Speaker 1: Really now really.
Speaker 2: Really now really hello, and welcome to Really No Really
Speaker 2: with Jason Alexander and Peter Tilden. You know, when you
Speaker 2: subscribe to our show, it's like a gift you give
Speaker 2: to yourself and more importantly, to us.
Speaker 3: Today's episode is all about the.
Speaker 2: Joy and angst of gift giving, considering the message you
Speaker 2: want to send with your gift, and the importance of context. Plus,
Speaker 2: Peter gives Jason the most incredible birthday gift, and Jason
Speaker 2: gives Peter a very unexpected response. Now here's our gift
Speaker 2: to you, Jason and Peter.
Speaker 3: Now really, hey, everybody, welcome back. I am Jason Alexander
Speaker 3: here with.
Speaker 4: You Tilden, Jason Alexander.
Speaker 3: So yeah, I mean, and this is our what passes
Speaker 3: for our podcast Really No Really, where Peter and I
Speaker 3: explore the things that make he and I say really
Speaker 3: no Really. So you're annoyed, and I'm I'm already a
Speaker 3: little annoyed, not at our guest today, I'm actually very
Speaker 3: excited about our guess I'm annoyed at the topic because
Speaker 3: here's our really for the day, and I'm just gonna
Speaker 3: I'm gonna read it to you because I had to
Speaker 3: write it down to make sense of it. Peter got
Speaker 3: Jason a birthday gift that is six months late and
Speaker 3: no longer has to be paid for, and he still
Speaker 3: thinks it's a birthday gift.
Speaker 4: Really, No, really, So I take our friendship seriously. I
Speaker 4: think friendship seriously. I know you do.
Speaker 1: And I try and connect and think, what is it?
Speaker 4: Because you have a lot of stuff, Yeah, what is
Speaker 4: it that you really need? And as you get older,
Speaker 4: by the way, the last couple of years, everything has
Speaker 4: been therapeutic. It's been a thing for a seat.
Speaker 3: As you get older, it's a hostagegger finger.
Speaker 4: It's sad. It's sad. Most of the stuff comes with
Speaker 4: surgical tape gifts exactly. But I helped Jason get a
Speaker 4: base because he'd never played bass before, and I thought,
Speaker 4: you know what, I'd seen this gentleman give a clinic
Speaker 4: years ago, and he blew me away, not only because
Speaker 4: he's one of the best musicians on the planet on
Speaker 4: the instrument he plays, but also he's just a wonderful
Speaker 4: human being and it's been playing since he's a kid,
Speaker 4: and his master this thing in such a way so
Speaker 4: far so so I then reach out to this person
Speaker 4: and he says, Yeah, that would be really, really cool.
Speaker 4: But he mentions to me that he would like to
Speaker 4: learn acting because he's been in some stuff. And so
Speaker 4: this could be a gift to both of you.
Speaker 3: So you gave me a gift through barter, I actually
Speaker 3: have to give something in order to receive this gift.
Speaker 3: This gift gets better and better, so much like it's
Speaker 3: cost you nothing, and I have to do something.
Speaker 4: Jason says, you know when a gift is no longer relevant,
Speaker 4: when it's belated to the point that it's closer to
Speaker 4: your next person. Let's put our bickering aside.
Speaker 3: Can do that, because the gift that would be the money.
Speaker 3: That's the money.
Speaker 4: But I reached out to Daryl Jones, who is the
Speaker 4: bass player with the Rolling Stones for over thirty years.
Speaker 4: And Daryl's got I mean is if you want to
Speaker 4: see what he's about, he's got a documentary called In
Speaker 4: the Blood that you can check out. But Darryl, what
Speaker 4: blew me away is he'splaining with the Stones, which is
Speaker 4: a pretty major gig.
Speaker 3: That's significant.
Speaker 4: I heard about Miles Davis and he played with Miles
Speaker 4: for a number of years. Left and Miles usually you're
Speaker 4: done I like you, you're good, but you never come back.
Speaker 4: He came back. He's like, good, Sting's a bass player. Yeah,
Speaker 4: he's stings that kind of stuff.
Speaker 3: And he played abow the documentary of making the album,
Speaker 3: and I was like.
Speaker 4: There's good pretty. So let's say hi to Darnald Darrell.
Speaker 4: I'm so thrilled you're here.
Speaker 1: Man, man, I'm very happy to be it came in.
Speaker 3: Most people they don't like us enough to come in,
Speaker 3: won't come in right.
Speaker 4: Lots come in, lots come in. No, we've had quite
Speaker 4: a few people in. But I thank you for being
Speaker 4: so gracious come in. The reason I told Darryl I
Speaker 4: won't him to teach your bass is not because you're
Speaker 4: a beginner so you don't know that much.
Speaker 3: But I said, I'm not a beginner. I am an inductee.
Speaker 3: I'm a I'm a bass. Meet Jason, Jason meat bass.
Speaker 4: It's starting. It's starting, but it's a bigger issue is
Speaker 4: for the audience today.
Speaker 1: I hope it's a gift for them too, because.
Speaker 4: You're gonna get here acting to know not you played
Speaker 4: oh acting tips from Jason to Daryl and then to
Speaker 4: Daryl to talk about music. But Daryl let's let's run
Speaker 4: through this for just for a minute. The background, Miles Davis.
