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Unknown: I had a pretty good ass
whipping, you know, because I

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always played with the guys that
were a little older than me. And

3
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they would pretty much tell you,
like, all that stuff you're

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you're doing, isn't really
helping us, yeah, we really

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would like, and they would play
me records, you know, the older

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dudes, you know, I'm saying
older, they were four or five

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years older, which is a big deal
when you're a kid, yeah, and,

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um, they would play me records
like, you know, hockey talk,

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woman, nice. And they'd say,
like, there's Stan, there's no

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crash cymbal except the very end
of the song, you know what? I

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mean, it's just, you just dig
in, you know, and a drum fill

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could just be and like, you
know, just get and they would

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just say, like, give me a beat,
man, yeah, you know, give me a

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group. And, um, so then I, when
I went to California, I didn't

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go with, with the guy, you know,
the guys, the Heartbreakers. I

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went alone. So I played in a
couple bands out there, and they

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were Texas boys, and they were
hardcore, like, they were like,

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Man, if I played a Phil they'd
almost look over and go like,

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did you make a mistake?

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This is the rich Redmond show.
Jim

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is joining us, and you're going
to love Jim, because he's the

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ying to my Yang and and he's not
a he. He's getting into drumming

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again. He hasn't played
professionally in 19 years, and

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he's playing with a Huey Lewis
tribute band here in Nashville.

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He's all excited. He's all
rehearsed. It's amazing. Should

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be a lot of fun. Bill Gibson,
yeah,

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man, what I mean? I think I
crossed paths with him years and

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years ago. What a fine dude, a
fine gentleman,

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and very underrated. And when
you play his parts, you have a

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massive appreciation for what
you did. It's

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crazy. Those are, those are hit
records, full stop.

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Oh yeah, you know, yeah. Well,
hey, we're going to just get

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into this right away, because we
could just, I mean, your career,

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wow. It's going to take a lot
longer than an hour, but we're

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just going to talk real fast.
Hailing from Cincinnati, Ohio

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and growing up in Florida. He's
now back in Florida, his home

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state. He's a musician, he's a
songwriter, he's a record

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producer. He's a member of the
Rock and Roll Hall of Fame,

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founding member, 20 years
service with Tom Petty and the

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Heartbreakers. He's a horse.
He's a heartbreaker. He's got a

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brand new band called The
speaker wars with a mutual

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friend, John Christopher Davis
as a songwriter producer, wow,

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just some of the other people
he's worked with. Jackson Brown,

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the birds, Belinda Carlisle, Bob
Dylan, The Eagles, Don Henley,

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Aretha Franklin, Toto, Warren.
ZV, I mean, the list goes on and

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on. Our friend Stan Lynch,
What's up, buddy?

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I'm exhausted hearing all that.
I mean, yeah.

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I mean, it's your, it's your
life in 60 seconds. Yeah,

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wow, you know, yeah. I mean, I'm
my whole life is one big wish

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fulfillment episode, man. You
know what I mean, it really is.

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It's amazing.

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Stan, you, you and I got to kind
of be fast friends in the year

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2000 at this Warner chapel
songwriting camp, and you were

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one of the few guys that was
just so sweet and so nice and so

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encouraging, and you were just a
bonafide rock star. So thanks

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for being so nice to Tully and I
and Kurt back in the day. Man,

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Hey,

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man, it was no effort. You guys
were extremely versatile when

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you came in and you were thrown
just a hat full of ridiculous

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personalities. And, I mean, I
was watching it from the cheap

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seats, you know, I was one of
the staff writers. And anytime

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you guys I watched, I just
watched you guys taking on these

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songs and making them into
records for these people. And it

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was blowing my mind that you had
the capacity all of you guys to

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get a song and get a track, all
within like 20 minutes. And they

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were great sounds. And this is
back in the old analog funk

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days, you know what I mean?
There was, I mean, and no

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excuses. You guys never made
excuses. You know, you were

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hungry, you were tired, you were
working, you know, 11 hour

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shifts. And, I mean, I just, I
couldn't believe it. I couldn't

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believe what I was seeing. I
mean, it was kind of a an

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awakening into this, the session
world of Nashville, which I had

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no idea how that worked. You
know, like I said, I've been

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from a band situation where you
rehearse every song and you

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learn them, and you try to
figure out your chart and take,

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you could take weeks to learn a
song, you know? Well, yeah, you

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guys were knocking these things
out. You were knocking out four

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songs an hour. Oh, my

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God. What I mean, the best
education is that, you know,

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trial by fire. You just got to
get thrown into the deep end of

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the pool, and you got to swim.
You got to make something

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happen, you know, we got to work
with, you know, you and Robbie

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Neville and Jewel. I mean, it
was fantastic. But enough about

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that. Let's talk about your
current band. A lot of guys are

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gonna say, how did it all start?
Stanley, 13 years old, you

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started playing the drums,
right? But, but, I mean, tell us

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about this new band. I mean,
that's what really here. We're

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trying to get the the public on
this band. When does the record

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drop you? Uh, may

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later this week.

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Yeah, yeah, yeah. There's three
videos have been put out there,

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and they're not, you know, I
don't know if they're the best

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songs, worst songs, but they're
just the record company picked

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these to put out, and it's been
nice, just sort of getting

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reintroduced to the world again,
talking it up. I'm I'm grateful

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00:05:28,820 --> 00:05:31,760
for you. Like, Hey, man, turn
your listeners onto the band.

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00:05:32,000 --> 00:05:36,680
This is the way it works today.
There's no machinery to take

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00:05:36,680 --> 00:05:42,280
your band to the people other
than basically, yeah, knocking

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on door. Got a band, yeah? So I
appreciate you all listening. I

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00:05:47,740 --> 00:05:50,020
appreciate you all giving a
shot. And thank you.

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00:05:50,200 --> 00:05:55,000
Oh, my God, of course. And where
did the name come from? I think

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I know how the band was born.
You were writing with a mutual

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friend of ours, John Christopher
Davis, nice, strong Texan.

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00:06:01,140 --> 00:06:04,320
Actually, it's a Texas band,
right? Born and during pretty

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much COVID. Oh, sorry, go ahead,
I was gonna say burn kind of

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born during the COVID years,
correct?

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00:06:13,500 --> 00:06:16,260
You know, back in during COVID,
we were all just like, you know,

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00:06:16,320 --> 00:06:22,400
freaking out, losing our minds.
You know, basically everybody

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00:06:22,400 --> 00:06:26,540
learned to, or I learned how to
become a fairly good journeyman

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00:06:26,540 --> 00:06:30,380
engineer and file share. And,
you know, I won't say it was

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fun, but it was either that or
you were just gonna take up

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gardening, you know what I mean.
So it's like, I wanted to make

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music during those I figured,
well, if this is the end, this

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is how it ends. I'm going out
swinging drumsticks and making

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00:06:44,800 --> 00:06:49,900
tapes, you know, like I'm making
recordings. Yeah, so John, we

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00:06:49,900 --> 00:06:52,480
just started writing songs. We
didn't even know what we were

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really writing for, but we just
like, we have the same places on

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the compass. We both like some
cool old R and B. We liked, like

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00:07:01,020 --> 00:07:05,580
Bob Seager, rock and roll. We
liked all that the same stuff.

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00:07:05,580 --> 00:07:09,780
We liked eat gospel, we liked
all kinds of stuff. So when we

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00:07:09,780 --> 00:07:12,900
got together to write, we just
wrote, and we wrote a lot of

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songs. And then we met this
gentleman, Mike pasterzi, who

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took a liking to us and said he
curated a record out of this. He

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said, Look these, I hear 10
Songs that actually make a

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record. And I was like, you
know, man, cool, that's great.

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I'm not objective. I don't even
know. I don't care. And so

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that's how it kind of came
together. Then this John. I

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thought we were making John's
solo record, you know, I

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figured, well, we're just going
to make this dumb John kept just

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bugging me. Man, get behind the
kid. Man, come on. Come out to

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Texas. Start playing some drums.
And that was right around the

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00:07:50,260 --> 00:07:54,520
time Mike Campbell was going on
the road, and he, his drummer,

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00:07:54,700 --> 00:07:58,660
took a little break to go to
Italy. And Matt log, Matt log,

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yeah, playing with he's playing
with AC DC right now. No slouch,

135
00:08:02,760 --> 00:08:03,840
this kid, no,

136
00:08:03,840 --> 00:08:06,960
no slouch. And his a big claim
to fame is playing on that

137
00:08:06,960 --> 00:08:09,300
Jagged Little Pill record five
number ones,

138
00:08:09,840 --> 00:08:12,300
yeah, oh yeah. He's, he's a
great drummer. So Mike said,

139
00:08:12,300 --> 00:08:16,620
Would you like to sub for Matt?
And I hadn't played drums in

140
00:08:16,620 --> 00:08:22,100
public in decades, so I'm like,
you know, I'm basically shedding

141
00:08:22,520 --> 00:08:26,960
Matt's parts to play with my old
friend. And so that kind of got

142
00:08:26,960 --> 00:08:31,520
me behind the kid again. Got me,
um, talking to some people about

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00:08:31,520 --> 00:08:35,660
maybe building a kid because I
hadn't had a new drum set since

144
00:08:35,660 --> 00:08:37,880
back when dinosaurs roamed the
earth. You know what I mean?

145
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Yeah, and

146
00:08:38,180 --> 00:08:41,440
you're and you're a Dixon guy
now, right? Dixon? Nice, yes.

147
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Thanks to

148
00:08:41,919 --> 00:08:45,219
Greg Bissonette. He um, we were
taught he's been an old friend

149
00:08:45,219 --> 00:08:48,099
of mine for years. And he said,
You know, I told him, Look, I

150
00:08:48,099 --> 00:08:51,399
got these old, my old 60s
Ludwigs, you know? And he said,

151
00:08:51,399 --> 00:08:54,519
man, have you heard Dixon? I'm
like, No. And he sent me some

152
00:08:54,519 --> 00:08:57,639
files, but you know, he sounds
good playing opio cans. So it's

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00:08:57,639 --> 00:09:00,239
like, you know, I'm going, like,
well, that doesn't really help

154
00:09:00,239 --> 00:09:03,059
me, Greg, because, you know,
you're a badass. He goes, No,

155
00:09:03,059 --> 00:09:06,239
let me build you a kit. So he
built me this cool heat to his

156
00:09:06,239 --> 00:09:11,099
spec, like, almost like an old
this, I'm not, what am I saying?

157
00:09:11,099 --> 00:09:16,319
An old thermo gloss style,
almost like a Bonzo kit. Yeah.

158
00:09:16,319 --> 00:09:21,739
Man and Greg designed them for
me and create, you know, built,

159
00:09:22,519 --> 00:09:25,279
he really built me a great drum
set that got me back swinging

160
00:09:25,279 --> 00:09:28,159
again, which is, which was
really fun, got me playing with

161
00:09:28,159 --> 00:09:31,699
Michael. Got me playing with
John. You know, drums, man, it's

162
00:09:31,699 --> 00:09:36,799
like, if you don't play them,
you it's pretty daunting to sit

163
00:09:36,799 --> 00:09:39,799
down behind a kid if you haven't
played him in a while. You know,

164
00:09:39,799 --> 00:09:41,439
it's funny, scarier, yeah.

165
00:09:41,560 --> 00:09:45,040
You know John, my business
partner, yeah, he taught he sat

166
00:09:45,040 --> 00:09:48,640
down at my kid. He's an old
drummer as well, and he, he kind

167
00:09:48,640 --> 00:09:51,340
of experienced the same thing
that I did, you know, shaking

168
00:09:51,340 --> 00:09:56,980
off the rust. He's like, I can
only play about 15% of the fills

169
00:09:56,980 --> 00:10:01,320
I was able to play. And I'm
going, you. Yeah, that happened

170
00:10:01,320 --> 00:10:03,660
to me too, because you kind of
lose your confidence after a

171
00:10:03,660 --> 00:10:06,120
while. It's not really like
riding a bike, you know, two and

172
00:10:06,120 --> 00:10:11,280
four and yoga, nothing. Those
kinds of things kind of come

173
00:10:11,280 --> 00:10:14,520
handy. But some of the stuff I
used to do, it's like, I can't

174
00:10:14,520 --> 00:10:17,820
do that anymore. It's gonna take
some practice, man.

175
00:10:18,720 --> 00:10:22,640
Well, you know, not to, not to
put too fine a point on drum

176
00:10:22,640 --> 00:10:26,960
fills. But you know what?
Sometimes you're more valuable

177
00:10:26,960 --> 00:10:29,900
if you do leave them out, right?
You know what? I mean? Yes, it's

178
00:10:29,900 --> 00:10:35,060
like a valuable singer I have
found over the years. You know,

179
00:10:35,060 --> 00:10:39,380
I started really wanting to make
all this racket. Then I

180
00:10:39,380 --> 00:10:43,540
realized, like, what really
makes hit records is the beat.

181
00:10:43,600 --> 00:10:47,200
Yes, you know, it's just the
beat. Like, give me a pulse,

182
00:10:47,200 --> 00:10:50,620
man. You know, Can you lay that
down and get on that balance

183
00:10:50,620 --> 00:10:55,420
beam for four minutes and just
do that job so your singer feels

184
00:10:55,420 --> 00:10:59,800
like, if your singer don't feel
sexy, the whole thing just falls

185
00:10:59,800 --> 00:11:01,620
apart. The whole thing is
secure. If

186
00:11:03,120 --> 00:11:05,460
you're listening to this
podcast, it means you're already

187
00:11:05,460 --> 00:11:07,920
looking to improve your
drumming. Why not level it up?

