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Speaker 1: Welcome, Welcome, Welcome back to Bob Leftste's podcast. My guest

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Speaker 1: today is drummer, songwriter producer Stan Lynch. Stan, you have

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Speaker 1: a new band, speaker wars. Why a band? Why?

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Speaker 2: Now? You know I'd have to go to therapy to

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Speaker 2: figure that one out. But I think it was just

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Speaker 2: the time was right to play. And I think a

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Speaker 2: wise man once said to me, while you can and

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Speaker 2: still want to, you should. So I'm enjoying being in

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Speaker 2: a group. And I love the guy that my partnered with,

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Speaker 2: this guy John Christopher Davis. He's great and he's the

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Speaker 2: one who sort of talked me into it. How do

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Speaker 2: you know this gentleman, Stan who John?

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Speaker 1: Yeah?

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Speaker 2: We met on a blind date in Nashville, Tennessee. We

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Speaker 2: were both staff writers at the time different publishing companies,

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Speaker 2: and John was being groomed to become a country star,

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Speaker 2: if you will. We got together to write songs and

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Speaker 2: bonded instantly over old rock and roll and gospel and

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Speaker 2: all kinds of cool stuff. We'd both just have the

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Speaker 2: same north Star. And then they I got asked to

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Speaker 2: produce his record and went in and the first thing

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Speaker 2: that happened was they played us both five songs that

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Speaker 2: we had never heard of, and we'd been writing for

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Speaker 2: his album. They played us these five Puppy Mill Nashville

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Speaker 2: songs that were just horrible, and they said these are

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Speaker 2: going to be your first five and I remember, without

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Speaker 2: missing a beat, I didn't know you couldn't say this,

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Speaker 2: but I said, these songs are horrible. Why would we

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Speaker 2: cut Why would we cut these when John is such

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Speaker 2: a good writer. Well, I didn't know it, but we

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Speaker 2: were both fired right then, instantly, And on the way

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Speaker 2: out the parking lot, I was walking out and I thought, well,

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Speaker 2: this guy's gonna kick my ass. He's gonna hate me

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Speaker 2: forgetting his ass fired. And I'm walking to my car

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Speaker 2: and I hear it, you know, hey Lynch, And I'm thinking,

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Speaker 2: oh great, this is where it ends. And he runs

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Speaker 2: out and gives me a big hug and he said,

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Speaker 2: thank you man. He goes nobody's ever stood up for

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Speaker 2: me like that, and and he just gave me this

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Speaker 2: big hug, and I went like, God, this guy's got soul.

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Speaker 2: You know, he's got soul. And that kept the relationship going.

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Speaker 2: It started there. We started his buds and I love

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Speaker 2: the way he saying, you know, I'm a sucker for

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Speaker 2: a guy who can sing. You know, as from a

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Speaker 2: drummer's point of view, there's nothing more important than a

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Speaker 2: singer that will set you up, you know that you

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Speaker 2: want to set up. And he he, he made me

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Speaker 2: feel good, you know, listening to him sing. So that's

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Speaker 2: that's the story.

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Speaker 1: Tell me about you said up a singer and a

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Speaker 1: singer setting up the drummer.

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Speaker 2: Well, and for me, this isn't every drummer, but for me,

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Speaker 2: it was always about the vocal, like I was playing

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Speaker 2: with it, playing around it, toying with it, trying to

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Speaker 2: be inspiring and being inspired. And that was what was

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Speaker 2: so wonderful about my old band was that Tom would

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Speaker 2: sing every take in the studio if we if we

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Speaker 2: cut sixty takes, that guy was at the mic sixty times.

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Speaker 2: And that's kind of unheard of nowadays. But back then

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Speaker 2: we were either so unsophisticated and didn't know any better,

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Speaker 2: or that was just what we wanted to do. We

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Speaker 2: wanted to be a performing band, and even in the

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Speaker 2: studio we were performing. So that to me is if

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Speaker 2: you know, I would work around the vocal. I never

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Speaker 2: really knew what my drum part was going to be.

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Speaker 2: Till I heard the singer.

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Speaker 1: Okay playing live. Now, there are some drummers who wear headphones.

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Speaker 1: Things are different today within ears, but back in the seventies,

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Speaker 1: could you even hear the vocal to play along with it?

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Speaker 2: We could once we had monitors, yeah, and that there

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Speaker 2: were some unsung heroes in the band. You know, everybody

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Speaker 2: thinks of like a band as they there's five guys

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Speaker 2: or whatever, but there's so many. It takes a village

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Speaker 2: to make a great rock and roll band. And we

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Speaker 2: had this guy, Davey Bryson, who was a monitor man.

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Speaker 2: And as soon as we could get a monitor guy,

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Speaker 2: he was on stage with us. I mean, I can't

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Speaker 2: He was as close as the bass player to me,

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Speaker 2: and he was part of the show. And you could

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Speaker 2: give him the little look with your upper lip that

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Speaker 2: said I need more vocal or But yeah, as soon

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Speaker 2: as we were a tour ring band of any whatever

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Speaker 2: you want to call it, of any statulate bird, yes,

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Speaker 2: we had a monitor guy who was second to none,

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Speaker 2: and so yeah, I could hear that. I could definitely

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Speaker 2: have Petty was Yeah, that would be the number one

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Speaker 2: thing I needed to hear.

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Speaker 1: Okay, So you met John how many years ago.

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Speaker 2: Man, it's I couldn't put the date down, but it's

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Speaker 2: probably been a good eighteen to twenty.

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Speaker 1: Maybe, So why a band?

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Speaker 2: Now?

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Speaker 1: Why not? Okay? The record is very straight ahead rock

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Speaker 1: and roll. Okay, there's a ballad that I've heard that

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Speaker 1: could go, as we say in the old days, to

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Speaker 1: different formats. But what I mean, you know, radios other

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Speaker 1: than country doesn't really mean that much traditional radio. But

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Speaker 1: you have a band. I'll just put it straight. The

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Speaker 1: record's great, but it's out of sync with what's going

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Speaker 1: on in the world at large. So how do you

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Speaker 1: beat the system?

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Speaker 2: Well, that's a two part. You made a statement and

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Speaker 2: then asked a question. It's out of sink, thank god,

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Speaker 2: because I'm out of sink. My whole life has been

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Speaker 2: out of sink. I wouldn't know if bell bottoms are in.

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Speaker 2: I wouldn't know if synthesizers are in. I wouldn't know

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Speaker 2: what's in. I've never known, and it's been the ultimate blessing.

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Speaker 2: So let me address that. And then the question was

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Speaker 2: I forget.

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Speaker 1: Well, you know you're going well and you've got a

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Speaker 1: great memory, and you can play back pretty well. But

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Speaker 1: you answered the first half. But the decision to actually

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Speaker 1: do it, And what are your thoughts in terms of,

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Speaker 1: you know, getting it out to the world.

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Speaker 2: Oh yeah, okay, right, Well, let me first and foremost

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Speaker 2: say I have extremely managed expectation. My goal, if there

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Speaker 2: is one, is I'd like John to be heard because

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Speaker 2: I think he's a cool singer and I think he's

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Speaker 2: a cool dude. And I would like to be able

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Speaker 2: to play live with guys that can play and play

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Speaker 2: songs that I was part of molding and creating because

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Speaker 2: I don't really want to be in a cover band

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Speaker 2: and I was never worth a shit as a hired gun.

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Speaker 2: I couldn't play anybody's charts but my own. And so

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Speaker 2: what do I hope will happen? Maybe is hey, I

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Speaker 2: hope it gets heard, and I hope you get a

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Speaker 2: shot at playing some live gigs because it'd be a

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Speaker 2: lot of fun.

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Speaker 1: Okay, live is where the money is today, and also

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Speaker 1: with this kind of music, live is the best way

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Speaker 1: to break it at this age, with this experience. How

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Speaker 1: much you're willing to work.

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Speaker 2: I like work, I enjoy it. This isn't work, this

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Speaker 2: is this has been my church. Like the last thing

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Speaker 2: I remembered, I was fifteen years old, I was working

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Speaker 2: at McDonald's. That was the last time I had a

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Speaker 2: job where I remembered kind of dreading going to work.

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Speaker 2: And after that it was like, shit, this is this

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Speaker 2: is ah, this is just what I get to do.

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Speaker 2: And I'm when presented with a possibility of playing, I

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Speaker 2: would play. And how much is my willing to work.

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Speaker 2: I'm willing to wear my balls down to a nub

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Speaker 2: if it's fun.

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Speaker 1: Okay, if I say you're gonna play thirty dates in

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Speaker 1: thirty five days, I mean, you might have a couple

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Speaker 1: of questions, but you're gonna say no way, Are You're

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Speaker 1: gonna say, oh, okay, let me hear the details. I

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Speaker 1: could do that.

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Speaker 2: I'd probably go, that's a lot of gigs in a

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Speaker 2: short number of days, but let me hear the details.

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Speaker 2: You know, if if it's not oppressive, or the travels

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Speaker 2: not odious, or the everybody's got a good way of

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Speaker 2: doing it, I would I would question the thirty five

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Speaker 2: what was it thirty and thirty five days?

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Speaker 1: Something that was like yeah, yeah, yeah, I.

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Speaker 2: Would go, like, could be tough. At the same time,

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Speaker 2: I'd go, I'd have to once again, I'd ask my singer,

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Speaker 2: how many times can you walk up to the mic

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Speaker 2: and do this before dust comes flying out of your throat.

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Speaker 2: You know.

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Speaker 1: Okay, is it just the two of you or is

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Speaker 1: it really a band?

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Speaker 2: It's really a band now. It started with the two

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Speaker 2: we added over time. Well, John had a band in Texas,

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Speaker 2: so we took the pick of the litter from his

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Speaker 2: group and we found a couple other guys that I

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Speaker 2: really liked. I've got a really good We wanted good singers.

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Speaker 2: That was really important to me that we had guys

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Speaker 2: that can really sing. So we kind of handpicked and

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Speaker 2: we got a band.

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Speaker 1: Okay, he was in Texas. He's not a household name. No,

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Speaker 1: was he earning a living playing music?

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Speaker 2: Yes, good question. He's well, he's kind of an entrepreneurial

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Speaker 2: guy and he owns a I got the what do

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Speaker 2: you call it when lone star attitude. He's got a

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Speaker 2: whole marketing thing that supports himself. He runs several businesses.

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Speaker 2: One of his businesses is a booking agency, and he

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Speaker 2: keeps himself busy and booked, and he loves to play

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Speaker 2: gigs in Texas. Is a still has what I had

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Speaker 2: when we grew up. Places to play. You can actually

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Speaker 2: go work like it's that's that's gone the way of

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Speaker 2: the Dodo bird now. But you can actually in Texas

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Speaker 2: be a working musician with a working bands, and that's

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Speaker 2: what he loves to do.

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Speaker 1: Okay, so the record's done. Now, how long ago did

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Speaker 1: you guys say we're making a record, we are a band.

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Speaker 2: It was very organic process. I don't know if those

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Speaker 2: two statements wherever made you consecutively. It was really during

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Speaker 2: COVID that, you know, when the world came to a

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Speaker 2: screeching halt, and I think I about six weeks into it,

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Speaker 2: I went, well, shit, I got to do something, and

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Speaker 2: I have a recording studio, and I started learning how

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Speaker 2: to fileshare, you know, and create records. You know, send

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Speaker 2: me this, I'll send you back, and send me this

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Speaker 2: I'll send you And I did a lot of that

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Speaker 2: file sharing recording during COVID. And one of the guys

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Speaker 2: that was the most exciting for me was John. He

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Speaker 2: would send me pieces, I'd send him back pieces. He'd

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Speaker 2: get on a plane and come down because I mean,

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Speaker 2: you remember at the time when we were setting fire

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Speaker 2: to our groceries because we're all gonna die and you didn't,

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Speaker 2: you know, So John was the you know, we'd both

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Speaker 2: get tested and we'd come he'd come down and stay

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Speaker 2: with me. And so we started assembling our songs and

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Speaker 2: we have We got tons of songs. And then we

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Speaker 2: went and to a guy Larry Maser, who uh he

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Speaker 2: sort of orchestrated it. He helped us pick what he

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Speaker 2: felt should be on a record, what he and we

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Speaker 2: kind of went to committee at that point, which I

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Speaker 2: never even considered doing. You know, I was just going,

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Speaker 2: I don't know, let's just record a bunch of songs.

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Speaker 2: And we did. And then after that, I've gone into

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Speaker 2: band mode, which is what do y'all want to do.

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Speaker 2: I'll listen, you know, I'm listening.

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Speaker 1: Okay, So you've cut the record in your own home studio?

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Speaker 2: Uh yeah, amongst others. There was here Dallas, I think

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Speaker 2: where else we recorded, but mostly in between this another guy,

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Speaker 2: Mike Pisteercy, who's really a great engineer. He's a guy

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Speaker 2: in Texas who has a great facility there and he

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Speaker 2: warmed to us early in the game and said you

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Speaker 2: can come and work here, and he's got a sound

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Speaker 2: stage and that's where we learned to be a band.

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Speaker 2: We went in there and just you know, threw down

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Speaker 2: and ate pizza and played our asses offten we figured

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Speaker 2: out what we're doing and so, like I said, it

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Speaker 2: takes a village. A band requires so many people to

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Speaker 2: give a shit before it works.

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Speaker 1: Okay, you know the initial Tom Petty records were cutting

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Speaker 1: shelters studios, which certainly wasn't the record plant. Then there

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Speaker 1: was a lot of success. You could basically work and

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Speaker 1: pay whatever you want. What are your viewpoints about today's

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Speaker 1: recording situation in terms of budgets? You know, do you

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Speaker 1: need a big room to cut the base or you

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Speaker 1: could do everything on a small level and you're happy,

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Speaker 1: or you wish you had more money. What's your viewpoint there?

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Speaker 2: Yes? Both, I mean it home recording now, it's no excuses.

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Speaker 2: I mean, your demos can be records, and many people's

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Speaker 2: they are. I mean, you know a lot of artists

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Speaker 2: don't even know how to interface with a real recording

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Speaker 2: studio quote unquote with musicians. And I mean, i'd say

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Speaker 2: a great majority of the records we hear today are track.

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Speaker 2: You know, they're created, and I prefer I mean, you know,

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Speaker 2: my dream would be, you know, to go like the

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Speaker 2: way I grew up. You know, I want to I

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Speaker 2: want to record like Free and Bad Company, and I

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Speaker 2: want to go in and just rumble for it, you know,

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Speaker 2: like I love that shit counting four no click tracks,

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Speaker 2: four or five guys in the room that you know

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Speaker 2: that is the best. That does require a budget, because

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Speaker 2: you do need some form of facility, and you're gonna

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Speaker 2: need engineers, and you're gonna need people to help. Once again,

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Speaker 2: when you're bearskins and knives and you're doing it yourself,

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Speaker 2: you just do it. You just get in, You do

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Speaker 2: whatever you can to create your product. And I'm good

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Speaker 2: with either one, but I would love to have the

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Speaker 2: old school way where you kind of rehearsed your songs,

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Speaker 2: you knew what you were kind of gonna do, or

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Speaker 2: had a rough idea, and you go in and cut

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Speaker 2: three or four tunes at a time, and you had

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Speaker 2: great engineers helping you get sounds and you got that

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Speaker 2: energy together and it was very romantic and exciting. I'm

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Speaker 2: not sure that's happening a whole lot anymore.

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Speaker 1: So, how did you actually cut this record track by

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Speaker 1: track or band in the room.

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Speaker 2: Most of it was done. A lot of it was assembly,

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Speaker 2: Like we'd start with a song as a demo and

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Speaker 2: we just listen to it and go, well, how would

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Speaker 2: it grow up? Would what would this thing do if

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Speaker 2: it started to walk and talk? And we would build

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Speaker 2: And then a few of the songs we actually did

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Speaker 2: just kind of go, why don't we just play this

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Speaker 2: damn thing. We've got enough guys and we've got an engineer,

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Speaker 2: and the time fell on it where we could do it.

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Speaker 2: But we were pretty we're pretty ghetto.

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Speaker 1: Okay, you know this is not like you're seventeen. Everybody

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Speaker 1: here needs to earn a living. So let's say, oh, yeah,

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Speaker 1: we want to go on the road next month, never

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Speaker 1: mind six months. Rough is one band member gonna say,

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Speaker 1: oh I already have gigs booked, or I got to

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Speaker 1: do this, or is everybody saying this is a priority.

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Speaker 2: I feel a priority out of the guys, and they've

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Speaker 2: already proved it, you know, when we've had like, look,

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Speaker 2: we've got two weeks and Mike set his facilities available,

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Speaker 2: everybody drops everything and gets their asses there, and we

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Speaker 2: all we all dig it. We're all getting it. You know.

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Speaker 2: It's like and everybody's bringing something to the table, and

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Speaker 2: but yeah, I don't I don't really know everybody's personal story.

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Speaker 2: I mean, I haven't put my nose into everybody's tent.

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Speaker 2: I'm probably in a unique situation because I can do

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Speaker 2: what I love when I want to do it. So

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Speaker 2: I'm hopeful that that will not be a problem. And

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Speaker 2: I'm pretty pretty sure that everybody's ready to roll.

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Speaker 1: And at this point in time, are there any live

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Speaker 1: dates booked.

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Speaker 2: We're working on that. We'd have to ask Larry, but

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Speaker 2: I think that's we We just did a gig in

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Speaker 2: Gainsville that was fun. We went and played and just

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Speaker 2: to make sure we could actually what happens if you

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Speaker 2: count for live and make sure nobody make sure I

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Speaker 2: don't have any excessive drinkers or you know. So it was.

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Speaker 2: It was a scratching sniff to make sure everybody could

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Speaker 2: do the gig. And I thought everybody did great. But

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Speaker 2: at the moment, I think we got a record coming

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Speaker 2: out and what is it in April? I think? Uh?

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Speaker 2: And so hopefully then, like I said, I have manager expectation,

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Speaker 2: but I'm feeling a little frisky that we can get

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Speaker 2: some work and have some fun.

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Speaker 1: Okay, you live in Florida, right, true, we're in Florida.

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Speaker 1: I don't need your specific address, but generally.

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Speaker 2: An undisclosed location almost at the Georgia border. I'm I

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Speaker 2: have a place that's out in the middle of the

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Speaker 2: woods in central Florida, outside of the town I grew

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Speaker 2: up in. And uh, pretty much if you were thinking

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Speaker 2: of the Panhandle, you'd be I'm kind of dead between

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Speaker 2: the Panhandle and the Atlantic, right square in the middle

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Speaker 2: of the state.

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Speaker 1: Okay, did it snow there the other day?

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Speaker 2: Close? But it's just north of us. It did, But yeah,

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Speaker 2: it By the way, you're in La correct, correct? How

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Speaker 2: are you?

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Speaker 1: Well? Thanks for asking. You know, I'm not that far

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Speaker 1: from the fires. And there were a couple of scary moments,

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Speaker 1: and you know, we got say, okay, I got my

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Speaker 1: shit ready to evacuate, but didn't have to. I know

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Speaker 1: a lot of people lost their houses. It's kind of

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Speaker 1: like a death in the family. You take it. I

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Speaker 1: don't think we've completely metabolized.

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Speaker 2: How could you?

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Speaker 1: But uh, going back to your story, how much property

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Speaker 1: do you have?

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Speaker 2: I got it just coming on too close to forty

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Speaker 2: acres out here. It's a tree farm that I started

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Speaker 2: back in I think around seventy nine or eighty. I

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Speaker 2: got started buying property here because it was just a

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Speaker 2: pretty spot, and we planted a lot of trees, and

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Speaker 2: we've already done a first cutting, and we've got lambs

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Speaker 2: up on the pasture, and you know it's it's it's cool.

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Speaker 2: I got it, Uh, I have the life. I would

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Speaker 2: have never thought this was what would have been so

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Speaker 2: appealing when I couldn't wait to get the hell out

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Speaker 2: of here. But when it's somewhere in the somewhere. After

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Speaker 2: about I guess about fifteen years of Los Angeles living,

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Speaker 2: I realized, like, this isn't my home. I love it

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Speaker 2: in LA. And I got great work. I had a

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Speaker 2: great life, fully energized, fully realized, but I could never relax.

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Speaker 2: I had an assbucker that was just tight. And when

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Speaker 2: I came down here, I went like, oh, it's too close,

348
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Speaker 2: so close to nature. I grew up on the water.

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Speaker 2: I got a little place over and on the on

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Speaker 2: the coast. That's fun. I can go over there, I

351
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Speaker 2: can attempt to surf. Still, I'm that guy, you say, we, who'se? We?

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Speaker 2: Me and my gal?

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Speaker 1: And how long has this gal been part of the picture.

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Speaker 2: Probably since I wrapped up LA. So I'm thinking she

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Speaker 2: would correct me and tell me exactly, but probably since

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Speaker 2: mid nineties.

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Speaker 1: Okay, I've been with my girlfriend for twenty years. We're

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Speaker 1: not married. You've never been married, right.

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Speaker 2: Well, we never bred. Neither of us had kids, so

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Speaker 2: I think it's very I think with children, it would

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Speaker 2: be probably helpful if everybody had the same name. I

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Speaker 2: get that. You know, that would be convenient, Like you know,

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Speaker 2: all those name left SAIDs, get behind me and let's go,

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Speaker 2: you know, like I mean, that would make more sense.

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Speaker 2: But without kids, I want to be I'm on my

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Speaker 2: best behavior as a non married man. I'm still semi courting.

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Speaker 2: I'm doing my best, you know, Like, I get the

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Speaker 2: feeling i'd be the kind of guy with married I

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Speaker 2: might have. I would have the potential to be a

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Speaker 2: dick pretty quick.

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Speaker 1: Okay, this woman you met her in La? Is she

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Speaker 1: from La? What does she think about living in the

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Speaker 1: moonies in Florida?

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Speaker 2: Well, she's from Texas. So I met her in Texas

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Speaker 2: on a blind date.

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Speaker 1: And wait, wait, wait, stop, stop there your rock and

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Speaker 1: roll star. How did a rock and roll star go

378
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Speaker 1: on a blind date? Tell me, well, it was nice,

379
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Speaker 1: I was. I found myself without a well, okay, take

380
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Speaker 1: a picture of this. I'm turning forty I've lost my job.

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Speaker 1: I'm I'm kind of like, I'm scared to death. I'm single.

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Speaker 2: The woman I was with had decided she'd had about

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Speaker 2: enough of me, and and then I was sort of

384
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Speaker 2: just hanging and a dear friend of mine and his

385
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Speaker 2: wife said, you know, because I was spend a lot

386
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Speaker 2: of time in Texas, and they said, well, we we

387
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Speaker 2: got a gallop, but next time you're in why don't

388
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Speaker 2: we go out for dinner? And that's how it happened.

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Speaker 1: Okay, so you're living in Florida. What's your everyday life like?

390
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Speaker 1: Are you pretty much cloistered in your own world? Or

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Speaker 1: do you have friends there you so you're more isolated?

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Speaker 2: D all of the above. I mean, I've got the

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Speaker 2: same crowd. I've got friends that I went to high

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Speaker 2: school with. I'm that guy. I've got the same guys

395
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Speaker 2: literally that are We talk every day. And I was

396
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Speaker 2: in my first band with these guys when I was fourteen.

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Speaker 2: There are still my friends. One of my buddies, you know,

398
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Speaker 2: we had a music store together in Gainesville for twenty years.

399
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Speaker 2: And so I've kept my roots were always here. My

400
00:23:32,640 --> 00:23:36,600
Speaker 2: father lived here, so I got to come back here

401
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Speaker 2: and live down the road from him and get to

402
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Speaker 2: know him, and my everyday life is it's cool. I

403
00:23:44,359 --> 00:23:51,480
Speaker 2: try to stay engaged creatively as much as I possibly can,

404
00:23:51,560 --> 00:23:54,399
Speaker 2: I mean, without burning out. So I set aside time

405
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Speaker 2: every day or you know, every other week, actually four

406
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Speaker 2: or five days a week every other week to get

407
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Speaker 2: in my studio and try and that's always good. My

408
00:24:05,480 --> 00:24:08,960
Speaker 2: daily routines are fairly banal. I get up and take

409
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Speaker 2: a walk. I like to cook, I like to enjoy.

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Speaker 2: I'm very grateful, Bob, that's the bottom line. I'm very

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Speaker 2: fucking grateful. You know that. I you know.

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Speaker 1: Okay, let's go back. You're the one who mentioned losing

413
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Speaker 1: your job. You know we have not met previously. You've

414
00:24:24,760 --> 00:24:27,960
Speaker 1: emailed me a couple of times in the past. Okay,

415
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Speaker 1: what do I know? You're a very just from these

416
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Speaker 1: twenty minutes, you're a very affable guy, very easy to

417
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Speaker 1: talk to. You work with Don Henley, who you know,

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Speaker 1: generally speaking, let's call him not easy at a little prickly, okay,

419
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Speaker 1: and you seem to get along with him. You go

420
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Speaker 1: with Tom, who's not the most easy going guy but

421
00:24:53,000 --> 00:24:56,560
Speaker 1: is easier than Don. Yet there's some friction there, you know,

422
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Speaker 1: what's going on there?

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Speaker 2: Boy? Is that a layered group of questions and statements.

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Speaker 2: Don was never prickly for me. I met Don in

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Speaker 2: nineteen eighty and was immediately welcomed by him and Tony Tavy,

426
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Speaker 2: who was his guy. You know, for lack of a

427
00:25:18,720 --> 00:25:22,040
Speaker 2: better term, he handled you know, his Don's dude probably

428
00:25:22,040 --> 00:25:24,600
Speaker 2: handled everything from his drums to making sure he got

429
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Speaker 2: in the car. And I met them in eighty at

430
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Speaker 2: a gig. They immediately made me feel welcome. And I

431
00:25:33,480 --> 00:25:38,200
Speaker 2: didn't know him from Adam, and I'm probably more smitten

432
00:25:38,280 --> 00:25:41,520
Speaker 2: with the concept of look, it's the Eagles, it's Don.

