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Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing

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Speaker 1: from My Heart Radio back. When you think of the

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Speaker 1: rhythm section of the Beatles, Paul McCartney on bass guitar

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Speaker 1: and Ringo Star on drums immediately come to mind. But

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Speaker 1: my guest today has played with Paul McCartney longer than

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Speaker 1: Ringo Starr. He's been a member of Paul's band for

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Speaker 1: two decades. He's also played with Eric Clapton, Chris Isaac,

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Speaker 1: Katie Lange Sting, My Lean Armor, Steve Winwood. The list

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Speaker 1: goes on and on. I'm talking, of course, about the

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Speaker 1: illustrious drummer Abel Boreal Jr. This is a bon drums

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Speaker 1: with Paul McCartney performing back in the USSR live in

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Speaker 1: New York City. Musical talent of this caliber runs deep

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Speaker 1: in the Laboreal family. His father, Mexican bass guitarist Abraham

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Speaker 1: La Boreal, and his uncle, Mexican rocker Johnny Laboreal. We're

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Speaker 1: both accomplished musicians in their own right. Abe, a Berkeley

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Speaker 1: School of Music trained musician, has a particular view of

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Speaker 1: his role in a band. To me, the drummer is

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Speaker 1: in service of the music. Number one, Number two to lead,

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Speaker 1: to drive the bus, if you will, to tell people

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Speaker 1: where to go, pay attention to everything. I see my

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Speaker 1: job as listener. First then I have to do But

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Speaker 1: first I have to listen, you know, to really hear

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Speaker 1: what's going on. And I can hear when someone's maybe

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Speaker 1: falling behind or a little bit lost or forgotten something,

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Speaker 1: and so I have to be paying attention to all

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Speaker 1: of that. And then on top of that, like for me,

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Speaker 1: Keith Moon was like a lead drummer, you know, like

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Speaker 1: Pete Townsend held the rhythm together while Keith play lead

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Speaker 1: guitar on the drums. It's funny. It's something my dad

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Speaker 1: and I would always speak of. My dad is a

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Speaker 1: great musician, you know, like he when he plays live,

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Speaker 1: he believes that half the audience is deaf and the

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Speaker 1: other half is blind. And so you have to be

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Speaker 1: able to reach all of them, you know, So you can't.

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Speaker 1: For me, I just can't sit still and pretend like

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Speaker 1: I'm not in it with my entire soul, you know,

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Speaker 1: I have to try and reach every single person out there.

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Speaker 1: You grew up in l A. Yeah, born in Boston,

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Speaker 1: and your family when I was five with a short

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Speaker 1: stint in Cleveland. Well, my dad being a musician and

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Speaker 1: he went to Berkeley College of Music, graduated from there,

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Speaker 1: and my mom was going to medical school at BU

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Speaker 1: when they met, and uh, when she graduated, she had

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Speaker 1: an internship in Cleveland, and my dad put his career

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Speaker 1: on pause for the two years that we were there,

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Speaker 1: and he raised me you know during that. Yeah, yeah,

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Speaker 1: she's a doctor. Who who there's a doctor when she

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Speaker 1: married a musician? Yeah, where did her smarts go when

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Speaker 1: it came down to get married? Well, I have no no,

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Speaker 1: And honestly, the two of them compliment each other so beautifully.

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Speaker 1: They're still together. Just had their fiftieth year anniversary. And um,

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Speaker 1: my mom she's a behavioral specialist now, a pediatric behavioral

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Speaker 1: specialist that deals with kids who have fetal alcohol syndrome

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Speaker 1: and helps diagnose and treat all that kind of stuff.

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Speaker 1: But she was a classically trained opera singer as a kid,

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Speaker 1: you know, in high school and in college and plays guitar.

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Speaker 1: And I used to lead folk worship at the local

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Speaker 1: Catholic church. That's where my dad first saw her and

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Speaker 1: fell in love. Was this beautiful woman playing guitar and

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Speaker 1: was like, I need to I need to meet her. Yeah,

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Speaker 1: so it's so uh, it's an interesting mix of cultures there.

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Speaker 1: And she said, I'm going to medical school and he

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Speaker 1: was like, I think I love you. Yeah, exactly. See,

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Speaker 1: he's a smart man. He's a genius. He's a genius.

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Speaker 1: Go to l A when you're five, and what part

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Speaker 1: of town are you living in for a brief period

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Speaker 1: of time in Santa Monica, and then when they finally

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Speaker 1: bought a home, it was deep in the valley and

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Speaker 1: Woodland hills, yeh, off of a street called Winnetka. So like, yeah, yeah, yeah,

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Speaker 1: that's where I lived for twenty years. No way, are

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Speaker 1: you serious? I mean, I'm I'm a good deal older

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Speaker 1: than you, but I mean I said everything I hated

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Speaker 1: about the valley I grew to love. Yeah. Yeah, it's

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Speaker 1: it's a lack of pretension. Everybody just normal exactly. Yeah.

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Speaker 1: Really it's it is a it's a great normalizer, isn't it. Like,

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Speaker 1: you know, the houses are all pretty cookie cutter. You know,

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Speaker 1: maybe someone has a double lot here about kids in

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Speaker 1: schools and soccer teams and baseball team. Yeah. Now, when

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Speaker 1: you you know, you graduated high school, you pick up

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Speaker 1: the first instrument you play the drums. Yeah, yeah, that

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Speaker 1: was the thing that came naturally. Pots and pans at

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Speaker 1: the age of four, you know, just headphones on, rocking

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Speaker 1: out to things. I would dabble, you know. They my

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Speaker 1: parents encouraged, like piano lessons. I didn't really like them.

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Speaker 1: Saxophone lessons wasn't for me. I was always fascinated with

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Speaker 1: guitar and bass, but was also intimidated because my dad

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Speaker 1: is such an amazing prolific musician, So I always gravitated

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Speaker 1: towards the thing that I could jam with him. He's

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Speaker 1: a bass player, your dad. Yeah, interesting that the path

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Speaker 1: your career went. Yeah, you know, I've I've known a

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Speaker 1: few for some reason, bass players like me. Base players

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Speaker 1: want to bond with you. Yeah. So you decide you

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Speaker 1: don't what you You don't want to play guitar, you

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Speaker 1: don't think it's right for you, and you're drumming, and

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Speaker 1: how does that happen? Is your dad the one encouraging you? Who?

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Speaker 1: Or is it you? Are you completely self propelled? It's

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Speaker 1: it was a combination. So it would be that I

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Speaker 1: innately just understood music that way, you know, would sing songs,

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Speaker 1: would play little things, pick up things around the house.

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Speaker 1: Music was always playing in our home. You know, we'd

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Speaker 1: be listening to the Bulgarian Women's Choir and then Peter,

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Speaker 1: Paul and Mary and then everything earth Wind and Fire

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Speaker 1: and just like you name it. It was always in

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Speaker 1: rot music. They loved, they loved music. Yeah, you know,

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Speaker 1: we'd be listening to Pa Pavarotti and you know, whatever

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Speaker 1: you name it, it was on in our home. My

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Speaker 1: mom loves to tell a story of going to to

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Speaker 1: see the Bill Evans Trio when I when when I

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Speaker 1: was still in her belly, and every time the music

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Speaker 1: would start, I'd start kicking and was like excited and

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Speaker 1: the music would stop and then I'd calm down. Yeah

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Speaker 1: pretty much. So five, yeah, so it's just always around,

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Speaker 1: you know, always a part of my life. Oh yeah,

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Speaker 1: you know, I think for me, you know, they finally

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Speaker 1: got me a drum kit when I was five years old,

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Speaker 1: and um, it was a gift actually from a percussionist

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Speaker 1: named Jamie had Ad who plays with Paul Simon now.