188
00:11:07,980 --> 00:11:12,300
In person with me, when you book
a one on one day, drum tense

189
00:11:12,360 --> 00:11:14,760
drummers from around the world
have traveled to Nashville to

190
00:11:14,760 --> 00:11:17,760
study with me. We cover subjects
like reading, rudiments,

191
00:11:17,760 --> 00:11:20,900
technique, hand development,
charting, the national number

192
00:11:20,900 --> 00:11:24,560
system, styles, percussion,
music biz, insider info, career

193
00:11:24,560 --> 00:11:28,220
development, positive mindset
and much more. Of course, we

194
00:11:28,220 --> 00:11:31,400
address all your questions, and
my deep curriculum has helped

195
00:11:31,400 --> 00:11:34,880
players of all kinds move the
ball down the field to be closer

196
00:11:34,880 --> 00:11:37,580
to their goals, even getting
accepted to college music

197
00:11:37,580 --> 00:11:41,620
programs, moving to that dream
music town, getting gigs and

198
00:11:41,620 --> 00:11:45,520
keeping them. Find out more
about my one on one day. Drum

199
00:11:45,520 --> 00:11:52,960
tensive go to drumtensive.com D,
R, U, m, t, e, n, s, I, V,

200
00:11:52,960 --> 00:11:55,900
e.com, drumtensive.com

201
00:11:58,480 --> 00:12:01,080
have a podcast that needs a
facelift, or maybe you're just

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205
00:12:10,980 --> 00:12:14,340
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206
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00:12:29,600 --> 00:12:31,700
make your podcast sound like it
should.

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But you were just so good and so
intuitive, so young. I mean, you

213
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had like, you know, classic rock
and Stax Records in Motown and

214
00:12:41,800 --> 00:12:45,520
all that stuff in your DNA does
get as good as good at gun. Got

215
00:12:45,520 --> 00:12:49,540
dudes good at those good all the
stuff, all the user friendly,

216
00:12:49,660 --> 00:12:53,500
sexy stuff that still works and
creates energy but doesn't get

217
00:12:53,500 --> 00:12:55,780
you fired. You know what? I
mean, you were so good at it,

218
00:12:55,780 --> 00:12:58,480
because when you joined the
band, you were practically a

219
00:12:58,480 --> 00:13:00,420
teenager, right? Pretty

220
00:13:00,420 --> 00:13:04,200
much, yeah, I was just turning
20 when we were making that

221
00:13:04,200 --> 00:13:08,520
first record, and it was, um,
but, you know, I had, I had a

222
00:13:08,520 --> 00:13:11,340
pretty good ass whipping, you
know, because I'd always played

223
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with the guys that were a little
older than me, and they, they

224
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would pretty much tell you,
like, all that stuff you're,

225
00:13:18,240 --> 00:13:24,380
you're doing, isn't really
helping us? Yeah, we really

226
00:13:24,380 --> 00:13:26,600
would like, and they would play
me records, you know, the older

227
00:13:26,600 --> 00:13:28,640
dudes, you know, I'm saying
older, they were four or five

228
00:13:28,640 --> 00:13:31,100
years older, which is a big deal
when you're a kid, yeah, and,

229
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um, they would play me records,
like, you know, hockey talk,

230
00:13:34,160 --> 00:13:37,700
woman, nice. And they'd say,
like, there's Stan, there's no

231
00:13:37,700 --> 00:13:40,480
crash cymbal except the very end
of the song. You know what? I

232
00:13:40,480 --> 00:13:45,700
mean, it's just, you just dig
in, you know, and a drum fill

233
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could just be and, like, you
know, just get and they would

234
00:13:49,720 --> 00:13:53,800
just say, like, give me a beat,
man, yeah, you know, give me a

235
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group. And, um, so then I, when
I went to California, I didn't

236
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go with, with the guy, you know,
the guys, the Heartbreakers, I

237
00:14:00,960 --> 00:14:04,800
went alone, so I played in a
couple bands out there, and they

238
00:14:04,800 --> 00:14:08,400
were Texas boys, and they were
hardcore, like, they were like,

239
00:14:08,400 --> 00:14:12,300
Man, if I played a Phil they'd
almost look over and go, like,

240
00:14:12,300 --> 00:14:14,640
did you make a mistake? You
know, was that, oh,

241
00:14:14,640 --> 00:14:16,560
my god, mean to do that? Were
you guys playing, like, the

242
00:14:16,560 --> 00:14:19,320
Palomino club and stuff in North
Hollywood, or, like, Yeah, we

243
00:14:19,320 --> 00:14:19,740
actually

244
00:14:19,740 --> 00:14:23,000
did play the Palme and we played
them. God, all those clubs are

245
00:14:23,000 --> 00:14:25,760
pretty well gone, like the
Starwood and, you know, the

246
00:14:25,760 --> 00:14:29,300
whiskey was still not a pay to
play place, you know, all these

247
00:14:29,300 --> 00:14:34,340
play casaris And all those fun
clubs in LA and, yeah, they

248
00:14:34,340 --> 00:14:39,080
were, it was fun stuff, man. And
you play like, you know, you

249
00:14:39,080 --> 00:14:44,500
just the corral, and Topanga was
a gig like all these. It was

250
00:14:44,500 --> 00:14:50,200
just really fun to be a musician
in LA in the 70s, because there

251
00:14:50,200 --> 00:14:53,500
was still a little echo of the
60s still there. Like when I

252
00:14:53,500 --> 00:14:57,580
drove by the whiskey, I couldn't
imagine seeing the birds logo

253
00:14:57,580 --> 00:15:01,260
and and the doors and, you know,
like. It was all in my mind. I

254
00:15:01,260 --> 00:15:06,360
was taking part of this magical
thing, you know, it was the

255
00:15:06,360 --> 00:15:10,800
birth of and I was the second
wave. But, you know, the real

256
00:15:10,800 --> 00:15:14,340
bang, the Big Bang, had already
gone off, you know, but it was

257
00:15:14,340 --> 00:15:16,560
still like, Wow. You can still
smell it around here,

258
00:15:18,660 --> 00:15:22,940
you know, oddly enough, I never,
I didn't hear about Tom Petty, I

259
00:15:22,940 --> 00:15:26,060
believe on MTV, because that's
when I started really getting

260
00:15:26,060 --> 00:15:29,840
into my music. My gateway drug
was Van Halen and back at 8384

261
00:15:31,580 --> 00:15:36,800
but for some reason, I remember
Tom Petty being a very frequent

262
00:15:36,800 --> 00:15:41,500
guest on the Garry Shandling
show. Do you remember that way

263
00:15:41,500 --> 00:15:44,860
back in the day? It's like he
was always, it seemed like he

264
00:15:44,860 --> 00:15:45,820
was always a guest.

265
00:15:47,080 --> 00:15:50,440
It's, this is already now. The
band is already established at

266
00:15:50,440 --> 00:15:53,740
this point, right, right? Like,
you know, there was a, there

267
00:15:53,740 --> 00:15:57,100
were some, there were three or
four, pretty lean years, you

268
00:15:57,100 --> 00:16:01,920
know, that we were accepted in
England way before the states

269
00:16:02,100 --> 00:16:05,280
bit into it, you know, and we
would go over there, and we

270
00:16:05,280 --> 00:16:10,260
could actually headline cool
theaters, and we were kind of a

271
00:16:10,260 --> 00:16:14,340
thing in Europe, but, boy, we
couldn't, you know, we couldn't

272
00:16:14,340 --> 00:16:18,000
get, I shoot. I didn't even have
an apartment or a car in LA till

273
00:16:18,240 --> 00:16:19,920
the damn near the third album,
you

274
00:16:19,920 --> 00:16:21,980
know, because you guys were just
gone.

275
00:16:23,540 --> 00:16:27,620
Well, it's also we were just
broke ass knucklehead, you know,

276
00:16:27,620 --> 00:16:31,100
we were, we were struggling guys
in a band, you know, we were

277
00:16:31,100 --> 00:16:35,840
just like, everything we made
went back into the product. Or,

278
00:16:35,840 --> 00:16:38,300
you know, we were just so
excited to get on the road. I

279
00:16:38,600 --> 00:16:41,140
mean, hell, there's some of the
guys in the crew made more than

280
00:16:41,680 --> 00:16:41,980
me. That's

281
00:16:43,060 --> 00:16:45,520
interesting, because in a
business, that's what you have

282
00:16:45,520 --> 00:16:48,280
to do to feed the business. And
did you guys know that you were

283
00:16:48,280 --> 00:16:50,860
doing that? Like, you know, hey,
we've got a little bit of money.

284
00:16:50,860 --> 00:16:54,160
We could probably pay ourselves
and take them on the majority

285
00:16:54,160 --> 00:16:57,280
share of it and live, you know,
maybe high on the hog. You

286
00:16:57,280 --> 00:17:00,900
didn't. You had the discipline
to reinvest it into the business

287
00:17:00,900 --> 00:17:03,840
that was that kind of like, were
you cognizant of that at the

288
00:17:03,840 --> 00:17:06,300
time? Are you just something you
did? No,

289
00:17:06,300 --> 00:17:08,280
you're making it sound as if we
had a plan.

290
00:17:12,240 --> 00:17:18,120
I think the plan was to survive,
yeah, and not break up and keep

291
00:17:18,120 --> 00:17:24,620
making music. We knew into I
think we just knew we were

292
00:17:24,620 --> 00:17:28,280
pretty good. Like, you know,
when we walked we had a and we

293
00:17:28,280 --> 00:17:30,860
knew we had a good singer, and
we knew we had cool songs, and

294
00:17:30,860 --> 00:17:34,340
we knew that, I mean, I knew
everybody in the band was the

295
00:17:34,340 --> 00:17:37,640
best guys I had ever played
with. I mean, you know, you got

296
00:17:37,640 --> 00:17:41,620
Ben montage, Mike Campbell, Ron
Blair, Tom Petty, playing rhythm

297
00:17:41,620 --> 00:17:45,760
guitar, who's a great you know,
and singing and writing songs. I

298
00:17:45,760 --> 00:17:49,540
mean, all I had to do was count
four, and that noise came out.

299
00:17:49,600 --> 00:17:53,140
You know what? I mean, it wasn't
like. We had no the only plan

300
00:17:53,140 --> 00:17:56,440
was, damn it, how long is going
to take before people realize

301
00:17:56,440 --> 00:18:00,160
how good we are? You know, it's
like, so I think we were. The

302
00:18:00,160 --> 00:18:02,940
backup plan was, live under a
bridge. You know what? I mean,

303
00:18:03,120 --> 00:18:07,380
it was like. So we were, you
know, hell or high water. We

304
00:18:07,380 --> 00:18:12,660
were gonna either go out. We
were gonna, it was like, Go big

305
00:18:12,660 --> 00:18:16,920
or go home. You know, it's like,
yeah, so it was, it was a great

306
00:18:16,920 --> 00:18:20,600
time, and we had nothing to
lose. I mean, hell we were a

307
00:18:20,600 --> 00:18:24,980
bunch of, bunch of guys from
Gainesville, Florida. You know

308
00:18:24,980 --> 00:18:28,160
what I mean, like, the worst
thing that's gonna happen is

309
00:18:28,160 --> 00:18:31,580
we're gonna have to go back
home. Hell no. You know what I

310
00:18:31,580 --> 00:18:35,720
mean, we're gonna go, we're
gonna do something, yeah, and

311
00:18:35,720 --> 00:18:35,840
you

312
00:18:35,840 --> 00:18:39,020
did, and yeah, you had the, you
had the eye of the tiger. I

313
00:18:39,020 --> 00:18:43,120
mean, I'm, I'm looking back at,
you know, 20, you know, 526,

314
00:18:43,720 --> 00:18:45,880
years, you know, playing with
Curt and Tully as a rhythm

315
00:18:45,880 --> 00:18:50,800
section, we were so dead broke
and sharing a flop house, but we

316
00:18:50,800 --> 00:18:54,460
always had money to go get a
leather jacket and buy cocktails

317
00:18:54,460 --> 00:18:56,380
and go out on the town, you
know, because that was our

318
00:18:56,380 --> 00:19:00,540
priority, go out and mix and
mingle and be seen and create,

319
00:19:01,140 --> 00:19:04,200
you know, work for ourselves.
And we were three headed Hydra,

320
00:19:04,200 --> 00:19:06,780
you know. So it was like three
people that were kind of like

321
00:19:07,380 --> 00:19:12,120
work on each other's behalf. It
was that same kind of spirit, oh

322
00:19:12,120 --> 00:19:16,740
yeah. It's like, you've gotta,
it's almost like, I feel sorry

323
00:19:16,740 --> 00:19:19,980
for people when, like,
somebody's dad will come up to

324
00:19:19,980 --> 00:19:22,700
me and say, you know my kid,
he's a drummer. He's really

325
00:19:22,700 --> 00:19:25,280
good, but he's in law school,
because if it doesn't work out,

326
00:19:25,280 --> 00:19:27,860
I I want to make sure he has
something to fall back on. I'm

327
00:19:27,860 --> 00:19:31,580
like, he's gonna fall back on
it. Just tell him to go ahead

328
00:19:31,580 --> 00:19:33,620
and quit. Yeah, he's gonna be
don't worry

329
00:19:33,620 --> 00:19:36,920
about so you're honest with the
dad, like, so you just say, look

330
00:19:36,920 --> 00:19:38,840
at he's gonna do the backup
plan.

