Unknown: I had a pretty good ass whipping, you know, because I
always played with the guys that were a little older than me. And
they would pretty much tell you, like, all that stuff you're
you're doing, isn't really helping us, yeah, we really
would like, and they would play me records, you know, the older
dudes, you know, I'm saying older, they were four or five
years older, which is a big deal when you're a kid, yeah, and,
um, they would play me records like, you know, hockey talk,
woman, nice. And they'd say, like, there's Stan, there's no
crash cymbal except the very end of the song, you know what? I
mean, it's just, you just dig in, you know, and a drum fill
could just be and like, you know, just get and they would
just say, like, give me a beat, man, yeah, you know, give me a
group. And, um, so then I, when I went to California, I didn't
go with, with the guy, you know, the guys, the Heartbreakers. I
went alone. So I played in a couple bands out there, and they
were Texas boys, and they were hardcore, like, they were like,
Man, if I played a Phil they'd almost look over and go like,
did you make a mistake?
This is the rich Redmond show. Jim
is joining us, and you're going to love Jim, because he's the
ying to my Yang and and he's not a he. He's getting into drumming
again. He hasn't played professionally in 19 years, and
he's playing with a Huey Lewis tribute band here in Nashville.
He's all excited. He's all rehearsed. It's amazing. Should
be a lot of fun. Bill Gibson, yeah,
man, what I mean? I think I crossed paths with him years and
years ago. What a fine dude, a fine gentleman,
and very underrated. And when you play his parts, you have a
massive appreciation for what you did. It's
crazy. Those are, those are hit records, full stop.
Oh yeah, you know, yeah. Well, hey, we're going to just get
into this right away, because we could just, I mean, your career,
wow. It's going to take a lot longer than an hour, but we're
just going to talk real fast. Hailing from Cincinnati, Ohio
and growing up in Florida. He's now back in Florida, his home
state. He's a musician, he's a songwriter, he's a record
producer. He's a member of the Rock and Roll Hall of Fame,
founding member, 20 years service with Tom Petty and the
Heartbreakers. He's a horse. He's a heartbreaker. He's got a
brand new band called The speaker wars with a mutual
friend, John Christopher Davis as a songwriter producer, wow,
just some of the other people he's worked with. Jackson Brown,
the birds, Belinda Carlisle, Bob Dylan, The Eagles, Don Henley,
Aretha Franklin, Toto, Warren. ZV, I mean, the list goes on and
on. Our friend Stan Lynch, What's up, buddy?
I'm exhausted hearing all that. I mean, yeah.
I mean, it's your, it's your life in 60 seconds. Yeah,
wow, you know, yeah. I mean, I'm my whole life is one big wish
fulfillment episode, man. You know what I mean, it really is.
It's amazing.
Stan, you, you and I got to kind of be fast friends in the year
2000 at this Warner chapel songwriting camp, and you were
one of the few guys that was just so sweet and so nice and so
encouraging, and you were just a bonafide rock star. So thanks
for being so nice to Tully and I and Kurt back in the day. Man,
Hey,
man, it was no effort. You guys were extremely versatile when
you came in and you were thrown just a hat full of ridiculous
personalities. And, I mean, I was watching it from the cheap
seats, you know, I was one of the staff writers. And anytime
you guys I watched, I just watched you guys taking on these
songs and making them into records for these people. And it
was blowing my mind that you had the capacity all of you guys to
get a song and get a track, all within like 20 minutes. And they
were great sounds. And this is back in the old analog funk
days, you know what I mean? There was, I mean, and no
excuses. You guys never made excuses. You know, you were
hungry, you were tired, you were working, you know, 11 hour
shifts. And, I mean, I just, I couldn't believe it. I couldn't
believe what I was seeing. I mean, it was kind of a an
awakening into this, the session world of Nashville, which I had
no idea how that worked. You know, like I said, I've been
from a band situation where you rehearse every song and you
learn them, and you try to figure out your chart and take,
you could take weeks to learn a song, you know? Well, yeah, you
guys were knocking these things out. You were knocking out four
songs an hour. Oh, my
God. What I mean, the best education is that, you know,
trial by fire. You just got to get thrown into the deep end of
the pool, and you got to swim. You got to make something
happen, you know, we got to work with, you know, you and Robbie
Neville and Jewel. I mean, it was fantastic. But enough about
that. Let's talk about your current band. A lot of guys are
gonna say, how did it all start? Stanley, 13 years old, you
started playing the drums, right? But, but, I mean, tell us
about this new band. I mean, that's what really here. We're
trying to get the the public on this band. When does the record
drop you? Uh, may
later this week.
Yeah, yeah, yeah. There's three videos have been put out there,
and they're not, you know, I don't know if they're the best
songs, worst songs, but they're just the record company picked
these to put out, and it's been nice, just sort of getting
reintroduced to the world again, talking it up. I'm I'm grateful
for you. Like, Hey, man, turn your listeners onto the band.
This is the way it works today. There's no machinery to take
your band to the people other than basically, yeah, knocking
on door. Got a band, yeah? So I appreciate you all listening. I
appreciate you all giving a shot. And thank you.
Oh, my God, of course. And where did the name come from? I think
I know how the band was born. You were writing with a mutual
friend of ours, John Christopher Davis, nice, strong Texan.
Actually, it's a Texas band, right? Born and during pretty
much COVID. Oh, sorry, go ahead, I was gonna say burn kind of
born during the COVID years, correct?
You know, back in during COVID, we were all just like, you know,
freaking out, losing our minds. You know, basically everybody
learned to, or I learned how to become a fairly good journeyman
engineer and file share. And, you know, I won't say it was
fun, but it was either that or you were just gonna take up
gardening, you know what I mean. So it's like, I wanted to make
music during those I figured, well, if this is the end, this
is how it ends. I'm going out swinging drumsticks and making
tapes, you know, like I'm making recordings. Yeah, so John, we
just started writing songs. We didn't even know what we were
really writing for, but we just like, we have the same places on
the compass. We both like some cool old R and B. We liked, like
Bob Seager, rock and roll. We liked all that the same stuff.
We liked eat gospel, we liked all kinds of stuff. So when we
got together to write, we just wrote, and we wrote a lot of
songs. And then we met this gentleman, Mike pasterzi, who
took a liking to us and said he curated a record out of this. He
said, Look these, I hear 10 Songs that actually make a
record. And I was like, you know, man, cool, that's great.
I'm not objective. I don't even know. I don't care. And so
that's how it kind of came together. Then this John. I
thought we were making John's solo record, you know, I
figured, well, we're just going to make this dumb John kept just
bugging me. Man, get behind the kid. Man, come on. Come out to
Texas. Start playing some drums. And that was right around the
time Mike Campbell was going on the road, and he, his drummer,
took a little break to go to Italy. And Matt log, Matt log,
yeah, playing with he's playing with AC DC right now. No slouch,
this kid, no,
no slouch. And his a big claim to fame is playing on that
Jagged Little Pill record five number ones,
yeah, oh yeah. He's, he's a great drummer. So Mike said,
Would you like to sub for Matt? And I hadn't played drums in
public in decades, so I'm like, you know, I'm basically shedding
Matt's parts to play with my old friend. And so that kind of got
me behind the kid again. Got me, um, talking to some people about
maybe building a kid because I hadn't had a new drum set since
back when dinosaurs roamed the earth. You know what I mean?