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Speaker 1: But yeah, he put together a little baby kit for

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Speaker 1: me and I'd sit down and start to play a

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Speaker 1: little something that my dad would show me something and

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Speaker 1: then he'd pick up a bass or a guitar and

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Speaker 1: we jam and that was that. That was me growing

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Speaker 1: up for at least five years, just kind of every

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Speaker 1: other day we'd get together and just hang out together

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Speaker 1: and and play music for an hour or so. And yeah,

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Speaker 1: so very encouraging. And when I was ten, I finally said,

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Speaker 1: you know what, I think, I really want to do

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Speaker 1: this professionally. And so my dad got me then official

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Speaker 1: lessons at that point, and who was the teacher and

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Speaker 1: what were they like? So my my first teacher was,

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Speaker 1: unbelievably this drummer named alex A Kuna who famously played

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Speaker 1: drums in the Weather Report and uh, you know, played

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Speaker 1: on you know, percussion on Blondie records and every you know,

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Speaker 1: I don't know, like all kinds of stuff. He's a

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Speaker 1: world renowned percussionist and drummer. And yes, so he was

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Speaker 1: my first teacher. And what was great is that he

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Speaker 1: he wasn't regimented in the way that you know, here

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Speaker 1: are the dots and pay attention to just this. He

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Speaker 1: would have the dialogue with me of playing music together

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Speaker 1: and encouraging me to explore things. So it was always

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Speaker 1: more of an intuitive style of learning rather than a

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Speaker 1: very strict you know, restrictive thing that didn't work for

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Speaker 1: me trying to have that kind of structured I needed

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Speaker 1: to be able to like, oh I I hear this thought,

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Speaker 1: I feel this rhythm, and I want to try that,

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Speaker 1: And luckily I was surrounded with people who encouraged that. Now,

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Speaker 1: most people, when they're most musicians I've spoken to, talk

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Speaker 1: about like the early days being the cover days. You're

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Speaker 1: doing covers before you get into songwriting, and you're writing

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Speaker 1: your own song as you're doing cover of other people's music.

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Speaker 1: What was music you're ten years old, you think you

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Speaker 1: want to do this professionally. What's the music that's in

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Speaker 1: your head, that's on the radio or in your Sony Walkman.

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Speaker 1: I don't know what technology was available when you were

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Speaker 1: a kid, but I'm assuming Walkman was coming along in

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Speaker 1: the in the eighties, just starting to happen. You know,

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Speaker 1: what are you? Who are you? And who are you loving?

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Speaker 1: What music was you love? Did you love? The big

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Speaker 1: one for me at that point was Genesis and Phil Collins. Yeah,

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Speaker 1: that was I mean, you know, I always listened to

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Speaker 1: a lot of Beatles, listened to you know, led Zeppelin,

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Speaker 1: all this stuff, Police, But your fathers from where he's

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Speaker 1: from Mexico City. If your father's Mexican, yeah, born and

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Speaker 1: from where from Boston. She's Irish Portuguese's Yeah, she's Irish,

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Speaker 1: Irish Portuguese Mexican and he's a black Mexican. Was there

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Speaker 1: black music he was craving? Was he into earth Wind

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Speaker 1: and Fire and well? He interestingly, he was a staff

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Speaker 1: producer when he was like thirteen years old at Capitol Records, Mexico.

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Speaker 1: So they would send Beatles records another artist that were

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Speaker 1: on Capitol down to Mexico. He would study those and

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Speaker 1: then they would re enact or do cover versions. And

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Speaker 1: he was in bands the Mexican flavor to it, yeah exactly,

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Speaker 1: so that's where he kind of got his passion for it. Um,

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Speaker 1: you know my loves you c C C exactly, I

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Speaker 1: want to hold your your manos. So yeah, you know,

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Speaker 1: my my grandfather was was also a singer songwriter actor there,

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Speaker 1: so he was kind of the equivalent of like Paul

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Speaker 1: Robeson or something and that in that time. Yeah exactly. Uh,

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Speaker 1: you know, very deep basso profundo voice and uh and

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Speaker 1: and beautiful song. So my my dad, his brother was

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Speaker 1: like an Elvis equivalent there, you know, that Johnny Laborelle

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Speaker 1: and uh yeah, so the they they were an artist's

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Speaker 1: family growing up in Mexico, so he brought that energy

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Speaker 1: and this love of all styles of music, but yeah,

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Speaker 1: in particular rock and roll. He loves. He loves good

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Speaker 1: old fashioned garage rock. So Phil Collins and Journey are

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Speaker 1: front and center for you. Was it because Collins was

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Speaker 1: one of the few percussionist trump men. Yeah, well, it's

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Speaker 1: also one of the first shows that I saw that

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Speaker 1: wasn't my dad's bands, So I got to see the

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Speaker 1: I think it was The Mama Tour was my one

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Speaker 1: of my first big shows, you know, the laser lights

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Speaker 1: and the most amazing visuals, and that was my first

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Speaker 1: experience of an arena concert. You know. Everything else until

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Speaker 1: then had been clubs or theaters, seeing my dad play

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Speaker 1: with different people like you know, Al Jaro or musicians

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Speaker 1: like Larry Carlton and and and these jazz kind of scenarios.

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Speaker 1: But then to see a big rock concert and my

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Speaker 1: whole life changed to see that, so I will I

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Speaker 1: realized I wanted to do that, so I started studying

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Speaker 1: as much of that as I could. Years ago, when

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Speaker 1: we did the show thirty Rock, my character. Someone was

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Speaker 1: talking about Phil Collins and they said, are you a

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Speaker 1: Phil Collins fan? And I looked around the eye with

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Speaker 1: I think it was a woman I was trying to

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Speaker 1: seduce on the show. I took a long pause and

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Speaker 1: I said, I have two years and a heart and

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Speaker 1: I love Phil. I love Phil because he knew you know,

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Speaker 1: I met him and Townsend who I worship him. And

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Speaker 1: I was a raging, raging I mean, nobody smoked more weed.

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Speaker 1: And I couldn't afford a We see the same line.

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Speaker 1: I couldn't afford headphones when I was a kid and

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Speaker 1: didn't have the money. So I had these two A

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Speaker 1: and R speakers that I bought from my friend. My

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Speaker 1: friend needed money, he was broke. He was desperate to

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Speaker 1: buy like a guitar or something. He was into music.

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Speaker 1: And I said, he said, I'll sell you my speakers

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Speaker 1: for like two hundred bucks when they were worth far

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Speaker 1: more than that. I got these big acoustic research speakers

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Speaker 1: and I lay down with them next to my head.

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Speaker 1: BEAUTI I laying on the floor and I smoke a

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Speaker 1: huge joint out the window, and then laying on the

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Speaker 1: floor and listen to Quadra Fenia and all that other

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Speaker 1: stuff and and and when I saw I want to

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Speaker 1: mention this aspect of it to you because you go

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Speaker 1: from rooms or clubs or shows you do which I

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Speaker 1: want to get to your earliest career, when you start

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Speaker 1: to play with in front of an audience, What does

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Speaker 1: that look like? What are your first audiences? Where? Uh,

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Speaker 1: the first few places. There's this great local club that

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Speaker 1: I grew up at basically watching my dad play, called

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Speaker 1: the Baked Potato and um, you know I know that. Yeah,

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Speaker 1: famously they served the world's largest, most delicious baked potatoes.

