WEBVTT - Gifting with Rolling Stones Bassist Darryl Jones + Acting Lessons 0:00:01.360 --> 0:00:04.720 Really now really. 0:00:06.760 --> 0:00:11.400 Really now really hello, and welcome to Really No Really 0:00:11.440 --> 0:00:14.520 with Jason Alexander and Peter Tilden. You know, when you 0:00:14.560 --> 0:00:17.599 subscribe to our show, it's like a gift you give 0:00:17.680 --> 0:00:20.520 to yourself and more importantly, to us. 0:00:20.960 --> 0:00:22.920 Today's episode is all about the. 0:00:23.079 --> 0:00:26.880 Joy and angst of gift giving, considering the message you 0:00:26.920 --> 0:00:30.680 want to send with your gift, and the importance of context. Plus, 0:00:30.760 --> 0:00:34.320 Peter gives Jason the most incredible birthday gift, and Jason 0:00:34.360 --> 0:00:38.760 gives Peter a very unexpected response. Now here's our gift 0:00:38.880 --> 0:00:40.520 to you, Jason and Peter. 0:00:41.120 --> 0:00:44.400 Now really, hey, everybody, welcome back. I am Jason Alexander 0:00:44.440 --> 0:00:44.840 here with. 0:00:44.760 --> 0:00:46.400 You Tilden, Jason Alexander. 0:00:46.440 --> 0:00:49.720 So yeah, I mean, and this is our what passes 0:00:49.760 --> 0:00:52.839 for our podcast Really No Really, where Peter and I 0:00:52.880 --> 0:00:55.680 explore the things that make he and I say really 0:00:56.480 --> 0:01:01.120 no Really. So you're annoyed, and I'm I'm already a 0:01:01.120 --> 0:01:04.320 little annoyed, not at our guest today, I'm actually very 0:01:04.319 --> 0:01:07.920 excited about our guess I'm annoyed at the topic because 0:01:07.920 --> 0:01:09.720 here's our really for the day, and I'm just gonna 0:01:09.760 --> 0:01:11.679 I'm gonna read it to you because I had to 0:01:11.680 --> 0:01:16.520 write it down to make sense of it. Peter got 0:01:16.640 --> 0:01:21.440 Jason a birthday gift that is six months late and 0:01:21.600 --> 0:01:24.960 no longer has to be paid for, and he still 0:01:24.959 --> 0:01:26.279 thinks it's a birthday gift. 0:01:26.680 --> 0:01:32.840 Really, No, really, So I take our friendship seriously. I 0:01:32.840 --> 0:01:34.319 think friendship seriously. I know you do. 0:01:34.640 --> 0:01:37.200 And I try and connect and think, what is it? 0:01:37.959 --> 0:01:40.000 Because you have a lot of stuff, Yeah, what is 0:01:40.040 --> 0:01:42.200 it that you really need? And as you get older, 0:01:42.200 --> 0:01:44.120 by the way, the last couple of years, everything has 0:01:44.120 --> 0:01:46.440 been therapeutic. It's been a thing for a seat. 0:01:47.480 --> 0:01:49.680 As you get older, it's a hostagegger finger. 0:01:50.960 --> 0:01:53.280 It's sad. It's sad. Most of the stuff comes with 0:01:53.360 --> 0:01:57.200 surgical tape gifts exactly. But I helped Jason get a 0:01:57.200 --> 0:01:59.800 base because he'd never played bass before, and I thought, 0:01:59.840 --> 0:02:03.160 you know what, I'd seen this gentleman give a clinic 0:02:04.000 --> 0:02:07.240 years ago, and he blew me away, not only because 0:02:07.240 --> 0:02:09.959 he's one of the best musicians on the planet on 0:02:10.080 --> 0:02:13.919 the instrument he plays, but also he's just a wonderful 0:02:14.000 --> 0:02:18.080 human being and it's been playing since he's a kid, 0:02:18.280 --> 0:02:20.480 and his master this thing in such a way so 0:02:20.560 --> 0:02:24.520 far so so I then reach out to this person 0:02:24.560 --> 0:02:27.200 and he says, Yeah, that would be really, really cool. 0:02:27.240 --> 0:02:28.840 But he mentions to me that he would like to 0:02:29.160 --> 0:02:30.919 learn acting because he's been in some stuff. And so 0:02:31.320 --> 0:02:33.519 this could be a gift to both of you. 0:02:33.720 --> 0:02:36.600 So you gave me a gift through barter, I actually 0:02:36.680 --> 0:02:39.799 have to give something in order to receive this gift. 0:02:40.040 --> 0:02:42.919 This gift gets better and better, so much like it's 0:02:42.960 --> 0:02:46.480 cost you nothing, and I have to do something. 