, kid,

0:33:11.120 --> 0:33:13.800
<v Speaker 1>I forgot my mail. I go back and went I said,

0:33:13.800 --> 0:33:15.880
<v Speaker 1>it looks like I gotta check, and I open it up.

0:33:15.880 --> 0:33:18.840
<v Speaker 1>It's you are accepted to AskMen. I think I was

0:33:18.880 --> 0:33:22.280
<v Speaker 1>an alternate because there's two weeks before, so I go there.

0:33:22.320 --> 0:33:26.640
<v Speaker 1>I am the absolute, by far, the worst percussious, Sarah.

0:33:26.720 --> 0:33:29.760
<v Speaker 1>These guys were playing remember and Timpani and the Juili

0:33:29.800 --> 0:33:32.520
<v Speaker 1>Yard Youth Orchestra when they were in diapers, and they

0:33:32.520 --> 0:33:35.880
<v Speaker 1>were a monster. Now the teacher there was this incredible,

0:33:35.960 --> 0:33:39.920
<v Speaker 1>brilliant man George Gabor, who taught at Indiana University, number

0:33:39.920 --> 0:33:43.200
<v Speaker 1>one school and music in the country, and um, I'm

0:33:43.240 --> 0:33:46.080
<v Speaker 1>blown away by this guy's head. You know, his whole

0:33:46.120 --> 0:33:50.360
<v Speaker 1>thought process, his whole he was way deeper than just

0:33:50.440 --> 0:33:53.480
<v Speaker 1>playing percussion. So I said, I want to I want

0:33:53.480 --> 0:33:56.160
<v Speaker 1>to go to Indiana University study with you. He said,

0:33:56.600 --> 0:33:58.480
<v Speaker 1>come back in January and audition. I went to No.

0:33:58.960 --> 0:34:02.480
<v Speaker 1>One audition. Now demanded an audition. He had to find

0:34:02.480 --> 0:34:06.360
<v Speaker 1>a faculty from four different departments from Indiana. That's the rule.

0:34:06.400 --> 0:34:10.560
<v Speaker 1>You have to audition for four different faculty head department

0:34:10.560 --> 0:34:13.120
<v Speaker 1>heads to get in so that it's not one sided.

0:34:13.800 --> 0:34:15.839
<v Speaker 1>And they happened to be up there. They were all

0:34:15.920 --> 0:34:18.640
<v Speaker 1>part of the asaid a lot of Indiana professors would teacher.

0:34:19.040 --> 0:34:22.879
<v Speaker 1>I get in and for four years I busted my asset. Okay,

0:34:22.880 --> 0:34:24.600
<v Speaker 1>So how many years have you done at you mass?

0:34:24.600 --> 0:34:29.440
<v Speaker 1>One year? You mass forward Indiana and every spring I

0:34:29.440 --> 0:34:32.040
<v Speaker 1>would audition to get into tang Wood, which is in

0:34:32.120 --> 0:34:34.400
<v Speaker 1>my backyard, which is the number one student orchestra in

0:34:34.400 --> 0:34:37.080
<v Speaker 1>the country, and it's run by the Boston Symbiy Orchestra.

0:34:37.200 --> 0:34:39.239
<v Speaker 1>And the cool thing about being an orchestra you get

0:34:39.280 --> 0:34:43.120
<v Speaker 1>conducted by all the conductors that conduct the Boston Symphony Orchestra.

0:34:43.560 --> 0:34:46.880
<v Speaker 1>So I auditioned one year for Vic Firth my you

0:34:46.880 --> 0:34:51.799
<v Speaker 1>know the timperest and uh I strike out miserably. Next

0:34:51.920 --> 0:34:53.759
<v Speaker 1>year I come back. Did you have stage fight or

0:34:53.800 --> 0:34:57.200
<v Speaker 1>you were good enough both? I was nervous man, and

0:34:57.520 --> 0:35:00.680
<v Speaker 1>end up doing that summer uh starry with Arthur Press

0:35:00.760 --> 0:35:04.840
<v Speaker 1>and had my own fusion band. I never ever stopped practicing, massively,

0:35:04.880 --> 0:35:08.399
<v Speaker 1>practicing and um. And then what what is it when

0:35:08.400 --> 0:35:10.560
<v Speaker 1>a drummer practice is what do they do well on?

0:35:10.760 --> 0:35:13.600
<v Speaker 1>Remember there were scales, and they're there a tunes and

0:35:13.680 --> 0:35:17.440
<v Speaker 1>melodies and and arpeggios and technical things. Then I do

0:35:17.560 --> 0:35:20.399
<v Speaker 1>that for like maybe two hours or two or three hours,

0:35:20.400 --> 0:35:23.799
<v Speaker 1>and over the timpany the same thing technical exercises. Then

0:35:23.840 --> 0:35:27.839
<v Speaker 1>you're learning uh A tunes and melodies that have been

0:35:27.840 --> 0:35:31.160
<v Speaker 1>written specifically for the timpany tuning, and then you play

0:35:31.200 --> 0:35:35.400
<v Speaker 1>along with symphony uh you know, um, symphonies, you know

0:35:35.440 --> 0:35:37.480
<v Speaker 1>by you know Beetho. And I remember one of the

0:35:37.520 --> 0:35:41.000
<v Speaker 1>questions that alluded me when they say tuning drums, how

0:35:41.000 --> 0:35:44.040
<v Speaker 1>do you tune a drum? Well, the the whole concept

0:35:44.080 --> 0:35:47.120
<v Speaker 1>is that the shell on top and bottom has where

0:35:47.120 --> 0:35:48.960
<v Speaker 1>the shell ends as a bearing edge, and you can

0:35:49.360 --> 0:35:52.920
<v Speaker 1>sharpen those edges at a forty five or sixty degree angle.

0:35:53.239 --> 0:35:56.840
<v Speaker 1>The sharper, the more aggressive the drum sounds. The rounder

0:35:57.320 --> 0:36:00.000
<v Speaker 1>the edge, the more you have a bigger tuning range

0:36:00.239 --> 0:36:02.560
<v Speaker 1>and it's a little bit warmer sounding. Then you have

0:36:02.640 --> 0:36:05.640
<v Speaker 1>a head that you put on, and that's a whole variable.

0:36:05.719 --> 0:36:11.040
<v Speaker 1>Then there's this uh, steel or metal hoop that goes

0:36:11.480 --> 0:36:14.480
<v Speaker 1>over the head that's just a little bit wider than

0:36:14.520 --> 0:36:17.520
<v Speaker 1>the shell. And in that hoop there might be eight

0:36:18.160 --> 0:36:20.759
<v Speaker 1>six on a tom maybe six lugs snared them eight

0:36:20.880 --> 0:36:23.759
<v Speaker 1>or ten lugs. And lugs are just like screws, and

0:36:24.200 --> 0:36:27.400
<v Speaker 1>on the shell are these little casings that will receive

0:36:27.440 --> 0:36:30.200
<v Speaker 1>the screws. And you're basically the concept. You're trying to

0:36:30.239 --> 0:36:34.000
<v Speaker 1>bring this hoop down on top of the head, tighten

0:36:34.400 --> 0:36:38.680
<v Speaker 1>that head down on that bearing edge evenly. When you

0:36:38.719 --> 0:36:41.480
<v Speaker 1>do it evenly, you get your shooting to get one tone,

0:36:42.000 --> 0:36:47.319
<v Speaker 1>one bing up by like that you want boom. So

0:36:47.480 --> 0:36:51.480
<v Speaker 1>what I do is I tuned the bottom head first fingertight,

0:36:51.560 --> 0:36:55.240
<v Speaker 1>get the lugs down, then I start turning equal turns,

0:36:55.280 --> 0:36:57.960
<v Speaker 1>like maybe with a tuning a drum key half turn,

0:36:58.040 --> 0:37:00.560
<v Speaker 1>half turn all the way around, half turn, half turn

0:37:00.600 --> 0:37:02.880
<v Speaker 1>all the way around, and listen to feel how the tightness.

0:37:03.040 --> 0:37:06.520
<v Speaker 1>Maybe do a quarter turn quarter turn stop there. Then

0:37:06.520 --> 0:37:09.520
<v Speaker 1>I put the top head on and I start tuning

0:37:09.560 --> 0:37:11.360
<v Speaker 1>it up, and I'm using my ears. I've got this

0:37:11.480 --> 0:37:13.960
<v Speaker 1>technical ability, but I'm really using my ears now at

0:37:13.960 --> 0:37:16.400
<v Speaker 1>this point, when does it start to sound good? I'd

0:37:16.440 --> 0:37:18.960
<v Speaker 1>like to have both the top and bottom head the

0:37:19.040 --> 0:37:21.520
<v Speaker 1>same pitch, because then the drum sounds like one note,

0:37:21.840 --> 0:37:26.520
<v Speaker 1>don't and each drum does have a sweet spot where

0:37:27.120 --> 0:37:30.360
<v Speaker 1>it sounds the best. Let's say Thomas shipped you a

0:37:30.440 --> 0:37:33.200
<v Speaker 1>drum kit. How long would it take you to get it?

0:37:33.320 --> 0:37:36.400
<v Speaker 1>Twee you're satisfied. Oh, I could probably get it pretty

0:37:36.400 --> 0:37:38.760
<v Speaker 1>good in thirty minutes. But I'm like a speed demon

0:37:38.800 --> 0:37:41.200
<v Speaker 1>on it. Uh. You know when I do these drums

0:37:41.200 --> 0:37:44.120
<v Speaker 1>seminars um and they have a new kid, I tell

0:37:44.160 --> 0:37:47.160
<v Speaker 1>them ahead of time, get the heads on, get it

0:37:47.400 --> 0:37:49.319
<v Speaker 1>tuned as good as you can, and I come in

0:37:49.360 --> 0:37:52.439
<v Speaker 1>and tweak it real fast. I'll check the bottom head

0:37:52.440 --> 0:37:54.120
<v Speaker 1>first of Melia and go like, wamen, this is too tight,

0:37:54.239 --> 0:37:56.359
<v Speaker 1>bring it down. Then I started bringing the top head

0:37:56.400 --> 0:37:57.920
<v Speaker 1>up or down to the start sound like, and I

0:37:58.000 --> 0:38:00.880
<v Speaker 1>keep tweaking sometimes just one. Now, if you hear a

0:38:00.960 --> 0:38:05.960
<v Speaker 1>weird garden good, a weird vibration, I'll feel around and

0:38:06.000 --> 0:38:08.040
<v Speaker 1>they might be a head could have a flaw and

0:38:08.160 --> 0:38:11.719
<v Speaker 1>it's a little not tight on the on the baring edge,

0:38:11.719 --> 0:38:15.799
<v Speaker 1>and so I have to tune that particular lug tighter. Okay.

0:38:15.880 --> 0:38:20.279
<v Speaker 1>And when you go to the studio, usually in the

0:38:20.320 --> 0:38:22.120
<v Speaker 1>old days, you go to a big studio, the first

0:38:22.120 --> 0:38:24.560
<v Speaker 1>thing they're doing is getting the drums sound of tuning

0:38:24.600 --> 0:38:27.439
<v Speaker 1>the drums. Are they when they talk about tuning the drums,

0:38:27.480 --> 0:38:29.839
<v Speaker 1>they talk about the same thing you're talking about. Yeah,

0:38:29.920 --> 0:38:33.120
<v Speaker 1>I just want to get the You want to get

0:38:33.160 --> 0:38:36.920
<v Speaker 1>the drums to sound the best that those drums can sound.

0:38:37.440 --> 0:38:41.120
<v Speaker 1>And if I if, if you're doing it like my

0:38:41.120 --> 0:38:44.560
<v Speaker 1>my well known snare sound from the eighties with Mellencamp

0:38:44.640 --> 0:38:47.760
<v Speaker 1>had a ring to it. We would tune after every take.

0:38:48.239 --> 0:38:51.319
<v Speaker 1>We we had a recording of that pitch and we'd

0:38:51.360 --> 0:38:53.040
<v Speaker 1>retune to snare at them to get it back to

0:38:53.120 --> 0:38:55.680
<v Speaker 1>that pitch. So it was consistent. So if you were

0:38:55.719 --> 0:38:59.160
<v Speaker 1>splicing between takes, you had the same tuning then then,

0:38:59.200 --> 0:39:01.320
<v Speaker 1>But but a lot of times I'd go into sessions

0:39:01.320 --> 0:39:03.520
<v Speaker 1>and people like, wow, what's that ring? And I'm like,

0:39:03.880 --> 0:39:07.799
<v Speaker 1>that's Kenny aaron Off and they go, well, can you

0:39:07.880 --> 0:39:10.040
<v Speaker 1>put a tape on it? I'm like, I don't care,

0:39:10.080 --> 0:39:12.959
<v Speaker 1>I'm sure whatever, and I would go. At one point,

0:39:12.960 --> 0:39:15.160
<v Speaker 1>I was showing up in l A with hundred scenario

0:39:15.160 --> 0:39:18.200
<v Speaker 1>dooms just because I thought more was more. Now I

0:39:18.520 --> 0:39:22.120
<v Speaker 1>have my own signature series. I only need about really

0:39:22.880 --> 0:39:30.040
<v Speaker 1>six scenaridoms I gotta covered. You're listening to my conversation

0:39:30.080 --> 0:39:33.520
<v Speaker 1>with legendary drummer Kenny Aaronoff, recorded live at the tune

0:39:33.560 --> 0:39:41.520
<v Speaker 1>In Studios in Venice, California. I hope you're enjoying this

0:39:41.600 --> 0:39:44.520
<v Speaker 1>episode of the Bob Left Sets Podcast. If you want

0:39:44.520 --> 0:39:47.360
<v Speaker 1>to see photos and videos of Kenny Aaronoff and the

0:39:47.400 --> 0:39:51.239
<v Speaker 1>tune In Studios, go to at tune In on Twitter, Facebook,

0:39:51.280 --> 0:39:55.439
<v Speaker 1>and Instagram. Now more of legendary drummer Kenny aaron Off

0:39:55.440 --> 0:40:00.000
<v Speaker 1>on The Bob Left Sets Podcast. Okay, occasionally you're in

0:40:00.040 --> 0:40:02.040
<v Speaker 1>the studio and the producers say, oh, I want to

0:40:02.040 --> 0:40:05.880
<v Speaker 1>rent this specific drum kit, now your your level? It

0:40:06.040 --> 0:40:10.640
<v Speaker 1>does that ever happen? Rarely? It's occasionally like they want

0:40:11.440 --> 0:40:13.439
<v Speaker 1>or you go in new studio and this is where

0:40:13.440 --> 0:40:16.839
<v Speaker 1>the producer always works. And the drums this is this

0:40:16.920 --> 0:40:19.000
<v Speaker 1>is what we like to use, or all my dubb

0:40:20.440 --> 0:40:24.960
<v Speaker 1>but they really want Kenny Aronoff complete. Then you have

0:40:25.080 --> 0:40:30.040
<v Speaker 1>me bring my drums, dude Fogy nineteen eight, I get

0:40:30.080 --> 0:40:33.840
<v Speaker 1>called to do Fogerty record. I'll I'll go right ahead

0:40:34.280 --> 0:40:39.120
<v Speaker 1>and say this. He spent five years practicing all instruments

0:40:39.440 --> 0:40:41.840
<v Speaker 1>to get ready to make a record. You know, he

0:40:42.080 --> 0:40:45.960
<v Speaker 1>he quit the music business. He was disillusioned by failure

0:40:45.960 --> 0:40:48.680
<v Speaker 1>after or just all this stuff that went down between

0:40:48.800 --> 0:40:51.440
<v Speaker 1>him and the management, and it seemed like everything was

0:40:51.520 --> 0:40:53.640
<v Speaker 1>not a good thing with music. So he let it.

0:40:54.000 --> 0:40:56.040
<v Speaker 1>His wife convinced to get back and he spends five

0:40:56.120 --> 0:40:59.360
<v Speaker 1>years doing I get called in the fifth year of

0:40:59.400 --> 0:41:02.319
<v Speaker 1>making Blue Moon Swamp. I didn't notice the way later,

0:41:03.480 --> 0:41:07.719
<v Speaker 1>and so that's ten years. I'm the thirtieth drummer, last guy,

0:41:07.800 --> 0:41:10.759
<v Speaker 1>and so I say, okay, when do you want my

0:41:10.800 --> 0:41:13.879
<v Speaker 1>cartage coming to bring my drums? And were Bob fog

0:41:14.120 --> 0:41:16.080
<v Speaker 1>his buzzes. You don't need to bring your drums all there.

0:41:16.640 --> 0:41:22.480
<v Speaker 1>John had learned. He he learned how to tune drums.