433
00:25:42,200 --> 00:25:44,840
Speaker 2: And he immediately said, hey, you can sit right here

434
00:25:45,320 --> 00:25:48,360
Speaker 2: on stage and if you want to watch me play drums.

435
00:25:49,520 --> 00:25:54,600
Speaker 2: He immediately took treated me like I was family. So

436
00:25:55,640 --> 00:26:00,480
Speaker 2: I never sensed the oh my god, you know the

437
00:26:01,000 --> 00:26:03,119
Speaker 2: I never got it. I heard about it, you know,

438
00:26:03,119 --> 00:26:05,480
Speaker 2: I would hear just like you like, oh, gee, Don

439
00:26:05,520 --> 00:26:09,520
Speaker 2: can be tough. He's a tough Customer's this that never

440
00:26:09,600 --> 00:26:12,720
Speaker 2: got it. Never felt that he was a big brother.

441
00:26:13,760 --> 00:26:17,800
Speaker 2: He always looked out for me and made it real

442
00:26:17,880 --> 00:26:20,920
Speaker 2: easy to hang and also gave me my second act.

443
00:26:21,000 --> 00:26:26,000
Speaker 2: But that's another conversation. Okay, So then you asked Tom

444
00:26:27,520 --> 00:26:30,840
Speaker 2: Now Tommy. When I met Tom, I was a little

445
00:26:30,880 --> 00:26:36,040
Speaker 2: boy in Gainesville. They were a little older, and I

446
00:26:36,240 --> 00:26:41,679
Speaker 2: found him to be hysterical. They were these guys were

447
00:26:41,760 --> 00:26:47,680
Speaker 2: They were intelligent, They were Southern, but they weren't Hicks,

448
00:26:48,000 --> 00:26:51,000
Speaker 2: and they weren't rednecks. You know, I'm from Ohio, I

449
00:26:51,040 --> 00:26:58,720
Speaker 2: grew up in Florida, but I'm not so blood simple that,

450
00:26:58,800 --> 00:27:04,200
Speaker 2: you know. I I see the world outside of my box.

451
00:27:04,320 --> 00:27:07,880
Speaker 2: And so did Tom, So did Benmont, So did Mike,

452
00:27:08,040 --> 00:27:14,360
Speaker 2: so did Ron. They were all kind of worldly even

453
00:27:14,400 --> 00:27:17,600
Speaker 2: though they hadn't been exposed yet. They were wide open.

454
00:27:17,640 --> 00:27:21,000
Speaker 2: They were curious, That's the one. They were curious people.

455
00:27:21,440 --> 00:27:29,119
Speaker 2: They were exciting, and so my early run with the

456
00:27:29,160 --> 00:27:33,119
Speaker 2: band was nothing but brotherhood. It was hysterical, and I

457
00:27:33,160 --> 00:27:36,480
Speaker 2: couldn't have asked for goof of your guys to go

458
00:27:36,520 --> 00:27:37,240
Speaker 2: on the quest with.

459
00:27:39,520 --> 00:27:41,440
Speaker 1: So what ended? Why did it end?

460
00:27:42,680 --> 00:27:50,679
Speaker 2: I probably several components to that. I think first and

461
00:27:50,760 --> 00:27:54,560
Speaker 2: foremost was I had a belly full of Los Angeles.

462
00:27:55,320 --> 00:27:59,960
Speaker 2: I was starting to branch out, and thanks to Don

463
00:28:00,240 --> 00:28:06,040
Speaker 2: and Danny Kortschmeier and Steve Lucather, I was writing and

464
00:28:06,080 --> 00:28:10,040
Speaker 2: being asked to do things beyond the drumming, and that

465
00:28:10,200 --> 00:28:14,159
Speaker 2: was something that always intrigued me and I wanted and

466
00:28:15,520 --> 00:28:20,960
Speaker 2: I'd kind of worn out. I'd worn out on Tom

467
00:28:21,000 --> 00:28:24,159
Speaker 2: Petty and the Heartbreakers. Where it was going and what

468
00:28:24,440 --> 00:28:29,000
Speaker 2: music they were making. Didn't I didn't feel part of it.

469
00:28:29,000 --> 00:28:32,040
Speaker 2: It was like, not what I want, not what I

470
00:28:32,080 --> 00:28:35,040
Speaker 2: wanted to do naturally, and I wasn't willing to grow

471
00:28:35,760 --> 00:28:38,280
Speaker 2: in the way that they needed a drummer at that point.

472
00:28:38,880 --> 00:28:42,000
Speaker 2: So it was almost a subconscious conscious decision to say,

473
00:28:43,320 --> 00:28:51,200
Speaker 2: fuck it, I'll just make myself so uninterested and they'll

474
00:28:51,200 --> 00:28:55,960
Speaker 2: feel Everybody felt it, and I just didn't. I didn't

475
00:28:55,960 --> 00:28:58,440
Speaker 2: fit in anymore, you know. I just didn't fit in.

476
00:28:58,440 --> 00:29:00,680
Speaker 2: And I had a home in Florida, I loved going

477
00:29:00,720 --> 00:29:03,560
Speaker 2: to and I had a whole other life, and Tom

478
00:29:03,640 --> 00:29:08,040
Speaker 2: was making solo records, so it was like it was

479
00:29:08,080 --> 00:29:10,480
Speaker 2: a natural movement.

480
00:29:12,320 --> 00:29:14,400
Speaker 1: Well, how did you find out you were no longer

481
00:29:14,400 --> 00:29:16,640
Speaker 1: in the band? And was it a shock when it happened.

482
00:29:17,520 --> 00:29:20,320
Speaker 2: No, it was a surprise, but it wasn't a shock.

483
00:29:20,800 --> 00:29:23,920
Speaker 2: It was no. I it was a fully executed swan

484
00:29:24,000 --> 00:29:30,960
Speaker 2: dive away from the group. It wasn't he had a

485
00:29:31,000 --> 00:29:35,080
Speaker 2: point of no return for everybody. Uh and how did

486
00:29:35,200 --> 00:29:37,600
Speaker 2: what was the question? How did I find out? Yeah,

487
00:29:38,080 --> 00:29:44,959
Speaker 2: Tony Dimitriotis called me the Bandager yep. And but you know,

488
00:29:46,200 --> 00:29:47,880
Speaker 2: it was like, yeah, I was sad. I was a

489
00:29:47,920 --> 00:29:52,400
Speaker 2: little I was scared, you know, because that would have

490
00:29:52,400 --> 00:29:54,840
Speaker 2: been you know, I used to kid my last name

491
00:29:54,920 --> 00:29:58,080
Speaker 2: is Stan drummer for Tom Petty and the Heartbreakers. I

492
00:29:58,080 --> 00:30:02,520
Speaker 2: didn't have a last name, you know, so you know,

493
00:30:02,560 --> 00:30:07,120
Speaker 2: you couldn't say that anymore. So that was weird, you know,

494
00:30:07,200 --> 00:30:09,440
Speaker 2: after so many years to like go, well, I woke

495
00:30:09,520 --> 00:30:11,920
Speaker 2: up with my own last name. You know, my name

496
00:30:12,000 --> 00:30:16,440
Speaker 2: is Stan Lynch and I'm doing something else. So and

497
00:30:16,480 --> 00:30:18,160
Speaker 2: then you know, you went through the couple of years

498
00:30:18,200 --> 00:30:21,920
Speaker 2: of weren't you or did you? Or what happened? Or

499
00:30:22,280 --> 00:30:27,880
Speaker 2: and then you know, it's a nice evolution, you know.

500
00:30:28,520 --> 00:30:31,760
Speaker 2: And I'm very grateful and thankful that I caught the

501
00:30:31,800 --> 00:30:36,400
Speaker 2: wave when I did. And I'm also incredibly grateful that

502
00:30:36,520 --> 00:30:40,520
Speaker 2: I didn't do that last twenty years for everybody's sake,

503
00:30:40,600 --> 00:30:46,440
Speaker 2: including my own, because man, that would have been horrifying

504
00:30:46,480 --> 00:30:47,120
Speaker 2: for all of us.

505
00:30:48,600 --> 00:30:50,480
Speaker 1: Tell me how it would have been horrifying for you?

506
00:30:52,120 --> 00:30:55,040
Speaker 2: Well, I didn't particularly care for the music, so that

507
00:30:55,080 --> 00:30:58,040
Speaker 2: would have been the first and foremost. I couldn't find

508
00:30:58,200 --> 00:31:03,280
Speaker 2: a way to play drums like that, which was very

509
00:31:07,680 --> 00:31:12,479
Speaker 2: metronomic and that should That's sounds strange for a drummer

510
00:31:12,520 --> 00:31:17,080
Speaker 2: to say, because that is your job. But it wasn't

511
00:31:17,080 --> 00:31:19,880
Speaker 2: what I wanted. I wanted to be. I came from

512
00:31:19,960 --> 00:31:24,240
Speaker 2: a different style of drumming. I wanted to be British.

513
00:31:24,640 --> 00:31:29,280
Speaker 2: I wanted to be Keith Moon meets Mick Fleetwood meets

514
00:31:29,440 --> 00:31:33,080
Speaker 2: Charlie Watts. You know. I wanted to be this free

515
00:31:34,000 --> 00:31:38,400
Speaker 2: and important component within the music, not just the thing

516
00:31:38,800 --> 00:31:43,680
Speaker 2: that goes boom schmeck, boom schmeck, and that once they

517
00:31:43,760 --> 00:31:49,520
Speaker 2: needed boom schmack. I couldn't really even do it. Quite frankly,

518
00:31:49,600 --> 00:31:52,840
Speaker 2: it was intimidating. It was it's not what I know

519
00:31:52,920 --> 00:31:54,680
Speaker 2: how to do, and I'm not any good. I'm better

520
00:31:54,720 --> 00:31:57,840
Speaker 2: at it now after owning a studio and producing records

521
00:31:57,840 --> 00:32:04,720
Speaker 2: and learning the the job of the drummer, I've gotten better.

522
00:32:04,840 --> 00:32:08,400
Speaker 2: I can do that and uh and but I just

523
00:32:08,520 --> 00:32:11,320
Speaker 2: it's not where my love of drumming is.

524
00:32:19,120 --> 00:32:23,600
Speaker 1: Okay, Tom Betty and the Heartbreakers, you know they have

525
00:32:23,760 --> 00:32:27,800
Speaker 1: big breakthrough after declaring bankruptcy on the third album. So

526
00:32:28,000 --> 00:32:31,560
Speaker 1: starting you know, around nineteen eighty they're playing arenas, but

527
00:32:31,680 --> 00:32:36,840
Speaker 1: you are one member of a five member group. In addition,

528
00:32:36,960 --> 00:32:40,640
Speaker 1: you're not the songwriter in the group. You lose your job.

529
00:32:40,720 --> 00:32:47,240
Speaker 1: What about the money, Let me think about that.

530
00:32:49,120 --> 00:32:51,240
Speaker 2: Well, I think there's always a fear of going broke

531
00:32:51,320 --> 00:32:53,600
Speaker 2: when you're a musician, no matter how much money you got.

532
00:32:54,160 --> 00:32:56,800
Speaker 2: I think that's just the nature of the beast. Like

533
00:32:56,880 --> 00:33:01,120
Speaker 2: you're you know, you're essentially self and Floyd your whole life.

534
00:33:01,200 --> 00:33:06,400
Speaker 2: I mean, I I was pretty good at not freaking

535
00:33:06,440 --> 00:33:12,960
Speaker 2: out about money once I had some, and I wasn't.

536
00:33:13,040 --> 00:33:18,800
Speaker 2: I never lived an extreme life. I lived well within

537
00:33:18,880 --> 00:33:24,120
Speaker 2: my means, and so I never really felt like I

538
00:33:24,160 --> 00:33:27,040
Speaker 2: was going to be living under a bridge or you

539
00:33:27,080 --> 00:33:32,520
Speaker 2: know what about the money, It's nice to have it,

540
00:33:33,400 --> 00:33:35,959
Speaker 2: and I've been very lucky. It seems like I've been

541
00:33:35,960 --> 00:33:40,320
Speaker 2: able to do well with that. That's never been a

542
00:33:40,360 --> 00:33:41,200
Speaker 2: real problem for me.

543
00:33:41,720 --> 00:33:43,880
Speaker 1: Okay, So, when you're no longer in time Pitty and

544
00:33:43,920 --> 00:33:47,720
Speaker 1: the Heartbreakers, did you have enough money that if you

545
00:33:47,840 --> 00:33:50,800
Speaker 1: didn't want to play musical work you could have done that?

546
00:33:51,800 --> 00:33:57,920
Speaker 2: Well? Depends on your lifestyle, don't It Absolutely I mean, yeah,

547
00:33:57,920 --> 00:33:59,920
Speaker 2: I probably had enough to go live in an airstream

548
00:34:00,320 --> 00:34:04,600
Speaker 2: out out on the Swany River and fish for the

549
00:34:04,600 --> 00:34:06,760
Speaker 2: rest of my life. But that might not have been

550
00:34:06,800 --> 00:34:08,600
Speaker 2: what I wanted. But at the same time, that didn't

551
00:34:08,600 --> 00:34:12,960
Speaker 2: scare me. I was never scared of having a used

552
00:34:13,080 --> 00:34:16,879
Speaker 2: car and having a small house. That just didn't freak

553
00:34:16,960 --> 00:34:22,239
Speaker 2: me out. I mean, I mean, I liked it. When

554
00:34:22,280 --> 00:34:24,160
Speaker 2: I was a kid in LA it was fine. I

555
00:34:24,200 --> 00:34:27,680
Speaker 2: had the fancy car and the groovy apartment, and you know,

556
00:34:27,719 --> 00:34:30,520
Speaker 2: I had all that cool shit, the trappings of a

557
00:34:30,600 --> 00:34:34,520
Speaker 2: young buck, you know. And uh, but you know, after

558
00:34:34,560 --> 00:34:36,759
Speaker 2: the band was over, I was like, well, shit, I

559
00:34:36,760 --> 00:34:39,560
Speaker 2: got a little place in Florida. It's fun. I got

560
00:34:39,600 --> 00:34:43,520
Speaker 2: my old friends. I just didn't want to be an embarrassment.

561
00:34:43,680 --> 00:34:46,600
Speaker 2: I guess more than anything, I was more. I didn't

562
00:34:46,640 --> 00:34:50,040
Speaker 2: want to be I didn't want to feel like I

563
00:34:50,120 --> 00:34:53,640
Speaker 2: let anybody down. I remember asking my dad, like, hey Dad,

564
00:34:53,680 --> 00:34:56,160
Speaker 2: I'm not in the band anymore. You know, it didn't

565
00:34:56,280 --> 00:34:58,319
Speaker 2: It's just I couldn't take it, or you know, it

566
00:34:58,360 --> 00:35:01,000
Speaker 2: didn't work out. And I remember I think, and you know,

567
00:35:01,040 --> 00:35:03,200
Speaker 2: am I going to be Is he gonna be ashamed

568
00:35:03,280 --> 00:35:05,399
Speaker 2: or something? And it is a perfect father. He looked

569
00:35:05,440 --> 00:35:08,080
Speaker 2: at me and he goes, Stan, what took you so long?

570
00:35:09,960 --> 00:35:12,080
Speaker 2: And I thought, wow, he knows what I've been. You know,

571
00:35:13,120 --> 00:35:15,880
Speaker 2: it was hard. He just knew, like you know, Jesus

572
00:35:16,280 --> 00:35:18,400
Speaker 2: and Tom. One of the last things he said to

573
00:35:18,440 --> 00:35:21,960
Speaker 2: me goes, you know, eighteen twenty years stands an ice

574
00:35:22,040 --> 00:35:24,279
Speaker 2: run and I went, yeah, hard to complain, you know.

575
00:35:24,920 --> 00:35:28,000
Speaker 2: And like I said, the last twenty that those guys did,

576
00:35:28,680 --> 00:35:31,680
Speaker 2: I was never envious. I mean, I was happy for them,

577
00:35:32,120 --> 00:35:35,200
Speaker 2: for the guys I love. I was happy that they

578
00:35:35,200 --> 00:35:38,239
Speaker 2: were enjoying it. But I was never thinking, man, that

579
00:35:38,280 --> 00:35:41,280
Speaker 2: should be me up there. I never had never crossed

580
00:35:41,280 --> 00:35:41,720
Speaker 2: my mind.

581
00:35:43,280 --> 00:35:46,719
Speaker 1: Okay, did you communicate all this to your father? Very

582
00:35:46,719 --> 00:35:48,480
Speaker 1: intuitive and really knew who you were.

583
00:35:49,600 --> 00:35:51,880
Speaker 2: I think Dad a little both. Yeah. Dad was smart,

584
00:35:52,000 --> 00:35:56,200
Speaker 2: you know, he's he was a professor, you know, psychology,

585
00:35:56,320 --> 00:36:00,440
Speaker 2: and he could overthink anything with me. You know. It

586
00:36:00,520 --> 00:36:03,520
Speaker 2: was fun and I you know, I loved having him

587
00:36:03,560 --> 00:36:06,360
Speaker 2: in my life because he was such a grounding force

588
00:36:06,400 --> 00:36:08,759
Speaker 2: at the time. You know, he was because he never

589
00:36:08,840 --> 00:36:11,160
Speaker 2: he didn't give a shit about anything, you know, Like

590
00:36:12,360 --> 00:36:14,680
Speaker 2: I mean, I think I sent a couple of platinum

591
00:36:14,680 --> 00:36:17,360
Speaker 2: albums to my dad, you know, when he had an office,

592
00:36:17,920 --> 00:36:20,160
Speaker 2: you know, said doctor Lynch on him or something. You know,

593
00:36:20,440 --> 00:36:22,640
Speaker 2: he thought that was cute. You know. He came up

594
00:36:22,680 --> 00:36:25,080
Speaker 2: to Madison Square Garden we were playing up there with Dylan,

595
00:36:25,120 --> 00:36:27,360
Speaker 2: and he thought that was fun and put him on

596
00:36:27,400 --> 00:36:30,960
Speaker 2: the bus and you know, but he was never like

597
00:36:31,840 --> 00:36:34,960
Speaker 2: taken in by it. You know, my mom loved it

598
00:36:35,000 --> 00:36:37,719
Speaker 2: for different reasons too, But it was fun. I mean

599
00:36:37,760 --> 00:36:39,520
Speaker 2: I had a good family, you know, I really did.

600
00:36:39,640 --> 00:36:40,840
Speaker 2: You know, it was cool.

601
00:36:41,600 --> 00:36:44,880
Speaker 1: Well, just before we leave the money behind, you know

602
00:36:45,000 --> 00:36:48,120
Speaker 1: a lot of rockers who you're vintage will complain that

603
00:36:48,280 --> 00:36:51,520
Speaker 1: streaming doesn't pay and this and that. How are your

604
00:36:51,600 --> 00:36:54,040
Speaker 1: royalties at this point.

605
00:36:54,239 --> 00:36:59,759
Speaker 2: I I don't know how. That's the sound of me

606
00:36:59,880 --> 00:37:04,560
Speaker 2: not fucking wood. So far, my life has been good.

607
00:37:05,080 --> 00:37:08,440
Speaker 2: I got a full refrigerator, nobody's ever, the lights have

608
00:37:08,520 --> 00:37:13,360
Speaker 2: never gone off, got pretty cars I got. I don't

609
00:37:13,400 --> 00:37:18,160
Speaker 2: want for anything. I'm sated, and uh it's a wonderful

610
00:37:18,239 --> 00:37:21,839
Speaker 2: time right now for me. I mean literally, if I

611
00:37:21,920 --> 00:37:24,520
Speaker 2: want it, I've got it. And if there's something in

612
00:37:24,560 --> 00:37:27,680
Speaker 2: the that I see that I gotta have, I get one.

613
00:37:28,200 --> 00:37:33,640
Speaker 2: And but mostly I can't speak to the actual like

614
00:37:33,760 --> 00:37:36,759
Speaker 2: you asked me, like, you know, spotify royalties in these roles.

615
00:37:36,760 --> 00:37:39,120
Speaker 1: Well, let me let me let me generalize the question. Sure,

616
00:37:39,640 --> 00:37:43,440
Speaker 1: do you have a significant or adequate or some kind

617
00:37:43,480 --> 00:37:47,080
Speaker 1: of income from having been on those Tom Petty records.

618
00:37:47,680 --> 00:37:51,000
Speaker 2: Yes, I've been very fortunate. I was well protected and

619
00:37:51,040 --> 00:37:53,960
Speaker 2: my divorce from the band was well handled by a

620
00:37:54,000 --> 00:37:57,719
Speaker 2: great attorney. And I'm uh, you know, because I was

621
00:37:57,760 --> 00:38:01,600
Speaker 2: ready to just throw anger and add everybody. And he

622
00:38:02,120 --> 00:38:04,239
Speaker 2: I remember, my attorney was so sweet. He goes, let

623
00:38:04,239 --> 00:38:06,960
Speaker 2: me go back and let's make sure we formalize all

624
00:38:06,960 --> 00:38:10,960
Speaker 2: these deals and and he said, Stan, it's not I'm

625
00:38:10,960 --> 00:38:13,319
Speaker 2: going to try to get the QUO quote Jeffrey Light,

626
00:38:13,560 --> 00:38:17,960
Speaker 2: fabulous attorney. He said, it's not how you feel in

627
00:38:18,000 --> 00:38:22,000
Speaker 2: the next seven days, it's how you're going to feel

628
00:38:22,000 --> 00:38:24,759
Speaker 2: in the next seven years. And I couldn't even think

629
00:38:24,800 --> 00:38:28,640
Speaker 2: that far in advance. But he was basically saying, let's

630
00:38:28,920 --> 00:38:33,080
Speaker 2: make sure everything is protected and you don't just go

631
00:38:33,200 --> 00:38:36,480
Speaker 2: running off into the woods screaming fuck you or you know, no,

632
00:38:36,640 --> 00:38:40,520
Speaker 2: let's don't get into that. And he was lovely. And

633
00:38:40,560 --> 00:38:46,000
Speaker 2: I've been very fortunate to have people take care of me.

634
00:38:46,080 --> 00:38:50,840
Speaker 2: I have a great administrator, who handles all my songwriting

635
00:38:50,880 --> 00:38:54,160
Speaker 2: and publishing, guy named Wicks and Wixy Music and Los

636
00:38:54,200 --> 00:38:58,120
Speaker 2: Angeles and these people. Like I said, it takes a

637
00:38:58,200 --> 00:39:06,320
Speaker 2: village to make someone's life work. And uh, I've tried

638
00:39:06,400 --> 00:39:10,440
Speaker 2: to be a decent guy, you know, I've tried to

639
00:39:10,480 --> 00:39:15,239
Speaker 2: be straightforward. And they've been really the people I've been

640
00:39:15,280 --> 00:39:17,279
Speaker 2: with now for man, they've been with these people for

641
00:39:17,360 --> 00:39:20,480
Speaker 2: decades and they're very wonderful and they're straight with me,

642
00:39:20,640 --> 00:39:23,760
Speaker 2: and and uh, but yeah, in an issue of your question,

643
00:39:24,560 --> 00:39:27,320
Speaker 2: I think I'm you know, I got something most guys

644
00:39:27,360 --> 00:39:28,360
Speaker 2: don't have, Bob.

645
00:39:29,520 --> 00:39:31,839
Speaker 1: Okay, just to put a bow on it. At this

646
00:39:31,880 --> 00:39:35,040
Speaker 1: point in time, in terms of royalties, how does it

647
00:39:35,080 --> 00:39:37,920
Speaker 1: break down between the work you did with Tom and

648
00:39:38,080 --> 00:39:40,959
Speaker 1: the work you the songwriting and other work you did

649
00:39:41,239 --> 00:39:45,680
Speaker 1: in terms of percentage half and half, three quarters, one quarter.

650
00:39:46,320 --> 00:39:51,040
Speaker 2: It would very you know, it depends on the what

651
00:39:51,040 --> 00:39:53,239
Speaker 2: what you know when your songs are being used for

652
00:39:53,360 --> 00:39:57,759
Speaker 2: certain things that require certain licensings and then you do

653
00:39:57,880 --> 00:40:04,520
Speaker 2: better there or you do but generally it's a good

654
00:40:05,080 --> 00:40:10,680
Speaker 2: I wouldn't know what the percentage is, but it's probably somewhere,

655
00:40:10,680 --> 00:40:13,960
Speaker 2: like you know, you'd imagine somewhere in the middle it

656
00:40:14,040 --> 00:40:14,759
Speaker 2: works out well.

657
00:40:16,040 --> 00:40:19,600
Speaker 1: Okay, let's go back to you were born in Ohio.

658
00:40:19,960 --> 00:40:22,560
Speaker 1: Did your parents stay together while they were alive?

659
00:40:23,440 --> 00:40:26,040
Speaker 2: No, they split up pretty quick when I was around fifteen.

660
00:40:27,920 --> 00:40:30,160
Speaker 1: What was that like, being fifteen years old and having

661
00:40:30,160 --> 00:40:32,719
Speaker 1: your parents put up freedom?

662
00:40:34,120 --> 00:40:37,799
Speaker 2: It was the smell of freedom. It was. They all

663
00:40:37,880 --> 00:40:42,479
Speaker 2: took off and got their own separate lives. My dad

664
00:40:42,560 --> 00:40:45,359
Speaker 2: had a girlfriend, my mom had a boyfriend, and they

665
00:40:45,400 --> 00:40:49,439
Speaker 2: took off, and I think they kind of forgot where

666
00:40:49,480 --> 00:40:52,080
Speaker 2: I was, which was almost perfect. And I was in

667
00:40:52,120 --> 00:40:54,799
Speaker 2: a band already, and so I just moved in with

668
00:40:54,800 --> 00:40:58,399
Speaker 2: the bass player. So I was feral by the time

669
00:40:58,440 --> 00:41:01,360
Speaker 2: I was sixteen and pretty much living in a band

670
00:41:01,360 --> 00:41:05,520
Speaker 2: house with guys older than me. And it was amazing

671
00:41:05,680 --> 00:41:10,160
Speaker 2: because they were we were beyond broke and having the

672
00:41:10,200 --> 00:41:14,400
Speaker 2: time of our lives, the funniest shit guys. And I'm

673
00:41:14,400 --> 00:41:17,040
Speaker 2: playing in a titty bar, you know, three nights a

674
00:41:17,080 --> 00:41:21,560
Speaker 2: week while I'm still in high school. So my life

675
00:41:21,640 --> 00:41:24,360
Speaker 2: was like a fairy freak brother.

