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Speaker 1: Hi, This is Bobby Brown and welcome to another fucking podcast.

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Speaker 2: My livers all twisted up, and you know what I did.

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Speaker 3: I loaded up with alcohol, more specifically vodka, whiskey, beer, tequila,

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more beer, more vodka, more whisky, and more beer.

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Speaker 1: Once an orange whipp ounch whip ounch whip, three orange whips.

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Speaker 2: So you're fur I've come here to break your monotony.

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Let me have my piece because I'm shooting with this one, folks,

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I don't fare man.

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Speaker 1: The unsprinted, uncensored, loose tannon of common tanner. Didn't you

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say that?

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Speaker 2: Why you come out with stink like that? Poop can poop.

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Speaker 1: Out o see son.

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Speaker 2: Old legends never die, They just lose.

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Speaker 1: Weight like a legend and an adamwork bumb of a

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lot of light.

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Speaker 3: Lenny. Hey, I've got a midget friend, and albin a

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friend and another friend who thinks Lord of the Rings

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is real.

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Speaker 1: Together we call ourselves the Unforgoutable won is he? Let

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the fun begin?

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Speaker 2: Yes, Carrie, we have heard of van Halen. Hello Las Vegas,

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Hello world, and hello my loyal minions. It is good

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to see you, and it's always good to be seen.

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My name is He Presley is I'm is Anne is

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He Presley? My name is is He Presley. I'm the

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host of the program. It has called Another fin Podcast,

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and we have an amazing show for you this evening.

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And I'm bringing on a buddy that I've known for

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a few years now. We've crossed paths musically, not on stage.

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Speaker 1: But otherwise.

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Speaker 2: And uh, I'm on the Cruise of the Edge, which

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he is a host of this year and at Soundcheck Live,

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which I will be hosting next Wednesday night. This so

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not this Wednesday, but that's next Wednesday, the twenty first.

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If you are using your math, and make sure you

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check out all the socials at Real Lizzie Presley all

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the all the way across the board, Twitter, in scram

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and Facebook and of course the show page and other

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Refford podcast and might get some new people listening this

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week because we are going to dive into the prog world,

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which is weird for me because I can't count past

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Peter Chris. And make sure you subscribe on YouTube and

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on Spreaker and all that kind of stuff.

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Speaker 1: So, ladies and.

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Speaker 2: Gentlemen, after all that spiel, we got a hold on

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one second, Jimmy because I have to do my uh

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my when I do. At the top of every show.

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In the words of my close personal friends the Home College,

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Dave Austin brack One for the working man, ah God,

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bless Beard, Jimmy Keegan, everybody.

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Speaker 1: Welcome, Greetings, you have, I have inions.

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Speaker 2: I get I think you just create am out of

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thin air and they just all they like automatically reproduce.

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Speaker 1: Funny noise and don't really say words, but they say yep, yep.

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Speaker 2: Sure that one can only hope and hopefully they have

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nice boobies. We always like it when there's nice boobies.

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Speaker 1: Uh.

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Speaker 2: Jimmy has a brand new record that is available for

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pre order right now. It is self titled, which is odd,

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but there is your first solo record, so I get it.

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You know, you can go to Jimmy Keagan dot com.

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That's to ease. Just look in the description and actually

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I'll have the link if you guys are watching on

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the YouTube and actually if you're listening on the on

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the audio, the link will be right down there, so

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you can click on Jimmy Keegan dot com and going

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pre order it. How you doing, buddy.

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Speaker 1: It's it's been a good it's been a week or

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it's been a month, yeah, something like that. Yeah, yeah, yeah, yeah,

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I'm good. It's uh, you know, between gigs and you know,

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trying to stay alive. I've been working on, you know,

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getting this whole promotion stuff and preparation for the actual

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release of this thing. And I've been in every kind

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of situation you can be in where I've released some

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kind of record except this chair. Yeah, I've been in

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every kind of band. I've been a you know, a

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band member. I've been a you know, played sessions for

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big records, blah blah blah. Who cares. But when you're

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not in this chair, you really don't get the respect

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what goes into this. And and I'm not doing this

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with a label either, So this is all, you know,

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done by hand.

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Speaker 2: And well that's kind of that's kind of the way

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to do it nowadays. You know, you don't really need

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a label, but sometimes you do need a label.

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Speaker 1: I mean it's well, if you're doing if you're doing

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something more along the lines of a Taylor Swift kind

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of thing, then yeah you want a label because that's

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something you want to market a different way. But you know,

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I'm as a fifty four year old drummer. I'm not

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going to market to teenage you know, swifties and stuff

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like that, although that would be great. I mean, that

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would be a great audience because you know what those guys,

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you know, what the young kids understand, and that the

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the the old kids don't understand is the concept of

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sharing and telling your friend and telling people you don't

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know about it, and wearing the T shirts. And because

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unfortunately us old guys are like, oh, I don't want

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to bother anybody, you know, right right?

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Speaker 2: Plus plus we're still wearing our kiss t shirts from

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nineteen seventy seven.

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Speaker 1: Yeah, there's other bands have come out since then.

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Speaker 2: I know, it's it's odd. You know what you should

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have called the album Tate?

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Speaker 1: Why is that?

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Speaker 2: Because then you'd get that swifty crowd. Oh oh right,

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you named it after Taylor? Oh even that because there's

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a strong fishing presence in the songs on the record,

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Tte goes Fishing.

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Speaker 1: You know. Funny thing is I I actually did have

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a title for this record, and so there's two Gregs

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involved in the In the album cover, there's there's Greg

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Crane who did the actual artwork or you know, drew

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my face, Ah, if you will. And then there's my

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friend Greg the Straps, who did the graphic design for

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the whole thing, and I forgot to tell him what

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the title was, so he just assumed it was self titled,

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and when I got the artwork, I kind of went, yeah,

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that'll work.

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Speaker 2: Sometimes it's that easy.

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Speaker 1: I struggled over a title for this thing long and

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you know, and hard, and eventually just realized it came

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down to a simple mistake of not telling him what

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the title.

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Speaker 2: What was the title going to be?

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Speaker 1: Well, it doesn't matter now, Oh I don't, but I go.

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Speaker 2: But I'm just curious. Now you got me all flustered.