0:02:47.600 --> 0:02:50.079 Jason says, you know when a gift is no longer relevant, 0:02:50.639 --> 0:02:52.880 when it's belated to the point that it's closer to 0:02:52.919 --> 0:02:58.079 your next person. Let's put our bickering aside. 0:02:58.160 --> 0:03:01.480 Can do that, because the gift that would be the money. 0:03:01.480 --> 0:03:03.600 That's the money. 0:03:03.680 --> 0:03:06.480 But I reached out to Daryl Jones, who is the 0:03:06.520 --> 0:03:09.480 bass player with the Rolling Stones for over thirty years. 0:03:10.000 --> 0:03:11.679 And Daryl's got I mean is if you want to 0:03:11.720 --> 0:03:13.640 see what he's about, he's got a documentary called In 0:03:13.639 --> 0:03:15.760 the Blood that you can check out. But Darryl, what 0:03:15.840 --> 0:03:18.120 blew me away is he'splaining with the Stones, which is 0:03:18.120 --> 0:03:19.640 a pretty major gig. 0:03:19.919 --> 0:03:20.840 That's significant. 0:03:20.960 --> 0:03:23.600 I heard about Miles Davis and he played with Miles 0:03:23.840 --> 0:03:27.519 for a number of years. Left and Miles usually you're 0:03:27.560 --> 0:03:29.880 done I like you, you're good, but you never come back. 0:03:30.000 --> 0:03:33.560 He came back. He's like, good, Sting's a bass player. Yeah, 0:03:33.680 --> 0:03:35.680 he's stings that kind of stuff. 0:03:35.720 --> 0:03:37.720 And he played abow the documentary of making the album, 0:03:37.760 --> 0:03:38.240 and I was like. 0:03:38.200 --> 0:03:40.720 There's good pretty. So let's say hi to Darnald Darrell. 0:03:40.840 --> 0:03:41.920 I'm so thrilled you're here. 0:03:41.960 --> 0:03:44.360 Man, man, I'm very happy to be it came in. 0:03:44.520 --> 0:03:46.720 Most people they don't like us enough to come in, 0:03:47.800 --> 0:03:48.680 won't come in right. 0:03:49.240 --> 0:03:51.720 Lots come in, lots come in. No, we've had quite 0:03:51.720 --> 0:03:53.480 a few people in. But I thank you for being 0:03:53.480 --> 0:03:56.000 so gracious come in. The reason I told Darryl I 0:03:56.040 --> 0:03:58.640 won't him to teach your bass is not because you're 0:03:58.640 --> 0:03:59.920 a beginner so you don't know that much. 0:04:00.000 --> 0:04:03.320 But I said, I'm not a beginner. I am an inductee. 0:04:03.440 --> 0:04:07.360 I'm a I'm a bass. Meet Jason, Jason meat bass. 0:04:07.440 --> 0:04:10.360 It's starting. It's starting, but it's a bigger issue is 0:04:10.520 --> 0:04:11.600 for the audience today. 0:04:11.640 --> 0:04:13.720 I hope it's a gift for them too, because. 0:04:13.480 --> 0:04:17.159 You're gonna get here acting to know not you played 0:04:17.200 --> 0:04:19.960 oh acting tips from Jason to Daryl and then to 0:04:20.040 --> 0:04:22.560 Daryl to talk about music. But Daryl let's let's run 0:04:22.600 --> 0:04:25.720 through this for just for a minute. The background, Miles Davis. 