0:41:22.840 --> 0:41:26.600
<v Speaker 1>He knew that he wanted a Thomas twenty two by

0:41:26.680 --> 0:41:31.080
<v Speaker 1>eighteen maple drum kit front head off. He had learned

0:41:31.320 --> 0:41:34.719
<v Speaker 1>how to take a piano packing blanket, certain way of

0:41:34.800 --> 0:41:37.880
<v Speaker 1>folding it, sticking it in just the right place, a

0:41:37.920 --> 0:41:41.680
<v Speaker 1>certain beater, remo fiberskin three based from head which he

0:41:41.680 --> 0:41:45.479
<v Speaker 1>would tune he liked. My favorite start was super Funding

0:41:45.480 --> 0:41:48.160
<v Speaker 1>four with a coded ambassador. He would tune it. He

0:41:48.239 --> 0:41:50.359
<v Speaker 1>hit it down to a science half turn, half turn,

0:41:50.440 --> 0:41:52.759
<v Speaker 1>third turn, turn, a quarter turn, and then take mole

0:41:52.880 --> 0:41:55.640
<v Speaker 1>skin and tune it to an F shot. He was

0:41:55.640 --> 0:42:01.279
<v Speaker 1>tuning with my drums. Were you satisfied out? Well? You

0:42:01.280 --> 0:42:03.840
<v Speaker 1>know me, uh, the whole A lot of my successes

0:42:03.880 --> 0:42:07.320
<v Speaker 1>served the boss, served, the team, served whatever. But here's

0:42:07.200 --> 0:42:10.200
<v Speaker 1>the quirky thing, which is a side story. You know,

0:42:11.080 --> 0:42:13.920
<v Speaker 1>I got pretty pretty good at my crafty recording. So

0:42:14.560 --> 0:42:17.359
<v Speaker 1>we learned this song and it's me and it's Bob

0:42:17.360 --> 0:42:20.080
<v Speaker 1>Glober bass player and John, and I'm thinking we're all

0:42:20.080 --> 0:42:22.239
<v Speaker 1>getting this together because we go out and we play

0:42:22.320 --> 0:42:24.640
<v Speaker 1>this song two takes and then go back and listen

0:42:24.640 --> 0:42:27.160
<v Speaker 1>to John to make a few comments. Two takes, go

0:42:27.239 --> 0:42:29.799
<v Speaker 1>back and listen to it. After six takes, I went

0:42:30.239 --> 0:42:33.080
<v Speaker 1>pretty damn good, he says. Now, let's keep going. So

0:42:33.080 --> 0:42:34.400
<v Speaker 1>we do it for three and a half hours and

0:42:34.400 --> 0:42:36.719
<v Speaker 1>then took lunch break. We did the next song like

0:42:36.800 --> 0:42:40.439
<v Speaker 1>this is awesome, and John says me after the first day, says,

0:42:40.480 --> 0:42:44.040
<v Speaker 1>you know, I really enjoy working with you man, You're

0:42:44.040 --> 0:42:45.919
<v Speaker 1>the drummer I've been looking for my whole life. Would

0:42:45.960 --> 0:42:51.759
<v Speaker 1>you mind coming back tomorrow? I went absolutely creed. So

0:42:51.800 --> 0:42:53.400
<v Speaker 1>I go, Okay, what songs are we doing today? And

0:42:53.400 --> 0:42:58.879
<v Speaker 1>they went, um, same two songs. I'm like what. So

0:42:58.920 --> 0:43:02.360
<v Speaker 1>then I go like, what am I doing wrong? You know?

0:43:02.440 --> 0:43:04.719
<v Speaker 1>So I'm trying real hard. This is what John liked.

0:43:04.760 --> 0:43:08.120
<v Speaker 1>I didn't know that. I was like, and then he

0:43:08.160 --> 0:43:10.400
<v Speaker 1>invites me back next day it's Wednesday and says, all right,

0:43:10.440 --> 0:43:14.560
<v Speaker 1>what are we doing today? Same two songs. Thursday, I'm like,

0:43:14.640 --> 0:43:16.799
<v Speaker 1>really lose my mind. I'm like, you're not We're not

0:43:16.800 --> 0:43:18.359
<v Speaker 1>doing the same too song? I said, yeah, we are.

0:43:18.800 --> 0:43:21.239
<v Speaker 1>And Friday. Then I realized what was happening. Friday, same

0:43:21.280 --> 0:43:24.440
<v Speaker 1>two songs, and he invited me to come back the

0:43:24.480 --> 0:43:26.640
<v Speaker 1>next week and it was a new set of songs.

0:43:27.080 --> 0:43:31.000
<v Speaker 1>But he through those five years, he was such a perfection.

0:43:31.080 --> 0:43:33.720
<v Speaker 1>She was trying to find his voice and his sound

0:43:33.840 --> 0:43:36.400
<v Speaker 1>and and the snare them thing. And this is for

0:43:36.480 --> 0:43:40.640
<v Speaker 1>the listeners that we had the same issue with Mellencamp.

0:43:41.120 --> 0:43:42.760
<v Speaker 1>It was like we were trying to get this unique

0:43:42.840 --> 0:43:45.239
<v Speaker 1>drum sound and you get that, and then you get

0:43:45.239 --> 0:43:47.440
<v Speaker 1>this cool guitar sound and you put it together. It

0:43:47.440 --> 0:43:50.400
<v Speaker 1>didn't work. And like if you put red the color

0:43:50.440 --> 0:43:52.520
<v Speaker 1>red on a canvas, and then you put red on red,

0:43:52.560 --> 0:43:55.680
<v Speaker 1>it starts to look brown. Literally. So we had to

0:43:55.719 --> 0:44:00.560
<v Speaker 1>find frequency where the guitars would not overlap much on

0:44:00.600 --> 0:44:04.200
<v Speaker 1>the snare sound. And that was a challenge. And that's

0:44:04.200 --> 0:44:06.799
<v Speaker 1>why I always bought so many snare dums. And you know,

0:44:07.000 --> 0:44:09.279
<v Speaker 1>I would work with the engineers and I would listen

0:44:09.280 --> 0:44:11.560
<v Speaker 1>and oh, yeah, the snare is the same pitch. Let

0:44:11.560 --> 0:44:13.319
<v Speaker 1>me tune it down a little bit. And you know,

0:44:13.400 --> 0:44:16.600
<v Speaker 1>in two thousand and five, when the whole you said, yeah,

0:44:16.880 --> 0:44:19.480
<v Speaker 1>we would build. You build everything around the drum sound

0:44:20.000 --> 0:44:22.040
<v Speaker 1>you had to get. There was no pro tools, so

0:44:22.080 --> 0:44:23.880
<v Speaker 1>you had to get complete takes. You didn't want to

0:44:23.880 --> 0:44:25.839
<v Speaker 1>be the guy to mess up a take and then

0:44:25.840 --> 0:44:28.399
<v Speaker 1>they have to split tape and you can only get

0:44:28.400 --> 0:44:31.120
<v Speaker 1>three takes on one wheel. Now, if you're getting into

0:44:31.160 --> 0:44:34.720
<v Speaker 1>two wheels and three wheels, that's five dollars a reel plus.

0:44:35.120 --> 0:44:37.719
<v Speaker 1>You're going like, okay, let's listen to take number nine

0:44:37.760 --> 0:44:39.640
<v Speaker 1>that's on real three. Let's go back and listen to

0:44:39.680 --> 0:44:42.440
<v Speaker 1>take number two on reel one. I mean, you really

0:44:42.480 --> 0:44:47.040
<v Speaker 1>messing up. The drummer has to play perfect, end time right,

0:44:47.160 --> 0:44:50.120
<v Speaker 1>sounds right, feels right, groove right, everything, so they can

0:44:50.160 --> 0:44:52.080
<v Speaker 1>build it anything off of that. And I still try

0:44:52.080 --> 0:44:54.680
<v Speaker 1>to record like that, even with pro tools. What about

0:44:54.680 --> 0:44:57.040
<v Speaker 1>a click track click track? No problem? I love it,

0:44:57.200 --> 0:45:00.680
<v Speaker 1>use it and not use it started, shut it off. Uh,

0:45:01.000 --> 0:45:04.040
<v Speaker 1>the click track is a is a good mechanism. What

0:45:04.080 --> 0:45:05.520
<v Speaker 1>do you explain for those people don't know what a

0:45:05.520 --> 0:45:07.839
<v Speaker 1>click track? Click track is? Like a metronome, It's got

0:45:07.840 --> 0:45:11.879
<v Speaker 1>a like if the temple is one twenty got cut

0:45:12.080 --> 0:45:15.080
<v Speaker 1>cut cut cut personally like a cow bell in my

0:45:15.080 --> 0:45:20.000
<v Speaker 1>head because I'm so definite. Has your hearing suffered a

0:45:20.200 --> 0:45:23.640
<v Speaker 1>big time? You were the hearing aids. I try not

0:45:23.719 --> 0:45:26.560
<v Speaker 1>to well, well, my wife I do. I wouldn't admit

0:45:26.600 --> 0:45:28.720
<v Speaker 1>that to anybody, but I'm admitting it on your show.

0:45:28.920 --> 0:45:31.040
<v Speaker 1>I haven't me at home because her voice is very,

0:45:31.160 --> 0:45:34.239
<v Speaker 1>very high, and she's English and she speaks quiet, and

0:45:34.360 --> 0:45:38.719
<v Speaker 1>to preserve my relationship I because she got sick of

0:45:38.800 --> 0:45:41.920
<v Speaker 1>me saying what okay, so so so the click track

0:45:42.040 --> 0:45:45.359
<v Speaker 1>is the greatest thing about a click track is if

0:45:45.400 --> 0:45:48.680
<v Speaker 1>you go, if you are editing between takes, you're the

0:45:48.680 --> 0:45:51.279
<v Speaker 1>same tempo, right, you can and if you click track

0:45:51.320 --> 0:45:54.280
<v Speaker 1>goes all the way through the song easy to make edits.

0:45:54.760 --> 0:45:57.920
<v Speaker 1>And nowadays we use pro tools, which are some form

0:45:58.040 --> 0:46:01.360
<v Speaker 1>digital format which means you can go between a thousand

0:46:01.360 --> 0:46:03.920
<v Speaker 1>takes in a split second and grab something from here

0:46:03.920 --> 0:46:06.600
<v Speaker 1>and grab something there. If you're recording with a click track,

0:46:07.200 --> 0:46:09.880
<v Speaker 1>the edit is easy because that takes that out of

0:46:10.000 --> 0:46:13.200
<v Speaker 1>that factor out of the equation. What I find though,

0:46:13.520 --> 0:46:16.239
<v Speaker 1>that the challenge for me is to make is to

0:46:16.360 --> 0:46:21.200
<v Speaker 1>not allow the track to sound stiff or boring. Sometimes

0:46:21.200 --> 0:46:23.920
<v Speaker 1>songs should speed up, you know, could you imagine that

0:46:23.960 --> 0:46:25.600
<v Speaker 1>who on a click track? It wouldn't sound like to

0:46:26.200 --> 0:46:30.480
<v Speaker 1>be horrible And so um, what I will do is

0:46:30.520 --> 0:46:32.719
<v Speaker 1>I will manipulate the click. I'll kind of push your

0:46:32.760 --> 0:46:36.200
<v Speaker 1>head and of course come back in the versus and

0:46:36.200 --> 0:46:38.319
<v Speaker 1>and so I manipulate the click. I kind of get along,

0:46:38.400 --> 0:46:42.160
<v Speaker 1>tip pull back or I And sometimes I've done sessions

0:46:42.160 --> 0:46:43.920
<v Speaker 1>who I say, just shut it off after a certain

0:46:43.960 --> 0:46:46.400
<v Speaker 1>point and let it breathe. Okay, So what's agree er,

0:46:46.440 --> 0:46:51.839
<v Speaker 1>There's still sessions, still sessions that you're called for anybody's

0:46:51.840 --> 0:46:54.160
<v Speaker 1>So I just did Brian Wilson and that was in

0:46:54.200 --> 0:46:57.879
<v Speaker 1>a big studio because there's a budget. Um, I did

0:46:57.920 --> 0:47:00.120
<v Speaker 1>something with Sammy Hagar and run DMC and I have

0:47:00.239 --> 0:47:02.560
<v Speaker 1>my own studio. Now. I didn't want to have my

0:47:02.600 --> 0:47:04.719
<v Speaker 1>own study. It was a big investment. But when I

0:47:04.719 --> 0:47:08.160
<v Speaker 1>saw the budgets change in uh, this project coordinator, Sherek

0:47:08.239 --> 0:47:10.719
<v Speaker 1>Souftcliffe called me up. And I didn't even have an

0:47:10.760 --> 0:47:12.799
<v Speaker 1>apartment in l A l A yet, I was still

0:47:12.840 --> 0:47:14.640
<v Speaker 1>living in Indiana. Peop would fly me all over the

0:47:14.680 --> 0:47:17.560
<v Speaker 1>world just for one song because there was a budget.

0:47:17.560 --> 0:47:19.960
<v Speaker 1>People selling records, there was money to be made. It

0:47:19.960 --> 0:47:21.799
<v Speaker 1>didn't get any business. You make money, you have money

0:47:21.840 --> 0:47:24.080
<v Speaker 1>to reinvest in the business. And we did that. So

0:47:24.920 --> 0:47:27.480
<v Speaker 1>all of a sudden, Sherry sucklerf I'll never forget. I

0:47:27.520 --> 0:47:30.640
<v Speaker 1>was at the Sunset Marquis Well, you know, let me

0:47:30.680 --> 0:47:34.000
<v Speaker 1>explain Rock and Roll Hotel Block and Rottle Hotel de Bautry.

0:47:34.200 --> 0:47:37.759
<v Speaker 1>I was one of the guys there and and uh,

0:47:37.960 --> 0:47:40.320
<v Speaker 1>you know, they would fly me. I'd live in Indiana.

0:47:40.560 --> 0:47:44.280
<v Speaker 1>They pay for my my everything, every expense in my parking,

0:47:44.320 --> 0:47:46.319
<v Speaker 1>I'd be in first class. I'd land, I'd get a

0:47:46.320 --> 0:47:49.680
<v Speaker 1>cool rock and roll Mustang or some car. Say at

0:47:49.680 --> 0:47:52.799
<v Speaker 1>an expensive cool hotel like Sunset Marquis where there I'm

0:47:52.800 --> 0:47:55.160
<v Speaker 1>hanging out with you two and the Stones, and it

0:47:55.239 --> 0:47:58.000
<v Speaker 1>was a great place to be because you were networking,

0:47:58.400 --> 0:48:01.560
<v Speaker 1>and and I could be there for two weeks, three

0:48:01.600 --> 0:48:05.279
<v Speaker 1>weeks a month, and you know that hotel was expensive. Uh.

0:48:05.320 --> 0:48:07.360
<v Speaker 1>And then they would be a per diem and I

0:48:07.360 --> 0:48:11.080
<v Speaker 1>would get paid really really well. Sherry calls up, says, Kenny,

0:48:11.120 --> 0:48:12.680
<v Speaker 1>if you happen to be in town, I got this session.

0:48:12.680 --> 0:48:14.560
<v Speaker 1>When we mean, if I happened to be in town,

0:48:14.640 --> 0:48:17.560
<v Speaker 1>I said, of the budgets changing, she said, yeah, what

0:48:17.680 --> 0:48:21.960
<v Speaker 1>year this, I'd say that in the mid two thousands,

0:48:22.680 --> 0:48:25.440
<v Speaker 1>and uh, I went wow. In one month, I got

0:48:25.480 --> 0:48:28.000
<v Speaker 1>an apartment. So now all of a sudden I had

0:48:28.160 --> 0:48:30.360
<v Speaker 1>an expensive two and a half to three grand I

0:48:30.400 --> 0:48:33.160
<v Speaker 1>didn't have. But for me, it was like take my money,

0:48:33.160 --> 0:48:35.600
<v Speaker 1>but don't take that career of mine. Eventually I bought

0:48:35.640 --> 0:48:37.720
<v Speaker 1>a house here and then the next step was eventually

0:48:37.760 --> 0:48:41.000
<v Speaker 1>got a studio, two rooms, a control room and spent

0:48:41.080 --> 0:48:43.719
<v Speaker 1>you know, hundreds of thousands on great equipment to sound

0:48:43.719 --> 0:48:46.920
<v Speaker 1>like Kenny Arnold great Mike's drums, says always Mike, and

0:48:46.960 --> 0:48:50.080
<v Speaker 1>I've done Avril Levine in there. I've done she went there.

0:48:50.120 --> 0:48:52.080
<v Speaker 1>But they sent me the tracks. People can send me

0:48:52.160 --> 0:48:55.040
<v Speaker 1>tracks on all the world, Sammy Hagar list, last year's

0:48:55.360 --> 0:48:57.879
<v Speaker 1>both this couson and he said, hey, Kenny, I want

0:48:57.920 --> 0:48:59.840
<v Speaker 1>you to play drums on this and it's for me

0:49:00.080 --> 0:49:03.839
<v Speaker 1>run DMC or d m C. And I said, well,

0:49:03.840 --> 0:49:05.480
<v Speaker 1>do you want me to do it in my studio?

0:49:05.600 --> 0:49:07.319
<v Speaker 1>You want to do it in a you know, a

0:49:07.360 --> 0:49:10.200
<v Speaker 1>big room. And he says, send me what your studio

0:49:10.239 --> 0:49:12.759
<v Speaker 1>sounds like. Send him some stuff and went, whoa man,

0:49:12.840 --> 0:49:15.480
<v Speaker 1>that sounds great. Just doing your room so that I

0:49:15.520 --> 0:49:17.680
<v Speaker 1>don't charge from my room. I just charge for me.