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Speaker 1: So I had two titles working. One of them was

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Settlers because there's a song called where Settlers Go, and

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as you do, over the years, I just came to

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know that song as Settlers. I didn't really call it

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where Settlers Go, so I kind of got used to

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seeing that word, and it just was a I like

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the way it sounded, not that it held any meaning

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or anything like that. Just I just of all the

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songs on the album, that one seemed to be the

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one that my eye gravitated to. Okay, okay, and then

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when I decided, well, I'm not going to do that,

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I actually came up with a title and I called

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it Notes from my Past because all these there's there's

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three songs that are flat out covers if you will, okay, Uh,

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there's a Talking Head song, there is a Split End song,

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and there is an Andy Grammer song, and the rest

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of them are from songwriters that I've worked with over

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the course of my life slash career. Okay, so some

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of these songs go back to the early nineties, so

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that idea of I kind of humorously started also calling

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it notes from my Past, because all these songs are.

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Speaker 2: That old yeah yeah, yeah yeah.

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Speaker 1: In terms of their composition, but they've been all worked

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new and fresh.

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Speaker 2: For the right But yeah, and that's what that's I mean.

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I was gonna ask, like, so you you weren't writing

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for this record. This is just like you said it started.

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Speaker 1: It started out I intended to write with some of

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you know, with these writers and write new songs for

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a record. But I've never been I've never been a writer.

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I've always been a ranger. I've always worked with writers,

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and the longer it took me to compose songs that

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I thought anything of, the more I realized, will these

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guys have songs? I have songs that I've loved for

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this long that still stick with it. I still listen

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to as if they were you know, a Peter Gabriel

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record or a you know, a led Zeppelin record or

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you know, something like that. So it just occurred to me,

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why don't I just go into these songs that I

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worked with them on the composition of and see if

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there's anything that I can pull from that, and at

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least that'll get things roll. And I was thinking I'll

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do one or two, and before I knew it, that's

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what the whole record was.

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Speaker 2: Okay, So but the cover songs where I mean, obviously

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you being in the prog world, you're gonna dig deep,

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but also be not being in a prog world. I mean,

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the only split end song I know is I Got You.

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Speaker 1: That way, you know, right? So that's a later song

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of theirs, that's the next album. But six Months in

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a Leaky but was the first time I'd heard of them.

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And it's not even that I have any particular giant

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fondness first one. I mean, I obviously enjoy them, you know,

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in the Finn Brothers Crowded House and all that sort

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of stuff. Great great records, but that song, for some reason,

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kind of hit. I believe in the idea that there

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is genetic memory, okay, or some term like that, there's

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some kind of similar term like that, And what that

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amounts to is I am Irish genetically speaking. You know,

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my family generations ago came from Ireland, which means somewhere

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in there there's a bit of Dutch and there's a

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bit of Scottish and British and all that kind of

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stuff that whatever is that makes up Ireland. So consequently

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I am I've always been fond of you know, pipes

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and drums and big chanty music that's like we're gonna

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go break something whatever Jeth wrote Toll and stuff like that,

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and it's it's always weird to me because I hear

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it and it's like all the hairs on my arms

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stick up, and I'm like, why do I Why do

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I know this? Why do I feel it? You know,

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because it's I think it's just genetic memory. So that

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song was one of the first occasions that I kind

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of felt that that sort of I don't know why

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I dig this, but I dig this. I mean, it's

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a great song, but I just had that kind of

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it kind of permeated my skin kind of thing. And

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so as I started looking for I knew I wanted

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to do a couple of covers, and I started thinking

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about them. My girlfriend Chris and I were talking about

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various other songs, and there were a handful of songs

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that came up, and that one was the one that

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kept getting the most. You know, but what about that?

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But what about that? What about that? What could I

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do with that? What could I do with that? So

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that that ended up being that one. The talking Head

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song was completely left field. I had planned a different

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talking Head song, And the longer the covers were the

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ones that I was waiting till sort of the end

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to track because they were I was thinking they'd be

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the easiest, but I wanted to do the great curve. Okay,

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same record jump. But the more I thought about it,

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the more I kept listening to the song, the more

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I realized I didn't want to change it because I

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liked the way that song went okay, and I felt

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like had anything I do to it almost hinders and

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almost instead of making it. I mean cause I don't know.

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You can make a cover song better, you make a

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cover song different, right, and I just didn't hear it different.

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Speaker 2: Hold on, hold on, before we do that, are you

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do you do you think of any covers you like

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better than the original? Like Johnny Cash.

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Speaker 1: Yeah, that's a perfect example. Yeah, yeah, that's a that's

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a that's an example where where the nine is nails

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version almost doesn't even matter, right, and it's and I

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still think it's great, but it's like, hm, you know,

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some people might call it sacrilege, but I think Elton

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John's versions of both Pinball Wizard and Uh.

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Speaker 2: I wholeheartedly agree with that.

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Speaker 1: By the way, Lucy and this guy with Diamonds are

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better than are better than the originals.

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Speaker 2: Yeah, I think like the Pinball Wizard is so I mean,

239
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plus you got the visual you know, from the He's

240
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on the stilts and the whole nine yards. It's just

241
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so bad ass. But yeah, I agree, I like that.

242
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Speaker 1: Version, And I know Beatles fans. I'm sure I have

243
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Beatles fans, right, I mean, like, I think that's that

244
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when you say something like that, it sense a shock

245
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wave and all the Beatles fans go, ah, what the hell?

246
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And I know, I know, I know I shouldn't say that,

247
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because how can it be better than the Beatles, But

248
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I just I just like them better. Well, but I

249
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still like the Beatles. I don't dislike them.

250
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Speaker 2: Right, I don't dislike the Beatles either, But I think

251
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the Rolling Stones putting out a new record that blows

252
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the fuck out of the quote unquote New Beatles songs.

253
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Song that they came out with just proves again how

254
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superior the Rolling Stones are.

255
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Speaker 1: Oh well, you're gonna get an argument on me in

256
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that one, but but we'll avoid that. See now my thing.

257
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So here's my thing with the Beatles thing. I mean,

258
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I just said to someone else too, I don't even

259
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know that they needed to release it. I agree with

260
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me for me, and I'm glad they did. It's not that.

261
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I just think there was something about the romance of

262
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that that I'm not expecting when they say it's a

263
00:14:00,440 --> 00:14:04,399
new Beatles, I'm not expecting this to be the best

264
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Beatles song in the world. I'm expecting it to just

265
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be something novel and more more uh more sentimental than anything.

266
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But when I heard it and realized that the lyric

267
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was such a simple kind of just love note. My

268
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imagination went to Paul and Ringo, taking it to John's family,

269
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Julian and Sean and Yoko, and to Olivia's family and

270
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going here, look what we did because of cool technology.