676
00:41:26,239 --> 00:41:29,680
Speaker 1: Okay, how many kids in the family too. I got

677
00:41:29,680 --> 00:41:32,839
Speaker 1: a big sister, And what's she up to? She's cool,

678
00:41:32,880 --> 00:41:35,000
Speaker 1: she's got three kids, she's living down the road from

679
00:41:35,000 --> 00:41:40,600
Speaker 1: me now here. She's a designer, interior designer. And once

680
00:41:40,680 --> 00:41:44,719
Speaker 1: this schism happened, and you win feral. Was she on

681
00:41:44,760 --> 00:41:47,320
Speaker 1: her own path or was she like being your big sister?

682
00:41:47,840 --> 00:41:50,200
Speaker 2: No? She split, she went to she's a little older,

683
00:41:50,239 --> 00:41:53,879
Speaker 2: so she went to college. She left.

684
00:41:54,200 --> 00:41:57,240
Speaker 1: Okay. So you say you spent the first ten years

685
00:41:57,280 --> 00:41:58,480
Speaker 1: of your life in Ohio?

686
00:41:59,200 --> 00:42:00,520
Speaker 2: No? No, first two?

687
00:42:01,080 --> 00:42:05,920
Speaker 1: First two, Okay, And you moved to Florida because.

688
00:42:06,920 --> 00:42:10,360
Speaker 2: I think Dad had a shit winner. He was working

689
00:42:10,360 --> 00:42:14,400
Speaker 2: for UPS, and he woke up one day and just said,

690
00:42:14,719 --> 00:42:18,720
Speaker 2: it's cold. I don't remember this obviously, according to according

691
00:42:18,800 --> 00:42:22,120
Speaker 2: to my mother, he piled us all into a nineteen

692
00:42:22,160 --> 00:42:25,640
Speaker 2: fifty five bell Air convertible and drove until he ran

693
00:42:25,640 --> 00:42:28,000
Speaker 2: out of road. He went to mile marker one basically

694
00:42:28,520 --> 00:42:31,959
Speaker 2: and drove to almost a key west and said we're here.

695
00:42:32,840 --> 00:42:36,160
Speaker 2: And my mom went like, what the shit is happening?

696
00:42:36,200 --> 00:42:38,319
Speaker 2: And Dad's like, I don't know, but I'm You're never

697
00:42:38,360 --> 00:42:40,759
Speaker 2: going to see snow again as long as I fucking live.

698
00:42:41,080 --> 00:42:44,120
Speaker 2: And he dropped anchor I think in like Coral Gables

699
00:42:44,120 --> 00:42:48,040
Speaker 2: in Miami in nineteen fifty nine, and then we lived

700
00:42:48,080 --> 00:42:50,680
Speaker 2: in Miami on and off between Miami and Gainswell, when

701
00:42:51,160 --> 00:42:53,719
Speaker 2: my parents, we would commute to Gainsville, they go one

702
00:42:53,719 --> 00:42:56,719
Speaker 2: would go to college while the other worked. And you know,

703
00:42:56,800 --> 00:42:59,120
Speaker 2: Dad got his PhD. Mom made it to our masters.

704
00:42:59,560 --> 00:43:03,640
Speaker 2: So we were bouncing between Miami and Gainesville, Florida throughout

705
00:43:03,680 --> 00:43:05,480
Speaker 2: the pretty much the sixties.

706
00:43:06,400 --> 00:43:09,239
Speaker 1: Okay, you said your father was a psychologist. What about

707
00:43:09,280 --> 00:43:09,680
Speaker 1: your mother.

708
00:43:10,920 --> 00:43:15,120
Speaker 2: Mom's cool. She was a I think she got her

709
00:43:15,120 --> 00:43:19,440
Speaker 2: master's in art and she was an artiste, and she

710
00:43:19,719 --> 00:43:23,440
Speaker 2: taught and she was like a substitute teacher and my

711
00:43:23,600 --> 00:43:27,759
Speaker 2: librarian in school, and she's very wonderful. Like mom was,

712
00:43:28,160 --> 00:43:31,000
Speaker 2: was super artistic and laughed at everything.

713
00:43:32,320 --> 00:43:35,360
Speaker 1: Okay, people who haven't been there don't know that North

714
00:43:35,400 --> 00:43:37,600
Speaker 1: Florida and South Florida are really pretty different.

715
00:43:38,160 --> 00:43:39,719
Speaker 2: Oh man, it's night and day.

716
00:43:40,320 --> 00:43:43,560
Speaker 1: Okay. North Florida is more like Georgia. But in any event,

717
00:43:45,160 --> 00:43:47,600
Speaker 1: you know, Miami was always a place for people to

718
00:43:47,680 --> 00:43:50,920
Speaker 1: come down and Florida place to come down, but it

719
00:43:51,000 --> 00:43:56,160
Speaker 1: became gargantuan in the eighties with Madonna and the drugs,

720
00:43:56,160 --> 00:43:59,200
Speaker 1: et cetera. What was it like growing up in Florida

721
00:43:59,280 --> 00:44:01,359
Speaker 1: in the fifties and sixties.

722
00:44:01,280 --> 00:44:05,120
Speaker 2: In Miami don't know wherever you were. Oh, Miami was

723
00:44:05,160 --> 00:44:07,800
Speaker 2: a gas We lived in a well. It's one of

724
00:44:07,840 --> 00:44:10,080
Speaker 2: the few places where you can create real estate, like

725
00:44:10,120 --> 00:44:14,160
Speaker 2: you just dredge a canal and then you have an island.

726
00:44:14,560 --> 00:44:16,479
Speaker 2: So they were creating this thing. We lived in North

727
00:44:16,520 --> 00:44:19,839
Speaker 2: Miami in a place called Keystone Island, which I gather

728
00:44:19,960 --> 00:44:22,680
Speaker 2: is pretty tony now, but at the time this was

729
00:44:22,760 --> 00:44:25,400
Speaker 2: just like you, I don't know. Houses were probably twenty

730
00:44:25,480 --> 00:44:27,360
Speaker 2: nine to five, you know, and you had a dock

731
00:44:27,840 --> 00:44:32,560
Speaker 2: and you lived on a canal. So it was fantastic. Man,

732
00:44:32,760 --> 00:44:35,800
Speaker 2: I wanted a boat before I could, you know, I

733
00:44:35,800 --> 00:44:37,520
Speaker 2: didn't give a shit about a car, you know, I

734
00:44:37,560 --> 00:44:40,440
Speaker 2: just wanted So my sister and I we had an

735
00:44:40,440 --> 00:44:43,160
Speaker 2: eight foot boat with a three horse and we could

736
00:44:43,200 --> 00:44:45,680
Speaker 2: just put in the canals. It was like Huck Finn.

737
00:44:46,200 --> 00:44:49,839
Speaker 2: It was unbelievable. Miami was great. My grandparents would come

738
00:44:49,880 --> 00:44:52,920
Speaker 2: down from Ohio, of course, like a pilgrimage to Miami

739
00:44:52,960 --> 00:44:55,279
Speaker 2: and stay at the Fountain Blue and it was all.

740
00:44:55,320 --> 00:44:58,200
Speaker 2: It was great, you know, like the Beatles were playing

741
00:44:59,040 --> 00:45:01,360
Speaker 2: in Miami, you know, we went to the Jackie Gleason

742
00:45:01,440 --> 00:45:05,520
Speaker 2: Show was being taped in Miami. It was it was.

743
00:45:06,000 --> 00:45:09,879
Speaker 2: It was racy and kind of sexy and and uh

744
00:45:10,480 --> 00:45:14,040
Speaker 2: and a little forbidden me. It was. It was wonderful.

745
00:45:14,080 --> 00:45:15,920
Speaker 2: You know. I took drum lessons in Miami when I

746
00:45:15,920 --> 00:45:18,920
Speaker 2: was a little kid, and Gainesville was a more of

747
00:45:18,960 --> 00:45:26,000
Speaker 2: a a bicycle hippie liberal bastion in the middle of Florida.

748
00:45:26,480 --> 00:45:29,319
Speaker 2: You know, when you got to into Gainesville, it was uh,

749
00:45:29,920 --> 00:45:32,160
Speaker 2: I mean, hell, the town games was probably fifty five

750
00:45:32,200 --> 00:45:36,160
Speaker 2: thousand people when we moved there. And and it was

751
00:45:36,160 --> 00:45:39,799
Speaker 2: a college, you know, and they had a football team,

752
00:45:39,840 --> 00:45:42,760
Speaker 2: and you could sell Coca Colas, and I could park cars,

753
00:45:42,800 --> 00:45:45,440
Speaker 2: and I had a rock band, and you know, it

754
00:45:45,480 --> 00:45:51,000
Speaker 2: was it was unbelievable. The simplicity of it all was,

755
00:45:51,080 --> 00:45:55,840
Speaker 2: and the kindness. You know, occasionally you'd meet a real douchebag,

756
00:45:55,920 --> 00:45:58,080
Speaker 2: or you'd beat somebody was a schmuck, or you get

757
00:45:58,160 --> 00:46:00,440
Speaker 2: beat up, but by and large, every but he was.

758
00:46:01,360 --> 00:46:06,799
Speaker 1: It's pretty cool, Okay. Was there any thought that you

759
00:46:06,840 --> 00:46:09,240
Speaker 1: were off the beaten track? No one's off the beaten

760
00:46:09,280 --> 00:46:12,640
Speaker 1: track today with cable and streaming TV and the Internet.

761
00:46:13,000 --> 00:46:15,560
Speaker 1: But did you ever think, well, it's really happening in

762
00:46:15,600 --> 00:46:18,160
Speaker 1: New York, in la or London, and I really got

763
00:46:18,160 --> 00:46:20,360
Speaker 1: to go there, I feel out of the loop or

764
00:46:20,400 --> 00:46:21,560
Speaker 1: that didn't even occur to you.

765
00:46:22,360 --> 00:46:25,719
Speaker 2: You mean back then? Yeah, oh yeah, we knew. We

766
00:46:25,840 --> 00:46:27,840
Speaker 2: knew that as soon as because you max out in

767
00:46:27,880 --> 00:46:31,120
Speaker 2: Gainesville by the time. And I'm fortunately being a little

768
00:46:31,160 --> 00:46:33,759
Speaker 2: younger than the guys, like they were probably in their

769
00:46:33,840 --> 00:46:37,320
Speaker 2: twenties when they went to California, the guys in mud

770
00:46:37,360 --> 00:46:40,200
Speaker 2: Crutch and there was a band called RGF that Ron

771
00:46:40,239 --> 00:46:45,120
Speaker 2: Blair was in, and they had maxed out by the

772
00:46:45,120 --> 00:46:47,080
Speaker 2: time they were twenties, and they were already you could

773
00:46:47,080 --> 00:46:48,880
Speaker 2: see it. They were like, we got to get the

774
00:46:48,880 --> 00:46:51,440
Speaker 2: hell out of here. I'm still in junior high school,

775
00:46:51,480 --> 00:46:54,200
Speaker 2: but I'm already maxing out. And you knew it. You

776
00:46:54,280 --> 00:46:58,120
Speaker 2: knew you had to go measure your dick against a bigger,

777
00:47:00,040 --> 00:47:03,040
Speaker 2: bigger pond than you were in. Like and I remember

778
00:47:03,719 --> 00:47:05,879
Speaker 2: literally my mom going, well, honey, don't go to New York.

779
00:47:05,880 --> 00:47:10,200
Speaker 2: The weather's terrible, because she'd lived in New York as

780
00:47:10,239 --> 00:47:12,319
Speaker 2: a kid, and she was like, no, you don't want

781
00:47:12,320 --> 00:47:14,920
Speaker 2: to go there, no, honey. And I'm like going, like

782
00:47:16,320 --> 00:47:17,839
Speaker 2: I said, because I'm thinking of going to LA and

783
00:47:17,880 --> 00:47:19,080
Speaker 2: you know, as soon as I can get you know,

784
00:47:19,239 --> 00:47:21,400
Speaker 2: I want to drop out of school and go And

785
00:47:21,440 --> 00:47:23,200
Speaker 2: she was like, oh, well la is at least it's

786
00:47:23,320 --> 00:47:26,960
Speaker 2: you know, your great weather, you know. So that was it.

787
00:47:27,000 --> 00:47:29,200
Speaker 2: I mean, it was either going to be New York

788
00:47:29,280 --> 00:47:31,279
Speaker 2: or la for me. You know, I knew you knew

789
00:47:31,280 --> 00:47:32,799
Speaker 2: you were going somewhere, you know.

790
00:47:40,400 --> 00:47:44,080
Speaker 1: Okay, going back a little younger, What kind of kid

791
00:47:44,120 --> 00:47:47,279
Speaker 1: were you growing up? Were you they could tell you

792
00:47:47,320 --> 00:47:51,040
Speaker 1: were never isolated? You have a lot of personality. Were

793
00:47:51,080 --> 00:47:53,360
Speaker 1: you the straw that stirs the drink like you know

794
00:47:53,719 --> 00:47:56,120
Speaker 1: Reggie Jackson in New York? Were you the leader who

795
00:47:56,239 --> 00:47:58,480
Speaker 1: have a lot of friends, you play sports, You're the

796
00:47:58,480 --> 00:48:01,080
Speaker 1: class clown? Were you good in school? What were you like?

797
00:48:01,680 --> 00:48:04,040
Speaker 2: I was terrible in school, I kind of was. I

798
00:48:04,120 --> 00:48:07,799
Speaker 2: was borderline dyslexic for the longest time, never read a

799
00:48:07,800 --> 00:48:11,120
Speaker 2: book until I even really went to California when I

800
00:48:11,160 --> 00:48:15,239
Speaker 2: finally read Jaws and the Family, you know, I mean,

801
00:48:15,280 --> 00:48:17,080
Speaker 2: I finally sat down and decided I got to read

802
00:48:17,120 --> 00:48:23,600
Speaker 2: a fucking book. And I was probably the class clown.

803
00:48:25,400 --> 00:48:29,040
Speaker 2: I got beat up a couple of times. I wasn't

804
00:48:29,040 --> 00:48:31,279
Speaker 2: a jock. So you were either, you know, you were

805
00:48:31,280 --> 00:48:33,440
Speaker 2: either a long hair or you were a jock. When

806
00:48:33,480 --> 00:48:37,280
Speaker 2: I was a kid, and the jocks did not dig

807
00:48:37,560 --> 00:48:41,799
Speaker 2: the long hairs. You know, we were pussies. So you know,

808
00:48:42,080 --> 00:48:45,000
Speaker 2: I mean I got revenge when people realized I was

809
00:48:45,000 --> 00:48:48,640
Speaker 2: in the band that was playing the dance tonight. You know,

810
00:48:48,719 --> 00:48:51,239
Speaker 2: that was like, that was how I got back, like,

811
00:48:51,320 --> 00:48:54,080
Speaker 2: you know, oh shit, we beat up Lynch. Oh shits,

812
00:48:54,440 --> 00:48:56,920
Speaker 2: he's in the band tonight. Probably don't want to beat

813
00:48:56,960 --> 00:48:58,960
Speaker 2: him up anymore. Oh yeah, he's cool like you know,

814
00:48:59,600 --> 00:49:03,400
Speaker 2: and I'm you know, and it was all about getting

815
00:49:03,400 --> 00:49:05,759
Speaker 2: the girls attention. When we were kids. That was the

816
00:49:05,800 --> 00:49:08,400
Speaker 2: only thing you wanted to do, you know, like I

817
00:49:08,480 --> 00:49:12,319
Speaker 2: want I want to be noticed. And uh but yeah,

818
00:49:12,320 --> 00:49:15,680
Speaker 2: I don't think I was particularly a bad kid. I

819
00:49:15,719 --> 00:49:17,879
Speaker 2: mean I ran a foul of the law a couple

820
00:49:17,920 --> 00:49:20,400
Speaker 2: of times, but not you know, nothing too serious. But

821
00:49:20,480 --> 00:49:23,680
Speaker 2: it was it was cool. I had a good life. Man.

822
00:49:23,880 --> 00:49:26,200
Speaker 1: Still, do did you finish high school?

823
00:49:27,280 --> 00:49:31,120
Speaker 2: Kind of there was I went to every high school

824
00:49:31,160 --> 00:49:33,760
Speaker 2: in Alachua County, you know, because I was living alone.

825
00:49:33,760 --> 00:49:36,040
Speaker 2: I was living with a band, so I could change

826
00:49:36,120 --> 00:49:38,919
Speaker 2: high schools at will, Like I could just walk into

827
00:49:38,920 --> 00:49:41,840
Speaker 2: the next high school after four months and go we

828
00:49:41,960 --> 00:49:45,240
Speaker 2: moved and make up a new address and they'd go okay.

829
00:49:45,920 --> 00:49:50,040
Speaker 2: So my theory was if I was always the new student,

830
00:49:50,480 --> 00:49:53,200
Speaker 2: I couldn't say well, I just didn't know, and so

831
00:49:53,239 --> 00:49:56,799
Speaker 2: I'd get d's and c's and that was fine, you know,

832
00:49:56,880 --> 00:49:59,400
Speaker 2: as long as I passed is all. I cared. And

833
00:50:00,040 --> 00:50:02,560
Speaker 2: I bullshitted my way through school. And then at the

834
00:50:02,640 --> 00:50:04,960
Speaker 2: last minute I was going to drop out, and I

835
00:50:05,000 --> 00:50:09,200
Speaker 2: got accepted to this laboratory school in Gainesville at the

836
00:50:09,280 --> 00:50:11,959
Speaker 2: last second, and I went there, and thank God for them,

837
00:50:12,360 --> 00:50:15,120
Speaker 2: they would give me credit for going to California. Literally,

838
00:50:15,480 --> 00:50:18,040
Speaker 2: I went to LA and as long as I came

839
00:50:18,080 --> 00:50:22,640
Speaker 2: back and told the story, they'd go great. You know, So,

840
00:50:24,760 --> 00:50:29,319
Speaker 2: yes I did. I graduated, but under odd conditions.

841
00:50:29,520 --> 00:50:33,319
Speaker 1: Okay, it was the sixties and early seventies. Other than

842
00:50:33,360 --> 00:50:37,560
Speaker 1: beating the system, was there anything positive about going to

843
00:50:37,560 --> 00:50:38,840
Speaker 1: the laboratory school?

844
00:50:39,239 --> 00:50:44,319
Speaker 2: Oh yeah. They were creative as hell. They would kind

845
00:50:44,320 --> 00:50:46,880
Speaker 2: of let you do your thing, you know, like if

846
00:50:46,880 --> 00:50:52,520
Speaker 2: whatever your thing was, like I claimed I was a musician, Great,

847
00:50:52,760 --> 00:50:56,120
Speaker 2: you're a musician, do your thing, let's see it, you know.

848
00:50:56,239 --> 00:50:59,400
Speaker 2: And and you know, I'm going to be in pottery.

849
00:50:59,440 --> 00:51:02,520
Speaker 2: I'm going to make pottery. It's like, yeah, the great

850
00:51:02,560 --> 00:51:06,040
Speaker 2: thing about it was then. The people there were progressive,

851
00:51:06,120 --> 00:51:10,160
Speaker 2: they were forward leaning. They were you know, because this

852
00:51:10,239 --> 00:51:14,640
Speaker 2: is a time too during integration and segregation. Segregated South

853
00:51:14,800 --> 00:51:19,359
Speaker 2: was you know, melding and not very well. You know.

854
00:51:19,920 --> 00:51:24,520
Speaker 2: So this school was mostly it was all actually uh,

855
00:51:25,640 --> 00:51:30,120
Speaker 2: faculty members from the University of Florida's children, So they

856
00:51:30,120 --> 00:51:33,200
Speaker 2: were I felt that they had a little more of

857
00:51:33,239 --> 00:51:37,839
Speaker 2: a liberal leaning and a little more open mindedness as

858
00:51:37,880 --> 00:51:41,040
Speaker 2: a result of that, maybe that family background that was

859
00:51:41,120 --> 00:51:46,360
Speaker 2: my after being in all the public schools. These people,

860
00:51:46,520 --> 00:51:50,759
Speaker 2: these kids were they were more open minded, you know,

861
00:51:50,800 --> 00:51:54,319
Speaker 2: they were just kind of like, I don't know, so

862
00:51:54,400 --> 00:51:54,960
Speaker 2: that helped.

863
00:51:56,280 --> 00:52:00,440
Speaker 1: Okay, you've lived in Florida much of your life, certainly

864
00:52:00,440 --> 00:52:02,680
Speaker 1: been to Florida a number of times, never lived there.

865
00:52:03,719 --> 00:52:08,680
Speaker 1: We hear about this incredible right wing turn as someone

866
00:52:08,680 --> 00:52:12,200
Speaker 1: who's lived in Florida, is it different? What's different about

867
00:52:12,239 --> 00:52:13,960
Speaker 1: Florida today from when you were growing up?

868
00:52:16,600 --> 00:52:20,040
Speaker 2: Honestly, maybe it's just me and maybe that I do

869
00:52:20,120 --> 00:52:24,000
Speaker 2: live a little bit obviously isolated life. It's no different.

870
00:52:24,840 --> 00:52:32,320
Speaker 2: And stupidity knows no geographical location. Uh, simple mindedness knows

871
00:52:32,360 --> 00:52:40,160
Speaker 2: no geographical spot. You know, Racism knows no place. You

872
00:52:40,200 --> 00:52:43,960
Speaker 2: know what I mean, it's it's everywhere man, And so

873
00:52:44,160 --> 00:52:48,680
Speaker 2: I find life is kind of a mirror like if

874
00:52:48,719 --> 00:52:53,600
Speaker 2: I if I, if I show a cool face that's

875
00:52:53,640 --> 00:52:59,440
Speaker 2: accepting and caring and uh, you know, and curious, that's

876
00:52:59,760 --> 00:53:03,479
Speaker 2: that tracks that crowd of people. Now, if I want

877
00:53:03,480 --> 00:53:06,400
Speaker 2: to go and wear a maga hat and be a

878
00:53:06,440 --> 00:53:08,840
Speaker 2: dick or whatever, I you know, whatever, whatever flag I

879
00:53:08,880 --> 00:53:11,439
Speaker 2: want to fly, I'm going to find that. I'm gonna

880
00:53:11,440 --> 00:53:14,239
Speaker 2: find my people. And you could do that in La

881
00:53:15,200 --> 00:53:17,440
Speaker 2: You could do that in the most quote liberal living

882
00:53:17,600 --> 00:53:23,960
Speaker 2: leaning places in the world. That's my impression. My Florida

883
00:53:24,920 --> 00:53:30,000
Speaker 2: is really loving and kind and honest. The people I

884
00:53:30,080 --> 00:53:33,799
Speaker 2: work with and meet and that I've surrounded myself with,

885
00:53:34,760 --> 00:53:38,480
Speaker 2: I would trust them literally with my life. I'd give

886
00:53:38,520 --> 00:53:41,320
Speaker 2: them my car keys. Everything comes back to the tanks

887
00:53:41,320 --> 00:53:43,400
Speaker 2: always full.

888
00:53:43,600 --> 00:53:46,960
Speaker 1: Okay, going back to music. You're growing up. Was there

889
00:53:47,080 --> 00:53:49,200
Speaker 1: music in the house or was it a matter of

890
00:53:49,239 --> 00:53:52,440
Speaker 1: the transistor or seeing the beatles on Ed Sullivan? What

891
00:53:52,560 --> 00:53:53,480
Speaker 1: got you into music?

892
00:53:54,400 --> 00:53:56,600
Speaker 2: There's a little music in the house. Dad could play

893
00:53:57,040 --> 00:54:02,439
Speaker 2: trumpet kinda and my mom could play piano kainda and

894
00:54:02,560 --> 00:54:06,560
Speaker 2: my grandmother on my mother's side was a pianist, and

895
00:54:06,640 --> 00:54:09,279
Speaker 2: she was very big in the symphony in Cincinnati. And

896
00:54:09,680 --> 00:54:12,800
Speaker 2: so I had some music in the background.

897
00:54:13,280 --> 00:54:16,319
Speaker 1: But were they playing records in the house. How did

898
00:54:16,360 --> 00:54:20,000
Speaker 1: you get involved in popular slash rock music?

899
00:54:20,440 --> 00:54:23,480
Speaker 2: Oh? Man, the radio, I remember it. I had a

900
00:54:23,560 --> 00:54:26,800
Speaker 2: bake light radio in Miami and there was a big,

901
00:54:27,000 --> 00:54:31,080
Speaker 2: you know, fifty thousand watch station in Miami. And man,

902
00:54:31,160 --> 00:54:34,560
Speaker 2: I would go to sleep with that thing glued to

903
00:54:34,640 --> 00:54:39,080
Speaker 2: my ear. And you know, sitting the dock of the bay,

904
00:54:39,080 --> 00:54:42,440
Speaker 2: Wilson Piccott wass be playing Pretty Woman, will be playing

905
00:54:43,800 --> 00:54:46,600
Speaker 2: you know I walked the line would be playing. These

906
00:54:46,600 --> 00:54:49,400
Speaker 2: were stations that played everything. You know. It wasn't It

907
00:54:49,520 --> 00:54:55,239
Speaker 2: was just you know, sixteen Tons was playing Love and

908
00:54:55,320 --> 00:54:58,680
Speaker 2: Spoonful would be playing occasionally catch a Beatles and Dave

909
00:54:58,719 --> 00:55:01,520
Speaker 2: Park five and and I would listen to literally it

910
00:55:01,520 --> 00:55:05,000
Speaker 2: would be like in a lightning storm. I would have

911
00:55:05,080 --> 00:55:07,840
Speaker 2: that radio on and you'd hear it crackle and it

912
00:55:07,840 --> 00:55:11,080
Speaker 2: would just come to me like magic. It was just

913
00:55:12,080 --> 00:55:16,600
Speaker 2: the music came. It just sent me away to this

914
00:55:16,880 --> 00:55:20,040
Speaker 2: special place where I don't even know how to describe

915
00:55:20,080 --> 00:55:22,040
Speaker 2: it. It was like a drug when you're a little boy.