0:49:18.120 --> 0:49:23.680
<v Speaker 1>So yeah, it works. So how much she charge? I guess?

0:49:23.760 --> 0:49:26.680
<v Speaker 1>I say, well, you know, I could ask you can

0:49:26.880 --> 0:49:29.759
<v Speaker 1>you can decide whether the answer. Let's just put this way.

0:49:29.880 --> 0:49:33.239
<v Speaker 1>It's it's not that expensive, but some people might think

0:49:33.280 --> 0:49:36.600
<v Speaker 1>so if they don't have a record deal. Uh. The

0:49:36.920 --> 0:49:40.600
<v Speaker 1>fee is for one song, is for the studio, me

0:49:41.239 --> 0:49:43.680
<v Speaker 1>and the engineer. I pay the engineer and then if

0:49:43.760 --> 0:49:46.359
<v Speaker 1>two or more it drops down, and three or more

0:49:46.360 --> 0:49:49.760
<v Speaker 1>it drops down. Very reasonable. But I'll get these emails

0:49:49.760 --> 0:49:52.319
<v Speaker 1>from ound the world and and and I'll say what

0:49:52.360 --> 0:49:54.400
<v Speaker 1>the fee is, and I never hear from anybody. Well,

0:49:54.560 --> 0:49:56.560
<v Speaker 1>it happens to all of us. But will you if

0:49:56.600 --> 0:49:58.560
<v Speaker 1>someone is willing to pay and you have the time,

0:49:58.600 --> 0:50:00.879
<v Speaker 1>you're willing to work for any with anybod Yeah, I'll

0:50:00.880 --> 0:50:03.880
<v Speaker 1>work for anybody. And what I do is I'm very

0:50:04.400 --> 0:50:07.400
<v Speaker 1>very detailed chart writer, right, write every note out. And

0:50:07.440 --> 0:50:08.880
<v Speaker 1>the whole purpose of that is when I get in

0:50:08.960 --> 0:50:12.560
<v Speaker 1>the studio, I'm not wasting anybody's time, including me. As

0:50:12.560 --> 0:50:14.719
<v Speaker 1>like being an actor, like let's go and let's do

0:50:14.800 --> 0:50:17.560
<v Speaker 1>the scene, and while I'm still hot, let's do it again,

0:50:17.840 --> 0:50:20.240
<v Speaker 1>and let's do it again. And I like my engineer

0:50:20.280 --> 0:50:22.480
<v Speaker 1>to move fast, and I get three takes. Usually the

0:50:22.480 --> 0:50:24.080
<v Speaker 1>first take is just to make sure I wrote everything

0:50:24.080 --> 0:50:27.280
<v Speaker 1>out right. Then it's bam bam bam, and their performances

0:50:27.320 --> 0:50:29.360
<v Speaker 1>and that you can hear it and feel it. Okay,

0:50:29.400 --> 0:50:31.400
<v Speaker 1>let's go back to Tanglewood. So the first year you

0:50:31.440 --> 0:50:33.919
<v Speaker 1>don't make it. What happens the next three year? Second year,

0:50:34.160 --> 0:50:36.480
<v Speaker 1>I don't make it, third year, and I'll make it.

0:50:37.160 --> 0:50:40.879
<v Speaker 1>And it's almost like strike three year out and fourth

0:50:41.000 --> 0:50:44.400
<v Speaker 1>year I get in. Seven percussionists in the whole world.

0:50:44.560 --> 0:50:47.080
<v Speaker 1>I get in. I work with Leonard Bernstein says you

0:50:47.239 --> 0:50:52.719
<v Speaker 1>is our you know, another American composer, conductor, Aaron Copeland,

0:50:52.840 --> 0:50:56.200
<v Speaker 1>Arthur Feedler, and this is the elite orchestra. And I mean,

0:50:56.239 --> 0:50:59.360
<v Speaker 1>I got great pictures of me and Bernstein. I just

0:50:59.400 --> 0:51:02.760
<v Speaker 1>did that thing. Screwball. Um. I got asked to perform

0:51:02.840 --> 0:51:07.480
<v Speaker 1>with David Pack who worked with Bernstein and hung out. Yeah,

0:51:07.560 --> 0:51:10.640
<v Speaker 1>and he had apparently was involved with that that score

0:51:11.200 --> 0:51:15.160
<v Speaker 1>or we're doing something with Leonard's mass and uh when

0:51:15.200 --> 0:51:18.480
<v Speaker 1>he was young and they became friends and Alec Bernstein, Uh,

0:51:18.719 --> 0:51:21.680
<v Speaker 1>Leonard's son I hadn't seen since I was a kid.

0:51:22.239 --> 0:51:26.360
<v Speaker 1>And it was a great reunion. And uh anyway, Leonard

0:51:26.560 --> 0:51:29.799
<v Speaker 1>was cool man because later on when he uh, you know,

0:51:29.880 --> 0:51:33.239
<v Speaker 1>he I want to concerto competition. This is this is

0:51:34.120 --> 0:51:37.160
<v Speaker 1>this was a tangle whether you want to know Indiana

0:51:37.280 --> 0:51:40.040
<v Speaker 1>University well before let's finish off tangle with So you're

0:51:40.080 --> 0:51:43.120
<v Speaker 1>there finally the fourth year and other than having a

0:51:43.160 --> 0:51:46.000
<v Speaker 1>great experience, do you learn anything? Oh my god? That

0:51:46.120 --> 0:51:49.400
<v Speaker 1>was That was elite. Dude. Okay, he's a great story.

0:51:49.680 --> 0:51:53.960
<v Speaker 1>First day, I'm nervous. You know, this is the best workers.

0:51:54.520 --> 0:51:57.800
<v Speaker 1>I'm nervous still. I mean I've gotten way, way good.

0:51:57.840 --> 0:52:01.239
<v Speaker 1>But it's you know, I'm with the elite from all

0:52:01.280 --> 0:52:05.200
<v Speaker 1>over the world, and says heos Hour one of the

0:52:05.239 --> 0:52:08.200
<v Speaker 1>greatest conductors ever, who is a conductor for Bosses of

0:52:08.239 --> 0:52:12.959
<v Speaker 1>the New Orchestra San Francisco, who Leonard Bernstein had found

0:52:13.200 --> 0:52:15.040
<v Speaker 1>in Japan and brought him to Tanguin when he was

0:52:15.040 --> 0:52:19.399
<v Speaker 1>a kid. Zaro had an impeccable memory. He walks in

0:52:19.600 --> 0:52:25.240
<v Speaker 1>and conductors the story. Here's to show different styles of conducting.

0:52:25.480 --> 0:52:28.759
<v Speaker 1>He comes in and says to the orchestra, looks at them.

0:52:28.800 --> 0:52:32.040
<v Speaker 1>He's trying to gain power and control. He says, what

0:52:32.040 --> 0:52:33.880
<v Speaker 1>what are we playing? What are we what are we

0:52:33.920 --> 0:52:38.520
<v Speaker 1>doing today? We had all the scores memorized, and they say, okay,

0:52:38.560 --> 0:52:40.120
<v Speaker 1>we're doing this is let's play this. It was a

0:52:40.160 --> 0:52:45.920
<v Speaker 1>revel thing and this conducting style was unbelievable. Wow, the form,

0:52:46.040 --> 0:52:49.400
<v Speaker 1>the flow, and then about thirty seconds he stops and

0:52:49.440 --> 0:52:52.479
<v Speaker 1>he rips through all the different sections. You're out of tune,

0:52:52.520 --> 0:52:55.560
<v Speaker 1>you're behind the beat. You to to establish power. And

0:52:55.600 --> 0:52:59.600
<v Speaker 1>at the end of the rehearsal, I'm picking up a

0:52:59.640 --> 0:53:02.200
<v Speaker 1>lot of cussion stuff on the floor in the back.

0:53:02.440 --> 0:53:05.160
<v Speaker 1>Everybody scattered. It was just me and then I hear

0:53:05.160 --> 0:53:07.720
<v Speaker 1>some talking. I look up. I'm still on the ground.

0:53:07.719 --> 0:53:12.160
<v Speaker 1>I look up past my music stands. There's Bernstein with

0:53:12.280 --> 0:53:15.840
<v Speaker 1>those hours and those hours going. I don't understand. This

0:53:16.000 --> 0:53:18.799
<v Speaker 1>orchestra is supposed to be the best, and they're not performing.

0:53:19.560 --> 0:53:21.759
<v Speaker 1>And here's the difference. Leonard put his hand on his

0:53:21.760 --> 0:53:26.080
<v Speaker 1>shoulder and said says, so show some love and compassion

0:53:26.719 --> 0:53:30.880
<v Speaker 1>and they will play for you because they are the best. Wow.

0:53:32.080 --> 0:53:35.440
<v Speaker 1>And then all the you know, in the percussion world,

0:53:35.960 --> 0:53:39.279
<v Speaker 1>timpany is like the cool spot you know, you're by

0:53:39.280 --> 0:53:41.960
<v Speaker 1>yourself kind of is all the percussion and is timpany

0:53:42.040 --> 0:53:45.680
<v Speaker 1>And timpoty is a very very dynamic instrument. It supports,

0:53:46.080 --> 0:53:50.359
<v Speaker 1>you know, basis when they're doing a long like you know,

0:53:50.760 --> 0:53:53.520
<v Speaker 1>or cellos and on the timpany you're going, you're trying

0:53:53.560 --> 0:53:56.640
<v Speaker 1>to make this sustained role that supports, or you play

0:53:56.719 --> 0:53:59.640
<v Speaker 1>we allowed and you're you're tuning every day. I'm a tunable.

0:54:00.040 --> 0:54:02.880
<v Speaker 1>Have to be in tune because if you're out of tune,

0:54:03.360 --> 0:54:06.840
<v Speaker 1>like even by a little bit. It's just a virtuostic instrument,

0:54:06.840 --> 0:54:09.680
<v Speaker 1>and every one of the highest paid people in the orchestra. Anyway,

0:54:09.920 --> 0:54:14.000
<v Speaker 1>the first week I'm playing percussion, second week, I'm playing percussion,

0:54:14.239 --> 0:54:16.560
<v Speaker 1>third week. Finally I'm the only guy hasn't playing Timothy

0:54:16.760 --> 0:54:20.799
<v Speaker 1>the Bailiest fifth Symphony, this big killer Timpothy part with

0:54:20.920 --> 0:54:27.080
<v Speaker 1>Burnstein conducting, and oh this killer so you you didn't

0:54:27.160 --> 0:54:30.400
<v Speaker 1>choke a good joke. I crushed it. And the piece

0:54:30.480 --> 0:54:32.600
<v Speaker 1>is so beautiful that I literally had was having to

0:54:32.640 --> 0:54:35.880
<v Speaker 1>pinch myself while I was on stage, Uh to not

0:54:36.200 --> 0:54:39.400
<v Speaker 1>well up with here because it's so beautiful. It's so beautiful.

0:54:39.680 --> 0:54:42.960
<v Speaker 1>So this concerto thing I was telling about now we're

0:54:43.000 --> 0:54:46.240
<v Speaker 1>back in Indiana University. Yeah, when I auditioned it U mass,

0:54:46.280 --> 0:54:49.160
<v Speaker 1>I'd never played a remember before I had this vibraphone,

0:54:49.160 --> 0:54:52.840
<v Speaker 1>which is a metal Mallard instrument, and the members the

0:54:52.880 --> 0:54:56.719
<v Speaker 1>bars are bigger, and it's a longer instrument. So the

0:54:57.120 --> 0:54:59.520
<v Speaker 1>you know you're you're gonna miss notes if you're used

0:54:59.560 --> 0:55:01.920
<v Speaker 1>to this aracing of one instrument you missed, you have

0:55:01.960 --> 0:55:07.080
<v Speaker 1>to adapt. So I was the story is at eight

0:55:07.200 --> 0:55:10.520
<v Speaker 1>and I played for the first time just about when

0:55:10.520 --> 0:55:14.160
<v Speaker 1>I was about to turn twenty three. I had worked

0:55:14.160 --> 0:55:17.040
<v Speaker 1>so hard. I had won a concerto competition playing a

0:55:17.160 --> 0:55:22.439
<v Speaker 1>violin concerto that I saw it's all Parlman play in

0:55:22.440 --> 0:55:26.600
<v Speaker 1>in his performance at Indiana University with orchestra as his encore,

0:55:27.080 --> 0:55:29.880
<v Speaker 1>and I decided at that moment that would be my

0:55:29.880 --> 0:55:33.760
<v Speaker 1>marimba piece on my senior recital and your senior recital

0:55:33.800 --> 0:55:37.640
<v Speaker 1>at Indiana University you had to play timpani multiple percussion

0:55:38.120 --> 0:55:41.600
<v Speaker 1>mallet piece uh, and then you could decide if you

0:55:41.640 --> 0:55:44.839
<v Speaker 1>want to play drums, set or UH. Most people, if

0:55:44.880 --> 0:55:47.520
<v Speaker 1>you were a classical major, would just pick a snare

0:55:47.600 --> 0:55:50.359
<v Speaker 1>doorm a two, but it's all very classical and virtuosic.

0:55:50.960 --> 0:55:54.040
<v Speaker 1>I picked this piece. I practicing in my senior year

0:55:54.760 --> 0:55:57.600
<v Speaker 1>um three hours a day, three sixty five days a year,

0:55:58.200 --> 0:56:00.640
<v Speaker 1>just for that one piece in my recipe idol. But

0:56:00.760 --> 0:56:04.040
<v Speaker 1>teachers blown away by my performance ability and what I

0:56:04.080 --> 0:56:06.479
<v Speaker 1>had done. I had memorized all the phrasings of it's

0:56:06.480 --> 0:56:11.479
<v Speaker 1>a promin, you know, like a violin, and I've done

0:56:11.520 --> 0:56:14.359
<v Speaker 1>such a great job that he said, I want you

0:56:14.400 --> 0:56:17.759
<v Speaker 1>to enter this concerto competition. If you win, you bit

0:56:17.880 --> 0:56:20.479
<v Speaker 1>to perform in the opera hall, which is the size

0:56:20.480 --> 0:56:23.560
<v Speaker 1>of the New York met at Indiana University with a

0:56:23.600 --> 0:56:27.399
<v Speaker 1>full orchestra, six piece orchestra. I auditioned and I win,

0:56:28.120 --> 0:56:32.319
<v Speaker 1>and so I the first time. When the night I

0:56:32.320 --> 0:56:36.000
<v Speaker 1>was supposed to do it, I was so nervous, and

0:56:36.040 --> 0:56:40.200
<v Speaker 1>I'm walking to the huge uh opera hall and everyone's

0:56:40.280 --> 0:56:42.800
<v Speaker 1>running out of the building. Looked like the Preside Adventure.

0:56:43.480 --> 0:56:47.120
<v Speaker 1>You know. What had happened is a grid went out

0:56:47.239 --> 0:56:50.400
<v Speaker 1>in Indiana University and the power was gone. So I

0:56:50.400 --> 0:56:55.680
<v Speaker 1>couldn't perform a blessing because I was nervous. I was

0:56:55.719 --> 0:56:58.319
<v Speaker 1>gonna make it. I was gonna mess up. So the

0:56:58.320 --> 0:57:01.319
<v Speaker 1>conductor said to the orchestra, look, we don't have to reschedule,

0:57:01.360 --> 0:57:05.160
<v Speaker 1>but I feel bad for Kenny didn't get do what

0:57:05.200 --> 0:57:06.960
<v Speaker 1>do you all like? Let's do it? Look can that

0:57:07.040 --> 0:57:09.880
<v Speaker 1>do it? So when I did finally perform, you know,

0:57:09.920 --> 0:57:12.120
<v Speaker 1>it's a weird feeling. They roll like you know, they

0:57:12.239 --> 0:57:15.040
<v Speaker 1>roll them mber out and I walk. I'm not used

0:57:15.080 --> 0:57:18.520
<v Speaker 1>to being up front. There's the conductor, the orchestra's back

0:57:18.640 --> 0:57:21.240
<v Speaker 1>is on my back. Is the orchestra on the side

0:57:21.280 --> 0:57:23.920
<v Speaker 1>of the conductor, And he looks at me says, are

0:57:23.920 --> 0:57:27.960
<v Speaker 1>you ready, and I'm shipping my pants five people in

0:57:27.960 --> 0:57:32.520
<v Speaker 1>front of big opera and we start and I'm going,

0:57:32.560 --> 0:57:34.840
<v Speaker 1>oh my god, I got this. It's all memorized, you know.

0:57:35.000 --> 0:57:37.440
<v Speaker 1>I got this. And I get into the performance and

0:57:37.560 --> 0:57:41.360
<v Speaker 1>the very last page, right before the cadenza, where I

0:57:41.400 --> 0:57:45.560
<v Speaker 1>have two mallets, and I pick up two more mallets,

0:57:45.640 --> 0:57:48.400
<v Speaker 1>and it's just like goo goo goo goo goo goo

0:57:48.520 --> 0:57:50.840
<v Speaker 1>goo goo goo goo goo good good good good good

0:57:51.040 --> 0:57:56.200
<v Speaker 1>goo go go. But little, a little, a little, a little,

0:57:56.280 --> 0:57:58.640
<v Speaker 1>a little, a little bit, a little up and down

0:57:58.960 --> 0:58:01.000
<v Speaker 1>this saying, and I'm like, oh, I got it. There's

0:58:01.000 --> 0:58:03.400
<v Speaker 1>a couple of missnows. But I tore it up. It

0:58:03.560 --> 0:58:07.320
<v Speaker 1>was huge. That was like the big you have made it.