271
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One last little thing, because there there no one knows

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what it is to be the Beatles or the Stones

273
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or those few rock bands that have been around so

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long that have had It's not just longevity, but it's

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the impact that you know Zeppelin had, that you know

276
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Deep Purple had, that Queen had, Michael Jackson, you know,

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there's a really select Madonna. You know that it doesn't

278
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matter what genres, it's across the board. But to be

279
00:15:06,039 --> 00:15:10,480
a Beadle or to be a Beatle's family member is

280
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that no one understands it. I've I've had the pleasure

281
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of hanging out with Julian a couple of times, and

282
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our conversation was interesting in that that that sort of

283
00:15:22,039 --> 00:15:24,320
came up in the conversation, not that he said anything,

284
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it's just the the nature of what our conversation was.

285
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It made me really realize that concept of of how

286
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much I appreciate them and also feel for them m hm.

287
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Because by nature, Paul's kids George's kids, you know, someone,

288
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some Ringos kids, Michael Jackson's kids are never going to

289
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understand what it is to be, to to just be

290
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what you and I did and grow.

291
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Speaker 2: Up, right, kids think about Priscilla, not Priscilla at Lisa Marie.

292
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Speaker 1: Yeah.

293
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Speaker 2: I mean, you want to talk about having the biggest

294
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shadow over you in the history of entertainment.

295
00:16:02,799 --> 00:16:05,759
Speaker 1: Right right, that same thing. It's that's the same principle.

296
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It's like you just you can't get away from the

297
00:16:07,480 --> 00:16:10,080
idea that no matter what happens in your life, you

298
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are that person's kid and the whole world knows who

299
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you are.

300
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Speaker 2: Yep.

301
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Speaker 1: And you didn't ask for it, right right.

302
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Speaker 2: I mean I've met I look, I met Lisa once

303
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and it was at a shuffle him through meet and

304
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greet thing.

305
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Speaker 4: It's but I I trust me that that that that

306
00:16:28,480 --> 00:16:31,320
moment is in me forever because obviously you know my

307
00:16:31,399 --> 00:16:34,399
love with the King. But you could just tell how

308
00:16:35,000 --> 00:16:39,200
she was, like she just guarded, you know it just

309
00:16:39,240 --> 00:16:42,600
the body language. She just looked guarded. But I understand it.

310
00:16:42,679 --> 00:16:44,120
I get it well.

311
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Speaker 1: I mean, the my occasion of hanging out with Julian.

312
00:16:48,080 --> 00:16:51,320
So the first song on my record is actually, oddly enough,

313
00:16:53,720 --> 00:16:58,120
it's called The Fishermen three. It's from a The songwriter

314
00:16:58,200 --> 00:17:01,720
on the primary songwriter is Mark Spyrot, who's written for

315
00:17:01,799 --> 00:17:04,960
Bad English and Heart and John Waite and a lot

316
00:17:05,000 --> 00:17:08,519
of great artists. And I played on his album that

317
00:17:08,519 --> 00:17:11,599
that record occurred shows up on originally, so technically that's

318
00:17:11,599 --> 00:17:16,759
a cover as well, but sadly it's not a record

319
00:17:16,759 --> 00:17:20,319
that a lot of people have, although it's a freaking

320
00:17:20,400 --> 00:17:26,079
brilliant record. Julian Lennon actually appears on it on that

321
00:17:26,160 --> 00:17:30,799
song original version. So I met Julian through Mark because

322
00:17:30,799 --> 00:17:33,279
we used to have a residency at the Troubadour every

323
00:17:33,319 --> 00:17:38,160
Wednesday night and he would come in and sit in

324
00:17:38,200 --> 00:17:39,839
it once in a while, and they wrote a song

325
00:17:39,839 --> 00:17:44,400
called Saltwater, which is a gorgeous, gorgeous song, and so

326
00:17:44,480 --> 00:17:49,039
I from that I ended up the first time, all right,

327
00:17:49,079 --> 00:17:49,440
I mean.

328
00:17:49,480 --> 00:17:52,359
Speaker 2: Oh no, no, no, no, it just the audio stopped recording. Whatever,

329
00:17:52,440 --> 00:17:54,079
I can fix it later, it's all good.

330
00:17:56,279 --> 00:18:00,160
Speaker 1: So the first night I met him, we finished a

331
00:18:00,200 --> 00:18:03,000
show and he's like, hey, man, I get to all

332
00:18:03,000 --> 00:18:07,160
of us. I'm I'm supposed to go make this appearance

333
00:18:07,200 --> 00:18:07,920
at this club.

334
00:18:08,279 --> 00:18:08,480
Speaker 2: You know.

335
00:18:08,559 --> 00:18:11,519
Speaker 1: I've been like paid to red carpet it, you know,

336
00:18:11,839 --> 00:18:16,400
velvet rope it. And I really don't want to do this,

337
00:18:16,480 --> 00:18:18,480
but you know, if you guys, if you guys aren't

338
00:18:18,480 --> 00:18:20,640
doing anything, it would be great to have like some

339
00:18:20,680 --> 00:18:24,839
friends hanging out. So we all went and that was nice.

340
00:18:26,039 --> 00:18:29,079
It was exactly that everything you hate about, you know, boots, boots,

341
00:18:29,119 --> 00:18:32,039
boots and cats and boots and cats and boots. Yeah, yeah,

342
00:18:33,039 --> 00:18:36,680
young people and alcohol. And I noticed Julian just kind

343
00:18:36,680 --> 00:18:41,960
of chilling off to one side and really just not

344
00:18:42,119 --> 00:18:45,880
part of the whole gang. So I decided just I'm

345
00:18:45,880 --> 00:18:49,039
going to go up and just say hello and you know,

346
00:18:49,359 --> 00:18:53,519
hopefully not intrude on whatever his his solace and everything.