Yeah, and
you're and you're a Dixon guy now, right? Dixon? Nice, yes.
Thanks to
Greg Bissonette. He um, we were taught he's been an old friend
of mine for years. And he said, You know, I told him, Look, I
got these old, my old 60s Ludwigs, you know? And he said,
man, have you heard Dixon? I'm like, No. And he sent me some
files, but you know, he sounds good playing opio cans. So it's
like, you know, I'm going, like, well, that doesn't really help
me, Greg, because, you know, you're a badass. He goes, No,
let me build you a kit. So he built me this cool heat to his
spec, like, almost like an old this, I'm not, what am I saying?
An old thermo gloss style, almost like a Bonzo kit. Yeah.
Man and Greg designed them for me and create, you know, built,
he really built me a great drum set that got me back swinging
again, which is, which was really fun, got me playing with
Michael. Got me playing with John. You know, drums, man, it's
like, if you don't play them, you it's pretty daunting to sit
down behind a kid if you haven't played him in a while. You know,
it's funny, scarier, yeah.
You know John, my business partner, yeah, he taught he sat
down at my kid. He's an old drummer as well, and he, he kind
of experienced the same thing that I did, you know, shaking
off the rust. He's like, I can only play about 15% of the fills
I was able to play. And I'm going, you. Yeah, that happened
to me too, because you kind of lose your confidence after a
while. It's not really like riding a bike, you know, two and
four and yoga, nothing. Those kinds of things kind of come
handy. But some of the stuff I used to do, it's like, I can't
do that anymore. It's gonna take some practice, man.
Well, you know, not to, not to put too fine a point on drum
fills. But you know what? Sometimes you're more valuable
if you do leave them out, right? You know what? I mean? Yes, it's
like a valuable singer I have found over the years. You know,
I started really wanting to make all this racket. Then I
realized, like, what really makes hit records is the beat.
Yes, you know, it's just the beat. Like, give me a pulse,
man. You know, Can you lay that down and get on that balance
beam for four minutes and just do that job so your singer feels
like, if your singer don't feel sexy, the whole thing just falls
apart. The whole thing is secure. If
you're listening to this podcast, it means you're already
looking to improve your drumming. Why not level it up?
In person with me, when you book a one on one day, drum tense
drummers from around the world have traveled to Nashville to
study with me. We cover subjects like reading, rudiments,
technique, hand development, charting, the national number
system, styles, percussion, music biz, insider info, career
development, positive mindset and much more. Of course, we
address all your questions, and my deep curriculum has helped
players of all kinds move the ball down the field to be closer
to their goals, even getting accepted to college music
programs, moving to that dream music town, getting gigs and
keeping them. Find out more about my one on one day. Drum
tensive go to drumtensive.com D, R, U, m, t, e, n, s, I, V,
e.com, drumtensive.com
have a podcast that needs a facelift, or maybe you're just
starting out and want to hit the ground running. At it's your
show.co. We help you produce, rebrand and elevate your
podcast, led by industry vet Jim McCarthy, a 25 plus year
voiceover, music and talk radio Production Pro. Jim's got the
gear, the experience and the gear to take your show from
average to unforgettable. Podcasts are one of the most
powerful tools to grow your brand, connect authentically and
build trust with your audience, but sounding like a pro, that's
what sets you apart. Visit. It's your show.co today, and let's
make your podcast sound like it should.
But you were just so good and so intuitive, so young. I mean, you
had like, you know, classic rock and Stax Records in Motown and
all that stuff in your DNA does get as good as good at gun. Got
dudes good at those good all the stuff, all the user friendly,
sexy stuff that still works and creates energy but doesn't get
you fired. You know what? I mean, you were so good at it,
because when you joined the band, you were practically a
teenager, right? Pretty
much, yeah, I was just turning 20 when we were making that
first record, and it was, um, but, you know, I had, I had a
pretty good ass whipping, you know, because I'd always played
with the guys that were a little older than me, and they, they
would pretty much tell you, like, all that stuff you're,
you're doing, isn't really helping us? Yeah, we really
would like, and they would play me records, you know, the older
dudes, you know, I'm saying older, they were four or five
years older, which is a big deal when you're a kid, yeah, and,
um, they would play me records, like, you know, hockey talk,
woman, nice. And they'd say, like, there's Stan, there's no
crash cymbal except the very end of the song. You know what? I
mean, it's just, you just dig in, you know, and a drum fill
could just be and, like, you know, just get and they would
just say, like, give me a beat, man, yeah, you know, give me a
group. And, um, so then I, when I went to California, I didn't
go with, with the guy, you know, the guys, the Heartbreakers, I
went alone, so I played in a couple bands out there, and they
were Texas boys, and they were hardcore, like, they were like,
Man, if I played a Phil they'd almost look over and go, like,
did you make a mistake? You know, was that, oh,
my god, mean to do that? Were you guys playing, like, the
Palomino club and stuff in North Hollywood, or, like, Yeah, we
actually
did play the Palme and we played them. God, all those clubs are
pretty well gone, like the Starwood and, you know, the
whiskey was still not a pay to play place, you know, all these
play casaris And all those fun clubs in LA and, yeah, they
were, it was fun stuff, man. And you play like, you know, you
just the corral, and Topanga was a gig like all these. It was
just really fun to be a musician in LA in the 70s, because there
was still a little echo of the 60s still there. Like when I
drove by the whiskey, I couldn't imagine seeing the birds logo
and and the doors and, you know, like. It was all in my mind. I
was taking part of this magical thing, you know, it was the
birth of and I was the second wave. But, you know, the real
bang, the Big Bang, had already gone off, you know, but it was
still like, Wow. You can still smell it around here,
you know, oddly enough, I never, I didn't hear about Tom Petty, I
believe on MTV, because that's when I started really getting
into my music. My gateway drug was Van Halen and back at 8384
but for some reason, I remember Tom Petty being a very frequent
guest on the Garry Shandling show. Do you remember that way
back in the day? It's like he was always, it seemed like he
was always a guest.
It's, this is already now. The band is already established at
this point, right, right? Like, you know, there was a, there
were some, there were three or four, pretty lean years, you
know, that we were accepted in England way before the states
bit into it, you know, and we would go over there, and we
could actually headline cool theaters, and we were kind of a
thing in Europe, but, boy, we couldn't, you know, we couldn't
get, I shoot. I didn't even have an apartment or a car in LA till
the damn near the third album, you
know, because you guys were just gone.