Speaker 4: I had a different impression to him that he was
Speaker 4: really tough and really difficult to work with. And then
Speaker 4: I read your stories and he was.
Speaker 1: Like a parent. He looked out for you. But your
Speaker 1: audition told us about your audition from us, because it's wild.
Speaker 1: Oh no, no, he was. I mean, first of all,
Speaker 1: he was funny. You know.
Speaker 5: He started joking with me on the elevator upstairs to
Speaker 5: the the apartment. He says, uh, I'm chewing gum and
Speaker 5: he says, uh, you missed the gun.
Speaker 1: I said, it's my last piece. And he said, you
Speaker 1: mean you.
Speaker 6: Came all the way to New York and you only
Speaker 6: bought one piece of chewing up.
Speaker 1: You know, so he's just used to Yeah.
Speaker 5: And then he said, listen, man, if it doesn't this
Speaker 5: doesn't work out, it doesn't mean that you can't play.
Speaker 5: I think he understood, first of all, you know that
Speaker 5: he was this huge figure and knew that, you know,
Speaker 5: he could you could endo guy's career over something like that,
Speaker 5: and I think he wanted to be sure not to
Speaker 5: do that, but generous.
Speaker 1: But you know, he was always.
Speaker 5: Incredibly generous with musicians, and so the stories that you
Speaker 5: hear about Miles outside of the music community people looking inside,
Speaker 5: are very different than what people will tell you about.
Speaker 5: You know, the musicians that he played with, he was
Speaker 5: funny and very generous, and even guys who didn't work
Speaker 5: out in the beginning, he would give them a chance.
Speaker 5: He wouldn't just you know, close the door of the
Speaker 5: moment that you did something wrong.
Speaker 1: He would.
Speaker 5: He would, you know, try to give you a chance
Speaker 5: to find your place and your future opportunities.
Speaker 4: A lotin came out of that because people saw you
Speaker 4: with Miles, and figure there the other story, and then
Speaker 4: we'll move on from Miles.
Speaker 1: I love that he called you. Tell about when he
Speaker 1: called you in the middle, like two in the morning.
Speaker 5: Yeah, you know, called me in the morning, and I
Speaker 5: mean there's a number of those, but found yeah, yeah, No,
Speaker 5: that first night that I was on stage, I was
Speaker 5: hoping that I found, like, you know, a gem, you know,
Speaker 5: and I did. I stumbled on it and after a
Speaker 5: couple of times through got it together. And you know,
Speaker 5: later that night, four o'clock in the morning, I get
Speaker 5: a phone call and he says.
Speaker 6: Dall listening to the tape if you don't play that
Speaker 6: bassline tomorrow night on scop stop Scott that you played tonight,
Speaker 6: it's curtains for your ass.
Speaker 1: So you know he was.
Speaker 4: But that's a dual message. That's I really liked it.
Speaker 4: D's play it again, but experiment, go for it. No no, no,
Speaker 4: true true.
Speaker 5: And it's also a movie reference because that's from a
Speaker 5: George Raft movie.
Speaker 1: Uh, prison Break.
Speaker 5: There's a prison I was watching this movie late one night,
Speaker 5: prison Break. The prisoners take a hostage and they get
Speaker 5: on the phone and say.
Speaker 1: If you don't let us out.
Speaker 5: George Raft says, if you don't let us out, it's
Speaker 5: curtains for his ass.
Speaker 4: That's exactly right. So now you're you move on from Miles.
Speaker 4: You've played with the list is insane. He played with
Speaker 4: Ma Donna. Yeah, incredible. So now the Stones you hear
Speaker 4: you you actually wanted to play with him before you
Speaker 4: got the gig.
Speaker 5: I wanted to play with Keith Richards, to be really honest,
Speaker 5: I wanted.
Speaker 1: To play with his band. What was it about Keith
Speaker 1: Richards with your There's there's a record, Talk is cheap.
Speaker 5: It's like his his first solo record to my knowledge.
Speaker 5: You know, it's rock and roll. But Bootsy Collins is
Speaker 5: on the record, you know it's rock and roll. But uh,
Speaker 5: you know, Steve Jordan who's now playing drums with the Stones,
Speaker 5: and Charlie Drayden, who's been out with uh with Bob
Speaker 5: Dylan were in the band, and those were the guys
Speaker 5: who I knew, and they were like, kind of they
Speaker 5: were guys coming out of the electric jazz thing, but
Speaker 5: they could but they also played rock and roll. But
Speaker 5: it was something about that rock and roll. It wasn't
Speaker 5: Elvis's rock and roll. It was much more modern, funky,
Speaker 5: and so I was like, if that's rock and roll,
Speaker 5: then I want I want to move over from the
Speaker 5: electric gas thing into that too, And so that was
Speaker 5: that was But then another friend got that gig. And
Speaker 5: then about a year later, a friend of mine from
Speaker 5: Chicago called and said, hey, man, I hear Bill Wima
Speaker 5: is leaving the Stones.
Speaker 1: I remember thinking, okay, so you have somebody to reach
Speaker 1: out to them. Yeah. I reached out.
Speaker 5: I called, you know, the management and said, hey, you know,
Speaker 5: I heard you guys might be looking for a bass player.