331
00:19:39,980 --> 00:19:42,520
I it that took a long time for
me to

332
00:19:44,020 --> 00:19:47,920
kind of say, like I had a gag
now I have a gag reflex, like

333
00:19:48,040 --> 00:19:51,580
when I when somebody says
something to me that I go that

334
00:19:51,580 --> 00:19:55,060
doesn't make any sense. I mean,
from you know, I have enough

335
00:19:55,060 --> 00:20:01,080
ethnographic field work to say
to somebody to. Unless you,

336
00:20:01,500 --> 00:20:05,760
unless you want this more than
anything, don't even bother. I

337
00:20:05,760 --> 00:20:09,900
mean, it's, it's so hard and so
chock full of headache

338
00:20:09,900 --> 00:20:14,940
heartbreak, you know, it's
unless you're ready for all of

339
00:20:14,940 --> 00:20:18,000
it. Yeah, go home. Yeah. I mean,

340
00:20:19,260 --> 00:20:22,100
but you may, you really caught
the wave. I mean, I'm jealous of

341
00:20:22,100 --> 00:20:25,640
your experience in 1970s Los
Angeles, because I really feel

342
00:20:25,640 --> 00:20:28,100
like some of the greatest music
that ever was created was

343
00:20:28,100 --> 00:20:33,320
between 70 and 79 I mean, those
nine years, you know, really

344
00:20:33,320 --> 00:20:37,820
established this, just this
incredible body of work. I mean,

345
00:20:37,820 --> 00:20:42,940
to think when you were recording
Damn the torpedoes. Did you

346
00:20:42,940 --> 00:20:50,440
think that it would have the the
impact that it has had bus good

347
00:20:50,440 --> 00:20:54,580
at gotta, boom, you're in,
right? And then it's still just

348
00:20:54,580 --> 00:20:56,440
a rock recurrent,

349
00:20:57,400 --> 00:21:00,840
um, I had no clue it was
fraught. You know, that

350
00:21:00,840 --> 00:21:04,560
timeframe was fraught for me. It
wasn't easy, you know, and I was

351
00:21:04,560 --> 00:21:09,960
catching a lot of shit from
producing and from producers and

352
00:21:10,320 --> 00:21:13,980
drummers. You know, it's like I
didn't It's hard not to take it

353
00:21:13,980 --> 00:21:17,220
personal. But back in those
days, there were no click

354
00:21:17,220 --> 00:21:20,180
tracks, you know, you played all
this stuff off the floor, and

355
00:21:20,180 --> 00:21:23,240
you either caught magic, you
caught lightning in a bottle, or

356
00:21:23,240 --> 00:21:26,840
you didn't. And, um, so if there
was a bad day, it's obviously

357
00:21:26,840 --> 00:21:31,460
the drummer, you know what I
mean? As I think someone was

358
00:21:31,460 --> 00:21:35,780
said, another bummer, another
drummer. You know it's like so I

359
00:21:35,780 --> 00:21:42,760
caught a lot of shit that
probably did I need it? I don't

360
00:21:42,760 --> 00:21:46,780
know if I earned quite the
whooping I got, but it's okay.

361
00:21:46,780 --> 00:21:50,740
It all's well, that ends well, I
didn't realize that torpedoes

362
00:21:50,980 --> 00:21:55,720
was a big record till I was I
had a buddy, and we were running

363
00:21:55,840 --> 00:22:00,420
down Santa Monica beach, you
know, we used to jog together,

364
00:22:00,720 --> 00:22:04,500
and there were, you know, what
we would talk about, a mile each

365
00:22:04,500 --> 00:22:08,460
way. And I heard four different
radios, and on four different

366
00:22:08,460 --> 00:22:13,020
stations, I heard four different
songs from the record we just

367
00:22:13,020 --> 00:22:16,380
put out, like a week ago, to me,
and my buddy looked at me as we

368
00:22:16,380 --> 00:22:19,740
were running, and he goes,
Lynch, are you punking me? Did

369
00:22:19,740 --> 00:22:22,940
you like, did this? Did you pay
these people? You know, it's

370
00:22:22,940 --> 00:22:26,060
like I was hearing like, you
know, refugee, don't do me like

371
00:22:26,060 --> 00:22:30,320
that. Here goes my girl and even
the losers like, as I'm running

372
00:22:30,320 --> 00:22:33,380
down the beach on four and I'm
going, What the shit is I was

373
00:22:33,380 --> 00:22:36,740
literally, what is happening,
you know, like, I couldn't, you

374
00:22:36,740 --> 00:22:38,480
know, I'm 24 years old, and I'm
going,

375
00:22:40,520 --> 00:22:43,900
that had to feel great man. That
had to feel like I was in a

376
00:22:43,900 --> 00:22:46,900
coffee shop yesterday and I
heard my drumming. I'll be in an

377
00:22:46,900 --> 00:22:49,540
elevator. I'll hear my drumming.
I'll be in a supermarket. I'm

378
00:22:49,540 --> 00:22:53,440
like, God, I wish I was making
residuals on this. But it sure

379
00:22:53,440 --> 00:22:58,720
is cool, because somehow, some
soccer mom is listening to my

380
00:22:58,780 --> 00:23:02,100
spirit, my essence. It's
captured for all time,

381
00:23:02,160 --> 00:23:05,160
I could tell you guys, I will, I
will never hear my drumming on

382
00:23:05,160 --> 00:23:08,100
the radio. I have not heard my
drumming on the radio ever.

383
00:23:08,100 --> 00:23:10,680
Probably, maybe someday, who
knows? I've heard my voice on

384
00:23:10,680 --> 00:23:12,720
the radio many a time. Yeah.
Well, listen to that voice.

385
00:23:12,720 --> 00:23:13,020
Yeah.

386
00:23:14,400 --> 00:23:21,440
Well, back then, TV wasn't if
you were on TV, that was a, this

387
00:23:21,440 --> 00:23:25,340
is before even MTV. Like,
getting to do Saturday Night

388
00:23:25,340 --> 00:23:29,600
Live was almost like, you know,
you couldn't believe it, you

389
00:23:29,600 --> 00:23:32,660
know. Like, then, what the next
day, you know, you're just

390
00:23:32,660 --> 00:23:35,000
walking down the road, and
people are going, you know, and

391
00:23:35,120 --> 00:23:39,020
then when MTV came out, I mean,
this is, I mean, this is back,

392
00:23:39,020 --> 00:23:43,300
remember, this is way before
podcasts and and everybody doing

393
00:23:43,300 --> 00:23:46,960
zooms, and everybody's famous,
you know, back then, it was like

394
00:23:46,960 --> 00:23:51,580
it was a, really, an
extraordinary time to be a kid

395
00:23:51,580 --> 00:23:57,400
and and be thrown into that. And
Tom processed it extraordinarily

396
00:23:57,400 --> 00:24:01,440
well, because, you know, he was
obviously the thing you saw and

397
00:24:01,440 --> 00:24:06,240
heard, and, man, he he figured
out what was going on very

398
00:24:06,240 --> 00:24:09,660
quickly. I was just a, just what
you'd expect, you know, just a

399
00:24:09,660 --> 00:24:15,600
rock drummer going, Holy crap.
You know, awesome. Years later,

400
00:24:15,600 --> 00:24:20,160
I sort of started to process it
all. And, um, but it was quite

401
00:24:20,160 --> 00:24:24,440
a, quite a freak show there for
a minute, yeah? Like, you know,

402
00:24:24,440 --> 00:24:27,500
it was out of it was really an
out of body kind of experience

403
00:24:27,560 --> 00:24:30,260
for a few years there, you know,
what

404
00:24:30,260 --> 00:24:34,700
was the album or the song on the
radio that made you go, Okay,

405
00:24:35,060 --> 00:24:39,080
we're on to something. Things
are going to be okay, you know,

406
00:24:39,080 --> 00:24:42,160
we're starting to make some good
money, you know what? What was

407
00:24:42,160 --> 00:24:45,640
the time frame that you kind of
realized that what we're doing

408
00:24:45,640 --> 00:24:48,460
is going to work? And what was
the album?

409
00:24:49,540 --> 00:24:55,120
Oddly enough, it was really when
I was out of the band, I was no

410
00:24:55,120 --> 00:24:57,940
longer in the band, I'm
producing and I'm writing, and

411
00:24:57,940 --> 00:25:01,740
we did a greatest hits record.
And the last thing I did with

412
00:25:01,740 --> 00:25:05,520
the band was a song called Last
Dance with Mary Jane, and it was

413
00:25:06,360 --> 00:25:10,560
that, oddly enough, was the
first time, because I wasn't in

414
00:25:10,560 --> 00:25:15,300
the band anymore. When I heard
that on the radio, I went, Holy

415
00:25:15,300 --> 00:25:23,240
crap. This stuff's pretty good.
I could hear it out sort of like

416
00:25:23,240 --> 00:25:28,280
I wasn't in the cult anymore. I
wasn't in the if that makes any

417
00:25:28,280 --> 00:25:32,660
sense. I was seeing it as an
outsider, yeah, and and then I

418
00:25:32,660 --> 00:25:35,660
started hearing it. Finally I it
really wasn't until,

419
00:25:35,660 --> 00:25:40,820
historically, rather recently,
that I got it like I heard, I

420
00:25:40,820 --> 00:25:43,900
think I heard, here comes my
girl, you know, a couple years

421
00:25:43,900 --> 00:25:46,720
ago, and I wasn't listening to
the drums. I was listening to

422
00:25:46,720 --> 00:25:50,380
Ben montage, and I was going, Oh
my God, and the guitar, I

423
00:25:50,380 --> 00:25:53,140
started, you know, because
usually what happens is, the

424
00:25:53,140 --> 00:25:56,080
first time you hear yourself,
you hear every bass drum you

425
00:25:56,080 --> 00:25:59,200
should have played, or the thing
you could have done, or, you

426
00:25:59,200 --> 00:26:02,280
know, you're, you're analyzing
and over analyzing. Now, when I

427
00:26:02,280 --> 00:26:06,660
hear it, I hear the other guys,
and I just am blown away at the

428
00:26:07,980 --> 00:26:12,120
how good they are, and blown
away at Tom like, I didn't you

429
00:26:12,120 --> 00:26:15,660
know, I was probably so up my
own butt trying to make the

430
00:26:15,660 --> 00:26:20,160
records that I wasn't really
experiencing it as a whole until

431
00:26:20,940 --> 00:26:22,820
much later. I don't think

432
00:26:22,820 --> 00:26:26,780
it's possible to do both. You
know what I mean? I don't think

433
00:26:26,840 --> 00:26:29,960
it's possible to, you know, Jim
and I were talking yesterday

434
00:26:29,960 --> 00:26:33,260
about being present and because,
you know, we're kind of looking

435
00:26:33,260 --> 00:26:37,880
back at our lives, kind of mid
life, and going, Wow, we did

436
00:26:37,880 --> 00:26:43,060
this and we did that, but at the
time, you're not really totally

437
00:26:43,240 --> 00:26:46,060
taking it in and appreciating
it, because you're always

438
00:26:46,060 --> 00:26:48,280
looking to the future, you know,
well,

439
00:26:48,280 --> 00:26:51,820
and you're busting the balls,
yeah, you know, really, you're,

440
00:26:51,820 --> 00:26:55,300
you're throwing down everything
you got. You know, it's not like

441
00:26:55,300 --> 00:27:01,440
you go home full of thought. You
just go home exhausted having

442
00:27:01,860 --> 00:27:05,520
spent, you know, you just did 70
takes a refugee. I, you know,

443
00:27:05,520 --> 00:27:09,900
I'm losing my mind like I hope
you know so you it, you're so

444
00:27:09,900 --> 00:27:14,820
immersed in the life and, you
know, and I won't lie, I mean,

445
00:27:14,820 --> 00:27:20,340
there were a lot of things going
on in that time, extracurricular

446
00:27:20,340 --> 00:27:25,460
madness that probably didn't
help, you know, took some focus

447
00:27:25,460 --> 00:27:30,440
away. And, and, uh, it's quite
a, quite a whirlwind when you

448
00:27:30,500 --> 00:27:34,160
know, you it's, it's eight
seconds in the rodeo there, you

449
00:27:34,160 --> 00:27:34,940
know what I mean, eight

450
00:27:35,060 --> 00:27:38,900
second ride, man, well, you
know, that is kind of like an

451
00:27:38,900 --> 00:27:42,160
urban legend. The number of
takes on refugee. Was it 70, or

452
00:27:42,160 --> 00:27:45,040
was it 150 what? Which was the
keeper?

453
00:27:46,540 --> 00:27:49,000
I think, take 11. Take 11

454
00:27:49,000 --> 00:27:54,280
out of 70. That's a lot. That's
a lot of tape. Man. Well,

455
00:27:54,340 --> 00:27:57,100
you know, in my mind, yeah, I
think, I think it would, oh,

456
00:27:57,100 --> 00:28:00,720
yeah, because you could only do
three takes per reel. Yeah. And

457
00:28:01,260 --> 00:28:03,540
I remember there were, there's
probably still somewhere.