Well, it's also we were just broke ass knucklehead, you know,
we were, we were struggling guys in a band, you know, we were
just like, everything we made went back into the product. Or,
you know, we were just so excited to get on the road. I
mean, hell, there's some of the guys in the crew made more than
me. That's
interesting, because in a business, that's what you have
to do to feed the business. And did you guys know that you were
doing that? Like, you know, hey, we've got a little bit of money.
We could probably pay ourselves and take them on the majority
share of it and live, you know, maybe high on the hog. You
didn't. You had the discipline to reinvest it into the business
that was that kind of like, were you cognizant of that at the
time? Are you just something you did? No,
you're making it sound as if we had a plan.
I think the plan was to survive, yeah, and not break up and keep
making music. We knew into I think we just knew we were
pretty good. Like, you know, when we walked we had a and we
knew we had a good singer, and we knew we had cool songs, and
we knew that, I mean, I knew everybody in the band was the
best guys I had ever played with. I mean, you know, you got
Ben montage, Mike Campbell, Ron Blair, Tom Petty, playing rhythm
guitar, who's a great you know, and singing and writing songs. I
mean, all I had to do was count four, and that noise came out.
You know what? I mean, it wasn't like. We had no the only plan
was, damn it, how long is going to take before people realize
how good we are? You know, it's like, so I think we were. The
backup plan was, live under a bridge. You know what? I mean,
it was like. So we were, you know, hell or high water. We
were gonna either go out. We were gonna, it was like, Go big
or go home. You know, it's like, yeah, so it was, it was a great
time, and we had nothing to lose. I mean, hell we were a
bunch of, bunch of guys from Gainesville, Florida. You know
what I mean, like, the worst thing that's gonna happen is
we're gonna have to go back home. Hell no. You know what I
mean, we're gonna go, we're gonna do something, yeah, and
you
did, and yeah, you had the, you had the eye of the tiger. I
mean, I'm, I'm looking back at, you know, 20, you know, 526,
years, you know, playing with Curt and Tully as a rhythm
section, we were so dead broke and sharing a flop house, but we
always had money to go get a leather jacket and buy cocktails
and go out on the town, you know, because that was our
priority, go out and mix and mingle and be seen and create,
you know, work for ourselves. And we were three headed Hydra,
you know. So it was like three people that were kind of like
work on each other's behalf. It was that same kind of spirit, oh
yeah. It's like, you've gotta, it's almost like, I feel sorry
for people when, like, somebody's dad will come up to
me and say, you know my kid, he's a drummer. He's really
good, but he's in law school, because if it doesn't work out,
I I want to make sure he has something to fall back on. I'm
like, he's gonna fall back on it. Just tell him to go ahead
and quit. Yeah, he's gonna be don't worry
about so you're honest with the dad, like, so you just say, look
at he's gonna do the backup plan.
I it that took a long time for me to
kind of say, like I had a gag now I have a gag reflex, like
when I when somebody says something to me that I go that
doesn't make any sense. I mean, from you know, I have enough
ethnographic field work to say to somebody to. Unless you,
unless you want this more than anything, don't even bother. I
mean, it's, it's so hard and so chock full of headache
heartbreak, you know, it's unless you're ready for all of
it. Yeah, go home. Yeah. I mean,
but you may, you really caught the wave. I mean, I'm jealous of
your experience in 1970s Los Angeles, because I really feel
like some of the greatest music that ever was created was
between 70 and 79 I mean, those nine years, you know, really
established this, just this incredible body of work. I mean,
to think when you were recording Damn the torpedoes. Did you
think that it would have the the impact that it has had bus good
at gotta, boom, you're in, right? And then it's still just
a rock recurrent,
um, I had no clue it was fraught. You know, that
timeframe was fraught for me. It wasn't easy, you know, and I was
catching a lot of shit from producing and from producers and
drummers. You know, it's like I didn't It's hard not to take it
personal. But back in those days, there were no click
tracks, you know, you played all this stuff off the floor, and
you either caught magic, you caught lightning in a bottle, or
you didn't. And, um, so if there was a bad day, it's obviously
the drummer, you know what I mean? As I think someone was
said, another bummer, another drummer. You know it's like so I
caught a lot of shit that probably did I need it? I don't
know if I earned quite the whooping I got, but it's okay.
It all's well, that ends well, I didn't realize that torpedoes
was a big record till I was I had a buddy, and we were running
down Santa Monica beach, you know, we used to jog together,
and there were, you know, what we would talk about, a mile each
way. And I heard four different radios, and on four different
stations, I heard four different songs from the record we just
put out, like a week ago, to me, and my buddy looked at me as we
were running, and he goes, Lynch, are you punking me? Did
you like, did this? Did you pay these people? You know, it's
like I was hearing like, you know, refugee, don't do me like
that. Here goes my girl and even the losers like, as I'm running
down the beach on four and I'm going, What the shit is I was
literally, what is happening, you know, like, I couldn't, you
know, I'm 24 years old, and I'm going,
that had to feel great man. That had to feel like I was in a
coffee shop yesterday and I heard my drumming. I'll be in an
elevator. I'll hear my drumming. I'll be in a supermarket. I'm
like, God, I wish I was making residuals on this. But it sure
is cool, because somehow, some soccer mom is listening to my
spirit, my essence. It's captured for all time,
I could tell you guys, I will, I will never hear my drumming on
the radio. I have not heard my drumming on the radio ever.
Probably, maybe someday, who knows? I've heard my voice on
the radio many a time. Yeah. Well, listen to that voice.
Yeah.
Well, back then, TV wasn't if you were on TV, that was a, this
is before even MTV. Like, getting to do Saturday Night
Live was almost like, you know, you couldn't believe it, you
know. Like, then, what the next day, you know, you're just
walking down the road, and people are going, you know, and
then when MTV came out, I mean, this is, I mean, this is back,
remember, this is way before podcasts and and everybody doing
zooms, and everybody's famous, you know, back then, it was like
it was a, really, an extraordinary time to be a kid
and and be thrown into that. And Tom processed it extraordinarily
well, because, you know, he was obviously the thing you saw and
heard, and, man, he he figured out what was going on very
quickly. I was just a, just what you'd expect, you know, just a
rock drummer going, Holy crap. You know, awesome. Years later,
I sort of started to process it all. And, um, but it was quite
a, quite a freak show there for a minute, yeah? Like, you know,
it was out of it was really an out of body kind of experience
for a few years there, you know, what
was the album or the song on the radio that made you go, Okay,
we're on to something. Things are going to be okay, you know,
we're starting to make some good money, you know what? What was
the time frame that you kind of realized that what we're doing
is going to work? And what was the album?
