1 00:00:00,440 --> 00:00:01,160 Speaker 1: Taking a Walk. 2 00:00:01,280 --> 00:00:04,440 Speaker 2: I dank Axel Rose. People go, what are you talking about? 3 00:00:04,880 --> 00:00:07,840 Speaker 2: He mean Axl Rose? I said, well, I got on 4 00:00:07,880 --> 00:00:10,280 Speaker 2: the train. I got on the Guns and Roses train, 5 00:00:10,840 --> 00:00:14,200 Speaker 2: and that train stopped and I got off. But that 6 00:00:14,360 --> 00:00:18,560 Speaker 2: still represents a very big portion of my life and 7 00:00:18,640 --> 00:00:22,360 Speaker 2: has brought me to a lot of other places because 8 00:00:22,360 --> 00:00:23,840 Speaker 2: of what I've done with that band. 9 00:00:23,960 --> 00:00:27,200 Speaker 1: Welcome to the Taking a Walk Podcast with Buzz Night, 10 00:00:27,520 --> 00:00:31,200 Speaker 1: where Buzz talks to musicians about the inside story of 11 00:00:31,240 --> 00:00:34,640 Speaker 1: their music. On this episode, one of the most accomplished 12 00:00:34,680 --> 00:00:38,600 Speaker 1: drummers of our generation, Matt Sorm, is our guests, known 13 00:00:38,640 --> 00:00:41,280 Speaker 1: for his work with the Cult, Guns n' Roses, and 14 00:00:41,400 --> 00:00:44,560 Speaker 1: Velvet Revolver, along with a ton of other session work 15 00:00:44,880 --> 00:00:49,040 Speaker 1: and solo projects. Check out Buzz and Matt Sorm next 16 00:00:49,520 --> 00:00:50,520 Speaker 1: on Taking a Walk. 17 00:00:51,320 --> 00:00:53,159 Speaker 3: Well, hey, Matt, it's good to have you on a 18 00:00:53,520 --> 00:00:56,600 Speaker 3: virtual edition of our Taking a Walk podcast. Thanks for 19 00:00:56,640 --> 00:00:57,000 Speaker 3: being here. 20 00:00:57,360 --> 00:00:58,720 Speaker 2: Yeah cool, thanks for having me. 21 00:00:59,200 --> 00:01:05,119 Speaker 3: Hey take me back to growing up and first discovering 22 00:01:05,160 --> 00:01:06,040 Speaker 3: your love of music. 23 00:01:06,800 --> 00:01:13,360 Speaker 2: Well, yeah, the Beatles. And I've said this before, but 24 00:01:14,480 --> 00:01:18,440 Speaker 2: I was about five years old when I saw him 25 00:01:18,440 --> 00:01:22,280 Speaker 2: on the Ed Sullivan Show, and I didn't catch the 26 00:01:22,319 --> 00:01:24,600 Speaker 2: first one, because I believe that was nineteen sixty three, 27 00:01:24,640 --> 00:01:26,120 Speaker 2: I would have been too young. But they did The 28 00:01:26,600 --> 00:01:30,880 Speaker 2: Ed Sullivan Show three times and I caught the last 29 00:01:30,880 --> 00:01:37,080 Speaker 2: one sixty five, and I just remember Sunday night, family 30 00:01:37,080 --> 00:01:40,559 Speaker 2: would sit down in front of the RSAA television, big 31 00:01:40,600 --> 00:01:44,640 Speaker 2: box television, and I watched the Ed Sullivan Show, and 32 00:01:44,880 --> 00:01:46,760 Speaker 2: I don't know, man, I just saw Ringo and that 33 00:01:46,880 --> 00:01:50,520 Speaker 2: was it. I pointed at I said to my mom, Wow, 34 00:01:50,840 --> 00:01:53,680 Speaker 2: you know, he was like an They were they were 35 00:01:53,680 --> 00:01:56,120 Speaker 2: at cartoon characters, those guys, weren't they They were like 36 00:01:56,200 --> 00:02:01,880 Speaker 2: animated figures, the haircuts and everything that was it. As 37 00:02:01,920 --> 00:02:05,080 Speaker 2: a kid, it just like just kind of lit me up. 38 00:02:05,120 --> 00:02:07,880 Speaker 2: And then I remember asking for drums for Christmas the 39 00:02:07,920 --> 00:02:11,360 Speaker 2: next year, and I had two older brothers, so that 40 00:02:11,520 --> 00:02:14,240 Speaker 2: was cool, and they were already listening to My first 41 00:02:14,280 --> 00:02:18,400 Speaker 2: forty five was a Hard Day's Night And got that 42 00:02:18,520 --> 00:02:21,200 Speaker 2: on my forty five with the big hole in the 43 00:02:21,240 --> 00:02:25,560 Speaker 2: middle and had a cross Lee turntable. My brother had 44 00:02:25,560 --> 00:02:27,639 Speaker 2: a cross le turntable, the box one that you would 45 00:02:27,720 --> 00:02:30,760 Speaker 2: look like a little briefcase boll thing you could buy 46 00:02:30,760 --> 00:02:34,480 Speaker 2: a series and Roebuck or something, and had a little 47 00:02:34,520 --> 00:02:37,520 Speaker 2: speaker in it, and I just played that thing. And 48 00:02:37,560 --> 00:02:43,680 Speaker 2: then my older brothers, my middle brother Mark, turned me 49 00:02:43,720 --> 00:02:46,400 Speaker 2: on to like you know, was in the late sixties, 50 00:02:47,040 --> 00:02:51,880 Speaker 2: you know, Hendricks and Came and all that stuff. So 51 00:02:51,919 --> 00:02:53,840 Speaker 2: I was really into that. And my mother was a 52 00:02:53,840 --> 00:02:58,120 Speaker 2: piano teacher and she had piano students at the house 53 00:02:58,160 --> 00:03:00,160 Speaker 2: all the time, so there was always musical when she 54 00:03:00,240 --> 00:03:03,600 Speaker 2: likes to listen to opera though, she listened to opera, 55 00:03:03,639 --> 00:03:05,960 Speaker 2: and I was just like, oh my god. And we 56 00:03:06,040 --> 00:03:09,400 Speaker 2: had another big console. You remember the big stereo consoles. 57 00:03:09,480 --> 00:03:12,720 Speaker 2: They were like built in like a and it was killer. 58 00:03:12,720 --> 00:03:14,560 Speaker 2: I mean, I wish I had it now. And I 59 00:03:14,560 --> 00:03:18,800 Speaker 2: had a turntable in it, and you know, we started 60 00:03:18,840 --> 00:03:20,880 Speaker 2: getting a hold of some records and popping them on 61 00:03:20,880 --> 00:03:22,919 Speaker 2: there when mom was out at work, you know, and 62 00:03:23,639 --> 00:03:26,680 Speaker 2: cranking it up, and there's a lot of music in 63 00:03:26,680 --> 00:03:30,400 Speaker 2: the house and which was great. And then I did 64 00:03:30,480 --> 00:03:36,040 Speaker 2: get that drum that next Christmas Serious Tiger Tiger sat 65 00:03:36,200 --> 00:03:40,360 Speaker 2: from series and Roebuck Tiger Love It. Yeah that's what 66 00:03:40,400 --> 00:03:43,280 Speaker 2: it was called. Could you know. It was a crappy 67 00:03:43,280 --> 00:03:45,400 Speaker 2: little thing, and you know, the heads broke and my 68 00:03:45,440 --> 00:03:51,560 Speaker 2: brothers messed it up, and then around I want to 69 00:03:51,600 --> 00:03:54,400 Speaker 2: say junior high school, I got a Saint George Blue 70 00:03:54,440 --> 00:03:59,600 Speaker 2: Sparkle and that's the one I really sort of I 71 00:03:59,640 --> 00:04:02,960 Speaker 2: started banging on him as a little kid. But I 72 00:04:03,000 --> 00:04:06,240 Speaker 2: don't know, like in around junior high school, I had 73 00:04:06,280 --> 00:04:12,240 Speaker 2: my own band already and we were playing like so 74 00:04:12,360 --> 00:04:14,720 Speaker 2: the junior high I was was probably just coming up 75 00:04:14,760 --> 00:04:17,880 Speaker 2: on the seventies, so you know, all the cool stuff. 