0:58:07.960 --> 0:58:10.800
<v Speaker 1>And then I get into the Jerusalem Symphony Orchestra per

0:58:10.960 --> 0:58:16.160
<v Speaker 1>my teacher, and I turned it down because while before

0:58:16.200 --> 0:58:20.760
<v Speaker 1>I had gotten that position, I started studying drum set

0:58:20.840 --> 0:58:24.800
<v Speaker 1>for the first time with wheel badass teacher from Berkeley

0:58:24.920 --> 0:58:27.600
<v Speaker 1>was a jazz drummer, Alan Dawson, and in New York

0:58:27.640 --> 0:58:29.480
<v Speaker 1>one of the biggest session the Hall Bline of New

0:58:29.560 --> 0:58:32.800
<v Speaker 1>York Gary Chester. And I'm starting I'm practicing eight hours

0:58:32.840 --> 0:58:36.240
<v Speaker 1>a day and I want to be in the Beatles again.

0:58:40.760 --> 0:58:42.720
<v Speaker 1>We'll take a quick break and come back with more

0:58:42.800 --> 0:58:47.200
<v Speaker 1>of my conversation with legendary drummer Kenny Aaronoff, recorded live

0:58:47.320 --> 0:58:54.439
<v Speaker 1>at the tune In studios in Venice, California. This week,

0:58:54.520 --> 0:58:57.560
<v Speaker 1>I'm speaking with a veritable rock star behind a drum kid.

0:58:57.960 --> 0:59:00.680
<v Speaker 1>In the past, I spoke with Tony Hawk and the

0:59:00.800 --> 0:59:04.439
<v Speaker 1>head of YouTube and Google Music, Lee or Co. Check

0:59:04.480 --> 0:59:06.600
<v Speaker 1>out the archives of the show to learn how people

0:59:06.680 --> 0:59:09.040
<v Speaker 1>double down on their passions to make it big in

0:59:09.120 --> 0:59:12.880
<v Speaker 1>their respective industries. Subscribe to the podcast on tune in,

0:59:13.120 --> 0:59:17.480
<v Speaker 1>Apple or your podcast player of choice. Okay, let's get

0:59:17.480 --> 0:59:22.800
<v Speaker 1>back to my conversation with legendary drummer Kenny aaron Off. So,

0:59:23.040 --> 0:59:25.480
<v Speaker 1>and all this time you're Indiana, the dream of the

0:59:25.560 --> 0:59:28.640
<v Speaker 1>Beatles had evaporated, or you said, focused on I may

0:59:28.680 --> 0:59:31.280
<v Speaker 1>always played in bands, but yeah, the dude, I was

0:59:31.360 --> 0:59:34.760
<v Speaker 1>focusing on my my to get through college, to do

0:59:34.840 --> 0:59:38.680
<v Speaker 1>an excellent job and get a job, and you know,

0:59:38.880 --> 0:59:42.360
<v Speaker 1>presumably a symphony orchestra. And can you still play the

0:59:42.440 --> 0:59:48.520
<v Speaker 1>marimba today? I just pulled it out. I haven't remember. Because, uh,

0:59:49.280 --> 0:59:52.720
<v Speaker 1>the president of Kodak Film wants to do a documentary

0:59:52.760 --> 0:59:57.560
<v Speaker 1>on Kenny and when he played them that piece, he went, dude,

0:59:57.920 --> 1:00:00.320
<v Speaker 1>we need an excerpt for that in the document entry.

1:00:00.680 --> 1:00:03.160
<v Speaker 1>So I started to pull the murmber out with the

1:00:03.320 --> 1:00:06.120
<v Speaker 1>idea that I would learn to work up a part

1:00:06.160 --> 1:00:10.360
<v Speaker 1>of that piece, just you know, and uh oh yeah,

1:00:10.480 --> 1:00:12.960
<v Speaker 1>I could get back up, just you know, just putting

1:00:13.000 --> 1:00:14.880
<v Speaker 1>in the time. Right, So how do you end up

1:00:14.880 --> 1:00:18.400
<v Speaker 1>with melocap? Well, so I turned on Juice from I'm

1:00:18.560 --> 1:00:21.600
<v Speaker 1>living at home, I'm humbled, and like here I am.

1:00:21.680 --> 1:00:23.800
<v Speaker 1>I played with Burnesty. Now I'm back in my own

1:00:23.880 --> 1:00:26.840
<v Speaker 1>house where I grew up, practicing in hours a day, traveling,

1:00:27.360 --> 1:00:29.080
<v Speaker 1>trying to play in some bands in New York. And

1:00:29.160 --> 1:00:31.440
<v Speaker 1>a bunch of guys from Indiana called me up. So

1:00:31.640 --> 1:00:33.440
<v Speaker 1>we want to start a band with the idea of

1:00:33.560 --> 1:00:37.080
<v Speaker 1>the business modelers, get a record deals, sell records, go

1:00:37.160 --> 1:00:39.480
<v Speaker 1>on tour like the Beatles. I went and one of

1:00:39.520 --> 1:00:42.200
<v Speaker 1>the dads invested thirty grand. This is the nineteen seventy seven.

1:00:42.240 --> 1:00:44.120
<v Speaker 1>It's a lot of money. We got a truck, lights,

1:00:44.200 --> 1:00:47.080
<v Speaker 1>p a and we're in a band house. Loved it,

1:00:47.200 --> 1:00:50.240
<v Speaker 1>moved back there. After three years, we didn't get a

1:00:50.280 --> 1:00:52.720
<v Speaker 1>record deal, and I decided I'm twenty seven. I decided

1:00:52.720 --> 1:00:55.040
<v Speaker 1>I gotta should probably go to New York. I knew

1:00:55.080 --> 1:00:57.240
<v Speaker 1>more people New York than l A, so I'm gonna move.

1:00:57.840 --> 1:01:01.280
<v Speaker 1>And then I hear about two weeks leaving, I hear

1:01:01.280 --> 1:01:06.880
<v Speaker 1>about this Johnny Cougar, guy singer songwriter said Johnny Cougar

1:01:07.000 --> 1:01:09.840
<v Speaker 1>just fired his drummer last night or something. They got

1:01:09.880 --> 1:01:12.360
<v Speaker 1>in an argument, and I started thinking, well, that's a

1:01:12.480 --> 1:01:15.720
<v Speaker 1>guy on MTV. I'm not a huge fan of music,

1:01:16.200 --> 1:01:18.680
<v Speaker 1>you know. I was more in diffusion, you know, more technique.

1:01:18.680 --> 1:01:20.320
<v Speaker 1>When you're younger, you want to play as many notes

1:01:20.360 --> 1:01:24.440
<v Speaker 1>as possible, and this was a songwriter, and I went

1:01:24.520 --> 1:01:26.480
<v Speaker 1>but down. On the other hand, I was into the

1:01:26.560 --> 1:01:29.640
<v Speaker 1>Beatles and the Stones and songs, so it was in

1:01:29.760 --> 1:01:31.600
<v Speaker 1>my blood. So I went, wait a minute, this guy's

1:01:31.680 --> 1:01:35.000
<v Speaker 1>tourings making I want this bad. So I called up.

1:01:36.200 --> 1:01:37.840
<v Speaker 1>I had the guitar players number, and he said, well

1:01:37.880 --> 1:01:39.760
<v Speaker 1>call me a couple of weeks that we're just going

1:01:39.800 --> 1:01:42.880
<v Speaker 1>through some stuff and call me, says um. John had

1:01:42.920 --> 1:01:47.280
<v Speaker 1>asked around who's the best drummer in Bloomington and people says,

1:01:47.280 --> 1:01:49.960
<v Speaker 1>you could check out this guy, Kenny. I learned that

1:01:50.640 --> 1:01:53.960
<v Speaker 1>that name from just being hard worker and the guy

1:01:54.080 --> 1:01:56.480
<v Speaker 1>that's always going for it, you know, just it just

1:01:56.600 --> 1:01:59.640
<v Speaker 1>exuded out of me. So, um, I get an audition.

1:01:59.720 --> 1:02:01.880
<v Speaker 1>I said, what should I do? And they said, be

1:02:02.000 --> 1:02:04.680
<v Speaker 1>familiar with the John Cougar record, which had I need

1:02:04.720 --> 1:02:07.440
<v Speaker 1>a Lover on on ear from that and so covered

1:02:07.440 --> 1:02:11.920
<v Speaker 1>by Yeah, and which gave him some money. So that

1:02:12.120 --> 1:02:15.120
<v Speaker 1>the thing is, they said, be familiar with it. With

1:02:15.240 --> 1:02:18.800
<v Speaker 1>with my training, I wrote every note doubt and memorized

1:02:18.840 --> 1:02:22.000
<v Speaker 1>every song, so practicing my six hours six to eight hours,

1:02:22.040 --> 1:02:24.640
<v Speaker 1>say that was that I didn't realize, but that was

1:02:24.800 --> 1:02:28.560
<v Speaker 1>the discipline I've learned at Indiana University and U MASS

1:02:29.040 --> 1:02:33.080
<v Speaker 1>and asked me and Tangwood. That prepared me unusually for

1:02:33.760 --> 1:02:37.200
<v Speaker 1>a rock band audition. And and then I would like

1:02:37.280 --> 1:02:40.439
<v Speaker 1>literally go, I'd yell out a song and start playing

1:02:40.520 --> 1:02:42.360
<v Speaker 1>without the music. I mean, I had it down. So

1:02:42.520 --> 1:02:46.480
<v Speaker 1>I show up at John's house almost didn't get the audition.

1:02:46.560 --> 1:02:49.600
<v Speaker 1>First of all, I beat up five cars leaking oil

1:02:49.640 --> 1:02:52.400
<v Speaker 1>on his driveway. He's looking at that, looking at me.

1:02:52.680 --> 1:02:55.000
<v Speaker 1>I'm dressed, not cool. I have a beard, and I

1:02:55.080 --> 1:02:57.840
<v Speaker 1>didn't know what cool was back then, and UH had

1:02:57.920 --> 1:03:00.920
<v Speaker 1>no style. And and then he sees me pull out

1:03:01.040 --> 1:03:05.480
<v Speaker 1>this mammoth drunk kid, you know, double bassed from twelve

1:03:05.640 --> 1:03:08.680
<v Speaker 1>times a billion symbols. I walk up to him, Hey,

1:03:08.840 --> 1:03:12.600
<v Speaker 1>John Tenney, who was John Mellencamp turns around, walks into

1:03:12.640 --> 1:03:15.640
<v Speaker 1>the house and went, wow, this guy is not a

1:03:15.680 --> 1:03:18.560
<v Speaker 1>happy guy. He was going through a divorce also, And

1:03:18.720 --> 1:03:22.000
<v Speaker 1>I didn't also realize and I say in my book,

1:03:22.040 --> 1:03:25.600
<v Speaker 1>I mean, dude, here's a guy from India and he goes,

1:03:25.840 --> 1:03:28.800
<v Speaker 1>he gets a record deal, his manager, Tony de Freeze

1:03:28.880 --> 1:03:33.280
<v Speaker 1>that gave Bowie his name, Ziggy start Us. John makes

1:03:33.320 --> 1:03:36.640
<v Speaker 1>a record. He shoves the record across him and John goes,

1:03:36.840 --> 1:03:39.920
<v Speaker 1>who's Johnny couz Is that's you? He says, that's not

1:03:40.040 --> 1:03:43.360
<v Speaker 1>my name me cripping the rust belt. He goes, he

1:03:43.440 --> 1:03:45.560
<v Speaker 1>probably went home and got his asked kicked by his uncles.

1:03:45.680 --> 1:03:49.120
<v Speaker 1>That that resolved everything with fistfights, you know what I mean.

1:03:49.320 --> 1:03:52.680
<v Speaker 1>They were like brick players. Not only did he have his,

1:03:53.080 --> 1:03:54.560
<v Speaker 1>and he said, well, if you want your record to

1:03:54.600 --> 1:03:56.439
<v Speaker 1>come out, your name is Johnny Cougar. So he gets

1:03:56.800 --> 1:03:59.600
<v Speaker 1>he takes that and loses his deal. A year later,

1:03:59.760 --> 1:04:02.040
<v Speaker 1>Now he's Johnny Couse. This guy was not a happy guy.

1:04:02.520 --> 1:04:04.680
<v Speaker 1>He was fighting, and I didn't know anything about it.

1:04:04.800 --> 1:04:06.760
<v Speaker 1>I was just happy to be playing in a band

1:04:06.840 --> 1:04:10.320
<v Speaker 1>that was on the radio. John was in fear of

1:04:10.400 --> 1:04:14.320
<v Speaker 1>losing his deal again. So I auditioned and I said,

1:04:16.120 --> 1:04:17.960
<v Speaker 1>they said, you know any these songs? I said, I'm

1:04:18.080 --> 1:04:20.560
<v Speaker 1>familiar with some of the songs that I pick one.

1:04:20.640 --> 1:04:23.240
<v Speaker 1>I picked one, and I'll never forget. I mean, I

1:04:23.360 --> 1:04:26.720
<v Speaker 1>just destroyed everything. I broke symbols, sticks. I figured, well,

1:04:26.760 --> 1:04:30.680
<v Speaker 1>they must play loud in arenas. And John's mouth was open,

1:04:30.720 --> 1:04:32.520
<v Speaker 1>his eyes are bugged out. He gets up after two

1:04:32.600 --> 1:04:35.919
<v Speaker 1>soon goes upstairs and yells, Mike, get up here. Mike

1:04:35.960 --> 1:04:38.400
<v Speaker 1>goes up and I'm packing. I'm nervous. I really want this.

1:04:38.920 --> 1:04:41.480
<v Speaker 1>Mike comes down, looks at me, smiles, shakes my hand, says,

1:04:41.880 --> 1:04:46.920
<v Speaker 1>welcome to Hell. I'm going. What does he mean by that?

1:04:48.040 --> 1:04:51.120
<v Speaker 1>I found out that was the beginning, and uh, and

1:04:51.240 --> 1:04:54.040
<v Speaker 1>I'm trying to make this quick. I tell everybody I'm

1:04:54.080 --> 1:04:56.600
<v Speaker 1>going to Elie to make a record at Cherokee Studios

1:04:56.640 --> 1:04:59.600
<v Speaker 1>on fair effect. I am so excited. I've told everybody.

1:05:00.280 --> 1:05:02.200
<v Speaker 1>I get here and I'm staying at the Chateau Marmont

1:05:02.840 --> 1:05:07.280
<v Speaker 1>and uh rock and Roll Hotel also and in two days, John,

1:05:07.400 --> 1:05:09.040
<v Speaker 1>we have a band meeting, John says you're not on

1:05:09.120 --> 1:05:11.920
<v Speaker 1>the record, and as he starts to say, you go

1:05:12.040 --> 1:05:14.880
<v Speaker 1>back to Indiana, I said, no fucking way am I

1:05:15.000 --> 1:05:17.800
<v Speaker 1>going back home? And I'm scrambling, I'm trying to negotiate

1:05:17.880 --> 1:05:21.320
<v Speaker 1>a deal. I'm humiliated, and I'm thinking in my head,

1:05:21.440 --> 1:05:24.320
<v Speaker 1>don't you understand I played with Bernstein blah blah, had

1:05:24.440 --> 1:05:27.040
<v Speaker 1>nothing to do with serving this song or getting a

1:05:27.160 --> 1:05:29.640
<v Speaker 1>song on the record. I asked drummers all the time,

1:05:29.680 --> 1:05:32.640
<v Speaker 1>what's your purpose when you're making a record of what's

1:05:32.640 --> 1:05:35.280
<v Speaker 1>your purpose as a drummer? And they fumbled around. I say,

1:05:35.400 --> 1:05:37.920
<v Speaker 1>the purpose of a drummer when you're making records get

1:05:37.960 --> 1:05:41.400
<v Speaker 1>the song to be number one. That's it. Every part,

1:05:41.560 --> 1:05:45.680
<v Speaker 1>every idea, everything you say, everything you think. The goal

1:05:45.920 --> 1:05:47.480
<v Speaker 1>is to get the song on the radio to be

1:05:47.600 --> 1:05:50.040
<v Speaker 1>number one. Because when it does, then you made millions

1:05:50.080 --> 1:05:52.680
<v Speaker 1>for the company. Then they say who played on it? Oh, Kenny,

1:05:52.800 --> 1:05:54.760
<v Speaker 1>Let's get him on the next one, and the next

1:05:54.840 --> 1:05:56.560
<v Speaker 1>one and the next one. And that's how I ended

1:05:56.640 --> 1:05:59.320
<v Speaker 1>up on so many hits and being a team player

1:05:59.360 --> 1:06:02.320
<v Speaker 1>and getting a long and adjusting. Monday, it's bb King

1:06:02.360 --> 1:06:05.560
<v Speaker 1>and Bonnie right, Tuesday's out and John Wednesdays, the Smashing Pumpkin.