458
00:28:03,540 --> 00:28:08,040
There's a warehouse full of two
inch tape that says refugee on

459
00:28:08,040 --> 00:28:12,360
it somewhere. And, um, but yeah,
I think that one of the earlier

460
00:28:12,360 --> 00:28:17,040
takes actually is the record.
And we didn't even know you

461
00:28:17,040 --> 00:28:20,240
could edit, yeah, you know, we
didn't really. And Tom saying

462
00:28:20,240 --> 00:28:26,420
every track, saying every take.
So basically, a lot of the takes

463
00:28:26,420 --> 00:28:32,960
were the best vocal, you know,
like, because Tom was about five

464
00:28:32,960 --> 00:28:36,380
feet from me when we were
recording that stuff, wow. And

465
00:28:36,380 --> 00:28:41,800
um, you know, he's, like, right
in my face, and um, and his

466
00:28:41,800 --> 00:28:47,680
vocal mic is part of my drum
sound. You know, like, if

467
00:28:47,680 --> 00:28:50,920
there's a little bit of delay on
his vocal, there's a little

468
00:28:50,920 --> 00:28:51,940
delay on my drums,

469
00:28:51,940 --> 00:28:55,960
everybody had to get it.
Everybody had to get it. Like

470
00:28:55,960 --> 00:28:56,680
Motown

471
00:28:58,180 --> 00:29:02,760
it was, there was um, the only
overdubs until probably the

472
00:29:02,760 --> 00:29:07,800
fifth album, were maybe a guitar
solo, tambourine, background

473
00:29:07,800 --> 00:29:13,740
vocals, um, maybe Ben Mott would
add another keyboard layer, but

474
00:29:13,740 --> 00:29:17,880
usually he'd play it all, you
know, the guy was, is a genius,

475
00:29:17,880 --> 00:29:22,040
and he could play piano and
organ or piano. He all that went

476
00:29:22,040 --> 00:29:25,400
down, you know, he when you
basically, when you walked in to

477
00:29:25,400 --> 00:29:28,400
hear the take, you know, after
you play three, you go and take

478
00:29:28,400 --> 00:29:32,960
a break, you know, you go and
listen. And the take sort of

479
00:29:32,960 --> 00:29:36,920
sounded like the record. Yeah,
it was like, there's not much,

480
00:29:37,100 --> 00:29:40,240
you know, you're not going to
massage it or move this around.

481
00:29:40,240 --> 00:29:44,440
I mean, maybe you fix a base
mistake, but back in the old

482
00:29:44,440 --> 00:29:47,680
days, those were destructive
edits. I mean, if you punched in

483
00:29:47,680 --> 00:29:51,040
the bass, you couldn't retrieve
it. You know what? I mean, it's

484
00:29:51,040 --> 00:29:54,580
not you can Apple Z and go back
and go, Oh shoot. It was better

485
00:29:54,640 --> 00:30:00,960
before you know. So if you if
you burned a solo, you better. I

486
00:30:00,960 --> 00:30:04,200
beat it. I don't know, you want
to keep that one. Like, yeah,

487
00:30:04,200 --> 00:30:06,600
it's pretty good. Like, okay,
you know, I kind

488
00:30:06,600 --> 00:30:09,600
of like that because they
because it really informs your

489
00:30:09,600 --> 00:30:12,720
musicianship. Because the
expectation was to be, get to be

490
00:30:12,720 --> 00:30:16,140
able to get through a track all
the way, and it's like high art,

491
00:30:16,140 --> 00:30:18,900
and then we can, we could do it
again. We could do it 70 times.

492
00:30:19,140 --> 00:30:21,980
And now with the technology is a
crutch, you know, the you know,

493
00:30:21,980 --> 00:30:24,800
I don't want to sound like Get
off my lawn, but the kids know

494
00:30:24,800 --> 00:30:27,320
that they can fix anything at
any time.

495
00:30:28,340 --> 00:30:32,000
Oh, man, I I've been in
producing sessions for younger

496
00:30:32,000 --> 00:30:35,000
drummers. Literally, the kid
will walk in and play it four

497
00:30:35,000 --> 00:30:38,000
times, and walk in and then look
me in the eye and say, You got

498
00:30:38,000 --> 00:30:43,120
enough there to work with. And I
look at him, and I say, you

499
00:30:43,120 --> 00:30:45,880
don't have enough money to pay
me to edit. You know what? I

500
00:30:45,880 --> 00:30:48,880
mean? You don't have you don't
have eggs. Now I'll listen to

501
00:30:48,880 --> 00:30:53,320
you play, because I like you,
and I will listen to you learn

502
00:30:53,320 --> 00:30:56,680
how to be better and become a
better drummer. But no, I'm not

503
00:30:56,680 --> 00:31:00,160
going to sit here for three days
and turn this thing into a silk

504
00:31:00,160 --> 00:31:02,940
purse. You know? I'm not going
to do it for you. That's not my

505
00:31:02,940 --> 00:31:05,940
job. Your job is to play drums.
You know, my job is to tell you

506
00:31:05,940 --> 00:31:08,700
when I think you're getting
better, and it's like, and to

507
00:31:08,700 --> 00:31:12,360
help you get better. But the the
like you said, the expectation

508
00:31:12,360 --> 00:31:15,840
now is like, Oh yeah, man, that
was a good first verse. You

509
00:31:15,840 --> 00:31:19,800
know, looping. It's like, and
that's cool. I get it. And look,

510
00:31:19,800 --> 00:31:23,600
music has become more in tune
and in time. Nothing wrong with

511
00:31:23,600 --> 00:31:29,060
that. But I still think there's
something holy and sacrosanct

512
00:31:29,060 --> 00:31:33,320
about four or five guys that can
still make that noise off the

513
00:31:33,320 --> 00:31:35,900
floor, and it's going to make
them a hell of a lot better live

514
00:31:35,900 --> 00:31:39,920
band. Yeah, ultimately, yeah,
that's what. And you guys, yeah.

515
00:31:39,920 --> 00:31:42,700
I mean, you guys are great. You
guys are very like, you guys are

516
00:31:42,700 --> 00:31:46,660
a great live band because you
played together now for decades.

517
00:31:46,780 --> 00:31:49,480
You can, you can look at each
other and you know what's going

518
00:31:49,480 --> 00:31:52,180
to happen. You almost can.
You're looking into the future

519
00:31:52,180 --> 00:31:54,580
the whole time you're playing.
You can see around corners. You

520
00:31:54,580 --> 00:31:57,340
know it's like, you know, you
know when Jason's going to step

521
00:31:57,340 --> 00:32:00,180
away and miss the queue, and
it's going to be funny. And you

522
00:32:00,180 --> 00:32:03,120
know how to back that up and
say, you know, if it goes to 13

523
00:32:03,120 --> 00:32:05,700
bar blues for one minute, you
know how to handle that? It's

524
00:32:05,700 --> 00:32:10,380
like, it's like, it's cool, or
Jack makes a funny noise, or

525
00:32:10,380 --> 00:32:13,680
it's got to go around again.
It's like, that's where the fun

526
00:32:13,740 --> 00:32:17,460
is. But, I mean, that's, you
know, that's the high wire act.

527
00:32:17,460 --> 00:32:19,860
That's when you don't have a net
and you really see what you're

528
00:32:19,860 --> 00:32:22,820
made of. And that's a gig, man,
when you come off the stage on

529
00:32:22,820 --> 00:32:26,780
that one, you go, man, didn't
we? We'll never do that again.

530
00:32:26,780 --> 00:32:28,460
Yeah, that was fantastic. You

531
00:32:28,460 --> 00:32:31,880
know, well, it's, it's pretty
much a really cool kind of a

532
00:32:32,120 --> 00:32:36,860
thrill of a lifetime thing to
have had you at the sound board

533
00:32:36,860 --> 00:32:39,320
at several of our shows. You
know, when our buddy Jack size

534
00:32:39,320 --> 00:32:41,920
was like, Stan's gonna be at the
board tonight? And I know that

535
00:32:41,920 --> 00:32:44,680
there's a there's a piece of
rock and roll history at the

536
00:32:44,680 --> 00:32:47,320
board watching our show, and
then you come back for the and

537
00:32:47,380 --> 00:32:50,140
we're like, how do we do is
like, yeah, good, pretty, good

538
00:32:50,140 --> 00:32:52,660
buddy. Not bad, not bad, not
bad. Yo, you

539
00:32:52,660 --> 00:32:55,000
were good. You guys might have a
future at this

540
00:32:56,560 --> 00:32:58,720
the years are running by. Man, I
can't believe I've been

541
00:32:58,720 --> 00:33:03,300
Nashville 28 years. Been playing
with Jason for 26

542
00:33:04,020 --> 00:33:09,000
Wow, wow. You know, it's funny.
You mentioned, you know, forming

543
00:33:09,000 --> 00:33:12,240
that bond on the floor, on a
studio floor, you guys do it.

544
00:33:12,240 --> 00:33:14,820
That's how you record, yeah, and
the way you guys have been

545
00:33:14,820 --> 00:33:19,380
recording hasn't changed in 20
years, I guess, right? Same

546
00:33:19,380 --> 00:33:22,100
place, same studio, same coffee
cup, same seats that you said,

547
00:33:22,100 --> 00:33:28,820
same chicken, same chicken. It's
funny. I go back to 91 when

548
00:33:28,820 --> 00:33:31,760
Metallica put out the Black
Album, they had an accompanying

549
00:33:32,240 --> 00:33:35,480
two video box set of the
recording of that album, as well

550
00:33:35,480 --> 00:33:40,720
as the subsequent World Tour and
it they spent nine months or 10

551
00:33:40,720 --> 00:33:44,260
months in the studio, writing
and creating the music and

552
00:33:44,500 --> 00:33:48,880
recording, I think Enter Sandman
probably took a month, and it's

553
00:33:48,880 --> 00:33:51,640
like, oh my, that does not
happen anymore, because you

554
00:33:51,640 --> 00:33:54,580
guys didn't write in the studio,
right? You, you, you knew the

555
00:33:54,580 --> 00:33:57,940
arrangements, and then went to
go record little bit of both.

556
00:33:58,360 --> 00:34:04,260
Well, early, early, early on,
we, we probably, well, lot of

557
00:34:04,260 --> 00:34:10,380
the songs came in, Tom would
come in with an idea, you know,

558
00:34:10,380 --> 00:34:15,300
pretty I mean, he he busted his
butt. I mean, as a writer, he

559
00:34:15,300 --> 00:34:19,980
would have his story, and he
basically knew how his song

560
00:34:20,640 --> 00:34:25,700
could be played acoustically,
and it was really what the band

561
00:34:25,760 --> 00:34:30,680
would do on the floor, was
arrange, like instantaneously,

562
00:34:30,680 --> 00:34:33,800
like we would all mean
literally. My first question

563
00:34:33,800 --> 00:34:36,260
would be, is this one going to
have drums? Because they were

564
00:34:36,440 --> 00:34:39,200
all pretty much presented
acoustically, yeah. And Tom

565
00:34:40,100 --> 00:34:42,820
would go, Yeah, let's find out.
Well, why don't you try it? You

566
00:34:42,820 --> 00:34:47,800
know? Because in his mind and in
my mind, it's like, if we don't

567
00:34:47,800 --> 00:34:51,700
need drums, I'm not gonna, you
know, I'm gonna try because I

568
00:34:51,700 --> 00:34:55,300
love the drums, but I don't want
to just screw up a good song.

569
00:34:55,480 --> 00:34:58,660
But most of the time it would
work. Where we go, oh, yeah,

570
00:34:58,660 --> 00:35:02,520
that adds value, you know? Like,
it's kind of nice to, let's hear

571
00:35:02,520 --> 00:35:05,760
it rock, or how, what's the
scale of the song? Like, that

572
00:35:05,760 --> 00:35:09,540
was the term we would use. Like,
is this one on the mountaintop?

573
00:35:09,540 --> 00:35:12,300
Is this one in the kitchen? Is
this one in the bedroom? You

574
00:35:12,300 --> 00:35:16,140
know? Like, what's the scale?
And if somebody would tell me,

575
00:35:16,140 --> 00:35:19,080
like, hey, Lynch, you know,
you're off the chain, it'd be

576
00:35:19,080 --> 00:35:21,920
like, Well, hell yeah, you know,
that's, that's all I needed to

577
00:35:21,920 --> 00:35:24,980
hear, you know, I'm gonna, I'm
gonna, I'm gonna fire on every

578
00:35:24,980 --> 00:35:28,700
cylinder I got, you know, but
some songs would work better.

579
00:35:28,700 --> 00:35:31,460
And, you know, sometimes we just
get lucky, and that was a good

580
00:35:31,460 --> 00:35:33,860
take, we'll know. And we just
knew it. We'll never do that

581
00:35:33,860 --> 00:35:36,800
again. Like, there's your
record, you know, like, Yeah,

582
00:35:36,860 --> 00:35:40,160
but yeah, we would learn. We
learned in the studio. Um,

583
00:35:40,640 --> 00:35:44,860
probably three, three albums we
would we were getting very

584
00:35:44,860 --> 00:35:47,560
experimental. We were trying to
figure out how to make records.

585
00:35:47,980 --> 00:35:51,460
But sometimes we would rehearse,
especially if we were on the

586
00:35:51,460 --> 00:35:53,920
road. We sometimes, you know,
you'd learn a song and sound

587
00:35:53,920 --> 00:35:59,320
check or start dabbling with a
new song, and you don't get an

588
00:35:59,320 --> 00:36:03,720
idea, but a lot of the stuff,
man, it was pretty much early,

589
00:36:03,720 --> 00:36:08,640
early takes. I mean, stop
dragging my heart, wow. Probably

590
00:36:08,820 --> 00:36:11,580
like, the only, like, the second
time I've ever played the song

591
00:36:11,880 --> 00:36:15,420
that's awesome. Did did you guys
feel like you arrived when Weird

592
00:36:15,420 --> 00:36:16,500
Al covered that song?