76 00:04:17,920 --> 00:04:23,800 Speaker 2: I remember playing Our House by Crossy Sales Nation Young 77 00:04:25,240 --> 00:04:27,920 Speaker 2: and our House is a very very very funny yes, 78 00:04:28,800 --> 00:04:30,680 Speaker 2: And I did that at a talent show and that 79 00:04:30,800 --> 00:04:33,240 Speaker 2: was actually in the fifth grade. I loved it and 80 00:04:33,279 --> 00:04:44,120 Speaker 2: I had yeah, a lot of fun yeah, and it 81 00:04:44,279 --> 00:04:46,960 Speaker 2: kind of was it for me. I mean, I grew 82 00:04:47,040 --> 00:04:50,840 Speaker 2: up in California, and I always used to say I 83 00:04:50,960 --> 00:04:53,479 Speaker 2: wasn't a very good surfer. I always fall off and stuff. 84 00:04:53,480 --> 00:04:55,359 Speaker 2: And my buddies were good surfers, So it's like, how 85 00:04:55,400 --> 00:04:56,360 Speaker 2: am I going to get girls? 86 00:04:56,920 --> 00:04:57,160 Speaker 1: You know? 87 00:04:58,920 --> 00:05:00,880 Speaker 2: So I got you know, I I played drums at 88 00:05:00,920 --> 00:05:02,599 Speaker 2: my house and there was a window and all the 89 00:05:02,680 --> 00:05:06,280 Speaker 2: kids in the neighborhood would come watch, and had had 90 00:05:06,320 --> 00:05:09,880 Speaker 2: the bedroom window. And then I moved to the garage, 91 00:05:09,920 --> 00:05:12,560 Speaker 2: of course, and I had my little band and all 92 00:05:12,560 --> 00:05:15,000 Speaker 2: the kids would line up on the street come watch us. 93 00:05:15,000 --> 00:05:16,880 Speaker 2: And my mom was at work, so we'd open the 94 00:05:16,880 --> 00:05:19,040 Speaker 2: garage door and rock. 95 00:05:20,120 --> 00:05:23,320 Speaker 3: I have to mention to you, we had a previous guest, 96 00:05:23,360 --> 00:05:26,120 Speaker 3: you being one of the great drummers of our generation. 97 00:05:26,600 --> 00:05:29,320 Speaker 3: He being one of the great drummers of our generation, 98 00:05:29,560 --> 00:05:34,840 Speaker 3: Kenny Aronoff, and that moment that you described from the 99 00:05:35,000 --> 00:05:37,680 Speaker 3: Ed Sullivan Show was the pivotal one for him too. 100 00:05:37,800 --> 00:05:40,160 Speaker 3: I think for so many of us it was just pivotal, 101 00:05:40,360 --> 00:05:40,560 Speaker 3: you know. 102 00:05:41,480 --> 00:05:45,359 Speaker 2: Well, you know, and in the last fifteen years I 103 00:05:45,360 --> 00:05:48,760 Speaker 2: had the opportunity to meet Ringo and of course my 104 00:05:48,839 --> 00:05:51,839 Speaker 2: opening remark was, you know, I'm a drummer because of you, 105 00:05:51,960 --> 00:05:58,400 Speaker 2: and he said, I hear that all the time. I 106 00:05:58,400 --> 00:06:01,640 Speaker 2: bet you. I mean, you know, if you think about it, 107 00:06:01,800 --> 00:06:05,120 Speaker 2: the amount of musicians that were inspired by that band 108 00:06:06,000 --> 00:06:08,640 Speaker 2: and to see the simplicity of what they were doing, 109 00:06:08,720 --> 00:06:12,039 Speaker 2: but done in such a musical way. People will say 110 00:06:12,279 --> 00:06:15,719 Speaker 2: Ringo isn't the greatest drummer, and I completely disagree because 111 00:06:17,080 --> 00:06:19,200 Speaker 2: I've kind of built my career on being more of 112 00:06:19,240 --> 00:06:22,560 Speaker 2: a foundational style of a drummer. I'm not about myself. 113 00:06:22,600 --> 00:06:26,279 Speaker 2: It's not a fancy pants thing. It's not about flash. 114 00:06:26,320 --> 00:06:28,880 Speaker 2: And even though I'm an entertainer and I get up 115 00:06:28,920 --> 00:06:31,960 Speaker 2: and I do, my entertainment value like that came from 116 00:06:32,040 --> 00:06:35,520 Speaker 2: Keith Moon, you know, to see a drummer and to 117 00:06:35,520 --> 00:06:37,760 Speaker 2: be the drummer, to be a star of the band 118 00:06:38,160 --> 00:06:42,039 Speaker 2: that Keith Moon was, or even John Bonham. The visual 119 00:06:42,120 --> 00:06:45,880 Speaker 2: representation was very important to me. So I took that 120 00:06:46,000 --> 00:06:49,680 Speaker 2: from those guys, or even Ginger Baker, where your eye 121 00:06:49,920 --> 00:06:52,400 Speaker 2: was drawn to them even if you weren't a drummer. 122 00:06:53,720 --> 00:06:56,920 Speaker 2: And I don't see that happening much anymore. I don't 123 00:06:56,960 --> 00:07:00,680 Speaker 2: see star drummers like I used to, you know. I mean, 124 00:07:00,920 --> 00:07:04,200 Speaker 2: I'm looking. There's a couple of young bands are like that. 125 00:07:05,400 --> 00:07:06,960 Speaker 2: You know. I remember when The Killers came out, but 126 00:07:07,000 --> 00:07:09,279 Speaker 2: now they've been around twenty years. And I saw Ronnie 127 00:07:09,279 --> 00:07:11,360 Speaker 2: Banucci and I'm look at that guy. I mean, he 128 00:07:11,480 --> 00:07:15,640 Speaker 2: draws your eye. He's got this. So I spent time 129 00:07:16,680 --> 00:07:23,080 Speaker 2: developing my entertainment value along with the basics of being 130 00:07:23,120 --> 00:07:25,640 Speaker 2: a drummer, without having to be like, oh look, I'm 131 00:07:25,640 --> 00:07:28,480 Speaker 2: going to do a much of fancy drum fills. It 132 00:07:28,480 --> 00:07:31,280 Speaker 2: wasn't about that. It was about energy. It was more 133 00:07:31,320 --> 00:07:35,360 Speaker 2: about energy and what can you bring to the band, 134 00:07:36,040 --> 00:07:39,680 Speaker 2: you know, how can I elevate the band? And that's 135 00:07:39,680 --> 00:07:41,559 Speaker 2: always kind of why I guess I've had so many 136 00:07:41,600 --> 00:07:45,400 Speaker 2: gigs because I drive. I like to drive it in 137 00:07:46,840 --> 00:07:49,360 Speaker 2: an energetic way, if that makes sense. And when you 138 00:07:49,440 --> 00:07:52,840 Speaker 2: watch Keith, Keith was the guy that was just making 139 00:07:52,880 --> 00:07:57,720 Speaker 2: it chaotic and rock and roll. It just sounded rock 140 00:07:57,760 --> 00:08:02,440 Speaker 2: and roll and with the mass with the massive drum 141 00:08:02,560 --> 00:08:06,880 Speaker 2: kit he sent. And there's a there's a making of 142 00:08:06,920 --> 00:08:11,240 Speaker 2: the album Won't Get Fooled Again. And the producer, and 143 00:08:11,280 --> 00:08:13,960 Speaker 2: I believe it was, was Glenn Johns or whatever makes 144 00:08:13,920 --> 00:08:19,800 Speaker 2: says here comes the Herd of Buffalo and and it 145 00:08:19,920 --> 00:08:23,880 Speaker 2: was just like I was like, that's it right. And 146 00:08:24,000 --> 00:08:27,520 Speaker 2: John Bonhams same thing. He You listen to these bands 147 00:08:27,520 --> 00:08:30,520 Speaker 2: trying to copy led Zeppelin and they got it all wrong. 