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Speaker 1: But what is that. It's a family place. So even

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Speaker 1: though it's jazz music and you know, yeah at the

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Speaker 1: time people smoking like crazy and drinking like crazy, but

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Speaker 1: kids were allowed, you know. So I was able to

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Speaker 1: go watch my dad play and all the bands there

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Speaker 1: and those were some of the few first times I

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Speaker 1: would play live were there. Um, And so then to

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Speaker 1: go from that to then going to college. I also

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Speaker 1: went to Berkeley College of Music in Boston and started

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Speaker 1: playing in bands around there, in clubs you know, small,

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Speaker 1: you know, two hundred to five hundred. But then I graduated,

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Speaker 1: go back to l A. And then I get this

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Speaker 1: gig with Steve v I, who's this guitar legend um.

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Speaker 1: And that's the first kind of real professional gig that

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Speaker 1: I got. And that's a theater tour of you know,

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Speaker 1: two thousand to three thousand cedars. Where Where'd you go?

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Speaker 1: That was all over the States. So really I was

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Speaker 1: twenty one when I when I started a kid. Yeah, yeah, exactly. No.

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Speaker 1: Franton told us when he was he was a child,

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Speaker 1: he's out there. He's in a car with Ronnie wood Yo,

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Speaker 1: and Ronnie when wanted him to come and play something

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Speaker 1: with him or whenever, and they heard he was this phenom.

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Speaker 1: And he said, he's in the rooms with these guys

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Speaker 1: and they were all partying their asses off, and he's

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Speaker 1: like sixteen or fifteen years old. Wow, that's not playing

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Speaker 1: in local places. It could have been. My parents were

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Speaker 1: very wise though, and they advised me in saying, look,

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Speaker 1: you are amazing now, but you don't l A is

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Speaker 1: a small town. That's one of the largest small towns

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Speaker 1: out there, and you don't want to be known as

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Speaker 1: the guy who's pretty good for his age. You want

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Speaker 1: to wait until you really have your sense of self.

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Speaker 1: So they encouraged me, and also one of my other

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Speaker 1: mentors was Jeff brecro Uh, the drummer for Toto, who

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Speaker 1: sadly is no longer with us. But you don't you

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Speaker 1: don't want to go right from high school to the NBA? Yeah, basically,

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Speaker 1: which is what he did. He played in Sonny and

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Speaker 1: Share when he was fifteen, and then he was in

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Speaker 1: Steely Dan and then did all this kind of stuff

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Speaker 1: and he he just he pulled me aside. He said,

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Speaker 1: the one thing I regret is that I didn't take

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Speaker 1: time to go to college and really really figure out

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Speaker 1: who I am. So he gave me a drum kit

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Speaker 1: as a gift, one of his personal ones, and sent

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Speaker 1: me off to college with you know, saying, come on,

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Speaker 1: I want you to do this. So I went to

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Speaker 1: Berkeley and Boston. Yeah. So I went right back to Boston,

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Speaker 1: fell in love with how were there? I was like,

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Speaker 1: I did the full four for the Kid from l

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Speaker 1: A going back east? What was that like? Oh? Scene,

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Speaker 1: music scene was amazing. Although the Kid from l A.

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Speaker 1: One of my favorite stories is in the middle of

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Speaker 1: winter seeing the sun come out for the first time

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Speaker 1: in about three months, and I put on shorts and

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Speaker 1: a T shirt and went outside not realized fifteen degrees outside,

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Speaker 1: you know, so lessons like that. But I I loved

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Speaker 1: it to the late eighties by now, right, So yeah,

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Speaker 1: eighty nine through nine I was there, And what and

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Speaker 1: what music is in your head? Then? Uh, it starts

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Speaker 1: to shift from this very frantic jazz infusion jazz to

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Speaker 1: too much more rock and roll. And I'm falling in

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Speaker 1: love with the whole grunge movement sound Garden and nine

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Speaker 1: nine inch Nails and Pearl Jam and that's what you

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Speaker 1: think you should be playing? Yeah, so that's what this

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Speaker 1: is what I want to play exactly. And it really

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Speaker 1: speaks to me on on all the levels, um, you know,

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Speaker 1: just the the intensity of the riffs and and the

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Speaker 1: intensity of the dynamics musically, and and the fact that

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Speaker 1: it wasn't you know about just sex, drugs and rock

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Speaker 1: and roll. It was there was some thoughtful lyrics and

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Speaker 1: thoughtful emotions. Actually make use of your Berkeley School of

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Speaker 1: music exactly. It was a musicianship required. Yeah, yeah, I

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Speaker 1: know that and that that that exactly. Uh. And and

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Speaker 1: what was great is that the club scene there. It

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Speaker 1: was one of those things where you would play a

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Speaker 1: show and be experimental and I would honestly have these

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Speaker 1: conversations or friends would say, Wow, man, that really sucked.

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Speaker 1: We'll see you next week. You know, you're like so

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Speaker 1: people would come back and support each other and and

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Speaker 1: be into the journey of trying stuff. And I could

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Speaker 1: not have done that if I had started right away

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Speaker 1: in l A. So when you're there, what does a

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Speaker 1: school you're a famous rock and roll drummer, What does

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Speaker 1: Berkeley have to offer? What do they teach you? What

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Speaker 1: it does is it It gave me a place to grow,

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Speaker 1: It gave me fertile ground. It gave me it's not

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Speaker 1: so much specifically what the teachers had, but what the

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Speaker 1: other students that were there had. So we were learning

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Speaker 1: from each other. You know, I again, go hang out

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Speaker 1: with another drummer, gop jam with the guitar player, do

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Speaker 1: all this stuff, and you realize that you're just in

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Speaker 1: this incredibly fertile area where you can be as creative

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Speaker 1: as you feel and and try things and and suddenly

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Speaker 1: discover new sounds and you know, play with different combinations

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Speaker 1: of musicians and instruments. And then yes, obviously their structure there,

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Speaker 1: but again the structure, like even for me, it was

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Speaker 1: too restrictive. To be just a drum student. There So

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Speaker 1: I ended up switching my major to music synthesis and

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Speaker 1: production because I figured, if I'm going to learn something

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Speaker 1: that's outside of my wheelhouse, it should be something applicable

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Speaker 1: to other things. It's drumming hard, is it trumping? You

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Speaker 1: think drumming is hard for people to learn? Well, the

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Speaker 1: elements of it, and and depends on your in my soul,

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Speaker 1: I'm a drummer cool because I can't stop banging on things.

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Speaker 1: I'm always banging out the rhythm. Is it hard to learn?

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Speaker 1: It is hard? Well, there again, it's it's like anything

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Speaker 1: that you start out at. You have to suck, you know,

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Speaker 1: dare dare to suck is basically the name of it.

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Speaker 1: So the coordination of getting everything to line up is

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Speaker 1: one element, and then obviously keeping the tempo is the

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Speaker 1: next element, and then making not only both to those things.

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Speaker 1: Then they have to feel good. You have to make

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Speaker 1: people dance, you have to make them want to yeah.

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Speaker 1: And then the fills that's a whole other thing. To

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Speaker 1: not speed up or slow down, or to be consistent

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Speaker 1: with the sound. And so after a while, though, these

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Speaker 1: these are the things you tweak over time. So it's

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Speaker 1: the ten thousand hours thing. It's all of that, and

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Speaker 1: you know like you have you have to, Yeah, dare

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Speaker 1: to suck. Musician Abe Laboreal Jr. If you love conversations

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Speaker 1: with legendary drummers, be sure to check out my talk

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Speaker 1: with Mick Fleetwood. What did you think of when you

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Speaker 1: first came across the TikTok phenomena? It happened in the

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Speaker 1: most charming way. I said, I can't get on a skateboard,

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Speaker 1: so I hung myself off the back of a of

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Speaker 1: a golf cart. And the next thing I know, we're

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Speaker 1: all on halftime sports programs and god knows what else

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Speaker 1: his whole life has changed. And I said, let me

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Speaker 1: tell you, Nathan Fleetwood micos here the rest of my

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Speaker 1: conversation with Mick Fleetwood at Here's the Thing dot org.

