Music coming to you from crash studios in Music City, USA,
Nashville. This is the rich Redmond show.
What's up, folks? Rich Redmond here? Yes, it's that time. It's
time It's time for another exciting episode of the rich
Redmond show. We talk about all things like music, motivation,
success. Hey, anything that comes up today? Very excited. We
got a new nashvillian here today, originally from Detroit,
truly a young lion, successful drummer, music, executive record
producer. For the last nine years, he's been playing with
the Motor City madman, Ted Nugent, I'm talking about our
new friend. Jason Hartless, What's up, buddy? Great to you,
brother, Hey, man, you're not a new friend. We've known each
other for a good five, six years, but you're a new
nashvillian. Yes, you moved here in November, which means you've
been here for about six months. You like it? Tell us about it.
I've always loved Nashville. Yeah, I've been commuting back
and forth 1015, years, you know. So it, it's great to be here,
and it's great to, you know, see all the friends that I've known
forever and would only see once or twice a year coming through.
So, yeah, well, welcome, you know, they said it takes about
two, two years to really be a nashvillian. But you're fine.
You have this pedigree. There's something in the water of
Detroit. Man, you got, you know, Nugent. You got the Motown
sound. Kid rocks from their bub. See, there's, what's the deal?
It's in the water. I don't know. Man. I mean, you look at the 60s
and 70s, the amount of music that came out of Detroit, you
know, not just Ted and Segar, but, you know, Alice Cooper and
MC five. And you know, it's just so many, so many iconic bands.
And you know, even, even all the way to the 80s and 90s, you
know, band called totally red, that was amazing with Chad
Smith, before he joined chili peppers, really, okay? And, you
know, Greg Bissonnette came out of Detroit, right? Just, you
know, so many amazing musicians. And you know, there's, there's
definitely something in the water in that town, yeah. And
you, you reap the benefits at a young age. You were playing at a
high level. What age was it that you started playing? And your
dad's a drummer, yeah, you know, I, my dad was, was always around
the scene back in the day, and, you know, had some pretty good
success, you know, in the Midwest with his bands. And you
know, he was very close with ace Fraley camp. You know him and
Ace go back, you know, 35 plus years. And so I was kind of born
into that music scene right away. And you know, around the
time I was born, I he kind of retired from playing. And, you
know, six months old, I was sitting on his lap banging away.
And then sure enough, you know, by the time I could crawl in the
kit myself, I was jamming with his buddies. And you know, then
playing gigs around town when I was five, and, you know, kind of
that's where everything starts. Well, you are a great player.
And I was, I love getting to do this podcast, because I get to
shine a light on on, you know, friends, old and new, but, you
know, I get to do a deep dive. We'll get all these videos, even
some covers you have where you're playing like a who song,
uh, Won't Get Fooled Again. And you're just like, nailing the
the Keith Moon style, not a chart in sight. Did you do it?
Note for note that cover? Well, the WHO and Toto are my two
favorite bands of all. Okay, so, you know, I studied those, those
tracks, studio precision of Jeff, right? And then you got
the reckless abandon of Keith, yeah? And then you, it's like,
you got your peanut butter in my job is that, is that kind of
like your, your playing style? I would say, Yeah, you know, like,
I, I've always been a, you know, a studio rat. I always been in
the studio doing that thing, but I've also been a live guy for,
you know, my career. So I always like to be in that situation to
where I can kind of mold myself into whatever drummer you can
be. If you need a two and four guy, I can give you that. If you
need a Keith Moon guy, can give you that. If you need a fun guy,
can give you that, you know, and that's what keeps it, I think,
interesting and fun about what we do as Hired Gun musicians is
like, you never know what the gigs on a call for. You know, I
was on tour with Joly Turner one time, and I literally flew back
to Detroit, went straight to the studio and cut a big band
Christmas album with some of Bob Segers horn section, nice, you
know, going from Rainbow and deep purple to Big Band, big
band experience. And we would like, you know, reading like
net, like nestico charts, that kind of stuff. Yeah, you know,
I've always loved 40s jazz, you know. And kind of, even since I
was very little big band, 40s jazz has just always been some
of my favorite stuff. Basie Ellington, and then, you know,
even then you add, you know, buddy and Jean and, you know,
Louis Belson, all those classic drummers too, like I've always
tried to approach my playing very similar to a big band
drummer, and that you're playing off the band, versus just
playing a beat, you know, playing playing a groove, you
have some sort of lope in whatever you're doing. You know
that kind of still hands back to that big band 40s drumming. This
is what this is. You can't teach your level of experience in your
natural talent, because when you watch someone like you saying
yourself, this guy did not learn how to play drums from a Hal
Leonard book. And we was like you.
Just jumped into the deep end of the pool and started playing
music at a very young age. I think you're barely, like, at
the tender age of 29 or something. And it's like, you
really play like a 59 year old man. You know what I mean? It's
there's a lot of experience there. And the the double bass
stuff that you do at the at the end when you're playing, you
know your trash can endings with, with Ted, fantastic hand
and foot combinations, double bay speed. Did I see you were
playing some dates with Halloween? Or is it Halloween?
Yeah, Halloween, yeah. Is that a European band? No, Detroit band,
actually. But they, you know, they're big in the than the
European and Mexico. And do they only work one day a year? Or,
okay, yeah, pretty much, you know, they'll do the big, giant,
you know, festivals in Germany or whatever. And you know, the
drummer couldn't get over there, so they called me to do it
super, super metal, nice, double bass, fast stuff. So let's say
hi to our friend Jim McCarthy. Jim McCarthy, voiceovers.com I
was just gonna sit over here in my ashtray. No, you
know, no, because everybody knows that Jim is, of is a great
drummer, and there would be no rich Redmond show without Jim.
He is the secret weapon. We had a nice little dinner party the
other night. We put a hurting on a nice box of wine.
It's in Jim's, don't, you know, throw shade on the box.
Value there this value he goes, this is four bottles of wine in
one box. Can't go wrong. So no, not my gal, Cara made it some
nice food. And Jim's wife, Courtney, brought her famous
homemade bread, the B rib.
So Jim,
I'm sure that you've seen Jason play at some point online or
somewhere with Ted Nugent. He's had the job for the last nine
years. He's just a young lion man. He's a great rock drummer.
Anytime you see him playing any style, you say to yourself,
that's what that guy does. It's almost like, you know Omar Akim.
I remember Omar Akim saying, I love drummers, where you go and
you would see and you're like, that's what that guy does. When
you realize, oh, my God, a guy like Omar Kim, he does this. Kid
does everything. He's not even 30 years old. That's incredible.
You just found your calling very early on. Yeah, very that's a
gift to find your calling and your purpose. Do you remember
when you started playing like that? What age? You know, I
just, I've been doing it so long, it's hard to remember, you
know, just in your DNA, what did you start playing
professionally, five years old, and then I started touring.
Don't forget to pay the five year old we're paying. He gets
paid in candy. Okay, what does that look like a five year old
professional drummer? Yeah, what does that what does that mean?
Was that you got paid? Well, you know, you know, playing local
gigs, you know, the top 40 covers type stuff, you know,
nothing. You know there was this way, pre YouTube and all that
stuff. Oh yeah, you know, 25 years ago, playing, playing, you
know, in local clubs around town with, you know, my dad's buddies
and stuff like that. And, you know, kind of cut my teeth super
early. And so 25 years ago, for 29 years ago, rather, you're
looking at not 25 you're looking so you're almost 30 now you're
five, so about 24 years ago. So you're looking at 2000 Yep. And
a lot of the YouTube generation didn't come to be until oh
60708, but you're still had people probably getting video of
this. Yeah, absolutely, you know. And you know, luckily, you
know, my parents would always kind of film some of this stuff.
So I got a lot of this, you know, video footage in, you
know, I've been able to share it. And, you know, and even, you
know, my dad played Pearl drums. And, you know, I'm a, I've been
a pearl artist for 20 years now. And there's some classic photos,
because my dad's got this big, giant Pearl drums banner behind
his kit. So there's video of me when I'm, you know, two years
old, just playing this kit in this giant Pearl truck, even
promoting the product. You're not even knowing it exactly,
exactly they signed up at nine years old. I mean, that's when a
company really believes in you. That's incredible. They're like,
we're investing in this kit for the long haul. And, yeah, I'm
sure your pearl rep comes out, and it's and, and, you know, you
wine and dine them backstage. And what a cool thing. Yeah,
it's, it's been great, you know, it I've been so fortunate to
have to kind of been where I've been at such a young age. And,
you know, now, looking going on 30, I'm like, Damn, I'm old, but
I gotta, I gotta keep, I gotta keep reminding myself, like,
Damn, it's okay. Well, it's way because you started way early,
because obviously you're so busy playing, getting experience,
getting paid
College. Didn't do college. You were just, yeah, you did
college, yeah. So I, I graduated from Berkeley, a rare graduator,
yeah. But I, actually, I was a music business major, and I
started my degree two weeks before I got the call for
Nugent, and because, you know, I didn't want to up and move to
Boston for four years and, you know, so I went the online
approach. So I all through college, I was on the road, you
know, doing my degree, you know, and then rocking with the Music
City madman, yep, the Motor City madman. You're the Music City
mad man, right?
Well, that.