1:06:05.640 --> 1:06:09.160
<v Speaker 1>I mean they're all different. Everything is different, and you

1:06:09.320 --> 1:06:13.560
<v Speaker 1>have to be able to adapt. And so I I

1:06:13.640 --> 1:06:17.080
<v Speaker 1>didn't have any of that yet. So I was I

1:06:17.240 --> 1:06:19.000
<v Speaker 1>was fighting and I just said, John, I'm not going home.

1:06:19.880 --> 1:06:21.720
<v Speaker 1>I'll sleep on the floor. I said, are you am

1:06:21.760 --> 1:06:23.440
<v Speaker 1>I still your drummer and he said, yeah, you're not

1:06:23.520 --> 1:06:25.600
<v Speaker 1>playing on the record. He was perplexed. He didn't know

1:06:25.640 --> 1:06:27.520
<v Speaker 1>what to why I was asking because I was sleeping

1:06:27.560 --> 1:06:29.160
<v Speaker 1>the floor. You don't have to pay me, which is

1:06:29.200 --> 1:06:31.840
<v Speaker 1>probably the deal breaker. And then I did. I watched

1:06:31.880 --> 1:06:35.080
<v Speaker 1>these guys and I learned from them, and I was like, wow,

1:06:35.200 --> 1:06:38.200
<v Speaker 1>I was quite an education about tuning how to play

1:06:38.280 --> 1:06:41.360
<v Speaker 1>these radio friendly drum parts that serve the song. I

1:06:41.480 --> 1:06:44.040
<v Speaker 1>went home and set up my eight hour day practice routine,

1:06:44.240 --> 1:06:47.120
<v Speaker 1>got Stones Records out, Credence Records out, a C d

1:06:47.240 --> 1:06:50.600
<v Speaker 1>C Records, started up trying to I mean, it's much

1:06:50.640 --> 1:06:54.160
<v Speaker 1>easier to learn something that's technically hard than to learn

1:06:54.200 --> 1:06:59.120
<v Speaker 1>how do you practice simple? There's no book on simple Simple.

1:06:59.280 --> 1:07:02.520
<v Speaker 1>It's like looking through him, like it's like looking to it.

1:07:03.480 --> 1:07:08.160
<v Speaker 1>Uh microscope where playing technicals looking through a telescope. They're

1:07:08.160 --> 1:07:11.840
<v Speaker 1>both valid just different directions. So I was befuddled. How

1:07:11.880 --> 1:07:14.040
<v Speaker 1>do you so? The only one you could do is repetition.

1:07:14.080 --> 1:07:16.840
<v Speaker 1>I just kept playing the Stones Records, started to understand

1:07:16.880 --> 1:07:19.920
<v Speaker 1>it and let me jump two years later. So that

1:07:20.040 --> 1:07:23.880
<v Speaker 1>album you didn't play on was American Fool I did.

1:07:23.920 --> 1:07:26.200
<v Speaker 1>American Fool I did. It was nothing matters when one

1:07:26.200 --> 1:07:30.919
<v Speaker 1>of it did so, which was not successful. It wasn't

1:07:30.960 --> 1:07:33.120
<v Speaker 1>considered successful even though he had two singles in the

1:07:33.200 --> 1:07:37.680
<v Speaker 1>top forty. But he almost but the two this time,

1:07:37.920 --> 1:07:41.280
<v Speaker 1>I think in then he did a video with the

1:07:41.360 --> 1:07:45.480
<v Speaker 1>egg Lady from that Crazy movie and then, uh, the

1:07:45.600 --> 1:07:49.480
<v Speaker 1>other one was ain't even done with then. I kind

1:07:49.480 --> 1:07:51.400
<v Speaker 1>of an R and B thing. Cropper was the producer,

1:07:51.760 --> 1:07:56.160
<v Speaker 1>Steve Cropper, you know, and and I didn't know this,

1:07:56.360 --> 1:07:58.800
<v Speaker 1>but you're right. It was not considered successful when we

1:07:58.880 --> 1:08:02.640
<v Speaker 1>were making American Fool two years later, which that got

1:08:02.720 --> 1:08:05.320
<v Speaker 1>two Grammy Awards. The most the story on that as

1:08:05.360 --> 1:08:07.480
<v Speaker 1>they finished the record and the label said we don't

1:08:07.480 --> 1:08:10.480
<v Speaker 1>want to put this out, it's right because after nine weeks,

1:08:10.520 --> 1:08:12.920
<v Speaker 1>I felt like I'd been and this is where I

1:08:12.960 --> 1:08:16.200
<v Speaker 1>came up with the iconic Jack and Dian drum apart,

1:08:16.560 --> 1:08:20.120
<v Speaker 1>fighting for my life um, thinking that if I don't

1:08:20.320 --> 1:08:22.840
<v Speaker 1>come up with something, I'll be replaced again or fired.

1:08:23.400 --> 1:08:25.000
<v Speaker 1>And I come up with that song was off the

1:08:25.040 --> 1:08:27.080
<v Speaker 1>record gone, nobody knew what to do with it, and

1:08:27.640 --> 1:08:30.280
<v Speaker 1>I programmed this drum machine thing because that one of them,

1:08:30.439 --> 1:08:33.640
<v Speaker 1>which I thought is hideous. I'm being replaced now, not

1:08:33.800 --> 1:08:36.960
<v Speaker 1>by a human, by by a machine. I went, this

1:08:37.160 --> 1:08:40.880
<v Speaker 1>is what's going on here? And then they that wasn't

1:08:40.880 --> 1:08:42.280
<v Speaker 1>good enough, so I had to come up with this.

1:08:43.120 --> 1:08:48.080
<v Speaker 1>They wanted like persent part the Red Sea right now. Now,

1:08:48.640 --> 1:08:50.479
<v Speaker 1>I'm like, what, I have to come up with this

1:08:50.560 --> 1:08:54.000
<v Speaker 1>drum part? Thank god I did. Became John's biggest, most

1:08:54.000 --> 1:08:57.880
<v Speaker 1>successful single. I made million dollars for the company, not

1:08:58.120 --> 1:09:00.880
<v Speaker 1>for me. But he's still like one of the is

1:09:01.000 --> 1:09:04.200
<v Speaker 1>one of the greatest songs played from the eighties. And

1:09:05.439 --> 1:09:08.040
<v Speaker 1>after we after that, I go home. I felt like

1:09:08.080 --> 1:09:11.240
<v Speaker 1>I've been in Afghanistan for nine weeks. John calls here

1:09:11.320 --> 1:09:14.360
<v Speaker 1>two weeks later says, we're not done. We got only

1:09:14.439 --> 1:09:18.240
<v Speaker 1>four songs. Record label doesn't like it. Uh, we only

1:09:18.320 --> 1:09:20.320
<v Speaker 1>got four songs. Two guys have gotten fired. Me and

1:09:20.439 --> 1:09:22.320
<v Speaker 1>John was got in a fist fight. John was a

1:09:22.400 --> 1:09:27.760
<v Speaker 1>complete manic, crazy man, and he you know, did some

1:09:27.880 --> 1:09:31.800
<v Speaker 1>crazy stuff and I just went after him. Anyway, we're

1:09:31.920 --> 1:09:33.800
<v Speaker 1>out in the band without tail between the legs, and

1:09:33.840 --> 1:09:36.559
<v Speaker 1>that's what John Road. Hurts so good. And we came

1:09:36.600 --> 1:09:39.400
<v Speaker 1>back out here six months later and recorded the Cherokee

1:09:39.640 --> 1:09:41.719
<v Speaker 1>the same room that I was told not to play

1:09:41.760 --> 1:09:45.200
<v Speaker 1>and finished the record. And then and I was in

1:09:45.280 --> 1:09:47.439
<v Speaker 1>the same room at the Chateau Marma when Jack and

1:09:47.520 --> 1:09:50.280
<v Speaker 1>Ian went to number one. The first song that came

1:09:50.320 --> 1:09:53.040
<v Speaker 1>on off of that record that let off was hurt

1:09:53.080 --> 1:09:55.559
<v Speaker 1>So Good. It stayed at number two for six weeks.

1:09:56.560 --> 1:09:58.519
<v Speaker 1>And this is on the top one d This meant

1:09:58.680 --> 1:10:01.599
<v Speaker 1>something back then, the top one hundred med something. Yeah,

1:10:01.760 --> 1:10:03.640
<v Speaker 1>it was for those listening when you were in the

1:10:03.720 --> 1:10:06.720
<v Speaker 1>top one hundred. You couldn't get away from that song

1:10:06.880 --> 1:10:09.640
<v Speaker 1>was on every station on the radio. And then we

1:10:09.720 --> 1:10:13.080
<v Speaker 1>had MTV, so we were on. We were it was obnoxious,

1:10:14.120 --> 1:10:17.519
<v Speaker 1>just you couldn't get away from us. And then they

1:10:17.600 --> 1:10:19.280
<v Speaker 1>say it started to go down a little bit and

1:10:19.320 --> 1:10:21.679
<v Speaker 1>they said released Jack and the hand. They released Jack

1:10:21.720 --> 1:10:24.360
<v Speaker 1>and Diane. He creeps up Jack and hurts what good

1:10:24.360 --> 1:10:27.240
<v Speaker 1>didn't leave. Now we have two singles in the top ten.

1:10:27.360 --> 1:10:32.439
<v Speaker 1>That's huge, and we John's career seriously launched. Then that

1:10:32.680 --> 1:10:36.360
<v Speaker 1>was like a right, So millions of records, one Grammys,

1:10:37.080 --> 1:10:39.240
<v Speaker 1>We were on a Saturday Live, we were on every

1:10:39.280 --> 1:10:42.240
<v Speaker 1>TV show, imaginable, and I was in the room. They

1:10:42.280 --> 1:10:44.240
<v Speaker 1>shout to my mom when the song went to number one,

1:10:44.360 --> 1:10:46.760
<v Speaker 1>Jack and Dane and the same movement where I got

1:10:47.320 --> 1:10:49.439
<v Speaker 1>told not to play the record. But my fear was,

1:10:50.600 --> 1:10:53.479
<v Speaker 1>holy sh it. Not everybody thinks I can do this again?

1:10:53.960 --> 1:10:56.240
<v Speaker 1>Can I? How do I prepare for? How do you practice?

1:10:56.720 --> 1:10:59.200
<v Speaker 1>There's no method. I was very insecure about, like, oh

1:10:59.240 --> 1:11:01.519
<v Speaker 1>my god, god, do again. I'm not really number one?

1:11:01.840 --> 1:11:04.240
<v Speaker 1>No way, Oh man, what do I do? What do

1:11:04.320 --> 1:11:07.519
<v Speaker 1>I practice? I gotta do this again? And obviously, okay,

1:11:07.640 --> 1:11:10.439
<v Speaker 1>did you get the proper respect from John in terms

1:11:10.439 --> 1:11:14.479
<v Speaker 1>of your addition to Jack and Diane. He never would

1:11:14.520 --> 1:11:16.680
<v Speaker 1>would tell me such a thing. A matter of fact,

1:11:16.760 --> 1:11:20.200
<v Speaker 1>he told me years later. I thought about this. He said,

1:11:20.320 --> 1:11:22.720
<v Speaker 1>you know this is that makes that songs that guitar part.

1:11:23.040 --> 1:11:27.160
<v Speaker 1>But about to me, it sounds like now I think

1:11:27.200 --> 1:11:29.040
<v Speaker 1>he wanted me to sign off on it or something.

1:11:29.120 --> 1:11:32.240
<v Speaker 1>You know what I mean. John's don't mean anything. Hell not.

1:11:33.000 --> 1:11:35.439
<v Speaker 1>The programming the drums were a big part of that.

1:11:35.640 --> 1:11:40.760
<v Speaker 1>But John would never tell me ever to my face

1:11:41.040 --> 1:11:43.280
<v Speaker 1>that I was doing a good job. He just he

1:11:43.400 --> 1:11:46.280
<v Speaker 1>was like the Bobby Night coach of Indiana University, just

1:11:46.680 --> 1:11:49.680
<v Speaker 1>completely big. You know Bill Belichick. Well I don't know

1:11:49.680 --> 1:11:52.160
<v Speaker 1>about Bill Belichick, but you know Bobby and he's never

1:11:52.200 --> 1:11:54.320
<v Speaker 1>get a compliment. It's like he gets his people to

1:11:54.680 --> 1:11:58.639
<v Speaker 1>always fight to be better. And John, for seventeen years,

1:11:58.680 --> 1:12:01.200
<v Speaker 1>I was trying to come up with beats that would

1:12:01.240 --> 1:12:04.639
<v Speaker 1>make his songs unique. And that was my what degree?

1:12:05.200 --> 1:12:08.439
<v Speaker 1>What is this process? Did people start to pay attention

1:12:08.479 --> 1:12:13.280
<v Speaker 1>to you as an individual? Yeah? Scared when the well

1:12:13.360 --> 1:12:16.479
<v Speaker 1>about the American fool, But then the home record I

1:12:16.560 --> 1:12:18.960
<v Speaker 1>started to get a sound, were starting to we push

1:12:19.040 --> 1:12:22.200
<v Speaker 1>the drums up front. John wanted our songs to blow

1:12:22.360 --> 1:12:25.960
<v Speaker 1>any song that came on the radio before us and

1:12:26.120 --> 1:12:29.479
<v Speaker 1>after us. Great mentality. It's like, so I want the

1:12:29.560 --> 1:12:31.880
<v Speaker 1>drums loud, I want vocals. I want this thing to

1:12:32.960 --> 1:12:35.519
<v Speaker 1>just me the loudest thing on the radio. And it was.

1:12:35.880 --> 1:12:38.320
<v Speaker 1>And it worked because we were competing with either Tiger

1:12:38.439 --> 1:12:42.080
<v Speaker 1>and at the knee and Ivery and then he was

1:12:42.120 --> 1:12:46.240
<v Speaker 1>so good it was like a C D C. You know,

1:12:46.760 --> 1:12:50.880
<v Speaker 1>And uh so I get hired to do. I have

1:12:51.000 --> 1:12:53.120
<v Speaker 1>to say it was actually probably after Scare Call and

1:12:53.200 --> 1:12:57.960
<v Speaker 1>the Scarecrow record, my sound became locked down as this wall,

1:12:58.240 --> 1:13:00.800
<v Speaker 1>what do they do? Who is that? That sound? That

1:13:01.360 --> 1:13:04.679
<v Speaker 1>so powerful? It was like a drum record, simple drum pus.

1:13:05.000 --> 1:13:07.200
<v Speaker 1>So then I get calls to do like buyd Setser's

1:13:07.240 --> 1:13:09.920
<v Speaker 1>first solo record, Night Feels Like Justice, Blend the Car

1:13:10.080 --> 1:13:12.160
<v Speaker 1>Heaven on Earth, which went to number one, And I'm

1:13:12.200 --> 1:13:15.200
<v Speaker 1>starting to get these calls, you know, to to record,

1:13:15.400 --> 1:13:18.479
<v Speaker 1>and then uh, John and a eight. We went from

1:13:18.560 --> 1:13:22.720
<v Speaker 1>I went from number nineteen eighty eight John on it

1:13:22.880 --> 1:13:25.760
<v Speaker 1>was like another Man did, which I didn't play drums on,

1:13:26.000 --> 1:13:28.479
<v Speaker 1>American Fool, which I played drums on, which had pink

1:13:28.520 --> 1:13:30.920
<v Speaker 1>houses of authority and coming down. Then it was Scar

1:13:31.080 --> 1:13:34.320
<v Speaker 1>Car Now we're arena rock band too. Was selling Milliams

1:13:34.400 --> 1:13:37.559
<v Speaker 1>records in Jubilee, which we rechanged this whole. We came

1:13:37.640 --> 1:13:39.679
<v Speaker 1>up with a whole new sound of violent and according

1:13:39.760 --> 1:13:43.000
<v Speaker 1>together Americana and we're selling out arenas. And then John

1:13:43.080 --> 1:13:47.400
<v Speaker 1>quits last show of the Jubilee tour, hands me a

1:13:47.439 --> 1:13:50.280
<v Speaker 1>bonus check when they actually had bonus checks. He says,

1:13:50.360 --> 1:13:54.920
<v Speaker 1>I quit and I took it literal he didn't quit,

1:13:55.040 --> 1:13:58.280
<v Speaker 1>but I thought he just gotten divorced, had car payment,

1:13:58.400 --> 1:14:01.840
<v Speaker 1>child payment, uh, you know, mortgage, blah blah blah. And

1:14:01.840 --> 1:14:04.000
<v Speaker 1>I'm like, oh my god, I'm at the most of

1:14:04.120 --> 1:14:06.519
<v Speaker 1>this guy and never saw it coming. He can just quit.

1:14:06.560 --> 1:14:09.280
<v Speaker 1>He's got millions in the bank. I don't he can

1:14:09.360 --> 1:14:13.000
<v Speaker 1>quit whenever he wants. I'm like, that will never happen again.