593
00:36:18,240 --> 00:36:22,940
I never heard it really, you
know, I mean, I'm, I'm, you

594
00:36:22,940 --> 00:36:25,760
know, that I'm, like, a Luddite
man. I still carry a flip phone,

595
00:36:25,820 --> 00:36:28,520
even back then I'd be, like,
somebody would say, like, oh

596
00:36:28,520 --> 00:36:31,100
yeah, Alvin, the chipmunks got
refugee. And I'm like, great,

597
00:36:31,220 --> 00:36:34,040
you know, like, cool. You know,
I don't like,

598
00:36:35,540 --> 00:36:38,300
I love that you use a flip
phone, buddy. I think that's

599
00:36:38,300 --> 00:36:41,860
amazing. Because, you know
what's great about it, when you

600
00:36:41,860 --> 00:36:46,840
close it, you know the call has
ended this, yeah, sometimes

601
00:36:46,840 --> 00:36:49,240
people are like, you hear him
talking about you afterwards.

602
00:36:49,240 --> 00:36:51,460
You know, they never, they never
clicked end, and you're

603
00:36:51,460 --> 00:36:54,340
listening to this like, Man,
this is awkward now for our

604
00:36:54,340 --> 00:36:55,000
friendship,

605
00:36:56,500 --> 00:36:59,740
Stan, Stan is complete. Is off
the grid when it comes to cell

606
00:36:59,740 --> 00:37:01,440
phones, dude, I love it.

607
00:37:01,440 --> 00:37:05,340
It's like, I don't I mean, I
guess I'm doing social media,

608
00:37:05,340 --> 00:37:11,640
but I have no, I have no desire
to be known anymore. I mean,

609
00:37:11,700 --> 00:37:14,760
obviously it's great because
it's you and I know you and I

610
00:37:14,760 --> 00:37:18,060
have a bond about drumming and
and all the goofy stuff, and we

611
00:37:18,060 --> 00:37:22,820
have friends in common. But
really, I probably live a full

612
00:37:22,820 --> 00:37:28,880
life. You know, I already went
off into the sunset years ago.

613
00:37:29,660 --> 00:37:29,840
Well,

614
00:37:31,700 --> 00:37:34,400
what's a day look like these
days? What do you get up and do?

615
00:37:34,580 --> 00:37:36,140
And you know, tell us about

616
00:37:36,140 --> 00:37:41,500
I have a feeling that Stan is
like he looks out his bedroom

617
00:37:41,500 --> 00:37:45,040
window in the and the the
Pacific, not the Pacific, but

618
00:37:45,220 --> 00:37:47,860
the Atlantic Ocean. Is there.
You know, I

619
00:37:47,860 --> 00:37:53,080
have a, I have I've been, I have
been provided a, really, a life

620
00:37:53,080 --> 00:37:57,640
well beyond my wildest
imagination. And, um, it's, it's

621
00:37:57,640 --> 00:38:01,200
been extraordinary. And I have
a, physically, I have a lot of

622
00:38:01,200 --> 00:38:05,280
room, which I'd never thought
I'd ever have, but I have space.

623
00:38:05,280 --> 00:38:09,000
I have friends that I've had
since junior high school and

624
00:38:09,000 --> 00:38:12,600
even before and my life has been
very consistent, the same things

625
00:38:12,600 --> 00:38:18,540
I loved when I was 13, cars,
girls, music, I love it, really.

626
00:38:18,540 --> 00:38:21,020
No. The only thing that's
changed is the man in the

627
00:38:21,020 --> 00:38:26,840
mirror, who is this old bastard
like but he still loves the same

628
00:38:26,840 --> 00:38:30,200
stuff. I love to, I love to use
the grill. I love I love a

629
00:38:30,200 --> 00:38:35,660
tractor. I love it. I love my
truck. I love, you know, I I

630
00:38:35,660 --> 00:38:38,660
love the drums. I love, yeah,
just looking at them, cleaning

631
00:38:38,660 --> 00:38:41,920
them. I love reheading them. I
love the guitars. I love

632
00:38:41,920 --> 00:38:49,300
restringing them. You know, it's
amazing. I think, okay, I want

633
00:38:49,300 --> 00:38:54,460
what I have. That's the truth. I
love how it all worked out. I

634
00:38:54,460 --> 00:38:59,320
just, I What can I just have a
little more? Can I just have a

635
00:38:59,320 --> 00:39:03,600
couple, a few more, more years
of this would be fantastic. Oh,

636
00:39:03,600 --> 00:39:04,800
I think you're gonna, man,

637
00:39:04,800 --> 00:39:07,740
you're you're fine. And you know
how they always say, Never mix

638
00:39:07,860 --> 00:39:11,820
business and pleasure. You
totally have a PhD in mixing

639
00:39:11,820 --> 00:39:14,280
business and pleasure, because
you're still, I don't know a lot

640
00:39:14,280 --> 00:39:17,460
of people that keep in touch
with friends from, you know,

641
00:39:17,460 --> 00:39:21,800
seventh grade, and you continue
to work with your friends,

642
00:39:21,800 --> 00:39:24,560
mixing business and pleasure,
and that's that's the sign of a

643
00:39:24,560 --> 00:39:26,660
great life. Man, you know when

644
00:39:27,800 --> 00:39:33,740
everybody I've made music with,
and all the successful stuff,

645
00:39:33,800 --> 00:39:38,300
whatever you metric you use for
that, it has always been with

646
00:39:38,300 --> 00:39:43,720
people that I love. I really,
truly love them. And if we get

647
00:39:43,720 --> 00:39:48,160
together, you know, the people I
make music with today, even if

648
00:39:48,160 --> 00:39:51,280
we don't get a song, or we don't
get a track, or we if we get

649
00:39:51,280 --> 00:39:54,460
scumped, I wouldn't care if we
just went out and got a

650
00:39:54,460 --> 00:39:58,060
cheeseburger man and took a ride
around town. It's like just the

651
00:39:58,060 --> 00:40:01,500
chance to hang out with my
friends. Because the bonuses,

652
00:40:01,800 --> 00:40:06,360
occasionally, we turn around and
go, Wow, did we do that? That's

653
00:40:06,360 --> 00:40:11,820
pretty good, you know, that's
pretty good. Like, so I, I have

654
00:40:11,820 --> 00:40:16,740
always sort of friendship has,
you know, that's been the first

655
00:40:16,740 --> 00:40:19,260
thing, like kids in the sandbox,
you know, when you're a kid, you

656
00:40:19,260 --> 00:40:21,860
meet a guy and you go, like,
Hey, man, is that your talk a

657
00:40:21,860 --> 00:40:24,080
toy? You know? It's like, Oh, I
like that, you know? It's like,

658
00:40:24,080 --> 00:40:27,260
Can I play with that? It's like,
yeah. Or the guy where you go,

659
00:40:27,320 --> 00:40:33,080
Oh, man, he's kind of a dick. I
I'm not gonna be friends. You

660
00:40:33,080 --> 00:40:37,940
keep moving on. But it's been
wonderful, man. Yeah, it does.

661
00:40:38,240 --> 00:40:41,320
Music is passed from my social
life, you know, I guess it's

662
00:40:41,320 --> 00:40:45,700
kind of sad. But this is, this
is what I got, man, you know,

663
00:40:45,700 --> 00:40:48,580
it's like, I got music. I got
pals

664
00:40:50,680 --> 00:40:53,920
now, in in your in your small
town in Florida that you're

665
00:40:53,920 --> 00:40:57,940
living in, when you get out, and
are you kind of like the mayor,

666
00:40:57,940 --> 00:41:01,020
the people that just, they're
just like, tip the hat, you

667
00:41:01,020 --> 00:41:01,320
know.

668
00:41:01,920 --> 00:41:06,420
Now everybody's over it, yeah? I
mean that maybe for about it

669
00:41:06,420 --> 00:41:09,240
seemed like that lasted about a
week, you know, like, everybody

670
00:41:09,240 --> 00:41:12,180
got a little excited, you know,
had to talk about it. Now

671
00:41:12,180 --> 00:41:13,140
everybody's like, yeah,

672
00:41:13,260 --> 00:41:16,800
so they let you do your thing.
You can walk about and not, oh,

673
00:41:16,860 --> 00:41:17,100
yeah,

674
00:41:17,160 --> 00:41:18,480
let me do my thing.

675
00:41:20,040 --> 00:41:23,480
I'm almost like, you know, oh,
are you ever gonna get a job?

676
00:41:24,200 --> 00:41:27,920
Man? They're almost, I get no
respect. It's fine. You know,

677
00:41:27,920 --> 00:41:29,660
it's really fine. Now,

678
00:41:29,660 --> 00:41:32,660
when your buddies do get
together and, you know, there's

679
00:41:32,660 --> 00:41:35,720
nothing really to write, or
maybe nobody's inspired, what's,

680
00:41:35,960 --> 00:41:38,540
what are the bands that you jam
to? What you know? What are that

681
00:41:38,540 --> 00:41:41,660
you cover and stuff? What are
the go tos if you're playing

682
00:41:41,660 --> 00:41:42,020
with them?

683
00:41:42,560 --> 00:41:46,120
I can honestly tell you, I was
never, I mean, it's been

684
00:41:46,180 --> 00:41:51,760
probably I was, I haven't that
that's not a thing for me. What

685
00:41:51,760 --> 00:41:57,520
I usually will do is just talk
through it, like until somebody

686
00:41:58,180 --> 00:42:02,940
gets a hot hand, like until I
feel a pair of, pair of queens

687
00:42:03,000 --> 00:42:07,500
coming in the room, like, it's
like, it's sort of like, Oh,

688
00:42:07,500 --> 00:42:12,900
somebody's, you know, you're
sad, yeah, I think musicians are

689
00:42:12,900 --> 00:42:15,420
divided into two groups, you
know, we're, we're

690
00:42:16,740 --> 00:42:19,740
transmitters and receivers, you
know, and like.

691
00:42:21,060 --> 00:42:24,440
And I think you can't really be
in a room full of transmitters

692
00:42:24,680 --> 00:42:28,340
all the time, because it's just
too much. It's like everybody's

693
00:42:28,340 --> 00:42:33,200
just yelling. But if, some days
I'm a really good receiver and I

694
00:42:33,200 --> 00:42:36,620
can listen, because, you know,
some guy will walk in and he's

695
00:42:36,620 --> 00:42:39,080
kind of half lit, or he's
excited and he's got a million

696
00:42:39,080 --> 00:42:43,120
things on his mind, that's the
day I've learned to just go grab

697
00:42:43,120 --> 00:42:46,000
my legal pad and just go, Uh
huh,

698
00:42:47,260 --> 00:42:48,040
tell me more,

699
00:42:49,120 --> 00:42:51,340
yeah, and see if there's
anything coming out of it. Then

700
00:42:51,340 --> 00:42:54,640
other days, somebody will be
looking at me going, like, What

701
00:42:54,640 --> 00:42:56,620
the hell did you just say? And
I'm like, I don't know. You're

702
00:42:56,620 --> 00:43:00,300
supposed to have a legal pad
today. It's like, so it's fun,

703
00:43:00,300 --> 00:43:04,200
and I feel that way when I sit
down to play with people. I

704
00:43:04,200 --> 00:43:07,440
really hate it when they don't
listen, or they think I'm

705
00:43:07,440 --> 00:43:11,940
supposed to be doing more, like
if I'm just playing a beat. You

706
00:43:11,940 --> 00:43:15,720
know what? That's probably
enough to get us. I shouldn't

707
00:43:15,720 --> 00:43:21,200
have to blow a bunch of fire out
of my butt to make a song, you

708
00:43:21,200 --> 00:43:24,260
know, it's like, if I most of
the hit records that I liked as

709
00:43:24,260 --> 00:43:27,740
a kid, like, Hold on, I'm
coming. Or, you know, it's or

710
00:43:27,800 --> 00:43:32,900
respect by Aretha, it's like the
beat, you know, we should be

711
00:43:32,900 --> 00:43:35,540
able to say something to a beat.
Yeah, it's like,

712
00:43:36,680 --> 00:43:40,840
So, James Brown said a lot, man.
James Brown said a lot to a

713
00:43:40,840 --> 00:43:49,480
beat. I mean, you know, oh my
gosh, yeah. But you, you know,

714
00:43:49,480 --> 00:43:52,660
you've got many you got chapters
to your career. I mean, you were

715
00:43:52,660 --> 00:43:55,600
always a songwriter. You There
was always a producer inside of

716
00:43:55,600 --> 00:43:59,500
you. But that chapter two kind
of came along when, you know

717
00:43:59,500 --> 00:44:02,880
your friend Don Henley kind of
said, Hey kid, it's like he had

718
00:44:02,880 --> 00:44:05,880
a cigar. And he's like, Hey,
come with me, you know. And

719
00:44:05,880 --> 00:44:09,420
like, you know, hey, watch, come
on in, you know. So that's,

720
00:44:09,540 --> 00:44:12,480
that's cool, man, you know,
very, very cool.

721
00:44:12,960 --> 00:44:16,020
Well, that's an invitation only
room, you know. You don't, you

722
00:44:16,020 --> 00:44:19,860
don't knock on Don Henley's door
and say, Hey, man, I want to

723
00:44:19,860 --> 00:44:22,880
write songs. You know, you're
secure. You'll have you out on

724
00:44:22,880 --> 00:44:26,840
your ass in about a minute. So
it's like, but Don and I were

725
00:44:26,840 --> 00:44:31,820
friends. Once again, I come back
to friends. I well, he,

726
00:44:31,940 --> 00:44:35,360
fortunately, he liked me. You
know, it wasn't hard for me to

727
00:44:35,360 --> 00:44:40,660
like Don. You know, he's really
brilliant, he's gregarious, he's

728
00:44:40,960 --> 00:44:46,060
to me, he's he's insightful,
he's poetic, he's well read.