That's, that's impressive, congratulations. And I think
that's a product, a byproduct, of the times that we're in,
being able to go to college online. And it's like, I
remember the whole college experience for me was like, I
lived in 317 Clement Hall in Lubbock, Texas, and I had the
meal program where you can eat the three meals a day, and you
got to ride your bike to your music theory class. And it was
the whole thing, you know what I mean, that whole thing, gonna
ride a skateboard to your you know, you had the bike and, you
know, it's just going across. Occasionally you would leave the
music building to go because you'd have to take a physics
class, physics of sound, or you'd have to take an algebra
class, or American history and, and, but most of the time you
are in that music building, and you're playing temps and vibes,
all this stuff that a lot of times I didn't want to do, but I
said, you know, I have to do this. Just jump through these
hoops, kid. So you got this practical degree, you got the
music business degree, and you've been dabbling in the
business side of the business for a long time. What are some
of those jobs vinyl? You're missing vinyl? Yeah. I mean,
I've kind of run a couple companies, including my own
sound City Music Group for last number of years. And, you know,
I do that with my dad, and you know, it's great, because I've
always been a vinyl guy, and, you know, enjoyed it, and even
before the new, huge, huge resurgence. So, you know, we
partnered with third man Jack White's pressing plant in
Detroit. So we've been great partners with them and
manufacturing all of our stuff. But, you know, I've done, I've
been, you know, working with the suite, you know, 70s glamorous
band for last five, six years. And, you know, I've been
archiving all the Nugent stuff the last number of years. And
we've put out a bunch of, you know, stuff like that. And we
just put out Steeler invade Malmsteen for his band and and,
you know, sparks and the knack and bunch of bunch of cool
stuff. What about the knack? Because that literally, that's
just that record dropped 45 years ago, five days ago. Yeah,
we just past November, put out the knack live in 1980 in in
Holland. You know, Gary. Gary, he was, who was the drummer in,
in the neck care. Well, Pat Torpy played drums pre mr., big
with him, too, with them, too, but, and then, but, yeah, but he
was the house drummer Capitol Records also, and he was, died
way too young, but he is, he is one of the most underrated
drummers, absolutely amazing. You you might know this, but the
the engineer, Pete Coleman, he engineered all the Blondie
records, all the Pat Benatar records, and he engineered the
knack recording. So he recorded night my Sharona, and he said
these guys were so good, and they were such a hot band in LA
they played every night of the week all over Los Angeles. They
basically just sat up in the studio and Pete pressed record,
and they ran the whole record down. Not surprised. I mean,
that whole first record, to me, is a perfect album, top to
bottom, yeah? Just raw performances, great songs, just
perfect record. So vinyl is profitable, yeah? I mean, in
this day and age, when we're especially we're dealing with
all the stuff with Spotify and all the stuff with all the
touring promoters and things of that nature, you know, vinyl
seems to be the only viable outlet for a lot of these
artists. You know, unless you're a massive, massive artist, a lot
of these indies are still able to actually do work and make
some good money off of it. Yeah, they're actually calling people
back. They have to find, like labor to put press the records.
Oh, yeah. I mean, it's, there's so many, there's more and more
pressing plants opening. I mean, I'm blanking on which I think
there's quite a few here. I believe, yeah, there's two, two
or three here. I mean, United still here. They've been here
forever. But, you know, Detroit's got to, I mean,
Metallica, literally, they were pressing so much that they just
straight up bought a pressing plant, yeah. And I think I don't
remember which, which one they did, but Lars is like, just so
one of my art pieces, and we'll buy the factory exactly, you
know. And it's crazy because it, you know, I'm 29 growing up as a
late millennial, you know, just barely making the cut, the Gen
Z, yeah, it's, you know, we grew up with still tangible items. We
still grew up with CDs and, you know, wasn't really cassettes,
but, you know, I remember I was 10 getting an iPod, and, you
know, we didn't really have the digital aspect of it. You know,
I love streaming as a consumer, but of course, us as a as
musicians and creative types, it hinders us. So having vinyl
helps bring back that kinesthetic quality that, you
know, I think music has been lacking since streaming and
digital has kind of come about because you're paying $10 for a
digital album, or paying your monthly fee to stream whatever
you want, but you don't hold something. You don't have an art
piece, you know, and that's the big thing that I've always tried
to do, is every art that would be on vinyl records that I would
do always top notch. Well, even, like, you know, there's a
tactileness to the notion of vinyl. Anyway, I'm gonna pull
Joe Rogan and find out who the drummer was for the knack he's.
Sounds so familiar. Like I should know it off. Gary Bruce,
yeah. Gary Bruce, yeah. I was thinking Gary Novak the whole
time, right? Yeah. Like, even, do you remember putting vinyl on
and, you know, some kids back in the 70s and everything, or even
the 60s, would put the speaker, like, on their chest or on their
belly and lay on the floor, you know, and as the record would
play, it was, it was such a tactile experience. Well, I
mean, you're, you're putting something on, and then, you
know, in 1520 minutes, you're gonna have to get up and flip it
anyways, you know. And you've got a little exercise, yeah, you
get a little exercise. You get to hold an art piece, you know,
it's, it's, it's great. And you know, these artists are now able
to, you know, sign, you know, these, these jackets, and sell
them for a premium. And then that consumer can either put it
up on their wall as an art piece, or they can keep it in
their vinyl collection. You know, there's multi facets to
it, and it's, it's always plus the fact that it sounds
unbelievable, if you've got really, the fidelity on them are
just unmatched, even when it's a modern recording that recorded
the Pro Tools and then transfer, oh yeah, you know, even so
there's been, there has been situations where the only format
that I have to put on, you know, vinyl is a digital format, just
because the tapes are lost or whatever. And even then, even
with a little bit mastering job, you know, it's still going to
sound a heck of a lot better than it would digitally. Yeah,
interesting. Well, I mean, it's even my kids are getting into
it. They all. They both, like, Cami and Spencer have record
players, and they listen to vinyl. Yeah, you know, there's
those really cute little affordable ones that they have
Urban Outfitters, yeah, the $99 Crosley specials or whatever.
Yes, because, and they'll have them in, like, these little
hipster hotels in Austin and stuff. I have the Audio
Technica. I forget the model number, but it's, like, very
popular. Is that pretty good, or do I've got, I've got one just
like that too. You know, the $300 Audio The thing with the
tubes? No, I don't get to that point, you know, I got good Bose
sound system, like Mark Marin's like, I got the one with the
tubes.
Yeah, I mean, you know, it's, it's, it's all those audio
files. It's, it's all went on their taste is, but you know, if
you get a good turntable and a good needle and good speakers,
that's all you really need. Yeah, I do want to get back into
it, because it does sound like a fun evening to, like, light a
candle, pour a glass of red wine, and then you're like,
tonight's Blue Note night. And you just all your Blue Note
recordings. Tonight's, you know, tonight's my, you know, Detroit,
like we'll do all the Detroit artists dropped a needle, and
you're reading the credits, and it just sounds like a fun time.
Well, even then, meet me as a, you know, audio technical nerd,
you know, I love also comparing the old masters of the original
pressing compared to the modern, you know, 2023 or 2024 masters
that they've done. And, yeah, just hearing the difference in
the mix, and you know how it kind of conveys, it's just,
there's so many different outlets, you know that, and
parts of that vinyl collecting thing, you know that is just,
it's just amazing, yeah, so
tell us about Ted, because that's the elephant in The room.
What are the qualifications for working with this guy? Well, you
know, he is a pretty smooth, yeah. I mean, I he's, he's one
of the best artists I've ever worked with. I mean, he's just
super easy to get along with, you know, he treats my family
like family, you know, one of the nicest human beings in the
world, awesome, you know? And then you had the fact that he's
one of the greatest guitar players to ever walk to face the
Earth. It's just amazing. You know, nine years that I've had
with him, you know, we did our last long tour last year. You
know, he's not retired. We're doing two shows this year, you
know. So things will pop up here and there. But, you know, he's
76 still in the shape, oh my God, but he's in the shape of a
50 year old, and he's playing better than ever, you know. And
what's great about that gig is, you know, it's always keeps you
on your toes. You know, he'll pull out songs that we haven't
done in two years. So there's a kind of, yeah, there's a set
list kind of, but, you know, songs will randomly show up, or
we'll be walking on stage, and he's like, alright, we're doing
this tonight. I'm like, I've never heard this song in my
life. Watch me. Yeah, exactly, you know. And it's, it's, it's
great. And you know, his we had, you know, we've always run a
three piece since I've been in the band. And you know that just
that old school, 60s, 70s, just power trio rock stuff is just
amazing. And what's great about it, it's, it's all a lot of
jamming going on, so Van Halen style, so when he goes to do a
guitar solo, the chord changes, no one is marking the chord
changes, except for bass Exactly. Wow. Yeah, it's great,
you know? And it has a lot like when he first called me on the
gig, he's like, I want a drummer. That's a mix of John
Bonham meets Stuart Copeland meets Johnny bonange meets Keith
Moon and Johnny Bonanza, the drummer of the Detroit wheels
and the rockets, iconic Detroit drummer, another one, just, you
know, icon, shame on you rich. Okay, no, we got to check this
out. But which is, which is, you know, Ted's all time, you know,
the Mitch ride in Detroit wheels is just the pinnacle of what.
And did Ted looks at music as, yes,
you know, but it's it. I was like, Yeah, I can, I can do all
that nice. And it's just been such a fun, you know, nine years
and, you know, yeah, great hire by Damn Yankees. No, we, the
only Damn Yankees we ever do is we'll do, like, a small snippet
of, you know, Don't tread on me, but everything else is just all
Ted's catalog. And, you know, because some of these songs are,
they're just too iconic that you can't cut them from the set.
There's a million songs that you want to always add, but, you
know, strangle holds nine minutes as it is, yeah? You
know, you're doing an hour and a half set. Great. One guys do
90s, yeah, 90 minutes, yeah. Usually we even want more. You
know exactly. That's the Country Music model is we do not it's
like when I, when I think about, like, Springsteen, you know,
doing like, four hours, that's too much. I gotta pee. Man,
exactly.