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Speaker 1: After the break, Abe la Boreal Jr. Tells us about

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Speaker 1: the fateful day when he was invited to play with

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Speaker 1: Sir Paul. I'm Alec Baldwin and you're listening to Here's

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Speaker 1: the Thing. My guest today is drummer Abel Boreal Jr.

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Speaker 1: This is Abe showcasing his talent with French Canadian singer

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Speaker 1: songwriter milean farmer on her tour. While it may seem

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Speaker 1: like La Boreal is completely at home on every stage

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Speaker 1: he walks on, there was a growing period between that

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Speaker 1: first big break to being the drummer everyone has on

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Speaker 1: speed dial. La Boreal shared with us how he came

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Speaker 1: into his own alongside another major star. I got a

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Speaker 1: chance to audition for Seal and ended up doing his

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Speaker 1: first big US tour that um and through that, you know,

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Speaker 1: he was how does he find you? He through Uh,

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Speaker 1: this amazing band called Eleven, this producer, engineer, guitar player,

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Speaker 1: singer songwriter named Alan Johnnies and his now sadly departed wife, um,

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Speaker 1: Natasha Schneider, And they were fans of mine and friends

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Speaker 1: with Seal, and he was for a drummer and they

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Speaker 1: recommended me to him, and uh, yeah, he called me

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Speaker 1: out of the blue one day and I couldn't believe

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Speaker 1: that it was really him on the other end of

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Speaker 1: the phone, and you know, you know, hey man, you

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Speaker 1: know it's Seal. It's like, you mean the guy whose

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Speaker 1: record I like? And you know, so yeah, he invited

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Speaker 1: me to come audition, and um, where that actually in

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Speaker 1: this in the building that I'm in right now Center staging. Yeah,

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Speaker 1: so it's it's yeah, this place that has been a

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Speaker 1: very important part of my life for a long time.

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Speaker 1: So then I toured with him for about four or

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Speaker 1: five months, and uh, it was great to be a

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Speaker 1: part of that's when Kiss from a Rose came out

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Speaker 1: and Prayer for the Dying and all these great songs

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Speaker 1: and uh, to be a part of that journey, to

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Speaker 1: see him transition from again theaters to then arenas and uh,

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Speaker 1: and then I I took a step back from that

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Speaker 1: ended up going I worked with this French artist, a

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Speaker 1: woman named Milen Farmer. That's the first time I ever

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Speaker 1: really played these enormous you know, twenty thousand, thirty thousand

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Speaker 1: seat arenas and stadiums, and which was good for me

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Speaker 1: because that would have been overwhelming, I think with music

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Speaker 1: that was dear to my soul and emotion, I think

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Speaker 1: it would have been overwhelming. It was easier to do

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Speaker 1: that with music that I enjoyed but wasn't so entrenched

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Speaker 1: in me. Uh, you know, like it would have been

408
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Speaker 1: hard to start with Paul or to start with Sting,

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Speaker 1: you know, but it was easier to do this and

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Speaker 1: like get used to Oh, the adrenaline rush and will Okay,

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Speaker 1: how do I how do I adjust myself to to

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Speaker 1: the first time you hear twenty thousand people scream at

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Speaker 1: the top of their lungs is really overwhelming. Note I

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Speaker 1: haven't done one thing yet. Then after you finish with

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Speaker 1: seal and you go off and you take a little,

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Speaker 1: a little sojourney with me len Famaire, Yes, what so

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Speaker 1: that's like nineties six, And then because of that than

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Speaker 1: the French equivalent of Elvis Johnnie Lady. He he saw

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Speaker 1: us play and I was like, wait, I want that drummer,

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Speaker 1: so he he hired me. So I I ended up

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Speaker 1: spending like three or four years going back and forth

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Speaker 1: between me, Lenn and Johnny just working in France, touring

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Speaker 1: every little hamlet. It was lovely. I mean, at the

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Speaker 1: time it was a little bit difficult. Culture shock, and

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Speaker 1: obviously we didn't have the tools then that we have

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Speaker 1: now Internet and uh, you know, guides to be able

427
00:25:36,440 --> 00:25:39,920
Speaker 1: to know what the street is that I'm on right now? Yes,

428
00:25:40,080 --> 00:25:42,560
Speaker 1: you you. I got lost a lot and and ate

429
00:25:42,680 --> 00:25:44,720
Speaker 1: some weird things that I thought, Oh I think I

430
00:25:45,040 --> 00:25:48,440
Speaker 1: think that's a stake. Oh that's brains, Okay, cool, Yeah,

431
00:25:48,560 --> 00:25:51,880
Speaker 1: you know, so things like that. Yeah, you you discover

432
00:25:52,920 --> 00:25:56,520
Speaker 1: to ask more questions than did that end because you

433
00:25:56,560 --> 00:25:59,200
Speaker 1: wanted to come home. That was the goal. The I

434
00:25:59,280 --> 00:26:02,680
Speaker 1: didn't it isn't. I always just kind of let I

435
00:26:02,840 --> 00:26:05,560
Speaker 1: trust things to happen. So I ended up doing some

436
00:26:05,720 --> 00:26:10,800
Speaker 1: recording with with Katie Lange, who I just adore and

437
00:26:11,240 --> 00:26:13,560
Speaker 1: she's just just one of the best people. And then

438
00:26:13,600 --> 00:26:16,200
Speaker 1: and you wrote music with her. Yeah, so we did

439
00:26:16,280 --> 00:26:19,200
Speaker 1: this record, and that's what made me like stop doing

440
00:26:19,280 --> 00:26:21,920
Speaker 1: the French thing for a minute and just to like, like,

441
00:26:22,320 --> 00:26:25,119
Speaker 1: because I had written some songs with her for for

442
00:26:25,240 --> 00:26:28,359
Speaker 1: her record Invincible Summer. Now, let me ask you how

443
00:26:28,480 --> 00:26:30,560
Speaker 1: that happens, Meaning you've worked with some of the most

444
00:26:30,680 --> 00:26:34,560
Speaker 1: famous people in history. Yeah, where does the opportunity come?

445
00:26:34,680 --> 00:26:37,200
Speaker 1: Who opened the door for you? To say, Kade, I

446
00:26:37,240 --> 00:26:39,119
Speaker 1: gotta show you a couple of songs I've written, Like

447
00:26:39,480 --> 00:26:42,120
Speaker 1: when do you know that's cool to pitch? Well, it's

448
00:26:42,240 --> 00:26:45,040
Speaker 1: it was more of a It started as a group effort,

449
00:26:45,320 --> 00:26:48,639
Speaker 1: me and and the bass player named David Pilch. He

450
00:26:48,800 --> 00:26:51,520
Speaker 1: had been writing a few things and I was always dabbling,

451
00:26:52,119 --> 00:26:55,040
Speaker 1: Like I say, I'm a frustrated guitar player and on

452
00:26:55,160 --> 00:26:57,240
Speaker 1: all the gigs that I've been on, I always end

453
00:26:57,320 --> 00:27:00,199
Speaker 1: up singing backgrounds as well, so I do have uh

454
00:27:00,760 --> 00:27:04,280
Speaker 1: an understanding of melody and so yeah, so I started

455
00:27:04,320 --> 00:27:07,119
Speaker 1: messing around, and I had a few ideas I I played,

456
00:27:07,280 --> 00:27:10,439
Speaker 1: I would make my own demos and send them to her,

457
00:27:10,680 --> 00:27:13,520
Speaker 1: and then she started writing lyrics to them and and

458
00:27:13,720 --> 00:27:16,719
Speaker 1: really fell in love with with a few of my ideas.