Speaker 5: There's a list I'd like to get on. And I
Speaker 5: later found out that I was kind of already on
Speaker 5: the list because the Sting movie that we did we
Speaker 5: played at the Mogador Theater. Mick came came to the
Speaker 5: show one night and I met him, and when I
Speaker 5: auditioned for The Stones, he said, remember we met, And
Speaker 5: I was like, no, I forgot that I met.
Speaker 3: You were the guy with the list, right, yeah.
Speaker 1: Yeah, So now you're going to that to audition, isn't that, Dawn?
Speaker 1: I mean, you know you're good.
Speaker 4: I played with Miles, but you're walking into the Stones
Speaker 4: for an edition.
Speaker 5: Well, it's kind of it's kind of both, you know.
Speaker 5: I mean, first of all, played with Miles Davis. Nothing
Speaker 5: gonna really be scary to a point. I mean, of course,
Speaker 5: there's always some nervousness, you know. I imagine for you,
Speaker 5: you know, you walk into a you know, a new thing.
Speaker 5: You know, there's you know, it almost feels like it's
Speaker 5: healthy that there's a little bit of you know, you know, nervousness.
Speaker 5: But at the same time you've been there before. Now
Speaker 5: and again. They were completely charming and and and put
Speaker 5: me at ease.
Speaker 1: Mixed first thing, mix it and me.
Speaker 5: He says, remember we met, And I said, yes, of course,
Speaker 5: said listen, you don't know the songs, we'll teach you
Speaker 5: the songs and then we'll love the audition.
Speaker 1: It doesn't get you know, they all do that.
Speaker 4: I gotta tell you.
Speaker 3: I was at a benefit one time and we were
Speaker 3: all a group of us, all actors, and we have
Speaker 3: to do six McCartney songs, six Beatles hungs. Sir Paul
Speaker 3: comes in for the music rehearsal and he goes, all right,
Speaker 3: we're gonna try and unlock this and he's like, yeah, anything,
Speaker 3: He's day and he sings it right, and we're like,
Speaker 3: uh huh, and then he starts singing the next one,
Speaker 3: and Christina Applegate, who has more cutspell than any twenty
Speaker 3: people I know, interrupts him and goes, I'm sorry, sir,
Speaker 3: are you under the impression we don't know theseus? Because
Speaker 3: I'm pretty sure we could just burst into twelve part
Speaker 3: harmonies right now?
Speaker 1: That's up?
Speaker 4: Yeah, exactly, all right? So now are you with the stones?
Speaker 4: The audition is what the final audition?
Speaker 1: I did two auditions I did.
Speaker 5: I did, you know, playing through all the hits, Brown
Speaker 5: Sugar and you know, all of those things, and I
Speaker 5: got a good feeling, and I thought they felt as
Speaker 5: good about it as I did, I'll hear back, and
Speaker 5: a few you know, a few months later heard back,
Speaker 5: and I went and auditioned on the music that they
Speaker 5: had written in between that time. That became the songs
Speaker 5: on Voodoo Lounge.
Speaker 1: So you ended up on this. So I ended up, you.
Speaker 5: Know, playing, well, we wrote this new song, you know,
Speaker 5: figure something out for this, and and you know, I
Speaker 5: played through that stuff and it was then.
Speaker 4: You when you're so now you're in the stones, you're
Speaker 4: a little comfortable doing the recording. Do you I got
Speaker 4: an idea? Or do you just shut up and play
Speaker 4: what they tell you to play?
Speaker 1: Or no, you just play the idea? Oh you don't ask,
Speaker 1: you know, you just do it. You just play, and
Speaker 1: they're good with all of it.
Speaker 5: Well, and if it works, you know, kind of everybody
Speaker 5: can kind of feel if it works, you know, or
Speaker 5: if somebody, you know, if mix says, well, you know,
Speaker 5: try something else to truss something a little bit more steady,
Speaker 5: or or you know, boom boom boom, you know, just kind.
Speaker 3: Of to go back a certain step on something like that.
Speaker 1: So I was so.
Speaker 3: Fascinating. I went to the Motown Museum.
Speaker 6: No.
Speaker 3: I was in Detroit and That was the first time
Speaker 3: I learned that there was a house band and artists
Speaker 3: would bring in stuff that it was the song, but
Speaker 3: it wasn't the song. Yes, and these guys would go
Speaker 3: boom boom, doom doomm boom, and that is the hook.
Speaker 1: That's right, I know that song.
Speaker 3: Yeah, but they never got no creditit. There's no writing, right,
Speaker 3: there's no that's the song. Yeah, what I mean you
Speaker 3: realize yourself in that position where you're creating such an
Speaker 3: iconic part of a tune, but you never get to
Speaker 3: carry that.
Speaker 5: Yeah, you know, yeah, yeah, no, Sometimes it's that way.
Speaker 5: Sometimes sometimes it's written, the lines are already written. Sometimes
Speaker 5: it's it's it's even though it's not written, it's it's
Speaker 5: it's kind of said, this should be what the bass does.
Speaker 5: And sometimes you're making something up, you know.
Speaker 4: You know what, I didn't realize that what Jason said,
Speaker 4: that's a job of a studio musician like Michael Jackson,
Speaker 4: Like you said, Michael Jackson, beat it with three chords, right,
Speaker 4: somebody came up, Well, a studio mission came up with
Speaker 4: that's the song, right, but not more.
Speaker 1: Yeah, no, wow, that's what musicians do. That's what you know, and.