I gotta pee right now. Look at all my liquids, guys. If you
guys are watching this, my friend Bobby Mertz got this for
me. That's what I do. I play drums. It's my nice coffee mug.
I got my Michael Buble, and I got some, like, cold water.
Michael Buble, yeah, let me I'm gonna get that on camera here,
real quick. Hold on. What's that I got? I got a drink cam, let me
zoom in. Oh yeah, Jones, that's what I do. I play drums,
nutrition facts. It says talent, 100%
skill, 500% passion, 100% creativity, 300%
caffeine, 110%
Thanks, Bobby. Bobby Murray Scott got this for me. So we're
kind of just jumping around all all, all over the place today,
which is kind of we do that. But I'm just so excited to be around
your your young energy. And I think it's just, I mean, I have
youthful energy. You totally do rich, but I'm probably the
oldest guy in the room.
Now we've Tommy clefetus moved to town, yeah? So Tommy played
in with Mitch rider, right? Yeah, yeah. So Tommy was
actually my drum teacher, and, yeah, why he was playing for
Ted? Actually, I was like, 10 years old, or something like
that, and taught me for a while. And, but, yeah, his his dad is
a, was a big, you know, band leader, and every time I played
with Mitch Ryder, his dad is who hired me on the gig. So you guys
have, I might call it nepotism, but, but it is your dad, your
second generation musicians. I mean, it's just like in the
blood. So Tommy did a cool little clinic over at forks drum
closet, and he's become, like, good friends with Greg Morrow.
And, like, I went and we, we hugged it out, and he's like,
Yeah, I want to do the podcast. But it's so funny because I
remember my one of my first marquee jobs. I was 29 I was
playing with a gal named Pam Tillis. She was the daughter of
mama Mel Tillis. And we, I was in a elevator, getting into an
elevator with my Pam Tillis band in Los Angeles, and coming off
the elevator was Tommy clefes and the Ted Nugent band. And I
said, What's it like working with Ted? He's like, it's
wonderful guy, man. He's only one of they broke the mold. No,
yeah, oh, yeah. So that's cool. And I got to see you guys at the
Saban theater Beverly Hills. You killed it. We hadn't met at that
point. But I was like, look at that kid. I told my friend of
mine. I was like, I was like, I think he's like, 24 years old or
so. He's like, what? He's killing it. He's playing like a
44 year old. Man, great job, man. I appreciate it. And you
guys, it's a lot of it has been documented. You have some DVDs,
couple albums? Yeah, I've done two records with Ted, and we
shot a DVD. Think 2017 what's the recording process? Does he
does he record in Detroit live, like everybody on the floor at
the same time? Yeah. I mean, we did one record down in Waco,
Texas, and then the last record Detroit muscle we, you know, we
did the entire record in like three days. But it was learning
the record, playing the record first or second take. We did it
in his barn in Michigan. We brought all this vintage Neve
stuff in. So it was, it was awesome, you know, just super
old school, organic, you know, stuff you can't most people
don't do nowadays. Honestly, does he count off the songs
live, or do you because I don't even see our tempo reference?
Oh, he does 100% I never, I don't see a rhythm watch or
anything. No. I mean, there's, there's, you know, depending on
how he's feeling the night those there's times where we've played
stuff super fast. And there's times we've done stuff super
slow. Just depends on what his mood is that night. Again,
that's what I love about it's that old school organic. You
know, I've, we've all done gigs where we're on clicks and
backing tracks and loops and stuff which there's no budging,
which is great, yeah, I mean, but at the end of the day, it's,
it's, it's, brings that, musician, organic quality, back
to it when you're just going for it. Yeah, and you got to work
over the years, in addition to touring and recording with Ted,
as I mentioned, Joe Lynn Turner, Mitch Ryder, uh,
toured as support act with Motley Crue Godsmack, theory of
a dead man Drowning Pool. So these are it was this all with
Ted and those? No, no. So I did the Motley Crew crew fest two
tour, which had most of those guys on it. I was 14, playing
with Brian tram, who kind of started my touring career. He
was with Uncle cracker for a while, and then kind of branched
on his own. So I was with him to when I was 12 to about 15, six.
Team. And, you know, he really gave me my my start, and you
know, that whole kind of boosted my career. And, you know, in a
sense, and yeah, we did the whole three months with Motley
Crue and God smack and therapy. Dead Man was It was wild. You
must, you really must have had great parents mentors, because
to be on the road at 14, like you're this pubescent guy,
right? And it's like you're surrounded by
topless women throwing bras on stage, and it's booze backstage,
and it's like you're a good kid. Well, you know, I, honestly, I
didn't even touch a drop of alcohol until I was 21 I've been
around it for my whole life. Yeah. And, you know, my, my dad
would always be on the road with me, because his, but his, you
know, experience in the industry, he would be the tour
manager. So it's like, Why hire a tour manager when he's already
gonna be there anyways, yeah, you know. So my dad was always
there. And it was, it was, it was a great, you know,
experience for us to tour, you know, backwards and forwards of
this country a million times. Yeah, you know what? Yeah. I
mean, I've seen a lot of things in my in my day, but, you know
it's, I'm happy I came out,
like, on the positive side. Now, you're definitely, man, there's,
that's a lot of lot of discipline there, looking at
some other things. He worked with producers, like, hey, we
both worked with Dale Penner. Oh, really, yeah. Dale was
producing, like an Americana artist here in Nashville, and he
wanted me to the artist requested me to play drums, and
he goes, you got a great room. I want to use a lot of great
outboard gear. So, my friend, I don't know if you met Tony Mora
yet, but Anthony Mora's good. You know, New York guy's been
here for forever and ever. We're dear friends, but he was one of
the first guys in Nashville to create the float the floors,
take his garage, do the thing. He's got, like, enough outboard
gear to, like, you know, to run the power station and and, and
so we went into his place and knocked out these tracks and got
to, you know, hang out for a day or two at Dale and go eat sushi
and stuff. Nice guy. Oh, it's great. Yeah, I worked with him
2007
up in Winnipeg, Canada, yeah, with this artist I was talking
about. And yeah, we were in this big, giant mansion in Winnipeg,
Canada, and October, and, you know, for a few days cutting
some tracks. It was awesome. Yeah, Dale's, I keep in touch
with him often. I love that great guy. He also worked with
guys like Tom Morris, Chuck alcazian, nice. Yeah, I've been
very fortunate to, you know, because I've always tried to
brand myself as just the one stop shop guy, you know, I've
been a big session guy, I've been a touring guy, you know, I
just just being able to just say yes, when somebody comes at you,
do you like doing some teaching? Do you kind of have, like, a
teaching philosophy? Will you do to somebody says, Hey, can I
take a lesson? Yeah, I mean, I back in Detroit. I was, you
know, a teacher at one of the School of rocks there for almost
10 years. You know, it's a great, great program, great
teachers. You know, it was just a fun time to kind of step back.
And I started teaching there was 18, so I wasn't that much older
than some of my students. And, yeah, you know, it kind of
because I really didn't start taking one on one lessons until
I was already in high school, you know, and done, you know, a
bunch of stuff. And, you know, my teacher, guy named George
Dunn in Detroit. He just old school, you know, Greg bisnet
and him go way back. Wow. So, so here's your rudiments, kid,
here's your swing beat, here's your very, very old school,
like, started me from square one, you know. And took me from
being a rock drummer to being a more resonant drummer, you know.
And he also was my drum line teacher in in high school, in
high school, so I had kind of the combination of the both. And
you know how I can take these, you know, marching rudiments and
incorporate them on the kit, and, things of that nature. And
he just completely changed my playing. And, you know, I'm
forever grateful for that. But, you know, coming from that
aspect of being the the student to the teacher was just a big,
you know, kind of Swift and and, you know, kind of my old outlook
and how I even approach what I do for a living, yeah, you know,
like hell Leonard had done, you know, I've done a DVD for them
learn to rock drums with Jason Hartless and friends. 2011 which
means you were, I
was still in high school, and came out, 716, 17, something
like that. Cool man. And you know, it was fun doing clinics,
you know, around guitar centers and stuff like that. And, you
know, it was a great experience. But, you know, again, like
coming from that aspect of changing your whole mindset, of
just being a player and moving to be okay, how can I help the
next generation? How can I take everything that I've done in my
career and, you know, help elevate those kids and get that,
you know, those those mentor moments that I got when I was a
kid? Yeah, and it says that you have been mentored by love.
Corky Lang, man, dude, da da Das, Eric Singer, we were just
talking off camera a little bit about Eric Anton Fig, so these
are, it's great you have these guys. They're homies. You could
like, text them, yeah. I mean Eric, Eric's honestly.
One of the closest things I have to an uncle, even though he's
not my uncle, you know, just been a great, great, you know,
friend and mentor over the years, Corky Lang, like
I only did one solo racket in my life, and it was went between
timeout seven and 10. And it was honestly an excuse for Corky to
come in and produce me through a recording session. So Corky and
me worked on that, you know, for a number of years you drive down
to Detroit from Toronto, and you know, it was just amazing
experience. And you know, like, I learned how to chart music
from Anton Fig. And, you know, some of these guys had just been
very fortunate to kind of been around when I was little. And,
you know, just really helped shape, you know, the player I am
amazing. Isn't that fun Jim to be? You know, when your folks
are in the music business, it's like, you can adopt their
Rolodex a bit, and you're exposed to, like, great things.
It's like Larry aberman, our friend, Larry, you know, growing
up in, like, New York, it's like people that grow up in a New
Yorker, and I look at Josh Freese, I mean, he was destined
to be, you know, connected. He's born on Christmas Day. His dad
ran the music program at Disneyland. Of course you're
gonna, you know what I mean, it's like, it's in your blood.