459
00:27:17,480 --> 00:27:20,760
Speaker 1: So yeah, it just happened very organically. And I'm not

460
00:27:21,040 --> 00:27:24,000
Speaker 1: very good at asserting like, Okay, I'm going to I'm

461
00:27:24,000 --> 00:27:26,120
Speaker 1: going to sell the world on what I do. It's

462
00:27:26,200 --> 00:27:29,480
Speaker 1: more of the natural. These little things pop up, and

463
00:27:29,560 --> 00:27:33,000
Speaker 1: opportunities pop up, and surprisingly they lead to the next

464
00:27:33,960 --> 00:27:36,200
Speaker 1: You played with k D for how long? I did

465
00:27:36,320 --> 00:27:40,359
Speaker 1: two full tours with her, but basically from kind of

466
00:27:40,520 --> 00:27:44,479
Speaker 1: nineties seven till about two thousand one, I toured with her,

467
00:27:44,600 --> 00:27:47,280
Speaker 1: and then you're getting close to and then that's what

468
00:27:47,600 --> 00:27:51,520
Speaker 1: basically I was tour with her when nine eleven happened. Um,

469
00:27:51,680 --> 00:27:53,920
Speaker 1: we were in the middle of Denver about to play

470
00:27:53,960 --> 00:27:58,280
Speaker 1: a show, and uh and yeah, obviously the world changed.

471
00:27:58,560 --> 00:28:01,800
Speaker 1: Everything changed. We all went home trying to figure things out.

472
00:28:03,040 --> 00:28:05,800
Speaker 1: At that point, Yeah, home was l a just before

473
00:28:05,920 --> 00:28:08,320
Speaker 1: then I had started. I made a record with Paul

474
00:28:08,720 --> 00:28:11,760
Speaker 1: that hadn't quite come out yet. We in the early

475
00:28:11,880 --> 00:28:15,600
Speaker 1: two thousand one, we recorded Driving Rain. And that's the

476
00:28:15,680 --> 00:28:18,159
Speaker 1: first time that I shook his hand and knew I

477
00:28:18,240 --> 00:28:22,920
Speaker 1: had made a Uh this wonderful producer named David Kahn,

478
00:28:23,320 --> 00:28:28,960
Speaker 1: who has produced everybody from Tony Bennett, Fishbone to the

479
00:28:29,119 --> 00:28:32,560
Speaker 1: Bengals to you know, like you name it, he's produced

480
00:28:33,240 --> 00:28:37,160
Speaker 1: and um, yeah, it's amazing. Again, that was another phone

481
00:28:37,200 --> 00:28:40,880
Speaker 1: call I'll never forget where you know. He We had

482
00:28:40,960 --> 00:28:44,400
Speaker 1: never worked together before, but he knew me by reputation

483
00:28:45,240 --> 00:28:47,640
Speaker 1: and um, and asked me if I was available for

484
00:28:47,720 --> 00:28:52,360
Speaker 1: two weeks to to make a record with Paul McCartney. So, uh,

485
00:28:52,920 --> 00:28:54,800
Speaker 1: you know, after I dropped the phone and picked it

486
00:28:54,880 --> 00:28:58,400
Speaker 1: back up and said sure, sure, yeah, absolutely no problem

487
00:28:59,160 --> 00:29:03,080
Speaker 1: and yeah, so showed up in the studio and and

488
00:29:03,280 --> 00:29:06,000
Speaker 1: that's really another beautiful thing is that the way Paul

489
00:29:06,040 --> 00:29:09,040
Speaker 1: and I met, it wasn't an audition. It wasn't me

490
00:29:09,280 --> 00:29:13,400
Speaker 1: trying to emulate somebody else. It was two musicians getting

491
00:29:13,440 --> 00:29:16,880
Speaker 1: to know each other as peers. If anyone could even

492
00:29:17,400 --> 00:29:20,080
Speaker 1: you know, deign to call themselves appear, But I was

493
00:29:20,160 --> 00:29:22,720
Speaker 1: doing my job. I was doing what I do and

494
00:29:23,000 --> 00:29:25,800
Speaker 1: and we go yeah, and we gone on like a

495
00:29:25,880 --> 00:29:29,160
Speaker 1: house on fire. You know. Really it was a lot

496
00:29:29,240 --> 00:29:32,800
Speaker 1: of laughter, a lot of you know, his ability to

497
00:29:33,760 --> 00:29:37,640
Speaker 1: to write music, even on the spot. You know, he

498
00:29:37,680 --> 00:29:40,160
Speaker 1: would he would come in with the demo and go,

499
00:29:40,320 --> 00:29:42,640
Speaker 1: oh wait, oh, I forgot to write the bridge on that.

500
00:29:42,800 --> 00:29:45,440
Speaker 1: Hold on, I'll be right back, and you know, run

501
00:29:45,520 --> 00:29:48,760
Speaker 1: away for five minutes and come back. Okay, okay, I

502
00:29:48,880 --> 00:29:50,959
Speaker 1: got it all right, let's let's and then we'd record

503
00:29:51,040 --> 00:29:53,240
Speaker 1: it to segue to that from a moment. You know,

504
00:29:53,320 --> 00:29:54,880
Speaker 1: one thing you see when you watch Get Back, as

505
00:29:54,880 --> 00:29:56,959
Speaker 1: I've said ad infinitem to my friends, is that how

506
00:29:57,040 --> 00:29:59,600
Speaker 1: hard working they were. Oh. Yes, you know they're gonna

507
00:29:59,640 --> 00:30:02,160
Speaker 1: play this Evan song forty times if they have to

508
00:30:02,200 --> 00:30:04,680
Speaker 1: play at forty times, and they dig around and they

509
00:30:04,720 --> 00:30:07,360
Speaker 1: play with the words and they say whatever, but they're

510
00:30:07,360 --> 00:30:10,600
Speaker 1: gonna get this thing. And they're very hard working. Yes,

511
00:30:10,920 --> 00:30:13,760
Speaker 1: And I'm wondering in a world where you come on

512
00:30:14,000 --> 00:30:16,720
Speaker 1: stage and like we said, they start screaming at the

513
00:30:16,760 --> 00:30:18,800
Speaker 1: top of your lungest you haven't even played one note.

514
00:30:18,880 --> 00:30:21,120
Speaker 1: I mean, this is the most famous guy in the world,

515
00:30:21,480 --> 00:30:25,160
Speaker 1: in the world and everywhere you go people just can't

516
00:30:25,240 --> 00:30:26,840
Speaker 1: you know. They love him and love him and love him.

517
00:30:27,000 --> 00:30:29,040
Speaker 1: But I wonder when the show's over, does he come back?

518
00:30:29,120 --> 00:30:31,440
Speaker 1: So he's just say, oh, it really sucks in that one.

519
00:30:31,520 --> 00:30:34,360
Speaker 1: Does he does? He still have that hard working drive.

520
00:30:35,320 --> 00:30:38,320
Speaker 1: What's really great is, and this is true for all

521
00:30:38,400 --> 00:30:41,440
Speaker 1: of us in the band, is we have we laugh

522
00:30:41,800 --> 00:30:45,280
Speaker 1: really hard and love every mistake that we make. We

523
00:30:45,560 --> 00:30:49,640
Speaker 1: we embrace them wholeheartedly. When a show is perfect, it's

524
00:30:49,720 --> 00:30:52,560
Speaker 1: kind of boring, you know. It's not you don't have

525
00:30:52,720 --> 00:30:55,360
Speaker 1: that thing to pin your hat on, you know, to

526
00:30:55,520 --> 00:30:58,560
Speaker 1: be able to say, oh, wait, yeah, remember when when

527
00:30:58,640 --> 00:31:01,880
Speaker 1: I dropped my stick? You know, and and it becomes

528
00:31:01,920 --> 00:31:06,320
Speaker 1: a whole thing. So honestly, it's not it's never that that,

529
00:31:07,120 --> 00:31:12,320
Speaker 1: you know, beating yourself up. It's always this energy of boy,

530
00:31:12,400 --> 00:31:15,520
Speaker 1: did we miss that one up? And and often, you know,

531
00:31:15,600 --> 00:31:18,400
Speaker 1: when that has happened, we'll even stop and restart a song.