Oddly enough, it was really when I was out of the band, I was no
longer in the band, I'm producing and I'm writing, and
we did a greatest hits record. And the last thing I did with
the band was a song called Last Dance with Mary Jane, and it was
that, oddly enough, was the first time, because I wasn't in
the band anymore. When I heard that on the radio, I went, Holy
crap. This stuff's pretty good. I could hear it out sort of like
I wasn't in the cult anymore. I wasn't in the if that makes any
sense. I was seeing it as an outsider, yeah, and and then I
started hearing it. Finally I it really wasn't until,
historically, rather recently, that I got it like I heard, I
think I heard, here comes my girl, you know, a couple years
ago, and I wasn't listening to the drums. I was listening to
Ben montage, and I was going, Oh my God, and the guitar, I
started, you know, because usually what happens is, the
first time you hear yourself, you hear every bass drum you
should have played, or the thing you could have done, or, you
know, you're, you're analyzing and over analyzing. Now, when I
hear it, I hear the other guys, and I just am blown away at the
how good they are, and blown away at Tom like, I didn't you
know, I was probably so up my own butt trying to make the
records that I wasn't really experiencing it as a whole until
much later. I don't think
it's possible to do both. You know what I mean? I don't think
it's possible to, you know, Jim and I were talking yesterday
about being present and because, you know, we're kind of looking
back at our lives, kind of mid life, and going, Wow, we did
this and we did that, but at the time, you're not really totally
taking it in and appreciating it, because you're always
looking to the future, you know, well,
and you're busting the balls, yeah, you know, really, you're,
you're throwing down everything you got. You know, it's not like
you go home full of thought. You just go home exhausted having
spent, you know, you just did 70 takes a refugee. I, you know,
I'm losing my mind like I hope you know so you it, you're so
immersed in the life and, you know, and I won't lie, I mean,
there were a lot of things going on in that time, extracurricular
madness that probably didn't help, you know, took some focus
away. And, and, uh, it's quite a, quite a whirlwind when you
know, you it's, it's eight seconds in the rodeo there, you
know what I mean, eight
second ride, man, well, you know, that is kind of like an
urban legend. The number of takes on refugee. Was it 70, or
was it 150 what? Which was the keeper?
I think, take 11. Take 11
out of 70. That's a lot. That's a lot of tape. Man. Well,
you know, in my mind, yeah, I think, I think it would, oh,
yeah, because you could only do three takes per reel. Yeah. And
I remember there were, there's probably still somewhere.
There's a warehouse full of two inch tape that says refugee on
it somewhere. And, um, but yeah, I think that one of the earlier
takes actually is the record. And we didn't even know you
could edit, yeah, you know, we didn't really. And Tom saying
every track, saying every take. So basically, a lot of the takes
were the best vocal, you know, like, because Tom was about five
feet from me when we were recording that stuff, wow. And
um, you know, he's, like, right in my face, and um, and his
vocal mic is part of my drum sound. You know, like, if
there's a little bit of delay on his vocal, there's a little
delay on my drums,
everybody had to get it. Everybody had to get it. Like
Motown
it was, there was um, the only overdubs until probably the
fifth album, were maybe a guitar solo, tambourine, background
vocals, um, maybe Ben Mott would add another keyboard layer, but
usually he'd play it all, you know, the guy was, is a genius,
and he could play piano and organ or piano. He all that went
down, you know, he when you basically, when you walked in to
hear the take, you know, after you play three, you go and take
a break, you know, you go and listen. And the take sort of
sounded like the record. Yeah, it was like, there's not much,
you know, you're not going to massage it or move this around.
I mean, maybe you fix a base mistake, but back in the old
days, those were destructive edits. I mean, if you punched in
the bass, you couldn't retrieve it. You know what? I mean, it's
not you can Apple Z and go back and go, Oh shoot. It was better
before you know. So if you if you burned a solo, you better. I
beat it. I don't know, you want to keep that one. Like, yeah,
it's pretty good. Like, okay, you know, I kind
of like that because they because it really informs your
musicianship. Because the expectation was to be, get to be
able to get through a track all the way, and it's like high art,
and then we can, we could do it again. We could do it 70 times.
And now with the technology is a crutch, you know, the you know,
I don't want to sound like Get off my lawn, but the kids know
that they can fix anything at any time.
Oh, man, I I've been in producing sessions for younger
drummers. Literally, the kid will walk in and play it four
times, and walk in and then look me in the eye and say, You got
enough there to work with. And I look at him, and I say, you
don't have enough money to pay me to edit. You know what? I
mean? You don't have you don't have eggs. Now I'll listen to
you play, because I like you, and I will listen to you learn
how to be better and become a better drummer. But no, I'm not
going to sit here for three days and turn this thing into a silk
purse. You know? I'm not going to do it for you. That's not my
job. Your job is to play drums. You know, my job is to tell you
when I think you're getting better, and it's like, and to
help you get better. But the the like you said, the expectation
now is like, Oh yeah, man, that was a good first verse. You
know, looping. It's like, and that's cool. I get it. And look,
music has become more in tune and in time. Nothing wrong with
that. But I still think there's something holy and sacrosanct
about four or five guys that can still make that noise off the
floor, and it's going to make them a hell of a lot better live
band. Yeah, ultimately, yeah, that's what. And you guys, yeah.
I mean, you guys are great. You guys are very like, you guys are
a great live band because you played together now for decades.
You can, you can look at each other and you know what's going
to happen. You almost can. You're looking into the future
the whole time you're playing. You can see around corners. You
know it's like, you know, you know when Jason's going to step
away and miss the queue, and it's going to be funny. And you
know how to back that up and say, you know, if it goes to 13
bar blues for one minute, you know how to handle that? It's
like, it's like, it's cool, or Jack makes a funny noise, or
it's got to go around again. It's like, that's where the fun
is. But, I mean, that's, you know, that's the high wire act.
That's when you don't have a net and you really see what you're
made of. And that's a gig, man, when you come off the stage on
that one, you go, man, didn't we? We'll never do that again.
Yeah, that was fantastic. You
know, well, it's, it's pretty much a really cool kind of a
thrill of a lifetime thing to have had you at the sound board
at several of our shows. You know, when our buddy Jack size
was like, Stan's gonna be at the board tonight? And I know that
there's a there's a piece of rock and roll history at the
board watching our show, and then you come back for the and
we're like, how do we do is like, yeah, good, pretty, good
buddy. Not bad, not bad, not bad. Yo, you
were good. You guys might have a future at this
the years are running by. Man, I can't believe I've been
Nashville 28 years. Been playing with Jason for 26
Wow, wow. You know, it's funny. You mentioned, you know, forming
that bond on the floor, on a studio floor, you guys do it.
That's how you record, yeah, and the way you guys have been
recording hasn't changed in 20 years, I guess, right? Same
place, same studio, same coffee cup, same seats that you said,
same chicken, same chicken. It's funny. I go back to 91 when
Metallica put out the Black Album, they had an accompanying
two video box set of the recording of that album, as well
as the subsequent World Tour and it they spent nine months or 10
months in the studio, writing and creating the music and
recording, I think Enter Sandman probably took a month, and it's
like, oh my, that does not happen anymore, because you
guys didn't write in the studio, right? You, you, you knew the
arrangements, and then went to go record little bit of both.