Speaker 3: There's even an interview where I believe I'm right on this.
Speaker 1: I could be wrong.
Speaker 3: But somebody was interviewing Michael and they went, how'd you
Speaker 3: come up with that?
Speaker 1: Base?
Speaker 3: Oney went, you know, I just kind of and claimed
Speaker 3: it is his. No, maybe it was his. I don't know, but.
Speaker 5: Well he maybe even you're just not even thinking then
Speaker 5: that way he's saying, he's thinking, I sang what I
Speaker 5: sang to the to the musician, but you just sang.
Speaker 5: And the musician was the one who was able to say, okay,
Speaker 5: what he's singing.
Speaker 3: It gives me a feel, is my interpreter that's not
Speaker 3: gonna work.
Speaker 5: I've got to do something to it to make it
Speaker 5: work in this situation.
Speaker 3: So I gotta say for me, when people are complimentary
Speaker 3: about how funny the Seinfeldt Show is and they say
Speaker 3: it was you four guys, It was you four guys,
Speaker 3: I go immediately to the writers through the ball to
Speaker 3: the two yard line. Anybody could fall into the answer
Speaker 3: when you know I can see to you, Hey, Daryl,
Speaker 3: do it. I got a sort of and if you
Speaker 3: turn it into something iconic. My feeling is, if I'm
Speaker 3: the artist, I'm going I had nothing to do with that.
Speaker 5: That was Daryl Jones.
Speaker 1: Man, he came up with this and then your phone,
Speaker 1: I'm sure, and they go, yeah, he had nothing to
Speaker 1: do with that. Yeah.
Speaker 3: I just don't hear in your world. I don't hear
Speaker 3: artists giving it up like that.
Speaker 1: No.
Speaker 5: No, And and the same thing, you know, in a way,
Speaker 5: when we talk about you know, how funny you know
Speaker 5: the show is, we don't talk about, oh that those
Speaker 5: writers were so funny. Sure, we talk about how you'ars
Speaker 5: so sure you know what I mean.
Speaker 3: But you know, at least on our show, I think
Speaker 3: all of us were very quick to go, yeah we
Speaker 3: had Yeah, we're standing on the shoulders of a giant
Speaker 3: right right.
Speaker 5: Yeah, yeah, and again, and you know, you think about
Speaker 5: playing with Sting, Yeah, you know, the songs that he
Speaker 5: wrote were great, great vehicles. So it's almost it's a
Speaker 5: kind of symbiotic thing where he you know, he's throwing us,
Speaker 5: He's throwing us a nice slow right down the middle,
Speaker 5: like who can't.
Speaker 1: Hit that out of the park.
Speaker 5: But if I if I played something and Miles, you know,
Speaker 5: but Miles was sneaky with that. Like I remember being
Speaker 5: on stage one night and I played something and Miles
Speaker 5: looked at me and went and I played it again
Speaker 5: and he went yon like yeah, like I'm yawning now
Speaker 5: because you played the same thing again.
Speaker 1: You see what I mean?
Speaker 4: You know whoa oh, and then you got to go
Speaker 4: on plan be destroyed position No.
Speaker 5: No, no, I mean it's just stay sharp. It's like
Speaker 5: I'm digging what you're doing, but still stay sharp.
Speaker 3: Here's what's amazing to a remedial like me. They're having
Speaker 3: this conversation and the notes flat a G flats is
Speaker 3: a half note you know.
Speaker 4: Now with the stone since that happened, where they look
Speaker 4: at you because you know in stage I've seen you
Speaker 4: with the stones a number of times. And there's that
Speaker 4: hole where you get your back up against Charlie. You know,
Speaker 4: it's that whole thing where you're doing the thing he's
Speaker 4: going on grooving, Yeah, you're grooving. Is that quarreographed like
Speaker 4: that's eight minutes in every night? Or do you really
Speaker 4: do you get the hit back from them?
Speaker 1: I don't know.
Speaker 5: It's a it's a you know, it's all of that
Speaker 5: stuff is an improvisation. Rock and roll is there's an
Speaker 5: irreverent nature about it, you know, and there and in
Speaker 5: the way from you know, a show tune or a
Speaker 5: jazz tune. It's there's a little particularly with the Rolling
Speaker 5: Stones Man, there's a little bit of round of square
Speaker 5: peg in a round hole, you know, and that quirk
Speaker 5: is part of it. It's almost like when you go
Speaker 5: to a wedding and the band, particularly a wedding of
Speaker 5: a musician band is going to be incredible and they
Speaker 5: play a Stone song and you're going, something's not right
Speaker 5: about it doesn't have that little.
Speaker 1: Level of chaos.
Speaker 4: I was just going to say, you have to have confidence,
Speaker 4: but you use that term chaos a lot that there
Speaker 4: needs to be surprised chaos and which leads innovation and
Speaker 4: stuff like that. Is that every night? So I'm curious
Speaker 4: about you're standing on State with the Stones, and that's true.
Speaker 4: I played in the band in high school and college.
Speaker 4: Everybody plays Stone songs. They sound like Stone songs minus
Speaker 4: the excitement and the level of professionalism when they when
Speaker 4: they light up and they plug in even a rehearsal
Speaker 4: and just screwing around. When you're doing a B flat
Speaker 4: bluesers something, does it still sound like this is it
Speaker 4: a thing? Does it sound like, oh my god, this
Speaker 4: is special? So it's that different.