347
00:18:54,319 --> 00:18:56,519
And I just started chatting with him and asking him

348
00:18:56,519 --> 00:18:58,319
like when he's going to do a new record, and

349
00:18:58,720 --> 00:19:03,359
you know, you live in LA. It's small talk, nonsense, nothing,

350
00:19:03,799 --> 00:19:07,279
nothing of major importance. He asked me about a few things,

351
00:19:07,319 --> 00:19:10,240
like you know, who do I like musically? And so

352
00:19:10,279 --> 00:19:14,240
the only the only occasion that I'm that anything resembling

353
00:19:14,319 --> 00:19:17,000
his father came up is when he said, do you

354
00:19:17,039 --> 00:19:20,960
have any influences? I said, well, besides the obvious, and

355
00:19:21,000 --> 00:19:22,880
then I moved on that's it. That's the question I

356
00:19:22,920 --> 00:19:25,599
came to mention and then we kept on. So we

357
00:19:25,880 --> 00:19:28,039
just chatted. It was great and he was fantastic. He's

358
00:19:28,079 --> 00:19:32,079
he's lovely. He's a great guy, very friendly, very easy

359
00:19:32,119 --> 00:19:35,279
to talk to. We talked for something along the lines

360
00:19:35,279 --> 00:19:39,079
of about twenty five minutes. I mean, that's I mean,

361
00:19:39,079 --> 00:19:40,799
this was in a club, that's how that's how good

362
00:19:40,920 --> 00:19:45,480
it was. And suddenly I noticed he started to get

363
00:19:46,079 --> 00:19:48,839
kind of for clemped. He looked a little emotional and

364
00:19:49,559 --> 00:19:53,079
like something was bugging him, and so I was like, hey, man,

365
00:19:53,359 --> 00:19:55,440
you know, I kind of just came over here and interrupted,

366
00:19:55,519 --> 00:19:58,240
you know whatever. You look like, you know, did I

367
00:19:58,319 --> 00:20:00,240
say something wrong? Did I bug you? Am I in

368
00:20:00,279 --> 00:20:01,920
the way? And he's like he's like, no, no, that's

369
00:20:01,960 --> 00:20:04,960
not it at all. And I said, well you want

370
00:20:05,000 --> 00:20:09,359
me to leave? And he's like no, no, no, actually no,

371
00:20:09,519 --> 00:20:11,279
what it is is it just occurring to me that

372
00:20:11,359 --> 00:20:13,680
this might be the longest conversation I've ever had without

373
00:20:13,720 --> 00:20:20,519
talking about my father. Wow. Wow, And you go, yeah,

374
00:20:20,599 --> 00:20:22,079
I have no idea what it is to be in

375
00:20:22,119 --> 00:20:26,319
your shoes. Yeah, that's just living your life.

376
00:20:26,799 --> 00:20:29,319
Speaker 2: I think. Look, I think that's a great lesson that

377
00:20:29,400 --> 00:20:34,480
we all need to, you know, learn, Like you know,

378
00:20:35,559 --> 00:20:37,400
I told you I went to the hockey game last night,

379
00:20:37,440 --> 00:20:40,200
and one of the people I took to the game

380
00:20:40,599 --> 00:20:45,880
is Frank Zappa's daughter, Diva, because I'm friends with and

381
00:20:45,920 --> 00:20:47,839
he's like, hey, she's gonna be in town. Please take

382
00:20:47,880 --> 00:20:49,160
her out, show her a good time. She's gonna be

383
00:20:49,160 --> 00:20:50,599
in town for ten weeks. I love for you guys

384
00:20:50,599 --> 00:20:53,400
to hang out, like cool, yeah, whatever, So we took

385
00:20:53,400 --> 00:20:54,799
her to the hockey game last night, you know. And

386
00:20:54,799 --> 00:20:57,519
then I know it sounds like a fucking name dropping,

387
00:20:57,559 --> 00:21:00,720
but this is this is what happened, you know. You know,

388
00:21:00,960 --> 00:21:03,359
I'm friends with Brian Slago for Metal Blade Records, and

389
00:21:03,400 --> 00:21:05,160
his seat with two rows in front of us, and

390
00:21:05,200 --> 00:21:09,799
Lizzie Borden is there, and it's and look, you cannot

391
00:21:09,960 --> 00:21:14,119
introduce her without saying, oh, this is just Diva. You

392
00:21:14,160 --> 00:21:17,279
have to especially do somebody like Brian and Lizzie. You

393
00:21:17,400 --> 00:21:20,599
have to say, this is Diva Zappa her whole name,

394
00:21:20,720 --> 00:21:24,559
you know. And she's not a music gall at all.

395
00:21:25,160 --> 00:21:26,839
Speaker 1: You know, He's just trying to be herself.

396
00:21:26,880 --> 00:21:29,599
Speaker 2: Yeah exactly. And no, she wasn't weird about it, you know.

397
00:21:29,680 --> 00:21:32,720
It's like she's great and if it's just like normal,

398
00:21:33,039 --> 00:21:33,960
you know, Diva.

399
00:21:34,640 --> 00:21:37,200
Speaker 1: I I've met her a few times. I'm not she's

400
00:21:37,240 --> 00:21:40,920
the She's the one I'm least familiar with I know,

401
00:21:41,599 --> 00:21:43,440
and duezl a lot better.

402
00:21:43,680 --> 00:21:48,119
Speaker 2: Yeah, yeah, and I love It's amit. It's a fucking riot.

403
00:21:48,400 --> 00:21:52,319
Speaker 1: I love him and I are actually the Actually Moon

404
00:21:52,720 --> 00:21:55,160
is one of the most clever people I've ever met.

405
00:21:55,200 --> 00:21:57,680
And I don't even I know her, but the least

406
00:21:57,680 --> 00:21:59,640
of that too, I mean, I don't know all that well.

407
00:21:59,680 --> 00:22:03,279
But but yeah, they're all great. They're all really sweet people.

408
00:22:03,319 --> 00:22:03,799
And yeah.

409
00:22:03,920 --> 00:22:06,440
Speaker 2: Well it was the funny thing though, was like I

410
00:22:06,480 --> 00:22:09,240
didn't know there was another I didn't know there was

411
00:22:09,240 --> 00:22:14,839
a Diva, Like, oh oh, I thought I was okay, cool,

412
00:22:14,880 --> 00:22:17,880
bad ass, there's another Zappa that I didn't know about,

413
00:22:17,880 --> 00:22:21,400
because it's just not common knowledge, you know, unless you're

414
00:22:21,400 --> 00:22:22,640
a Zappa fan, you know that.

415
00:22:22,759 --> 00:22:23,119
Speaker 1: I didn't.

416
00:22:23,119 --> 00:22:24,720
Speaker 2: I just I just thought there was a three and

417
00:22:24,920 --> 00:22:25,319
that was ship.

418
00:22:25,359 --> 00:22:28,359
Speaker 1: There's four. Okay, cool bad ass and very cool gal.