1:14:13.360 --> 1:14:15.960
<v Speaker 1>And that's where I went. I freaked out. And then

1:14:16.000 --> 1:14:19.120
<v Speaker 1>I started to look at the same thing everybody else saw,

1:14:19.600 --> 1:14:22.000
<v Speaker 1>but look at it different. I went, I've been working

1:14:22.080 --> 1:14:24.439
<v Speaker 1>with one rock star for eight years, and I'm gonna

1:14:24.479 --> 1:14:26.600
<v Speaker 1>go work for all the other ones. And so I

1:14:26.640 --> 1:14:29.840
<v Speaker 1>started coming out here. To what degree did you pitch people?

1:14:30.160 --> 1:14:32.240
<v Speaker 1>And to what degree were they looking for you both?

1:14:33.240 --> 1:14:35.360
<v Speaker 1>I was all over the radio, and then when they

1:14:35.400 --> 1:14:37.720
<v Speaker 1>started hearing and I was coming out here, and one

1:14:37.760 --> 1:14:41.960
<v Speaker 1>day I get this call, Hey, Kenny, it's Don Don Was.

1:14:42.680 --> 1:14:46.600
<v Speaker 1>I'm like, from What's not? Was? Yeah, how did you

1:14:46.640 --> 1:14:50.920
<v Speaker 1>think you're playing an iggy pop record? Now, Don was

1:14:51.000 --> 1:14:53.200
<v Speaker 1>really just beginning. He was renting a house up in

1:14:53.600 --> 1:14:57.040
<v Speaker 1>Low Canyon. He says, Now, don you know it wasn't

1:14:57.040 --> 1:14:58.800
<v Speaker 1>I was to be honest, I go to the record

1:14:58.840 --> 1:15:01.920
<v Speaker 1>plan to meet him. I go right up to the singers,

1:15:02.000 --> 1:15:03.599
<v Speaker 1>the black singers. I thought he was a black guy,

1:15:04.720 --> 1:15:09.120
<v Speaker 1>and I go, so Don, and then he says, Sweepy goes,

1:15:09.160 --> 1:15:11.560
<v Speaker 1>I ain't know Donn was, and I go over to

1:15:11.680 --> 1:15:14.519
<v Speaker 1>Don Was, not knowing it's Don. Was said, dude, when

1:15:14.520 --> 1:15:17.479
<v Speaker 1>does Don could get here? And Don starts bursting out laughing,

1:15:18.040 --> 1:15:22.880
<v Speaker 1>he's Barefoot's got the afrot laugh aces I'm done. Was,

1:15:23.320 --> 1:15:26.400
<v Speaker 1>I'm like, what you sound like that on the phone.

1:15:26.479 --> 1:15:29.120
<v Speaker 1>I was laying lass off and Sweepy is laughing. All

1:15:29.160 --> 1:15:31.599
<v Speaker 1>those guys are laughing. So Don says, look at Iggy

1:15:31.800 --> 1:15:34.080
<v Speaker 1>wants to meet you first, which I thought was cool

1:15:34.120 --> 1:15:36.599
<v Speaker 1>because he has vibe. So I go to his house

1:15:36.680 --> 1:15:39.320
<v Speaker 1>and you know, Iggy's sitting laying down on the count

1:15:39.320 --> 1:15:40.960
<v Speaker 1>and he says, you know, I played Timpany in high

1:15:40.960 --> 1:15:43.920
<v Speaker 1>school in Detroit, and I WHOA, I played Timpany too,

1:15:44.120 --> 1:15:47.040
<v Speaker 1>and he liked me. So I played on that record

1:15:47.120 --> 1:15:50.200
<v Speaker 1>and one night when Don said Don, they said Donna

1:15:50.200 --> 1:15:52.240
<v Speaker 1>has to leave. He's going to the Grammys. He wins

1:15:52.320 --> 1:15:54.720
<v Speaker 1>two Grammys for Nick of Time and one for Love

1:15:54.840 --> 1:15:57.280
<v Speaker 1>Check Be fifty two. All of a sudden, Don is

1:15:57.320 --> 1:16:01.719
<v Speaker 1>getting I'm ton of calls. Now I do Bob Dylan's

1:16:01.720 --> 1:16:03.840
<v Speaker 1>record with him. Now I do Bob Seger with him.

1:16:03.920 --> 1:16:06.280
<v Speaker 1>Now I do Elton John with him. And then I've

1:16:06.320 --> 1:16:11.880
<v Speaker 1>been working with Don since nine. The big thing I

1:16:11.960 --> 1:16:14.800
<v Speaker 1>do with Don as we do these big, huge extravaganzas

1:16:14.880 --> 1:16:20.200
<v Speaker 1>like the uh, the Greg Allman Tribute, so I get

1:16:20.240 --> 1:16:22.880
<v Speaker 1>to play with twenty artists Tomorrow Hagger Tribute while I'm

1:16:22.920 --> 1:16:26.040
<v Speaker 1>playing with Loretta Lynn and Keith Richards and Don Henley,

1:16:26.080 --> 1:16:28.479
<v Speaker 1>and then he's just one after another. And then I

1:16:28.560 --> 1:16:32.320
<v Speaker 1>did the Kenny Rodgers Tribute with you can imagine, you know,

1:16:32.439 --> 1:16:35.880
<v Speaker 1>Dolly Pardon, Lionel Richie, all these It's just and then

1:16:36.160 --> 1:16:39.439
<v Speaker 1>and then that, and then having done the Kennedy Center Honors.

1:16:40.120 --> 1:16:43.559
<v Speaker 1>For the viewers listening, it's like I write meticulously every

1:16:43.720 --> 1:16:46.519
<v Speaker 1>single note, doubt uh that I'm gonna play. I have

1:16:46.680 --> 1:16:50.920
<v Speaker 1>tempo marking's, I have a vocal cues, I have guitar cues,

1:16:51.360 --> 1:16:54.680
<v Speaker 1>and Don basically he's the musical director. But once the

1:16:54.720 --> 1:16:58.240
<v Speaker 1>show goes, I'm I'm I'm counting off the tempo's ending

1:16:58.280 --> 1:17:01.200
<v Speaker 1>all the songs. Uh. He he hands the baton to me,

1:17:01.720 --> 1:17:04.320
<v Speaker 1>and I'm timing. I know the script of the show,

1:17:04.439 --> 1:17:07.920
<v Speaker 1>the flow of the show. I'm looking over to see

1:17:08.000 --> 1:17:10.400
<v Speaker 1>when Don Henley walks on looking for the next artist.

1:17:10.640 --> 1:17:12.880
<v Speaker 1>Are they gonna speak into the micro They not, and

1:17:13.120 --> 1:17:14.960
<v Speaker 1>I have to make a decision. I got my hands

1:17:15.040 --> 1:17:16.680
<v Speaker 1>up here, I've got the click going in my ear.

1:17:16.840 --> 1:17:19.120
<v Speaker 1>I've grabbed the attention to people. The guitar players are

1:17:19.120 --> 1:17:23.559
<v Speaker 1>the keyboard player. This is get ready, one two, three, four,

1:17:23.680 --> 1:17:25.479
<v Speaker 1>And as soon as the song is over, I gotta

1:17:25.560 --> 1:17:28.840
<v Speaker 1>click going for the next song. So it's already going

1:17:29.240 --> 1:17:32.120
<v Speaker 1>because you could go from one two to one twenty.

1:17:32.280 --> 1:17:34.679
<v Speaker 1>It's not much, but it makes a difference with vocals.

1:17:34.960 --> 1:17:38.639
<v Speaker 1>So don I make Don's life easier. I mean, I'm

1:17:38.920 --> 1:17:42.719
<v Speaker 1>making tweaks and adjustments on charts until ninety minutes before

1:17:42.960 --> 1:17:45.960
<v Speaker 1>the show, and it's a sixteen camera shoot and they're

1:17:46.000 --> 1:17:50.599
<v Speaker 1>recording it. I can't mess up. Ninety minutes before the show.

1:17:50.800 --> 1:17:53.080
<v Speaker 1>I get all my charts, and I didn't take pictures

1:17:53.160 --> 1:17:55.360
<v Speaker 1>of them, put them my iPad, put them in order,

1:17:56.160 --> 1:17:58.160
<v Speaker 1>and usually have thirty minutes to eat and get ready,

1:17:58.240 --> 1:18:01.360
<v Speaker 1>and then I'll do this whole performance. Let's just say hypothetically,

1:18:01.800 --> 1:18:05.599
<v Speaker 1>you're booked that they can't get you. That just happened. Okay,

1:18:05.680 --> 1:18:08.120
<v Speaker 1>who do you say to get I let them decide,

1:18:10.720 --> 1:18:15.679
<v Speaker 1>great answer. Okay, so Mello Camp decides he's not retiring. Meanwhile,

1:18:15.720 --> 1:18:18.400
<v Speaker 1>you've built this whole business from the session work. How

1:18:18.439 --> 1:18:20.200
<v Speaker 1>does it end with you in Mello Camp? Well, that

1:18:20.360 --> 1:18:23.519
<v Speaker 1>was the beginning of headbutting, because now I took myself

1:18:23.600 --> 1:18:27.360
<v Speaker 1>off the small teeny retainer. I mean, that's such an

1:18:27.400 --> 1:18:30.439
<v Speaker 1>obvious flare up in the sky. But I you know,

1:18:30.479 --> 1:18:32.920
<v Speaker 1>I thought, well, you know this way, he can't tell

1:18:33.040 --> 1:18:35.439
<v Speaker 1>me when he wants me, but you don't tell him

1:18:35.479 --> 1:18:38.360
<v Speaker 1>Melancamp retainer or not when he wants you. He wants you.

1:18:38.880 --> 1:18:42.840
<v Speaker 1>And this has happened before or after that. What I

1:18:43.000 --> 1:18:45.120
<v Speaker 1>was saying that John was like, I'm making more money

1:18:45.160 --> 1:18:50.080
<v Speaker 1>in the studio and I in the studio that I'm

1:18:50.160 --> 1:18:52.800
<v Speaker 1>with you and I've made you millions. That's what I'm

1:18:52.840 --> 1:18:56.000
<v Speaker 1>thinking to my head. And I'm treated with respect and

1:18:56.160 --> 1:18:59.559
<v Speaker 1>nice and John, I'm not even gonna put him down,

1:18:59.720 --> 1:19:04.439
<v Speaker 1>just say it wasn't his demeanor to be nice, like

1:19:04.640 --> 1:19:08.000
<v Speaker 1>nice nice, and so I would like be in the

1:19:08.120 --> 1:19:11.439
<v Speaker 1>car those last five years after we got back together,

1:19:11.600 --> 1:19:14.360
<v Speaker 1>and then we're back you know when we finally get

1:19:14.400 --> 1:19:17.240
<v Speaker 1>back together officially as a band in nine and I'm

1:19:17.360 --> 1:19:19.800
<v Speaker 1>driving to the student gonna rock on the rock. I'm

1:19:19.800 --> 1:19:21.479
<v Speaker 1>gonna get and I get in there, and John was

1:19:21.560 --> 1:19:23.719
<v Speaker 1>going through a lot of I mean, in all fairness

1:19:23.760 --> 1:19:26.080
<v Speaker 1>to John, he was like running all the business. He

1:19:26.200 --> 1:19:28.800
<v Speaker 1>was dealing with interviews, dealing with the record labels, dealing

1:19:28.800 --> 1:19:32.040
<v Speaker 1>with managers, dealing with merchandise. He was dealing with this everything,

1:19:32.160 --> 1:19:36.719
<v Speaker 1>and uh, I think you know he had relationship issues.

1:19:36.800 --> 1:19:38.760
<v Speaker 1>It was just tons of stuff. And then he had

1:19:38.760 --> 1:19:41.240
<v Speaker 1>a heart attack eventually, and it was like there was

1:19:41.280 --> 1:19:42.880
<v Speaker 1>so much times to play. When I get in the studio,

1:19:43.360 --> 1:19:46.839
<v Speaker 1>he'd had sunglasses, he'd be smoke con cigarette, the blinds

1:19:46.880 --> 1:19:52.040
<v Speaker 1>would be drawn and it was just depressing. And once again,

1:19:52.160 --> 1:19:55.640
<v Speaker 1>no insult to him, but he was suffering. But I

1:19:55.840 --> 1:19:58.120
<v Speaker 1>walk in there and I would feel it and it

1:19:58.240 --> 1:20:00.800
<v Speaker 1>was no fun. And I'd be like, come on, let's

1:20:00.840 --> 1:20:03.840
<v Speaker 1>go up. We'd be in this dark place for an

1:20:03.880 --> 1:20:06.920
<v Speaker 1>hour and a half. Now let's cut this song. And

1:20:07.000 --> 1:20:11.000
<v Speaker 1>I'd be like constantly trying to coach myself and like,

1:20:11.200 --> 1:20:13.439
<v Speaker 1>no dis respect to John at all. Man, he was

1:20:13.479 --> 1:20:15.519
<v Speaker 1>going through a lot. Man. He was running the whole show.

1:20:16.120 --> 1:20:19.080
<v Speaker 1>But it wasn't fun to be around. So eventually John

1:20:19.200 --> 1:20:21.920
<v Speaker 1>called me and I was doing something and I can't

1:20:21.960 --> 1:20:24.280
<v Speaker 1>make it. I think I was with little Feet out here.

1:20:24.840 --> 1:20:27.600
<v Speaker 1>We'll just cancel. Tell them. You gotta tell them that

1:20:27.760 --> 1:20:30.479
<v Speaker 1>you're not available when I call you. I said, doesn't

1:20:30.520 --> 1:20:34.559
<v Speaker 1>work that way. They you know, producers build rhythm sections.

1:20:34.600 --> 1:20:37.800
<v Speaker 1>They want Kenny in this studio with that bass player.

1:20:38.000 --> 1:20:41.280
<v Speaker 1>And if I'm gonna constantly be bambling, I think gonna work.

1:20:41.520 --> 1:20:46.320
<v Speaker 1>And there was no It eventually ended where we parted ways,

1:20:46.400 --> 1:20:49.400
<v Speaker 1>you know, And what's your relationship with him? About? If

1:20:49.439 --> 1:20:51.160
<v Speaker 1>I play with him like I've done stuff with him.

1:20:51.280 --> 1:20:53.840
<v Speaker 1>We joke like I did the mer hag contribute. He'll

1:20:53.880 --> 1:20:55.439
<v Speaker 1>come up and slug me in the arm, you know, uh,

1:20:55.680 --> 1:20:57.880
<v Speaker 1>And we'll stand in front of each other, and you know,

1:20:58.800 --> 1:21:03.120
<v Speaker 1>he's a very serious guy, but our conversations are fun, funny,

1:21:03.320 --> 1:21:06.160
<v Speaker 1>you know, it's kind of like we make He'll make

1:21:06.200 --> 1:21:08.000
<v Speaker 1>a dig at me, but it doesn't bother me because

1:21:08.000 --> 1:21:09.920
<v Speaker 1>you're playing like the Merle Haggard tribute. Have you ever

1:21:10.000 --> 1:21:13.160
<v Speaker 1>played with him in his band? I played with Merrow

1:21:13.600 --> 1:21:17.120
<v Speaker 1>Another Don was saying, where you know Willie Nelson and

1:21:17.200 --> 1:21:21.280
<v Speaker 1>Merroll came on to do Poncho and Poncho and Lefty Lefty,

1:21:21.560 --> 1:21:25.200
<v Speaker 1>and they were for some event. I played with Morril

1:21:25.200 --> 1:21:27.720
<v Speaker 1>a bunch of times, you know, okay, But in terms

1:21:27.800 --> 1:21:31.599
<v Speaker 1>of John Mellancamp, oh, not in his band. No, it's

1:21:31.640 --> 1:21:35.720
<v Speaker 1>only one of these things where like the Obama inauguration,

1:21:36.240 --> 1:21:38.120
<v Speaker 1>And that's that's how I broke the eyes. I was

1:21:38.160 --> 1:21:41.040
<v Speaker 1>playing Obama Inauguration. I played with twenty four artists. One

1:21:41.200 --> 1:21:43.639
<v Speaker 1>was Melancamp and I thought, I don't want to wait,

1:21:43.680 --> 1:21:46.639
<v Speaker 1>it's gonna be awkward, so I wait till I see him.

1:21:46.800 --> 1:21:48.720
<v Speaker 1>So I called him up on the phone. They go,

1:21:48.920 --> 1:21:52.280
<v Speaker 1>John's Kenny, Hey, Kenny, Oh, oh, Kenny, how are you?

1:21:52.360 --> 1:21:54.280
<v Speaker 1>He was really friendly. So this I want to let

1:21:54.320 --> 1:21:57.160
<v Speaker 1>you know that it's really cold on stage. We're outside

1:21:57.280 --> 1:22:00.960
<v Speaker 1>and you up what Lincoln is and we're down below you.