0:04:25.880 --> 0:04:27.599 I had a different impression to him that he was 0:04:27.680 --> 0:04:31.520 really tough and really difficult to work with. And then 0:04:31.560 --> 0:04:34.000 I read your stories and he was. 0:04:33.960 --> 0:04:36.160 Like a parent. He looked out for you. But your 0:04:36.240 --> 0:04:38.679 audition told us about your audition from us, because it's wild. 0:04:38.839 --> 0:04:41.000 Oh no, no, he was. I mean, first of all, 0:04:41.000 --> 0:04:41.919 he was funny. You know. 0:04:42.000 --> 0:04:44.680 He started joking with me on the elevator upstairs to 0:04:44.760 --> 0:04:48.440 the the apartment. He says, uh, I'm chewing gum and 0:04:48.480 --> 0:04:50.520 he says, uh, you missed the gun. 0:04:51.400 --> 0:04:53.800 I said, it's my last piece. And he said, you 0:04:53.839 --> 0:04:54.200 mean you. 0:04:54.200 --> 0:04:56.400 Came all the way to New York and you only 0:04:56.440 --> 0:04:58.160 bought one piece of chewing up. 0:04:58.839 --> 0:05:00.760 You know, so he's just used to Yeah. 0:05:00.760 --> 0:05:02.880 And then he said, listen, man, if it doesn't this 0:05:02.920 --> 0:05:05.119 doesn't work out, it doesn't mean that you can't play. 0:05:05.400 --> 0:05:08.520 I think he understood, first of all, you know that 0:05:08.600 --> 0:05:11.880 he was this huge figure and knew that, you know, 0:05:11.920 --> 0:05:15.160 he could you could endo guy's career over something like that, 0:05:15.240 --> 0:05:16.760 and I think he wanted to be sure not to 0:05:16.800 --> 0:05:17.760 do that, but generous. 0:05:18.040 --> 0:05:19.479 But you know, he was always. 0:05:19.200 --> 0:05:22.839 Incredibly generous with musicians, and so the stories that you 0:05:22.920 --> 0:05:26.680 hear about Miles outside of the music community people looking inside, 0:05:27.000 --> 0:05:29.679 are very different than what people will tell you about. 0:05:29.680 --> 0:05:31.479 You know, the musicians that he played with, he was 0:05:31.560 --> 0:05:36.360 funny and very generous, and even guys who didn't work 0:05:36.400 --> 0:05:38.919 out in the beginning, he would give them a chance. 0:05:38.960 --> 0:05:41.039 He wouldn't just you know, close the door of the 0:05:41.040 --> 0:05:42.400 moment that you did something wrong. 0:05:42.920 --> 0:05:43.320 He would. 0:05:43.360 --> 0:05:45.240 He would, you know, try to give you a chance 0:05:45.279 --> 0:05:47.960 to find your place and your future opportunities. 0:05:47.960 --> 0:05:50.040 A lotin came out of that because people saw you 0:05:50.080 --> 0:05:51.919 with Miles, and figure there the other story, and then 0:05:51.960 --> 0:05:52.760 we'll move on from Miles. 0:05:52.760 --> 0:05:54.760 I love that he called you. Tell about when he 0:05:54.800 --> 0:05:56.159 called you in the middle, like two in the morning. 0:05:56.320 --> 0:05:58.960 Yeah, you know, called me in the morning, and I 0:05:59.000 --> 0:06:02.960 mean there's a number of those, but found yeah, yeah, No, 0:06:03.279 --> 0:06:04.880 that first night that I was on stage, I was 0:06:04.920 --> 0:06:07.960 hoping that I found, like, you know, a gem, you know, 0:06:08.200 --> 0:06:10.720 and I did. I stumbled on it and after a 0:06:10.760 --> 0:06:13.560 couple of times through got it together. And you know, 0:06:13.640 --> 0:06:16.040 later that night, four o'clock in the morning, I get 0:06:16.040 --> 0:06:17.920 a phone call and he says. 0:06:17.760 --> 0:06:21.760 Dall listening to the tape if you don't play that 0:06:21.880 --> 0:06:27.479 bassline tomorrow night on scop stop Scott that you played tonight, 0:06:27.960 --> 0:06:29.680 it's curtains for your ass. 0:06:32.400 --> 0:06:33.159 So you know he was. 0:06:33.320 --> 0:06:35.560 But that's a dual message. That's I really liked it. 0:06:36.200 --> 0:06:39.400 D's play it again, but experiment, go for it. No no, no, 0:06:39.480 --> 0:06:40.080 true true. 0:06:40.080 --> 0:06:42.480 And it's also a movie reference because that's from a 0:06:42.920 --> 0:06:44.120 George Raft movie. 0:06:45.240 --> 0:06:47.240 Uh, prison Break. 