148 00:08:31,680 --> 00:08:35,960 Speaker 2: You know, it's like everybody gave each other space. It 149 00:08:36,080 --> 00:08:38,080 Speaker 2: was like that was the that was the magic of 150 00:08:38,120 --> 00:08:41,120 Speaker 2: that band. So as a young guy, I like to 151 00:08:41,200 --> 00:08:43,640 Speaker 2: study that stuff and try to make it my own 152 00:08:43,840 --> 00:08:46,360 Speaker 2: and somehow worked out for me. 153 00:08:47,000 --> 00:08:49,360 Speaker 3: I would say, So, you know, what's amazing about you 154 00:08:49,679 --> 00:08:55,000 Speaker 3: is your respect for the diversity of your craft and 155 00:08:55,040 --> 00:09:01,240 Speaker 3: in particular, I know because your upbringing that you were 156 00:09:01,240 --> 00:09:03,280 Speaker 3: also a fan of the great Buddy Rich. 157 00:09:04,000 --> 00:09:06,480 Speaker 2: Yeah, well, of course we all were probably one of 158 00:09:06,520 --> 00:09:10,360 Speaker 2: the greatest drummers to ever live. Could you replicate him, No, 159 00:09:10,360 --> 00:09:14,080 Speaker 2: nobody could. You couldn't replicate a lot of drummers. And 160 00:09:14,120 --> 00:09:18,120 Speaker 2: that wasn't the point. It was like everyone had the 161 00:09:18,280 --> 00:09:21,560 Speaker 2: human element of a drummer. I think it goes that 162 00:09:21,640 --> 00:09:25,800 Speaker 2: way for all instruments in that genre of guitars and bass, 163 00:09:25,800 --> 00:09:28,760 Speaker 2: and everyone's got their own thing, and I never could 164 00:09:28,800 --> 00:09:31,600 Speaker 2: say that one guy's better than the other. But Buddy, 165 00:09:32,440 --> 00:09:34,560 Speaker 2: all drummers looked to Buddy. It's like, oh my god, 166 00:09:34,600 --> 00:09:35,880 Speaker 2: he's the holy Grail. 167 00:09:35,880 --> 00:09:42,200 Speaker 3: You know, insane, Yeah, brilliantly insane, right yeah. 168 00:09:42,200 --> 00:09:45,360 Speaker 2: Just insane. I mean insanity behind the man, you know, 169 00:09:45,520 --> 00:09:50,959 Speaker 2: I mean the a personality, you know, the old clam 170 00:09:51,040 --> 00:09:53,120 Speaker 2: tapes and all that stuff, and how he was a 171 00:09:53,160 --> 00:10:00,280 Speaker 2: perfectionist and inside the internal clock of Buddy Rich had 172 00:10:00,280 --> 00:10:04,319 Speaker 2: to elevate to be in his realm. You know. He 173 00:10:04,480 --> 00:10:08,240 Speaker 2: had these young musicians out of North Texas state and 174 00:10:08,280 --> 00:10:10,760 Speaker 2: all these different places that would come and he was 175 00:10:10,800 --> 00:10:14,760 Speaker 2: the boot camp. It was like, you go to Buddy Rich, school. 176 00:10:15,960 --> 00:10:19,520 Speaker 2: You're going to get schooled, be like joining Prince's band 177 00:10:19,600 --> 00:10:24,360 Speaker 2: or something. No slackers, right, a little bit like go 178 00:10:24,520 --> 00:10:28,880 Speaker 2: most the Whiplash movie. Right, Oh my god. And I 179 00:10:28,920 --> 00:10:32,120 Speaker 2: think that way now. I think I'm so lucky, unfortunate. 180 00:10:32,240 --> 00:10:35,840 Speaker 2: I grew up in an environment of live playing and 181 00:10:35,880 --> 00:10:37,640 Speaker 2: you had to show your shit or you were out 182 00:10:38,960 --> 00:10:41,400 Speaker 2: come in prepared. You don't. You don't go to rehearsal 183 00:10:41,440 --> 00:10:45,319 Speaker 2: to rehearse. People, I say, you show up at my rehearsal, 184 00:10:45,400 --> 00:10:48,040 Speaker 2: you better average. I do a band called Kings of 185 00:10:48,080 --> 00:10:51,240 Speaker 2: Chaos and Kenny plays for me. Sometimes it's my van 186 00:10:52,040 --> 00:10:53,840 Speaker 2: and if I can't do it, I'll call Kenny. My 187 00:10:53,880 --> 00:10:58,080 Speaker 2: wife was having a baby and Kenny sat in for me. Kenny, Well, 188 00:10:58,160 --> 00:11:01,040 Speaker 2: Kenny walks in. He knows every song from the beginning 189 00:11:01,080 --> 00:11:03,160 Speaker 2: of the end before he gets walks through the door. 190 00:11:04,320 --> 00:11:06,920 Speaker 2: And that's why I call Kenny. And I'm the same way. 191 00:11:08,120 --> 00:11:10,000 Speaker 2: And I'll say this to any young musician. You don't 192 00:11:10,000 --> 00:11:12,040 Speaker 2: go to rehearsal or rehearse. You go in there to 193 00:11:12,080 --> 00:11:16,440 Speaker 2: play the music. So when I when I talk to 194 00:11:16,480 --> 00:11:20,120 Speaker 2: young musicians, you know not that the work euthic has changed, 195 00:11:20,120 --> 00:11:21,640 Speaker 2: but a lot of them will walk in the studio 196 00:11:21,720 --> 00:11:24,040 Speaker 2: and fix it in the computer. I said, no, play 197 00:11:24,080 --> 00:11:27,800 Speaker 2: it live, play it live, get a great take and 198 00:11:27,880 --> 00:11:31,560 Speaker 2: then go from there. I was very happy. I just 199 00:11:31,559 --> 00:11:34,040 Speaker 2: did an alum in La with this Japanese artist and 200 00:11:34,080 --> 00:11:36,120 Speaker 2: I can't say yet because they don't want me to say. 201 00:11:36,120 --> 00:11:42,120 Speaker 2: But these dudes are so organized it's insane. The music 202 00:11:42,240 --> 00:11:45,840 Speaker 2: was difficult, and I went in there and I was 203 00:11:45,880 --> 00:11:49,000 Speaker 2: super prepared. I think I did one of my best 204 00:11:49,080 --> 00:11:54,040 Speaker 2: records yet. Drummy wise, I felt it's like a fine line. 205 00:11:54,240 --> 00:11:57,160 Speaker 2: The technical ability but also be able to let go 206 00:11:57,600 --> 00:12:01,199 Speaker 2: and not think is very important when it comes to 207 00:12:01,280 --> 00:12:05,120 Speaker 2: especially rock and roll. I'd say, slash we want to 208 00:12:05,160 --> 00:12:08,360 Speaker 2: do another take. We'd be like all those usual illusion 209 00:12:08,440 --> 00:12:10,800 Speaker 2: albums that are like make take one and take two. 210 00:12:11,480 --> 00:12:18,199 Speaker 2: We'd rehearse. But after take two, you're thinking too much, Sashua. 211 00:12:18,360 --> 00:12:20,079 Speaker 2: You just want to take suck the rock and roll 212 00:12:20,160 --> 00:12:23,280 Speaker 2: right out of it, don't you, Because that wild abandoned 213 00:12:23,280 --> 00:12:26,200 Speaker 2: of going in there, and we didn't use click tracks 214 00:12:26,240 --> 00:12:29,520 Speaker 2: when we were cutting the tape. But there's there's something 215 00:12:29,559 --> 00:12:33,880 Speaker 2: that happens and then when you step over the threshold 216 00:12:33,880 --> 00:12:38,400 Speaker 2: of trying to make it too perfect or whatever, I'll 217 00:12:38,400 --> 00:12:41,040 Speaker 2: say that for my situations that I've been in, but 218 00:12:41,320 --> 00:12:45,960 Speaker 2: I will go over that many takes with other situations. 219 00:12:46,000 --> 00:12:50,560 Speaker 2: But this album I just did really pushed me. And 220 00:12:50,840 --> 00:12:53,679 Speaker 2: I like that because you know, I've been doing it 221 00:12:53,720 --> 00:12:56,760 Speaker 2: a long time, but I still want to challenge, you know. 222 00:12:56,760 --> 00:13:00,240 Speaker 2: And that's why I took that Buddy Rich album. I 223 00:13:00,280 --> 00:13:02,760 Speaker 2: got that call. I know you researched that I did that. 224 00:13:03,880 --> 00:13:05,600 Speaker 2: I was like, oh my god, I'm going to play 225 00:13:05,640 --> 00:13:08,920 Speaker 2: with the Buddy Rich big band. That's super cool. They 226 00:13:08,920 --> 00:13:11,120 Speaker 2: looked at me like I was some human oddity when 227 00:13:11,120 --> 00:13:15,120 Speaker 2: I walked in like a rock guy. You know, if 228 00:13:15,120 --> 00:13:17,920 Speaker 2: you watch Neil Pert, he talks about me coming in 229 00:13:18,000 --> 00:13:21,720 Speaker 2: the room. Kathy Rich called me up and I said 230 00:13:21,760 --> 00:13:25,560 Speaker 2: to her, why me. You've got Steve Gadd you know, 231 00:13:25,600 --> 00:13:27,720 Speaker 2: you got Max Roode, she got all these guys. I mean, 232 00:13:27,800 --> 00:13:31,040 Speaker 2: are you kidding me? Why me? She said, because we 233 00:13:31,120 --> 00:13:33,640 Speaker 2: wanted to use a couple of rock guys. My dad, 234 00:13:33,960 --> 00:13:37,720 Speaker 2: She said, Buddy liked funk rock. You listen to other stuff. 