1:22:01.120 --> 1:22:03.479
<v Speaker 1>So you really are kind of alone. I just know

1:22:03.640 --> 1:22:05.479
<v Speaker 1>you'd like to be around the band. Just what I

1:22:05.560 --> 1:22:07.400
<v Speaker 1>just want are You're still hitting a lot of symbols

1:22:07.800 --> 1:22:10.400
<v Speaker 1>and went, yeah, and we're doing pink House. I said,

1:22:10.400 --> 1:22:12.799
<v Speaker 1>you know the third chorus where you sing stop singing,

1:22:13.000 --> 1:22:16.000
<v Speaker 1>it's a drum solo and it's just symbols going crazy,

1:22:16.320 --> 1:22:18.559
<v Speaker 1>and he goes, this is motherfucker. I'm gonna come down

1:22:18.600 --> 1:22:21.479
<v Speaker 1>there and take those symbols up. And I said, I

1:22:21.600 --> 1:22:25.360
<v Speaker 1>hope you do. I'll get more camera. It was kind

1:22:25.360 --> 1:22:28.200
<v Speaker 1>of he really wanted to know if he was performing

1:22:28.280 --> 1:22:32.679
<v Speaker 1>right after Biden's speech because he wanted the attention. You know. Okay,

1:22:32.920 --> 1:22:35.679
<v Speaker 1>so is Mike the only guy left from the original band?

1:22:35.960 --> 1:22:39.439
<v Speaker 1>That's right. I went and saw them here at the

1:22:39.479 --> 1:22:42.760
<v Speaker 1>Hollywood Bowl and I have to say it wasn't the

1:22:42.840 --> 1:22:45.080
<v Speaker 1>rock band that I was in, but it was cool man.

1:22:45.160 --> 1:22:49.880
<v Speaker 1>The songs were great, except he placed Jack and Diana

1:22:49.920 --> 1:22:51.880
<v Speaker 1>Cousty guitar and I got to the drum field he

1:22:52.000 --> 1:22:55.720
<v Speaker 1>skipped it. He didn't even play. Just well, that's a

1:22:55.760 --> 1:22:58.360
<v Speaker 1>tribute to you on some level. Okay, So now you're

1:22:58.400 --> 1:23:00.519
<v Speaker 1>playing sessions, but you all still go out of the

1:23:00.600 --> 1:23:03.160
<v Speaker 1>Road with Melissa Ethridge for ten years on and off,

1:23:03.360 --> 1:23:05.880
<v Speaker 1>Joe Cocker for ten years, on and off, Pumpkins for

1:23:05.960 --> 1:23:09.240
<v Speaker 1>one year, a Bob Seger for one year, and Fogrety

1:23:09.280 --> 1:23:11.920
<v Speaker 1>now I'm up to twenty five years. Okay. So first

1:23:11.960 --> 1:23:14.960
<v Speaker 1>you're playing sessions. At what point do you decide do

1:23:15.040 --> 1:23:18.600
<v Speaker 1>you end up going down the road on tour. You know,

1:23:20.520 --> 1:23:23.640
<v Speaker 1>this is what makes me different. Is like for the

1:23:23.720 --> 1:23:26.320
<v Speaker 1>viewers out there, usually you're either a session drummer or

1:23:26.400 --> 1:23:28.360
<v Speaker 1>you're a touring drummer. So a couple of us like

1:23:28.479 --> 1:23:32.280
<v Speaker 1>Jeff Percarroll did it, uh, Jerr Robinson, Jared and toured

1:23:32.360 --> 1:23:35.280
<v Speaker 1>that much. You didn't want to ever leave town because

1:23:35.280 --> 1:23:37.320
<v Speaker 1>you don't want these sessions. What I did was I

1:23:37.439 --> 1:23:39.840
<v Speaker 1>was living Indiana. I was recording in l a lot,

1:23:40.160 --> 1:23:42.040
<v Speaker 1>but Nashville was only four and a half hours south

1:23:42.120 --> 1:23:44.240
<v Speaker 1>of me. So I started a whole business down there.

1:23:44.520 --> 1:23:47.000
<v Speaker 1>I was making, you know, playing with Johnny Cash, the

1:23:47.080 --> 1:23:50.400
<v Speaker 1>real the real guys, uh, you know, Willie Nelson's Waylon

1:23:50.520 --> 1:23:55.200
<v Speaker 1>Jennings and and then in the country pop schlock started coming.

1:23:55.280 --> 1:24:00.760
<v Speaker 1>I was playing on that too, But I I I

1:24:01.160 --> 1:24:06.599
<v Speaker 1>was juggling everything, and in New York sometimes, and when

1:24:06.640 --> 1:24:10.200
<v Speaker 1>I went on tour with Seeger and Melissa, I struck

1:24:10.240 --> 1:24:13.040
<v Speaker 1>a deal like this. I got paid a lot, but

1:24:13.120 --> 1:24:16.200
<v Speaker 1>I said, you pay me on show day. On days off,

1:24:16.280 --> 1:24:19.200
<v Speaker 1>you don't have to pay me, but those are my days.

1:24:19.400 --> 1:24:23.280
<v Speaker 1>And I would fly anywhere to make records and keep

1:24:23.320 --> 1:24:24.840
<v Speaker 1>it all going. All right, There are issues of getting

1:24:24.880 --> 1:24:28.120
<v Speaker 1>back in time for the show. I got two big

1:24:28.439 --> 1:24:33.360
<v Speaker 1>ones recently. Fog I'm in Mumbai, India with my band,

1:24:33.400 --> 1:24:36.840
<v Speaker 1>Supersonic Blues Machine with Eric El's and Billy Gibbons, and

1:24:36.920 --> 1:24:40.000
<v Speaker 1>I'm being promoted. So this is the classic thing fogies

1:24:40.040 --> 1:24:41.800
<v Speaker 1>get a gig. I'm not unretained or I don't have

1:24:41.880 --> 1:24:43.680
<v Speaker 1>any So we've got a gig the day after and

1:24:43.720 --> 1:24:46.400
<v Speaker 1>I'm like, huh, I can make it, but it's gonna be.

1:24:46.880 --> 1:24:48.280
<v Speaker 1>I can make it, but I'm gonna be in Mumbai

1:24:48.360 --> 1:24:50.639
<v Speaker 1>the day before, so you've gotta cancel it. Went I can't.

1:24:50.880 --> 1:24:54.320
<v Speaker 1>It's my band and I'm being promoted. It's Kenny Aaronoff.

1:24:54.560 --> 1:24:57.840
<v Speaker 1>It's my band. You gotta cancel it. So I said,

1:24:58.400 --> 1:25:00.840
<v Speaker 1>let me see what the flights are, you know, instead

1:25:00.880 --> 1:25:03.360
<v Speaker 1>of like there is no no, that's my new thing.

1:25:03.439 --> 1:25:05.680
<v Speaker 1>There's no no. You just just come up with keep

1:25:05.760 --> 1:25:10.280
<v Speaker 1>the conversation going. So I'm like, okay, look, I'm wanna

1:25:10.360 --> 1:25:12.640
<v Speaker 1>let me look into this. So I said, I'll make

1:25:12.680 --> 1:25:15.760
<v Speaker 1>it work. So I leave the stage. I figured out

1:25:15.760 --> 1:25:18.599
<v Speaker 1>I catch a four am flight from Mumbai to Dubai

1:25:18.840 --> 1:25:22.840
<v Speaker 1>to me our layover. Unless is a military coup or

1:25:22.960 --> 1:25:27.360
<v Speaker 1>sandstorm that goes to Houston. My only problem is I

1:25:27.479 --> 1:25:29.120
<v Speaker 1>land in Houston five thirty. I have to be on

1:25:29.280 --> 1:25:32.040
<v Speaker 1>stage at nine. And at San Antonio the problem was

1:25:32.120 --> 1:25:37.080
<v Speaker 1>the rush hours insane is not the problem, but getting

1:25:37.120 --> 1:25:39.160
<v Speaker 1>into Texas as a problem. So I tell them that.

1:25:39.200 --> 1:25:41.680
<v Speaker 1>They're like, no, no, no, I said, Okay, let me

1:25:41.680 --> 1:25:43.920
<v Speaker 1>see what else I can do. I get a private chet.

1:25:44.040 --> 1:25:47.080
<v Speaker 1>Somebody offers me a private chet for five dollars if

1:25:47.120 --> 1:25:49.400
<v Speaker 1>I get them v I p passes. Now I land,

1:25:49.640 --> 1:25:52.479
<v Speaker 1>I can get there by six thirty. I tell them

1:25:52.520 --> 1:25:56.280
<v Speaker 1>that they're like what, they can't believe I got that together.

1:25:56.479 --> 1:25:58.920
<v Speaker 1>They're like, well, what if? What if something really happens?

1:25:59.000 --> 1:26:01.479
<v Speaker 1>I said, And I went to the next level. I

1:26:01.560 --> 1:26:03.880
<v Speaker 1>got my buddy Stephen Perkins to sub for me in

1:26:03.960 --> 1:26:06.320
<v Speaker 1>case I didn't make it. He went there, he learned

1:26:06.360 --> 1:26:08.960
<v Speaker 1>the whole show, did sound check, and I made it

1:26:09.040 --> 1:26:12.160
<v Speaker 1>on time, and I did the show, and then I

1:26:12.160 --> 1:26:15.080
<v Speaker 1>would love that. I was like Piston Vinegar. I I

1:26:15.479 --> 1:26:17.360
<v Speaker 1>the fact that you know that it was a challenge

1:26:17.439 --> 1:26:20.360
<v Speaker 1>made me. The adrenaline flowed and we kicked as the

1:26:20.479 --> 1:26:23.000
<v Speaker 1>next day though we had we got on Don Henley's

1:26:23.080 --> 1:26:26.400
<v Speaker 1>jet and flew all the way to New York or

1:26:26.520 --> 1:26:30.000
<v Speaker 1>somewhere east. And that's when I felt it. I was like,

1:26:30.160 --> 1:26:32.639
<v Speaker 1>oh man, and we had a couple of shows there,

1:26:32.760 --> 1:26:37.800
<v Speaker 1>corporate shows, and I was hurting. Yeah, no, we just

1:26:37.920 --> 1:26:39.519
<v Speaker 1>had for some reason, we want his jet. I just

1:26:39.680 --> 1:26:42.280
<v Speaker 1>used that as a cool thing to say, so, but

1:26:42.400 --> 1:26:46.320
<v Speaker 1>but um, I was gonna say, you know when you know,

1:26:46.400 --> 1:26:49.200
<v Speaker 1>I was in business class of first class, so that

1:26:49.600 --> 1:26:52.479
<v Speaker 1>that flash slept the whole you know, eight hours. So,

1:26:52.720 --> 1:26:54.560
<v Speaker 1>so who have you not played with? You want to

1:26:54.600 --> 1:26:58.000
<v Speaker 1>play with? Well, my super group I played with Sting,

1:26:58.200 --> 1:27:01.120
<v Speaker 1>but my ideal super group would be staying obviously, I'm

1:27:01.160 --> 1:27:04.080
<v Speaker 1>bass singing and Jeff Beck on guitar played with Beck

1:27:04.360 --> 1:27:07.000
<v Speaker 1>played on Blaze of Glory with him, but never played

1:27:07.160 --> 1:27:10.320
<v Speaker 1>with him. You played the drums on Blaze of Glory. Yeah,

1:27:11.479 --> 1:27:14.479
<v Speaker 1>I forgot you know. So yeah, and Jeff Beck, this

1:27:14.560 --> 1:27:16.800
<v Speaker 1>is a great story. John. One day I get a

1:27:16.840 --> 1:27:19.599
<v Speaker 1>call out of Blue I'm in Nashville. The chords is, Hey,

1:27:19.680 --> 1:27:22.639
<v Speaker 1>k's John bon Joeli. I'm like what he says, Hey,

1:27:23.200 --> 1:27:25.759
<v Speaker 1>I got this project. I want to record two songs

1:27:25.920 --> 1:27:30.720
<v Speaker 1>for this movie soundtrack. Are you available? BLA Bla says yeah,

1:27:30.920 --> 1:27:32.559
<v Speaker 1>So I'll call you a couple of weeks, it comes

1:27:32.720 --> 1:27:36.160
<v Speaker 1>I got four songs. Oh my god, that's awesome for Okay, cool,

1:27:36.320 --> 1:27:38.080
<v Speaker 1>I'll call you a couple of weeks, dude, like, I'm

1:27:38.080 --> 1:27:39.840
<v Speaker 1>doing the whole soundtrack. I'm doing I got a whole album.

1:27:39.920 --> 1:27:43.360
<v Speaker 1>It's a whole concept. I'm even acting the movie. Okay,

1:27:43.400 --> 1:27:45.880
<v Speaker 1>we're gonna nail down you. Still available to said yep,

1:27:46.120 --> 1:27:48.320
<v Speaker 1>calling a couple of weeks called says I got good

1:27:48.360 --> 1:27:51.439
<v Speaker 1>news and bad news. I'm like, oh, no, what's the

1:27:51.479 --> 1:27:55.160
<v Speaker 1>good news? Jeff Becker is on the record, what Molly

1:27:55.240 --> 1:27:58.320
<v Speaker 1>hro what's the bad news? Jeff wants Terry bos you

1:27:58.520 --> 1:28:05.599
<v Speaker 1>play Johnny side other way? No, but you know, Terry's great,

1:28:05.880 --> 1:28:08.240
<v Speaker 1>Jef's great. I get off the phone and I start

1:28:08.320 --> 1:28:12.000
<v Speaker 1>pacing back and forth and I'm so bummed out, you know.

1:28:12.520 --> 1:28:14.559
<v Speaker 1>And then get a call from the co producer, Danny

1:28:14.640 --> 1:28:18.439
<v Speaker 1>korschmer Hey, Kenny's Danny. What's up? Man? He says, um,

1:28:18.640 --> 1:28:20.840
<v Speaker 1>hey man, get you drums there. On Tuesday at nine am,

1:28:20.920 --> 1:28:26.040
<v Speaker 1>I went, Danny, have you spoken to John Lady? Yeah? Well,

1:28:26.080 --> 1:28:29.840
<v Speaker 1>I says, I'm not playing on the record. Terry Bojo says,

1:28:30.160 --> 1:28:34.040
<v Speaker 1>what that's not yet? You're the right guy for the record, Terry,

1:28:34.120 --> 1:28:36.960
<v Speaker 1>and then he said something very very smart that I

1:28:37.479 --> 1:28:40.720
<v Speaker 1>should have known better. There's no way Jeff Beck is

1:28:40.720 --> 1:28:43.519
<v Speaker 1>gonna be there on a tracking session. Let's do take

1:28:43.640 --> 1:28:47.479
<v Speaker 1>number four hundred. No, you record this song, you bring

1:28:47.600 --> 1:28:50.000
<v Speaker 1>Jeff into just a couple of takes and it's done.

1:28:50.920 --> 1:28:53.800
<v Speaker 1>He's not gonna be there making a record with bon

1:28:53.920 --> 1:28:56.280
<v Speaker 1>Jovie from like you know, eleven in the morning, the

1:28:56.320 --> 1:28:59.000
<v Speaker 1>eleven at night. That's not his style. I was right,

1:28:59.479 --> 1:29:01.360
<v Speaker 1>so he says, So anyway, tell you a tech the

1:29:01.479 --> 1:29:03.240
<v Speaker 1>bring the drums here by nine am. So I played

1:29:03.320 --> 1:29:06.640
<v Speaker 1>on the record. So why is the drummer always the

1:29:06.680 --> 1:29:11.439
<v Speaker 1>business guy in the group. I don't know. Maybe you've

1:29:11.520 --> 1:29:14.000
<v Speaker 1>learned to have to defend yourself. You're the guy you

1:29:14.080 --> 1:29:16.320
<v Speaker 1>know all the music jokes. You know, you've got the

1:29:16.360 --> 1:29:18.040
<v Speaker 1>brand and the guy that's oh yeah, and then we

1:29:18.080 --> 1:29:20.680
<v Speaker 1>got a drummer, you know. I don't know. I think

1:29:21.320 --> 1:29:23.479
<v Speaker 1>I don't know. That's a good question maybe, but that's

1:29:23.560 --> 1:29:25.280
<v Speaker 1>what you do. You agree with that that usually the

1:29:25.520 --> 1:29:31.120
<v Speaker 1>drummers the business guy. The drummer in many cases Danny

1:29:31.160 --> 1:29:34.639
<v Speaker 1>Surfing from Blood, Sweat and Tears, Mick Jagger is the Stones,

1:29:34.720 --> 1:29:37.120
<v Speaker 1>but Charlie Watts. It all goes to Charlie. You know,

1:29:37.240 --> 1:29:40.840
<v Speaker 1>he's one of the guys. Uh, silent leader. Um. And

1:29:40.960 --> 1:29:44.800
<v Speaker 1>that's just form my intuition. Um. You know there's other

1:29:45.120 --> 1:29:50.000
<v Speaker 1>Don Henley definitely running the show, you know. Um. Um,

1:29:50.720 --> 1:29:53.920
<v Speaker 1>I think the drummers are you know, we have to

1:29:54.680 --> 1:29:59.040
<v Speaker 1>defend ourselves, stick up for ourselves, protect yourself, make sure

1:29:59.040 --> 1:30:02.040
<v Speaker 1>you don't get screwed. You know, maybe that's part of it.