Speaker 1: It's that energized, it's that much matter, it's.
Speaker 5: You know, every night it's a little bit different. You know,
Speaker 5: Keith doesn't play the same thing twice, you know.
Speaker 3: He does he know he's not playing the same thing.
Speaker 5: Yeah, yeah, no, no, no, absolutely no, no, no, you'd be surprised.
Speaker 1: Man. You know they're on right, yeah are they?
Speaker 2: Oh?
Speaker 4: So okay? Jason and I went on tour. We did
Speaker 4: a comedy tour and they asked, I do you want
Speaker 4: a rider? And we felt whore we brought we don't need? Yeah,
Speaker 4: And then I found out why you do need a rider?
Speaker 4: Because I think it was at the count Basie Theater
Speaker 4: in New Jersey. Our dinner was provided by a mother
Speaker 4: and daughter with a crockpot in the basement because we
Speaker 4: didn't have a rider. And Jason I looked at each
Speaker 4: other and went, you know, we should write some safe
Speaker 4: down that maybe we want to eat because who knows
Speaker 4: what we're going We gonna ligament sandwich somewhere else. It's
Speaker 4: frightening if you don't do it. What is what is
Speaker 4: the rolling Stones rider?
Speaker 1: Like?
Speaker 4: I can't even imagine?
Speaker 1: Well, it's there are more than one, you know, yes,
Speaker 1: things you know.
Speaker 4: So what kind of stuff is backstage? I can't even imagine.
Speaker 5: Well, they used to you know, it's changed over time,
Speaker 5: but there used to be a huge snooker room, you know.
Speaker 5: Well they would make a room you know, out of
Speaker 5: and that was one of the things that was around
Speaker 5: for a while. We had the the banks of the
Speaker 5: video racing games you sit down, and that was around
Speaker 5: for a while that they've kind of cut back on that.
Speaker 1: But in terms of food, you know, Keith has what
Speaker 1: he loves.
Speaker 4: You know, what does he love? What's what's Keith?
Speaker 1: I think everybody knows it.
Speaker 5: So it's not like I'm giving you know, Shepherd's pie.
Speaker 1: You know, there's so much food backstage.
Speaker 5: But I have also you know, me and Chuck Levell,
Speaker 5: keyboard player, we we share a dressing room, so we.
Speaker 1: Have our rider.
Speaker 3: You know, only green of thems is that one is
Speaker 3: I don't like.
Speaker 1: I don't like to blue. Once the reason was that way.
Speaker 4: Yeah, that's what's on yours?
Speaker 1: What do you no green? Solad?
Speaker 7: Uh?
Speaker 5: You know, pistachios, but I have to have you know,
Speaker 5: pre cracked pistachi shows because I don't want to crack.
Speaker 4: You know how much you take him home?
Speaker 3: Everything on my right. The food on my riter for
Speaker 3: personal appearances would make it seem like I am the cleanest,
Speaker 3: healthiest eater on the planet because I'm embarrassed to go, well,
Speaker 3: yeah right, I'd like a cheesecake, and you know, to embarrassed.
Speaker 3: So I eat better backstage than I eat anywhere.
Speaker 4: How the hell, I gotta tell you, seventy nine, seventy nine,
Speaker 4: Keith is seventy nine, Ron is seventy five. And you
Speaker 4: stand there, what are the shows?
Speaker 1: Two hours? Almost?
Speaker 4: Two hours to ten something ten and he's moving the
Speaker 4: entire show. Is he being injected with some kind of
Speaker 4: embryo thing? Is there something we don't know about what's
Speaker 4: going on? Because that's impossible. It really is impossible.
Speaker 1: You know.
Speaker 5: It's interesting because you know I asked Keith, I mean
Speaker 5: a Mick ONTs about the fitness thing, and he said
Speaker 5: to me, he says, well, you know my dad was
Speaker 5: a physic. Is that teacher he said when I was
Speaker 5: a kid. He didn't that when I when he came
Speaker 5: home from work, he didn't ask me did you do
Speaker 5: your homework?
Speaker 1: Said did you run? Did you cry?
Speaker 5: So it's in you know, it's kind of one of
Speaker 5: those things where the lessons that you learn when your
Speaker 5: kid you know you developed them.
Speaker 1: And of course when you're teams you get away from them.
Speaker 4: Playing so fin stadium and the stage that the thing
Speaker 4: goes out into the audience a mile and a half.
Speaker 4: The stage. I don't know if people, if you haven't
Speaker 4: been to stunt so the stage is really huge, wide,
Speaker 4: and he's running from one end to the other, and
Speaker 4: he's never off.
Speaker 1: He doesn't go back and take a break. That's the
Speaker 1: entire time.
Speaker 3: And yet the Egyptian.
Speaker 4: So so let's let you ask him some questions about acting, because,
Speaker 4: as I mentioned off the air, but you didn't get
Speaker 4: to hear it on Darrel has performed. He was in
Speaker 4: uh was it in ninety seven Gridlock? You played a
Speaker 4: pan hitler. You were in the village of Them playing
Speaker 4: a patrolman.