235 00:13:38,760 --> 00:13:38,920 Speaker 1: You know. 236 00:13:38,920 --> 00:13:42,400 Speaker 2: He wasn't a jazz knobs he was. He was looking 237 00:13:42,400 --> 00:13:45,640 Speaker 2: for the next thing. It was like Miles Davis. Miles 238 00:13:45,720 --> 00:13:49,960 Speaker 2: Davis when he did uh his last the last record, 239 00:13:50,040 --> 00:13:54,320 Speaker 2: that really crazy one, Bitches Brew, Bitches Brew. He was like, 240 00:13:55,120 --> 00:13:58,040 Speaker 2: I think Clive Davis is about that. Miles walked in, 241 00:13:58,120 --> 00:14:01,319 Speaker 2: He's like, there's all this rock rock and roll thing. 242 00:14:02,520 --> 00:14:06,760 Speaker 2: I was like, well, put that into your horn, go 243 00:14:06,840 --> 00:14:10,199 Speaker 2: heavy metal with that, And that's what he did on 244 00:14:10,280 --> 00:14:15,480 Speaker 2: Bitches Burke. So he was inspired by other genres, Mitt 245 00:14:15,559 --> 00:14:19,000 Speaker 2: Miles and so his Buddy. So I picked a track 246 00:14:19,080 --> 00:14:23,280 Speaker 2: called Bula Witch, which was something Buddy did in the 247 00:14:23,360 --> 00:14:27,800 Speaker 2: early sixties, and it was kind of a funk. I 248 00:14:27,840 --> 00:14:31,760 Speaker 2: don't want to say it was like Maynard ferguson Chameleon, 249 00:14:31,880 --> 00:14:40,520 Speaker 2: but it was in that realm. Chameleon remember that. So 250 00:14:40,560 --> 00:14:47,240 Speaker 2: I'm like, I can bite that off. Bula Witch. It 251 00:14:47,320 --> 00:14:51,960 Speaker 2: was like, in my lane, that's fascinating. Well, I wasn't 252 00:14:51,960 --> 00:14:54,600 Speaker 2: going to like pick some sort of full swing number 253 00:14:54,640 --> 00:14:58,920 Speaker 2: with like brushes and you know, I that's an art 254 00:14:58,960 --> 00:15:01,880 Speaker 2: form and all in it. I would say, it's like 255 00:15:01,920 --> 00:15:04,560 Speaker 2: being a painter. It's like a guy that plays brushes 256 00:15:04,600 --> 00:15:09,520 Speaker 2: and jazz and the solties of that. That's that's completely 257 00:15:09,560 --> 00:15:13,240 Speaker 2: out of my realm. Like I could go there and try, 258 00:15:13,320 --> 00:15:18,080 Speaker 2: but those guys Max Roach, Tony Williams more of a 259 00:15:18,160 --> 00:15:19,960 Speaker 2: rocker a little bit, but he had a jazz thing. 260 00:15:20,200 --> 00:15:23,920 Speaker 2: But I bit that off because it's something I knew 261 00:15:24,000 --> 00:15:26,520 Speaker 2: I could, I could go, I could make it my own. 262 00:15:26,720 --> 00:15:28,560 Speaker 2: If that makes sense it does. 263 00:15:28,960 --> 00:15:32,640 Speaker 3: How much did it influence you and enhance your performance? 264 00:15:33,040 --> 00:15:35,160 Speaker 3: When you were playing in that top forty band? 265 00:15:35,960 --> 00:15:40,600 Speaker 4: Well, Top forty was my sort of school of learning from. 266 00:15:42,120 --> 00:15:45,640 Speaker 4: You know, it'd be like studying, you know, if you're 267 00:15:45,680 --> 00:15:47,800 Speaker 4: going to be an actor, study the great actors. 268 00:15:49,360 --> 00:15:51,800 Speaker 2: I chose that job based on the fact that I 269 00:15:51,880 --> 00:15:54,120 Speaker 2: was working in a club five days a week versus 270 00:15:54,240 --> 00:15:56,360 Speaker 2: working in a job and then go in and play 271 00:15:56,360 --> 00:16:00,000 Speaker 2: a gig. It was like, I'd rather get my chops up. 272 00:16:01,000 --> 00:16:03,600 Speaker 2: And to this day when I'm play in Kings of 273 00:16:03,680 --> 00:16:07,360 Speaker 2: Chaos and I have Robin vander Kom or Stephen Tyler 274 00:16:07,440 --> 00:16:10,239 Speaker 2: or Billie Idol or anybody, I listened to the subtleties 275 00:16:11,000 --> 00:16:14,480 Speaker 2: what's going on inside the music, Like, oh, listen, how 276 00:16:14,520 --> 00:16:17,080 Speaker 2: tight the high had is, or it's this snare drum's 277 00:16:17,120 --> 00:16:21,400 Speaker 2: got this like subtle detail. And if you listen to 278 00:16:21,400 --> 00:16:26,080 Speaker 2: the seventies music, you're like, wow, he's using concert toms 279 00:16:26,080 --> 00:16:29,360 Speaker 2: and the snare drums. Thumpy, and that's where I think. 280 00:16:29,480 --> 00:16:32,520 Speaker 2: I think about that, and I'm thinking about crazy drum fills. 281 00:16:32,520 --> 00:16:35,400 Speaker 2: I'm thinking about the subtleties of the colors of the music. 282 00:16:36,000 --> 00:16:38,080 Speaker 2: How can I make it sound. I just play with 283 00:16:38,200 --> 00:16:41,400 Speaker 2: Jason Chuff from Chicago and we went back and I 284 00:16:41,440 --> 00:16:44,200 Speaker 2: was listening. I was like twenty five or sixty four, 285 00:16:45,520 --> 00:16:50,840 Speaker 2: and how badass Danny Sarafan was. Do you down, down 286 00:16:50,960 --> 00:16:59,720 Speaker 2: and tight? No click tracks. The band's like moving, It's 287 00:16:59,800 --> 00:17:03,840 Speaker 2: like wow, it's alive. So when I go back and 288 00:17:03,840 --> 00:17:05,879 Speaker 2: do King's cast, it's much like when I was in 289 00:17:05,880 --> 00:17:11,080 Speaker 2: a top forty band. It's like learning, constantly learning. It's 290 00:17:11,119 --> 00:17:14,480 Speaker 2: like playing with Billy Gibbons. I'm in his band. I 291 00:17:14,520 --> 00:17:19,040 Speaker 2: never played a Texas shuffle ever. I played rock shuffles. 292 00:17:20,000 --> 00:17:25,119 Speaker 2: Billy for me was re educating myself and still to 293 00:17:25,160 --> 00:17:28,399 Speaker 2: this day, that's a genre of the Texas Blues, the 294 00:17:29,359 --> 00:17:33,560 Speaker 2: subtlety of the blues, being a team player, playing the 295 00:17:33,640 --> 00:17:38,440 Speaker 2: right volume. All of that played for the band, play 296 00:17:38,480 --> 00:17:41,600 Speaker 2: for the music, play for Billy. Like I've been a 297 00:17:41,600 --> 00:17:44,760 Speaker 2: little bit of a guy that has to morph in 298 00:17:44,800 --> 00:17:51,240 Speaker 2: my career, so I really enjoy being educated. Still to this. 299 00:17:51,320 --> 00:17:54,240 Speaker 1: Day, we'll be right back with more of the Taking 300 00:17:54,280 --> 00:18:02,600 Speaker 1: a Walk Podcast. Welcome back to the Taking a Walk Podcast. 