0:06:47.960 --> 0:06:50.440 There's a prison I was watching this movie late one night, 0:06:50.680 --> 0:06:54.480 prison Break. The prisoners take a hostage and they get 0:06:54.520 --> 0:06:55.800 on the phone and say. 0:06:55.640 --> 0:06:56.640 If you don't let us out. 0:06:57.000 --> 0:06:58.920 George Raft says, if you don't let us out, it's 0:06:58.920 --> 0:06:59.880 curtains for his ass. 0:07:01.080 --> 0:07:03.560 That's exactly right. So now you're you move on from Miles. 0:07:03.560 --> 0:07:05.960 You've played with the list is insane. He played with 0:07:05.960 --> 0:07:09.320 Ma Donna. Yeah, incredible. So now the Stones you hear 0:07:09.400 --> 0:07:11.960 you you actually wanted to play with him before you 0:07:12.040 --> 0:07:12.640 got the gig. 0:07:13.040 --> 0:07:16.040 I wanted to play with Keith Richards, to be really honest, 0:07:16.280 --> 0:07:16.880 I wanted. 0:07:16.640 --> 0:07:19.120 To play with his band. What was it about Keith 0:07:19.200 --> 0:07:21.680 Richards with your There's there's a record, Talk is cheap. 0:07:21.920 --> 0:07:25.200 It's like his his first solo record to my knowledge. 0:07:27.200 --> 0:07:29.680 You know, it's rock and roll. But Bootsy Collins is 0:07:29.680 --> 0:07:33.280 on the record, you know it's rock and roll. But uh, 0:07:33.720 --> 0:07:36.320 you know, Steve Jordan who's now playing drums with the Stones, 0:07:36.320 --> 0:07:39.320 and Charlie Drayden, who's been out with uh with Bob 0:07:39.400 --> 0:07:42.160 Dylan were in the band, and those were the guys 0:07:42.200 --> 0:07:44.280 who I knew, and they were like, kind of they 0:07:44.280 --> 0:07:46.480 were guys coming out of the electric jazz thing, but 0:07:46.520 --> 0:07:50.000 they could but they also played rock and roll. But 0:07:50.120 --> 0:07:53.000 it was something about that rock and roll. It wasn't 0:07:53.160 --> 0:07:57.160 Elvis's rock and roll. It was much more modern, funky, 0:07:57.200 --> 0:07:59.520 and so I was like, if that's rock and roll, 0:07:59.560 --> 0:08:00.960 then I want I want to move over from the 0:08:01.000 --> 0:08:03.880 electric gas thing into that too, And so that was 0:08:04.240 --> 0:08:06.880 that was But then another friend got that gig. And 0:08:06.880 --> 0:08:08.800 then about a year later, a friend of mine from 0:08:08.880 --> 0:08:11.320 Chicago called and said, hey, man, I hear Bill Wima 0:08:11.360 --> 0:08:12.200 is leaving the Stones. 0:08:12.640 --> 0:08:19.000 I remember thinking, okay, so you have somebody to reach 0:08:19.080 --> 0:08:21.120 out to them. Yeah. I reached out. 0:08:21.120 --> 0:08:23.600 I called, you know, the management and said, hey, you know, 0:08:24.320 --> 0:08:26.360 I heard you guys might be looking for a bass player. 0:08:26.840 --> 0:08:29.360 There's a list I'd like to get on. And I 0:08:29.440 --> 0:08:31.400 later found out that I was kind of already on 0:08:31.440 --> 0:08:34.559 the list because the Sting movie that we did we 0:08:35.080 --> 0:08:38.360 played at the Mogador Theater. Mick came came to the 0:08:38.400 --> 0:08:40.839 show one night and I met him, and when I 0:08:40.880 --> 0:08:42.760 auditioned for The Stones, he said, remember we met, And 0:08:42.760 --> 0:08:45.240 I was like, no, I forgot that I met. 0:08:45.400 --> 0:08:49.120 You were the guy with the list, right, yeah. 0:08:48.120 --> 0:09:01.600 Yeah, So now you're going to that to audition, isn't that, Dawn? 0:09:01.640 --> 0:09:02.640 I mean, you know you're good. 0:09:02.840 --> 0:09:05.240 I played with Miles, but you're walking into the Stones 0:09:05.800 --> 0:09:06.360 for an edition. 