Man, that is so cool. I was like, my parents are or
accountants and nurses, and we have no connection to the music
industry. So I just had to, like, kick and claw and scratch
and, like, who plays music, right? Exactly, you know what? I
mean, it's so cool. That's a cool thing. But you made it
work. We all, I made it work. Yeah, from the sweat of my brow,
just a little bit I'm fixing here, but I think you're gonna
have a great time in Nashville. And probably the next thing for
you is, I mean, you're, you're probably gonna get super
connected. I mean, playing on big records that we hear on
Music Row. And then you could either start ground level with
some, you know, cool singer songwriter, Americana girl that
just grows up and is the next Miranda Lambert, or you're just
gonna get connected at the highest level. And, you know,
you be getting that that check for showing up for those 30
shows. I mean, this the world's your oyster. Because, I mean, I
feel like this is one of the last cities for the music
business. You know,
do I want to live in Nashville the rest of my life? I don't
know. But it's like, this is where the industry is. Yeah,
exactly. I mean, everyone LA is moving here, yeah, New York, you
know, is turning more and more, just straight up Broadway
musicals, you know. So it's everyone's coming right here.
You know, whatever last resort that we have still left of the
music industry is all right here, yeah, you heard it here,
guys, what do you think the next step for the music industry is,
you know, it's, it's a, it's a really tough thing. And I think
about this a lot. You know, with, you know, we're even
seeing the vinyl market change. We're seeing, you know, the
issues going on with all the concert promoters and the
streaming services. And I think, you know, once all that stuff's
rectified a little bit, at the end of the day, there's going to
be one thing, live music, you're going to have all the AI stuff
going on for recorded music. Yeah, it's going to put us hired
musicians out of work. But at the end of the day, you're still
going to have live music, yeah. So, you know, I think once
everything like that gets kind of propelled and, you know,
moved into a the position it was even pre covid, and the cost of
touring goes way down, you're going to see everyone kind of go
right back to it, yeah, you know. And there's going to be
that built up energy that people are lacking, you know, you've
got YouTube, and you've got all these things that you can watch
all these concerts and stuff, but there's nothing that'll ever
replace that experience. Yeah, man, you know, I would tread,
you know, our pal, Trevor Lawrence. He was, you know, two
years ago at SoFi stadium. He was, he was the drummer at the
Super Bowl, backing up Jay Z and everybody. And he did a clinic
at forks, and he was talking about AI, I guess there's a site
called udio, right? It's udio. And you can basically use udio
to, like, compose just about anything. And then, apparently,
if you take whatever comes from your AI prompts, and you dump it
into Moises, and you separate all the stems, and then you get,
you get certain people to replace, it's license free.
You've created something that you could monetize, right? This
is scary. Well, I think it also goes back to what's happened
with
who's it? I think it's Scarlett Johansson. Is
it or is it somebody else? One of the big actresses are suing
the AG, companies for using her likeness, basically from her
voice, you know. And I think that's what we're going to start
seeing with music too, you know, we're going to see more of these
artists. They're going to start suing for their intellectual
property, their likeness, their their sound, you know. And you
know, if you can even to the point to where it's like, Okay,
I'm gonna type in a computer sound like the Beatles, and it
sounds exactly like the Beatles. Is it really copyright
infringement? It? I think it should be, if it sounds exactly
like it. You know, because how do they create? Like, how is AI
generate? Because our friend Larry, I mentioned we.
Going to lunch the to breakfast the other day, and he basically
typed into AI write a song about rich and Larry getting breakfast
that sounds like a 1960s three chord country. And it came back.
It was, Don't bom, bom, Bing, don't Larry and rich. I was
like, what it sounded exactly like. Hank Williams, have you
heard the one where they do the, just write a country song, no.
And it's like, you know, guns up your butt and boots in the hood
and yes, so beer in your truck. And, you know, it's like trucks
and guns and mud and mud
and butts.
But at the same time, if you know you, if you know how to
clearly prompt the technology, you can write books. You can
compose songs. And the the AI country pop songs are like,
dang, yeah. I mean, it's pretty good. But even then, I mean,
there's the whole issue going on with Steve Marriott with from
Humble Pie, apparently there's unreleased stuff, and they're
trying to use AI to finish his vocal tracks. Oh my. I mean,
he's been dead for 2025, years, or whatever. And it's like,
that's not real. And there's something with Randy Travis
recently, where he released an AI song, and there was, like,
5050, on both sides. I like this. What is this? Well, it's
like, you know, I might be 29 and in this current generation,
but I'm the mold of the 70s and 80s studio guys. No one's ever
gonna replace Jeff Picardo, no one's ever gonna replace Vinnie
caluda, no one's ever gonna replace Steve Gadd and Jim
Keltner and all those guys that played on every freaking record
that came out of LA in the 60s and 70s and 80s. And it's like,
that's the human quality that I don't think a computer will ever
fix. You know, yeah, they might have these technology that make
it sound like it and all this stuff, but at the end of the
day, there's a human, human quality to that sort of stuff
that I really don't think the consumers will ever fully grasp.
Yeah, you know, remember the LIN drum machine exactly? I mean,
that was like, we're out of business. That was 45 years ago,
and we're still, you and I are live drummers, exactly. And the
LIN drum machine, you know, who were the guys that they called
in to program the linen drum machine. Garibaldi, Jeff
Keltner, you know, all these guys were the ones that were
programming all the records. Lynn drums were the first
electric it was like a beautiful Roger Lynn created this
gorgeous. It was about this big, and it had wood panel on it,
wood paneling like everything else, yeah,
like it was all the prince sounds too. It's like a station
wagon from Chevy Chase. You know, the Christmas the family
truckster, yeah, drum machines. But had beautiful sounds. And
like, for example, Tina Turner, what's love got to do with it?
Boom, boom,
boom, those are the Lynn sounds, yeah. I mean, the LIN two is all
of the prince sounds, yeah, you know. So it's like we look back
now, and as the iconic Prince drum sound, it was just a Lin
drum machine that everybody had access to back then, you know,
and at the end of the day, would have sound differently if a real
drummer would have played it, sure, but it's, again, it was
created by a human. It was not, it was not a computer that
someone typed in create X, Y and Z, and it pops it out. There was
still a human quality to those old school drum machines. Yes,
you know, like behringer's Making copies of the 808 and the
909 I encourage people all the time go buy them and just learn
how to program these drums like these old school guys, either
boxes. Yeah. Do you think that there's a like, fatigue that
will happen with AI in general? Because, I mean, one of the
things that even in writing like an email, I've noticed a pretty
good uptick in just open emails by saying, written by a real
human being. That's an edge right now, yeah, you know, we've
gone from sent by iPhone to now written by a human Yeah, you
know, it's, it's crazy, you know. And I'm horrible, horrible
at spelling in English, honestly. And, you know, I'll be
the first one to admit I've used AI technologies to help write
emails, you know.
Snap, what is it? Chat? GPT, yeah, have you used that
original somebody demonstrated to me. They were like, Hey, I'm
they were like, check out these parameters. You tell it one. It
was an African American gentleman that was like, telling
me about he goes, look at I can make this. I can make it sound
colloquial, yeah, basically like it like he said, There was two
versions of the same way of communicating the same thoughts,
and it was from his prompts, and he goes, Look at this. I was
like, Oh, my God, it's so convincing. Yeah, I mean, it's
crazy in you know? Yeah, we're seeing now, especially on
YouTube, all of these crazy I mean, I've had some people that
have sent me these videos, and they're deadly convinced, and
I've had to tell them, No, that's AI. I.
Yeah, oh no, no, it's not. Yeah, it is, you know, it's really,
and it's, it's disturbing, it's so scary, and at the end of the
day, what is it going to do? It's going to put us musicians
out of work, you know? But I mean, even to the point like,
you know, every music got so regimented that everything had
to be so lined up with the grid, right? They can't have and have
any flams, nothing. But if you go back to listen to the 70s,
your 80s, tons of lambs, tons of flams, and, you know, tempo
vacillations, variations, you know, absolutely. I mean,
obviously they're, they're working on tape, and they'll do
a different take, and it'll be a different tempo. I love when you
hear that cutting it, it slows down to bpm, you know, it's, it
adds that cool quality to it, you know? And it's, it's, it's
just such a interesting time that we're in right now.
Obviously, we've all been saying that about the music industry
for the last 60 years, because more and more stuff changes, and
as long as there's humans involved in music, Yeah, we're
good. It's gonna change. But it's, it's changing every single
day. You know, I did remember the age of mashups. I still kind
of do them for to a certain extent. We carried a radio show
that did nothing but mashups, and it was just he played as
mashups, you know, different songs and stuff like that. And I
did a mash up of Van Hill and Mean Streets with a rap song at
the time. It's on YouTube. You can actually find it.
And when I was putting it on my editor, their song, the rap
song, was perfectly right on the grid, but Alex was all over the
flippin map. I kept on having to stretch and crunch and do all
sorts interesting beat match. I love the Mashups that happen.
You know, put a Black Sabbath tune with James Brown vocals.
It's, it's killer, you know, it's cool. It's it, that's
creativity, because that person still had to do it, yeah, you
know. But again, at the end of the day, I always revert back to
the 70s and 80s studio musicians. You know, these guys
and gals would be perfectly aligned if there was a click,
but there was no click, you know. But even if there wasn't a
feel, yeah, he did it by field, even if there was a lope within
the tune that played a big part of that tune, you're such a
young person to understand that and to be able to to embrace
that at the highest levels and be able to execute that as well.
But you know, you bring up this idea of Alex Jim, thank you.