916
00:55:22,480 --> 00:55:25,879
Speaker 2: For me, it was I just couldn't wait to get

917
00:55:25,920 --> 00:55:26,960
Speaker 2: home and turn on the radio.

918
00:55:28,239 --> 00:55:30,160
Speaker 1: I know what you're talking about. So when did you

919
00:55:30,200 --> 00:55:31,480
Speaker 1: start playing an instrument?

920
00:55:32,719 --> 00:55:36,840
Speaker 2: I started playing violin in the first grade. Tanked, I

921
00:55:36,880 --> 00:55:41,600
Speaker 2: was terrible. I tried to play trumpet probably in the

922
00:55:43,120 --> 00:55:46,960
Speaker 2: later maybe a couple of years later, tanked terrible. And

923
00:55:47,360 --> 00:55:49,520
Speaker 2: although I did play bugle in the cub Scouts, so

924
00:55:49,560 --> 00:55:53,240
Speaker 2: I could play all the bugle calls. And I started

925
00:55:53,239 --> 00:55:56,560
Speaker 2: playing drums. I think I was about eight or nine.

926
00:55:56,600 --> 00:55:59,719
Speaker 2: I took my first drum lesson in Miami and just

927
00:55:59,760 --> 00:56:01,960
Speaker 2: fell in love with it. The guy there who was

928
00:56:02,200 --> 00:56:04,759
Speaker 2: teaching me was a bebop guy and he had a

929
00:56:04,840 --> 00:56:09,240
Speaker 2: drum kit, so that was magic, you know. And because

930
00:56:09,360 --> 00:56:12,160
Speaker 2: and I'd already seen the Beatles obviously on TV. I

931
00:56:12,200 --> 00:56:16,560
Speaker 2: was about eight when that came out, I think, and

932
00:56:16,600 --> 00:56:19,600
Speaker 2: that just sent me. And then seeing Charlie Watts and

933
00:56:19,640 --> 00:56:22,560
Speaker 2: seeing Mick Avery's from the Kinks, and you know, it

934
00:56:22,800 --> 00:56:26,000
Speaker 2: just I just couldn't believe what I was seeing. You know,

935
00:56:26,320 --> 00:56:29,319
Speaker 2: my sister screaming because Paul McCarty's so cute, and I'm

936
00:56:29,320 --> 00:56:32,799
Speaker 2: watching Ringo like there's nobody else on that stage. And

937
00:56:32,840 --> 00:56:36,520
Speaker 2: the same with mc Jaggery's amazing. I'm like Charlie Watts,

938
00:56:36,560 --> 00:56:39,120
Speaker 2: holy shit, you know. And they both had those small

939
00:56:39,160 --> 00:56:42,320
Speaker 2: four piece kits. And when I went and took my

940
00:56:42,400 --> 00:56:45,080
Speaker 2: drum lesson, he had the same kit, you know, and

941
00:56:45,120 --> 00:56:47,920
Speaker 2: it was like, I need to know how to do that.

942
00:56:48,120 --> 00:56:51,520
Speaker 2: And then I just took lessons all the time. I

943
00:56:51,560 --> 00:56:55,200
Speaker 2: took drum lessons in Gainesville for another few more years,

944
00:56:55,239 --> 00:56:58,400
Speaker 2: and I was just bit bit up with it.

945
00:57:00,960 --> 00:57:05,480
Speaker 1: You know, people played full guitars and eyelin string guitars.

946
00:57:06,080 --> 00:57:10,120
Speaker 1: Then the Beatles hit, a lot of people picked up guitars.

947
00:57:10,200 --> 00:57:12,440
Speaker 1: Why did you pick up the drums as opposed to

948
00:57:12,480 --> 00:57:13,400
Speaker 1: any other instrument?

949
00:57:14,200 --> 00:57:20,160
Speaker 2: I don't know, man, that's just like, uh, what's your

950
00:57:20,200 --> 00:57:25,120
Speaker 2: favorite color? You know, like most guys pick blue, some

951
00:57:25,160 --> 00:57:29,840
Speaker 2: guys picked green. And to me, the guitar it just

952
00:57:29,880 --> 00:57:32,640
Speaker 2: didn't look as fun. It looked more I think the

953
00:57:32,720 --> 00:57:36,840
Speaker 2: drums looked more physical, and they looked exciting, and it

954
00:57:36,880 --> 00:57:41,480
Speaker 2: looked probably looked I mean, how puile is this? I

955
00:57:41,520 --> 00:57:44,080
Speaker 2: got to smash shit? You know, like it looked like

956
00:57:44,200 --> 00:57:48,560
Speaker 2: something like yeah, like I'm gonna bang on stuff, and

957
00:57:49,280 --> 00:57:51,320
Speaker 2: it looked like you were getting to me. It seemed

958
00:57:51,360 --> 00:57:53,520
Speaker 2: like you were the center of attention, which was probably

959
00:57:53,600 --> 00:57:54,400
Speaker 2: what I wanted to be.

960
00:57:55,640 --> 00:57:59,959
Speaker 1: Okay, you know, back in those days, they would start

961
00:58:00,080 --> 00:58:04,440
Speaker 1: you with a drum pad. Yes, so at what point

962
00:58:04,600 --> 00:58:06,800
Speaker 1: did you get a drum kit? And we're the kind

963
00:58:06,800 --> 00:58:08,080
Speaker 1: of kid who practiced or not.

964
00:58:09,720 --> 00:58:13,440
Speaker 2: Well. The Jean Bardow, who was my drum teacher in Gainesville,

965
00:58:13,600 --> 00:58:15,600
Speaker 2: he was that guy. He had a beautiful drum kid

966
00:58:15,640 --> 00:58:18,400
Speaker 2: in the corner and I wasn't allowed to sit behind

967
00:58:18,440 --> 00:58:20,920
Speaker 2: it or even touch it. And for literally a year

968
00:58:20,920 --> 00:58:23,360
Speaker 2: and a half I played on a practice pad with

969
00:58:23,400 --> 00:58:27,080
Speaker 2: a metronome, and he taught me all my twenty six rudiments.

970
00:58:27,120 --> 00:58:29,320
Speaker 2: You know, there's thirteen essential and there were twenty six,

971
00:58:29,880 --> 00:58:33,240
Speaker 2: and there was a diploma you got called National Association

972
00:58:33,320 --> 00:58:38,400
Speaker 2: of Rudimental Drummers or NARD. And I won in my

973
00:58:38,520 --> 00:58:43,880
Speaker 2: NARD card. And so I practiced. I'd go once a

974
00:58:43,880 --> 00:58:47,800
Speaker 2: week and I only didn't practice once. And I came

975
00:58:48,200 --> 00:58:50,600
Speaker 2: back and he said, you didn't practice, And he said,

976
00:58:50,640 --> 00:58:51,920
Speaker 2: if you're not going to practice, I don't want to

977
00:58:51,920 --> 00:58:55,640
Speaker 2: teach you. And I was so heartbroken that he busted me.

978
00:58:56,000 --> 00:58:58,920
Speaker 2: That I always practiced whatever he taught me, and I

979
00:58:59,000 --> 00:59:01,720
Speaker 2: learned all my rudiments and then at the end of that,

980
00:59:02,040 --> 00:59:04,240
Speaker 2: I passed, I got my nard, I got my diploma.

981
00:59:04,560 --> 00:59:07,960
Speaker 2: I still have it up. And I said, now can

982
00:59:08,000 --> 00:59:09,800
Speaker 2: I play drums? I want to play the drum kit

983
00:59:10,360 --> 00:59:13,680
Speaker 2: and I'll never forget it. He said, you know, I

984
00:59:13,760 --> 00:59:16,160
Speaker 2: thought better of you, He said, I thought you were

985
00:59:16,200 --> 00:59:19,560
Speaker 2: going to really be a percussionist. I taught you to

986
00:59:19,640 --> 00:59:24,760
Speaker 2: be a percussionist. I wanted you to be a symphony player. Essentially.

987
00:59:24,920 --> 00:59:28,240
Speaker 2: He wanted me to be a real musician. And he said,

988
00:59:28,280 --> 00:59:31,360
Speaker 2: if all you want to do is play the drums,

989
00:59:31,800 --> 00:59:34,200
Speaker 2: he goes, I don't want to teach I don't I

990
00:59:34,240 --> 00:59:36,680
Speaker 2: don't have anything to teach you. And he was and

991
00:59:36,720 --> 00:59:41,880
Speaker 2: he basically dismissed me, and it was kind of like, okay,

992
00:59:42,280 --> 00:59:45,560
Speaker 2: But at that moment it was already like I think

993
00:59:45,600 --> 00:59:48,720
Speaker 2: I was already ready. I was ready to be in

994
00:59:48,720 --> 00:59:50,680
Speaker 2: a band, you know, I wanted. So I had a

995
00:59:50,760 --> 00:59:52,720
Speaker 2: Mutt you know, I got Mut drum kits, like you know,

996
00:59:52,760 --> 00:59:55,920
Speaker 2: you'd buy a crummy bass drum from a pawn shop

997
00:59:56,000 --> 00:59:59,640
Speaker 2: and a you know, you'd steal a snare drum from school,

998
00:59:59,760 --> 01:00:02,480
Speaker 2: or you know, you'd so I had these Mutt kits

999
01:00:02,520 --> 01:00:05,720
Speaker 2: that never made any sense until Finally I was making

1000
01:00:05,800 --> 01:00:08,760
Speaker 2: enough money because my parents weren't gonna buy me drums.

1001
01:00:08,760 --> 01:00:11,560
Speaker 2: They weren't those kind of they weren't that kind of family.

1002
01:00:11,960 --> 01:00:15,360
Speaker 2: They were like, we might do matching funds, you know,

1003
01:00:15,440 --> 01:00:17,520
Speaker 2: like if you have thirty dollars, we'll do thirty or

1004
01:00:17,960 --> 01:00:20,480
Speaker 2: But mostly I got a job. I was playing, and

1005
01:00:20,520 --> 01:00:24,280
Speaker 2: I was playing in a band that was a kind

1006
01:00:24,320 --> 01:00:26,760
Speaker 2: of a corporate band, and you had to wear Dickey's and.

1007
01:00:26,800 --> 01:00:29,440
Speaker 1: Wait, wait, wait, wait wait before you get there. Did

1008
01:00:29,480 --> 01:00:32,080
Speaker 1: you ever play in the drum corps at school?

1009
01:00:32,640 --> 01:00:34,760
Speaker 2: Oh? Yeah, I sucked at all that. I got washed

1010
01:00:34,760 --> 01:00:37,520
Speaker 2: out of that pretty quick too. I got washed out

1011
01:00:37,560 --> 01:00:37,800
Speaker 2: all that.

1012
01:00:38,680 --> 01:00:42,040
Speaker 1: Okay, you say you took lessons from years, so you

1013
01:00:42,120 --> 01:00:44,240
Speaker 1: must have taken lessons from other teachers.

1014
01:00:45,400 --> 01:00:46,440
Speaker 2: Really just two guys.

1015
01:00:47,480 --> 01:00:49,000
Speaker 1: Who's the other guy?

1016
01:00:49,280 --> 01:00:51,960
Speaker 2: His name was Sonny and I don't remember his last

1017
01:00:52,080 --> 01:00:56,480
Speaker 2: name in Miami and uh, and then Jean was the

1018
01:00:56,560 --> 01:00:59,720
Speaker 2: guy in Gainesville. And then you learn from other drummers.

1019
01:01:00,280 --> 01:01:03,080
Speaker 2: Go over to another guy's house and he'd go, have

1020
01:01:03,120 --> 01:01:05,320
Speaker 2: you heard the drum solo from Toad? Or do you

1021
01:01:05,360 --> 01:01:07,040
Speaker 2: know how to play the lick? The opening lick for

1022
01:01:07,240 --> 01:01:10,720
Speaker 2: love is a beautiful thing by you know the Rascals

1023
01:01:10,800 --> 01:01:13,160
Speaker 2: or do you know how to play? In my life

1024
01:01:13,200 --> 01:01:16,360
Speaker 2: by the Beatles and other drummers would learn the parts

1025
01:01:16,360 --> 01:01:20,360
Speaker 2: that they teach them to you. So I was pretty

1026
01:01:20,400 --> 01:01:23,360
Speaker 2: self taught as a drummer, like from the drum kit.

1027
01:01:25,280 --> 01:01:27,920
Speaker 1: But a lot of people who play the drums have

1028
01:01:28,080 --> 01:01:32,520
Speaker 1: no education, no classes at all. But if having classes

1029
01:01:32,560 --> 01:01:34,360
Speaker 1: did that give you a little bit of a leg up?

1030
01:01:35,160 --> 01:01:38,920
Speaker 2: Maybe, I mean maybe maybe. I know I played weird.

1031
01:01:39,000 --> 01:01:43,120
Speaker 2: My hand position was traditional, Like there's a thing it's

1032
01:01:43,120 --> 01:01:48,040
Speaker 2: called traditional drumming, and then there's match grip. Charlie Watts's

1033
01:01:48,040 --> 01:01:54,680
Speaker 2: traditional ringoes matched and I played traditional, which I think

1034
01:01:54,800 --> 01:01:57,200
Speaker 2: was kind of weird in rock, like I mean the

1035
01:01:57,280 --> 01:01:59,320
Speaker 2: cats that I grew up listening, you know, Mitch Mitchell

1036
01:02:00,000 --> 01:02:03,040
Speaker 2: and the Henrick's Experience played traditional, and McK avery's from

1037
01:02:03,040 --> 01:02:06,360
Speaker 2: the Kinks played traditional. A lot of cats from the

1038
01:02:06,400 --> 01:02:10,880
Speaker 2: British era, they were jazzer's I think they were. They

1039
01:02:10,920 --> 01:02:13,000
Speaker 2: were inventing rock and roll, those guys, you know what

1040
01:02:13,040 --> 01:02:15,800
Speaker 2: I mean, Like Charlie Watts kind of invented it, you know,

1041
01:02:15,920 --> 01:02:19,720
Speaker 2: like he was a swing he swung so hard, and

1042
01:02:19,920 --> 01:02:22,720
Speaker 2: those cats like Ringo and all those guys were they

1043
01:02:22,840 --> 01:02:26,720
Speaker 2: swung when they played. It was it wasn't just it

1044
01:02:26,760 --> 01:02:29,760
Speaker 2: wasn't stiff, It wasn't you know, meat and potatoes. It

1045
01:02:29,840 --> 01:02:33,880
Speaker 2: was all the subdivision and the goo and the and

1046
01:02:33,920 --> 01:02:36,520
Speaker 2: it was like listening to the you know, the great

1047
01:02:36,600 --> 01:02:39,360
Speaker 2: drummers like Al Jackson Junior from Booker T and the

1048
01:02:39,440 --> 01:02:43,560
Speaker 2: MG's and they all played traditional and cool, and that

1049
01:02:43,760 --> 01:02:45,040
Speaker 2: was where I was coming from.

1050
01:02:45,200 --> 01:02:50,600
Speaker 1: You know, it's a practical matter. If you were a

1051
01:02:50,720 --> 01:02:55,360
Speaker 1: traditional or you know, you're holding both sticks the same way,

1052
01:02:56,360 --> 01:02:59,800
Speaker 1: how does that affect your ultimate playing and ultimate sound?

1053
01:03:02,040 --> 01:03:05,440
Speaker 2: Well, I can only say what it does for me.

1054
01:03:06,440 --> 01:03:10,280
Speaker 2: Playing traditional allows me to do. Okay, drums are math.

1055
01:03:10,600 --> 01:03:13,000
Speaker 2: You know you've heard the you know one, two, three, four,

1056
01:03:13,120 --> 01:03:16,920
Speaker 2: we've all heard drummers count off. Well, traditionally that's a

1057
01:03:17,000 --> 01:03:20,200
Speaker 2: quarter note, there's four to a bar. That's math. But

1058
01:03:20,240 --> 01:03:21,919
Speaker 2: if you go one and a two and a three

1059
01:03:22,000 --> 01:03:25,960
Speaker 2: and a fouriena, that's different math. And those are the

1060
01:03:26,000 --> 01:03:32,160
Speaker 2: subdivisions that create the goo and the the grit in

1061
01:03:32,280 --> 01:03:35,960
Speaker 2: rock and roll is how you subdivide. And that's what

1062
01:03:36,000 --> 01:03:40,160
Speaker 2: I think is missing when the drum machine entered. You know,

1063
01:03:40,360 --> 01:03:43,400
Speaker 2: when Roger Lynn invented the drum machine, and became the

1064
01:03:43,440 --> 01:03:46,560
Speaker 2: most influential drummer of the eighties. It's like it didn't

1065
01:03:46,640 --> 01:03:53,280
Speaker 2: subdivide as. It was very staccato, like boom bap boom bap,

1066
01:03:53,680 --> 01:03:57,600
Speaker 2: and playing traditionally it allows you to drag and rush.

1067
01:03:59,240 --> 01:04:02,440
Speaker 2: You can articulate all these cool little things with your

1068
01:04:02,520 --> 01:04:05,800
Speaker 2: left hand. That's what I think it allowed me to do.

1069
01:04:06,200 --> 01:04:09,120
Speaker 2: And it was very frustrating for certain producers. You know,

1070
01:04:09,240 --> 01:04:11,880
Speaker 2: I know a couple of them just hated it. They

1071
01:04:11,920 --> 01:04:14,520
Speaker 2: hated that I played like that. They made fun of it,

1072
01:04:14,880 --> 01:04:16,720
Speaker 2: and I'm I thought it was just drumming.

1073
01:04:24,880 --> 01:04:29,800
Speaker 1: Okay, So you're putting together this mutt kit. At what

1074
01:04:30,040 --> 01:04:32,760
Speaker 1: point do you form a band? Join a band?

1075
01:04:35,520 --> 01:04:39,080
Speaker 2: Probably pretty quick. It's all happening pretty fast. I'm fifteen

1076
01:04:39,160 --> 01:04:44,200
Speaker 2: and I'm hanging around with Marty Girard who later him

1077
01:04:44,240 --> 01:04:47,880
Speaker 2: and Jeff started the Motels, And I'm Marty and I

1078
01:04:47,960 --> 01:04:50,800
Speaker 2: are in a band in Gainesville and he's a little

1079
01:04:50,840 --> 01:04:53,200
Speaker 2: older than me, so sweet, can well, let's.

1080
01:04:53,040 --> 01:04:56,320
Speaker 1: Go back a little bit. Sure, I'm two years older

1081
01:04:56,320 --> 01:04:59,640
Speaker 1: than you. Beatles hit. If you didn't have a guitar,

1082
01:04:59,760 --> 01:05:01,880
Speaker 1: you'd one. There was always a drummer. You went to

1083
01:05:01,960 --> 01:05:07,360
Speaker 1: somebody's house, they played Gloria, you played some Beatles songs. True,

1084
01:05:07,520 --> 01:05:11,000
Speaker 1: you know, ultimately there were bands that worked every weekend,

1085
01:05:11,400 --> 01:05:13,800
Speaker 1: but there were a lot of little steps between that.

1086
01:05:14,000 --> 01:05:17,240
Speaker 1: What was going on for you. Garage bands we called them.

1087
01:05:17,760 --> 01:05:20,720
Speaker 1: And yeah, I was in a couple of fun garage bands,

1088
01:05:21,240 --> 01:05:24,840
Speaker 1: and one with my buddy Jeff, who I still know

1089
01:05:25,000 --> 01:05:25,280
Speaker 1: that I.

1090
01:05:25,240 --> 01:05:27,960
Speaker 2: Grew up with. His parents had a two car garage,

1091
01:05:28,480 --> 01:05:31,640
Speaker 2: you know, and lived out in a subdivision, and we

1092
01:05:31,680 --> 01:05:35,240
Speaker 2: went out there and would play all four songs we knew,

1093
01:05:35,760 --> 01:05:38,919
Speaker 2: you know, like probably a Creten's Clearwater song or whatever,

1094
01:05:38,960 --> 01:05:42,840
Speaker 2: you know. And yeah, there was this not that many

1095
01:05:42,880 --> 01:05:46,760
Speaker 2: of those. I probably was in maybe two different garage bands,

1096
01:05:47,240 --> 01:05:49,560
Speaker 2: and you know living room bands, you know, where we

1097
01:05:49,560 --> 01:05:53,840
Speaker 2: could and the parents were very tolerant, you know, they

1098
01:05:53,840 --> 01:05:57,080
Speaker 2: were like they would let us just because we mised

1099
01:05:57,080 --> 01:05:59,680
Speaker 2: of us have sucked and we were loud, and we

1100
01:05:59,720 --> 01:06:04,080
Speaker 2: had much equipment and you know, but yeah, that that

1101
01:06:04,080 --> 01:06:07,840
Speaker 2: that happened pretty quick. And then you could see in

1102
01:06:07,880 --> 01:06:11,360
Speaker 2: the garage band who wanted to make money, who wanted

1103
01:06:11,360 --> 01:06:13,040
Speaker 2: to go get a make a living, you know, like

1104
01:06:13,320 --> 01:06:16,400
Speaker 2: who wants to give this a go? And that was

1105
01:06:16,440 --> 01:06:20,040
Speaker 2: where the living room balls guys with living room balls

1106
01:06:20,080 --> 01:06:22,560
Speaker 2: sort of stayed there like that's as far as their

1107
01:06:22,560 --> 01:06:25,200
Speaker 2: balls would let them go. Then the other guys would

1108
01:06:25,200 --> 01:06:28,600
Speaker 2: go like, wait a minute, I got I got gymnasium balls.

1109
01:06:28,640 --> 01:06:30,720
Speaker 2: I can go play the high school gym. Wait I

1110
01:06:30,760 --> 01:06:34,240
Speaker 2: got auditorium balls. I'll play the U off auditorium. And

1111
01:06:34,280 --> 01:06:38,400
Speaker 2: you'd sort of lose certain guys on the way because

1112
01:06:38,400 --> 01:06:40,440
Speaker 2: everybody's you know, it's a little scary. You know, the

1113
01:06:40,600 --> 01:06:42,920
Speaker 2: first time you play, and first time we play in

1114
01:06:42,920 --> 01:06:45,400
Speaker 2: a bigger place, you're like, am I really cut out

1115
01:06:45,440 --> 01:06:50,640
Speaker 2: for this? Or is my impostor syndrome raging? Are they

1116
01:06:50,640 --> 01:06:53,120
Speaker 2: going to see through me? You know, you're you're worried,

1117
01:06:53,120 --> 01:06:55,000
Speaker 2: you're going to be laughed off stage at every at

1118
01:06:55,040 --> 01:06:58,280
Speaker 2: every step, and then at some point you just grow balls.

1119
01:06:58,360 --> 01:06:59,960
Speaker 2: You just go, well, I got arena balls, I got

1120
01:07:01,120 --> 01:07:04,520
Speaker 2: I got the balls. I'm doing it. So, yeah, there

1121
01:07:04,600 --> 01:07:07,080
Speaker 2: was a lot of fun. It was a lot of

1122
01:07:07,080 --> 01:07:10,240
Speaker 2: fun being in a band back then because you didn't

1123
01:07:10,240 --> 01:07:12,280
Speaker 2: really know what was going to happen, but it was something.

1124
01:07:12,720 --> 01:07:14,800
Speaker 2: It was always fun. It was really fun.

1125
01:07:15,880 --> 01:07:18,880
Speaker 1: So your experience going from the living room to the

1126
01:07:19,000 --> 01:07:23,320
Speaker 1: gym to the VFW, was it natural or did you

1127
01:07:23,360 --> 01:07:25,600
Speaker 1: have to get over your stage fright? What was your experience.

1128
01:07:26,240 --> 01:07:29,040
Speaker 2: I kind of always suffered from stage fright all the

1129
01:07:29,040 --> 01:07:32,200
Speaker 2: way through the end. I had a little bit of it,

1130
01:07:32,240 --> 01:07:35,720
Speaker 2: but I always felt that it was probably that was

1131
01:07:35,840 --> 01:07:40,360
Speaker 2: I learned that that was okay, Like I think maybe

1132
01:07:40,360 --> 01:07:42,400
Speaker 2: it was Bill Graham. I remember one day we were

1133
01:07:42,480 --> 01:07:46,040
Speaker 2: playing Winterland and I said, you know, I'm nervous, you know,

1134
01:07:46,200 --> 01:07:48,920
Speaker 2: and he played ping pong with me, I remember, to

1135
01:07:49,000 --> 01:07:53,160
Speaker 2: cool me out, and I said, he goes, you're still nervous,

1136
01:07:53,400 --> 01:07:54,840
Speaker 2: and I said, yeah, a little bit, and he goes,

1137
01:07:55,080 --> 01:07:59,040
Speaker 2: make it work for you. And I remember thinking he's right,

1138
01:07:59,320 --> 01:08:03,080
Speaker 2: like use that energy, use it, you know, harness it.