Speaker 3: Well, I will tell you, first of all, you know,
Speaker 3: there's many different kind of actors I've worked with and
Speaker 3: you have met, and we have all appreciated actors that
Speaker 3: know jack nothing about how the sausage gets made. They
Speaker 3: are empathetic observers. They haven't tremendous access to their emotions
Speaker 3: and or and or some powerful charisma, and they are
Speaker 3: just natural performers, and there's those kinds of actors. And
Speaker 3: if I was to teach them what I know and
Speaker 3: what I teach, i'd mess them up, okay, right, I
Speaker 3: get them in their head and their natural instincts would
Speaker 3: be shattered. But what I was flabbergasted to learn when
Speaker 3: I went to college as a theater major, I thought
Speaker 3: acting and I had been acting since I was, you know,
Speaker 3: eleven years old. I spec turned professional I was fourteen.
Speaker 3: Here I am at seventeen eighteen in college as an
Speaker 3: acting major. I thought acting was imagine who would be
Speaker 3: really good in the role you're playing, and then imitate them.
Speaker 3: That's what I thought acting was. And I get to
Speaker 3: college and they start to introduce the tools of an
Speaker 3: actual craft, and that was mind blowing to me. And
Speaker 3: I think the average person who does not study the
Speaker 3: craft of acting would be surprised to know that there
Speaker 3: are actually tools and craftsmanship to it. So it all
Speaker 3: depends on what kind of actor you are and what
Speaker 3: you want to do because a lot of what I teach,
Speaker 3: and I mean this sincerely, I can screw an actor
Speaker 3: up as quickly as I can take them to another level,
Speaker 3: depending on how they do their things. What I talk
Speaker 3: about when I teach is for most of most of
Speaker 3: what actors are engaged in. Here's what happens. Two or
Speaker 3: more people meet and they try and make each other
Speaker 3: do stuff. That's what most storytelling is. So my job.
Speaker 3: We all have the words the text when we walk in.
Speaker 3: The collaboration that I believe in actor brings is what
Speaker 3: makes it something that we're not just reading but actually
Speaker 3: we have to see and experience. It's the actions. That's
Speaker 3: why I believe we're called actors. We emote, but we're
Speaker 3: not called emotors. We speak, but we're not called speakers
Speaker 3: or orators. We're called actors. We bring action to dialogue.
Speaker 3: So actions to me are behaviors verbs, And what I
Speaker 3: get actors to do is I talk about, what are
Speaker 3: you actually doing when you're saying these things? What actions
Speaker 3: are you playing? What verbs? Because they're not ideas, They're
Speaker 3: not like I'm playing love, I'm playing sexy. You go
Speaker 3: you can't. You can play to seduce, but you can't
Speaker 3: play sexy. So what actions are you playing? How are
Speaker 3: you using your body that part of your instrument to
Speaker 3: convey that part of your storytelling. And here's the real
Speaker 3: thing that I focus on a lot of actors pick
Speaker 3: the best actions for their performance because that's what they
Speaker 3: care about.
Speaker 1: What am I doing?
Speaker 3: When you go into work and you start to think,
Speaker 3: what can I get my partner to do? What can
Speaker 3: I offer my partner, what's the great choice for my
Speaker 3: partner in this scene? Then they make a great choice back,
Speaker 3: and all of a sudden, that game of ping pong
Speaker 3: or tennis goes to a much higher level. So that's
Speaker 3: what I teach every artist. I think, regardless of the medium,
Speaker 3: is at the end of the day, we're telling a story.
Speaker 3: You do it through that beautiful thing and through song,
Speaker 3: through lyric. I do it through text, dancers do it
Speaker 3: through movement. Painters and artists do it through paint or
Speaker 3: whatever medium they're working in. But we're all telling stories,
Speaker 3: and therefore the crossover between the tools we have to
Speaker 3: tell those stories you will find are very similar. The
Speaker 3: fact that I do it on a spoken word and
Speaker 3: Daryl does it on a stringed instrument is the least
Speaker 3: important thing. What we're doing to make those things sing.
Speaker 4: Is the most important. Do you get Do you ever
Speaker 4: get called out by a kid or something that saw you,
Speaker 4: that was moved by you? And wants to know something
Speaker 4: that not a fan of the stones thing, it's more
Speaker 4: of a fan of the music thing. And how do
Speaker 4: you do this? Can you explain this to me? Does
Speaker 4: that happen a lot?
Speaker 1: It doesn't happen a lot.
Speaker 5: But but but from time to time, you know, I've
Speaker 5: had people come to me and say or even you know,
Speaker 5: like experienced you know, you know, you know bass players
Speaker 5: come to me and say, man, you know what really
Speaker 5: struck me about the gig was was not your solo
Speaker 5: or not the you know, the feature that you're featured in,
Speaker 5: but that every note that you were playing seemed to
Speaker 5: be endow with you know, with all this feeling and
Speaker 5: you know, and like that when when you know, I remember,
Speaker 5: this guy wrote me this long email about that, and
Speaker 5: I was like, that's maybe the finest compliment that I've
Speaker 5: ever you played with totally you know that you're you
Speaker 5: know that every note is there's no wasted you know,
Speaker 5: I'm not you know, there's no frills, there's no tricks.
Speaker 5: It's like this is the you know, this is and
Speaker 5: in a way it's like you say, this is how
Speaker 5: I feel about this and and if that if I'm
Speaker 5: doing that properly, then it it goes out.