0:09:06.440 --> 0:09:08.520 Well, it's kind of it's kind of both, you know. 0:09:08.840 --> 0:09:11.840 I mean, first of all, played with Miles Davis. Nothing 0:09:11.920 --> 0:09:15.920 gonna really be scary to a point. I mean, of course, 0:09:15.920 --> 0:09:18.520 there's always some nervousness, you know. I imagine for you, 0:09:18.520 --> 0:09:20.600 you know, you walk into a you know, a new thing. 0:09:20.760 --> 0:09:23.640 You know, there's you know, it almost feels like it's 0:09:23.679 --> 0:09:28.480 healthy that there's a little bit of you know, you know, nervousness. 0:09:28.640 --> 0:09:31.400 But at the same time you've been there before. Now 0:09:31.800 --> 0:09:37.280 and again. They were completely charming and and and put 0:09:37.280 --> 0:09:37.839 me at ease. 0:09:37.920 --> 0:09:39.280 Mixed first thing, mix it and me. 0:09:39.280 --> 0:09:41.560 He says, remember we met, And I said, yes, of course, 0:09:41.800 --> 0:09:44.440 said listen, you don't know the songs, we'll teach you 0:09:44.480 --> 0:09:46.120 the songs and then we'll love the audition. 0:09:47.960 --> 0:09:49.440 It doesn't get you know, they all do that. 0:09:49.480 --> 0:09:49.959 I gotta tell you. 0:09:50.040 --> 0:09:52.160 I was at a benefit one time and we were 0:09:52.200 --> 0:09:54.320 all a group of us, all actors, and we have 0:09:54.400 --> 0:09:58.600 to do six McCartney songs, six Beatles hungs. Sir Paul 0:09:58.720 --> 0:10:01.960 comes in for the music rehearsal and he goes, all right, 0:10:02.440 --> 0:10:06.080 we're gonna try and unlock this and he's like, yeah, anything, 0:10:06.240 --> 0:10:09.320 He's day and he sings it right, and we're like, 0:10:09.880 --> 0:10:12.160 uh huh, and then he starts singing the next one, 0:10:12.240 --> 0:10:15.880 and Christina Applegate, who has more cutspell than any twenty 0:10:15.920 --> 0:10:18.760 people I know, interrupts him and goes, I'm sorry, sir, 0:10:20.360 --> 0:10:25.880 are you under the impression we don't know theseus? Because 0:10:25.880 --> 0:10:28.280 I'm pretty sure we could just burst into twelve part 0:10:28.280 --> 0:10:29.040 harmonies right now? 0:10:29.080 --> 0:10:29.480 That's up? 0:10:29.559 --> 0:10:31.600 Yeah, exactly, all right? So now are you with the stones? 0:10:31.640 --> 0:10:34.040 The audition is what the final audition? 0:10:34.559 --> 0:10:35.839 I did two auditions I did. 0:10:35.880 --> 0:10:37.920 I did, you know, playing through all the hits, Brown 0:10:37.960 --> 0:10:41.760 Sugar and you know, all of those things, and I 0:10:41.760 --> 0:10:44.720 got a good feeling, and I thought they felt as 0:10:44.760 --> 0:10:47.240 good about it as I did, I'll hear back, and 0:10:47.280 --> 0:10:49.240 a few you know, a few months later heard back, 0:10:49.240 --> 0:10:52.079 and I went and auditioned on the music that they 0:10:52.080 --> 0:10:56.199 had written in between that time. That became the songs 0:10:56.200 --> 0:10:57.200 on Voodoo Lounge. 0:10:57.559 --> 0:10:59.679 So you ended up on this. So I ended up, you. 0:10:59.640 --> 0:11:01.760 Know, playing, well, we wrote this new song, you know, 0:11:01.800 --> 0:11:04.480 figure something out for this, and and you know, I 0:11:04.480 --> 0:11:05.880 played through that stuff and it was then. 0:11:06.160 --> 0:11:07.800 You when you're so now you're in the stones, you're 0:11:07.800 --> 0:11:10.280 a little comfortable doing the recording. Do you I got 0:11:10.280 --> 0:11:11.800 an idea? Or do you just shut up and play 0:11:11.800 --> 0:11:12.640 what they tell you to play? 0:11:12.760 --> 0:11:15.960 Or no, you just play the idea? Oh you don't ask, 0:11:16.240 --> 0:11:18.839 you know, you just do it. You just play, and 0:11:18.880 --> 0:11:19.839 they're good with all of it. 0:11:20.080 --> 0:11:22.400 Well, and if it works, you know, kind of everybody 0:11:22.400 --> 0:11:25.400 can kind of feel if it works, you know, or 0:11:25.520 --> 0:11:27.240 if somebody, you know, if mix says, well, you know, 0:11:27.280 --> 0:11:29.880 try something else to truss something a little bit more steady, 0:11:30.040 --> 0:11:32.560 or or you know, boom boom boom, you know, just kind. 0:11:32.400 --> 0:11:36.000 Of to go back a certain step on something like that. 0:11:36.080 --> 0:11:36.920 So I was so. 0:11:38.360 --> 0:11:40.120 Fascinating. I went to the Motown Museum. 