301 00:18:03,720 --> 00:18:06,680 Speaker 3: Ever see Richie Heywood from Little Feet play? 302 00:18:07,520 --> 00:18:11,280 Speaker 2: Oh my god, Yeah, of course, I mean one of 303 00:18:11,280 --> 00:18:14,400 Speaker 2: the greats. You know, Butch Trucks. I had to run 304 00:18:14,400 --> 00:18:17,560 Speaker 2: in with Butcher Trucks and Alman Brothers. I had a 305 00:18:17,640 --> 00:18:20,560 Speaker 2: charity I do have a charity, called about the arts, 306 00:18:20,560 --> 00:18:24,639 Speaker 2: and he came out and I honored him and he 307 00:18:24,680 --> 00:18:28,840 Speaker 2: got back there and I was just smacking him too, 308 00:18:28,960 --> 00:18:32,719 Speaker 2: and it was like, Wow, some of these guys, some 309 00:18:32,760 --> 00:18:36,480 Speaker 2: of these unsung heroes, you know, guys like Butcher Trucks, 310 00:18:36,680 --> 00:18:39,600 Speaker 2: Ritchie and Richie is very well respected. But Butch, I 311 00:18:39,600 --> 00:18:44,280 Speaker 2: don't know, maybe Alma Brothers fans, but they're those band guys. 312 00:18:44,359 --> 00:18:48,760 Speaker 2: You go, wow, listen to what he's doing on you 313 00:18:48,800 --> 00:18:53,000 Speaker 2: know that six eight groove and that famous Almen brother 314 00:18:53,440 --> 00:18:55,639 Speaker 2: most famous one whipping poster. 315 00:18:56,600 --> 00:18:57,560 Speaker 1: Oh my god. 316 00:18:57,800 --> 00:19:01,480 Speaker 2: Yeah. And I hired this band, this killer Olman Brothers 317 00:19:01,520 --> 00:19:04,400 Speaker 2: cover band, and Butch got up and just I get 318 00:19:04,440 --> 00:19:06,760 Speaker 2: it because I'm one of those guys. I'm a band guy. 319 00:19:07,359 --> 00:19:11,040 Speaker 2: People talk about certain drummers and when it comes to rock, 320 00:19:11,119 --> 00:19:14,520 Speaker 2: I guess some people mention my name, but I you know, 321 00:19:14,680 --> 00:19:17,080 Speaker 2: I'm not. That's not what I'm here for. I've been 322 00:19:17,119 --> 00:19:20,679 Speaker 2: here luckily, I'm involved in being on great records with 323 00:19:20,760 --> 00:19:23,480 Speaker 2: big songs, and you know that's cool. 324 00:19:24,280 --> 00:19:28,399 Speaker 3: I'd say, there's some big songs. What are your ones 325 00:19:28,480 --> 00:19:30,720 Speaker 3: that rise to the top that you've been part of? 326 00:19:30,760 --> 00:19:33,840 Speaker 3: There's so many, but I'm curious when you think about 327 00:19:33,880 --> 00:19:38,359 Speaker 3: it and your pride and involvement in the bands, what 328 00:19:38,400 --> 00:19:42,600 Speaker 3: are some of your favorites that stand the test of time? 329 00:19:43,640 --> 00:19:46,800 Speaker 2: Well, I mean the gun stuff. I mean you could 330 00:19:46,840 --> 00:19:51,400 Speaker 2: be mine. I did this opening fill that became kind 331 00:19:51,440 --> 00:19:55,359 Speaker 2: of the intro. I always say to young musicians, like, 332 00:19:55,400 --> 00:19:58,280 Speaker 2: what's your intro? Because you got to catch people fast. 333 00:19:59,480 --> 00:20:03,640 Speaker 2: You got five seconds to get their attention. If that's now, 334 00:20:03,680 --> 00:20:08,119 Speaker 2: it's Spotify next, so you got like three seconds to 335 00:20:08,160 --> 00:20:10,960 Speaker 2: catch your attention. What are you gonna do? Me and 336 00:20:11,000 --> 00:20:13,119 Speaker 2: Slash used to trade off. He'd do a riff and 337 00:20:13,160 --> 00:20:16,840 Speaker 2: then I do a fill like opening with something get 338 00:20:16,840 --> 00:20:20,600 Speaker 2: it but whoa, Okay, you got it? You take that one, 339 00:20:21,080 --> 00:20:25,399 Speaker 2: and then sometimes you gonna you know, you hear the 340 00:20:25,440 --> 00:20:27,359 Speaker 2: beginning to Welcome to the Jungle and you're like or 341 00:20:29,480 --> 00:20:31,439 Speaker 2: you're like, see what child of mind, you're like, okay, 342 00:20:31,560 --> 00:20:34,359 Speaker 2: you got that one. It seems like a lot of 343 00:20:34,400 --> 00:20:37,480 Speaker 2: pop music, the vocals just comes in right away, you know, 344 00:20:37,520 --> 00:20:40,520 Speaker 2: it's like they don't have intros anymore. This is the 345 00:20:40,600 --> 00:20:44,600 Speaker 2: vocal ten seconds and the vocal starts for the rock 346 00:20:44,640 --> 00:20:48,200 Speaker 2: and roll thing you could be mine. And then the 347 00:20:48,480 --> 00:20:53,040 Speaker 2: Velvet revolver stuff is really probably a real pinnacle for 348 00:20:53,119 --> 00:20:54,520 Speaker 2: me because it was I guess, a bit of a 349 00:20:54,600 --> 00:20:59,200 Speaker 2: comeback for us. It's a band and we we were 350 00:20:59,280 --> 00:21:03,160 Speaker 2: driven again like young guys. So when Slyther came out 351 00:21:03,640 --> 00:21:10,600 Speaker 2: and I have that weird intro, it's just a tom 352 00:21:10,920 --> 00:21:16,320 Speaker 2: and we're building tension. Slashes got one and it comes 353 00:21:16,359 --> 00:21:18,240 Speaker 2: in and it's like, okay, what is this? 354 00:21:22,320 --> 00:21:22,480 Speaker 1: You know? 355 00:21:23,840 --> 00:21:26,400 Speaker 2: I mean, we weren't having discussions of like, hey, let's 356 00:21:26,400 --> 00:21:29,119 Speaker 2: do this thing where we're gonna build tension, but we 357 00:21:29,280 --> 00:21:32,639 Speaker 2: just naturally did that, and that was sort of the 358 00:21:32,720 --> 00:21:35,760 Speaker 2: thing that worked between me, Slash and Doves as the 359 00:21:35,800 --> 00:21:39,000 Speaker 2: three of us as a section. I don't know, just 360 00:21:39,560 --> 00:21:41,320 Speaker 2: I always say to people, if you meet a couple 361 00:21:41,359 --> 00:21:45,160 Speaker 2: other musicians that you jibe with and you create magical 362 00:21:45,240 --> 00:21:49,919 Speaker 2: moments like that, just try to stick each other, you know, 363 00:21:50,920 --> 00:21:55,720 Speaker 2: it's it's classic and rock and roll. Jimmy Page and 364 00:21:55,880 --> 00:21:59,919 Speaker 2: JOm Bonham and Joe Perry and Chiy Kramer ship that 365 00:22:00,080 --> 00:22:03,960 Speaker 2: these great rock to Mick and Charlie. Look at the 366 00:22:04,080 --> 00:22:06,520 Speaker 2: look at the Stones. When they did Sympathy for the Devil. 367 00:22:07,400 --> 00:22:10,600 Speaker 2: They spent nine days coming up with a groove. You 368 00:22:10,600 --> 00:22:14,480 Speaker 2: see the do you see the movie? Yeah, yeah, Charlie 369 00:22:14,560 --> 00:22:19,680 Speaker 2: was and then Mick comes walking in with the para 370 00:22:19,760 --> 00:22:26,280 Speaker 2: moracas and he's like, all of a sudden, the bone 371 00:22:29,040 --> 00:22:34,600 Speaker 2: it starts swinging. That was those guys together making each 372 00:22:34,760 --> 00:22:39,520 Speaker 2: other strive to come be better. Not one guy walking 373 00:22:39,680 --> 00:22:42,480 Speaker 2: room and go, Okay, this is where it's gonna be 374 00:22:42,480 --> 00:22:47,920 Speaker 2: because there are those guys. Yeah, what do. 375 00:22:47,880 --> 00:22:54,399 Speaker 3: You think The art of collaboration in music teaches those 376 00:22:54,480 --> 00:22:55,800 Speaker 3: that are in other businesses. 