419
00:22:29,279 --> 00:22:31,759
All the whole family was was great. I had the

420
00:22:32,039 --> 00:22:36,960
very good fortune to meet Frank and just chill again,

421
00:22:37,720 --> 00:22:40,720
chilling in his kitchen half an hour or so, hanging

422
00:22:40,759 --> 00:22:43,640
out hardly talking about music at all. He asked me

423
00:22:43,680 --> 00:22:47,200
if I was. He's like, I'm assuming you're a musician. Yeah.

424
00:22:47,440 --> 00:22:51,319
I explained why I was there and yeah, but and yeah,

425
00:22:51,319 --> 00:22:53,920
we just talked about you know, like family stuff and

426
00:22:54,200 --> 00:22:55,839
you know, where'd you grow up kind of thing.

427
00:22:56,160 --> 00:22:59,160
Speaker 2: Are Yeah, Well, I mean, look, it's like when I

428
00:22:59,200 --> 00:23:02,839
went to Stone called Steve Austin's house. That's why I

429
00:23:02,880 --> 00:23:04,519
do the bit at the top of the show. Yes,

430
00:23:04,680 --> 00:23:06,799
is he a close personal friend, No, he's not. Can

431
00:23:06,839 --> 00:23:08,319
I text him and he knows who I am?

432
00:23:08,680 --> 00:23:08,880
Speaker 1: Yes?

433
00:23:09,480 --> 00:23:11,839
Speaker 2: But I went over there with Don Jamison because Don

434
00:23:11,920 --> 00:23:14,880
Jamison was doing his podcast, you know, and Steve was

435
00:23:15,200 --> 00:23:18,359
cool as hell, and we were sitting there afterwards just

436
00:23:18,400 --> 00:23:21,759
talking about music. You know, we weren't talking about wrestling. Well,

437
00:23:21,839 --> 00:23:23,799
Don's not really a wrestling guy anyway, so I was like,

438
00:23:23,839 --> 00:23:25,599
I was the only wrestling dork in the room with

439
00:23:26,039 --> 00:23:27,960
one of the most famous wrestlers.

440
00:23:27,480 --> 00:23:28,200
Speaker 1: Of all time.

441
00:23:28,720 --> 00:23:31,680
Speaker 2: You know what, God damn it, Son, But we're talking

442
00:23:31,720 --> 00:23:36,279
about music, and like the best parts, like Don and

443
00:23:36,759 --> 00:23:40,880
Steve were just talking about metal, like like fucking shit

444
00:23:41,000 --> 00:23:44,000
that you know, you can't read the logo metal bands,

445
00:23:44,039 --> 00:23:46,000
you know, they just look like a bunch of like

446
00:23:46,119 --> 00:23:50,279
trees and Steve Austin just stops.

447
00:23:51,480 --> 00:23:52,359
Speaker 1: Yeah.

448
00:23:51,799 --> 00:23:54,279
Speaker 5: I don't want to ruin my wrap with you guys,

449
00:23:54,279 --> 00:23:58,920
but god damn it. I love Firehouse and Don and

450
00:23:58,960 --> 00:24:02,279
I like dude, those are our bros, you know. So

451
00:24:02,319 --> 00:24:03,440
we ponded over music.

452
00:24:03,480 --> 00:24:05,839
Speaker 2: It was great and Steve is a fucking great guy

453
00:24:05,880 --> 00:24:08,640
because we weren't talking wrestling, you know, like when I

454
00:24:08,680 --> 00:24:10,720
hang out with Jericho, we don't talk wrestling. We talk

455
00:24:10,759 --> 00:24:13,960
about fucking music. Yeah that's not that I hang out

456
00:24:13,960 --> 00:24:18,200
with Jericho on a regular basis, you know, but occasionally

457
00:24:18,279 --> 00:24:19,240
it happens because.

458
00:24:19,000 --> 00:24:19,519
Speaker 1: I know people.

459
00:24:19,519 --> 00:24:23,200
Speaker 2: But anyways, so, but yes, that is an amazing lesson

460
00:24:23,240 --> 00:24:26,960
to learn that, especially when you meet somebody famous, you

461
00:24:27,000 --> 00:24:31,640
don't talk about You just talk. You don't bring up

462
00:24:31,759 --> 00:24:34,440
why you know who they are.

463
00:24:35,160 --> 00:24:37,839
Speaker 1: Yeah. I mean I've had some occasions with people who

464
00:24:38,039 --> 00:24:43,200
were from you know, famous families. But but the conversation

465
00:24:43,400 --> 00:24:45,440
in that case, when it came up to their family,

466
00:24:46,200 --> 00:24:49,839
I didn't bring it up. It was brought up, or

467
00:24:49,920 --> 00:24:51,960
they actually brought it up there. They were like, you know,

468
00:24:52,000 --> 00:24:55,720
are you a fan of my of my mother? Oh?

469
00:24:55,759 --> 00:24:59,119
I am, actually yes, quite a much, quite a bit

470
00:24:59,400 --> 00:25:01,519
that kind of thing. So it wasn't that something that

471
00:25:01,559 --> 00:25:04,759
I brought up as much as it was just, you know,

472
00:25:04,839 --> 00:25:07,359
it was part of conversation, you know. But but I

473
00:25:07,359 --> 00:25:10,519
grew up in La So the idea of coming across

474
00:25:10,599 --> 00:25:14,119
people that are fall into the category of famous, you

475
00:25:14,119 --> 00:25:17,319
know whatever, whether they're in music or television, film or

476
00:25:17,319 --> 00:25:19,799
something like that, a little more common, especially when you're

477
00:25:19,839 --> 00:25:20,640
in the business.

478
00:25:20,720 --> 00:25:22,559
Speaker 2: Right, we're gonna get to that. We're gonna get to that.

479
00:25:22,759 --> 00:25:24,200
We are going to get to that, but we still

480
00:25:24,240 --> 00:25:27,599
have to finish talking about your record first. Got to

481
00:25:27,640 --> 00:25:29,559
bring it back, because that's why we're here. We're talking

482
00:25:29,599 --> 00:25:32,480
about the record. A pamping the record. Gotta sell some copies.

483
00:25:34,119 --> 00:25:37,440
Speaker 1: I'll tell you what. The one thing, my favorite thing

484
00:25:37,480 --> 00:25:40,240
now that I have started talking about it, the one

485
00:25:40,240 --> 00:25:44,279
thing that I need to mention is is the musicians

486
00:25:44,279 --> 00:25:44,920
that play on it.