This is a hot topic, because Alex, did you bid on any of his
stuff? Is not going to play drums again. He is cleaning out
his closet. He and he's making mad money. What you think about
it? He's only charity. Oh, it is, no, I thought he was
walking. He only played with his brother, you know. So it's, it
makes sense. I he was, they were selling a a pearl mahogany
sensitone snare drum, and that, apparently, was shipped to them.
I was like, oh, you know, maybe, maybe I'll bid on it, and yeah,
and I didn't. But, you know, it's, it's, it's crazy, because,
again, you look back at, you know, those, those late 80s van
Hagar records, and you know they're there. I've been in a
big van Hagar mood recently, and just going back and listen to
all of them, and, you know, the Simmons, the Simmons stuff, even
then, it was still human. It was still Alex Van Halen, no matter
if it was all the Simmons samples or it was his, you know,
Ludwig drums, it still was him. And that snare sound exactly,
break out the duct tape. What's the thing is, is like, I just, I
seen a video because Hagar and Jason Bonham and
Michael, Anthony, yeah, Satriani, yeah, they're doing
that. They're doing that tour where they're just doing Van
Halen stuff. And I heard, you know, Jason Bonham, and I heard
that snare sound. I'm like, oh, that's an Alex Van Halen snare
sound. Then I thought about, wait a minute, no, that's a John
Bonham snare sound that Alex Van Halen took and made it his own,
you know. So it's, it's because Alex had a very specific with
the tape and the direction he did underneath the head under,
you know, exactly. It was a very but, I mean, it was also the
processing, you know, that that went into it too. Because my
brother was a huge, you know, 1984 was a big defining album
for him. He's a piano keyboard player, and he told me, he says,
nobody's ever been able to duplicate the brass, the sound
of the brass on all weight, and some of the other songs on that,
that album. Well, again, it goes back to these, these musicians
back then. Yeah, people can never replicate it. You know,
I've been studying Rosanna for 15 years, I will never get
close. No one will ever get close. You know, there's those
little intricacies that these that these players put into
their playing that just will never be replicated. Yeah, you
know, I can put a drum beat into 90 different drum machines and
it'll sound the exact same with different samples, whereas us as
humans, us as musicians, just it can't be replicated within that
person. Yeah, you know, I know when I can play a Jason Aldean
song, I can try to play like rich Redmond, but it'll never
sound like rich Redmond, because there's only one of us. We're
snowflakes, exactly. And you know, whatever song I play, it's
just going to be sloppy as crap, no, but it's, it's very
intentional. There's a lot of heart. I.
Um,
you know, it's, it screams Connecticut. We're both from
Connecticut. If it's Connecticut, it's sloppy, okay,
you know, you know, what was I gonna say? We're, you know what?
There's one style that I that is all the rage where, you know,
there's some guys that are just masters of it, like Trevor, my
friend, Trevor Lawrence, is really good at it. Da Rue is
really good at it. Where you can sound like that, that almost
like drunk, where it's like the kick and snare is on, but the
hat and they're and they're quantized, but the hat is not
like a dilla kind of a thing. I've been working my whole life
to try to be as tight as possible with the click. So to
do that, I I just have such a hard time. Yeah. I mean, it's,
it's, it has its purpose in in the music that it's used for,
you know, I personally am not a fan of that, that style, but I
can't do it, you know, it's, it's it is very, very unique to,
you know, that genre that they use it for. And there's so many,
so many players these days that are trying to do that, versus
try to learn a groove, yeah,
like the Italian guy who's blowing up on Tiktok. Oh, that
kid. That kid is crazy, yeah, but he's like, he, what did he
do? He did rush Tom Sawyer. And every all the purists are like,
dude, just don't. Just stop, don't. Did he have the multi
service Tom? No, he just basically had, I think he just
plays like a floor tom a snare and a kick, anybody. But he's
like, he's like, doing, you know, with one hand, you know,
and he's just one of these guys who's, as you would say, a
circus drummer,
come over here with his posse and just, just go after me,
because he could be in the mafia, but who knows. But no, I
mean, he's got some things where he's got, like, a glass of wine
on a snare drum. And he's like, have you seen this guy? Yeah, I
mean, there's, you know, we're in the land of tick tock and
YouTube drummers, you know, it's great, you know, they, they, a
lot of, some of them have gone on to, you know, get gigs, and
some of them are just there for their social media.
He can monetize the social media, with, with, with, like
shirts and hoodies, and they do, and he'll probably, he'll
probably get be one of these rare guys that is actually paid
to play a musical brand like the old Carmine aposy days, where
it's like, exactly here's your salary to pay Slingerland drums
for the year, kind of a thing, right? Because that disappeared
a long time ago. But is he going to do in person clinics, and is
he going to play music with other people? Yeah. I mean, I
think, I mean, really, the only example that we see is grace and
recruitment nowadays, and, oh, you know, he's playing with all
these different artists. And, you know, I remember, you know,
Artist Relations at Pearl, you know, signing him, really,
before he even broke on on the internet. And he's kind of like,
you got to see this kid. Have you seen him? He's great. No.
He's actually a wonderful musician who, I think he kind of
burst on the scene by doing tons of like, Buddy Rich covers. And
he's got all this, you know, the combo stick stick, and he's well
versed. But next thing you know, he's playing with suicidal
tendencies. Yep, exactly like Gus got that whole thing,
Wackerman Brooks. Wackerman, same kind of exactly even,
oh, man, who's the other guy I just had in my head? Old Man
Marine, never mind, yeah, but Grayson, yeah. I mean, he's,
he's one of the rare exceptions that has kind of been able to
break that mold, you know. And I think it's, it's, it's, in a
way, kind of hindered our industry, because, you know, us
that don't really do the social media thing. We've kind of now
been forced do the social media thing. You have to, you know,
you got to do, like coverage exactly. You have a presence,
but you don't go crazy, right? Exactly, you know, I throw out a
couple videos here and there, you know? But it's, it's not my,
my life, you know, I like being a studio musician, yeah, I'd
rather people not see my face and be the guy that's on the
record. Yeah, you know, and doing the live gig and things
like that. Use the face while you have but you're smart enough
to, like, put a GoPro up and you got some great angles on your
kit with Ted. I've never tried that angle right in front of,
like, between the crash symbol and the hi hats. I was like, Oh,
I don't want people to see if, like, I got, like, a little
belly or something, but you know what I mean, but that's why I
don't put it on the side. You're just like, dude. I mean, just
crushing it and companies, we're both sapien guys, right? Yep.
Great symbols. Remo, yep. Remo. Chris tanky, art and Primark,
Vader. So I got, I got signed by Vader and Pearl, the same exact
week. 2005 do they have a Darth model?
They should? They? Should they Darth? Vader, Darth Maul, sorry,
no, it's great. But yeah, I mean it. You know, I've been with
Sabian, played Sabian my whole life. I left. I never was
endorsed by saving when I was a kid. And I, you know, I used
dream symbols for a number of years, and they were great to
me. Can a small Canadian company put me on the box and, you know,
all that stuff. And then when I joined Nugent, you know, I
wanted to go back to playing what I know and grew up with,
and beyond, you know, and just the best symbols.
Which, of course, what are your I've been there since 2000
What are your go tos like, I'm a, I'm a 1516, inch hat. Guys,
20 inch crashes. How about that? Chad Smith, it's no longer Chad
Smith, but the Holy China. The holy China got to be one of the
greatest sounding I love those. But I actually use the AX
extreme
China, because it has like, this really wild kind of sizzle to
it. Aax, extreme, yeah, 2119 21 I think it's a 19. I used the
Paragon China for years, and then Chris tanky came to one
gig. He's like, why don't you try this? Yeah, and I tried. I
was like, that's it. There's my China. Have you experimented
like, you know, with 35 inch symbols or anything like that?
Talk to Keo Stroud about that. We're
gonna take two gongs and make hi hats. He's
a crazy, you know, thinker. He was always putting crazy stuff
together, but maybe it's a thing. Yeah, you know that
Paragon, um, right symbol that Neil helped. I've used that with
Ted for years. It's like, can slice off a dragon's head, and
that's, and that's and that's why, whoa, because that ride
symbol is going to cut right through those, those guitars
that are stupid loud. Because TED is not the kind of guy
that's like, You're too loud. It's never going to be he's not
that guy I play, I play in the cage with Ted, and that's mainly
because front of house, but also he has the headset mic, and
it's, he's right in front of it, you know. So it, it cuts down on
the symbols, you know. Plus it the at the end of the day, my
where my riser is, my crash symbols are right at his ears.