Well, early, early, early on, we, we probably, well, lot of
the songs came in, Tom would come in with an idea, you know,
pretty I mean, he he busted his butt. I mean, as a writer, he
would have his story, and he basically knew how his song
could be played acoustically, and it was really what the band
would do on the floor, was arrange, like instantaneously,
like we would all mean literally. My first question
would be, is this one going to have drums? Because they were
all pretty much presented acoustically, yeah. And Tom
would go, Yeah, let's find out. Well, why don't you try it? You
know? Because in his mind and in my mind, it's like, if we don't
need drums, I'm not gonna, you know, I'm gonna try because I
love the drums, but I don't want to just screw up a good song.
But most of the time it would work. Where we go, oh, yeah,
that adds value, you know? Like, it's kind of nice to, let's hear
it rock, or how, what's the scale of the song? Like, that
was the term we would use. Like, is this one on the mountaintop?
Is this one in the kitchen? Is this one in the bedroom? You
know? Like, what's the scale? And if somebody would tell me,
like, hey, Lynch, you know, you're off the chain, it'd be
like, Well, hell yeah, you know, that's, that's all I needed to
hear, you know, I'm gonna, I'm gonna, I'm gonna fire on every
cylinder I got, you know, but some songs would work better.
And, you know, sometimes we just get lucky, and that was a good
take, we'll know. And we just knew it. We'll never do that
again. Like, there's your record, you know, like, Yeah,
but yeah, we would learn. We learned in the studio. Um,
probably three, three albums we would we were getting very
experimental. We were trying to figure out how to make records.
But sometimes we would rehearse, especially if we were on the
road. We sometimes, you know, you'd learn a song and sound
check or start dabbling with a new song, and you don't get an
idea, but a lot of the stuff, man, it was pretty much early,
early takes. I mean, stop dragging my heart, wow. Probably
like, the only, like, the second time I've ever played the song
that's awesome. Did did you guys feel like you arrived when Weird
Al covered that song?
I never heard it really, you know, I mean, I'm, I'm, you
know, that I'm, like, a Luddite man. I still carry a flip phone,
even back then I'd be, like, somebody would say, like, oh
yeah, Alvin, the chipmunks got refugee. And I'm like, great,
you know, like, cool. You know, I don't like,
I love that you use a flip phone, buddy. I think that's
amazing. Because, you know what's great about it, when you
close it, you know the call has ended this, yeah, sometimes
people are like, you hear him talking about you afterwards.
You know, they never, they never clicked end, and you're
listening to this like, Man, this is awkward now for our
friendship,
Stan, Stan is complete. Is off the grid when it comes to cell
phones, dude, I love it.
It's like, I don't I mean, I guess I'm doing social media,
but I have no, I have no desire to be known anymore. I mean,
obviously it's great because it's you and I know you and I
have a bond about drumming and and all the goofy stuff, and we
have friends in common. But really, I probably live a full
life. You know, I already went off into the sunset years ago.
Well,
what's a day look like these days? What do you get up and do?
And you know, tell us about
I have a feeling that Stan is like he looks out his bedroom
window in the and the the Pacific, not the Pacific, but
the Atlantic Ocean. Is there. You know, I
have a, I have I've been, I have been provided a, really, a life
well beyond my wildest imagination. And, um, it's, it's
been extraordinary. And I have a, physically, I have a lot of
room, which I'd never thought I'd ever have, but I have space.
I have friends that I've had since junior high school and
even before and my life has been very consistent, the same things
I loved when I was 13, cars, girls, music, I love it, really.
No. The only thing that's changed is the man in the
mirror, who is this old bastard like but he still loves the same
stuff. I love to, I love to use the grill. I love I love a
tractor. I love it. I love my truck. I love, you know, I I
love the drums. I love, yeah, just looking at them, cleaning
them. I love reheading them. I love the guitars. I love
restringing them. You know, it's amazing. I think, okay, I want
what I have. That's the truth. I love how it all worked out. I
just, I What can I just have a little more? Can I just have a
couple, a few more, more years of this would be fantastic. Oh,
I think you're gonna, man,
you're you're fine. And you know how they always say, Never mix
business and pleasure. You totally have a PhD in mixing
business and pleasure, because you're still, I don't know a lot
of people that keep in touch with friends from, you know,
seventh grade, and you continue to work with your friends,
mixing business and pleasure, and that's that's the sign of a
great life. Man, you know when
everybody I've made music with, and all the successful stuff,
whatever you metric you use for that, it has always been with
people that I love. I really, truly love them. And if we get
together, you know, the people I make music with today, even if
we don't get a song, or we don't get a track, or we if we get
scumped, I wouldn't care if we just went out and got a
cheeseburger man and took a ride around town. It's like just the
chance to hang out with my friends. Because the bonuses,
occasionally, we turn around and go, Wow, did we do that? That's
pretty good, you know, that's pretty good. Like, so I, I have
always sort of friendship has, you know, that's been the first
thing, like kids in the sandbox, you know, when you're a kid, you
meet a guy and you go, like, Hey, man, is that your talk a
toy? You know? It's like, Oh, I like that, you know? It's like,
Can I play with that? It's like, yeah. Or the guy where you go,
Oh, man, he's kind of a dick. I I'm not gonna be friends. You
keep moving on. But it's been wonderful, man. Yeah, it does.
Music is passed from my social life, you know, I guess it's
kind of sad. But this is, this is what I got, man, you know,
it's like, I got music. I got pals
now, in in your in your small town in Florida that you're
living in, when you get out, and are you kind of like the mayor,
the people that just, they're just like, tip the hat, you
know.
Now everybody's over it, yeah? I mean that maybe for about it
seemed like that lasted about a week, you know, like, everybody
got a little excited, you know, had to talk about it. Now
everybody's like, yeah,
so they let you do your thing. You can walk about and not, oh,
yeah,
let me do my thing.
I'm almost like, you know, oh, are you ever gonna get a job?
Man? They're almost, I get no respect. It's fine. You know,
it's really fine. Now,
when your buddies do get together and, you know, there's
nothing really to write, or maybe nobody's inspired, what's,
what are the bands that you jam to? What you know? What are that
you cover and stuff? What are the go tos if you're playing
with them?
I can honestly tell you, I was never, I mean, it's been
probably I was, I haven't that that's not a thing for me. What
I usually will do is just talk through it, like until somebody
gets a hot hand, like until I feel a pair of, pair of queens
coming in the room, like, it's like, it's sort of like, Oh,
somebody's, you know, you're sad, yeah, I think musicians are
divided into two groups, you know, we're, we're
transmitters and receivers, you know, and like.