487
00:25:45,440 --> 00:25:48,359
Speaker 2: You know a lot of that Walter, you know, I know, you.

488
00:25:48,240 --> 00:25:52,079
Speaker 1: Know Walter, you know, Steve Becketty, you know Jennifer Oberly,

489
00:25:52,960 --> 00:25:57,759
you know j Joe you know who else is on

490
00:25:57,799 --> 00:26:03,640
there that you know? Shane Silowski, Oh yeah, yeah, yeah,

491
00:26:03,839 --> 00:26:09,519
Eric Dover, Yes, trying to think of else, I mean,

492
00:26:09,519 --> 00:26:10,839
but anyway, so you know a lot of the a

493
00:26:10,839 --> 00:26:13,559
lot of the folks that are on there, so knowing

494
00:26:13,599 --> 00:26:16,160
them not only as people, you know them as the

495
00:26:16,200 --> 00:26:19,720
musicians that they are. And one of the things that

496
00:26:19,759 --> 00:26:22,240
I mean, I've always been a session musician, so I'm

497
00:26:22,319 --> 00:26:25,160
used to the idea that we come in to this

498
00:26:25,319 --> 00:26:29,640
artist and add this song. You know, we add this

499
00:26:29,759 --> 00:26:32,599
character to this song, and either we make the song

500
00:26:32,640 --> 00:26:35,200
better or we make you know, whatever, We do what

501
00:26:35,240 --> 00:26:37,119
we can to try and you know, make the song

502
00:26:37,359 --> 00:26:39,640
as good as we can. But when you're on the

503
00:26:39,680 --> 00:26:41,640
receiving end of it, when you have a vision in

504
00:26:41,720 --> 00:26:46,119
mind and you go to a musician that you chose

505
00:26:46,160 --> 00:26:50,960
specifically because you think they will bring that vision to life,

506
00:26:51,759 --> 00:26:53,440
and not only do they bring it to life, but

507
00:26:53,480 --> 00:26:58,279
they bring something way better and the song surpasses your

508
00:26:58,319 --> 00:27:03,960
expectations because of them. I don't know that. I don't

509
00:27:04,000 --> 00:27:05,960
know it on this side of it. I only know

510
00:27:06,039 --> 00:27:08,039
it in that I've been in those shoes. I've been

511
00:27:08,160 --> 00:27:10,680
with those guys and seen guitar player and seen a

512
00:27:10,680 --> 00:27:13,640
bass player like, really, just holy crap, make this record.

513
00:27:14,720 --> 00:27:17,160
But it's not. It's a different thing when you're the

514
00:27:17,160 --> 00:27:19,759
recipient of it, when you ask someone and they bring

515
00:27:20,359 --> 00:27:23,079
they they come with so much more than you expect

516
00:27:23,119 --> 00:27:24,680
and you expect I mean, I think it. He's like

517
00:27:24,720 --> 00:27:25,720
one of the greatest guitar players.

518
00:27:25,759 --> 00:27:28,079
Speaker 2: Oh, he's amazing. He's amazing, and he just.

519
00:27:28,200 --> 00:27:31,039
Speaker 1: He just really really brought so much character. And Jen's

520
00:27:31,039 --> 00:27:36,160
bass playing and Shane's bass playing. Just I mean it. Actually,

521
00:27:36,720 --> 00:27:39,240
when I was doing the final listens like, Okay, is

522
00:27:39,279 --> 00:27:42,440
this mix done? Does this sound like a cohesive record?

523
00:27:42,480 --> 00:27:44,759
That kind of stuff from driving around in my car

524
00:27:44,799 --> 00:27:47,000
and you know, just getting used to it all and

525
00:27:47,599 --> 00:27:50,400
listening for the little details. Yeah, the thing that I

526
00:27:50,480 --> 00:27:52,880
kept coming back to was all the little details that

527
00:27:52,880 --> 00:27:56,519
that everyone added. And it's and it's just that, I mean,

528
00:27:56,599 --> 00:28:01,720
I hope this record is is as much a tribute

529
00:28:01,839 --> 00:28:05,359
to them as the songwriters. It's right, because just I mean,

530
00:28:05,400 --> 00:28:08,759
holy crap, did they just bring a game across the board?

531
00:28:08,880 --> 00:28:12,880
Every single player that's on here singer and you know,

532
00:28:13,680 --> 00:28:19,039
Eliza and Caitlin and then you know Bring. It's just

533
00:28:19,200 --> 00:28:22,039
nuts how how brilliant these musicians are. And it shows

534
00:28:22,640 --> 00:28:25,200
and not always in this you know new Toly bits,

535
00:28:25,319 --> 00:28:27,559
you know, Steve I kind of thing. It's in the detail,

536
00:28:27,640 --> 00:28:32,559
it's in the the attitude and the the subtlety and

537
00:28:32,559 --> 00:28:33,880
and that's my favorite part of it.

538
00:28:34,039 --> 00:28:38,480
Speaker 2: So that being said, let me ask you this, you know,

539
00:28:38,759 --> 00:28:41,799
being your involvement in the progue world and music that

540
00:28:42,000 --> 00:28:46,279
is quote unquote trying to be perfect. That's as somebody

541
00:28:46,319 --> 00:28:48,640
who loves sloppy ship, you.

542
00:28:48,599 --> 00:28:51,200
Speaker 1: Know, I know, perfect is a is a bad word

543
00:28:51,240 --> 00:28:51,440
to me.

544
00:28:51,759 --> 00:28:53,200
Speaker 2: Well yeah, but you know what, but you know what

545
00:28:53,240 --> 00:28:57,240
I mean? Was it hard for you? I mean, well,

546
00:28:57,319 --> 00:29:01,119
did you? Is that the you wanted to not perfect,

547
00:29:01,160 --> 00:29:05,559
but as close to perfect as you want it?

548
00:29:06,039 --> 00:29:06,799
Speaker 1: Accuracy?

549
00:29:07,440 --> 00:29:13,839
Speaker 2: Because I mean, like for me personally, sometimes mistakes are magic. Absolutely,

550
00:29:14,799 --> 00:29:18,000
Sometimes sometimes sloppiness is magic, you know.