729
00:44:46,060 --> 00:44:48,700
He's like your big brother. You
know, it's like, you want to

730
00:44:48,700 --> 00:44:51,640
know this guy, you know, when
you're in his orbit, you're

731
00:44:51,640 --> 00:44:57,160
like, Hey, can I you know? So he
somehow, he said he must have

732
00:44:57,160 --> 00:45:00,360
seen something in me that he
thought, Well, why? Don't you

733
00:45:00,360 --> 00:45:04,380
step in here and let me. Let me,
let you audit my process. Let

734
00:45:04,380 --> 00:45:09,600
me, let you watch how we do it.
And so I did. I spent about a

735
00:45:09,600 --> 00:45:14,340
year in the back of the room, in
the studio, just watching, you

736
00:45:14,340 --> 00:45:18,420
know, like I was just allowed to
be there, you know, I didn't

737
00:45:18,420 --> 00:45:23,300
really have a job. I wasn't
hired to do anything I was just

738
00:45:23,600 --> 00:45:27,560
I got to be Don's friend and
watch his process, which was

739
00:45:27,560 --> 00:45:35,300
unbelievably disciplined and
meticulous. Oh my gosh, you

740
00:45:35,300 --> 00:45:38,480
know, that's but, but at the
same time, it's very, very

741
00:45:38,660 --> 00:45:42,820
experimental and open minded,
Don doesn't hate a guy with a

742
00:45:43,120 --> 00:45:45,640
good idea. If somebody comes in
the room and they're brilliant,

743
00:45:45,880 --> 00:45:48,400
he's the first one to go, hey.
But if

744
00:45:48,400 --> 00:45:49,180
they're not,

745
00:45:50,500 --> 00:45:54,280
oh, he just doesn't suffer. He
doesn't suffer anybody. He

746
00:45:54,280 --> 00:45:57,940
doesn't suffer fools, and
doesn't suffer himself like he's

747
00:45:57,940 --> 00:46:02,520
very can be very hard on
himself, and, that's why I

748
00:46:02,520 --> 00:46:07,920
believe he feels in his mind,
hey, if I'm hard on you, it's

749
00:46:07,920 --> 00:46:11,400
good enough for me. Like, if I
can take it, you should be able

750
00:46:11,400 --> 00:46:16,680
to take it. And that was a real
lesson that realizing that if

751
00:46:16,680 --> 00:46:20,840
you are feeling somehow like
you're getting quote picked on,

752
00:46:20,840 --> 00:46:24,020
or you're it's like, all he's
saying is, is it personally to

753
00:46:24,020 --> 00:46:27,320
me, it'd be like, Lynch, you got
better. You can do better. You

754
00:46:27,320 --> 00:46:31,940
know, I expect more from you,
you you can do better. And some

755
00:46:31,940 --> 00:46:35,120
people would sort of crumble
under that and go like, man,

756
00:46:35,120 --> 00:46:39,380
you, you're being hard on me. I
see it as like, challenge

757
00:46:39,380 --> 00:46:41,140
accepted. Yeah,

758
00:46:41,140 --> 00:46:43,540
and you're writing songs
together, right? First of all,

759
00:46:43,540 --> 00:46:46,360
you're writing songs together,
but then you earn his trust.

760
00:46:46,420 --> 00:46:50,500
Trust so much that you start
producing his records.

761
00:46:51,520 --> 00:46:57,460
Well, he that's a with Don. It's
a very unique situation, because

762
00:46:57,460 --> 00:47:01,320
what you do is, you, you help
facilitate, really, you know,

763
00:47:01,320 --> 00:47:05,220
what you do is, Don's very
directed. He doesn't need anyone

764
00:47:05,220 --> 00:47:10,080
to come over and say, Hey, today
we should use tubas, you know,

765
00:47:10,080 --> 00:47:13,800
like, or like, Don's going to be
the guy going, Look, it's going

766
00:47:13,800 --> 00:47:16,260
to feel something like this.
It's going to work something

767
00:47:16,260 --> 00:47:20,480
like this, help me get there,
you know, like, just help me get

768
00:47:20,540 --> 00:47:26,660
and part of the he's a unique,
very unique situation. And

769
00:47:26,660 --> 00:47:31,520
there's really, that's why he's,
yeah, he's very, you know, look,

770
00:47:31,520 --> 00:47:34,460
and plus, he said, like I've
always said, if he didn't sing

771
00:47:34,460 --> 00:47:37,160
so good, write so good, and
produce so good, you'd only know

772
00:47:37,160 --> 00:47:40,300
him. Only know him as the guy
who played drums on every Eagles

773
00:47:40,300 --> 00:47:43,720
hit record, which would be,
that's a hell of a trick too,

774
00:47:44,440 --> 00:47:47,080
that that that's a legacy. And,
you know, it's really funny is,

775
00:47:47,080 --> 00:47:50,560
I tell all my students, I say,
why is Don Henley one of the

776
00:47:50,560 --> 00:47:57,280
greatest drummers in the world?
Because he doesn't play when he

777
00:47:57,280 --> 00:48:01,860
is sick. He doesn't do a fill
when he's singing. So pretend

778
00:48:02,220 --> 00:48:07,980
that that your lead singer is
what do they want from you? They

779
00:48:07,980 --> 00:48:11,100
want you to stay out of the way.
What would Stan Lynch do? He

780
00:48:11,100 --> 00:48:13,740
would play the perfect fill at
the right moment, and he would

781
00:48:13,740 --> 00:48:18,960
stay out of the way. So you two
guys are like holy grails of how

782
00:48:18,960 --> 00:48:24,560
to be craft musical drummers as
students, because I do a lot of

783
00:48:24,560 --> 00:48:27,260
teaching and and the kids are
working on their rada mccues,

784
00:48:27,260 --> 00:48:29,660
and they want to do that thing
right. And you say, like, You

785
00:48:29,660 --> 00:48:33,920
got to have it in your bag, but
you got to have the discipline

786
00:48:33,920 --> 00:48:35,900
to not do it

787
00:48:36,620 --> 00:48:40,400
well. The other thing is, I've
said before is, like, there's

788
00:48:41,000 --> 00:48:45,700
you can be a drummer or you can
be the best drummer in your

789
00:48:45,700 --> 00:48:50,200
band, yes, for your and that's
there's a distinction with a

790
00:48:50,200 --> 00:48:53,980
difference. It's like, look a
great drummer. It's almost like

791
00:48:53,980 --> 00:48:57,280
Stupid Pet Tricks. You know
what? I mean. I can see a guy

792
00:48:57,280 --> 00:49:01,920
who could do a triple Rada
McCue, well, barbecue and a

793
00:49:01,920 --> 00:49:05,460
shrimp and playing a, you know,
triple strokes with his feet.

794
00:49:05,460 --> 00:49:10,860
And it's like, but the but the
key is, will he, will that guy,

795
00:49:10,860 --> 00:49:17,100
ever play on a hit record? I
don't know, right? So I prefer

796
00:49:17,700 --> 00:49:21,500
to be part of something bigger
than myself. I would prefer it.

797
00:49:21,740 --> 00:49:25,100
And, um, but I grew up as a band
guy I always love. I mean,

798
00:49:25,100 --> 00:49:27,680
shoot, I watched The Ed Sullivan
Show, watch the Beatles, The

799
00:49:27,680 --> 00:49:31,340
Stones, The Kinks, all these
great bands. And everybody would

800
00:49:31,340 --> 00:49:33,800
tell me how great the front man
were. But for four minutes, all

801
00:49:33,800 --> 00:49:37,100
man was, I'm just staring at the
drummer, going, oh, man, look at

802
00:49:37,100 --> 00:49:40,780
that. That's so cool. And then I
realized what the what Charlie

803
00:49:40,780 --> 00:49:44,380
Watts was doing was making Mick
Jagger look good. You know what

804
00:49:44,380 --> 00:49:49,000
I mean. What Ringo was doing was
playing the perfect part for a

805
00:49:49,000 --> 00:49:54,040
John Lennon Paul McCartney song,
you know, like just looking good

806
00:49:54,040 --> 00:49:56,980
doing it looking like he wasn't
stressing. You know what I mean.

807
00:49:57,280 --> 00:50:02,160
So it's um, to me that's. You
want? If I could teach that or

808
00:50:02,280 --> 00:50:05,820
tell a kid anything today, I go,
first off, what's your goal? Do

809
00:50:05,820 --> 00:50:10,080
you want to be the best drummer
in the world that you've already

810
00:50:10,080 --> 00:50:14,820
bitten off a careful you know
that's you're chasing a 700

811
00:50:15,600 --> 00:50:18,660
horsepower Ferrari, and even if
you catch it, I don't even know

812
00:50:18,660 --> 00:50:22,460
what you got. But if you'd like
to be the best drummer in your

813
00:50:22,460 --> 00:50:26,420
band, I can probably help you. I
can help you get your head

814
00:50:26,420 --> 00:50:30,680
dialed in. And you should start
looking at the lyrics that you

815
00:50:30,680 --> 00:50:34,640
know and start reading the song.
Don't worry about the chart,

816
00:50:34,700 --> 00:50:38,660
just listen to the song. Listen
to your singer's intensity. If

817
00:50:38,660 --> 00:50:43,180
he's talking, your scale is
down, you know. And if he's, if

818
00:50:43,180 --> 00:50:45,940
he's, he's telling you what the
rhythm should be. He's, if he's

819
00:50:45,940 --> 00:50:50,320
a good singer, he's like Wilson
Pickett. It's like, you know, it

820
00:50:50,320 --> 00:50:54,760
goes Mustang salad, you know.
You know. Like, you know exactly

821
00:50:54,760 --> 00:50:59,560
what you're going to play, but
you know. So try to try to be

822
00:50:59,560 --> 00:51:04,860
something bigger than just your
drum your drum parts, you know.

823
00:51:04,860 --> 00:51:07,860
And your sound is so important.
And I think drummers have

824
00:51:07,860 --> 00:51:11,640
forgotten because of samples and
sound replacement libraries, you

825
00:51:11,940 --> 00:51:14,940
know, you got to get a good
sound, you know. And you got to

826
00:51:14,940 --> 00:51:18,840
make it feel good, you know, she
feel luscious. You know, for

827
00:51:18,840 --> 00:51:23,540
playing to a clock, be able to
make it feel pretty sexy, you

828
00:51:23,540 --> 00:51:26,540
know, feel swanky. Yeah, there's
nothing wrong with that, but I

829
00:51:26,540 --> 00:51:30,320
think it's I, but also I realize
I'm, I'm a, I'm a dinosaur, I'm

830
00:51:30,320 --> 00:51:32,480
a, I'm a living, breathing
dinosaur. I

831
00:51:32,540 --> 00:51:35,960
know it you say that, but you're
also a part of a lot of

832
00:51:36,380 --> 00:51:41,320
standards that came out of that
era that will that have multi

833
00:51:41,320 --> 00:51:44,980
generational endurance. You
know, I've always been saying,

834
00:51:44,980 --> 00:51:49,060
in the last 20 years, I can't
really tell you what song has

835
00:51:49,060 --> 00:51:53,800
resonated. And again, I'm not of
creating life moments and

836
00:51:53,800 --> 00:51:56,620
associating music with those
life moments and stuff like

837
00:51:56,620 --> 00:52:00,900
that. But once I got into
country music in 2005 that kind

838
00:52:00,900 --> 00:52:03,840
of took its place. Oddly enough,
one of the songs you were a part

839
00:52:03,840 --> 00:52:08,400
of back when was a big part of
our coming to Nashville with Tim

840
00:52:08,400 --> 00:52:13,380
McGraw's back when Stan helped
write the song, yeah, and it's,

841
00:52:13,440 --> 00:52:16,800
what do you are there any bands
out there now and or even the

842
00:52:16,800 --> 00:52:21,020
last 1015, years that you're
gonna say, oh, yeah, that's,

843
00:52:21,200 --> 00:52:24,500
that's the next, don't stop
believe in, you know, Africa,

844
00:52:24,740 --> 00:52:28,880
you know, Tom Petty hit that we
had back in the day. Is there

845
00:52:28,880 --> 00:52:31,880
anybody that comes to mind that
you that makes you go, yeah,

846
00:52:31,880 --> 00:52:34,820
that's, that's gonna last
another 40 years and be a

847
00:52:34,820 --> 00:52:37,220
classic, a standard, anything
come to mind today.

848
00:52:38,780 --> 00:52:43,360
I think bands have sort of
become almost like commoditized.

849
00:52:44,380 --> 00:52:47,140
Well, they're almost like,
they're not, they're not as

850
00:52:47,140 --> 00:52:50,140
valued, right? Like you use when
we were kids, we knew who was in

851
00:52:50,140 --> 00:52:54,520
the band, right? You know, we
knew. And now to nowadays, you

852
00:52:54,520 --> 00:52:58,720
know, it's a lot of it's track,
and a lot of it is so focused on

853
00:52:59,620 --> 00:53:01,200
the guy or the girl

854
00:53:01,200 --> 00:53:02,700
or the first three seconds?

855
00:53:03,900 --> 00:53:09,840
Yeah, I don't know. And I really
don't know I, and honestly, what

856
00:53:10,080 --> 00:53:14,760
contemporary music and being,
being contemporary, or even

857
00:53:14,760 --> 00:53:20,540
being I put no stock in it. I'm
not saying it as a as a jerk.