1139
01:08:03,400 --> 01:08:06,840
Speaker 2: And so yeah, I was always a little scared when

1140
01:08:06,880 --> 01:08:10,760
Speaker 2: I look out and see my friends. Or that's the

1141
01:08:10,800 --> 01:08:14,080
Speaker 2: worst is to be playing at a gig and you

1142
01:08:14,160 --> 01:08:16,559
Speaker 2: know there's five really great drummers out there. You know,

1143
01:08:16,600 --> 01:08:19,439
Speaker 2: that's the worst. You know, when my drummer buddies would

1144
01:08:19,479 --> 01:08:23,240
Speaker 2: show up, be like, ah shit, you know. But most

1145
01:08:23,240 --> 01:08:25,679
Speaker 2: of the time, when you're in a band and they're good,

1146
01:08:26,439 --> 01:08:28,280
Speaker 2: and you know everybody in the band is like going

1147
01:08:28,360 --> 01:08:31,360
Speaker 2: to be like a finger on a fist, most of

1148
01:08:31,400 --> 01:08:33,720
Speaker 2: that nerves goes right out the window the second you

1149
01:08:33,760 --> 01:08:36,240
Speaker 2: step on stage with them. And that's what it was

1150
01:08:36,280 --> 01:08:39,200
Speaker 2: with the Guys and the Heartbreakers. I mean, everybody out

1151
01:08:39,200 --> 01:08:43,360
Speaker 2: there was so good. If I was feeling nervous, I

1152
01:08:43,520 --> 01:08:47,240
Speaker 2: just look over at Ben Mott and go, Jesus, that

1153
01:08:47,280 --> 01:08:50,679
Speaker 2: guy's fucking good, you know, and all your nerves would

1154
01:08:50,680 --> 01:08:55,480
Speaker 2: disappear because you were I'm in the bosom of greatness.

1155
01:08:55,920 --> 01:08:59,280
Speaker 1: Okay, So after you left the garage from the living room,

1156
01:09:00,160 --> 01:09:02,599
Speaker 1: was the first band that hung together for a while

1157
01:09:02,640 --> 01:09:03,360
Speaker 1: and how much.

1158
01:09:03,200 --> 01:09:06,360
Speaker 2: Did you work? Well, it would have been the band

1159
01:09:06,360 --> 01:09:10,000
Speaker 2: with Marty Girard. We worked for about a year and

1160
01:09:10,040 --> 01:09:13,920
Speaker 2: a half and it was good. I mean we played

1161
01:09:13,920 --> 01:09:17,160
Speaker 2: a lot of gigs. We played everywhere from between West

1162
01:09:17,200 --> 01:09:22,800
Speaker 2: Palm Beach to Atlanta to Chattanooga to Alabama, and you know,

1163
01:09:22,880 --> 01:09:25,960
Speaker 2: we play a week in Tampa, and you know, we

1164
01:09:25,960 --> 01:09:28,519
Speaker 2: were working. We were like a working band, and we

1165
01:09:28,560 --> 01:09:32,479
Speaker 2: play one nighters at the University and we played the

1166
01:09:32,479 --> 01:09:35,280
Speaker 2: three nights a week at the Titty Bar, and so

1167
01:09:35,880 --> 01:09:38,720
Speaker 2: we put in our By the time I got to California,

1168
01:09:39,040 --> 01:09:42,080
Speaker 2: we'd already put in our ten thousand hours for real.

1169
01:09:42,960 --> 01:09:45,920
Speaker 1: Okay, when you're in the band with Marty Gerard. Are

1170
01:09:45,920 --> 01:09:47,040
Speaker 1: you done with school?

1171
01:09:48,400 --> 01:09:50,960
Speaker 2: No, I'm still faking it. I'm still kind of fake

1172
01:09:51,000 --> 01:09:51,519
Speaker 2: in school.

1173
01:09:52,080 --> 01:09:54,160
Speaker 1: Okay, So you're in the band with Marty Gerard. Is

1174
01:09:54,200 --> 01:09:56,440
Speaker 1: that the last band before you go to California?

1175
01:09:57,320 --> 01:09:57,639
Speaker 2: Yes?

1176
01:09:59,000 --> 01:10:02,240
Speaker 1: So how do you decided? Under what aegis? Do you

1177
01:10:02,320 --> 01:10:03,920
Speaker 1: actually go to California?

1178
01:10:05,439 --> 01:10:08,599
Speaker 2: Well, the band was breaking up because Marty's pop had died,

1179
01:10:09,360 --> 01:10:14,559
Speaker 2: and Marty decided to make a different because I thought

1180
01:10:14,800 --> 01:10:19,760
Speaker 2: he was my ticket out of the ghetto. Marty was smart, talented,

1181
01:10:20,400 --> 01:10:23,479
Speaker 2: we still is, and you know, and he's cool, and

1182
01:10:23,520 --> 01:10:26,120
Speaker 2: he was older and he liked me. So I thought, Man,

1183
01:10:26,160 --> 01:10:29,000
Speaker 2: I'm riding Marty all the way to the show. But

1184
01:10:29,160 --> 01:10:30,920
Speaker 2: when Marty said, you know, I'm putting a fork in

1185
01:10:30,920 --> 01:10:32,439
Speaker 2: it for a minute. I'm going to go to college.

1186
01:10:32,760 --> 01:10:34,400
Speaker 2: You know, my pop's gone. I got to deal with

1187
01:10:34,439 --> 01:10:38,840
Speaker 2: some family stuff. I spent probably about a week in

1188
01:10:38,920 --> 01:10:42,840
Speaker 2: Florida and went, that's it, I'm out, And so I

1189
01:10:42,920 --> 01:10:45,360
Speaker 2: just loaded my shit up, took my share of the PA,

1190
01:10:46,040 --> 01:10:52,120
Speaker 2: and loaded my shit into the van and drove to California.

1191
01:10:53,200 --> 01:10:56,240
Speaker 1: Did you know anybody in California? Did you have any money?

1192
01:10:56,360 --> 01:10:57,160
Speaker 1: What was the plan?

1193
01:10:57,960 --> 01:11:00,120
Speaker 2: I had no money. I remember my dad loan me

1194
01:11:00,160 --> 01:11:03,240
Speaker 2: a hundred bucks and that was it. That was it.

1195
01:11:03,360 --> 01:11:06,400
Speaker 2: He was pretty disappointed in me because I think he

1196
01:11:06,439 --> 01:11:07,920
Speaker 2: thought I was going to get that out of my

1197
01:11:08,080 --> 01:11:10,840
Speaker 2: system at that point, like you probably got this oide

1198
01:11:10,840 --> 01:11:12,800
Speaker 2: of your system now. And he thought I was going

1199
01:11:12,840 --> 01:11:15,120
Speaker 2: to go to college. And I remember one of the

1200
01:11:15,200 --> 01:11:16,960
Speaker 2: last thing I said, Dan, I'm going to la and

1201
01:11:17,000 --> 01:11:19,960
Speaker 2: he goes, uh. I think his quote was great, just

1202
01:11:19,960 --> 01:11:22,439
Speaker 2: what the world needs another fucking out of work drummer.

1203
01:11:24,800 --> 01:11:26,080
Speaker 1: That's a lot of encouragement.

1204
01:11:26,200 --> 01:11:29,320
Speaker 2: Yeah, yeah, well he was. He he's stuck with that

1205
01:11:29,360 --> 01:11:32,240
Speaker 2: theme pretty good throughout the entire you know, my entire career.

1206
01:11:32,479 --> 01:11:36,240
Speaker 2: But it was I think he was basically scared to

1207
01:11:36,280 --> 01:11:39,160
Speaker 2: death of what was going to happen if it failed.

1208
01:11:39,240 --> 01:11:44,240
Speaker 2: I think my father was. He was, he was fear

1209
01:11:44,240 --> 01:11:47,080
Speaker 2: of verse. He wasn't you know, he wasn't going to

1210
01:11:47,120 --> 01:11:49,280
Speaker 2: go into the abyss. He was like, I'm going to

1211
01:11:49,320 --> 01:11:51,320
Speaker 2: get a well, hell, he had kids and a wife.

1212
01:11:51,520 --> 01:11:53,120
Speaker 2: He's going to get a job at the post office

1213
01:11:53,160 --> 01:11:58,280
Speaker 2: before he takes on something that stupid. So I went

1214
01:11:58,320 --> 01:12:00,719
Speaker 2: to California. I didn't have any money, but I didn't

1215
01:12:00,760 --> 01:12:02,960
Speaker 2: know a few people. My sister had already moved there

1216
01:12:03,640 --> 01:12:07,240
Speaker 2: and with her boyfriend who was later to be in

1217
01:12:07,320 --> 01:12:11,120
Speaker 2: the Heartbreakers. Briefly he was the guy who started the motels,

1218
01:12:11,200 --> 01:12:15,880
Speaker 2: Jef Gerard, and I went out there and I probably

1219
01:12:15,960 --> 01:12:18,280
Speaker 2: stayed with him for a for a maybe a week

1220
01:12:18,360 --> 01:12:20,960
Speaker 2: or two, and then I was sort of booted from

1221
01:12:21,000 --> 01:12:24,160
Speaker 2: their house because they didn't need me hanging around. And

1222
01:12:24,200 --> 01:12:29,320
Speaker 2: then I think I knew of people. I knew that

1223
01:12:29,360 --> 01:12:33,040
Speaker 2: the Mudcretch guys were in LA but I didn't know

1224
01:12:33,120 --> 01:12:35,240
Speaker 2: how to find him or didn't know where they were.

1225
01:12:36,000 --> 01:12:41,519
Speaker 2: But the Coconut Telegraph, the Florida Telegraph was working pretty good,

1226
01:12:41,600 --> 01:12:44,080
Speaker 2: like we you know, by the time I got a phone,

1227
01:12:44,400 --> 01:12:48,040
Speaker 2: I think I was living in a basement and one

1228
01:12:48,040 --> 01:12:50,160
Speaker 2: of the guys, the guys who lived up stairs, was

1229
01:12:50,760 --> 01:12:54,080
Speaker 2: from Gainesville and he was a singer, so he was

1230
01:12:54,120 --> 01:12:57,519
Speaker 2: telling me where Ron Blair was, who was living next door.

1231
01:12:57,560 --> 01:13:00,720
Speaker 2: And then I ran into Benmont and we would It

1232
01:13:01,200 --> 01:13:04,360
Speaker 2: was very natural, like we all just sort of, oh,

1233
01:13:04,479 --> 01:13:05,519
Speaker 2: we ran into each other.

1234
01:13:05,720 --> 01:13:08,800
Speaker 1: You know, Well, if you left with one hundred dollars,

1235
01:13:08,840 --> 01:13:10,000
Speaker 1: did you have to have a day job.

1236
01:13:10,720 --> 01:13:12,880
Speaker 2: I did briefly get a day job, but I was

1237
01:13:12,920 --> 01:13:17,400
Speaker 2: scamming a lot too. I was, uh, you know, I

1238
01:13:17,520 --> 01:13:21,960
Speaker 2: was not above cashing a check that wasn't mine, you know,

1239
01:13:22,000 --> 01:13:24,080
Speaker 2: if I found one or I was you know, the

1240
01:13:24,120 --> 01:13:26,599
Speaker 2: world was different. Let me put it that way, you could.

1241
01:13:27,080 --> 01:13:30,240
Speaker 2: I was scamming. I got food stamps, I got you know,

1242
01:13:30,320 --> 01:13:34,679
Speaker 2: I was a punk. But I did get a job

1243
01:13:34,720 --> 01:13:39,559
Speaker 2: at Peaches Records on Hollywood Boulevard. I remember, yeah, yeah,

1244
01:13:39,600 --> 01:13:42,000
Speaker 2: so that was cool. I got there until you know,

1245
01:13:42,200 --> 01:13:43,600
Speaker 2: so I worked, but I did get a real I

1246
01:13:43,600 --> 01:13:46,479
Speaker 2: actually got it, you know. But but fifty bucks or

1247
01:13:46,479 --> 01:13:49,720
Speaker 2: one hundred bucks a week was plenty, you know.

1248
01:13:51,479 --> 01:13:53,880
Speaker 1: Okay, but you came to be a drummer. So how

1249
01:13:53,880 --> 01:13:55,479
Speaker 1: were you going to further or what did you do

1250
01:13:55,560 --> 01:13:57,040
Speaker 1: to further your musical career?

1251
01:13:58,000 --> 01:14:02,439
Speaker 2: I signed up with mcs LA Musicians Contact Service for

1252
01:14:02,560 --> 01:14:06,479
Speaker 2: fifteen bucks a month. You could you wrote, you wrote

1253
01:14:06,479 --> 01:14:09,720
Speaker 2: a like on a business not a business card, an

1254
01:14:09,760 --> 01:14:12,439
Speaker 2: index card, and you put your thing on the wall.

1255
01:14:13,400 --> 01:14:18,120
Speaker 2: It would say like, you know, drummer seeking, all original seeking,

1256
01:14:18,240 --> 01:14:23,599
Speaker 2: you know, original band members, originals only, pros only you know,

1257
01:14:23,760 --> 01:14:27,240
Speaker 2: like have gig well, you know, have professional gear. And

1258
01:14:28,040 --> 01:14:32,679
Speaker 2: I auditioned for several bands in California and I got

1259
01:14:32,680 --> 01:14:35,320
Speaker 2: a job with one that was fun, a bunch of

1260
01:14:35,360 --> 01:14:38,000
Speaker 2: guys from Texas. I was playing with them for about

1261
01:14:38,000 --> 01:14:41,240
Speaker 2: a year or six maybe six months. I guess they

1262
01:14:41,240 --> 01:14:45,160
Speaker 2: were great, a lot of fun. And then in that

1263
01:14:45,400 --> 01:14:50,440
Speaker 2: time frame I met Re met Ben Monteche again, and

1264
01:14:50,479 --> 01:14:53,000
Speaker 2: that's when the band. That's how that all got together,

1265
01:14:54,680 --> 01:14:55,320
Speaker 2: well a.

1266
01:14:55,280 --> 01:14:58,680
Speaker 1: Little bit more granular. You reconnected with him. How did

1267
01:14:58,720 --> 01:15:01,280
Speaker 1: it end up being Tom Betty Heartbreakers?

1268
01:15:02,800 --> 01:15:04,599
Speaker 2: I think I was living in the basement. Ben came

1269
01:15:04,640 --> 01:15:07,920
Speaker 2: over told me mud Cretch had broken up, which was

1270
01:15:08,040 --> 01:15:10,200
Speaker 2: that was the band that got to They took to

1271
01:15:10,240 --> 01:15:13,160
Speaker 2: California and got signed. I think it all. I don't

1272
01:15:13,240 --> 01:15:17,200
Speaker 2: I don't know really what happened, but it it fell apart.

1273
01:15:18,080 --> 01:15:21,919
Speaker 2: Ben Mott was in my basement and we were probably

1274
01:15:22,800 --> 01:15:27,080
Speaker 2: drinking and talking and and we came up with this

1275
01:15:27,160 --> 01:15:30,360
Speaker 2: idea though of we both we both loved British rock.

1276
01:15:31,000 --> 01:15:35,519
Speaker 2: Benmont has wide ranging tastes, but we we had that

1277
01:15:35,640 --> 01:15:39,280
Speaker 2: in common that we both loved, like the faces and

1278
01:15:39,400 --> 01:15:42,360
Speaker 2: free and we both loved all of that. We loved

1279
01:15:42,360 --> 01:15:46,680
Speaker 2: that kind of mutt in the stones, sort of somewhat machismo,

1280
01:15:47,720 --> 01:15:50,360
Speaker 2: just cool. We liked all that stuff and we decided

1281
01:15:50,360 --> 01:15:52,800
Speaker 2: we were going to put together a band called Drunks

1282
01:15:53,160 --> 01:15:56,960
Speaker 2: and we were going to be like the baddest, coolest

1283
01:15:57,479 --> 01:16:03,719
Speaker 2: band ever. And during this, you know, fever dream somewhere along.

1284
01:16:03,800 --> 01:16:06,639
Speaker 2: And during that couple of days, he got studio time

1285
01:16:07,520 --> 01:16:10,320
Speaker 2: and we ended up in a recording studio to cut

1286
01:16:10,360 --> 01:16:13,760
Speaker 2: Benmont's songs. And Ben said, well, who do you want

1287
01:16:13,800 --> 01:16:16,120
Speaker 2: to bring? And I said, well, Ron Blair lives next door.

1288
01:16:16,479 --> 01:16:18,479
Speaker 2: I'd never played with Ron, but I'd hung out with

1289
01:16:18,560 --> 01:16:23,040
Speaker 2: him a bit and loved his record collection and he

1290
01:16:23,160 --> 01:16:25,280
Speaker 2: was just a cool guy. So he came to the

1291
01:16:25,320 --> 01:16:30,360
Speaker 2: session and Ben brought Mike.

1292
01:16:32,120 --> 01:16:34,639
Speaker 1: Okay, then how does it become Tom?

1293
01:16:35,479 --> 01:16:38,000
Speaker 2: I think Tom showed up to play harmonica at some

1294
01:16:38,120 --> 01:16:42,600
Speaker 2: point and I didn't really think anything of it, and then, uh,

1295
01:16:43,680 --> 01:16:48,200
Speaker 2: I think the next day literally Tom called me, probably

1296
01:16:48,200 --> 01:16:51,400
Speaker 2: called everybody, but I remember him going, you know, like Stanley,

1297
01:16:53,240 --> 01:16:54,960
Speaker 2: you know, what are you doing? And I said, well,

1298
01:16:54,960 --> 01:16:56,599
Speaker 2: I'm in a band. I'm in this band with these

1299
01:16:56,600 --> 01:16:58,479
Speaker 2: guys from Texas. He goes, what do you want to

1300
01:16:58,479 --> 01:17:01,760
Speaker 2: throw in with me? You know? And I said, well

1301
01:17:01,760 --> 01:17:04,000
Speaker 2: what does that mean? You know? I said, I don't

1302
01:17:04,000 --> 01:17:05,960
Speaker 2: want to leave a band unless I'm getting in a band.

1303
01:17:06,640 --> 01:17:08,639
Speaker 2: And he said, well, let's start a band. And I said,

1304
01:17:08,640 --> 01:17:12,519
Speaker 2: well that sounds good, and and he said, we're gonna

1305
01:17:12,520 --> 01:17:15,200
Speaker 2: I've got a I'm going to make an album. I've

1306
01:17:15,200 --> 01:17:17,360
Speaker 2: got to I guess he had a deal, you know,

1307
01:17:17,400 --> 01:17:20,960
Speaker 2: he still had a deal as a writer. And that's

1308
01:17:21,000 --> 01:17:24,479
Speaker 2: how that worked in its way into.

1309
01:17:24,280 --> 01:17:29,800
Speaker 1: That Okay, he makes that phone call, then what happens

1310
01:17:30,120 --> 01:17:32,040
Speaker 1: do you rehearse, do you go on the road, do

1311
01:17:32,040 --> 01:17:34,639
Speaker 1: you immediately go in the studio? How does it play out?

1312
01:17:35,000 --> 01:17:38,800
Speaker 2: Kind of Yes, we all got together in the at

1313
01:17:38,920 --> 01:17:42,160
Speaker 2: Shelter Studio, which wasn't a studio yet. It was called

1314
01:17:42,160 --> 01:17:46,439
Speaker 2: the Brown Room, and it was just a room on

1315
01:17:46,560 --> 01:17:50,400
Speaker 2: top of a like a just a room. It was terrible,

1316
01:17:50,560 --> 01:17:52,879
Speaker 2: you know, had Christmas lights and it was just gross.

1317
01:17:53,400 --> 01:17:56,960
Speaker 2: It was hot, and it was in the a ceedy

1318
01:17:57,000 --> 01:17:59,760
Speaker 2: part of town and just what you'd expect. And we

1319
01:17:59,800 --> 01:18:02,519
Speaker 2: went up there and just bashed our brains in and

1320
01:18:02,560 --> 01:18:08,320
Speaker 2: we learned covers and we learned to communicate with each other,

1321
01:18:08,479 --> 01:18:11,640
Speaker 2: like we learned what we both what we all liked, like,

1322
01:18:11,840 --> 01:18:17,080
Speaker 2: you know, we found our common ground probably within it

1323
01:18:17,160 --> 01:18:21,639
Speaker 2: felt quick, but I mean I'm guessing maybe a month

1324
01:18:22,720 --> 01:18:26,599
Speaker 2: we found our common ground in that brown room, and

1325
01:18:26,600 --> 01:18:29,920
Speaker 2: and then Tom would start introducing pieces of songs that

1326
01:18:29,960 --> 01:18:33,639
Speaker 2: he was writing, like, you know, starting from the groove,

1327
01:18:34,400 --> 01:18:36,040
Speaker 2: you know, you would just say like how you know

1328
01:18:36,080 --> 01:18:39,559
Speaker 2: you He would just show you little snippets, and then

1329
01:18:40,960 --> 01:18:45,240
Speaker 2: I think this is about right chronologically, Danny Cordell said,

1330
01:18:45,640 --> 01:18:51,280
Speaker 2: sent me and Tom to Tulsa and we went to

1331
01:18:51,360 --> 01:18:54,760
Speaker 2: the church where Leon had a church and to go

1332
01:18:54,880 --> 01:18:56,479
Speaker 2: I guess just to go check it out. I don't

1333
01:18:56,520 --> 01:18:58,599
Speaker 2: even know what we were doing there, but we shared

1334
01:18:58,600 --> 01:19:00,280
Speaker 2: a room and we went and walked around and we

1335
01:19:00,360 --> 01:19:03,760
Speaker 2: recorded a song just the two of us on the

1336
01:19:03,760 --> 01:19:05,920
Speaker 2: first record called Luna.

1337
01:19:05,720 --> 01:19:07,120
Speaker 1: My favorite song on the record.

1338
01:19:08,080 --> 01:19:11,439
Speaker 2: We did that in some weird I don't know what

1339
01:19:11,479 --> 01:19:13,839
Speaker 2: the hell was going on that night. We were probably

1340
01:19:13,840 --> 01:19:19,280
Speaker 2: both blitzed, and who knows how that happened. And then

1341
01:19:19,640 --> 01:19:22,400
Speaker 2: we came back and we were started. Denny Wood if

1342
01:19:22,400 --> 01:19:24,600
Speaker 2: he had a we went into a proper studio. I

1343
01:19:24,600 --> 01:19:26,760
Speaker 2: think we went into A and M one night and

1344
01:19:26,800 --> 01:19:29,720
Speaker 2: cut a song. We went into other places, and then

1345
01:19:29,840 --> 01:19:32,760
Speaker 2: at that time the shelter was being moved to the

1346
01:19:32,760 --> 01:19:36,720
Speaker 2: brown room, so we had a quote recording studio to

1347
01:19:36,880 --> 01:19:41,400
Speaker 2: work in, and we made those first records. At least

1348
01:19:41,439 --> 01:19:46,559
Speaker 2: the first record was very primitive. I mean, whoa, I

1349
01:19:46,600 --> 01:19:50,640
Speaker 2: mean the drums are on one track, you know, like

1350
01:19:50,720 --> 01:19:53,400
Speaker 2: you can pull the drums out by pulling one fader,

1351
01:19:53,439 --> 01:19:55,639
Speaker 2: which is for those of you that don't know, that's

1352
01:19:56,280 --> 01:20:01,439
Speaker 2: pretty primitive recording, you know. And and we made those

1353
01:20:01,479 --> 01:20:03,680
Speaker 2: records almost like we didn't even know. I didn't know

1354
01:20:03,720 --> 01:20:06,600
Speaker 2: we were making records. I thought we were just recording.

1355
01:20:07,080 --> 01:20:09,120
Speaker 2: And then Denny would come in and go, oh, that

1356
01:20:09,200 --> 01:20:11,280
Speaker 2: sounds great. Guys, you know that's fantastic.

1357
01:20:11,880 --> 01:20:15,439
Speaker 1: Okay, you're throw in with Tom. He's got a deal.

1358
01:20:16,800 --> 01:20:19,040
Speaker 1: Do you think you hit the big time or you

1359
01:20:19,120 --> 01:20:21,600
Speaker 1: still I'm just figuring it out.

1360
01:20:23,240 --> 01:20:25,599
Speaker 2: Any day that I was moving up the food chain,

1361
01:20:25,640 --> 01:20:28,559
Speaker 2: I had hit the big time. Any day that I

1362
01:20:28,640 --> 01:20:32,599
Speaker 2: moved from shit to a little better shit, you know

1363
01:20:32,720 --> 01:20:36,320
Speaker 2: and a little less shit, was was almost the day

1364
01:20:36,360 --> 01:20:37,080
Speaker 2: I could retire.

1365
01:20:38,400 --> 01:20:41,880
Speaker 1: Okay, what did Denny Gordell add as a producer?

1366
01:20:44,000 --> 01:20:51,240
Speaker 2: Swa DIVI? You know, he had this worldly it just

1367
01:20:51,320 --> 01:20:54,080
Speaker 2: had this sense of him like you know, he he

1368
01:20:54,080 --> 01:20:56,599
Speaker 2: he had been exposed to a lot more music. Well

1369
01:20:56,680 --> 01:20:59,479
Speaker 2: you know his background, I'm I'm pretty sure you know.

1370
01:20:59,560 --> 01:21:03,600
Speaker 2: And and he had a tremendous pedigree, you know, and

1371
01:21:04,680 --> 01:21:06,920
Speaker 2: he turned me on to like. I remember one night

1372
01:21:07,560 --> 01:21:10,760
Speaker 2: they were all using these words like groove and feel,

1373
01:21:11,000 --> 01:21:13,439
Speaker 2: and I'm like, how do you quantify that shit? You know,

1374
01:21:13,479 --> 01:21:16,479
Speaker 2: like Stan, we're looking for a feel and I'm like, ah,

1375
01:21:18,520 --> 01:21:21,519
Speaker 2: but I remember, he said, and he just he burned

1376
01:21:21,520 --> 01:21:24,040
Speaker 2: this giant joint with me. And he had a Ferrari

1377
01:21:24,120 --> 01:21:28,479
Speaker 2: Daytona out in the parking lot and he said, get

1378
01:21:28,479 --> 01:21:30,960
Speaker 2: behind the wheel, and I did. I got behind the

1379
01:21:30,960 --> 01:21:33,880
Speaker 2: wheel and we went under the underpass. I forget in

1380
01:21:34,040 --> 01:21:35,920
Speaker 2: la which one, but he said, put it in a

1381
01:21:35,960 --> 01:21:38,599
Speaker 2: second gear and punch it. And I did. The twelve

1382
01:21:38,680 --> 01:21:42,599
Speaker 2: cylinder car just what you know, and he goes, he goes,

1383
01:21:42,760 --> 01:21:46,439
Speaker 2: that's a groove and I go that helps, and he goes.