And I think you can't really be in a room full of transmitters
all the time, because it's just too much. It's like everybody's
just yelling. But if, some days I'm a really good receiver and I
can listen, because, you know, some guy will walk in and he's
kind of half lit, or he's excited and he's got a million
things on his mind, that's the day I've learned to just go grab
my legal pad and just go, Uh huh,
tell me more,
yeah, and see if there's anything coming out of it. Then
other days, somebody will be looking at me going, like, What
the hell did you just say? And I'm like, I don't know. You're
supposed to have a legal pad today. It's like, so it's fun,
and I feel that way when I sit down to play with people. I
really hate it when they don't listen, or they think I'm
supposed to be doing more, like if I'm just playing a beat. You
know what? That's probably enough to get us. I shouldn't
have to blow a bunch of fire out of my butt to make a song, you
know, it's like, if I most of the hit records that I liked as
a kid, like, Hold on, I'm coming. Or, you know, it's or
respect by Aretha, it's like the beat, you know, we should be
able to say something to a beat. Yeah, it's like,
So, James Brown said a lot, man. James Brown said a lot to a
beat. I mean, you know, oh my gosh, yeah. But you, you know,
you've got many you got chapters to your career. I mean, you were
always a songwriter. You There was always a producer inside of
you. But that chapter two kind of came along when, you know
your friend Don Henley kind of said, Hey kid, it's like he had
a cigar. And he's like, Hey, come with me, you know. And
like, you know, hey, watch, come on in, you know. So that's,
that's cool, man, you know, very, very cool.
Well, that's an invitation only room, you know. You don't, you
don't knock on Don Henley's door and say, Hey, man, I want to
write songs. You know, you're secure. You'll have you out on
your ass in about a minute. So it's like, but Don and I were
friends. Once again, I come back to friends. I well, he,
fortunately, he liked me. You know, it wasn't hard for me to
like Don. You know, he's really brilliant, he's gregarious, he's
to me, he's he's insightful, he's poetic, he's well read.
He's like your big brother. You know, it's like, you want to
know this guy, you know, when you're in his orbit, you're
like, Hey, can I you know? So he somehow, he said he must have
seen something in me that he thought, Well, why? Don't you
step in here and let me. Let me, let you audit my process. Let
me, let you watch how we do it. And so I did. I spent about a
year in the back of the room, in the studio, just watching, you
know, like I was just allowed to be there, you know, I didn't
really have a job. I wasn't hired to do anything I was just
I got to be Don's friend and watch his process, which was
unbelievably disciplined and meticulous. Oh my gosh, you
know, that's but, but at the same time, it's very, very
experimental and open minded, Don doesn't hate a guy with a
good idea. If somebody comes in the room and they're brilliant,
he's the first one to go, hey. But if
they're not,
oh, he just doesn't suffer. He doesn't suffer anybody. He
doesn't suffer fools, and doesn't suffer himself like he's
very can be very hard on himself, and, that's why I
believe he feels in his mind, hey, if I'm hard on you, it's
good enough for me. Like, if I can take it, you should be able
to take it. And that was a real lesson that realizing that if
you are feeling somehow like you're getting quote picked on,
or you're it's like, all he's saying is, is it personally to
me, it'd be like, Lynch, you got better. You can do better. You
know, I expect more from you, you you can do better. And some
people would sort of crumble under that and go like, man,
you, you're being hard on me. I see it as like, challenge
accepted. Yeah,
and you're writing songs together, right? First of all,
you're writing songs together, but then you earn his trust.
Trust so much that you start producing his records.
Well, he that's a with Don. It's a very unique situation, because
what you do is, you, you help facilitate, really, you know,
what you do is, Don's very directed. He doesn't need anyone
to come over and say, Hey, today we should use tubas, you know,
like, or like, Don's going to be the guy going, Look, it's going
to feel something like this. It's going to work something
like this, help me get there, you know, like, just help me get
and part of the he's a unique, very unique situation. And
there's really, that's why he's, yeah, he's very, you know, look,
and plus, he said, like I've always said, if he didn't sing
so good, write so good, and produce so good, you'd only know
him. Only know him as the guy who played drums on every Eagles
hit record, which would be, that's a hell of a trick too,
that that that's a legacy. And, you know, it's really funny is,
I tell all my students, I say, why is Don Henley one of the
greatest drummers in the world? Because he doesn't play when he
is sick. He doesn't do a fill when he's singing. So pretend
that that your lead singer is what do they want from you? They
want you to stay out of the way. What would Stan Lynch do? He
would play the perfect fill at the right moment, and he would
stay out of the way. So you two guys are like holy grails of how
to be craft musical drummers as students, because I do a lot of
teaching and and the kids are working on their rada mccues,
and they want to do that thing right. And you say, like, You
got to have it in your bag, but you got to have the discipline
to not do it
well. The other thing is, I've said before is, like, there's
you can be a drummer or you can be the best drummer in your
band, yes, for your and that's there's a distinction with a
difference. It's like, look a great drummer. It's almost like
Stupid Pet Tricks. You know what? I mean. I can see a guy
who could do a triple Rada McCue, well, barbecue and a
shrimp and playing a, you know, triple strokes with his feet.
And it's like, but the but the key is, will he, will that guy,
ever play on a hit record? I don't know, right? So I prefer
to be part of something bigger than myself. I would prefer it.
And, um, but I grew up as a band guy I always love. I mean,
shoot, I watched The Ed Sullivan Show, watch the Beatles, The
Stones, The Kinks, all these great bands. And everybody would
tell me how great the front man were. But for four minutes, all
man was, I'm just staring at the drummer, going, oh, man, look at
that. That's so cool. And then I realized what the what Charlie
Watts was doing was making Mick Jagger look good. You know what
I mean. What Ringo was doing was playing the perfect part for a
John Lennon Paul McCartney song, you know, like just looking good
doing it looking like he wasn't stressing. You know what I mean.
So it's um, to me that's. You want? If I could teach that or
tell a kid anything today, I go, first off, what's your goal? Do
you want to be the best drummer in the world that you've already
bitten off a careful you know that's you're chasing a 700
horsepower Ferrari, and even if you catch it, I don't even know
what you got. But if you'd like to be the best drummer in your
band, I can probably help you. I can help you get your head
dialed in. And you should start looking at the lyrics that you
know and start reading the song. Don't worry about the chart,
just listen to the song. Listen to your singer's intensity. If
he's talking, your scale is down, you know. And if he's, if
he's, he's telling you what the rhythm should be. He's, if he's
a good singer, he's like Wilson Pickett. It's like, you know, it
goes Mustang salad, you know. You know. Like, you know exactly
what you're going to play, but you know. So try to try to be
something bigger than just your drum your drum parts, you know.
And your sound is so important. And I think drummers have
forgotten because of samples and sound replacement libraries, you
know, you got to get a good sound, you know. And you got to
make it feel good, you know, she feel luscious. You know, for
playing to a clock, be able to make it feel pretty sexy, you
know, feel swanky. Yeah, there's nothing wrong with that, but I
think it's I, but also I realize I'm, I'm a, I'm a dinosaur, I'm
a, I'm a living, breathing dinosaur. I
know it you say that, but you're also a part of a lot of
standards that came out of that era that will that have multi
generational endurance. You know, I've always been saying,
in the last 20 years, I can't really tell you what song has
resonated. And again, I'm not of creating life moments and
associating music with those life moments and stuff like
that. But once I got into country music in 2005 that kind
of took its place. Oddly enough, one of the songs you were a part
of back when was a big part of our coming to Nashville with Tim
McGraw's back when Stan helped write the song, yeah, and it's,
what do you are there any bands out there now and or even the
last 1015, years that you're gonna say, oh, yeah, that's,
that's the next, don't stop believe in, you know, Africa,
you know, Tom Petty hit that we had back in the day. Is there
anybody that comes to mind that you that makes you go, yeah,
that's, that's gonna last another 40 years and be a
classic, a standard, anything come to mind today.