377 00:22:56,840 --> 00:23:01,280 Speaker 2: Have an open mind, be willing. You have to be 378 00:23:01,359 --> 00:23:05,920 Speaker 2: able to be willing and to go through the process 379 00:23:06,000 --> 00:23:08,320 Speaker 2: without having to make a comment about what you think 380 00:23:08,359 --> 00:23:11,960 Speaker 2: it should be. And I learned that, and I learned 381 00:23:11,960 --> 00:23:16,600 Speaker 2: that from being in bands that oh man, hey that sucks. No, 382 00:23:17,040 --> 00:23:20,320 Speaker 2: don't do that because you don't know if it sucks yet. 383 00:23:21,080 --> 00:23:23,760 Speaker 2: You have to work through it and if it's any 384 00:23:23,840 --> 00:23:27,280 Speaker 2: proof just go watch him Bethy for the Devil, and 385 00:23:27,480 --> 00:23:29,679 Speaker 2: those guys did not want to give up because they 386 00:23:29,760 --> 00:23:32,800 Speaker 2: knew they had something. But each one of them took 387 00:23:32,880 --> 00:23:37,240 Speaker 2: the time and had the patience to go through the process. 388 00:23:37,920 --> 00:23:41,000 Speaker 2: And that happened with Slyther, which became a Grammy Award 389 00:23:41,040 --> 00:23:44,520 Speaker 2: winning song for us. There was quite a process behind 390 00:23:44,520 --> 00:23:49,360 Speaker 2: that song. We recorded it three times, and only because 391 00:23:49,480 --> 00:23:52,640 Speaker 2: I kept I kept saying to the band, I said, 392 00:23:52,680 --> 00:23:55,240 Speaker 2: I don't think it's right yet, and they thought I 393 00:23:55,359 --> 00:23:58,960 Speaker 2: was crazy. I said, oh man, it didn't feel right yet, 394 00:23:59,680 --> 00:24:01,800 Speaker 2: to point where they were like, man, come on man, 395 00:24:01,880 --> 00:24:04,840 Speaker 2: I'm like, oh man, it's not speaking to me yet. 396 00:24:04,880 --> 00:24:08,840 Speaker 2: It's like I had moments with music like that where 397 00:24:08,880 --> 00:24:12,320 Speaker 2: I actually physically pained over the song, where I actually 398 00:24:12,359 --> 00:24:15,720 Speaker 2: felt that the song was crying out for something else 399 00:24:16,720 --> 00:24:20,400 Speaker 2: speaking to me, and I was I couldn't sleep one 400 00:24:20,480 --> 00:24:23,040 Speaker 2: night about that song. And I walked back in the 401 00:24:23,119 --> 00:24:24,479 Speaker 2: room and I said, we need to slow it down 402 00:24:24,520 --> 00:24:25,960 Speaker 2: a little bit. We need to slow it down and 403 00:24:26,000 --> 00:24:28,400 Speaker 2: recut it. And we did and we brought it back 404 00:24:28,440 --> 00:24:30,679 Speaker 2: and it just two BP I'm slower, and it was 405 00:24:30,720 --> 00:24:33,879 Speaker 2: like right there, and I'm like, yesh, And I remember 406 00:24:33,880 --> 00:24:36,919 Speaker 2: when we mixed it same thing. I couldn't sleep and 407 00:24:36,960 --> 00:24:39,320 Speaker 2: I went in. I was with Andy Wallace, the great 408 00:24:39,359 --> 00:24:44,280 Speaker 2: mixer you did Jeff Buckley's Grace album. Did never Mind? 409 00:24:44,600 --> 00:24:46,399 Speaker 2: I called Andy. It was like eight in the morning. 410 00:24:46,840 --> 00:24:48,840 Speaker 2: I said, I'm coming in early today. Don't take the 411 00:24:48,880 --> 00:24:51,600 Speaker 2: mix down? And I went in there. I went right there, 412 00:24:52,200 --> 00:24:54,800 Speaker 2: can you turn that down? And turn that up right there? 413 00:24:55,400 --> 00:24:59,640 Speaker 2: Like details? And the band came back and I hadn't 414 00:24:59,640 --> 00:25:02,160 Speaker 2: slapped in. My eyes were like this, I've been bringing 415 00:25:02,200 --> 00:25:06,720 Speaker 2: a college slash walk dad, and let me hear it. 416 00:25:07,320 --> 00:25:09,760 Speaker 2: And that's what you hear on the album. That's amazing. 417 00:25:10,520 --> 00:25:13,920 Speaker 2: But yeah, I mean god, I just love making music 418 00:25:14,040 --> 00:25:16,240 Speaker 2: like that. Where you're it's like you could ask Lindsay 419 00:25:16,320 --> 00:25:19,359 Speaker 2: Buckingham about this shit. It's like having a baby. When 420 00:25:19,359 --> 00:25:22,200 Speaker 2: are you gonna let it go? Sometimes letting it go 421 00:25:22,240 --> 00:25:24,680 Speaker 2: as the hardest thing. It's like, I don't want to 422 00:25:24,720 --> 00:25:26,560 Speaker 2: let it go yet, is it right? 423 00:25:27,960 --> 00:25:30,480 Speaker 3: Can you talk about that experience when you were with 424 00:25:30,560 --> 00:25:34,000 Speaker 3: the Cult and you were in Minnesota and your father 425 00:25:34,160 --> 00:25:37,080 Speaker 3: and your relatives came to see you play that gig 426 00:25:37,160 --> 00:25:39,400 Speaker 3: with the with the Metallica. 427 00:25:39,920 --> 00:25:44,960 Speaker 2: Yeah, what was that like? Well, my parents got divorced 428 00:25:45,000 --> 00:25:47,240 Speaker 2: when I was pretty young, and maybe that was the 429 00:25:47,280 --> 00:25:49,720 Speaker 2: reason I gravitated towards the drums and always say this, 430 00:25:49,840 --> 00:25:52,640 Speaker 2: I was looking for that outlet. I was about six 431 00:25:52,680 --> 00:25:56,240 Speaker 2: when my dad left, and right about then I became 432 00:25:56,280 --> 00:26:02,880 Speaker 2: a drummer. So in an Tony Robbins way, worked out right. 433 00:26:03,000 --> 00:26:06,119 Speaker 2: I look at it now in reflection, for at the 434 00:26:06,160 --> 00:26:09,679 Speaker 2: time I might have been sad, but it brought me 435 00:26:09,760 --> 00:26:13,800 Speaker 2: somewhere and which has made my life in my career. 436 00:26:13,800 --> 00:26:17,080 Speaker 2: But so, my dad didn't really see me play much. 437 00:26:17,160 --> 00:26:18,760 Speaker 2: He came once to see me at the Black Egg 438 00:26:18,800 --> 00:26:21,560 Speaker 2: and said it's out forty ban and I remember calling 439 00:26:21,640 --> 00:26:26,600 Speaker 2: him and he lived in Minnesota, and I was kind 440 00:26:26,600 --> 00:26:28,720 Speaker 2: of I think I gott in a call about twenty 441 00:26:28,760 --> 00:26:31,119 Speaker 2: eight years old, you know, which is old for in 442 00:26:31,160 --> 00:26:35,120 Speaker 2: those days. It got my first big break at twenty eight. 443 00:26:36,200 --> 00:26:38,600 Speaker 2: I call my dad and I said, Dad, I'm here 444 00:26:38,640 --> 00:26:41,760 Speaker 2: in town, and you know, I'm coming to Minnesota. I 445 00:26:41,800 --> 00:26:43,440 Speaker 2: think it was about a week before, and I said, 446 00:26:43,440 --> 00:26:45,399 Speaker 2: I'm going to be playing a place called the Met Center. 447 00:26:46,240 --> 00:26:49,520 Speaker 2: My Dad's like the Met Center, it's like twenty five 448 00:26:49,560 --> 00:26:53,199 Speaker 2: thousand seats. I'm like, yeah, he goes, what do you 449 00:26:53,200 --> 00:26:57,440 Speaker 2: mean the met Center, like ball Met Center, like it 450 00:26:57,600 --> 00:27:00,680 Speaker 2: just didn't register. I said, yeah, Adam at the Met 451 00:27:00,720 --> 00:27:02,520 Speaker 2: Center with this band called the Cult. He goes, you've 452 00:27:02,560 --> 00:27:05,040 Speaker 2: joined a cult. I said, no, it's. 453 00:27:06,440 --> 00:27:06,560 Speaker 1: So. 454 00:27:07,680 --> 00:27:12,160 Speaker 2: He came down with my aunt Karen, all the cousins, 455 00:27:12,240 --> 00:27:17,240 Speaker 2: and my great aunt Lucille. They all walked in backstage. 