1384
01:21:46,640 --> 01:21:48,240
Speaker 2: Then we went and saw it at the same night.

1385
01:21:48,280 --> 01:21:50,439
Speaker 2: We're stone out of our minds, or I was. We

1386
01:21:50,520 --> 01:21:52,840
Speaker 2: go to the Santa Marcocific and watch Bob Madley and

1387
01:21:52,880 --> 01:21:58,760
Speaker 2: the whalers and the place is just you know, they're hypnotized.

1388
01:21:58,800 --> 01:22:01,639
Speaker 2: The whole place is hypnotized. And I'm just freaking out.

1389
01:22:01,680 --> 01:22:03,840
Speaker 2: And he goes, he looks over me and whispers in

1390
01:22:03,880 --> 01:22:07,160
Speaker 2: my ear. He goes, that's a feel, Stan, and I go,

1391
01:22:07,640 --> 01:22:11,000
Speaker 2: there's groove and feel. So that's what Danny brought. And

1392
01:22:11,040 --> 01:22:16,080
Speaker 2: he brought that like how to make the intangible real

1393
01:22:16,360 --> 01:22:18,960
Speaker 2: to a young, a nineteen year old guy, how to

1394
01:22:19,000 --> 01:22:22,120
Speaker 2: make it real for you, Stan? And when I was

1395
01:22:22,160 --> 01:22:26,280
Speaker 2: struggling with a drum part, I remember looking at me

1396
01:22:26,400 --> 01:22:29,120
Speaker 2: and just blowing smoke in my face and going, you know,

1397
01:22:29,240 --> 01:22:32,360
Speaker 2: if you leave all that shit out, Stan, they'll always

1398
01:22:32,400 --> 01:22:38,800
Speaker 2: misinterpret you as tasteful. Haha. I mean so when you

1399
01:22:38,840 --> 01:22:42,120
Speaker 2: say what did he bring, he brought everything right, Like

1400
01:22:42,560 --> 01:22:46,400
Speaker 2: he the fact that he didn't fire me and just

1401
01:22:46,400 --> 01:22:49,160
Speaker 2: bring in Jim Calder, who was sitting there the whole time.

1402
01:22:49,439 --> 01:22:53,680
Speaker 2: You know, Calder and Jim Gordon were in that in

1403
01:22:53,720 --> 01:22:56,720
Speaker 2: his per you know, they were in his sphere. Those

1404
01:22:56,720 --> 01:23:00,280
Speaker 2: were his drummers. The fact that he just said, Hey,

1405
01:23:00,360 --> 01:23:02,880
Speaker 2: let this fucking idiot figure out how to be in

1406
01:23:02,880 --> 01:23:05,320
Speaker 2: a band, and I'll help him along. Jim give him

1407
01:23:05,320 --> 01:23:08,519
Speaker 2: a little advice, you know. And it was like, so,

1408
01:23:10,600 --> 01:23:15,080
Speaker 2: you know, a guy like Denny Cordell without him, I

1409
01:23:15,080 --> 01:23:17,920
Speaker 2: don't know if there is it's another It takes a village,

1410
01:23:18,280 --> 01:23:18,519
Speaker 2: you know.

1411
01:23:26,280 --> 01:23:30,320
Speaker 1: Let's back up for one second, you're stan Lee in

1412
01:23:30,360 --> 01:23:34,720
Speaker 1: an era where that's not really a hip name. What

1413
01:23:34,840 --> 01:23:36,480
Speaker 1: was it like growing up as Stanley?

1414
01:23:37,120 --> 01:23:39,800
Speaker 2: It was you know, it's just like what you just said.

1415
01:23:39,840 --> 01:23:44,240
Speaker 2: It was said you could say Stanley, or you can

1416
01:23:44,400 --> 01:23:47,120
Speaker 2: say it in a way that's just yep. You know

1417
01:23:47,200 --> 01:23:51,639
Speaker 2: what's coming next. You know it's a you know, I mean,

1418
01:23:52,960 --> 01:23:54,479
Speaker 2: it was kind of cool for a minute when it

1419
01:23:54,520 --> 01:23:57,479
Speaker 2: was standing man, you know, musual a right, like you know,

1420
01:23:57,520 --> 01:23:59,519
Speaker 2: it was cool for a minute for those of you

1421
01:23:59,560 --> 01:24:02,360
Speaker 2: that even know that is, but like, you know, stand

1422
01:24:02,360 --> 01:24:06,040
Speaker 2: the man. But then it was like, yeah, you're right Stanley.

1423
01:24:06,240 --> 01:24:09,400
Speaker 2: Oh oh you know whatn't I don't.

1424
01:24:09,240 --> 01:24:14,680
Speaker 1: Know, Okay, the first album is done before it comes out,

1425
01:24:15,040 --> 01:24:17,800
Speaker 1: do you guys think American Girl will be a hit?

1426
01:24:19,200 --> 01:24:21,720
Speaker 2: I don't even know what that means. But just so

1427
01:24:21,840 --> 01:24:24,960
Speaker 2: you know, when we recorded that song, one of my

1428
01:24:25,000 --> 01:24:28,439
Speaker 2: dear friends who I still know and love to this day,

1429
01:24:28,800 --> 01:24:31,519
Speaker 2: happened to be there as my buddy. He was there

1430
01:24:31,640 --> 01:24:34,320
Speaker 2: when we recorded that, and I remember when we played

1431
01:24:34,320 --> 01:24:38,080
Speaker 2: it back, I didn't really think anything. I was probably

1432
01:24:39,320 --> 01:24:42,160
Speaker 2: kind of so excited that I was still on the record,

1433
01:24:42,200 --> 01:24:44,360
Speaker 2: you know that they were liking it. But I remember

1434
01:24:44,439 --> 01:24:47,479
Speaker 2: him looking over. He goes, that's a hit record, and

1435
01:24:47,520 --> 01:24:49,240
Speaker 2: I'm like, what the fuck are you talking about? He goes,

1436
01:24:49,240 --> 01:24:51,600
Speaker 2: that's a hit record, man, you know, And I'm like,

1437
01:24:51,960 --> 01:24:58,200
Speaker 2: so people knew something about that song was special before

1438
01:24:58,240 --> 01:25:03,120
Speaker 2: I did, you know. But I always knew that there

1439
01:25:03,160 --> 01:25:06,960
Speaker 2: was something big about it, you know.

1440
01:25:07,640 --> 01:25:10,639
Speaker 1: So the record has come out out on Shelter, which

1441
01:25:10,680 --> 01:25:16,160
Speaker 1: is not the most powerful record label. It's nineteen seventy six.

1442
01:25:16,640 --> 01:25:20,559
Speaker 1: Because Tom wears a leather jacket on the cover, people

1443
01:25:20,760 --> 01:25:25,519
Speaker 1: throw the Heartbreakers a little bit into a punk world,

1444
01:25:25,720 --> 01:25:30,840
Speaker 1: which it isn't. And because it's the era of the press,

1445
01:25:31,360 --> 01:25:35,200
Speaker 1: gets a lot of press, almost no action. How do

1446
01:25:35,240 --> 01:25:37,559
Speaker 1: you decide to go to England and how does it

1447
01:25:37,560 --> 01:25:38,799
Speaker 1: get traction in England?

1448
01:25:41,040 --> 01:25:45,320
Speaker 2: Once again entered Danny Cordell, who probably had I believe

1449
01:25:45,400 --> 01:25:49,920
Speaker 2: had contacts with Island Records, you know, in England. He

1450
01:25:50,439 --> 01:25:54,800
Speaker 2: was tight with those cats. And I think we were

1451
01:25:54,840 --> 01:26:01,040
Speaker 2: offered a slot in England opening for Nils Lofgren, and

1452
01:26:01,080 --> 01:26:02,720
Speaker 2: we went there on a wing in a prayer. I

1453
01:26:02,720 --> 01:26:06,519
Speaker 2: think we borrowed twenty grand from the Kiddy, you know,

1454
01:26:06,640 --> 01:26:08,479
Speaker 2: like we asked if we could get our hands on that.

1455
01:26:09,479 --> 01:26:12,400
Speaker 2: That's my memory of it. And we ended up there.

1456
01:26:12,439 --> 01:26:15,720
Speaker 2: You know, we flew there in each other's laps, and

1457
01:26:16,200 --> 01:26:18,639
Speaker 2: you know we're all living in you know, like two rooms,

1458
01:26:19,120 --> 01:26:21,240
Speaker 2: and off we go.

1459
01:26:22,640 --> 01:26:25,000
Speaker 1: Well, you know, we were reading about it across the pond.

1460
01:26:25,600 --> 01:26:28,320
Speaker 1: How much did you work and at what point did

1461
01:26:28,360 --> 01:26:29,400
Speaker 1: you say it's working?

1462
01:26:30,800 --> 01:26:35,960
Speaker 2: Well? England was really good to the band quick. Some

1463
01:26:35,960 --> 01:26:38,439
Speaker 2: something happened in England that was not happening for us

1464
01:26:38,479 --> 01:26:42,080
Speaker 2: anywhere else. And we opened We did that tour with

1465
01:26:42,200 --> 01:26:45,639
Speaker 2: Nils and we were good. That's the other thing I mean,

1466
01:26:45,680 --> 01:26:49,920
Speaker 2: I can honestly tell you, without Bravado, that was a

1467
01:26:49,960 --> 01:26:52,080
Speaker 2: fucking good band. And we knew what we were doing.

1468
01:26:52,560 --> 01:26:55,280
Speaker 2: We didn't know many songs, but we knew that. We

1469
01:26:55,360 --> 01:26:57,760
Speaker 2: knew that album, and we knew how to play it,

1470
01:26:57,920 --> 01:27:01,120
Speaker 2: and we knew a couple of covers, and we we

1471
01:27:01,120 --> 01:27:04,880
Speaker 2: were disciplined when we walked. I didn't care if if

1472
01:27:04,880 --> 01:27:07,600
Speaker 2: you were half dead, you went out and played a

1473
01:27:07,640 --> 01:27:11,280
Speaker 2: great We played great, and we did that tour with

1474
01:27:11,360 --> 01:27:13,920
Speaker 2: Nils and then literally we were going to come home

1475
01:27:13,960 --> 01:27:17,280
Speaker 2: the next night, next night and the record label said,

1476
01:27:17,680 --> 01:27:19,960
Speaker 2: why don't you stay in headline all those same shows

1477
01:27:20,600 --> 01:27:22,759
Speaker 2: that you just did. We were like, holy fuck, really,

1478
01:27:23,200 --> 01:27:26,439
Speaker 2: So that's how that it was that quick walking around

1479
01:27:26,520 --> 01:27:29,679
Speaker 2: London and seeing posters with our name on them, and

1480
01:27:29,800 --> 01:27:32,280
Speaker 2: you know, it was very quick.

1481
01:27:33,520 --> 01:27:37,080
Speaker 1: Okay, since you mentioned covers, how did you guys end

1482
01:27:37,160 --> 01:27:39,080
Speaker 1: up doing The Animals? Don't bring me down?

1483
01:27:40,240 --> 01:27:43,519
Speaker 2: We were stoned in love with the Animals, I mean

1484
01:27:43,600 --> 01:27:45,680
Speaker 2: the band. That was one of the things we all

1485
01:27:45,720 --> 01:27:49,360
Speaker 2: could agree on, like, well, there were many things like

1486
01:27:49,479 --> 01:27:53,360
Speaker 2: what is cool, Eric Burda The Animals, that's fucking cool.

1487
01:27:53,920 --> 01:27:58,559
Speaker 2: And so I didn't even know it was a goffin

1488
01:27:58,640 --> 01:28:01,280
Speaker 2: King song. I didn't, you know, I had know concept

1489
01:28:01,280 --> 01:28:03,600
Speaker 2: of who wrote this shit. I just knew that that

1490
01:28:03,840 --> 01:28:08,400
Speaker 2: song that whole you know, I loved every There wasn't

1491
01:28:08,400 --> 01:28:11,760
Speaker 2: an Animal song I didn't love. So I think the

1492
01:28:11,800 --> 01:28:16,720
Speaker 2: fact that Benmont could could play that correctly, and when

1493
01:28:16,800 --> 01:28:19,000
Speaker 2: as soon as I heard him play it, like you

1494
01:28:19,080 --> 01:28:22,240
Speaker 2: went game on once again. I turned to Ben and

1495
01:28:22,280 --> 01:28:28,000
Speaker 2: Mike because those guys had it. If they heard it,

1496
01:28:28,040 --> 01:28:30,760
Speaker 2: they knew it. And that was almost the concept of

1497
01:28:30,800 --> 01:28:33,759
Speaker 2: the everybody in that band. You didn't have to write

1498
01:28:33,760 --> 01:28:36,439
Speaker 2: it down, you didn't have to You heard it, you

1499
01:28:36,520 --> 01:28:39,240
Speaker 2: know it go and Tom had an amazing sense of

1500
01:28:40,400 --> 01:28:45,320
Speaker 2: retention for lyrics. I mean Jesus Christ. That song Jaguar

1501
01:28:45,400 --> 01:28:49,519
Speaker 2: and the t Bird, it's verbal diarrhea for three minutes

1502
01:28:50,080 --> 01:28:55,960
Speaker 2: and Tom remembers words. So he had a special extra

1503
01:28:56,040 --> 01:29:00,320
Speaker 2: chromosome that made all that work. You know, that was

1504
01:29:00,360 --> 01:29:06,160
Speaker 2: really beautiful like so that that the animals, no brainer?

1505
01:29:07,200 --> 01:29:12,679
Speaker 1: Okay. So on this side of the pond in La,

1506
01:29:13,200 --> 01:29:15,719
Speaker 1: which is you know, is regional radio, totally different market,

1507
01:29:16,040 --> 01:29:20,280
Speaker 1: they started playing a live version of Breakdown. At what

1508
01:29:20,520 --> 01:29:29,880
Speaker 1: point do you guys realize something is happening, quantify something,

1509
01:29:30,160 --> 01:29:33,479
Speaker 1: help me out here? Okay? If you were paying attention,

1510
01:29:33,600 --> 01:29:35,840
Speaker 1: which is not everybody, but it's a different world, either

1511
01:29:35,840 --> 01:29:39,800
Speaker 1: you were reading the magazines or you weren't. Okay, you

1512
01:29:39,840 --> 01:29:42,120
Speaker 1: know to that song original they played at k Rock

1513
01:29:42,280 --> 01:29:46,120
Speaker 1: was a free format station, and then you guys played

1514
01:29:46,160 --> 01:29:48,240
Speaker 1: the Whiskey a couple of times, which is really only

1515
01:29:48,280 --> 01:29:51,680
Speaker 1: three hundred and fifty people. Yeah, but there was a

1516
01:29:51,680 --> 01:29:56,200
Speaker 1: lot of press about it, etc. Did you guys feel like, Okay,

1517
01:29:56,240 --> 01:29:57,280
Speaker 1: we're on our way now.

1518
01:29:58,160 --> 01:30:01,799
Speaker 2: Nah. I don't think I ever thought that. I thought.

1519
01:30:03,040 --> 01:30:10,960
Speaker 2: I guess, okay, people Florida. Nobody in Florida had heard

1520
01:30:11,000 --> 01:30:15,559
Speaker 2: of us yet. So that was my litmus test in

1521
01:30:15,600 --> 01:30:18,400
Speaker 2: a weird way, like you know, I call home, or

1522
01:30:18,400 --> 01:30:21,439
Speaker 2: I call an old girlfriend, or I call somebody I knew,

1523
01:30:21,439 --> 01:30:24,160
Speaker 2: and they'd say like, yeah, man, we're blah blah blah,

1524
01:30:24,160 --> 01:30:26,840
Speaker 2: and go, oh, really, you're in a band called the

1525
01:30:26,840 --> 01:30:30,720
Speaker 2: the heart Heartbreaks. I haven't heard that. Or you're in

1526
01:30:30,760 --> 01:30:34,080
Speaker 2: a band called the Breakdowns. Oh that's cool, you know,

1527
01:30:34,160 --> 01:30:38,320
Speaker 2: like it'd be like, oh shit, it's not. It wasn't

1528
01:30:38,320 --> 01:30:42,840
Speaker 2: getting through home yet. I didn't think we'd I knew

1529
01:30:42,880 --> 01:30:50,719
Speaker 2: we'd connected probably by the time. That's not really your question.

1530
01:30:50,880 --> 01:30:54,880
Speaker 2: But Saturday Night Live the first time we played that

1531
01:30:55,479 --> 01:30:57,840
Speaker 2: and you walked off the stage and you walk down

1532
01:30:57,880 --> 01:31:00,160
Speaker 2: the street in New York City the next morning and

1533
01:31:00,200 --> 01:31:05,120
Speaker 2: they went yo yo yo, petty hey yo at a refugee.

1534
01:31:05,920 --> 01:31:10,040
Speaker 2: You know, it was like that was when to me

1535
01:31:11,080 --> 01:31:13,320
Speaker 2: because being on TV was a big deal back then.

1536
01:31:13,360 --> 01:31:17,000
Speaker 2: People don't realize that now, you know, because everybody's on

1537
01:31:17,120 --> 01:31:20,000
Speaker 2: fucking TV and TV you know what it was, it

1538
01:31:20,080 --> 01:31:25,479
Speaker 2: even mean, But back then, being on Saturday Night Live

1539
01:31:26,640 --> 01:31:31,040
Speaker 2: was was a big deal, and MTV was a big deal,

1540
01:31:31,360 --> 01:31:35,519
Speaker 2: and I think we were. I didn't. I didn't. We

1541
01:31:35,520 --> 01:31:37,639
Speaker 2: didn't get MTV on the West Coast. I don't think

1542
01:31:38,240 --> 01:31:40,160
Speaker 2: that was what was so funny. I think when it

1543
01:31:40,200 --> 01:31:42,920
Speaker 2: came up, I was in New York staying with a

1544
01:31:42,960 --> 01:31:46,640
Speaker 2: buddies place in the village, and he got MTV and

1545
01:31:46,680 --> 01:31:48,200
Speaker 2: I remember turned on the TV and it was like,

1546
01:31:48,479 --> 01:31:55,479
Speaker 2: holy shit, it's us eight times a day, you know

1547
01:31:55,479 --> 01:31:59,400
Speaker 2: what I mean, Like and uh and he's going like, yeah, yeah,

1548
01:31:59,439 --> 01:32:01,639
Speaker 2: we're all sick it, you know, like going right, of course,

1549
01:32:01,720 --> 01:32:02,000
Speaker 2: you know.

1550
01:32:02,400 --> 01:32:06,240
Speaker 1: Okay, the second album, you're gonna get it. Very good

1551
01:32:06,280 --> 01:32:09,000
Speaker 1: album in my own eyes, not as good as the first.

1552
01:32:09,320 --> 01:32:09,920
Speaker 2: Sure, you know.

1553
01:32:10,120 --> 01:32:13,240
Speaker 1: The big press story is listen to her hard. Tom

1554
01:32:13,280 --> 01:32:17,759
Speaker 1: won't let the label change the word cocaine in the band.

1555
01:32:18,360 --> 01:32:21,040
Speaker 1: Did you feel like you'd lost any momentum or it

1556
01:32:21,080 --> 01:32:23,479
Speaker 1: seem like we're still you know, we're going forward.

1557
01:32:26,760 --> 01:32:28,679
Speaker 2: I wish I could tell you there was any thought

1558
01:32:28,920 --> 01:32:34,240
Speaker 2: or any even aware self real awareness. All I knew

1559
01:32:34,280 --> 01:32:38,840
Speaker 2: is we were still in business, literally, like the boys

1560
01:32:38,880 --> 01:32:41,720
Speaker 2: from Florida were still in business, Like we got to

1561
01:32:41,760 --> 01:32:44,599
Speaker 2: make another record and we're actually I think we were,

1562
01:32:45,160 --> 01:32:47,200
Speaker 2: unless I'm mistaken. I think that was around the time

1563
01:32:47,240 --> 01:32:53,480
Speaker 2: we're playing like civic size gigs and we're playing the Paramount,

1564
01:32:53,520 --> 01:32:56,360
Speaker 2: We're playing theaters. Now I think I got a I

1565
01:32:56,360 --> 01:32:59,960
Speaker 2: can think I got that right, and so in my mind,

1566
01:33:00,880 --> 01:33:05,000
Speaker 2: we're kicking ass. So I wasn't. And I think we

1567
01:33:05,040 --> 01:33:08,240
Speaker 2: even had a gold record when that thing came out.

1568
01:33:08,240 --> 01:33:10,400
Speaker 2: I remember, yeah, there's pictures of us getting We got

1569
01:33:10,400 --> 01:33:12,160
Speaker 2: our gold records, and I put one on the wall.

1570
01:33:12,640 --> 01:33:17,840
Speaker 2: So loss of momentum contraire, I would say, in my mind,

1571
01:33:18,560 --> 01:33:21,599
Speaker 2: it's like the foot was on the you know, it

1572
01:33:21,600 --> 01:33:24,000
Speaker 2: felt like it felt like victory to me. You know,

1573
01:33:24,000 --> 01:33:27,240
Speaker 2: it smelled like smelled good, you know.

1574
01:33:28,600 --> 01:33:33,439
Speaker 1: Okay, So Shelter is sold to MCAM is very lame

1575
01:33:33,520 --> 01:33:37,640
Speaker 1: label at the time. Ben doesn't like that there's a

1576
01:33:37,680 --> 01:33:41,400
Speaker 1: declaration of bankruptcy. What does it look like from inside

1577
01:33:41,520 --> 01:33:43,400
Speaker 1: the hornet's nest there?

1578
01:33:43,760 --> 01:33:45,880
Speaker 2: Well, I think you left out ABC in there too,

1579
01:33:45,960 --> 01:33:46,720
Speaker 2: I think.

1580
01:33:47,080 --> 01:33:49,800
Speaker 1: Yeah, Well, AB Shelter had to deal with ABC, and

1581
01:33:49,800 --> 01:33:51,599
Speaker 1: then ABC was sold to MCA.

1582
01:33:52,800 --> 01:33:56,280
Speaker 2: Well, the cool thing about ABC was we met John Scott,

1583
01:33:56,320 --> 01:33:58,479
Speaker 2: who was the you know and that one again it

1584
01:33:58,479 --> 01:34:02,200
Speaker 2: takes a village. John Scott was the guy who heard break.

1585
01:34:02,360 --> 01:34:04,240
Speaker 2: He has certainly told me and he wrote a book

1586
01:34:04,240 --> 01:34:09,519
Speaker 2: about it exactly. But with all due respect, got to

1587
01:34:09,560 --> 01:34:12,519
Speaker 2: love that guy. Man I mean, you know anyway, Okay,

1588
01:34:13,000 --> 01:34:14,559
Speaker 2: like I said, it takes a village. Let me name

1589
01:34:14,600 --> 01:34:20,760
Speaker 2: a few people before this is over, okay, MCA. I

1590
01:34:23,040 --> 01:34:30,559
Speaker 2: wasn't really privy to all the bookkeeping, horror of all

1591
01:34:30,600 --> 01:34:34,200
Speaker 2: of that. All I knew was the bottom line that

1592
01:34:34,240 --> 01:34:37,840
Speaker 2: we could sell. I think it was postulated we could

1593
01:34:37,920 --> 01:34:42,800
Speaker 2: sell five million records and never break even. That was

1594
01:34:42,880 --> 01:34:47,719
Speaker 2: the log line the takeaway for me, and Tom just said,

1595
01:34:47,720 --> 01:34:50,680
Speaker 2: well fuck it. And I remember we were making torpedoes.

1596
01:34:50,720 --> 01:34:57,320
Speaker 2: We were all taking tapes and sequestering them away under

1597
01:34:57,320 --> 01:35:00,280
Speaker 2: weird names, and we're not even making a record, and

1598
01:35:01,320 --> 01:35:05,920
Speaker 2: it was, uh, it was an odd time. And then

1599
01:35:06,000 --> 01:35:11,040
Speaker 2: filing for bankruptcy. I think once again, Tom was a

1600
01:35:11,120 --> 01:35:15,200
Speaker 2: master at spinning that which to me could have been

1601
01:35:15,240 --> 01:35:19,519
Speaker 2: an embarrassment. That could have been embarrassing, like oh here

1602
01:35:19,560 --> 01:35:24,320
Speaker 2: he goes following, Tom flipped the script and made that

1603
01:35:24,439 --> 01:35:31,040
Speaker 2: into a on a battle, uh you know, like it

1604
01:35:31,080 --> 01:35:36,479
Speaker 2: was like Dave and Goliath, and he made he made

1605
01:35:36,479 --> 01:35:39,679
Speaker 2: it as the underdog versus the overlord. And I think

1606
01:35:39,720 --> 01:35:42,680
Speaker 2: that that played beautifully. And I think you know, to

1607
01:35:42,760 --> 01:35:48,640
Speaker 2: his credit, he never felt embarrassed or shamed by bankruptcy.

1608
01:35:48,680 --> 01:35:50,880
Speaker 2: He felt this is the way. This is the way

1609
01:35:50,920 --> 01:35:55,840
Speaker 2: it's got to be handled. That's my fifty cent tour

1610
01:35:55,920 --> 01:35:56,120
Speaker 2: of it.

1611
01:35:58,520 --> 01:36:01,800
Speaker 1: Okay, you start working with Jimmy Ivan. He'd been working

1612
01:36:01,840 --> 01:36:04,640
Speaker 1: with Dinny Cordell. What's it like with Jimmy and what

1613
01:36:04,680 --> 01:36:11,640
Speaker 1: does Jimmy do? He brought a lot of awareness. I

1614
01:36:11,680 --> 01:36:15,360
Speaker 1: think he was very good for Tom in his song selections.

1615
01:36:16,160 --> 01:36:20,360
Speaker 1: I think he pushed Tom to bring him great songs.