Yeah, so ears, or a wedge, he's on he's on wedge, but me, the
bass player on ears, just for protection. I honestly, I hate
playing with a wedge. Yeah, I've used ears forever, and I hate
playing without him, yeah, you know, because it just, number
one, I'm saving my ears, yeah. And number two, I can just hear
everything so much better and so much even if it's a horrible
mix, I can still hear the inner sequences that are happening
within the guitar player and the bass player. Yes, it kind of
allows me to add a little bit more spice to it. I think that's
fine. I think, you know, musicians in the last 20 years,
I mean, I started using in ears in 2000 and I think that is
where we're seeing this uptick in just the quality of musicians
and how tight they can play is that we've got these things,
high fidelity things in our ears. So you can hear the flam
between the 808 loop and your kick drum. And if you're right
with your bass player, it's like, if you're just playing
Madison Square Garden, like Led Zeppelin with some wedges, and
it's all floating around. Yeah, it's amazing. They were as tight
as they were, yeah, exactly, especially considering the
technology, you know, I mean, even to this day, I get on stage
and there's wedges and no monitor in ears, and I'm like,
How the hell do these guys hear? Yeah, you know, I have to wear
my the I use 64 audio and they make the molded earplugs. Yeah,
I have to wear those if I'm using a wedge, because, if not,
I ain't hearing a single damn thing. Yep, wow. You know, I
don't feel like blowing my ears off. No, I always just use the
headphones. Like Jim Riley, I couldn't do the in ears. No, you
can. You'd get used to it. I mean, your hair. I mean is hair
is so important. And it's like, if you wear those headphones,
you know, you then after the show, you got the big divot in
your mohawk. Look at me. Do you think I'm, you know, I'm not
exactly a chick magnet anymore, man. You know, to a certain
extent I am. Well, you know, even then in the studio, like I
love using in ears in the studio, I hate the CANS because
it just it number one, that helps isolate everything that's
going on around me. And again, being from that kind of studio
mold player, I love a monitor. Engineers hate me because I want
it to sound like a freaking record. Yeah, you know, I want
to hear everything perfect, and drum, big drums, big guitars and
all that stuff. You probably have a great working knowledge
of telling them exactly how to achieve exactly, exactly, you
know. So it's, it's, it's, I can do the crappy in ear mixes we
all are going to have it, you know, a lot of times in our
career. But, you know, I would still rather use them than not
use them. Yeah,
nice. I use the headphones. And I wonder sometimes if when I'm
playing, because I've been playing a lot more recently, up
in the bedroom here at the office and with some drums that
I gave Jim, yeah, Jim works for gear. That's what. It's a great,
amazing relationship. That's what I do. Yeah? And
I find I'm like, do, am I playing harder? Because I'm
trying to hear the articulation of all the symbols and
everything you guys do. I guess you could feed that into your
feed and get that, you know, you get the overheads and right?
Yeah, yeah. But he but even then, I do find, I do find that
happen when it's a situation where there is no overheads,
it's just, you know, like, if you're playing a gig downtown
Nashville, there ain't gonna be no good monitor mix, it's gonna
be whatever they give you. And sometimes I find myself, if I'm
playing down there, hitting way harder than I should, right? You
know, just try to hear those symbols. But.
Do you feel like the fatigue in your arms and your wrists and
everything, oh, 100% you know. But over the years, I've tried
to work on my technique and make sure that, you know, everything
kind of works the way it does. But you know, over over time,
you know, I look at still, I'm almost 30, and been playing for
so, yeah, right. But my my tell my body that, because my body
thinks I'm 65 you know, I wake up cracking, you know, it's, uh,
it's, it's a similar thing is, is like, you know, I do have,
you know, there's gonna be issues that can come about. So
how can you combat them before they do? My left hand falls
asleep, man, I wake up in my bunk with my left hand like
tingling in the morning. And so I get up, and you run it under
hot water, and you stretch it, and you do the thing, and you
try to warm up. Really, it's just amazing that the body is
holding up, you know, because you're taking this piece of wood
and you're cracking it over this metal rim 1000s of times a
night, every night, hundreds of pounds of force. You know, it's
crazy, you guys. I mean, you're holding onto the stick two time,
maybe, or no, you know, for the other thing is probably gonna
use some looper, Derm, luberderm. No, I've saved that
for other things. But anyways, um,
get up. Give me a splashable. But splash, yeah, he's got to
find it, or a toilet flushing or something.
But no, I mean, warming up, correct technique, molar
technique, you know, you look at Kenny, you look at Liberty, you
know, very nice Gemin. You got to have that ready to go. Man,
there's so many different tabs, I know, but yeah, you know, it
was little ting years. Here's a secret, okay, and I discovered
this, I don't know, probably about last year sometime we
ended up getting a grounding sheet for our bed. And you sleep
on top of you. Ever hear the technique of grounding? Yeah,
putting your oil, you're putting your feet around to the earth,
yeah? And what that does is it rebalances, I guess, you know,
the electronic electrolysis, or whatever, the electrical
impulses of your body. That's everything from the earth, yeah?
And everybody's house, we have a grounding rod, a literal piece
of copper that goes in the ground, probably about 15 feet
and in a plug, the little, you know, the the face, yeah, in the
mouth is the ground, and the blanket plugs right into that,
maybe you, you are grounded. So I, we started using it, and lo
and behold, I'm going down the stairs one day and I'm going,
Wow, my knees don't hurt. It literally was probably within a
week or two blanket that's called dude. What a difference.
Yeah, it's pricey, but what a difference. Oh, what's pricey?
Like, like, pricey for Alexander, for me, I want to say
ours. I mean, it's the one I have is a blanket so it just
covers me, yeah? 140 All right, maybe, yeah, I can look it up.
So when you're watching Netflix, you put the grounding blanket.
It's like, I feel like I'm not sleeping without my bubby. Yeah,
your boobie. What do you what do you do for fun? What do you do
for for you know, you're listening to vinyl, you got a
you got a lady friend, you any other like, things that we
wouldn't know about that are like, are you movie buff? You
know, I, I've been a
huge Disney park enthusiast for many years. So I go to Disney
World like Josh for Yeah, exactly, just like Josh, I go
to, you know, Disney World four or five times a year. When I
would go to Nam, I'd come in a few days early and go to
Disneyland crossing the convention center. Wow. So it's,
it's always been a big hobby of mine, you know, in watching
documentaries, reading books about the more the technology,
history, construction, architecture, that sort of
thing, coasters, your roller coaster? Guy, absolutely not.
No, yeah. I don't do drops. I don't do spinny stuff.
Well, Haunted Mansion, like the classics. You know, you're like
an old soul dude. Yeah? He really, yeah. I've been told
that my entire life. I'm wondering, I was gonna ask about
that, yeah? Cuz, no, he's around. He's a renaissance man,
and he's, you're there. This isn't a such a word, but you're
like a practicalist. I mean, it's like, everything you do is
practical application for your God given talents. And you know
what? I mean, it's like, yeah, you are an old soul, yes, oh,
yeah, beyond your years. How do you feel about that? Oh, you
know, you're already, like, Dating Yourself. I'm going to be
30. Well, give the 30 again for Corona. I know, but yeah, with
the knowledge that you have, which is possible? Well, it's,
it's, it's, you know, can be tough. You know, just trying to
make sure I have the right perspective. And, you know, life
and what I've done, and you know what I'm gonna do in the future,
and you know, things like that, and especially in this industry,
are changing all the time. You know, I've been with Ted for
nine years, and now we're only playing two shows this year. So
it's like, okay, well, what am I doing next? Reinvent Are you
worried about it? No, absolutely not. You know, I just, I love, I
love doing what I do. You know, I love being in the industry I
am, you know, I love being around the people that I'm
around, you know? So it's, it's, it's, it keeps my my my toes up,
because you never know what's going to be called. You know,
I've been on a rock gig forever, but I've done, you know, I was
on the road this past weekend with a country Tiktok artist,
you know.
So it's going from that to that, to this, to that, you know, it
just, it always keeps it exciting. It keeps it
interesting. And, you know, and you know, I love going from
playing to a click on a gig to not playing to a click on a gig,
reading charts on a gig to not reading charts on a gig. It's
just, it's always a hodgepodge of everything, but keeping that
perspective and knowing that, you know, I've, I've been very
fortunate to have been, to have done what I've done, but there's
still more on the horizon. Oh, yeah, you're always moving for
and if, if I quit the music industry today, I could still
look back and say I was, you know, proud of what I've
accomplished in my life. You've done a lot more than most people
on the planet. Yeah, I'm very, very fortunate for that. You
know, it's, it's, I'm not a religious man, but you know, I
do believe in karma, and I believe in universe and
everything happens for a reason. And, yeah, you know, it's, I
love me some laws of attraction. I tell you me, I'm a student of
that.
Sometimes I don't, you know, the other night I was, we were at me
and Jim were having our little dinner party, and I was, I had
my violin out, and I was like, and he was like, this is from
the motivational speaker. But sometimes the motivator needs
the motivation, you know? I mean sometimes, sometimes mentors
need mentoring, you know, sometimes the clown just isn't
happy. Yeah, that makes other people happy. Well, exactly
makes other people laugh. Clowns are scary as hell. That's
because you watch terrifier. Oh, terrify you. Horror buff at all,
absolutely not, but even, but even though Jaws is my favorite
movie of all, times, like you rarely see the shark because it
didn't work, but they made it work. They made it work because
it's it's better because you're afraid of the thought of the
shark, yeah, because the shark was kind of cheesy. And most of
the people around destin and the Gulf Coast this past weekend or
two are very far. Are finding out, you know for a fact, you
know the shark is around you at any given moment. But what did
they and they always have been, but, but what is this with these
attacks in two feet of water? Something is going on, yeah?
That's why I never stepped foot in ocean, because they'll come
out and get you scarier the ocean or the lake. Ocean, you
think so because lakes, I don't see the lake though, bottomless
pits of despair, I don't go in either. I'd rather just give me
a pool. I like to be biased at a Disney Resort, yeah, exactly,
exactly. I like to be by it. Now I want to do the Disney thing,
because on the same way, I don't like the big scary rides. But
also, there's all that history, and there's all the little
actors in their little suits running around. The food's got
to be pretty good. It's the best, you know. And especially
Disneyland, you know, you have the history of Walt was there,
and he, you know, built the place you know. And even the
musical history, the carnation gardens, you know, back in from
the 50s to the 80s. Count Basie, Louie Bellson, Buddy Rich, like
a house gig. Everyone played there, yeah, you know. And still
live music happening a lot at Disneyland, not, not as much as
it was, you know, but it's, it's still a just such a rich history
and all that stuff, you know. And I've talked with Kathy rich
about this many times, because her and Greg are massive
Disneyland people as well. And it's, it's like, you know, going
on a Saturday night to see Buddy Rich at Disneyland. Like, how
cool can it get? Doesn't get more American than that,
exactly. Buddy Rich. Buddy Rich. Like they always say, I gotta
get a real band in here. I told you,
no facial hair in my band. This is American as apple pie,
baseball and Buddy Rich.