551
00:29:20,160 --> 00:29:21,960
Speaker 1: Well, hence your love for the Rolling Stones. I mean,

552
00:29:22,039 --> 00:29:24,359
one of the best things about the Stones is that

553
00:29:24,519 --> 00:29:28,039
sort of they always sound like they've had a few

554
00:29:28,039 --> 00:29:32,559
beers too many, and that's the charm of it. I mean,

555
00:29:32,559 --> 00:29:37,079
that's Charlie Watts is far from perfect, but no one

556
00:29:37,119 --> 00:29:39,920
sounds like Charlie Watts. No, no one has that that

557
00:29:40,000 --> 00:29:43,240
feel and that groove. And it's I love when the

558
00:29:43,279 --> 00:29:45,640
best thing about an artist can also be the worst

559
00:29:45,640 --> 00:29:49,359
thing about them in the depending on who you're talking to.

560
00:29:50,240 --> 00:29:52,039
I love it because they do this thing, I hate

561
00:29:52,039 --> 00:29:54,400
it because they do the same thing. Wait a minute,

562
00:29:55,400 --> 00:30:00,680
I love that kind of thing. So I mean, yeah,

563
00:30:00,799 --> 00:30:03,240
from the producer point of view, what I was always

564
00:30:03,240 --> 00:30:06,240
looking for. You know, it's funny because we mentioned Jen

565
00:30:06,960 --> 00:30:10,720
Jen overly. She is a perfectionist. Okay, well, she's a

566
00:30:10,720 --> 00:30:14,279
perfectionist in a certain manner of speaking. Most of the

567
00:30:14,319 --> 00:30:18,039
parts that half the parts she played for me were

568
00:30:19,480 --> 00:30:21,799
in the studio together, and half of them she sent

569
00:30:21,839 --> 00:30:25,119
to me. The ones she sent to me, I hadn't.

570
00:30:25,160 --> 00:30:27,759
I just said, here's the song, send me some bass.

571
00:30:27,759 --> 00:30:29,519
And I got what she gave me, and and it

572
00:30:29,599 --> 00:30:33,480
was great, And I was just like, yeah, when when

573
00:30:33,480 --> 00:30:40,640
we tracked together in the same room, I'm trying to

574
00:30:40,640 --> 00:30:45,119
think which one was the one that we did. Yeah,

575
00:30:45,160 --> 00:30:48,240
Fisherman three, the same thing. First song she plays on that.

576
00:30:48,240 --> 00:30:52,160
That's a first take, top to bottom, first take. Now

577
00:30:52,200 --> 00:30:55,720
it wasn't the only take, right, But you wouldn't let

578
00:30:55,799 --> 00:31:00,559
me that she get to do another path and she'd

579
00:31:00,559 --> 00:31:02,759
get to do this and she'd get to die. I'm

580
00:31:02,799 --> 00:31:05,319
just learning the song. I'm just figuring this out, and

581
00:31:05,400 --> 00:31:09,400
I'm just going I have everything I want right right, Well,

582
00:31:09,480 --> 00:31:11,519
let me do another take, I'm like, all right, I'll

583
00:31:11,599 --> 00:31:14,319
hit record again, and she did it again, and I

584
00:31:14,319 --> 00:31:16,480
think we did it three times total. Bit the first

585
00:31:16,480 --> 00:31:17,759
take is the one I kept.

586
00:31:18,119 --> 00:31:20,680
Speaker 2: Do you do you prefer being in the same room,

587
00:31:21,720 --> 00:31:23,720
being able to look at somebody as you're doing it,

588
00:31:23,839 --> 00:31:26,440
or do you like the digital I'll just send it

589
00:31:26,480 --> 00:31:27,000
to your world.

590
00:31:27,640 --> 00:31:30,359
Speaker 1: I think I like I like being in the same

591
00:31:30,440 --> 00:31:33,119
room just because well, first of all, I just I mean,

592
00:31:33,160 --> 00:31:35,160
everyone that's on the record I love to death, so

593
00:31:35,240 --> 00:31:39,880
I like being with them. The hang is is yeah,

594
00:31:40,880 --> 00:31:49,119
almost more important than the child, right, I don't know it.

595
00:31:50,559 --> 00:31:52,680
I think there's part of me that loves because I

596
00:31:52,720 --> 00:31:57,000
love the creative processes. I love it viewing the creative process.

597
00:31:57,039 --> 00:31:59,839
I love seeing people go, you know what, what if

598
00:31:59,839 --> 00:32:02,759
we did this? And I also love the technical side

599
00:32:02,759 --> 00:32:05,319
of it. I like micing things up. I love the

600
00:32:05,359 --> 00:32:09,359
engineering aspect of it. I mean, that's probably seventy percent

601
00:32:09,400 --> 00:32:11,400
of the joy in this record was that side of it,

602
00:32:11,440 --> 00:32:13,240
was the recording of it and the mixing of it.

603
00:32:13,279 --> 00:32:18,119
And I like the conversations that spring out of it.

604
00:32:18,200 --> 00:32:21,960
I like because in almost every occasion I didn't tell

605
00:32:22,000 --> 00:32:26,400
them what to play. I just said, what do you hear,

606
00:32:27,359 --> 00:32:29,559
because in most cases either it was like I said,

607
00:32:29,559 --> 00:32:31,480
it was the cover song, or these songs had versions,

608
00:32:31,480 --> 00:32:34,400
there were demos already. Yeah yeah, so I'm handing them

609
00:32:34,400 --> 00:32:42,559
the demo. You know. There's a song well where Settlers Go.

610
00:32:43,519 --> 00:32:49,200
That song was originally recorded for a different artist for

611
00:32:49,200 --> 00:32:53,319
a different purpose that that got shelved. But the guitar

612
00:32:53,359 --> 00:32:56,880
player on the original track was Ross Bolton. Okay, and

613
00:32:56,960 --> 00:32:59,839
Ross Bolton is just again one of the finest musicians

614
00:33:00,039 --> 00:33:05,960
ever walked the planet, and he laid down this very specific,

615
00:33:06,240 --> 00:33:10,640
very fascinating guitar part. And so it was the only

616
00:33:10,680 --> 00:33:16,920
occasion where I came into it kind of going, stay here,

617
00:33:17,440 --> 00:33:20,039
stay in this lane. This is already done. If I

618
00:33:20,119 --> 00:33:22,240
had my way, I would have just poureded his guitar

619
00:33:22,359 --> 00:33:26,759
part forward and used it. But A we couldn't find

620
00:33:26,759 --> 00:33:31,240
the original two inch tapes and B it was in

621
00:33:31,279 --> 00:33:32,640
a different key. I had to change the key.