1616
01:36:20,400 --> 01:36:23,760
Speaker 1: And I think that's probably any good producer, now that

1617
01:36:23,840 --> 01:36:26,760
Speaker 1: I've learned the job. First order of business, do we

1618
01:36:26,800 --> 01:36:27,679
Speaker 1: have great songs?

1619
01:36:28,320 --> 01:36:31,599
Speaker 2: And I think Jimmy went right to Tom and said

1620
01:36:32,240 --> 01:36:36,920
Speaker 2: let me hear him, and to Tom's credit, most of

1621
01:36:36,960 --> 01:36:43,080
Speaker 2: them were there. He brought Shelley Acus, who was unbelievably

1622
01:36:43,880 --> 01:36:49,240
Speaker 2: talented engineer compared to what we had previously been dealing with,

1623
01:36:49,280 --> 01:36:53,280
Speaker 2: which was you know, I wouldn't have known that there

1624
01:36:53,320 --> 01:36:56,320
Speaker 2: was between a soup spoon and a SM fifty seven,

1625
01:36:56,560 --> 01:37:00,439
Speaker 2: you know what I mean. So Shelley brought all this

1626
01:37:01,280 --> 01:37:07,920
Speaker 2: incredible knowledge to the table microphones recording, and he even

1627
01:37:07,920 --> 01:37:11,400
Speaker 2: took me drum shopping, you know, literally to help me

1628
01:37:11,439 --> 01:37:13,960
Speaker 2: get a drum sound, because he said, your drum sound

1629
01:37:14,200 --> 01:37:16,639
Speaker 2: starts here. You know it starts with you and your

1630
01:37:16,680 --> 01:37:21,040
Speaker 2: drum sound isn't what we need. And so he literally

1631
01:37:21,040 --> 01:37:25,040
Speaker 2: spent three days going to music stores helping me create

1632
01:37:25,479 --> 01:37:31,800
Speaker 2: a sound. So Jimmy brought a lot of that New

1633
01:37:31,880 --> 01:37:37,479
Speaker 2: York energy hit records. He even knew what the fuck

1634
01:37:37,520 --> 01:37:39,960
Speaker 2: that meant, you know what I mean, he actually knew

1635
01:37:39,960 --> 01:37:42,599
Speaker 2: what that meant. And I believe he also knew that

1636
01:37:43,040 --> 01:37:47,479
Speaker 2: MTV was fixing to become the biggest radio station in

1637
01:37:47,479 --> 01:37:50,800
Speaker 2: the world, and he knew that Tom was going to

1638
01:37:50,880 --> 01:37:53,519
Speaker 2: be part of that. I think he had all He

1639
01:37:53,560 --> 01:37:56,160
Speaker 2: had a big picture that I certainly didn't have.

1640
01:37:58,080 --> 01:38:05,479
Speaker 1: Okay, damn, the Torpedo is gigantic, Okay, hard promises after

1641
01:38:05,520 --> 01:38:07,920
Speaker 1: that not quite as big, but the band is on

1642
01:38:07,960 --> 01:38:12,880
Speaker 1: an arena tour. Long after Dark not as good as

1643
01:38:12,880 --> 01:38:16,439
Speaker 1: the previous two From Inside the gold Mine.

1644
01:38:16,920 --> 01:38:18,599
Speaker 2: Do you feel like, hmm.

1645
01:38:18,560 --> 01:38:20,200
Speaker 1: Maybe this is going in the wrong direction or is

1646
01:38:20,240 --> 01:38:22,479
Speaker 1: it just another you know album you're making?

1647
01:38:25,160 --> 01:38:29,400
Speaker 2: You know at that point where Heart promises now no

1648
01:38:29,960 --> 01:38:33,160
Speaker 2: long after Dark, oh, long after Dark, I don't know.

1649
01:38:33,360 --> 01:38:38,400
Speaker 2: I thought from a you're you know, you've got a

1650
01:38:38,560 --> 01:38:42,320
Speaker 2: nice forty thousand foot view that I don't have. You

1651
01:38:42,360 --> 01:38:44,360
Speaker 2: know what, I mean like you're looking at it. I'm

1652
01:38:44,360 --> 01:38:49,280
Speaker 2: looking out at out through it. And from my perspective,

1653
01:38:50,160 --> 01:38:54,280
Speaker 2: it was pretty cool, you know what I mean? Literally,

1654
01:38:54,320 --> 01:38:56,839
Speaker 2: I don't know, like you said, we're on arena tours,

1655
01:38:57,320 --> 01:39:00,000
Speaker 2: there's new songs on the set list. Now there's these.

1656
01:39:00,840 --> 01:39:04,920
Speaker 2: I enjoyed that record more than Torpedoes because I thought

1657
01:39:04,960 --> 01:39:10,000
Speaker 2: the drums were more fun and more bombastic, you know,

1658
01:39:10,080 --> 01:39:14,000
Speaker 2: like I enjoyed like the Waiting and night Watchmen and.

1659
01:39:14,479 --> 01:39:17,360
Speaker 1: No, I love that album. I'm talking about the album after.

1660
01:39:17,439 --> 01:39:22,400
Speaker 2: Oh Long, After Dark, Right, Yeah, I kind of guess

1661
01:39:22,400 --> 01:39:26,160
Speaker 2: I might have felt a little bit of a you know,

1662
01:39:26,920 --> 01:39:30,320
Speaker 2: maybe some little like a sag is that the word? Like,

1663
01:39:30,400 --> 01:39:35,200
Speaker 2: you could feel like the arc is like it's well

1664
01:39:35,439 --> 01:39:37,840
Speaker 2: and but Tom was a very good cheerleader too, and

1665
01:39:37,880 --> 01:39:41,320
Speaker 2: he would say, you know, like when like you Got

1666
01:39:41,360 --> 01:39:44,200
Speaker 2: Lucky is a hit, and he would say, Stanley, that's

1667
01:39:44,200 --> 01:39:47,240
Speaker 2: going on the set list. So as long as long

1668
01:39:47,280 --> 01:39:50,639
Speaker 2: as we were thinking about the live gig, my life

1669
01:39:50,760 --> 01:39:54,400
Speaker 2: was made. That was my depth of my awareness at

1670
01:39:54,600 --> 01:39:56,439
Speaker 2: how old a guy I was at that point, you know,

1671
01:39:56,479 --> 01:39:59,559
Speaker 2: my late twenties. Was like we're gonna tour, you mean,

1672
01:39:59,560 --> 01:40:01,479
Speaker 2: we're gonna go go on the road again.

1673
01:40:02,320 --> 01:40:10,040
Speaker 1: Right, okay, But then you switch everything up, you know,

1674
01:40:10,439 --> 01:40:13,680
Speaker 1: more time goes by two and a half years. You

1675
01:40:13,760 --> 01:40:16,800
Speaker 1: start working with Dave Stewart, who's hot with the rhythmics.

1676
01:40:17,240 --> 01:40:22,599
Speaker 1: You put out an album that whatever people's expectations are,

1677
01:40:23,160 --> 01:40:26,840
Speaker 1: suddenly it's played on MTV and the band is as

1678
01:40:26,880 --> 01:40:29,760
Speaker 1: big as it ever was, if not bigger. So what

1679
01:40:29,960 --> 01:40:31,479
Speaker 1: was the view from inside there?

1680
01:40:34,000 --> 01:40:38,200
Speaker 2: God? I was such a simpleton. I mean, I wish

1681
01:40:38,200 --> 01:40:41,960
Speaker 2: you could the guy you're talking to you right now

1682
01:40:42,040 --> 01:40:49,439
Speaker 2: is not that guy. So that guy was probably thinking, boy,

1683
01:40:49,439 --> 01:40:54,080
Speaker 2: the girl in the video is really cute. We're getting

1684
01:40:54,080 --> 01:40:59,760
Speaker 2: to make videos. This is awesome. I got a nice car.

1685
01:41:02,800 --> 01:41:06,479
Speaker 2: I was such a bonehead. But you know what, I

1686
01:41:06,720 --> 01:41:09,560
Speaker 2: think I was actually the perfect drummer at that point.

1687
01:41:09,720 --> 01:41:11,800
Speaker 2: I was exactly what you'd expect out of a rock

1688
01:41:11,840 --> 01:41:16,200
Speaker 2: and roll drummer in his late twenties experiencing success. So

1689
01:41:16,240 --> 01:41:20,320
Speaker 2: from my perspective, it was Alfredy Newman, What me worry?

1690
01:41:20,800 --> 01:41:25,479
Speaker 2: You know, It's like, so what did Dave Stewart add

1691
01:41:25,520 --> 01:41:27,760
Speaker 2: to the bis? Dave was cool, you know, it was

1692
01:41:27,800 --> 01:41:30,360
Speaker 2: like not really my cup of tea for the band.

1693
01:41:31,120 --> 01:41:36,280
Speaker 2: I didn't understand, like, you know, I cool guy, I

1694
01:41:36,280 --> 01:41:38,600
Speaker 2: mean really cool guy, but I didn't understand what he

1695
01:41:38,640 --> 01:41:42,760
Speaker 2: was doing with our band. To me, we were a

1696
01:41:42,760 --> 01:41:45,760
Speaker 2: gang and I don't under you know, I would never

1697
01:41:45,840 --> 01:41:48,040
Speaker 2: understand why any people were in our gang that weren't

1698
01:41:48,560 --> 01:41:51,760
Speaker 2: in our gang. You know, so Dave. But but I

1699
01:41:51,760 --> 01:41:54,680
Speaker 2: played on a record. Dave had me play on a

1700
01:41:54,880 --> 01:41:57,040
Speaker 2: sisters are doing It for themselves that you're you know

1701
01:41:57,040 --> 01:42:02,280
Speaker 2: e rhythmic Aretha and I Love on a session four Dave.

1702
01:42:03,040 --> 01:42:05,519
Speaker 2: He was very exciting. I didn't understand what he was

1703
01:42:05,520 --> 01:42:08,479
Speaker 2: doing in our band, but that was but Tom loved it.

1704
01:42:08,600 --> 01:42:11,960
Speaker 2: He was having fun. So what am I gonna say? Great?

1705
01:42:13,479 --> 01:42:16,559
Speaker 1: Okay? What was it like touring with Dylan?

1706
01:42:17,360 --> 01:42:24,679
Speaker 2: Oh? Man? Uh? That was the high point of drumming

1707
01:42:24,720 --> 01:42:27,880
Speaker 2: for me? It was It was never as good and

1708
01:42:27,920 --> 01:42:30,439
Speaker 2: it will probably never be that good again because that

1709
01:42:30,600 --> 01:42:35,439
Speaker 2: was a high, total high for me. And what was

1710
01:42:35,479 --> 01:42:39,720
Speaker 2: it like? It was like a high wire act every night,

1711
01:42:40,760 --> 01:42:44,760
Speaker 2: but knowing you were gonna, you were gonna, you were

1712
01:42:44,760 --> 01:42:49,200
Speaker 2: gonna connect it was but every night was shot from

1713
01:42:49,200 --> 01:42:51,680
Speaker 2: a cannon. I don't even know we're gonna what we're

1714
01:42:51,680 --> 01:42:58,000
Speaker 2: gonna do, but it was. He was amazing, the most soulful, fearless,

1715
01:42:59,680 --> 01:43:03,679
Speaker 2: uh rock star. I've ever had the pleasure of looking

1716
01:43:03,680 --> 01:43:07,599
Speaker 2: at it, at his ass, you know, from like that

1717
01:43:07,640 --> 01:43:10,519
Speaker 2: guy is the shit. That's all I remember thinking. And

1718
01:43:10,600 --> 01:43:15,519
Speaker 2: I wasn't enamored when we started. I became a fan

1719
01:43:16,760 --> 01:43:21,360
Speaker 2: as we played with him. I missed Bob the first time.

1720
01:43:21,400 --> 01:43:26,479
Speaker 2: I was so stupid I missed it. But boy did

1721
01:43:26,520 --> 01:43:29,080
Speaker 2: I get it when we were on the road with him.

1722
01:43:29,680 --> 01:43:33,960
Speaker 2: That guy taught me that you know it's your way

1723
01:43:34,720 --> 01:43:36,559
Speaker 2: or if you ain't doing your thing, you're doing somebody

1724
01:43:36,560 --> 01:43:39,080
Speaker 2: else's thing. And he was the shit.

1725
01:43:40,680 --> 01:43:42,800
Speaker 1: Okay, I know people have been on the road with Bob,

1726
01:43:42,880 --> 01:43:46,280
Speaker 1: worked with Bob. They're on a thirty day tour. He

1727
01:43:46,400 --> 01:43:50,080
Speaker 1: nods to them, doesn't he really even talk to him?

1728
01:43:50,120 --> 01:43:51,320
Speaker 1: What was your experience?

1729
01:43:52,080 --> 01:43:59,400
Speaker 2: Extremely personable, he talked a lot. We actually kind of

1730
01:43:59,479 --> 01:44:03,200
Speaker 2: hung out, like we we went and saw Frank Sinatra

1731
01:44:03,240 --> 01:44:06,479
Speaker 2: and Sammy Davis together. Like I won't say that we

1732
01:44:06,479 --> 01:44:09,120
Speaker 2: were like asshole buddy, he's I mean, I don't think

1733
01:44:09,160 --> 01:44:11,080
Speaker 2: he needed an asshole. He didn't need a new friend.

1734
01:44:11,120 --> 01:44:14,520
Speaker 2: He was, but I think he he was extremely tolerant

1735
01:44:14,640 --> 01:44:20,200
Speaker 2: of this bombastic load of shit that was playing behind him.

1736
01:44:20,240 --> 01:44:22,240
Speaker 2: The whole time, and he said, I think he kind

1737
01:44:22,240 --> 01:44:24,640
Speaker 2: of got a kick out of it. I think, you know,

1738
01:44:24,720 --> 01:44:28,800
Speaker 2: I never asked him, but I got great feedback from him.

1739
01:44:30,080 --> 01:44:34,160
Speaker 2: Uh uh. He was funny. He's funny as shit. Man.

1740
01:44:34,200 --> 01:44:37,800
Speaker 2: He was personal nice to my mother.

1741
01:44:39,720 --> 01:44:44,400
Speaker 1: Well, can you say, Okay, are you the type of guy,

1742
01:44:45,720 --> 01:44:49,240
Speaker 1: because you're verbal and agreeable, that you're the one who's

1743
01:44:49,240 --> 01:44:51,800
Speaker 1: gonna make the friends with Bob Dylan or you just

1744
01:44:51,880 --> 01:44:53,000
Speaker 1: want to five friends of.

1745
01:44:52,960 --> 01:44:59,320
Speaker 2: Bob Dylan and the band? Good question. I I just

1746
01:44:59,360 --> 01:45:02,639
Speaker 2: did what felt natural, Like if Bob and I were

1747
01:45:02,640 --> 01:45:05,519
Speaker 2: in the room, I'm going to start talking, you know,

1748
01:45:05,600 --> 01:45:07,320
Speaker 2: I'm gonna and if he doesn't want to talk, he'll

1749
01:45:07,360 --> 01:45:12,000
Speaker 2: walk away. I mean, I don't know. I don't think

1750
01:45:12,040 --> 01:45:17,599
Speaker 2: Bob is that concerned with everybody else. I think if

1751
01:45:17,640 --> 01:45:19,200
Speaker 2: Bob was in the mood to say hi to me,

1752
01:45:19,280 --> 01:45:21,160
Speaker 2: he would then, and if he was in the mood

1753
01:45:21,200 --> 01:45:23,360
Speaker 2: to make a joke, he'd make a joke. And and

1754
01:45:23,439 --> 01:45:25,839
Speaker 2: if he was in the mood to be jocular on stage,

1755
01:45:26,880 --> 01:45:29,240
Speaker 2: I don't think he premeditates. He's not a lot of

1756
01:45:29,280 --> 01:45:34,000
Speaker 2: showbiz in Bob. You know, there's like a I think

1757
01:45:34,040 --> 01:45:40,639
Speaker 2: it's his personality off stage and on stage, I don't

1758
01:45:40,680 --> 01:45:44,840
Speaker 2: know that the veneer. It's very thin between them, if

1759
01:45:44,880 --> 01:45:50,480
Speaker 2: there is one at all, it's like, eh, but yeah,

1760
01:45:51,000 --> 01:45:55,120
Speaker 2: I found him to be hysterical and uh, I loved it,

1761
01:45:55,120 --> 01:45:56,920
Speaker 2: and we got to go places I would have never

1762
01:45:57,000 --> 01:45:58,400
Speaker 2: gone if it hadn't been for Bob.

1763
01:45:58,520 --> 01:46:04,120
Speaker 1: You know, Okay, you know people make movies, go on

1764
01:46:04,160 --> 01:46:07,679
Speaker 1: the road with people, best buddies. They never see him again.

1765
01:46:08,240 --> 01:46:10,719
Speaker 1: You ever hear from or run into Bob Dylan again.

1766
01:46:11,600 --> 01:46:14,120
Speaker 2: It's been ages, but I got to say. When Sammy

1767
01:46:14,200 --> 01:46:17,679
Speaker 2: Davis died, he left a message on my answering machine

1768
01:46:17,680 --> 01:46:21,960
Speaker 2: that touched me. And I got a Christmas card from

1769
01:46:22,000 --> 01:46:26,200
Speaker 2: Bob oddly enough once where he had He was so sweet,

1770
01:46:26,320 --> 01:46:31,160
Speaker 2: and I felt that maybe I I didn't know how

1771
01:46:31,160 --> 01:46:35,040
Speaker 2: to respond. I was, Oh, I was, and still am

1772
01:46:35,400 --> 01:46:39,640
Speaker 2: in over my head how I would or why I

1773
01:46:39,680 --> 01:46:41,599
Speaker 2: would reach out, or if he would even give a shit.

1774
01:46:42,080 --> 01:46:46,559
Speaker 2: But I've always sent messages through his manager or anyone

1775
01:46:46,880 --> 01:46:50,160
Speaker 2: near him. Please tell him I love him, tell him,

1776
01:46:50,240 --> 01:46:52,920
Speaker 2: I hope he's well, and you know, because I mean it.

1777
01:46:52,920 --> 01:46:57,920
Speaker 2: It's like, but no, no, I don't think, no, I

1778
01:46:57,920 --> 01:46:59,760
Speaker 2: don't know. We're not communicating.

1779
01:47:08,640 --> 01:47:13,439
Speaker 1: Okay, it ends with the Heartbreakers. You're now Stan Lynch,

1780
01:47:13,800 --> 01:47:16,280
Speaker 1: How do you pick yourself up? And where do you

1781
01:47:16,360 --> 01:47:16,960
Speaker 1: go from there?

1782
01:47:19,080 --> 01:47:24,759
Speaker 2: I was very fortunate. Probably within about two days of sitting,

1783
01:47:25,600 --> 01:47:27,559
Speaker 2: you know, in my house, just kind of going what

1784
01:47:27,600 --> 01:47:30,519
Speaker 2: the fuck is going to happen? The phone rings and

1785
01:47:30,560 --> 01:47:34,240
Speaker 2: it's Don Henley and it's like, he goes, you know, hey, Bud,

1786
01:47:34,280 --> 01:47:36,240
Speaker 2: what are you doing? And I'm like, I don't know.

1787
01:47:36,560 --> 01:47:38,880
Speaker 2: He goes, you know, he basically like I heard, you know,

1788
01:47:39,360 --> 01:47:42,759
Speaker 2: that's Don. It's always pretty curt very short, and I heard,

1789
01:47:43,720 --> 01:47:46,040
Speaker 2: you know, what are you doing? I go, and he goes,

1790
01:47:46,160 --> 01:47:49,360
Speaker 2: We'll get your ass on a plane, put your studio

1791
01:47:49,400 --> 01:47:51,120
Speaker 2: in a bunch of boxes and get it out of here.

1792
01:47:51,560 --> 01:47:53,560
Speaker 2: I go, what's going on? He goes, I'm putting the

1793
01:47:53,600 --> 01:47:56,439
Speaker 2: Eagles back together, and I need a song and I

1794
01:47:56,479 --> 01:47:58,960
Speaker 2: want you to help. You know, see what you got.

1795
01:47:58,960 --> 01:48:00,160
Speaker 2: I want to see if you got a song for

1796
01:48:00,200 --> 01:48:05,920
Speaker 2: the band. So I went from like fucked beyond belief

1797
01:48:06,560 --> 01:48:10,800
Speaker 2: to wow, my big brother calledy has something for me

1798
01:48:10,840 --> 01:48:13,880
Speaker 2: to do. So it went. It was it was a

1799
01:48:13,920 --> 01:48:17,120
Speaker 2: complete like I went through I shot through a door

1800
01:48:17,400 --> 01:48:23,920
Speaker 2: courtesy of Don and ended up at his place writing songs.

1801
01:48:25,240 --> 01:48:27,759
Speaker 1: Well, you have a song on the Health Wheezys Over album,

1802
01:48:28,280 --> 01:48:31,200
Speaker 1: but from the moment you get on the plane, how

1803
01:48:31,280 --> 01:48:33,200
Speaker 1: much work is there with How long did that period

1804
01:48:33,240 --> 01:48:37,759
Speaker 1: of time Health wheeze Is Over last for you? Before

1805
01:48:37,800 --> 01:48:40,679
Speaker 1: that happened, before the No No no, once it started.

1806
01:48:40,720 --> 01:48:44,120
Speaker 1: Once you came to LA, come to write songs. You know,

1807
01:48:44,160 --> 01:48:46,040
Speaker 1: you can write song in a day and go home.

1808
01:48:46,320 --> 01:48:48,160
Speaker 1: You can write song, can make a record of be

1809
01:48:48,160 --> 01:48:50,559
Speaker 1: a year. I mean, how long were you out working

1810
01:48:50,600 --> 01:48:52,080
Speaker 1: on that before you had to figure out what we're

1811
01:48:52,080 --> 01:48:52,719
Speaker 1: going to do next?

1812
01:48:53,080 --> 01:48:56,120
Speaker 2: Oh well, one thing leads to another, Work leads to work,

1813
01:48:56,160 --> 01:49:00,360
Speaker 2: work begets work. So with Down, I went out there

1814
01:49:00,400 --> 01:49:04,240
Speaker 2: and you know, I wrote a lot of stuff that

1815
01:49:04,320 --> 01:49:08,360
Speaker 2: didn't connect with him. He didn't like it great, but

1816
01:49:08,600 --> 01:49:12,080
Speaker 2: you know, you go through your process and then one

1817
01:49:12,120 --> 01:49:14,439
Speaker 2: thing did connect and the next thing he said was

1818
01:49:14,439 --> 01:49:18,760
Speaker 2: wanting you come co produce it. So I went to

1819
01:49:18,920 --> 01:49:26,040
Speaker 2: LA and started writing with Don, and then probably an

1820
01:49:26,080 --> 01:49:30,160
Speaker 2: album came up after that. Like I would just I

1821
01:49:30,240 --> 01:49:34,479
Speaker 2: stayed in gear. I never stopped really with with Don

1822
01:49:34,520 --> 01:49:36,920
Speaker 2: and with other people. It's just one thing led to

1823
01:49:36,960 --> 01:49:39,559
Speaker 2: another and I just stayed working.

1824
01:49:41,280 --> 01:49:42,400
Speaker 1: Well, how busy were you.

1825
01:49:44,080 --> 01:49:45,280
Speaker 2: As much as I could stand.

1826
01:49:46,800 --> 01:49:49,840
Speaker 1: And you talk about having a staff writing deal with John,

1827
01:49:50,600 --> 01:49:51,679
Speaker 1: how did that come together?

1828
01:49:52,080 --> 01:49:55,639
Speaker 2: Well, when I throughout with the Heartbreakers, I always had

1829
01:49:55,640 --> 01:49:59,800
Speaker 2: a publishing deal is what they called him, and you

1830
01:49:59,840 --> 01:50:02,920
Speaker 2: were a staff writer essentially, you know. And I probably

1831
01:50:02,920 --> 01:50:07,680
Speaker 2: had been through six or seven publishing companies by the

1832
01:50:07,760 --> 01:50:12,960
Speaker 2: time I stopped doing that, So I was always a writer.

1833
01:50:13,680 --> 01:50:17,880
Speaker 2: Somebody had my my publishing, you know. I made a

1834
01:50:17,880 --> 01:50:22,200
Speaker 2: series of goofy deals until finally Wickson said, quit making deals.

1835
01:50:22,320 --> 01:50:24,800
Speaker 2: We're going to get all your shit back and we're

1836
01:50:24,800 --> 01:50:28,240
Speaker 2: going to administrate it correctly, and we're going to organize you.

1837
01:50:28,720 --> 01:50:31,479
Speaker 2: And I'm not quite sure if that answers your question.

1838
01:50:32,960 --> 01:50:37,240
Speaker 1: Well, you said that when you met John, it sounded

1839
01:50:37,280 --> 01:50:39,479
Speaker 1: like you were one thing to have a publishing deal.

1840
01:50:39,760 --> 01:50:42,000
Speaker 1: It's another thing where they give you money every week.

1841
01:50:42,520 --> 01:50:44,200
Speaker 1: So I guess I thought it was the kind of

1842
01:50:44,200 --> 01:50:47,160
Speaker 1: deal where hey, you know, we'll pay you write a

1843
01:50:47,160 --> 01:50:50,200
Speaker 1: certain number of songs other people try to get covers.

1844
01:50:50,680 --> 01:50:52,439
Speaker 1: Or is it just like, hey, you have a deal,

1845
01:50:52,479 --> 01:50:53,519
Speaker 1: like you always have a deal.

1846
01:50:54,040 --> 01:50:57,080
Speaker 2: It's the deals were there's every kind of deal. It

1847
01:50:57,120 --> 01:50:59,120
Speaker 2: depends on how hungry you are and how broke you are,

1848
01:50:59,560 --> 01:51:01,880
Speaker 2: Like you can make co publishing deals where they give

1849
01:51:01,920 --> 01:51:05,800
Speaker 2: you an advance annually and then they own pieces of

1850
01:51:05,840 --> 01:51:08,760
Speaker 2: it for a certain amount of time. It's very complicated.