0:11:40.240 --> 0:11:40.280 No. 0:11:40.400 --> 0:11:43.000 I was in Detroit and That was the first time 0:11:43.000 --> 0:11:45.680 I learned that there was a house band and artists 0:11:45.679 --> 0:11:48.680 would bring in stuff that it was the song, but 0:11:48.720 --> 0:11:50.960 it wasn't the song. Yes, and these guys would go 0:11:51.040 --> 0:11:55.319 boom boom, doom doomm boom, and that is the hook. 0:11:55.480 --> 0:11:56.600 That's right, I know that song. 0:11:56.679 --> 0:12:00.160 Yeah, but they never got no creditit. There's no writing, right, 0:12:00.320 --> 0:12:04.200 there's no that's the song. Yeah, what I mean you 0:12:04.240 --> 0:12:06.760 realize yourself in that position where you're creating such an 0:12:06.920 --> 0:12:10.199 iconic part of a tune, but you never get to 0:12:10.200 --> 0:12:11.280 carry that. 0:12:11.679 --> 0:12:14.319 Yeah, you know, yeah, yeah, no, Sometimes it's that way. 0:12:14.360 --> 0:12:18.160 Sometimes sometimes it's written, the lines are already written. Sometimes 0:12:18.480 --> 0:12:22.600 it's it's it's even though it's not written, it's it's 0:12:22.679 --> 0:12:26.600 it's kind of said, this should be what the bass does. 0:12:26.640 --> 0:12:28.440 And sometimes you're making something up, you know. 0:12:28.760 --> 0:12:31.000 You know what, I didn't realize that what Jason said, 0:12:31.640 --> 0:12:33.839 that's a job of a studio musician like Michael Jackson, 0:12:33.960 --> 0:12:36.640 Like you said, Michael Jackson, beat it with three chords, right, 0:12:37.160 --> 0:12:39.200 somebody came up, Well, a studio mission came up with 0:12:41.080 --> 0:12:44.480 that's the song, right, but not more. 0:12:44.559 --> 0:12:48.400 Yeah, no, wow, that's what musicians do. That's what you know, and. 0:12:48.320 --> 0:12:50.840 There's even an interview where I believe I'm right on this. 0:12:50.960 --> 0:12:51.679 I could be wrong. 0:12:51.720 --> 0:12:54.480 But somebody was interviewing Michael and they went, how'd you 0:12:54.520 --> 0:12:54.920 come up with that? 0:12:54.960 --> 0:12:55.160 Base? 0:12:55.240 --> 0:13:03.200 Oney went, you know, I just kind of and claimed 0:13:03.200 --> 0:13:06.079 it is his. No, maybe it was his. I don't know, but. 0:13:06.240 --> 0:13:08.360 Well he maybe even you're just not even thinking then 0:13:08.400 --> 0:13:11.520 that way he's saying, he's thinking, I sang what I 0:13:11.600 --> 0:13:13.920 sang to the to the musician, but you just sang. 0:13:13.920 --> 0:13:17.480 And the musician was the one who was able to say, okay, 0:13:17.760 --> 0:13:18.480 what he's singing. 0:13:18.880 --> 0:13:21.040 It gives me a feel, is my interpreter that's not 0:13:21.040 --> 0:13:21.480 gonna work. 0:13:21.720 --> 0:13:24.320 I've got to do something to it to make it 0:13:24.360 --> 0:13:25.439 work in this situation. 