Now old man Disney didn't always. There's some I don't
think they called him that rich old man Disney. Don't think they
referred to Walt as old man Disney, but they
he had, doesn't have, like, a perfectly squeaky clean
reputation. No, no. He died from smoking, yeah, you know. And he
drank whiskey, which was, you know, back in the day, smoking
was considered to be a benefit for your health. Yeah, exactly,
you know. He died at six lucky strikes, early, mid 60s, yeah,
you know. And just smoking and drinking and, like, one of my
that like they've literally photoshopped cigarettes out of
so many iconic photos the company has. Oh, wow, you know.
And I always love trying to find the photos of Walt screaming in
a meeting. He's like this because, you know that he wasn't
actually a nice boss. He was a slave driver. He was like, get
it done now. Type situation you don't build the Empire to do
being the nicest guy in the world. Look at Steve Jobs,
exactly, you know. And it's you look at the imperfections, the
perfections are there. Point out the imperfections. And I
sometimes, unfortunately get like that too much, you know,
I'd look at the negatives, but it's like, if you got all the
positives, you know, those positives are gonna work. Do you
think Walt Disney would be canceled today?
You never know. I mean, it's, it's, uh, that I'm saying, like,
there is some bad stories about his hiring practices, yeah. I
mean, and that that was all of corporate America back then,
yeah. So it's, it's.
Mad Men era, exactly, you know, everybody had a liquid lunch
back then, yeah, mark a couple martinis at lunch and smoked a
bunch of cigarettes then kept on going, Yeah, which were all the
spots on a couch over there? Yeah, that kind of stuff. Yeah,
just cigarette burns. Yeah. I like a good martini, but I just
don't know how you would do it at lunch and then be productive
after lunch. You know what I mean? Because the liquid lunch
was there to loosen up the clients. Gotcha All right,
especially in the advertising world, they take them out, get
them all liquored up, and sell them. You know, hundreds of
1000s of dollars of ad campaigns. So exactly, so smart.
Yeah. Now I listen to, I usually will try to listen to a podcast
or two, or go do a deep dive on YouTube with our guests. There's
this LOS lobotomies record that you love, right? I think I had
it on CD. What's it live at the baked potatoes? Eric, well, it
was cut at the blink of the name of the studio. It was actually
cut at the studio, yeah. But the Lost lobotomies was, you know,
part of that baked potato. Lucather, Lucas, well. It was
different lost bodies, mainly lucather, picaro,
David Garfield, you know, bunch of different bass players. Clar,
yeah, Leland, or Jimmy Johnson, or all those guys. But the
actual lost bodies record they cut in the studio, and it was
Carlos, Vega, Jeff Vinny, Will Lee on base.
And a couple years ago, I ended up putting it on vinyl through
my company. I was just like, it never been on vinyl. It's, you
know, super cool. And, you know, I we even restored the original
art that Jeff painted by his hand, and I was the one that did
it in Photoshop. And I was, it was the most wild experience in
my life. My, you know, probably my top drummer of all time, Jeff
Ricardo. And I'm sitting here on Photoshop in 2020 when I was at
21 or 22 when we did that. And I'm with a digital brush putting
over Jeff's signature to enhance it on the on the record. It was
just wild experience for me, you know, being a drummer, doing a,
you know, something that iconic drummer did, but it had nothing
to do with drumming amazing, you know, I so what is, what is the
business behind something like that? It's, you got to get into
fine print contracts, legalities to to get the rights to put
something like that out. Yeah, absolutely, you know. And David
Garfield owned the rights to all that stuff, so I worked with him
and all that, you know. And the actually, we did that in 2019
because Nugent was we were rehearsing in LA to start the
tour, and we had just put out the record, and I seen that
David was playing up in the West villages. Or think, I think it
was low at West Lake, or something like that, north,
north LA. And Joe Pacwa was on drums. And, you know, I never
met Joe, and I had actually flown in earlier to go to Sabian
pick up some stuff from Chris stanky, and I was going to stop
at Jeff's grave up in the
the cemetery that he's in. And I never, I hate cemeteries with a
passion. Is he in the Hollywood Forever Cemetery? He's in the
Hollywood Hills, forest, lawn, gotcha. And, you know, right by
Disney and all the Burbank studios, and I wouldn't go visit
him, and you know his grave, and I can't stand funeral, you know,
cemetery. So it was a weird experience for me. But that
night, I went up to North Hollywood and seen Joe, yeah, 90
years old, playing the drums, best jazz drummer I've ever seen
live in you know that he passed, you know, less than a year
later, and I think that was might have been his last gig,
and got to meet him. And just like it was a wild experience
to, you know, do it, but you know, just to see this icon, you
know, not just that his son was Jeff Ricardo, but also the
amount of sessions that Joe did, you know, as a percussionist,
just meeting some of these guys that were part of the Wrecking
Crew, and part of that scene from that era. It just was
amazing for me. That was 2019 Yeah, because that's when I met
Joe per car as well. I met him at NAMM, 2019
He was charming, funny. Firm handshake was he was just happy
to talk. And he was great. I was so happy I got to talk to him,
yeah, I mean, and so many people don't even realize the amount of
stuff, because Jeff kind of oversight. Kind of oversaw
cartoons, TV shows, but every movie out of that era he played
on, yeah, it's just insane. I was always very, almost like
starstruck with ml Richards and his collection of percussion
stuff. And you know that a big portion of, I think a lot of his
instruments are now owned by um, Danny Elfman, oh, really, yeah,
so maybe, I mean ml. ML had the largest, well, he's who brought
Joe from Connecticut to LA, which obviously changed the, you
know, course of music history. Yeah, he said you could do it.
You could hang out here, man. You know, have you guys seen the
there's a new Netflix documentary. Might be Netflix,
but it's about the Beach Boys.
Uh, Disney plus, Disney plus. That's right, that's right. And
all those got low. It's amazing to watch the process those guys
went through, especially with Pet Sounds. Well, I mean, Pet
Sounds was put, those guys were put up against the Beatles quite
a bit. Well. I mean, you know, you look at Pet Sounds as just,
again, the the pinnacle of session players, yeah, all the
Wrecking Crew. It's the Wrecking Crew with Beach Boys singing.
You know what? I mean, it's, it's those, those records, those
that that time being able to, you know, Hal Blaine had five
different rigs that would just go from studio to studio, and he
would go from Sunset Sound over to capitol, over to, you know,
all these places. And, you know, do five sessions in a day, and
it's like, man, that's, that's, that's the time that I always
try to long for. You know, we'll, unfortunately never get
back, yeah, and Kenny aronoff's words, it'll never happen again.
Yeah, absolutely, which sucks. But you know, how was smart? He
always had Kit A on all of his kits, because some producers
would be like, I want kit a, yeah. Well, why do I have kit D,
yeah, all of his kits were Kit A, that's kit one, or whatever.
Marketing are so smart, how smart? And he had the gift of
gab. He always had the latest joke there's, there's such an
art to being able to tell a typical right hook, Right Hook,
left hook. Joke, you know, with a punch line, I suck at it
because I know the punch line, and I can't wait to get there.
Can we talk a bit more about the Alex Van Halen raffle? Well,
yeah, you know, yeah. Because, I mean, that's, that's, that's big
news, you know. I mean, especially for, you know, one of
the most iconic drummers of in our history. I didn't know he
was giving it all the charity. It's incredible. That's from
what I know. Yeah, because, I mean, he's for a while there
that 5150 kit didn't move. It's out at 75 grand. And then at the
end, I think it went for about 185
and then the last kit that he did, that you played on at the
Nashville drummer's jam, yeah, a tribute I did all wait.
I think that was 135
but it came, at least came with symbols and hardware. Wow. The
thing that I find so interesting is, you know, we see, we see how
much these guitars that are owned by legendary guitar
players go for they're going for 300 quarter million, 100 plus.
How often do drum sets go for over 100 guitars, by legendary
guitar players go for three. Siri wants to chime in.
Apparently, amazing. Yeah. But you know, I, you know, Stuart
Copeland sold his iconic blue Tama kit and all the police a
couple years ago, I don't even think it went near 100 you know.
And it's like these, if that was a guitar, sometimes the guitars
are even starting, you know, just almost at 100 just being
the guitar itself. Then you add the fact that it was the artist.
So, you know, are there kits that are going to go for more
than what Alex has just did? What's the deal with the
guitarist? Man, it's they just, it's a much better investment.
Well, I think that you have more iconic attributions to a guitar,
you know, Eddie Van Halen frankenstrat, would be a million
dollar plus guitar if wolf ever wanted to auction it off. Well,
it's, it's, it's the same thing with, you know, Ted, with his
birdlands. These are iconic guitars and but Prince's guitar,
but exactly, but the same. There's the same thing with drum
sets. Though, you know, you've got so many iconic drummers that
use iconic drum sets. You know, why isn't the value equal to
that? Because I don't think the general public really drummers
pay attention to it. I think the general public would, I just
think there are a lot of more people that are consumers of
music that will don't know what a Pete Townsend guitar, Eddie
Van Halen, any of those guitars, Randy Rhodes, Zach Wilde, they
would be, oh, that I know that guitar. You know the 5150 drum
kit, the you know the see through acrylic drum kit is
known to us guys because we watched that live without a net
till it was worn thin. But
I was surprised to see that the 1981 Gong with the stripes
around the frame, yeah, what for $287,000
amazing. That's a 40 inch pisty Gong. Can you imagine having
that test kind of expendable income? It's got to be the most
expensive symbol ever sold. My gosh, that's insane. I mean
quarter million dollars, over a quarter million dollars for a
gong. I didn't, I didn't realize he never played Black Beauty
snares. What was I thought he did? I always thought he was,
yeah, super phonic. Oh, super phonic, yeah. But he played
tama, like, Redwood type snares, yeah, there was a bunch of those
Tama snares, yeah, too. But I found that very interesting, you
know? Well, yeah, that's the thing is, is that he, they had
one pearl snare for sale, and it was a mahogany Pearl snare that
is big on wood snares they apparently was going to try to
use for a recording session, and just never ended up happening.