1851
01:51:08,800 --> 01:51:10,920
Speaker 2: And that's where I said, like this guy Wicks and

1852
01:51:11,120 --> 01:51:15,160
Speaker 2: Randall came in with an army of lawyers and figured

1853
01:51:15,160 --> 01:51:17,840
Speaker 2: out my trail of tears for the last twenty five

1854
01:51:17,920 --> 01:51:21,160
Speaker 2: years of publishing, and you know, and got it all

1855
01:51:21,240 --> 01:51:24,400
Speaker 2: back for me. But with John and I, we happened

1856
01:51:24,400 --> 01:51:28,200
Speaker 2: to both be in Nashville writing for separate companies. He

1857
01:51:28,360 --> 01:51:30,640
Speaker 2: was with I think Pierce Southern. I might have been

1858
01:51:30,680 --> 01:51:35,439
Speaker 2: with Warner Chapel, and we were both just writing songs

1859
01:51:35,439 --> 01:51:36,160
Speaker 2: for other people.

1860
01:51:37,560 --> 01:51:40,920
Speaker 1: Okay, you end up having a country hit with Tim McGraw.

1861
01:51:40,960 --> 01:51:41,839
Speaker 1: How does that happen?

1862
01:51:42,360 --> 01:51:42,880
Speaker 2: I don't know.

1863
01:51:43,280 --> 01:51:49,920
Speaker 3: You tell me, I mean it, I don't know, dude. Well,

1864
01:51:50,000 --> 01:51:52,519
Speaker 3: let me ask you. You know, in Nashville they have

1865
01:51:52,680 --> 01:51:56,479
Speaker 3: these writing sessions. Yes, how was the song written? And

1866
01:51:56,600 --> 01:51:58,040
Speaker 3: how long until it got to Tim?

1867
01:51:59,680 --> 01:52:04,439
Speaker 2: Relatively quickly? I mean it was we were we were

1868
01:52:04,439 --> 01:52:06,639
Speaker 2: all thrown together. There was a guy I was working

1869
01:52:06,640 --> 01:52:09,080
Speaker 2: with who I had known pretty well, and it was

1870
01:52:09,800 --> 01:52:13,080
Speaker 2: we got together and we wrote one afternoon, but probably

1871
01:52:13,120 --> 01:52:15,800
Speaker 2: wrote three songs is what you do in Nashville. You know,

1872
01:52:15,880 --> 01:52:18,439
Speaker 2: you you write a lot of songs, which is not

1873
01:52:18,680 --> 01:52:21,920
Speaker 2: what I do, but when you're in Nashville, you do it.

1874
01:52:22,320 --> 01:52:24,720
Speaker 2: And we wrote, then you demo. At the end of

1875
01:52:24,720 --> 01:52:29,080
Speaker 2: the week, we demoed the song and I think we

1876
01:52:29,160 --> 01:52:33,679
Speaker 2: played for the publisher. Now at that point, I was gone, shit,

1877
01:52:33,760 --> 01:52:36,599
Speaker 2: I just wrote I was out of there. And then

1878
01:52:38,680 --> 01:52:40,439
Speaker 2: I think I got the call from my Cope part,

1879
01:52:40,680 --> 01:52:43,679
Speaker 2: my Cope writer on that, and he said, yeah, it's

1880
01:52:43,680 --> 01:52:47,200
Speaker 2: on hold for McGraw and I'm like, eh, cool, whatever

1881
01:52:47,240 --> 01:52:51,040
Speaker 2: that means. And then he said, oh, yeah McGraw cut it. Well,

1882
01:52:51,040 --> 01:52:53,280
Speaker 2: whatever that means, because you could probably cut fifty songs.

1883
01:52:53,280 --> 01:52:55,080
Speaker 2: And I make the you know, it's like all this

1884
01:52:55,240 --> 01:52:57,640
Speaker 2: is all and then he goes, I think it's just

1885
01:52:57,880 --> 01:53:01,040
Speaker 2: it's going to be a single. I'm like what. And

1886
01:53:01,080 --> 01:53:03,360
Speaker 2: then it was like then Steven's called me when he

1887
01:53:03,400 --> 01:53:06,000
Speaker 2: goes Son of a Bitch went to number one. So

1888
01:53:06,080 --> 01:53:07,960
Speaker 2: I flew to I flew to Nashville and we drove

1889
01:53:08,000 --> 01:53:10,439
Speaker 2: around of the car till we heard it together, which

1890
01:53:10,479 --> 01:53:11,160
Speaker 2: was really fun.

1891
01:53:13,200 --> 01:53:15,760
Speaker 1: Okay, let's go back with Don Henley. You know he

1892
01:53:16,439 --> 01:53:19,160
Speaker 1: reaches out after you lose your gig with the Heartbreakers,

1893
01:53:19,520 --> 01:53:21,679
Speaker 1: but you worked with him on a second and third

1894
01:53:21,720 --> 01:53:24,719
Speaker 1: solo albums and have songwriting credits. How did that come together?

1895
01:53:27,920 --> 01:53:32,719
Speaker 2: Because he's a he's a good dude, and he must

1896
01:53:32,800 --> 01:53:37,320
Speaker 2: have seen he saw something in me that he felt

1897
01:53:37,920 --> 01:53:41,479
Speaker 2: it was entertaining, and he really trained me into the

1898
01:53:41,520 --> 01:53:46,320
Speaker 2: discipline of writing. Like my first writing with Henley came

1899
01:53:46,360 --> 01:53:50,320
Speaker 2: from Danny Kortzmeyer introduced me to Don. Danny and I

1900
01:53:50,400 --> 01:53:53,920
Speaker 2: became friends and Don Danny said, come down. He's producing

1901
01:53:54,000 --> 01:53:58,439
Speaker 2: Don's second album, and he said, you know you should

1902
01:53:58,960 --> 01:54:00,760
Speaker 2: come down, you know, come down, you know, hang out

1903
01:54:00,800 --> 01:54:03,320
Speaker 2: and hang out with us. And in the process, Dany

1904
01:54:03,320 --> 01:54:05,920
Speaker 2: said something funny to Don, like, you know, you should

1905
01:54:05,960 --> 01:54:08,680
Speaker 2: get together with this guy. He's funny. And Don's like,

1906
01:54:08,680 --> 01:54:10,599
Speaker 2: oh yeah, what's he got, you know? And they gave

1907
01:54:10,680 --> 01:54:15,479
Speaker 2: me a track and uh and and I wrote words

1908
01:54:15,720 --> 01:54:19,200
Speaker 2: like and you know, Don corrected my spelling literally like

1909
01:54:19,280 --> 01:54:21,479
Speaker 2: before he would even read it. He remember him saying,

1910
01:54:21,720 --> 01:54:25,360
Speaker 2: you know, you can't read. He goes, can you fucking read?

1911
01:54:25,840 --> 01:54:27,400
Speaker 2: And I remember going like, oh JESU, this is the

1912
01:54:27,439 --> 01:54:29,880
Speaker 2: most embarrassing day of my life. And he was like, Tony,

1913
01:54:30,120 --> 01:54:32,560
Speaker 2: get this idiot. Some books. You know, he needs to

1914
01:54:32,600 --> 01:54:35,760
Speaker 2: read these books. And you know, Stan, you're smart, but

1915
01:54:35,840 --> 01:54:41,680
Speaker 2: you you're basically a functional illiterate. And so Don took

1916
01:54:41,720 --> 01:54:45,960
Speaker 2: me under his wing and taught me how to co write,

1917
01:54:46,120 --> 01:54:49,400
Speaker 2: you know, essentially for him for his process. He said,

1918
01:54:49,640 --> 01:54:51,920
Speaker 2: here's what I need, here's how it works for me.

1919
01:54:52,520 --> 01:54:56,800
Speaker 2: And that's not universal, that's very specific for Don. And

1920
01:54:56,800 --> 01:55:00,160
Speaker 2: and he's, uh, but what an education? What an And

1921
01:55:00,480 --> 01:55:04,480
Speaker 2: that's an invitation only room. You know, you don't invite

1922
01:55:04,480 --> 01:55:08,080
Speaker 2: yourself to co write with people like that. You just

1923
01:55:08,400 --> 01:55:11,440
Speaker 2: you wait and if they invite you. And he's invited

1924
01:55:11,480 --> 01:55:19,160
Speaker 2: me pretty much every time since his second solo to try, Hey,

1925
01:55:19,240 --> 01:55:22,000
Speaker 2: pony up, there's no guarantee, Stan, pony up? What do

1926
01:55:22,040 --> 01:55:27,680
Speaker 2: you got? And then the last few records we've co

1927
01:55:27,800 --> 01:55:32,440
Speaker 2: produced together and it's been great. I mean, what an education?

1928
01:55:32,760 --> 01:55:33,560
Speaker 2: What an education?

1929
01:55:34,560 --> 01:55:39,840
Speaker 1: Okay? On the two thousand album, you know, Inside Job,

1930
01:55:39,960 --> 01:55:44,440
Speaker 1: which I love, not as commercially successful as the one before. Sure,

1931
01:55:44,640 --> 01:55:47,840
Speaker 1: my favorite song on that album is My Thanksgiving. You

1932
01:55:47,840 --> 01:55:50,840
Speaker 1: have a writing credit on that. Can you tell me

1933
01:55:50,880 --> 01:55:55,200
Speaker 1: what you did on that? If you can remember music music?

1934
01:55:55,520 --> 01:55:58,960
Speaker 2: Basically, I think I had a twelve string guitar that day,

1935
01:56:00,040 --> 01:56:05,920
Speaker 2: and and Jay Winding was there and he's these guys

1936
01:56:05,920 --> 01:56:08,200
Speaker 2: are really talented, by the way, you know, when I

1937
01:56:08,240 --> 01:56:12,480
Speaker 2: say Jay Winding, it's like for those that don't know shit,

1938
01:56:13,640 --> 01:56:16,240
Speaker 2: these guys are top, top drawer. And he had a

1939
01:56:16,280 --> 01:56:19,200
Speaker 2: relationship with Don, and we were all in the room

1940
01:56:19,400 --> 01:56:23,000
Speaker 2: massaging chord changes and Don would say, I like that,

1941
01:56:23,200 --> 01:56:25,240
Speaker 2: I like where that's going, I like how that feels.

1942
01:56:25,560 --> 01:56:28,040
Speaker 2: And Jay would say, you know, hey, what if we

1943
01:56:28,080 --> 01:56:31,720
Speaker 2: do this? And we were three on a match. That's

1944
01:56:31,720 --> 01:56:34,800
Speaker 2: really what it was all reassuring each other that's going

1945
01:56:34,880 --> 01:56:37,160
Speaker 2: to be cool, you know, But I agree, you know.

1946
01:56:37,200 --> 01:56:43,200
Speaker 2: But but Don's Don's gift is well, he's got a

1947
01:56:43,240 --> 01:56:47,520
Speaker 2: few but that he can phrase, and he can convey emotion,

1948
01:56:48,040 --> 01:56:50,320
Speaker 2: and he's a poet.

1949
01:56:51,120 --> 01:56:55,839
Speaker 1: Okay, the average person doesn't know how the music business

1950
01:56:55,960 --> 01:56:59,000
Speaker 1: really works. But if your name is not on the

1951
01:56:59,040 --> 01:57:03,280
Speaker 1: record and you want to work, you got to hustle.

1952
01:57:03,880 --> 01:57:07,560
Speaker 1: You gotta keep relationships. Obviously, you make friends, create opportunities.

1953
01:57:07,960 --> 01:57:10,120
Speaker 1: But once you were on your own, starting in the

1954
01:57:10,160 --> 01:57:13,200
Speaker 1: mid nineties, to what degree did you work it and

1955
01:57:13,280 --> 01:57:16,640
Speaker 1: still work it?

1956
01:57:16,720 --> 01:57:18,880
Speaker 2: Was I still working in the nineties.

1957
01:57:18,960 --> 01:57:24,560
Speaker 1: No, No, okay, let's talk about people further down the

1958
01:57:24,600 --> 01:57:27,000
Speaker 1: food chain from you, someone who goes on the road

1959
01:57:27,080 --> 01:57:29,400
Speaker 1: playing with the band, but it's not a member of

1960
01:57:29,400 --> 01:57:29,800
Speaker 1: the band.

1961
01:57:30,040 --> 01:57:30,760
Speaker 2: Ah.

1962
01:57:30,840 --> 01:57:35,480
Speaker 1: Okay, that person is keeping up relationships twenty four to seven,

1963
01:57:35,760 --> 01:57:38,880
Speaker 1: sure because they know this job is gonna end. I'm

1964
01:57:38,880 --> 01:57:44,280
Speaker 1: gonna need another job. Okay, you've been independent for thirty years.

1965
01:57:44,720 --> 01:57:48,120
Speaker 1: To what degree are you working at networking? And make

1966
01:57:48,200 --> 01:57:50,400
Speaker 1: sure that you have enough work or is it always

1967
01:57:50,480 --> 01:57:51,280
Speaker 1: just falling in your.

1968
01:57:51,280 --> 01:57:57,640
Speaker 2: Left I can honestly tell you I have no hustle.

1969
01:57:58,720 --> 01:58:04,600
Speaker 2: I don't. I never had a manager, you know I didn't.

1970
01:58:04,600 --> 01:58:09,000
Speaker 2: I have no social media presence. I reach I work,

1971
01:58:10,240 --> 01:58:13,360
Speaker 2: I think around after my tenure with the group, I

1972
01:58:13,480 --> 01:58:18,680
Speaker 2: decided subconsciously I would only work with friends. I'm only

1973
01:58:18,680 --> 01:58:21,400
Speaker 2: going to work with people who like me or I

1974
01:58:21,520 --> 01:58:26,360
Speaker 2: like them. And it became more like a canoe trip metaphorically,

1975
01:58:26,760 --> 01:58:30,240
Speaker 2: like music for me was like, I'm not getting into

1976
01:58:30,240 --> 01:58:32,760
Speaker 2: the canoe with an asshole or somebody that's just gonna

1977
01:58:32,800 --> 01:58:35,080
Speaker 2: yell at me. I'm gonna go get in the river

1978
01:58:35,400 --> 01:58:38,240
Speaker 2: and we're gonna paddle together and we're gonna laugh, and

1979
01:58:38,280 --> 01:58:40,800
Speaker 2: if we get somewhere cool, we're gonna pull over to

1980
01:58:40,840 --> 01:58:43,960
Speaker 2: the side. And eat, and it's like, I've been really

1981
01:58:44,400 --> 01:58:49,200
Speaker 2: fortunate that I haven't had that experience where I've had

1982
01:58:49,240 --> 01:58:52,960
Speaker 2: to be what's gonna happen next, Shit, this gig's gonna end.

1983
01:58:53,440 --> 01:58:55,760
Speaker 2: I was almost grateful when a gig ended because I

1984
01:58:55,800 --> 01:59:00,520
Speaker 2: needed the break. Like, you know, those Don Henley records stressful.

1985
01:59:00,520 --> 01:59:04,040
Speaker 2: They're stressful for Don, they're stressful for me. They're stressful

1986
01:59:04,640 --> 01:59:09,120
Speaker 2: because he has a high bar. He's hard on himself,

1987
01:59:09,960 --> 01:59:16,280
Speaker 2: so he demands everybody bring their best game and he's

1988
01:59:16,280 --> 01:59:19,680
Speaker 2: disappointed if you don't. So there's a lot of stress

1989
01:59:20,680 --> 01:59:22,880
Speaker 2: when you work with someone of you know, that kind

1990
01:59:22,880 --> 01:59:25,920
Speaker 2: of heat. So when those records would come to an end,

1991
01:59:26,320 --> 01:59:28,640
Speaker 2: I would honestly go home and sit on the beach

1992
01:59:30,040 --> 01:59:34,400
Speaker 2: for six weeks grill and chicken and drinking a bottle

1993
01:59:34,400 --> 01:59:38,920
Speaker 2: of wine, going, oh great, you know, it felt like

1994
01:59:38,960 --> 01:59:43,760
Speaker 2: a tour, you know. So I've been very fortunate that

1995
01:59:43,840 --> 01:59:49,520
Speaker 2: it's the work has been there with the people I

1996
01:59:49,560 --> 01:59:50,280
Speaker 2: love to work with.

1997
01:59:51,800 --> 01:59:56,080
Speaker 1: Okay, outside of your village where you live, to what

1998
01:59:56,240 --> 01:59:59,000
Speaker 1: degree is Stan Lench recognized?

1999
02:00:03,000 --> 02:00:06,280
Speaker 2: Nil? You know, my body is, my physical presence has

2000
02:00:06,360 --> 02:00:09,480
Speaker 2: changed so dramatically. You know, it's like, you know, I'm

2001
02:00:09,480 --> 02:00:11,920
Speaker 2: a grown man. I mean I was, I was a

2002
02:00:11,960 --> 02:00:14,440
Speaker 2: boy when I was in the Heartbreakers, you know, I

2003
02:00:14,920 --> 02:00:18,160
Speaker 2: you know, like, you know, the most important thing you

2004
02:00:18,160 --> 02:00:20,680
Speaker 2: can be in your twenties and thirties is is good looking.

2005
02:00:22,640 --> 02:00:25,480
Speaker 2: You know, in your forties and fifties, you better be

2006
02:00:26,480 --> 02:00:31,520
Speaker 2: smart and you know, and and hopefully rich whatever that means,

2007
02:00:31,560 --> 02:00:34,480
Speaker 2: you know, accomplished, you know, and by the time you're

2008
02:00:34,520 --> 02:00:37,360
Speaker 2: my age, you know, you don't trade on any of

2009
02:00:37,400 --> 02:00:40,480
Speaker 2: the same things that I traded on as a kid.

2010
02:00:40,600 --> 02:00:44,360
Speaker 2: I now I trade on you know, joy and created,

2011
02:00:44,480 --> 02:00:48,800
Speaker 2: creativity and and you know, I trade in those areas now,

2012
02:00:48,920 --> 02:00:53,040
Speaker 2: Like so I'm not. I'm It's not that I feel

2013
02:00:53,080 --> 02:00:55,000
Speaker 2: like I've made it. It's more like I feel like

2014
02:00:55,040 --> 02:00:56,960
Speaker 2: I don't. The only thing I got to prove is

2015
02:00:57,000 --> 02:01:01,200
Speaker 2: to the people that that respect me. And most of

2016
02:01:01,240 --> 02:01:03,240
Speaker 2: the people I'm trying to impress are dead.

2017
02:01:03,960 --> 02:01:08,520
Speaker 1: You know, who are you trying to press? Who's dead?

2018
02:01:09,080 --> 02:01:11,840
Speaker 2: Oh jeez, I'd love to impress John Lennon, you know,

2019
02:01:11,920 --> 02:01:15,720
Speaker 2: I'd love to impress you know, I shoot, I'd love

2020
02:01:15,760 --> 02:01:18,360
Speaker 2: to impress Charlie Watts. I'd love to impress Brian Jones,

2021
02:01:18,720 --> 02:01:22,000
Speaker 2: you know, I mean, there's so many it's like, you know,

2022
02:01:22,160 --> 02:01:25,160
Speaker 2: like my heroes, most of the heroes i've you know,

2023
02:01:25,280 --> 02:01:28,240
Speaker 2: they were older than me, so therefore they've moved on.

2024
02:01:28,760 --> 02:01:32,240
Speaker 2: And those are the people in my jury. Now when

2025
02:01:32,240 --> 02:01:36,120
Speaker 2: I'm working, I'm going, you know, Charlie Watts would go, no, man,

2026
02:01:36,440 --> 02:01:39,920
Speaker 2: that's not swinging, get the fuck out of here, or uh,

2027
02:01:40,240 --> 02:01:42,760
Speaker 2: you know. And I'm lucky, like you know, I still

2028
02:01:42,760 --> 02:01:45,680
Speaker 2: have friendships with the people I admire, like you know,

2029
02:01:45,720 --> 02:01:48,680
Speaker 2: like Steve Lucather. He'll call me and goes, Stanley, let's

2030
02:01:48,960 --> 02:01:50,960
Speaker 2: let's work on a tune. And I'm like, are you

2031
02:01:51,000 --> 02:01:51,480
Speaker 2: shitting me?

2032
02:01:51,520 --> 02:01:51,640
Speaker 1: Man?

2033
02:01:51,680 --> 02:01:55,160
Speaker 2: Of course I will, you know, and you know, and

2034
02:01:55,520 --> 02:01:59,920
Speaker 2: you know Luke so I mean, how he's a fucking bonfire.

2035
02:02:00,200 --> 02:02:02,640
Speaker 2: Just stand next to you know, like you want to

2036
02:02:02,680 --> 02:02:07,400
Speaker 2: get warm, Call Luke. It's like you're on fire by

2037
02:02:07,480 --> 02:02:10,000
Speaker 2: the time you hang off the phone. And that's how

2038
02:02:10,000 --> 02:02:14,560
Speaker 2: I feel about the people. Well, hell, one hundred percent

2039
02:02:14,600 --> 02:02:17,160
Speaker 2: of them now are that way from me, because otherwise

2040
02:02:18,560 --> 02:02:20,440
Speaker 2: I don't answer their calls and they don't they don't

2041
02:02:20,440 --> 02:02:23,800
Speaker 2: call me. We turn each other on. And that's why

2042
02:02:24,280 --> 02:02:30,880
Speaker 2: I'm maintaining these kind of friendships business relationships. There there's

2043
02:02:31,040 --> 02:02:36,120
Speaker 2: very it's all messed up, you know, as fucked up

2044
02:02:36,160 --> 02:02:38,760
Speaker 2: as music is it as fucked up as the sounds.

2045
02:02:38,840 --> 02:02:41,160
Speaker 2: It's my social life.

2046
02:02:42,560 --> 02:02:44,680
Speaker 1: I know what you're talking about. Okay, So the speaker

2047
02:02:44,720 --> 02:02:48,160
Speaker 1: Wars albums coming out, YEP, it could set the world

2048
02:02:48,240 --> 02:02:52,760
Speaker 1: on fire. You say you're managing your expectations. Let's assume

2049
02:02:52,880 --> 02:02:55,920
Speaker 1: that you have some you know, are you saying, I'm

2050
02:02:55,920 --> 02:02:59,120
Speaker 1: committed no matter what happens, We're going to make another

2051
02:02:59,200 --> 02:03:02,320
Speaker 1: second record. This is another record of second record. This

2052
02:03:02,400 --> 02:03:06,440
Speaker 1: is a band. We're saying, this is what I'm doing now, all.

2053
02:03:06,320 --> 02:03:08,240
Speaker 2: Of the above. It's like we're John and I are

2054
02:03:08,240 --> 02:03:11,200
Speaker 2: always writing songs. We've we've already got a we've got

2055
02:03:11,240 --> 02:03:14,880
Speaker 2: a chest full to look at for another record already

2056
02:03:14,880 --> 02:03:18,120
Speaker 2: which will be better than this record, because that's the evolution.

2057
02:03:19,600 --> 02:03:23,240
Speaker 2: I feel like with this band, we're putting a like

2058
02:03:23,760 --> 02:03:28,160
Speaker 2: us like a bookmark in the in our lives right now.

2059
02:03:28,160 --> 02:03:30,720
Speaker 2: We're kind of going, this is what we can do

2060
02:03:30,880 --> 02:03:34,360
Speaker 2: today with given what we had to work with. If

2061
02:03:34,360 --> 02:03:37,840
Speaker 2: we get another shot, it'll be better because that's what

2062
02:03:37,880 --> 02:03:41,560
Speaker 2: we do, you get better. And I'm looking forward to

2063
02:03:41,760 --> 02:03:46,600
Speaker 2: hopefully getting a shot at playing so we can evolve

2064
02:03:46,760 --> 02:03:49,040
Speaker 2: more as a band, and that will allow us to

2065
02:03:49,080 --> 02:03:52,919
Speaker 2: record more as a band. So I look for natural evolution.

2066
02:03:53,680 --> 02:03:56,560
Speaker 2: There's been no planning to my life to this point,

2067
02:03:57,200 --> 02:03:58,680
Speaker 2: so there's no point in planning.

2068
02:04:01,440 --> 02:04:06,280
Speaker 1: Okay, Stan, you're very entertaining, very warm. I'm sure my

2069
02:04:06,400 --> 02:04:09,360
Speaker 1: audience will love you. I want to thank you for

2070
02:04:09,440 --> 02:04:12,480
Speaker 1: taking this time, and I certainly wish you luck with

2071
02:04:12,600 --> 02:04:14,880
Speaker 1: a record. You know, that's the kind of record those

2072
02:04:14,920 --> 02:04:18,320
Speaker 1: of us were died in the wool rockers cotton right too.

2073
02:04:18,520 --> 02:04:22,040
Speaker 1: You know it sounds like what you know we believe

2074
02:04:22,080 --> 02:04:25,440
Speaker 1: in the song is right there. You can hear the instruments,

2075
02:04:25,760 --> 02:04:28,680
Speaker 1: there aren't the trappings. It's good.

2076
02:04:28,880 --> 02:04:32,600
Speaker 2: Well, thank you. It's very it's it's primitive and it's basic,

2077
02:04:33,040 --> 02:04:36,040
Speaker 2: and it's what we wanted to do to get started.

2078
02:04:36,560 --> 02:04:39,760
Speaker 2: You know, Like I said, it takes a village. So

2079
02:04:39,840 --> 02:04:43,120
Speaker 2: your listeners, if you have a chance, I hope you listen.

2080
02:04:43,680 --> 02:04:46,520
Speaker 2: And it means the world to me to just be

2081
02:04:46,560 --> 02:04:48,880
Speaker 2: allowed to keep I keep being allowed to do this.

2082
02:04:49,560 --> 02:04:52,640
Speaker 2: I uh shit, don't stop.

2083
02:04:56,000 --> 02:05:01,600
Speaker 1: But we're gonna stop right now until next time. This

2084
02:05:01,760 --> 02:05:02,920
Speaker 1: is Bob left Sex

2085
02:05:24,600 --> 02:05:24,680
Speaker 2: Sh