858
00:53:20,540 --> 00:53:23,540
I'm just saying it's a
meaningless currency to me right

859
00:53:23,540 --> 00:53:29,180
now, right? Um, what's important
to me is joy, creativity, love

860
00:53:29,780 --> 00:53:33,380
doing the best I can today.
Because, hey, man, for all I

861
00:53:33,380 --> 00:53:36,200
know the thing I'm recording
today could be the last thing I

862
00:53:36,200 --> 00:53:39,680
get to record. I'm going out
doing my best. Yeah. Know what I

863
00:53:39,680 --> 00:53:45,340
mean, yeah. Like, so, you know,
the clock is ticking, and I know

864
00:53:45,340 --> 00:53:48,460
that, and I'm and I'm not afraid
of it, but at the same time, I

865
00:53:48,460 --> 00:53:52,060
don't want to waste time
worrying about that stuff,

866
00:53:52,120 --> 00:53:54,640
right? You know, it's like, I
want to waste, what I want to

867
00:53:54,640 --> 00:53:58,600
waste my time on is being around
cool cats. You want to make cool

868
00:53:58,600 --> 00:54:03,480
music that's that's got you have
my attention. Everything else is

869
00:54:03,480 --> 00:54:05,460
like, okay, great.

870
00:54:06,240 --> 00:54:10,260
It's funny. Take a walk in the
last, I don't know, three years

871
00:54:10,320 --> 00:54:15,420
Billy Joel put out another song.
That's right. And it's really

872
00:54:15,420 --> 00:54:19,320
funny when you've got just a
master of their craft that has

873
00:54:19,440 --> 00:54:24,500
one more in them that that
pierces into the vernacular of

874
00:54:24,500 --> 00:54:29,540
the of society, and has there it
is. You have that moment where

875
00:54:29,540 --> 00:54:33,680
it's like, that's how it's done
guys, you know what I mean?

876
00:54:33,800 --> 00:54:37,040
Because that's such a great song
he put out. It's one of my faves

877
00:54:37,040 --> 00:54:37,760
these days.

878
00:54:38,600 --> 00:54:40,100
Did I wait too long? Was that
it?

879
00:54:41,180 --> 00:54:43,600
Yeah, yeah. I think it's what
it's called. Now I gotta make me

880
00:54:43,600 --> 00:54:44,080
look it up.

881
00:54:46,240 --> 00:54:49,240
I think it was, or turn the
lights back on. That's what it's

882
00:54:49,240 --> 00:54:52,420
called, excuse me, yeah, oh
yeah. But it's all about waiting

883
00:54:52,420 --> 00:54:56,680
too long. And you know he was,
he was on the Stern show talk at

884
00:54:56,860 --> 00:54:59,260
Stern. Asked him directly. Who's
that song about? He's like, I'm

885
00:54:59,260 --> 00:55:01,680
not gonna tell. So, yeah, you
are. You're gonna tell me, No,

886
00:55:01,680 --> 00:55:04,440
I'm not. Yeah, you are. And
eventually admitted that it's

887
00:55:04,440 --> 00:55:07,980
about music, his relationship
with music, wow. So,

888
00:55:08,220 --> 00:55:12,120
wow, I think that. I think he's
an artist, yeah, and I think

889
00:55:12,960 --> 00:55:19,440
that get a certain I allow them.
It's like, you know, Picasso?

890
00:55:19,440 --> 00:55:23,060
It's like, if Picasso wants to
paint an ants, but that's what

891
00:55:23,060 --> 00:55:26,360
he's gonna paint, because that's
what he was into. It's like,

892
00:55:26,540 --> 00:55:30,020
Cool, man, I You don't owe me
nothing, you know? I mean, he

893
00:55:31,220 --> 00:55:34,640
Billy Joel doesn't owe the world
anything. No, you know, it's

894
00:55:34,640 --> 00:55:38,840
like, it's, it's, he's done
everything he should have done.

895
00:55:38,840 --> 00:55:40,960
And then, then some

896
00:55:40,960 --> 00:55:42,640
so many hits.

897
00:55:43,720 --> 00:55:49,660
Oh my gosh. So if you write a
song or not write a song, man, I

898
00:55:49,660 --> 00:55:54,160
applaud him. He's an artist.
There really are in my world,

899
00:55:54,160 --> 00:55:57,100
there's that you're either an
artist or a criminal, and it's

900
00:55:57,100 --> 00:56:01,020
like, or you're somewhere in
between. But it's like, if

901
00:56:01,020 --> 00:56:07,200
you're an artist, you suffer it,
and you you have some good

902
00:56:07,200 --> 00:56:10,560
times. You have some hard times.
If you're a criminal, you can

903
00:56:10,560 --> 00:56:14,040
usually figure out a way to
steal what you need and keep,

904
00:56:14,220 --> 00:56:16,860
you know, right? You can keep
and keep up pretty fat and

905
00:56:16,860 --> 00:56:18,180
happy, you know? Yeah,

906
00:56:19,740 --> 00:56:26,300
what was just a change, just 180
what is the snare drum that you

907
00:56:26,300 --> 00:56:29,180
used? You know how Ringo had one
snare drum his entire career,

908
00:56:29,180 --> 00:56:32,540
pretty much. He flew it
everywhere. Was it the Ludwig

909
00:56:32,720 --> 00:56:34,400
superphonic to six and a half?

910
00:56:35,060 --> 00:56:38,660
It was, it was probably an olive
badge six and a half. And then I

911
00:56:38,660 --> 00:56:42,280
used a acrolyte, occasionally,
an old Keystone badge acrolyte.

912
00:56:42,640 --> 00:56:47,560
And then I also had a super
phonic Keystone badge, five,

913
00:56:47,740 --> 00:56:55,240
five. And then on the last
record I did with Tom, I

914
00:56:55,240 --> 00:56:58,840
actually used a noble and coolie
Piccolo. On last

915
00:56:59,080 --> 00:57:02,700
day, Mary Jane was a noble and
coolie Piccolo. Yeah,

916
00:57:02,700 --> 00:57:05,760
I kind of tuned it down by
accident because I got kind of

917
00:57:05,760 --> 00:57:09,420
tired of that. It was like, you
know, the drums were like, it

918
00:57:09,420 --> 00:57:12,780
was like, hitting a ball of
molasses for a while there, you

919
00:57:12,780 --> 00:57:16,560
know, and, um, but, you know,
once I decided that it was going

920
00:57:16,560 --> 00:57:20,240
to be more fun, you know, I just
want to have some fun. And now

921
00:57:20,240 --> 00:57:24,140
I'm enjoying, I do enjoy, like,
I still love the Ludwigs. I've

922
00:57:24,140 --> 00:57:29,060
got a couple Jazz Fest that are
old 60s that I think are great

923
00:57:29,060 --> 00:57:34,400
drums, wooden Drum Band. Those
are cool. But, yeah, I keep, you

924
00:57:34,400 --> 00:57:37,700
know, I kept, like, I didn't
keep a lot of drums, but I kept

925
00:57:37,940 --> 00:57:41,320
a pretty good locker of snares
that are kind of fun. You know,

926
00:57:41,320 --> 00:57:44,500
they're all set up the same way,
so they kind of sound the same

927
00:57:44,500 --> 00:57:47,680
but, but they're kind of, you
know, snare drums are kind of

928
00:57:47,680 --> 00:57:50,140
sexy to look at. It's like, they
all look great when they're

929
00:57:50,140 --> 00:57:54,400
together. Yeah, they do. I still
get a kick out open the fly case

930
00:57:54,400 --> 00:57:57,760
and seeing 10 snare drums. I go,
Yeah, that looks cool. It's

931
00:57:57,760 --> 00:58:00,400
like, I still get kind of like,
tools,

932
00:58:00,580 --> 00:58:04,620
Tool Time. Tim Taylor, right
there. Look at my tools. Yeah,

933
00:58:06,600 --> 00:58:08,820
no. Drummer can resist a snare
drum collection,

934
00:58:08,880 --> 00:58:12,000
you know, oh my God. Say, Well,
drummers, you heard it here. You

935
00:58:12,000 --> 00:58:14,820
only need like, three Ludwig
snare drums. Three

936
00:58:14,820 --> 00:58:19,440
of I have two. Both are not
Ludwig. At some point I need to

937
00:58:19,440 --> 00:58:20,120
get one. Yeah, I'm

938
00:58:20,120 --> 00:58:23,540
just saying they're really
pretty good. I mean, they're

939
00:58:23,540 --> 00:58:27,080
very versatile drum. They make
a, you know, that you can go,

940
00:58:27,080 --> 00:58:31,940
you can go tight and ring and
honk your brains out and and

941
00:58:31,940 --> 00:58:35,900
have a ball and rim shot it. Or
you can, you know, put a CS spot

942
00:58:35,900 --> 00:58:40,900
and back it down and turn into a
big thud. And it is still, they

943
00:58:40,900 --> 00:58:44,320
still project. And the oddly, I
mean, I'm not going to do a plug

944
00:58:44,320 --> 00:58:48,220
for it, but, well, maybe I will.
The Bissonette designed a snare.

945
00:58:48,400 --> 00:58:52,540
It's a hammered snare that, um,
for the for Dixon, that's a,

946
00:58:52,600 --> 00:58:56,500
that's a pretty good snare drum.
I mean, it's, it's very got a

947
00:58:56,500 --> 00:58:59,980
similar quality of the Ludwigs
might be a little louder, which

948
00:58:59,980 --> 00:59:03,840
is good and bad. You know,
sometimes, you know, can the

949
00:59:03,840 --> 00:59:07,200
snare drum be too loud? I don't
know.

950
00:59:08,580 --> 00:59:13,260
So are the speaker wars gonna go
on tour? It's a kind of a big

951
00:59:13,260 --> 00:59:15,780
band. You got like, six or seven
guys, right? Got

952
00:59:15,780 --> 00:59:19,740
six guys mostly because, um,
well, they all do. They're very

953
00:59:19,740 --> 00:59:23,720
good, but they sing great. I've
got, fortunately, I've got three

954
00:59:23,720 --> 00:59:29,120
to four singers that can really
sing, almost like gospel. These

955
00:59:29,120 --> 00:59:33,920
guys can sing, I mean, so it's
really fun. And, you know, I'm

956
00:59:33,920 --> 00:59:38,360
kind of a song guy, vocal
driven. I love it when guys can,

957
00:59:38,360 --> 00:59:41,020
you know, when the Harveys come
in and it's like, it's not a

958
00:59:41,020 --> 00:59:44,920
joke, you know, it's like, it's
not just, I hope it works. It's

959
00:59:44,920 --> 00:59:49,240
like, nah. So we sit down and we
really do shed harmonies for

960
00:59:49,240 --> 00:59:53,200
days on end. So it would be a
ball to go on the road. As you

961
00:59:53,200 --> 00:59:57,580
know, it's extremely expensive,
yep, and hard, and we need to

962
00:59:57,580 --> 01:00:02,460
get a leg up and. Um, but, yeah,
we can play. We've actually

963
01:00:02,460 --> 01:00:06,900
played a couple gigs, and it was
fun and it was easy and it was

964
01:00:06,900 --> 01:00:10,680
joyful, and everybody gets
along, and they're goofy guys,

965
01:00:10,680 --> 01:00:11,880
so you know what that's worth.

966
01:00:12,540 --> 01:00:15,960
Yeah. So is Chris responde in
the band? No,

967
01:00:15,960 --> 01:00:19,260
Chris is not in the band, but he
did. Did a lot of the work on

968
01:00:19,260 --> 01:00:21,920
the record, nice, a lot of the
engineers did some guitar

969
01:00:21,920 --> 01:00:25,700
playing and, uh, but yeah,
great, cat. So we've got access

970
01:00:25,700 --> 01:00:28,640
to a lot of when we were making
the record, we were using a lot

971
01:00:28,640 --> 01:00:33,980
of friends and people, and then
we settled on the guys we found

972
01:00:33,980 --> 01:00:38,000
when we went into rehearse, we
booked a rehearsal place and set

973
01:00:38,000 --> 01:00:41,500
up shop for about three weeks,
and tried to find combinations

974
01:00:41,500 --> 01:00:45,100
of people that felt right. And
it's mostly about people that

975
01:00:45,100 --> 01:00:48,100
can play with me, because I'm a
weird I got a weird lane. You

976
01:00:48,100 --> 01:00:50,920
know what? I mean, every
drummer's got a lane I gotta

977
01:00:51,400 --> 01:00:53,440
it's like, if you can't find my
groove, I

978
01:00:54,760 --> 01:00:57,880
don't know how people couldn't
find your groove. Stan, I mean,

979
01:00:58,000 --> 01:01:02,040
I mean, come on, boom, smacking
down the highway, just all the

980
01:01:02,040 --> 01:01:06,000
right things at the right time.
I mean, you know, many times

981
01:01:06,000 --> 01:01:09,540
someone has asked for a Stan
Lynch vibe on a recording

982
01:01:09,540 --> 01:01:14,760
session in Nashville, Tennessee,
if I had a peso for every time,

983
01:01:15,000 --> 01:01:17,640
I'd be living in the governor's
club. Oh, man,

984
01:01:19,740 --> 01:01:22,700
that's really hard for me to
process. I don't really even

985
01:01:22,700 --> 01:01:28,880
know where to put it, because a
lot of my playing, you know, was

986
01:01:28,880 --> 01:01:32,120
was pretty it was, it was hard
fought, you know, wasn't like,

987
01:01:33,260 --> 01:01:36,380
it wasn't like, the easiest
thing in the world to make some

988
01:01:36,380 --> 01:01:40,840
of those records. So I still,
I'm just now getting the point

989
01:01:40,840 --> 01:01:43,360
where I can hear some of those
records and not hear the pain,

990
01:01:43,540 --> 01:01:48,940
or not hear the, you know, the
not feel that, the nervousness

991
01:01:48,940 --> 01:01:51,880
or but, yeah, that's very kind
of you to say, Oh,

992
01:01:51,940 --> 01:01:55,660
God, amazing, man. And hey, so
as have people approached you

993
01:01:55,660 --> 01:02:01,200
about a a book, an
autobiography, you're in that

994
01:02:01,200 --> 01:02:04,620
season of your life that there's
a book inside of you, man.