Speaker 4: The level of so we get to hear the love,
Speaker 4: the joy. You can go see his stones and there's
Speaker 4: a lot of moving parts that you don't even your
Speaker 4: kick for granted about what's going on up on stage
Speaker 4: connect before we rat star rapping. Charlie just lost Charlie.
Speaker 4: And I always hear about it all the time. You
Speaker 4: hear the the talk about I'm locked in, I'm locked in.
Speaker 4: It's always a drummer in the base player. What does
Speaker 4: that exactly mean? Because I'm sure you played with guys
Speaker 4: where you just don't no matter what it is, you're
Speaker 4: playing with them, but it's just not happening, it won't happen.
Speaker 4: But some guys you do and automatically it happened.
Speaker 1: You know.
Speaker 5: I've been really lucky with that man. I've played with
Speaker 5: so many of the great guys. It's rare now that
Speaker 5: I play with somebody who doesn't, you know, who is
Speaker 5: not trying to give in that way.
Speaker 1: So what with Charlie.
Speaker 4: With Charlie, Charlie was it was.
Speaker 5: This interesting thing because again he was this really steady,
Speaker 5: you know, musician, but there was but it was also quirky,
Speaker 5: you know, and and and again. Like I say, you
Speaker 5: can have you know another great you know Steve Jordan,
Speaker 5: who's taking you know, is you know, playing in his
Speaker 5: place now is a I guess you would consider a
Speaker 5: much more educated and learned musician. He can't recreate the
Speaker 5: same kind of chaos or the same kind of quirkiness
Speaker 5: that Charlie did. Charlie, Charlie wats was really an enigma.
Speaker 1: Charlie. You know, Charlie.
Speaker 5: Collected very particular car it's very particular antique cars.
Speaker 1: But he didn't draw, you know.
Speaker 5: He he was a very public you know, you know,
Speaker 5: but he was a very private person, you know what
Speaker 5: I mean. He there were these contradictions clothing.
Speaker 4: I never knew they starts early. He loved clothing right.
Speaker 5: No, man, you know, you never saw anybody when Charlie
Speaker 5: was dressed up, really dressed up. It's rare to see
Speaker 5: someone that dressed up with everything without it being making
Speaker 5: him look like a mannequin. I mean, he's very comfortable.
Speaker 4: So do you guys hang like when you're with the
Speaker 4: Stones man, Charlie, who's hanging shop shopping for clothes.
Speaker 5: He would take me to his his shirt tailor and
Speaker 5: tokyo and his his his shoe cobbler and uh, I
Speaker 5: don't even they called cobblers at that level.
Speaker 1: Oh my gosh, upper level. Yeah. Wow, how much does
Speaker 1: a pair of shoes cost? It's from his shoe cobbler. Cleverly,
Speaker 1: cleverly shoes. You know, you can get a pair of
Speaker 1: shoes for a couple of couple of thousands.
Speaker 2: Yeah.
Speaker 3: Yeah, that's what I want from my gifts, you know,
Speaker 3: to come back to gifts. Gonna get your hand very nice.
Speaker 4: It was again made cross. Is what I'm getting your
Speaker 4: handmade cross?
Speaker 3: Ye, handmade that. Everything you give me is a crowd
Speaker 3: you know, let me tell you give it.
Speaker 4: By the way, look at this, look at you get
Speaker 4: this is this is magic?
Speaker 1: This is magic.
Speaker 3: No, that's Darryl, I know, but this is just the
Speaker 3: music what he has, what he has.
Speaker 4: Yes, it is magic. It's oozing.
Speaker 3: I just want to, I want to. I want to
Speaker 3: bring us back to is this so?
Speaker 1: Is this the gift?
Speaker 3: This was my birthday gift? This is it?
Speaker 1: This was it?
Speaker 3: Yes or no?
Speaker 1: It's yes.
Speaker 3: This was my birthday gift. Happy birthday to me. I'm
Speaker 3: going to be gifting you in the same way. About
Speaker 3: seven and a half months after your birthday, I want
Speaker 3: to ask you about some gifts I have gift things
Speaker 3: for you. Best give you ever got, best gift you
Speaker 3: ever got, Daryl, you can play to best gift you
Speaker 3: ever got? Anything?
Speaker 4: Nothing, Boy, I can't say I can't think of the
Speaker 4: best gift of this because I gotta think gift ever
Speaker 4: Man music.
Speaker 5: Think about if I had made you know, done something else,
Speaker 5: and I could almost shut her.
Speaker 1: Man. You know every day I go and.
Speaker 5: Play with musicians and hang out with It's not just
Speaker 5: playing with us, it's that whole the whole thing.
Speaker 4: Man, Easy, didn't you get you just made me? Remember
Speaker 4: my first guitar. I always wanted a guitar because I
Speaker 4: had piano lesson as a kid. I hated it because
Speaker 4: I had a good ear and I would play it
Speaker 4: by ear and the piano teacher, he's not reading, he's
Speaker 4: playing by ear. But my dad punished me. I got
Speaker 4: an SG guitar, gibsonn ESK, and he wrapped the case
Speaker 4: up the neck in a rope and put it in
Speaker 4: the attic and they would go out on the weekend
Speaker 4: for dinner and I unbuckle it because the soft showcase
Speaker 4: and slide it out the bottom and play and slide
Speaker 4: it back in. And then when he gave it to
Speaker 4: me finally about a month and a half, two months later.