532
00:31:18,560 --> 00:31:22,000
Speaker 1: It's like, wow, no, sorry, guys, we we completely screwed

533
00:31:22,080 --> 00:31:25,120
Speaker 1: that up. We're going to try that again. But in

534
00:31:25,240 --> 00:31:27,720
Speaker 1: the audience loves that though, because then that's an event.

535
00:31:27,960 --> 00:31:30,680
Speaker 1: You were there, Remember I was there that night that

536
00:31:30,800 --> 00:31:35,760
Speaker 1: that happened. He got the lyrics to Yesterday. Yeah, it's beautiful. Yeah,

537
00:31:35,800 --> 00:31:38,840
Speaker 1: it really, it's a great thing when that happens. Perfection

538
00:31:39,040 --> 00:31:42,360
Speaker 1: is boring exactly. And when you're with him and with

539
00:31:42,480 --> 00:31:45,560
Speaker 1: that band, I should say, you go off and perform

540
00:31:45,640 --> 00:31:48,280
Speaker 1: with other people as well, some other legends of music.

541
00:31:48,320 --> 00:31:51,560
Speaker 1: I mean, you're off with Sting, you're off with Stevie Wynwood. Yeah,

542
00:31:51,800 --> 00:31:54,960
Speaker 1: who I worship When you played with Wind and Clapton, Yeah,

543
00:31:55,200 --> 00:31:58,560
Speaker 1: yeah I did. I did that tour, the Blind Faith Repertoire,

544
00:31:58,640 --> 00:32:02,120
Speaker 1: which was just I mean that that music is amazing. Yeah,

545
00:32:02,320 --> 00:32:04,560
Speaker 1: that's a big part of my laying on the floor

546
00:32:04,680 --> 00:32:06,400
Speaker 1: with the A and R speakers next to my head

547
00:32:07,080 --> 00:32:09,320
Speaker 1: the time of my life. But so you're touring with them,

548
00:32:09,360 --> 00:32:11,200
Speaker 1: and you're working with them, is in the seams of

549
00:32:11,280 --> 00:32:15,440
Speaker 1: other tours, like we're literally McCartney saying we can't go

550
00:32:15,560 --> 00:32:20,840
Speaker 1: to Rio because I am with Sting. You're gonna wait

551
00:32:20,880 --> 00:32:23,800
Speaker 1: for Aim to finish with Sting. It's happened. It's happened

552
00:32:23,800 --> 00:32:26,800
Speaker 1: a few times. It's sadly has happened. A few times.

553
00:32:27,080 --> 00:32:29,240
Speaker 1: You're like, you know, there was a Grammy performance I

554
00:32:29,320 --> 00:32:33,080
Speaker 1: couldn't do because I was in Japan with Clapton, and

555
00:32:33,280 --> 00:32:35,560
Speaker 1: you know, so my sub Dave Grohl, did a very

556
00:32:35,680 --> 00:32:39,200
Speaker 1: nice job. You know. Yeah, so stuff, stuff like that

557
00:32:39,400 --> 00:32:42,600
Speaker 1: has happened. But when you're with these different people, do

558
00:32:42,720 --> 00:32:45,160
Speaker 1: they direct you as somebody directing you or do they

559
00:32:45,280 --> 00:32:47,240
Speaker 1: hire you because you know what to do and they

560
00:32:47,240 --> 00:32:49,560
Speaker 1: don't have to say anything. Does anybody ever come up

561
00:32:49,560 --> 00:32:53,680
Speaker 1: to you and offer you some opinions? It's it's funny

562
00:32:53,760 --> 00:32:56,800
Speaker 1: all of those guys, and I've been lucky that it's

563
00:32:57,120 --> 00:33:01,840
Speaker 1: It's never been like a musical director uh scenario. I mean,

564
00:33:02,040 --> 00:33:05,680
Speaker 1: you know where where somebody has the final word, it's they.

565
00:33:05,840 --> 00:33:09,320
Speaker 1: They came up in bands, and that's how they still

566
00:33:09,480 --> 00:33:14,920
Speaker 1: treat the interaction. They want people who have their own personality,

567
00:33:15,480 --> 00:33:18,440
Speaker 1: who are going to be themselves. But at the same token,

568
00:33:18,760 --> 00:33:22,160
Speaker 1: respect the music. That's always been my number one rule.

569
00:33:22,400 --> 00:33:24,840
Speaker 1: You know, I'm not going to sit there and and

570
00:33:25,200 --> 00:33:28,280
Speaker 1: and try and play heavy metal drums on a on

571
00:33:28,400 --> 00:33:32,280
Speaker 1: a Clapton tune, so you know, so it's about knowing

572
00:33:32,920 --> 00:33:37,240
Speaker 1: the music. Yeah, you know, and again it's not classical music.

573
00:33:37,440 --> 00:33:41,640
Speaker 1: My hands aren't tied to play exactly apart. It's living

574
00:33:41,720 --> 00:33:44,920
Speaker 1: and breathing and something that we can can all agree.

575
00:33:45,680 --> 00:33:48,320
Speaker 1: You know, you adjust to to fit the audience, You

576
00:33:48,400 --> 00:33:51,360
Speaker 1: adjust to fit the setting, and also who else is

577
00:33:51,440 --> 00:33:53,440
Speaker 1: in who else is in the band, and to make

578
00:33:53,600 --> 00:33:56,480
Speaker 1: room for people like you know, I've played with Sting

579
00:33:56,600 --> 00:34:00,800
Speaker 1: when there's been an upright bass player and three horn

580
00:34:00,880 --> 00:34:04,880
Speaker 1: players and five background vocalists and organs and all this stuff,

581
00:34:05,520 --> 00:34:08,200
Speaker 1: and I would have to play a little bit more restrained.

582
00:34:08,320 --> 00:34:10,280
Speaker 1: And then I've played with him where it's been stripped

583
00:34:10,320 --> 00:34:14,439
Speaker 1: down two guitar players, bass and drums, and there's much

584
00:34:14,520 --> 00:34:17,680
Speaker 1: more room to pivot and to have fun, you know,

585
00:34:18,320 --> 00:34:22,200
Speaker 1: do things that might throw an entire orchestra off. But

586
00:34:22,320 --> 00:34:24,440
Speaker 1: if it's just for people, we know where each other

587
00:34:24,480 --> 00:34:28,239
Speaker 1: are are supposed to be and how to Readjust every

588
00:34:28,239 --> 00:34:31,640
Speaker 1: scenario is different. I think the people who their musical

589
00:34:31,760 --> 00:34:34,479
Speaker 1: styles are. I mean there's some overlap, but they seem

590
00:34:34,560 --> 00:34:37,239
Speaker 1: so different. And I think about people who, yes, they

591
00:34:37,280 --> 00:34:40,480
Speaker 1: have music in their repertoire that you can play loud,

592
00:34:40,680 --> 00:34:43,719
Speaker 1: you know, stadium rock, But I wonder what quotient, what

593
00:34:43,840 --> 00:34:46,520
Speaker 1: amount of their catalog can be played in a stadium.