456 00:27:17,960 --> 00:27:20,679 Speaker 2: My dad's looking around. He's like, all these people are 457 00:27:20,680 --> 00:27:23,320 Speaker 2: here to see you. He said, well, me and my band, 458 00:27:23,440 --> 00:27:28,200 Speaker 2: and there's another band called Metallica plan He said, wow, 459 00:27:29,280 --> 00:27:31,919 Speaker 2: it's incredible. And then we played. Of course I'm on 460 00:27:31,920 --> 00:27:35,760 Speaker 2: the big stage. I think everyone's minds were blown. Didn't 461 00:27:35,760 --> 00:27:37,760 Speaker 2: put two and two together. And I think to this 462 00:27:37,960 --> 00:27:41,199 Speaker 2: day my mother does not understand what I do. She 463 00:27:41,280 --> 00:27:44,399 Speaker 2: comes to see me play. She gets that part, and 464 00:27:44,400 --> 00:27:47,439 Speaker 2: I think a lot of people get that part, but 465 00:27:47,520 --> 00:27:49,639 Speaker 2: they don't get the part about all the rest of it, 466 00:27:50,600 --> 00:27:54,560 Speaker 2: which is the business part of music. They get that, Yo, 467 00:27:54,720 --> 00:27:59,439 Speaker 2: you're up there and it's like whoo, it's like extracurricular activity. 468 00:28:00,359 --> 00:28:05,000 Speaker 2: I'm playing. Did you ever have a plan? B? Though no, 469 00:28:06,240 --> 00:28:08,399 Speaker 2: I didn't. My mother used to say that all the time. 470 00:28:09,400 --> 00:28:11,200 Speaker 2: She used to say, do you have anything to fall 471 00:28:11,240 --> 00:28:13,080 Speaker 2: back on? So you need to have something to fall 472 00:28:13,119 --> 00:28:16,520 Speaker 2: back on. I'll put you through cooking school, because I 473 00:28:16,520 --> 00:28:18,920 Speaker 2: could cook a good omelet. You know, I could whip 474 00:28:18,920 --> 00:28:22,280 Speaker 2: an omelet up. But I just, I don't know. It 475 00:28:22,359 --> 00:28:27,600 Speaker 2: was like uber focused. And I still think that way today, 476 00:28:27,840 --> 00:28:30,560 Speaker 2: uber focused. Like if if I'm going after and I'm 477 00:28:30,600 --> 00:28:33,880 Speaker 2: going after it, it's not like, oh, hey, I'm going 478 00:28:33,880 --> 00:28:35,520 Speaker 2: to do this, and I'm going to do this and 479 00:28:35,560 --> 00:28:38,200 Speaker 2: this and this and this and this. I just didn't 480 00:28:38,320 --> 00:28:42,160 Speaker 2: have any other tunnel vision than that. And I knew 481 00:28:42,160 --> 00:28:44,320 Speaker 2: it was something I was good at and I could 482 00:28:44,360 --> 00:28:47,000 Speaker 2: tell when I played it felt good and it still does. 483 00:28:48,080 --> 00:28:50,520 Speaker 2: She was worried about me, I guess, you know. And 484 00:28:50,560 --> 00:28:52,360 Speaker 2: then of course, you know you read my book. I'm 485 00:28:52,360 --> 00:28:55,000 Speaker 2: not sure if you read it, but you know I 486 00:28:55,040 --> 00:28:58,160 Speaker 2: got into the other stuff and that's a whole other 487 00:28:58,800 --> 00:28:59,840 Speaker 2: spiritual journey. 488 00:29:00,840 --> 00:29:04,080 Speaker 3: But I want to ask you though about that music 489 00:29:04,400 --> 00:29:09,000 Speaker 3: being such an important part for you and for society 490 00:29:09,680 --> 00:29:13,520 Speaker 3: and what you've been through. And we have this other 491 00:29:14,200 --> 00:29:19,000 Speaker 3: podcast we produce that is called Music Saved Me. Do 492 00:29:19,080 --> 00:29:22,240 Speaker 3: you think music has therapeutic powers? 493 00:29:23,280 --> 00:29:23,600 Speaker 2: Yeah? 494 00:29:23,680 --> 00:29:28,920 Speaker 5: I mean, as people know that I have been through 495 00:29:28,920 --> 00:29:31,440 Speaker 5: the pitfalls of sort of rock and roll, maybe it's 496 00:29:31,520 --> 00:29:33,680 Speaker 5: a bit of a cliche, you know, the alcohol and 497 00:29:33,800 --> 00:29:38,320 Speaker 5: drugs that happened during that time, especially with Guns and Roses. 498 00:29:39,080 --> 00:29:41,640 Speaker 2: I had to go through this journey to really kind 499 00:29:41,640 --> 00:29:45,680 Speaker 2: of understand how much of a gift it really was. 500 00:29:45,840 --> 00:29:48,080 Speaker 2: And at the time when I got successful, to the 501 00:29:48,080 --> 00:29:50,360 Speaker 2: point where I wasn't even sure who I was anymore 502 00:29:50,360 --> 00:29:53,920 Speaker 2: because it's so crazy, things got scary and I just 503 00:29:53,960 --> 00:29:56,080 Speaker 2: didn't know how to handle. I guess I hadn't done 504 00:29:56,080 --> 00:29:58,280 Speaker 2: the work from my childhood and everything else that went 505 00:29:58,320 --> 00:30:03,400 Speaker 2: into being to finding the drums and finding music. So 506 00:30:03,480 --> 00:30:06,480 Speaker 2: when I finally got clean and silver and had my life, 507 00:30:06,480 --> 00:30:10,360 Speaker 2: got my life back, the reflection of what I'd gone through, 508 00:30:11,000 --> 00:30:12,920 Speaker 2: then I say it was something I needed to go 509 00:30:13,000 --> 00:30:17,000 Speaker 2: through to really have to find where I'm at now. 510 00:30:17,040 --> 00:30:20,200 Speaker 2: And then looking at the drums and the music and 511 00:30:20,240 --> 00:30:23,080 Speaker 2: the gift that has given me, and I even say, 512 00:30:23,920 --> 00:30:27,120 Speaker 2: I think Axel Rose, people go, what are you talking about? 513 00:30:28,160 --> 00:30:31,080 Speaker 2: You mean, Axl Rose? I said, well, I got on 514 00:30:31,120 --> 00:30:33,520 Speaker 2: the train. I got on the Guns and Roses train, 515 00:30:34,080 --> 00:30:37,840 Speaker 2: and that train stopped and I got off. But that 516 00:30:38,040 --> 00:30:42,200 Speaker 2: still represents a very big portion of my life and 517 00:30:42,280 --> 00:30:46,000 Speaker 2: has brought me to a lot of other places because 518 00:30:46,040 --> 00:30:50,360 Speaker 2: of what I've done with that band, especially honestly, Nicole 519 00:30:50,440 --> 00:30:52,600 Speaker 2: BELLI revolve with. Those are other bands I've been involved in, 520 00:30:53,160 --> 00:30:56,480 Speaker 2: but that particular band albeit a hotel and the guy 521 00:30:56,480 --> 00:30:58,320 Speaker 2: said I'm going to upgrade you, and why he goes, 522 00:30:58,360 --> 00:31:00,360 Speaker 2: because you were I loved that band, and I'm going 523 00:31:00,440 --> 00:31:03,800 Speaker 2: to put you in a bigger room. It's like some 524 00:31:03,840 --> 00:31:06,320 Speaker 2: guys like, come on my yacht. I love your band. 525 00:31:06,920 --> 00:31:10,360 Speaker 2: Which band? Guns of Roses. It was a blessing. It 526 00:31:10,400 --> 00:31:12,200 Speaker 2: was at the time, I thought it was a little 527 00:31:12,200 --> 00:31:16,000 Speaker 2: bit of a curse. I don't look at it that 528 00:31:16,040 --> 00:31:19,040 Speaker 2: way anymore, you know, and you know, people ask me 529 00:31:19,080 --> 00:31:20,680 Speaker 2: and you think you should still be there. I'm like, no, 530 00:31:20,920 --> 00:31:23,800 Speaker 2: I did that. I'm doing other stuff and that's what 531 00:31:23,840 --> 00:31:26,479 Speaker 2: I'm supposed to be doing. I look at it like 532 00:31:26,560 --> 00:31:29,360 Speaker 2: I'm going down the road and whatever. When I'm going down, 533 00:31:29,640 --> 00:31:33,520 Speaker 2: it's being guided by my higher power and the universe. 