995
01:02:05,700 --> 01:02:08,580
Well, I think Mike just, I think
Mike just nailed it. I think

996
01:02:08,580 --> 01:02:12,120
Mike did a really good job. I
mean, I've read his It was

997
01:02:12,120 --> 01:02:17,400
great. He's, um, I think he kind
of, he spoke a little bit for

998
01:02:17,400 --> 01:02:21,800
all of us, yeah, which was fine.
I'm really, I'm so proud of

999
01:02:21,800 --> 01:02:25,040
those guys. I can't tell you
like, you know, I'm so proud of

1000
01:02:25,040 --> 01:02:29,960
Mike, and he's getting his
acknowledgement for all the

1001
01:02:29,960 --> 01:02:34,820
great writing he did and and the
great guitar playing. You know,

1002
01:02:35,660 --> 01:02:40,220
those guys stood in the shadow
of Tom for a long time, and, um,

1003
01:02:41,180 --> 01:02:44,320
rightfully so. I mean, you know,
it's kind of hard to, you know,

1004
01:02:44,320 --> 01:02:48,220
he was quite a beacon, and, um,
but you know, Ben Mont is making

1005
01:02:48,220 --> 01:02:52,480
great music. He's a really
beautiful guy, same with Mike,

1006
01:02:52,480 --> 01:02:55,900
and I'm just so happy, and I'm
really proud that they're my

1007
01:02:55,900 --> 01:03:02,340
friends. And, man, I long may
they run? Man, yeah.

1008
01:03:02,760 --> 01:03:06,300
Man, what a fun conversation. We
so appreciate you spending this

1009
01:03:06,300 --> 01:03:09,000
time with us. Speaker wars. How
can people support the speaker

1010
01:03:09,000 --> 01:03:11,640
wars? They records dropping
later the month, late May.

1011
01:03:12,480 --> 01:03:13,200
Correct,

1012
01:03:13,320 --> 01:03:15,900
I think there's a I think you
can go, you can check out the

1013
01:03:15,900 --> 01:03:19,560
videos. If you, I think if you
Google speaker Ward's vids,

1014
01:03:19,560 --> 01:03:22,400
you'll get, you know, a song
called it ain't easy. You'll get

1015
01:03:22,400 --> 01:03:25,940
a song called forgiveness tree,
and you'll get it you make every

1016
01:03:25,940 --> 01:03:30,320
lie come true. And those are you
can give you, give you a taste.

1017
01:03:30,320 --> 01:03:32,900
You can kind of go like, okay,
that's my thing, or ain't my

1018
01:03:32,900 --> 01:03:37,280
thing. And, but if it's your
thing, I think you there's,

1019
01:03:37,280 --> 01:03:40,420
you've got speaker wars. We've
got a website. You can pre order

1020
01:03:40,420 --> 01:03:42,940
the record. If you're so
inclined, I would certainly

1021
01:03:42,940 --> 01:03:45,580
appreciate that. Yeah, I got a
birthday coming up. Want to give

1022
01:03:45,580 --> 01:03:47,380
me a birthday present? Order the
record.

1023
01:03:47,800 --> 01:03:49,300
When's that, my friend? When's
that?

1024
01:03:49,840 --> 01:03:50,560
May 21

1025
01:03:51,520 --> 01:03:55,540
may 21 is that, is that the big
one? The big God, you're gonna

1026
01:03:55,540 --> 01:03:58,300
make me say it. I know you don't
have to say it, but we can go,

1027
01:03:58,300 --> 01:03:59,860
wink, wink. Yeah,

1028
01:03:59,860 --> 01:04:03,180
I'm afraid so it's it definitely
happened. The odometer rolled

1029
01:04:03,180 --> 01:04:03,720
over.

1030
01:04:03,900 --> 01:04:07,380
I mean, that is incredible. Hey,
man, you know, I always was the

1031
01:04:07,380 --> 01:04:10,200
youngest guy in every band you
know, 25 years old, and I'm

1032
01:04:10,200 --> 01:04:14,640
about to be 55 years old. Man, I
don't know how it happened.

1033
01:04:17,460 --> 01:04:20,960
When, Hey, man, 15 years gonna
go by real fast, man.

1034
01:04:22,640 --> 01:04:26,840
You know, geometrically it does.
I can honestly tell you, you,

1035
01:04:26,900 --> 01:04:30,200
you will look up and go, was
that five years? Or was that

1036
01:04:30,200 --> 01:04:33,260
last year? You know what? I
mean, it starts like you, and

1037
01:04:33,260 --> 01:04:37,400
I'll drop a decade now, I'll go
like, Oh yeah, that was 2000 you

1038
01:04:37,400 --> 01:04:41,980
go, no, no, dude, that was 94
Yeah.

1039
01:04:43,180 --> 01:04:45,940
Where was I? You know, 90 I
thought it was 2004

1040
01:04:46,840 --> 01:04:49,660
here's a here's a fun thought is
that life is like a roll of

1041
01:04:49,660 --> 01:04:53,620
toilet paper. The more you get
to the end, the faster it goes.

1042
01:04:55,540 --> 01:05:00,420
Yeah, time seems like it's slow.
It's life speeds up. Get out of

1043
01:05:00,420 --> 01:05:01,800
me. Yeah, my

1044
01:05:01,800 --> 01:05:06,420
dad's gonna be 80 in June. 80 in
June. So I'll be flying to

1045
01:05:06,420 --> 01:05:09,060
Florida to celebrate. He goes, I
don't want a party. I'm like,

1046
01:05:09,060 --> 01:05:11,340
Dad, you're getting a party.
You're only 81 time. They live

1047
01:05:11,340 --> 01:05:15,540
in Port Charlotte. So I'll be
flying in and of course, our

1048
01:05:15,540 --> 01:05:18,420
friend Jack Sizemore is always
inviting me to crash at his his

1049
01:05:18,420 --> 01:05:21,680
house. And maybe when I crash at
his house, I'll come sneak I

1050
01:05:21,680 --> 01:05:24,440
want to play a groove on that
set of drums behind you. Man,

1051
01:05:24,500 --> 01:05:25,040
Hey, man,

1052
01:05:25,100 --> 01:05:28,580
if you end up anywhere near me,
just tell Jack, like, yeah,

1053
01:05:28,640 --> 01:05:32,060
we're, you're, you're coming
over. Awesome. That'd be great.

1054
01:05:32,120 --> 01:05:34,880
I would love to see you here.
Nice. You know, that would be

1055
01:05:35,000 --> 01:05:38,300
what as the Redneck say, I'll
see you here, or I'll see you

1056
01:05:38,300 --> 01:05:38,720
here. Stan,

1057
01:05:40,580 --> 01:05:43,120
thanks so much, man. We really
appreciate it. Jim wasn't Jim.

1058
01:05:43,120 --> 01:05:43,660
Wasn't this

1059
01:05:43,660 --> 01:05:46,480
fun. It was great conversation.
Great conversation to meet

1060
01:05:47,860 --> 01:05:51,220
you. Great to meet you guys and
look, thanks a lot for helping

1061
01:05:51,280 --> 01:05:54,760
get the word out on the band.
Anything you can do, it's I

1062
01:05:54,760 --> 01:05:58,660
don't I don't take it lightly. I
don't take it for granted, and I

1063
01:05:58,660 --> 01:05:59,200
thank you.

1064
01:05:59,260 --> 01:06:00,160
Well, we tagged the heck

1065
01:06:00,160 --> 01:06:02,400
out of Speaker One. Reach out
when you come through Nashville,

1066
01:06:02,400 --> 01:06:04,740
if that happens. Yeah, love to
come see you

1067
01:06:05,160 --> 01:06:07,680
an agent. I last time I was
there and even recognize the

1068
01:06:07,680 --> 01:06:10,680
place. I literally didn't know
where I was. Yeah, I was like,

1069
01:06:10,680 --> 01:06:13,080
walking around going, like, what
happened to Nashville? Yeah,

1070
01:06:13,140 --> 01:06:14,280
it's like, yeah,

1071
01:06:14,280 --> 01:06:17,760
we got, we got Martini bars and
valet parking now, and

1072
01:06:17,760 --> 01:06:18,180
everything

1073
01:06:19,140 --> 01:06:23,780
taverns. And that's funny. When
I moved here 20 years ago, they

1074
01:06:23,780 --> 01:06:26,780
called it Nash Vegas, and I had
moved from Las Vegas, I was in

1075
01:06:26,780 --> 01:06:30,140
radio for a majority of my
professional life, and they

1076
01:06:30,140 --> 01:06:33,200
called it Nash Vegas when we
moved here, and I was like, No,

1077
01:06:33,740 --> 01:06:35,180
it's not Las Vegas.

1078
01:06:36,920 --> 01:06:39,260
New, new, new, new so I mean,

1079
01:06:39,260 --> 01:06:42,760
the last time I remember having
a really easy time there. You

1080
01:06:42,760 --> 01:06:44,920
could still go to the cooker and
get a meeting three and you

1081
01:06:44,920 --> 01:06:48,100
could, like, you know, there
was, like, you know, Nashville

1082
01:06:48,100 --> 01:06:51,100
was still in the little area
down in there before all that

1083
01:06:51,100 --> 01:06:54,760
became 50 stories tall. And,
yeah, it was, it was actually

1084
01:06:54,760 --> 01:06:58,240
easy. I mean, the town was easy
to move around in, yeah. Now

1085
01:06:58,240 --> 01:07:01,320
it's like, man, it's like, LA,
you need the 40 minutes to go

1086
01:07:01,320 --> 01:07:02,760
anywhere. 40

1087
01:07:02,760 --> 01:07:07,260
minutes wrong? Because la moved
here, yeah, LA is moving here.

1088
01:07:07,260 --> 01:07:07,740
Yeah,

1089
01:07:07,980 --> 01:07:12,900
you're right. You're right.
Well, I moved 662, miles away.

1090
01:07:13,080 --> 01:07:16,500
You know, I know exactly how far
it is. I've driven it a million

1091
01:07:16,500 --> 01:07:21,500
times and, uh, but it I'm sure
you guys are having a lot of fun

1092
01:07:21,500 --> 01:07:24,080
and making a lot of music, and
that's, that's all that matters.

1093
01:07:24,740 --> 01:07:27,320
It's the last place for the
music business. And I just, I'm

1094
01:07:27,320 --> 01:07:30,980
happy that I've been here for 28
years, because, you know, at

1095
01:07:30,980 --> 01:07:34,160
least I'm in line. I went at the
back of the line, man, you know,

1096
01:07:34,820 --> 01:07:35,000
you

1097
01:07:35,000 --> 01:07:38,780
guys know the Kings, man, you
guys are you're doing, it seems

1098
01:07:38,780 --> 01:07:41,380
like you're doing Everybody's
cool records. I mean, it seems

1099
01:07:41,380 --> 01:07:46,060
like it know that the doors are
really big, and you guys have

1100
01:07:46,240 --> 01:07:49,540
been been a train for a long
time. I'm really proud of you

1101
01:07:49,540 --> 01:07:53,320
for staying together and staying
at it. Thanks, badass. That's,

1102
01:07:53,560 --> 01:07:56,920
that's, that's a, that's a tough
thing to do, man, it's hard,

1103
01:07:56,920 --> 01:07:57,400
yeah, well,

1104
01:07:58,360 --> 01:08:01,920
I really appreciate it. Means so
much coming to you, from you and

1105
01:08:01,980 --> 01:08:04,620
you know, thank you for making
the soundtrack of our lives.

1106
01:08:04,620 --> 01:08:05,760
Brother. Appreciate it.

1107
01:08:06,300 --> 01:08:09,180
Yeah. Well, give Telly my best.
Totally my best too. Okay, I

1108
01:08:09,420 --> 01:08:09,600
will.

1109
01:08:09,600 --> 01:08:11,520
Hey, they'll probably, they've
got a podcast too. They'll

1110
01:08:11,520 --> 01:08:14,940
probably be reaching out to you
to come on that show. Yeah, you

1111
01:08:14,940 --> 01:08:18,900
know, Jim produces their
podcast, so, so, yeah, expect

1112
01:08:18,900 --> 01:08:21,080
that phone call. But thank you
so much for coming on and

1113
01:08:21,080 --> 01:08:24,320
everybody out there support the
speaker wars records dropping

1114
01:08:24,320 --> 01:08:27,800
later this month. And to all the
listeners, thank you so much for

1115
01:08:27,800 --> 01:08:31,400
tuning in. Be sure to subscribe,
share, rate and review. It helps

1116
01:08:31,400 --> 01:08:34,280
people find the show. Thanks.
Stan, really appreciate it, man.

1117
01:08:34,280 --> 01:08:37,400
Thanks, Jim, thank you, sir.
Thanks Rich. Talk to you soon,

1118
01:08:37,400 --> 01:08:37,640
buddy.

1119
01:08:37,639 --> 01:08:41,379
Thanks. Bye. This has been the
rich Redmond show. Subscribe,

1120
01:08:41,559 --> 01:08:46,119
rate and follow along at rich
redmond.com, forward, slash

1121
01:08:46,119 --> 01:08:47,019
podcasts you.