594
00:34:46,520 --> 00:34:49,360
Speaker 1: A lot of Stings music seems better played in like

595
00:34:49,440 --> 00:34:52,440
Speaker 1: an under ten thousand seat space Yeah, it seems like

596
00:34:52,480 --> 00:34:56,239
Speaker 1: it's a kiss more intimate. Definitely. Clapton seems like even

597
00:34:56,280 --> 00:34:58,640
Speaker 1: though you can rip it on, you can play the

598
00:34:58,719 --> 00:35:01,440
Speaker 1: opening licks of LEI leg everybody that's exactly where we're going.

599
00:35:01,960 --> 00:35:05,600
Speaker 1: Not everybody is the same. You can play Helter Skelter,

600
00:35:05,880 --> 00:35:09,239
Speaker 1: you can play Revolution, you can play back on the USSR.

601
00:35:09,680 --> 00:35:11,440
Speaker 1: You can rip it. I mean you can rip it

602
00:35:11,880 --> 00:35:15,480
Speaker 1: and then it can get really intimate. Absolutely, it's amazing

603
00:35:15,600 --> 00:35:20,280
Speaker 1: the dynamic that especially that he can command and again

604
00:35:20,360 --> 00:35:22,800
Speaker 1: that we can do that in a stadium is crazy.

605
00:35:23,360 --> 00:35:25,800
Speaker 1: You know, people get quiet, they do they want to

606
00:35:25,880 --> 00:35:33,280
Speaker 1: hear absolutely every every word. Drummer Abe la Boreal Jr.

607
00:35:33,800 --> 00:35:36,680
Speaker 1: If you're enjoying this episode, don't keep it to yourself,

608
00:35:36,800 --> 00:35:39,360
Speaker 1: Tell a friend and be sure to follow us on

609
00:35:39,440 --> 00:35:43,640
Speaker 1: the I Heart Radio app, Apple Podcasts, or wherever you

610
00:35:43,719 --> 00:35:47,800
Speaker 1: get your podcasts. When we return, Abe la Boreal Jr.

611
00:35:48,200 --> 00:35:51,400
Speaker 1: Share some anecdotes about some of the biggest rock stars

612
00:35:51,719 --> 00:36:03,320
Speaker 1: he's worked with. I'm Alec Baldwin and you're listening to

613
00:36:03,480 --> 00:36:24,680
Speaker 1: Here's the thing. Drummer Abe la Boreal Jr. Has shared

614
00:36:24,800 --> 00:36:27,880
Speaker 1: the stage with some of the most accomplished rock stars

615
00:36:27,920 --> 00:36:32,360
Speaker 1: in history. This is Layla from Eric Clapton live at

616
00:36:32,400 --> 00:36:38,040
Speaker 1: Buddhakan with abe La Borel Jr. On drums. I wanted

617
00:36:38,040 --> 00:36:40,560
Speaker 1: to know just a few of his favorite memories of

618
00:36:40,719 --> 00:36:45,440
Speaker 1: playing with these great artists. With k D, I have

619
00:36:45,640 --> 00:36:50,759
Speaker 1: to say, every every single night, I have never seen

620
00:36:50,920 --> 00:36:55,919
Speaker 1: someone takes such command and control of an entire room.

621
00:36:56,120 --> 00:36:59,080
Speaker 1: The room was as much a part of her voice

622
00:36:59,080 --> 00:37:03,200
Speaker 1: as she was, so she could she could use the

623
00:37:03,360 --> 00:37:06,680
Speaker 1: mic technique and and just fill the room almost like

624
00:37:06,719 --> 00:37:09,960
Speaker 1: an opera singer, you know, almost not needing the microphone

625
00:37:10,000 --> 00:37:13,239
Speaker 1: in front of her to fill that room, and just

626
00:37:13,640 --> 00:37:17,640
Speaker 1: beautiful emotion and intensity. And again the same thing, the

627
00:37:17,840 --> 00:37:21,200
Speaker 1: dynamic of being able to whisper a song and then

628
00:37:21,360 --> 00:37:25,400
Speaker 1: hit the high notes on constant craving or crying. You know,

629
00:37:25,520 --> 00:37:28,080
Speaker 1: her version of crying is still it gives me goose

630
00:37:28,120 --> 00:37:30,880
Speaker 1: bumps just thinking about it. What about Clapton, I mean

631
00:37:30,880 --> 00:37:33,359
Speaker 1: because to me, I wrote in my memoir that all

632
00:37:33,400 --> 00:37:36,640
Speaker 1: those jokes from my generation where people said Clapton was

633
00:37:36,760 --> 00:37:38,400
Speaker 1: God in mind when I grew up as a kid,

634
00:37:38,640 --> 00:37:41,800
Speaker 1: Clapton was God. Yeah. I mean again, what a tone

635
00:37:41,960 --> 00:37:44,239
Speaker 1: that really does come from his hands, you know, And

636
00:37:44,320 --> 00:37:47,760
Speaker 1: it doesn't matter what guitar, he picks up. There's his tone,

637
00:37:47,920 --> 00:37:51,680
Speaker 1: his fingerprint, his his energy. You know, there would be

638
00:37:51,880 --> 00:37:55,520
Speaker 1: nights where between him and Doyle Bramble, who was playing

639
00:37:55,600 --> 00:37:59,319
Speaker 1: guitar also in the band, and the two of them

640
00:37:59,320 --> 00:38:03,000
Speaker 1: would trade solos back and forth, and I was in

641
00:38:03,120 --> 00:38:06,040
Speaker 1: heaven because you know, for me as a drummer, I'm

642
00:38:06,200 --> 00:38:10,440
Speaker 1: not so much focused on what I'm playing. I'm focused

643
00:38:10,520 --> 00:38:13,320
Speaker 1: on what they're doing, and I'm listening to them like

644
00:38:13,480 --> 00:38:16,400
Speaker 1: I get to be the ultimate audience and just to

645
00:38:16,520 --> 00:38:22,600
Speaker 1: sit there and listen to these incredible musicians play and

646
00:38:22,840 --> 00:38:25,399
Speaker 1: and you know, they they end up orbiting so far,

647
00:38:25,800 --> 00:38:27,560
Speaker 1: and my job is just to make sure that we

648
00:38:27,680 --> 00:38:30,600
Speaker 1: still know where they're tethered to, that that we're not

649
00:38:30,760 --> 00:38:34,359
Speaker 1: all going so far that we lose the audience. Eric

650
00:38:34,480 --> 00:38:37,120
Speaker 1: would just have these nights where he was on fire

651
00:38:37,239 --> 00:38:39,799
Speaker 1: and would not want to stop playing, And those were

652
00:38:39,840 --> 00:38:43,839
Speaker 1: beautiful moments Whenwood seems like such a gentle soul. I've

653
00:38:43,880 --> 00:38:46,440
Speaker 1: never met him. Was he like that in person? He's

654
00:38:46,480 --> 00:38:52,680
Speaker 1: like a very very deep yea quiet very it's both right,

655
00:38:52,800 --> 00:38:55,640
Speaker 1: like honestly, he's both like. One of my favorite moments

656
00:38:56,160 --> 00:38:58,480
Speaker 1: in that band was playing Can't Find My way Home.