0:13:25.559 --> 0:13:30.199 So I gotta say for me, when people are complimentary 0:13:30.240 --> 0:13:34.160 about how funny the Seinfeldt Show is and they say 0:13:34.160 --> 0:13:35.920 it was you four guys, It was you four guys, 0:13:36.480 --> 0:13:39.680 I go immediately to the writers through the ball to 0:13:39.760 --> 0:13:42.800 the two yard line. Anybody could fall into the answer 0:13:43.600 --> 0:13:46.559 when you know I can see to you, Hey, Daryl, 0:13:46.640 --> 0:13:50.280 do it. I got a sort of and if you 0:13:50.400 --> 0:13:54.680 turn it into something iconic. My feeling is, if I'm 0:13:54.679 --> 0:13:56.559 the artist, I'm going I had nothing to do with that. 0:13:56.559 --> 0:13:57.480 That was Daryl Jones. 0:13:57.520 --> 0:13:59.960 Man, he came up with this and then your phone, 0:14:00.000 --> 0:14:01.640 I'm sure, and they go, yeah, he had nothing to 0:14:01.679 --> 0:14:02.400 do with that. Yeah. 0:14:02.440 --> 0:14:05.760 I just don't hear in your world. I don't hear 0:14:06.000 --> 0:14:07.280 artists giving it up like that. 0:14:07.440 --> 0:14:07.680 No. 0:14:07.440 --> 0:14:10.120 No, And and the same thing, you know, in a way, 0:14:11.320 --> 0:14:13.760 when we talk about you know, how funny you know 0:14:13.800 --> 0:14:17.600 the show is, we don't talk about, oh that those 0:14:17.600 --> 0:14:20.480 writers were so funny. Sure, we talk about how you'ars 0:14:20.480 --> 0:14:21.800 so sure you know what I mean. 0:14:21.960 --> 0:14:24.480 But you know, at least on our show, I think 0:14:24.520 --> 0:14:26.520 all of us were very quick to go, yeah we 0:14:26.600 --> 0:14:29.720 had Yeah, we're standing on the shoulders of a giant 0:14:29.880 --> 0:14:30.600 right right. 0:14:30.480 --> 0:14:33.440 Yeah, yeah, and again, and you know, you think about 0:14:33.480 --> 0:14:36.360 playing with Sting, Yeah, you know, the songs that he 0:14:36.440 --> 0:14:40.560 wrote were great, great vehicles. So it's almost it's a 0:14:40.640 --> 0:14:43.680 kind of symbiotic thing where he you know, he's throwing us, 0:14:43.920 --> 0:14:47.440 He's throwing us a nice slow right down the middle, 0:14:47.760 --> 0:14:48.400 like who can't. 0:14:48.240 --> 0:14:49.120 Hit that out of the park. 0:14:49.160 --> 0:14:51.760 But if I if I played something and Miles, you know, 0:14:52.000 --> 0:14:54.520 but Miles was sneaky with that. Like I remember being 0:14:54.560 --> 0:14:56.880 on stage one night and I played something and Miles 0:14:56.880 --> 0:14:59.840 looked at me and went and I played it again 0:15:00.320 --> 0:15:05.200 and he went yon like yeah, like I'm yawning now 0:15:05.240 --> 0:15:06.560 because you played the same thing again. 0:15:07.680 --> 0:15:08.400 You see what I mean? 0:15:08.480 --> 0:15:10.560 You know whoa oh, and then you got to go 0:15:10.600 --> 0:15:15.520 on plan be destroyed position No. 0:15:15.560 --> 0:15:17.600 No, no, I mean it's just stay sharp. It's like 0:15:17.800 --> 0:15:20.280 I'm digging what you're doing, but still stay sharp. 0:15:20.360 --> 0:15:23.800 Here's what's amazing to a remedial like me. They're having 0:15:23.840 --> 0:15:29.240 this conversation and the notes flat a G flats is 0:15:29.280 --> 0:15:30.760 a half note you know. 0:15:31.160 --> 0:15:33.240 Now with the stone since that happened, where they look 0:15:33.240 --> 0:15:34.760 at you because you know in stage I've seen you 0:15:34.880 --> 0:15:36.640 with the stones a number of times. And there's that 0:15:36.720 --> 0:15:39.400 hole where you get your back up against Charlie. You know, 0:15:39.400 --> 0:15:41.200 it's that whole thing where you're doing the thing he's 0:15:41.200 --> 0:15:44.840 going on grooving, Yeah, you're grooving. Is that quarreographed like 0:15:44.920 --> 0:15:47.920 that's eight minutes in every night? Or do you really 0:15:47.960 --> 0:15:49.840 do you get the hit back from them? 0:15:49.880 --> 0:15:50.280 I don't know. 0:15:50.320 --> 0:15:52.600 It's a it's a you know, it's all of that 0:15:52.600 --> 