1:30:02.720 --> 1:30:05.560
<v Speaker 1>What's the most memorable gig you've ever played? May not

1:30:05.680 --> 1:30:08.640
<v Speaker 1>be the best you performed, but your favorite where you

1:30:08.680 --> 1:30:12.200
<v Speaker 1>go I'm in the pocket. This is a great experience. Well,

1:30:13.400 --> 1:30:16.320
<v Speaker 1>one of the most memorable ones besides the concertom was

1:30:16.360 --> 1:30:19.200
<v Speaker 1>recording with the Buddy Rich Big Band. Scared the living

1:30:19.320 --> 1:30:21.720
<v Speaker 1>crap out of me. I walk in there. I'm the

1:30:21.840 --> 1:30:25.320
<v Speaker 1>last guy. There's a tribute record to honor Buddy Rich.

1:30:25.800 --> 1:30:29.120
<v Speaker 1>And so they got they got all these great drummers

1:30:29.360 --> 1:30:31.760
<v Speaker 1>and Neil Pert and Cathy, which decided they should have

1:30:32.640 --> 1:30:35.160
<v Speaker 1>Kenny Aronoff and you know a couple of rock guys

1:30:35.240 --> 1:30:38.400
<v Speaker 1>that are big. So Cathy calls me up and says,

1:30:38.439 --> 1:30:40.679
<v Speaker 1>I want you to pick two songs. So I picked

1:30:40.760 --> 1:30:44.719
<v Speaker 1>jazz songs. Actually just one songs, big swing face, she says,

1:30:45.000 --> 1:30:47.200
<v Speaker 1>because they sent me some rock songs that were like horror.

1:30:47.200 --> 1:30:49.599
<v Speaker 1>Buddy wasn't the rock drummer and the music wasn't good.

1:30:50.120 --> 1:30:53.360
<v Speaker 1>So I picked this great jazz tune, big band jazz tune,

1:30:53.640 --> 1:30:56.400
<v Speaker 1>and I'm excited. But I've got sessions book three weeks

1:30:56.640 --> 1:31:01.200
<v Speaker 1>before every like New Orleans, LA, Nashville in Montreal. So

1:31:01.280 --> 1:31:03.200
<v Speaker 1>I said, Kathy, I better book me as the last

1:31:03.240 --> 1:31:05.400
<v Speaker 1>guy last day in case I don't make it. And

1:31:05.560 --> 1:31:07.599
<v Speaker 1>she calls me a couple of weeks before and says, look,

1:31:07.640 --> 1:31:10.880
<v Speaker 1>everyone's doing two songs and I'm like, God, I don't know.

1:31:10.960 --> 1:31:13.600
<v Speaker 1>I want. I was about to say I would love to,

1:31:13.680 --> 1:31:14.760
<v Speaker 1>but I don't know if I can pull it off

1:31:14.840 --> 1:31:16.880
<v Speaker 1>straight no chaser. He says, we think you should do

1:31:16.960 --> 1:31:19.640
<v Speaker 1>straight No chase. I went what I says, all right,

1:31:19.800 --> 1:31:23.000
<v Speaker 1>all right, Oh now I'm nervous. It's really fast, and

1:31:23.720 --> 1:31:26.280
<v Speaker 1>so I said, well, okay, but I I got the

1:31:26.320 --> 1:31:28.720
<v Speaker 1>final say if it's no good, and she's okay. So

1:31:29.040 --> 1:31:31.800
<v Speaker 1>I barely get any sleep the night before because I'm

1:31:31.920 --> 1:31:34.200
<v Speaker 1>according late and I have to fly from Montreal. I'll

1:31:34.240 --> 1:31:36.800
<v Speaker 1>go through customs. I get there. I'm so tired and

1:31:36.880 --> 1:31:39.519
<v Speaker 1>I get to New York. I don't lay down on

1:31:39.600 --> 1:31:42.240
<v Speaker 1>the bed, you won't wake up, and and uh so

1:31:42.520 --> 1:31:44.840
<v Speaker 1>I purposely walked the studio from the hotel just to

1:31:45.200 --> 1:31:48.160
<v Speaker 1>keep myself awake. I walk in there and there's cameras

1:31:48.280 --> 1:31:51.120
<v Speaker 1>and everyone's filming me, and the band is looking at

1:31:51.160 --> 1:31:52.560
<v Speaker 1>him in and they looked at me like I was

1:31:52.600 --> 1:31:56.680
<v Speaker 1>a janitor, like who's that guy? You know? Like, and

1:31:56.760 --> 1:32:00.160
<v Speaker 1>I'm like, oh, I'm like nervous. And so eventually get

1:32:00.200 --> 1:32:02.080
<v Speaker 1>the drums and it's a new time a drum kit

1:32:02.320 --> 1:32:04.880
<v Speaker 1>with a new shell. So I'm trying to figure out

1:32:04.880 --> 1:32:06.439
<v Speaker 1>how the tune is and Neil post going, let's go

1:32:06.560 --> 1:32:09.040
<v Speaker 1>on the clock. You know, I'm the last guy last day.

1:32:10.000 --> 1:32:12.040
<v Speaker 1>So go to the van and talk about the arrangement.

1:32:12.080 --> 1:32:13.760
<v Speaker 1>A big swing face, says, well, we actually do it

1:32:13.760 --> 1:32:16.160
<v Speaker 1>a little differently. I'm like, oh no, so I make

1:32:16.240 --> 1:32:18.880
<v Speaker 1>my adjustments. We record. After four takes, I go in

1:32:18.960 --> 1:32:22.760
<v Speaker 1>there and Neil says, all right, and one what's just yeah?

1:32:23.320 --> 1:32:24.639
<v Speaker 1>I said, you know, I need to do it again.

1:32:24.680 --> 1:32:27.080
<v Speaker 1>It's a little bit I can do it better and said,

1:32:27.080 --> 1:32:30.120
<v Speaker 1>oh no, you only get four takes, Like, well, why

1:32:30.160 --> 1:32:33.040
<v Speaker 1>didn't you tell me that in the beginning, I'd be like,

1:32:33.120 --> 1:32:35.160
<v Speaker 1>you know, okay, this is my last shot. I thought,

1:32:35.160 --> 1:32:37.479
<v Speaker 1>I have as much as I want. So they bring

1:32:37.560 --> 1:32:39.760
<v Speaker 1>in the expert, Freddy Gruber. First I had a kid

1:32:39.880 --> 1:32:42.559
<v Speaker 1>sounds great, So that was it. I got voted out.

1:32:43.000 --> 1:32:46.840
<v Speaker 1>Now we're doing straight now Chaser. Now I'm like fight mode.

1:32:47.120 --> 1:32:49.720
<v Speaker 1>It's the it's a super Bowl. So I get in

1:32:49.840 --> 1:32:55.000
<v Speaker 1>fight mode and uh, it's blazing fast and it's a

1:32:55.080 --> 1:32:58.679
<v Speaker 1>solo at the end. The thing that's miracous. I played great.

1:32:58.800 --> 1:33:02.439
<v Speaker 1>I'm reading music and great. The solo was impeccable. I mean,

1:33:02.600 --> 1:33:04.519
<v Speaker 1>I'm not saying it was genius, but there was not

1:33:04.680 --> 1:33:07.360
<v Speaker 1>one flaw like oh he's out of time or oh

1:33:08.760 --> 1:33:10.920
<v Speaker 1>it was like and it was just and I'm telling you,

1:33:10.960 --> 1:33:13.280
<v Speaker 1>when I was playing so fast, I looked at my

1:33:13.320 --> 1:33:17.280
<v Speaker 1>hands and went, wow, who's playing that? I can't play

1:33:17.400 --> 1:33:20.080
<v Speaker 1>like this? Who's playing? And I said, shut up, Kenny,

1:33:20.320 --> 1:33:22.519
<v Speaker 1>who's ever playing? He's doing a good job. You don't

1:33:22.520 --> 1:33:25.120
<v Speaker 1>want to interfere with that guy. It was literally an

1:33:25.120 --> 1:33:26.880
<v Speaker 1>out of body it was flowing. It was just that

1:33:26.960 --> 1:33:31.120
<v Speaker 1>whole flow thing. And so yeah, I have a lot

1:33:31.200 --> 1:33:34.000
<v Speaker 1>of great experiences of Kenny Center Honors and Obamas, But

1:33:34.400 --> 1:33:37.120
<v Speaker 1>that one stands out because it was so different, so unique,

1:33:37.439 --> 1:33:40.800
<v Speaker 1>so scary, so terrified, and I lose the occasion. So

1:33:40.920 --> 1:33:43.960
<v Speaker 1>it's extremely memorable. So you wrote a book, and for

1:33:44.080 --> 1:33:46.640
<v Speaker 1>those people listening who were interested, the book is not

1:33:46.720 --> 1:33:49.120
<v Speaker 1>a typical rock memoir. It's really Kenny story covers a

1:33:49.120 --> 1:33:50.840
<v Speaker 1>lot of this stuff, but much more in depth. I

1:33:50.880 --> 1:33:52.519
<v Speaker 1>really recommend I've read a lot of these books, just

1:33:52.640 --> 1:33:54.840
<v Speaker 1>not because Kenny's here, but it's really great. But you're

1:33:54.840 --> 1:33:57.320
<v Speaker 1>also now right, what's the name of that book again?

1:33:57.680 --> 1:34:00.280
<v Speaker 1>That's called sex Droms rock and Roll? And I wanted

1:34:00.320 --> 1:34:02.360
<v Speaker 1>to put a whole bunch of others. By the way,

1:34:02.439 --> 1:34:05.760
<v Speaker 1>three pages got cut out, just too many sessions, but

1:34:06.560 --> 1:34:08.840
<v Speaker 1>I wanted to put this this other thing in there,

1:34:09.120 --> 1:34:11.719
<v Speaker 1>and so I decided to write another book. What an idiot?

1:34:12.040 --> 1:34:14.000
<v Speaker 1>This book is more are you live in your life loud?

1:34:14.040 --> 1:34:15.760
<v Speaker 1>Are you dying on the vine? It's like how I

1:34:15.880 --> 1:34:19.880
<v Speaker 1>became successful? How to make success? You're not born successful?

1:34:20.760 --> 1:34:23.559
<v Speaker 1>There's no magic pill. How just a little kid from

1:34:23.600 --> 1:34:26.000
<v Speaker 1>a town of three thousand. I mean, everybody's got stories

1:34:26.040 --> 1:34:29.240
<v Speaker 1>like this, But now I'm putting in some deeper things,

1:34:29.520 --> 1:34:32.000
<v Speaker 1>like you know how to connect the head with the heart,

1:34:32.120 --> 1:34:35.120
<v Speaker 1>and you know how you you can't do it just

1:34:35.240 --> 1:34:37.479
<v Speaker 1>from your brain. You can make yourself do stuff, but

1:34:37.560 --> 1:34:40.920
<v Speaker 1>you really have to connect with your heart to be exceptional.

1:34:41.320 --> 1:34:43.160
<v Speaker 1>And that's what I've I've done a lot of work

1:34:43.200 --> 1:34:45.120
<v Speaker 1>on that in the last year, and I'm starting to

1:34:45.160 --> 1:34:46.800
<v Speaker 1>put that back in the book. This book will be

1:34:47.880 --> 1:34:50.760
<v Speaker 1>I mean, it's it's it's got team leadership stuff in it,

1:34:50.840 --> 1:34:53.680
<v Speaker 1>but it really is how to de beat your own

1:34:53.760 --> 1:34:56.960
<v Speaker 1>demons and become successful. Now, your brother is a psychoanalyst.

1:34:57.040 --> 1:34:59.400
<v Speaker 1>Did you discuss these issues with him? We I've been

1:34:59.479 --> 1:35:01.800
<v Speaker 1>trying to talk to him more and more about this

1:35:01.920 --> 1:35:05.200
<v Speaker 1>stuff because he's, you know, an executive coach and I've

1:35:05.200 --> 1:35:08.280
<v Speaker 1>been working with an executive executive coach. It's brilliant stuff.

1:35:08.320 --> 1:35:10.360
<v Speaker 1>You know. Some people think it's phony blown. I think

1:35:10.400 --> 1:35:13.680
<v Speaker 1>it's it's amazing. It's uh, it's it's it's pretty good.

1:35:13.680 --> 1:35:15.840
<v Speaker 1>And my brother does it. So we have these great talks.

1:35:15.920 --> 1:35:19.040
<v Speaker 1>It's it's it's basically you know, you you know, we

1:35:19.200 --> 1:35:23.960
<v Speaker 1>all have we all created ways to survive as as

1:35:24.000 --> 1:35:26.599
<v Speaker 1>little kids, and so as an adult you can't ever

1:35:26.720 --> 1:35:29.760
<v Speaker 1>get rid of like those those triggers you know, but

1:35:29.920 --> 1:35:32.880
<v Speaker 1>you can come up with new agreements. That's what's happening

1:35:32.920 --> 1:35:35.679
<v Speaker 1>to me. Okay, I got a new deal. When somebody

1:35:36.439 --> 1:35:38.840
<v Speaker 1>it's like, for example, it's not personal when John fog

1:35:39.000 --> 1:35:41.759
<v Speaker 1>he wants to put me in a little plastic house

1:35:41.920 --> 1:35:45.439
<v Speaker 1>that's they're discussing on stage to keep the sound away

1:35:45.439 --> 1:35:47.320
<v Speaker 1>from his ears or something. At first, you go like,

1:35:47.520 --> 1:35:50.400
<v Speaker 1>I'm not getting that. You know. Now it's like, well,

1:35:51.360 --> 1:35:54.599
<v Speaker 1>hey man, he's just trying to do something that makes

1:35:54.680 --> 1:35:57.479
<v Speaker 1>him feel good. It's not about me. That's a whole

1:35:57.520 --> 1:36:00.200
<v Speaker 1>flip because you can go I can't believe of that

1:36:00.280 --> 1:36:02.960
<v Speaker 1>person is talking like that. Well, a lot of times

1:36:03.040 --> 1:36:06.560
<v Speaker 1>it's it's not even about you, it's about them. You know.

1:36:06.840 --> 1:36:08.600
<v Speaker 1>They're the ones going through this ship. You just have

1:36:08.720 --> 1:36:12.719
<v Speaker 1>to be in their way. So I'm handling things differently

1:36:12.800 --> 1:36:15.360
<v Speaker 1>based on that, not taking it personally. I can still

1:36:15.479 --> 1:36:18.000
<v Speaker 1>decide what I want to stick around or not, but

1:36:18.120 --> 1:36:22.160
<v Speaker 1>it isn't because of that emotional trigger and dynamic. I

1:36:22.160 --> 1:36:23.880
<v Speaker 1>don't know if that's the best example, but that's a

1:36:23.960 --> 1:36:25.640
<v Speaker 1>tip of the iceberg of some of this stuff. And

1:36:25.680 --> 1:36:28.320
<v Speaker 1>so to be successful, you have to be able to

1:36:28.439 --> 1:36:30.880
<v Speaker 1>navigate through this stuff. If you really want to have

1:36:31.080 --> 1:36:33.960
<v Speaker 1>a a full career, and that's what I'm trying to do.

1:36:34.040 --> 1:36:36.240
<v Speaker 1>I'm writing in the book, I'm I'm really pushing the

1:36:36.320 --> 1:36:39.400
<v Speaker 1>speaking business to be an inspirational because I love being

1:36:39.439 --> 1:36:41.559
<v Speaker 1>in front of the drums. Going back to the drums.

1:36:42.120 --> 1:36:45.599
<v Speaker 1>It's just, you know, the next step. You've been listening

1:36:45.640 --> 1:36:48.719
<v Speaker 1>to Kenny aaron Off. I'm a Bob left Sets podcast.

1:36:48.840 --> 1:36:51.880
<v Speaker 1>As you can tell, he's not only drummer extraordinary, but

1:36:52.000 --> 1:36:54.960
<v Speaker 1>rack and tour extraordinary. We could literally go on for

1:36:55.000 --> 1:36:57.360
<v Speaker 1>another hour, though, but I'm afraid of burning out my one.

1:36:57.439 --> 1:36:59.040
<v Speaker 1>If you'll have to come back tell some more rock

1:36:59.080 --> 1:37:03.320
<v Speaker 1>and rolls, Kenny, thanks so much, dude, I and all

1:37:03.400 --> 1:37:07.439
<v Speaker 1>you fans out there, thanks for listening. Okay, until next time,

1:37:08.000 --> 1:37:14.920
<v Speaker 1>Bob left Sets with Kenny art Off. That wraps up

1:37:15.000 --> 1:37:18.040
<v Speaker 1>this week's podcast with Kenny Arnoff. The guy had such

1:37:18.120 --> 1:37:20.200
<v Speaker 1>great stories I canna let him go on for hours.

1:37:20.280 --> 1:37:22.599
<v Speaker 1>I was afraid of burning you out. Hopefully I'll come

1:37:22.640 --> 1:37:26.120
<v Speaker 1>back with more rock and roll stories. Thanks for listening.

1:37:26.479 --> 1:37:29.040
<v Speaker 1>Don't hesitate to email me at Bob and left sets

1:37:29.120 --> 1:37:33.479
<v Speaker 1>dot com with feedback and suggestions. I may not always respond,

1:37:33.840 --> 1:37:37.040
<v Speaker 1>but I read every email. Until next time I'm Bob

1:37:37.200 --> 1:38:00.120
<v Speaker 1>left sets, thank me. Don't know exactly m