657
00:38:58,880 --> 00:39:02,759
Speaker 1: That is one of the best songs, you know, and

658
00:39:03,000 --> 00:39:05,719
Speaker 1: it just had this beautiful dynamic to it and the

659
00:39:05,880 --> 00:39:08,960
Speaker 1: way they would sing harmony on that together, you know,

660
00:39:09,239 --> 00:39:14,640
Speaker 1: both both Steve and Eric, and it's just lovely. Man Um. Yeah,

661
00:39:14,680 --> 00:39:17,359
Speaker 1: he was a fun hang on the road to uh,

662
00:39:18,000 --> 00:39:20,239
Speaker 1: you know, the after show of just having a little

663
00:39:20,280 --> 00:39:22,920
Speaker 1: glass of wine and and you know, I wish I

664
00:39:22,960 --> 00:39:25,959
Speaker 1: could have met him too, because I just love his music. Yeah, Sting,

665
00:39:26,080 --> 00:39:29,400
Speaker 1: I've met and Stings somebody who I saw him the

666
00:39:29,440 --> 00:39:31,400
Speaker 1: other day in New York. I just bumped into and

667
00:39:31,560 --> 00:39:33,400
Speaker 1: and and he was He's always his wife is always

668
00:39:33,440 --> 00:39:35,840
Speaker 1: so nice to me. Had a quick with them on

669
00:39:35,920 --> 00:39:39,520
Speaker 1: the on the street uptown and Uh. And he's somebody

670
00:39:39,560 --> 00:39:41,520
Speaker 1: who you know because he has that movie star glow

671
00:39:41,600 --> 00:39:45,120
Speaker 1: to him. Absolutely, he's got that edge. And right when

672
00:39:45,160 --> 00:39:48,040
Speaker 1: you think you don't like him because he's so handsome

673
00:39:48,160 --> 00:39:50,640
Speaker 1: and he's so rich and talented, then he sings a

674
00:39:50,719 --> 00:39:53,520
Speaker 1: song that breaks your heart. Yes, he sings a song

675
00:39:53,640 --> 00:39:56,040
Speaker 1: that breaks your heart, and you think the guy really

676
00:39:56,239 --> 00:39:58,960
Speaker 1: is pretty damn good. He's the real deal. And again,

677
00:39:59,320 --> 00:40:01,520
Speaker 1: you know, one of the loveliest The first time I

678
00:40:02,000 --> 00:40:06,680
Speaker 1: UH was hired, you know, because basically he hired me

679
00:40:06,800 --> 00:40:10,600
Speaker 1: without us ever having played together. It was again through

680
00:40:10,640 --> 00:40:13,080
Speaker 1: word of mouth, and you know that he had this

681
00:40:13,200 --> 00:40:15,920
Speaker 1: tour that he had to finish up and promote, and

682
00:40:16,480 --> 00:40:20,640
Speaker 1: so he again through reputation and hired me for a

683
00:40:20,719 --> 00:40:23,520
Speaker 1: few months. And on our first day of saying hello,

684
00:40:23,840 --> 00:40:26,880
Speaker 1: it was the biggest bear hug I've ever received, and

685
00:40:27,200 --> 00:40:29,920
Speaker 1: you know, welcome to the family. You know. So it's

686
00:40:30,000 --> 00:40:33,160
Speaker 1: he's that kind of guy, just a real tender spirit

687
00:40:33,840 --> 00:40:36,920
Speaker 1: and uh you know, yes there's the trappings of of

688
00:40:37,120 --> 00:40:39,960
Speaker 1: rock and roll and villas and whatnot, but it was

689
00:40:40,120 --> 00:40:43,120
Speaker 1: at his core royalty. Yeah, but he's a guy who

690
00:40:43,239 --> 00:40:45,480
Speaker 1: shows up with his bag and his base on his

691
00:40:45,600 --> 00:40:48,319
Speaker 1: back and is ready ready at for the lobby call

692
00:40:48,440 --> 00:40:51,880
Speaker 1: fifteen minutes before departure, you know. So that's that's the

693
00:40:51,960 --> 00:40:54,600
Speaker 1: kind of guy he is. Yeah. And when I saw

694
00:40:54,719 --> 00:40:57,359
Speaker 1: you the first time, I couldn't take my eyes off

695
00:40:57,440 --> 00:41:00,919
Speaker 1: you know. So you five guys, great night, great show,

696
00:41:01,320 --> 00:41:05,920
Speaker 1: great fun. But you fit into a category of you

697
00:41:06,000 --> 00:41:09,640
Speaker 1: can tell there's no place else you'd rather be. You

698
00:41:09,719 --> 00:41:13,400
Speaker 1: have such a contagious enthusiasm. There's a smile on your face,

699
00:41:13,560 --> 00:41:17,360
Speaker 1: not all the time, you're getting down and down and

700
00:41:17,440 --> 00:41:20,640
Speaker 1: you're playing, but you seem so happy, you seem so

701
00:41:20,960 --> 00:41:24,839
Speaker 1: filled with joy when you're up there playing music. I mean.

702
00:41:24,920 --> 00:41:27,520
Speaker 1: And what's interesting is you've drummed for him longer than

703
00:41:27,640 --> 00:41:30,480
Speaker 1: Ringo Star drummed with Can you believe it? What are

704
00:41:30,480 --> 00:41:33,520
Speaker 1: you guys doing now? The COVID seems to be dissipating

705
00:41:33,520 --> 00:41:34,920
Speaker 1: a little bit. You guys, are you gonna go on

706
00:41:35,000 --> 00:41:37,920
Speaker 1: tour with somebody? I'm hoping so there's still, you know,

707
00:41:38,080 --> 00:41:40,640
Speaker 1: things in the works, and I'm hoping that soon we'll

708
00:41:40,760 --> 00:41:43,040
Speaker 1: be able to do some shows, you know, Like the

709
00:41:43,520 --> 00:41:48,080
Speaker 1: last time we played with Paul was um the end

710
00:41:48,120 --> 00:41:53,000
Speaker 1: of So I'm which show the Dodger Stadium and at

711
00:41:53,000 --> 00:41:55,200
Speaker 1: the end of July, and it was it was an

712
00:41:55,200 --> 00:41:58,120
Speaker 1: amazing show, Like thank god, it was a wonderful show.

713
00:41:59,000 --> 00:42:02,560
Speaker 1: But we were meant ago do you know, to play

714
00:42:02,600 --> 00:42:06,000
Speaker 1: a European tour and to play glaston Barry and all

715
00:42:06,080 --> 00:42:09,040
Speaker 1: of these exciting things and uh and yet to have

716
00:42:09,320 --> 00:42:13,960
Speaker 1: the Yeah, I think so. So I'm hoping. I'm hoping

717
00:42:14,000 --> 00:42:16,640
Speaker 1: that we might be able to to to redo some

718
00:42:16,840 --> 00:42:19,839
Speaker 1: of that this year. Well listen, I have a real

719
00:42:20,000 --> 00:42:23,279
Speaker 1: jones for drummers because I if I played popular music,

720
00:42:23,440 --> 00:42:24,920
Speaker 1: I want to play the drums, and you're one of

721
00:42:24,960 --> 00:42:27,520
Speaker 1: the greatest of all time. My friend, you are so great.

722
00:42:27,800 --> 00:42:29,680
Speaker 1: I can't wait to see you up there again. Matt Well,

723
00:42:29,880 --> 00:42:34,880
Speaker 1: thank you, Thank you so much. Man. My thanks to

724
00:42:35,239 --> 00:42:39,920
Speaker 1: musician Abe Laboreal Jr. I'll leave you with Abe performing

725
00:42:40,000 --> 00:42:44,600
Speaker 1: with Sting on message in a bottle in montro I'm

726
00:42:44,640 --> 00:42:46,839
Speaker 1: Alec Baldwin. Here's the thing, is brought to you by

727
00:42:47,000 --> 00:43:04,399
Speaker 1: my heart radio jes What is it? Yeah, gorleness good,

728
00:43:08,160 --> 00:43:16,680
Speaker 1: Let's go Beffar to despair. I'll sup the soul untruth.

729
00:43:17,160 --> 00:43:25,600
Speaker 1: I said that that's soul construths. Yes, yes,