I think bands have sort of become almost like commoditized.
Well, they're almost like, they're not, they're not as
valued, right? Like you use when we were kids, we knew who was in
the band, right? You know, we knew. And now to nowadays, you
know, it's a lot of it's track, and a lot of it is so focused on
the guy or the girl
or the first three seconds?
Yeah, I don't know. And I really don't know I, and honestly, what
contemporary music and being, being contemporary, or even
being I put no stock in it. I'm not saying it as a as a jerk.
I'm just saying it's a meaningless currency to me right
now, right? Um, what's important to me is joy, creativity, love
doing the best I can today. Because, hey, man, for all I
know the thing I'm recording today could be the last thing I
get to record. I'm going out doing my best. Yeah. Know what I
mean, yeah. Like, so, you know, the clock is ticking, and I know
that, and I'm and I'm not afraid of it, but at the same time, I
don't want to waste time worrying about that stuff,
right? You know, it's like, I want to waste, what I want to
waste my time on is being around cool cats. You want to make cool
music that's that's got you have my attention. Everything else is
like, okay, great.
It's funny. Take a walk in the last, I don't know, three years
Billy Joel put out another song. That's right. And it's really
funny when you've got just a master of their craft that has
one more in them that that pierces into the vernacular of
the of society, and has there it is. You have that moment where
it's like, that's how it's done guys, you know what I mean?
Because that's such a great song he put out. It's one of my faves
these days.
Did I wait too long? Was that it?
Yeah, yeah. I think it's what it's called. Now I gotta make me
look it up.
I think it was, or turn the lights back on. That's what it's
called, excuse me, yeah, oh yeah. But it's all about waiting
too long. And you know he was, he was on the Stern show talk at
Stern. Asked him directly. Who's that song about? He's like, I'm
not gonna tell. So, yeah, you are. You're gonna tell me, No,
I'm not. Yeah, you are. And eventually admitted that it's
about music, his relationship with music, wow. So,
wow, I think that. I think he's an artist, yeah, and I think
that get a certain I allow them. It's like, you know, Picasso?
It's like, if Picasso wants to paint an ants, but that's what
he's gonna paint, because that's what he was into. It's like,
Cool, man, I You don't owe me nothing, you know? I mean, he
Billy Joel doesn't owe the world anything. No, you know, it's
like, it's, it's, he's done everything he should have done.
And then, then some
so many hits.
Oh my gosh. So if you write a song or not write a song, man, I
applaud him. He's an artist. There really are in my world,
there's that you're either an artist or a criminal, and it's
like, or you're somewhere in between. But it's like, if
you're an artist, you suffer it, and you you have some good
times. You have some hard times. If you're a criminal, you can
usually figure out a way to steal what you need and keep,
you know, right? You can keep and keep up pretty fat and
happy, you know? Yeah,
what was just a change, just 180 what is the snare drum that you
used? You know how Ringo had one snare drum his entire career,
pretty much. He flew it everywhere. Was it the Ludwig
superphonic to six and a half?
It was, it was probably an olive badge six and a half. And then I
used a acrolyte, occasionally, an old Keystone badge acrolyte.
And then I also had a super phonic Keystone badge, five,
five. And then on the last record I did with Tom, I
actually used a noble and coolie Piccolo. On last
day, Mary Jane was a noble and coolie Piccolo. Yeah,
I kind of tuned it down by accident because I got kind of
tired of that. It was like, you know, the drums were like, it
was like, hitting a ball of molasses for a while there, you
know, and, um, but, you know, once I decided that it was going
to be more fun, you know, I just want to have some fun. And now
I'm enjoying, I do enjoy, like, I still love the Ludwigs. I've
got a couple Jazz Fest that are old 60s that I think are great
drums, wooden Drum Band. Those are cool. But, yeah, I keep, you
know, I kept, like, I didn't keep a lot of drums, but I kept
a pretty good locker of snares that are kind of fun. You know,
they're all set up the same way, so they kind of sound the same
but, but they're kind of, you know, snare drums are kind of
sexy to look at. It's like, they all look great when they're
together. Yeah, they do. I still get a kick out open the fly case
and seeing 10 snare drums. I go, Yeah, that looks cool. It's
like, I still get kind of like, tools,
Tool Time. Tim Taylor, right there. Look at my tools. Yeah,
no. Drummer can resist a snare drum collection,
you know, oh my God. Say, Well, drummers, you heard it here. You
only need like, three Ludwig snare drums. Three
of I have two. Both are not Ludwig. At some point I need to
get one. Yeah, I'm
just saying they're really pretty good. I mean, they're
very versatile drum. They make a, you know, that you can go,
you can go tight and ring and honk your brains out and and
have a ball and rim shot it. Or you can, you know, put a CS spot
and back it down and turn into a big thud. And it is still, they
still project. And the oddly, I mean, I'm not going to do a plug
for it, but, well, maybe I will. The Bissonette designed a snare.
It's a hammered snare that, um, for the for Dixon, that's a,
that's a pretty good snare drum. I mean, it's, it's very got a
similar quality of the Ludwigs might be a little louder, which
is good and bad. You know, sometimes, you know, can the
snare drum be too loud? I don't know.
So are the speaker wars gonna go on tour? It's a kind of a big
band. You got like, six or seven guys, right? Got
six guys mostly because, um, well, they all do. They're very
good, but they sing great. I've got, fortunately, I've got three
to four singers that can really sing, almost like gospel. These
guys can sing, I mean, so it's really fun. And, you know, I'm
kind of a song guy, vocal driven. I love it when guys can,
you know, when the Harveys come in and it's like, it's not a
joke, you know, it's like, it's not just, I hope it works. It's
like, nah. So we sit down and we really do shed harmonies for
days on end. So it would be a ball to go on the road. As you
know, it's extremely expensive, yep, and hard, and we need to
get a leg up and. Um, but, yeah, we can play. We've actually
played a couple gigs, and it was fun and it was easy and it was
joyful, and everybody gets along, and they're goofy guys,
so you know what that's worth.