0:15:57.280 stuff is an improvisation. Rock and roll is there's an 0:15:57.360 --> 0:16:00.280 irreverent nature about it, you know, and there and in 0:16:00.320 --> 0:16:02.480 the way from you know, a show tune or a 0:16:02.560 --> 0:16:07.520 jazz tune. It's there's a little particularly with the Rolling 0:16:07.560 --> 0:16:11.880 Stones Man, there's a little bit of round of square 0:16:11.880 --> 0:16:15.600 peg in a round hole, you know, and that quirk 0:16:15.680 --> 0:16:17.280 is part of it. It's almost like when you go 0:16:17.760 --> 0:16:20.440 to a wedding and the band, particularly a wedding of 0:16:20.480 --> 0:16:23.960 a musician band is going to be incredible and they 0:16:24.000 --> 0:16:26.960 play a Stone song and you're going, something's not right 0:16:27.000 --> 0:16:30.040 about it doesn't have that little. 0:16:29.880 --> 0:16:30.840 Level of chaos. 0:16:31.600 --> 0:16:34.000 I was just going to say, you have to have confidence, 0:16:34.000 --> 0:16:36.480 but you use that term chaos a lot that there 0:16:36.520 --> 0:16:39.640 needs to be surprised chaos and which leads innovation and 0:16:39.680 --> 0:16:42.880 stuff like that. Is that every night? So I'm curious 0:16:42.920 --> 0:16:44.800 about you're standing on State with the Stones, and that's true. 0:16:44.840 --> 0:16:46.840 I played in the band in high school and college. 0:16:46.960 --> 0:16:50.720 Everybody plays Stone songs. They sound like Stone songs minus 0:16:51.040 --> 0:16:54.600 the excitement and the level of professionalism when they when 0:16:54.640 --> 0:16:57.360 they light up and they plug in even a rehearsal 0:16:57.400 --> 0:16:59.440 and just screwing around. When you're doing a B flat 0:16:59.480 --> 0:17:02.160 bluesers something, does it still sound like this is it 0:17:02.200 --> 0:17:04.320 a thing? Does it sound like, oh my god, this 0:17:04.400 --> 0:17:06.119 is special? So it's that different. 0:17:06.119 --> 0:17:08.720 It's that energized, it's that much matter, it's. 0:17:08.600 --> 0:17:10.560 You know, every night it's a little bit different. You know, 0:17:10.760 --> 0:17:13.000 Keith doesn't play the same thing twice, you know. 0:17:12.960 --> 0:17:14.840 He does he know he's not playing the same thing. 0:17:15.240 --> 0:17:18.000 Yeah, yeah, no, no, no, absolutely no, no, no, you'd be surprised. 0:17:18.040 --> 0:17:20.359 Man. You know they're on right, yeah are they? 0:17:20.400 --> 0:17:20.480 Oh? 0:17:20.920 --> 0:17:23.200 So okay? Jason and I went on tour. We did 0:17:23.400 --> 0:17:26.320 a comedy tour and they asked, I do you want 0:17:26.320 --> 0:17:29.440 a rider? And we felt whore we brought we don't need? Yeah, 0:17:29.480 --> 0:17:31.320 And then I found out why you do need a rider? 0:17:31.359 --> 0:17:33.440 Because I think it was at the count Basie Theater 0:17:33.520 --> 0:17:35.720 in New Jersey. Our dinner was provided by a mother 0:17:35.760 --> 0:17:38.600 and daughter with a crockpot in the basement because we 0:17:38.600 --> 0:17:40.360 didn't have a rider. And Jason I looked at each 0:17:40.359 --> 0:17:42.000 other and went, you know, we should write some safe 0:17:42.040 --> 0:17:44.240 down that maybe we want to eat because who knows 0:17:44.280 --> 0:17:47.000 what we're going We gonna ligament sandwich somewhere else. It's 0:17:47.000 --> 0:17:48.800 frightening if you don't do it. What is what is 0:17:48.840 --> 0:17:50.320 the rolling Stones rider? 0:17:50.440 --> 0:17:50.520 Like? 0:17:50.560 --> 0:17:51.679 I can't even imagine? 0:17:51.840 --> 0:17:54.560 Well, it's there are more than one, you know, yes, 0:17:55.119 --> 0:17:56.160 things you know. 0:17:56.320 --> 0:17:58.760