Speaker 1: He was shocked. Thought I was a prodigy. Then I
Speaker 1: could actually play some things. I thought that was a
Speaker 1: pretty good anybody was influenced by the Beatles? You wanted,
Speaker 1: you wanted something.
Speaker 3: That's a real gift, that's a good gift. What's the
Speaker 3: worst gift you ever got? What's the worst? Worst gift
Speaker 3: you ever get?
Speaker 1: Worst s gift I everget? I don't remember it.
Speaker 3: I will tell you if my wife were to answer
Speaker 3: this question, it would be any attempt her husband has
Speaker 3: made to give her clothing or jewelry in forty three years.
Speaker 3: I know the woman forty three years, on half a
Speaker 3: dozen dutions, I've tried to surprise her with a gift
Speaker 3: of some sort of clothing or jewelry, and all I
Speaker 3: get is, you just don't know me, do you? You
Speaker 3: just don't know you ask right, listen. But I'm sure
Speaker 3: the profet, mister google Lin was there was an abundance
Speaker 3: of things in this episode. Anything you'd like to point
Speaker 3: out for our audience.
Speaker 7: Well, I think the biggest thing is who wrote the
Speaker 7: baseline the thriller.
Speaker 1: Who wrote the driller Brodature.
Speaker 7: He wrote the song and he has taken credit. The
Speaker 7: braceline was written first, then.
Speaker 1: The quarter Game.
Speaker 4: Okay, all right.
Speaker 7: Also I was researching proficient guitarists.
Speaker 3: With small hands.
Speaker 7: Oh Angus Young who his tiny hands? Angus Young apparently
Speaker 7: has tiny hands. Nancy Wilson, okay, yeah, Paul Simon Simon
Speaker 7: tiny hands, yes, uh, Prince Prince tiny.
Speaker 4: Really time, like a size zero tiny like wow?
Speaker 1: Yeah, no he was. He was at the wordest dominions.
Speaker 2: But like, we go.
Speaker 1: Wow.
Speaker 3: I just want to say that that may be all
Speaker 3: well and good, Devin, Look at my hand. I have
Speaker 3: a five month old grandson. His hands are almost this Yeah,
Speaker 3: oh my god. Anything else to have, anything else we
Speaker 3: should be aware of.
Speaker 7: I do have some famous gifts throughout time, or we
Speaker 7: could get into the unwanted gift problem.
Speaker 3: That we have in this country, the unwanted gift.
Speaker 7: According to a twenty twenty two study Byfinder dot com,
Speaker 7: it was expected that Americans spent almost eight point three
Speaker 7: billion dollars on unwear gifts.
Speaker 1: That's your shape, because we're entitled, we we we you.
Speaker 3: Know me An example of an unwanted gift, anything.
Speaker 7: That you've purchased, your your for your wife, anything you're turning.
Speaker 3: The spend three billion. Well, but they do say that.
Speaker 7: Of Americans say that clothing and accessories were the gifts
Speaker 7: that they unwanted the moment.
Speaker 3: Yeah, that's the thing nobody knows. So when you do
Speaker 3: actually get me, oh God, an actual gift, don't.
Speaker 1: Go with already I give you sh It's like, wow, Wow.
Speaker 3: Ladies and gentlemen, it has been a gift coming to
Speaker 3: you today on this episode of Really No, Really Really.
Speaker 1: Now, Really.
Speaker 6: Really Now Really.
Speaker 2: As another episode of Really No Really comes to a close,
Speaker 2: I know you're wondering what was the most expensive single
Speaker 2: gift ever? Given that answer in a moment, But first,
Speaker 2: let's thank our guest to Daryl Jones. Follow Darryl Jones
Speaker 2: at Daryl Jones dot com, on Instagram and Facebook at
Speaker 2: Daryl Jones Bassist. You can find us online at reallynoreally
Speaker 2: dot com. We're also on Instagram, YouTube, TikTok, and threads
Speaker 2: at Really No Really Podcast. Please check out our full
Speaker 2: episodes on YouTube. Hit that subscribe button and tick that
Speaker 2: bells you're updated when we release new videos and thank
Speaker 2: you for listening, subscribing, and sharing the show. We release
Speaker 2: new episodes of Really No Really every Tuesday, so make
Speaker 2: sure to follow us on the iHeartRadio app, Apple Podcasts
Speaker 2: or wherever you get your podcasts. And all kidding aside,
Speaker 2: it would be so meaningful if you subscribe to our show.
Speaker 2: And now, the most expensive single gift ever given would
Speaker 2: have to be the world famous taj Mahal. The ivory
Speaker 2: white marble structure is actually a tomb the Emperor Shah
Speaker 2: Jahan built for his wife, Mumtaz Mahal. Approximately twenty thousand
Speaker 2: artisans and laborers works for twenty three years to complete
Speaker 2: during the years sixteen thirty one to sixteen fifty four.
Speaker 2: The cost during those years was thirty two million, which
Speaker 2: would translate in today's economy as about thirty five billion.
Speaker 3: And since the Emperor's wife.
Speaker 2: Was deceased, she never even saw this amazing tribute to
Speaker 2: her honor and memory, and I would assume the Emperor
Speaker 2: never got a thank you card. Really No Really is
Speaker 2: the production of iHeartRadio and Blase Entertainment.