Yeah. So is Chris responde in the band? No,
Chris is not in the band, but he did. Did a lot of the work on
the record, nice, a lot of the engineers did some guitar
playing and, uh, but yeah, great, cat. So we've got access
to a lot of when we were making the record, we were using a lot
of friends and people, and then we settled on the guys we found
when we went into rehearse, we booked a rehearsal place and set
up shop for about three weeks, and tried to find combinations
of people that felt right. And it's mostly about people that
can play with me, because I'm a weird I got a weird lane. You
know what? I mean, every drummer's got a lane I gotta
it's like, if you can't find my groove, I
don't know how people couldn't find your groove. Stan, I mean,
I mean, come on, boom, smacking down the highway, just all the
right things at the right time. I mean, you know, many times
someone has asked for a Stan Lynch vibe on a recording
session in Nashville, Tennessee, if I had a peso for every time,
I'd be living in the governor's club. Oh, man,
that's really hard for me to process. I don't really even
know where to put it, because a lot of my playing, you know, was
was pretty it was, it was hard fought, you know, wasn't like,
it wasn't like, the easiest thing in the world to make some
of those records. So I still, I'm just now getting the point
where I can hear some of those records and not hear the pain,
or not hear the, you know, the not feel that, the nervousness
or but, yeah, that's very kind of you to say, Oh,
God, amazing, man. And hey, so as have people approached you
about a a book, an autobiography, you're in that
season of your life that there's a book inside of you, man.
Well, I think Mike just, I think Mike just nailed it. I think
Mike did a really good job. I mean, I've read his It was
great. He's, um, I think he kind of, he spoke a little bit for
all of us, yeah, which was fine. I'm really, I'm so proud of
those guys. I can't tell you like, you know, I'm so proud of
Mike, and he's getting his acknowledgement for all the
great writing he did and and the great guitar playing. You know,
those guys stood in the shadow of Tom for a long time, and, um,
rightfully so. I mean, you know, it's kind of hard to, you know,
he was quite a beacon, and, um, but you know, Ben Mont is making
great music. He's a really beautiful guy, same with Mike,
and I'm just so happy, and I'm really proud that they're my
friends. And, man, I long may they run? Man, yeah.
Man, what a fun conversation. We so appreciate you spending this
time with us. Speaker wars. How can people support the speaker
wars? They records dropping later the month, late May.
Correct,
I think there's a I think you can go, you can check out the
videos. If you, I think if you Google speaker Ward's vids,
you'll get, you know, a song called it ain't easy. You'll get
a song called forgiveness tree, and you'll get it you make every
lie come true. And those are you can give you, give you a taste.
You can kind of go like, okay, that's my thing, or ain't my
thing. And, but if it's your thing, I think you there's,
you've got speaker wars. We've got a website. You can pre order
the record. If you're so inclined, I would certainly
appreciate that. Yeah, I got a birthday coming up. Want to give
me a birthday present? Order the record.
When's that, my friend? When's that?
May 21
may 21 is that, is that the big one? The big God, you're gonna
make me say it. I know you don't have to say it, but we can go,
wink, wink. Yeah,
I'm afraid so it's it definitely happened. The odometer rolled
over.
I mean, that is incredible. Hey, man, you know, I always was the
youngest guy in every band you know, 25 years old, and I'm
about to be 55 years old. Man, I don't know how it happened.
When, Hey, man, 15 years gonna go by real fast, man.
You know, geometrically it does. I can honestly tell you, you,
you will look up and go, was that five years? Or was that
last year? You know what? I mean, it starts like you, and
I'll drop a decade now, I'll go like, Oh yeah, that was 2000 you
go, no, no, dude, that was 94 Yeah.
Where was I? You know, 90 I thought it was 2004
here's a here's a fun thought is that life is like a roll of
toilet paper. The more you get to the end, the faster it goes.
Yeah, time seems like it's slow. It's life speeds up. Get out of
me. Yeah, my
dad's gonna be 80 in June. 80 in June. So I'll be flying to
Florida to celebrate. He goes, I don't want a party. I'm like,
Dad, you're getting a party. You're only 81 time. They live
in Port Charlotte. So I'll be flying in and of course, our
friend Jack Sizemore is always inviting me to crash at his his
house. And maybe when I crash at his house, I'll come sneak I
want to play a groove on that set of drums behind you. Man,
Hey, man,
if you end up anywhere near me, just tell Jack, like, yeah,
we're, you're, you're coming over. Awesome. That'd be great.
I would love to see you here. Nice. You know, that would be
what as the Redneck say, I'll see you here, or I'll see you
here. Stan,
thanks so much, man. We really appreciate it. Jim wasn't Jim.
Wasn't this
fun. It was great conversation. Great conversation to meet
you. Great to meet you guys and look, thanks a lot for helping
get the word out on the band. Anything you can do, it's I
don't I don't take it lightly. I don't take it for granted, and I
thank you.
Well, we tagged the heck
out of Speaker One. Reach out when you come through Nashville,
if that happens. Yeah, love to come see you
an agent. I last time I was there and even recognize the
place. I literally didn't know where I was. Yeah, I was like,
walking around going, like, what happened to Nashville? Yeah,
it's like, yeah,
we got, we got Martini bars and valet parking now, and
everything
taverns. And that's funny. When I moved here 20 years ago, they
called it Nash Vegas, and I had moved from Las Vegas, I was in
radio for a majority of my professional life, and they
called it Nash Vegas when we moved here, and I was like, No,
it's not Las Vegas.
New, new, new, new so I mean,
the last time I remember having a really easy time there. You
could still go to the cooker and get a meeting three and you
could, like, you know, there was, like, you know, Nashville
was still in the little area down in there before all that
became 50 stories tall. And, yeah, it was, it was actually
easy. I mean, the town was easy to move around in, yeah. Now
it's like, man, it's like, LA, you need the 40 minutes to go
anywhere. 40
minutes wrong? Because la moved here, yeah, LA is moving here.
Yeah,
you're right. You're right. Well, I moved 662, miles away.
You know, I know exactly how far it is. I've driven it a million
times and, uh, but it I'm sure you guys are having a lot of fun
and making a lot of music, and that's, that's all that matters.
It's the last place for the music business. And I just, I'm
happy that I've been here for 28 years, because, you know, at
least I'm in line. I went at the back of the line, man, you know,
you
guys know the Kings, man, you guys are you're doing, it seems
like you're doing Everybody's cool records. I mean, it seems
like it know that the doors are really big, and you guys have
been been a train for a long time. I'm really proud of you
for staying together and staying at it. Thanks, badass. That's,
that's, that's a, that's a tough thing to do, man, it's hard,
yeah, well,
I really appreciate it. Means so much coming to you, from you and
you know, thank you for making the soundtrack of our lives.
Brother. Appreciate it.
Yeah. Well, give Telly my best. Totally my best too. Okay, I
will.
Hey, they'll probably, they've got a podcast too. They'll
probably be reaching out to you to come on that show. Yeah, you
know, Jim produces their podcast, so, so, yeah, expect
that phone call. But thank you so much for coming on and
everybody out there support the speaker wars records dropping
later this month. And to all the listeners, thank you so much for
tuning in. Be sure to subscribe, share, rate and review. It helps
people find the show. Thanks. Stan, really appreciate it, man.
Thanks, Jim, thank you, sir. Thanks Rich. Talk to you soon,
buddy.
Thanks. Bye. This has been the rich Redmond show. Subscribe,
rate and follow along at rich redmond.com, forward, slash
podcasts you.