And, and when I seen that, I thought that was very strange,
yeah, given that he's one of the most iconic Ludwig guys, yeah,
ever you know, to have those you know, certain random.
Hammers and Pearl and CNC and just noble Cooley and stuff like
that thrown in there. Yeah,
you know, I, most drummers are guys that play other brands and
swap other brands, you know, I, my drum collection is pretty
huge when it's all Pearl, but even then, you always got to
have at least one Ludwig. You always gotta have. I mean,
you've been requiring Pearl drums since you were nine years
old. Yeah, right. I mean, that's, yeah, you're gonna just
need a big old house for those drums, man. Well, you know, it's
it, but it's, it's like with you, you got a ton of dW kids,
but you always got to have at least a Gretch snare, or you
always got to have that one or two. Oh, no, but I was very
shocked how many non Ludwig drums were in that auction. Wow,
yeah, we need a guide as to become completely iconic that
plays nothing but CB, 700 drums. Well, I mean, they were made by
Pearl, really. I didn't know that same factory, huh, amazing.
What did that stand for? Was CB, like a, I don't know. I mean,
Pearl made so many stencil kits back in the 70s and 80s, you
know, a lot of those were just, you know, a max win and CB 700
and a lot of those just random ones were made in, you know, the
same thing with tama, because they were both made in that area
in Japan, pretty much right by each other. So a lot of those
weird Japanese stencil kits were either Tama or Pearl, and Alex's
drum throne, I think went for seven or $8,000 it's like, Oh,
he got some Alex's butt sweating here. Well, it's, it says, you
know, Thou shalt not sit. That's the one. Oh, nice, yeah. No one,
no one, but no one sits on his throne. That's crazy. Except you
was that the throne that they had? I don't know it. I should
have asked his drum tech, John Douglas,
crazy, well, he's got a book coming out. John Douglas, no,
Alex, oh. Alex, well, good for him. The biggest thing is is,
you know, hopefully they start bringing out some of this vault
stuff, because he had 5150 there. They've got hundreds and
hundreds and hundreds of hours of all this unreleased stuff.
And, yeah, you know, that's kind of where we are in this, in this
part of the industry is, is, you know, these artists going back
into their personal archives and stuff that they own personally.
And like these fans want this. They want the built up energy.
You know, they have all this content. They've been hearing
the same records for 4050, years. Yeah, new remaster, cool.
But yeah, how much difference is that master really? We took down
the high end of the snare just a tad, yeah, and put a little more
compression on the bass line. Well, like, you know, white
snake did remixes of of the slide it in record and, like,
cozy pal, cozy drums already sounded amazing on it. Yeah, the
remix sounds even bigger, you know, stuff like that. That's
cool. But, you know, remasters, unless it's a big noticeable
difference if the original master was terrible, you know,
people want rough mixes, people want live outtakes. People want
different takes of the actual song. You know, those are the
cool things that and I think what's going to continue
sustaining a lot of these legacy artists is going back into their
vaults and picking out those things, because these fans want
to hear this stuff. You know, we started doing with Ted's catalog
a couple years ago and and, you know, I've been archiving his
his vault for last two years. And the stuff that we found is
amazing. I found the demos for the first Ted Nugent record on a
cassette. You know, we've got Stranglehold and motorcycments
and all this stuff in a working, you know, rehearsal space. Yeah,
it hasn't, we haven't released it yet, but it's, you know,
those that's what people want to hear. People are gonna, are
gonna buy that and gonna grab that up more than a here's the
ninth color of the same record that was been already pressed 10
different times. You know, Would it be weird if Wolfgang actually
did that, you know? Because I guess once, you know, I hate to
put it this way, but once Alex is kind of out of the picture,
he'll have full rights, I guess, to do that. Is it weird when
Prince's estate started doing it?
I don't know. You know, Prince's estate immediately started
going, you know, in that vault,
exactly? Well, yeah, but what is, what is it doing to that
artist's legacy? Right? It's helping sustain it. It's helped
continuing to release more. The name is continuing to be said
exactly. It's, it's not the same records and songs that have been
out for 40 years. You know, now we're getting new material by
these legacy artists that it's, it's, it's like old new stock of
gear. You know, people love finding old, new stock stuff.
Exact same thing with all this vaults, you know, material they
want that those rough mixes, those, yeah, if the true fans
want all the extra stuff. Oh yeah, I would imagine, like
even, I think it was on Amazon or one of the streamers, uh,
behind the music is another one with Wolfgang, mainly with
Wolfgang and Valerie Bertinelli, yeah, talking about Wolf and
Eddie's relationship. And even Alex didn't chime in on that.
He's, he does not want to be public at all. I knew that at
that point. I'm, like, I watched it. I'm going, yeah, he's, he's
done well, I mean, but you know, they're starting to, I think
next, next month.
They've got a, you know, deluxe edition of one of the van Hagar
records, and they have live concert and video, and it's only
a remaster. But, you know, at least they're starting to dip
their toes into that, you know, I think they, they were supposed
to, like, 20 years ago, put out a rough, mixed version of the
first album, or one of the first albums, and Warner just shelved
it, or something like that. And you know, it's circling around
the bootleg community and things like that. But again, when you
have especially brands, all these legacy artists are brands,
so why don't we continue to expand on that brand and bring
these vault lost gems out for these consumers? Amazing,
amazing. Hey,
we're gonna finish up with the Fave Five, Fave color, hmm, red
or blue, the whole American like Ted blue, like, like that. I
like favorite drink,
probably, root beer. Yeah, nice. I like a good cream soda. Every
once in a while, what about the PB and J beer diet cream? Hey,
don't know, Jim had got me a PB and J beer the other night. It
was like, this is a beer. It tasted like a peanut butter and
jelly sandwich. Was amazing. It was, I was I gotta, I'm gonna
finish it tonight. Favorite food or favorite dish? Um, I'm a
sucker for a good filet with, uh, you know, mushroom risotto
type thing, nice. Now here in town, it the price of Dining Out
is anywhere in the world is getting more and more expensive.
Used to go to PF Changs. You get Chang spicy for 1390 and now
it's 2399 right? So if you're a filet man, you know you're not
getting out for like, 4550 55 But occasionally, like, I go to
brick tops. I love brick tops. They're good, ladies and
gentlemen. You want to run in. Want to run into me? I'll be at
the brick tops on McEwen Boulevard and Cool Springs.
That's where I'm at the I'm getting my filet. So they do a
good filet. Now, this is a difficult one, but maybe it's
you love the artist, you love the melody, you love the
drummer. You can't escape it. One of your favorite songs?
Well, it's tough, you know, I I always look at, you know, songs
like, you know, Rosanna is just a classic Bob O'Reilly by the
WHO three freaking chords, but it's just one of the most
powerful songs ever. You know, I love those type of things. I'm a
sucker for great pop hooks, but also that have so much
musicality behind it, you know, and I look at those type of
songs that will never be replicated, no matter how much
you can try, it will never sound like it, yeah, whereas, opposed
to, if it was just, you know, even a lot of the top 40 songs
that people would say, you can pretty replicate it easily. So
finding those little, teeny, tiny details that can really
enhance those easy pop songs, or what I always try to I'm a
little stuck, you know, people are like, what's the new stuff
you're listening to? I'm like, Well, I you know, I mean, I'm
willing to check out Vampire Weekend, or one of these, you
know, more modern bands, but, you know, it's like sticks and
foreigner and John Waite are on tour this summer, and it's like,
missing you. John Waite, classic, it's an all time
favorite. Feels like the first time foreigner, all time classic
Renegade. It's like, yeah, am I? Am I old man? Am I? No. I mean,
I listened to very few music past 1991 Yeah. And, you know,
I'd listen so the cutoff was blockage, the British, the
British, the British, the band, guitar. But even then, you know,
Dave Grohl is playing on that stuff is just epic, unreal,
yeah, yeah. Now, how about this? Is equally challenging, but a
favorite movie, it's on, you're like, oh, there goes the rest of
my afternoon. I gotta sit through this jaws. Okay. I mean,
nice. Back to future Jaws, Blazing Saddles, Young
Frankenstein, all those call those classics. He is an old
soul. It really is. You really are Get off my lawn. Guy already
at 29 Yeah, yeah, you can ask my wife about that. Nice. How long
you been married? About a year. Yeah. Nice. So,
jasonhartless.com, nice website. You're on the socials. You're
new to Nashville. Everybody look up Jason. Reach out to me. He's
doing some you know, you could make a killer living down on
lower Broadway. So you might be down on lower Broadway, he might
be on the big stage. You might be doing a showcase at, you
know, pretty much I say, get yes to every gig, even gigs I
shouldn't say yes to. I just say yes because I'd love doing it.
Yeah, I like, I like to play man. Well, thanks so much for
doing this, man. And welcome to Nashville. I'm so happy you're
part of this community. Thank you. Brother Jim, good. Good
one, right. Today we went along. Fun conversation, really fun
conversation. Hey to all the listeners. Thanks so much for
listening and watching us. Be sure to subscribe, share, rate
and review helps people find the show. Jason, thanks so much,
man. Thank you, Jim, thank you. Take care. See you guys next
time. Thanks. This has been the rich Redmond show. Subscribe,
rate and follow along@richredman.com
forward slash podcasts. You.