534 00:31:34,400 --> 00:31:39,200 Speaker 2: I don't push square pegs through round holes like I'm 535 00:31:39,200 --> 00:31:42,080 Speaker 2: in this studio the other day with this Japanese artist 536 00:31:42,120 --> 00:31:43,920 Speaker 2: who I can't wait for you to hear this record. 537 00:31:44,800 --> 00:31:47,040 Speaker 2: I'm like, wow, I never would have been here. There's 538 00:31:47,120 --> 00:31:50,000 Speaker 2: other things that now I'm doing that I never would 539 00:31:50,040 --> 00:31:53,120 Speaker 2: have done if I was still doing that, like opening 540 00:31:53,200 --> 00:31:56,520 Speaker 2: up new avenues for me, playing with Billy Gibbons. I 541 00:31:56,520 --> 00:32:00,880 Speaker 2: look at it, he's my friend. What it's like we 542 00:32:00,960 --> 00:32:04,520 Speaker 2: talk on the phone like girls, It's like it We'll 543 00:32:04,520 --> 00:32:07,560 Speaker 2: talk for two hours. I'm like, this is really incredible 544 00:32:07,600 --> 00:32:10,640 Speaker 2: life I've got. Not only is he a bad ass, 545 00:32:10,680 --> 00:32:12,440 Speaker 2: but he's one of the coolest humans I'm playing it 546 00:32:12,440 --> 00:32:15,200 Speaker 2: ever I had a chance to talk to him. I'm 547 00:32:15,240 --> 00:32:19,880 Speaker 2: really grateful. I'm super positive about where I'm headed. I'm 548 00:32:19,880 --> 00:32:22,000 Speaker 2: glad to be back on the I took some time 549 00:32:22,040 --> 00:32:24,400 Speaker 2: off of the kit because I had a daughter. She's 550 00:32:24,440 --> 00:32:28,480 Speaker 2: coming up on three. I didn't go tour. I'm starting 551 00:32:28,480 --> 00:32:32,360 Speaker 2: to take some tours again, getting back into making more records. 552 00:32:33,240 --> 00:32:36,320 Speaker 2: So in closing, what do you still want to learn 553 00:32:36,360 --> 00:32:40,240 Speaker 2: that you haven't learned? And I mean, like I said, 554 00:32:40,240 --> 00:32:43,560 Speaker 2: there's always there's always stuff to learn. And I'm learning 555 00:32:43,560 --> 00:32:48,280 Speaker 2: to be a good father right now, like to be patient. 556 00:32:49,160 --> 00:32:53,720 Speaker 2: Patience is something everybody needs to work on. But I'm 557 00:32:53,760 --> 00:32:56,760 Speaker 2: doing a lot better with a lot of situations, and 558 00:32:56,800 --> 00:32:58,560 Speaker 2: I'm you know, and I'm proud of that more than 559 00:32:58,560 --> 00:33:01,680 Speaker 2: anything that as a person I'm you know, obviously I'm 560 00:33:01,680 --> 00:33:04,400 Speaker 2: getting older and I'm maturing and all that stuff, but 561 00:33:05,480 --> 00:33:10,160 Speaker 2: I'm still learning about music is always a learning process. 562 00:33:10,560 --> 00:33:13,680 Speaker 2: I love investigating. Like I'm working on a record on 563 00:33:13,680 --> 00:33:15,560 Speaker 2: my own right now, I'm working on a kids record, 564 00:33:16,200 --> 00:33:18,040 Speaker 2: and I'm going back and I'm listening to old records 565 00:33:18,040 --> 00:33:20,680 Speaker 2: and I'm listening to those things we talked about earlier, 566 00:33:21,920 --> 00:33:23,960 Speaker 2: learning learning, learning, What is that? What is that? 567 00:33:24,040 --> 00:33:24,520 Speaker 1: What is that? 568 00:33:25,200 --> 00:33:27,080 Speaker 2: A guy put Mike's on my drums the other day 569 00:33:27,480 --> 00:33:29,840 Speaker 2: in the studio. He was an engineer. He spoke no 570 00:33:29,920 --> 00:33:35,000 Speaker 2: English Japanese. Incredible engineer and I had to ask the interpreter, 571 00:33:35,160 --> 00:33:39,920 Speaker 2: what's he doing right there? That sounds incredible learning. You know, 572 00:33:40,200 --> 00:33:43,200 Speaker 2: I always want to know when I'm in the recording 573 00:33:43,240 --> 00:33:45,520 Speaker 2: studio what's happening with the gear because I want my 574 00:33:45,560 --> 00:33:48,960 Speaker 2: own studio. Somebody's always got a trick that's better than 575 00:33:48,960 --> 00:33:55,320 Speaker 2: the trick you have, you know, well stated, very well stated, 576 00:33:55,520 --> 00:33:57,840 Speaker 2: Like Kenny Enough does stuff that I can't do on ID, 577 00:33:57,960 --> 00:33:59,840 Speaker 2: stuff he can't do, and he's like, Matt, what was that? 578 00:34:01,120 --> 00:34:01,600 Speaker 2: What was that? 579 00:34:02,600 --> 00:34:03,080 Speaker 1: Oh man? 580 00:34:03,520 --> 00:34:05,920 Speaker 3: Right, Matt, this has been great. You are one of 581 00:34:05,960 --> 00:34:11,000 Speaker 3: the great drummers of certainly my generation and the music 582 00:34:11,120 --> 00:34:14,080 Speaker 3: that you've been part of that you continue to give 583 00:34:14,160 --> 00:34:20,120 Speaker 3: us really matters and makes a difference and connects with us. 584 00:34:20,160 --> 00:34:25,400 Speaker 3: And I really thank you for your generosity here on 585 00:34:25,480 --> 00:34:26,160 Speaker 3: the podcast. 586 00:34:26,840 --> 00:34:30,440 Speaker 2: Yeah, well, thanks so much. And I think my post 587 00:34:30,440 --> 00:34:34,200 Speaker 2: is can I wanted to mention my recording studio, Good Noise. 588 00:34:34,680 --> 00:34:37,280 Speaker 2: You can go to Good Noise dot io slash studio 589 00:34:37,360 --> 00:34:39,399 Speaker 2: and check it out. Just check out what I'm doing 590 00:34:39,440 --> 00:34:42,320 Speaker 2: in the desert. I'm in Palm Springs and I got 591 00:34:42,360 --> 00:34:46,440 Speaker 2: all my equipment. I'm a history of my career in there. 592 00:34:47,000 --> 00:34:49,680 Speaker 2: It's like a museum slash recording studio. 593 00:34:49,760 --> 00:34:50,200 Speaker 1: I'm alone. 594 00:34:50,200 --> 00:34:52,840 Speaker 2: I mean, I'm curating the people coming in the building 595 00:34:53,280 --> 00:34:55,200 Speaker 2: and I'm kind of it to get back, but it's 596 00:34:55,239 --> 00:34:59,960 Speaker 2: also a place to come and create and use equipment 597 00:35:00,120 --> 00:35:03,320 Speaker 2: that's got a lot of mojo, got a lot of mojo, 598 00:35:03,480 --> 00:35:07,040 Speaker 2: it's a lot of history. So check it out Good 599 00:35:07,080 --> 00:35:09,520 Speaker 2: Nooise dot Io slash Studio will go straight to the 600 00:35:09,560 --> 00:35:15,120 Speaker 2: studio page. That's awesome. Yeah, thanks man, cool, I appreciate it. 601 00:35:15,120 --> 00:35:15,759 Speaker 2: Thank you, brother. 602 00:35:16,440 --> 00:35:18,880 Speaker 1: Thanks for listening to this episode of the Taking a 603 00:35:18,920 --> 00:35:22,840 Speaker 1: Walk Podcast. Share this and other episodes with your friends 604 00:35:22,920 --> 00:35:26,399 Speaker 1: and follow us so you never miss an episode. Taking 605 00:35:26,440 --> 00:35:30,359 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 606 00:35:30,520 --> 00:35:32,839 Speaker 1: and wherever you get your podcasts.