622
00:33:32,920 --> 00:33:34,880
Speaker 2: Oh okay, but you can do that digitally.

623
00:33:34,920 --> 00:33:36,559
Speaker 1: Now, you can do that digitally now. I just didn't

624
00:33:36,559 --> 00:33:40,240
really want to do that. But but but I went

625
00:33:40,279 --> 00:33:44,160
to Steve Eckerty to play guitar on it, and after

626
00:33:44,200 --> 00:33:46,319
listening to the song a couple times, with him. He goes, Man,

627
00:33:47,519 --> 00:33:50,440
he did this for two of the guitar players. He goes,

628
00:33:50,960 --> 00:33:54,240
if I wasn't, if I was crazy, i'd swear this

629
00:33:54,240 --> 00:34:00,400
this sounds like Ross Bolton. Well, actually it is and

630
00:34:00,440 --> 00:34:03,039
same he plays on Fisherman three as well, and he's like, man,

631
00:34:03,119 --> 00:34:05,440
this feels like it just needs like the Tim Pierce treatment.

632
00:34:05,480 --> 00:34:08,760
I'm like, well, oddly enough, it's Tim Pierce playing on

633
00:34:08,800 --> 00:34:13,440
the original record. And he's like, that's crazy. So it's like,

634
00:34:14,719 --> 00:34:17,199
I mean, that's why I gravitate to to Steve Eckerdy

635
00:34:17,280 --> 00:34:18,760
for a lot of those guitar parts, because he has

636
00:34:18,800 --> 00:34:22,039
that same type of I don't mean he sounds like them,

637
00:34:22,039 --> 00:34:23,719
but he has the same He's the same kind of

638
00:34:23,800 --> 00:34:27,079
session player. Yeah, yeah, yeah, mentality of how he hears

639
00:34:27,119 --> 00:34:31,079
things and approaches the guitar. And so it's funny that

640
00:34:31,159 --> 00:34:34,679
he picked those two guys, you know, just off of sound.

641
00:34:36,239 --> 00:34:38,239
Are you a Are you a big Elo guy?

642
00:34:38,239 --> 00:34:40,400
Speaker 2: Because I got a big Elo vibe from the record.

643
00:34:41,159 --> 00:34:45,800
Speaker 1: Wow, I am a big Elo guy. But I don't

644
00:34:46,039 --> 00:34:49,159
really remember thinking about them over the course of this.

645
00:34:49,239 --> 00:34:51,320
But it's interesting you would say that, because yeah, I

646
00:34:51,360 --> 00:34:54,199
am a big Elo fan. I love the big harmonies.

647
00:34:54,239 --> 00:34:59,119
I love, Yeah, I love the grandeur of elo and

648
00:35:00,039 --> 00:35:02,000
you know, it's the Beatles if they'd kept.

649
00:35:01,760 --> 00:35:08,840
Speaker 2: Going interesting interesting. But so as far as the Beatles.

650
00:35:08,639 --> 00:35:11,000
Speaker 1: It's actually it's actually a George Harrison quote. He's like,

651
00:35:12,280 --> 00:35:14,119
why do you use Jeffline to produce your records? Well,

652
00:35:14,159 --> 00:35:16,119
he pretty much makes records. You know. It just sounds

653
00:35:16,199 --> 00:35:20,400
like the Beatles, if we'd kept going. That's that was

654
00:35:20,519 --> 00:35:22,719
what something with that effect. It's not an exactly.

655
00:35:22,719 --> 00:35:26,239
Speaker 2: Are you now? Me? With the Beatles, I prefer the

656
00:35:26,480 --> 00:35:29,920
fun pop shit for over the drug ear stuff.

657
00:35:30,360 --> 00:35:35,400
Speaker 1: What about you? My two favorite albums are Revolver and

658
00:35:35,519 --> 00:35:39,920
Rebe Soul and then and Then. I I mean, ask

659
00:35:40,000 --> 00:35:44,840
me tomorrow. It's like Pepper, I'm not I'm not a

660
00:35:44,880 --> 00:35:51,199
huge fan of the White album, but I like it all.

661
00:35:51,280 --> 00:35:54,599
I'm pretty even because my tastes go across the way.

662
00:35:54,639 --> 00:35:58,360
I love silly, fun music as much as I love deep, cerebral,

663
00:35:58,960 --> 00:36:01,239
you know, heavy stuff. And I think the Beatles have

664
00:36:01,239 --> 00:36:04,159
always been very good about walking that line. They They're

665
00:36:04,239 --> 00:36:07,320
really good at writing, you know, a fun dance pop

666
00:36:07,360 --> 00:36:12,000
tune as well as something that makes you go, wait

667
00:36:12,039 --> 00:36:13,119
a minute.

668
00:36:13,360 --> 00:36:14,480
Speaker 2: Well do you find it?

669
00:36:14,840 --> 00:36:15,559
Speaker 1: You say?

670
00:36:15,599 --> 00:36:18,039
Speaker 2: You do love silly, fun stuff. Do you find it

671
00:36:18,239 --> 00:36:21,719
hard being in the prog world and you know, doing

672
00:36:21,760 --> 00:36:25,519
what you do to be able to let that side

673
00:36:25,559 --> 00:36:27,119
of you shine.

674
00:36:27,320 --> 00:36:33,159
Speaker 1: Yeah, And that's that's actually, it's one of the challenges

675
00:36:33,440 --> 00:36:37,039
in the prog world of reminding people that you know,

676
00:36:38,599 --> 00:36:41,920
it's supposed to be fun, right exactly. I mean, even

677
00:36:41,960 --> 00:36:43,639
if the lyric is I mean, I've got a song

678
00:36:43,760 --> 00:36:47,679
on the record called comfort Girl. There's nothing happy about

679
00:36:47,719 --> 00:36:53,639
that song. It's a very it's topical origins are one

680
00:36:53,679 --> 00:36:59,519
of the most sad and depressing moments in human history,

681
00:36:59,559 --> 00:37:02,599
but there still should be joy in tracking it. I mean,

682
00:37:02,679 --> 00:37:05,159
actually was one of the most joyous vocal tracks because

683
00:37:05,159 --> 00:37:07,519
I worked with my friend Greg who wrote the song.

684
00:37:08,119 --> 00:37:10,199
You know, he helped me with the vocal and it's

685
00:37:10,239 --> 00:37:13,599
the one that I walked away feeling the most emotional about.

686
00:37:16,760 --> 00:37:20,639
But yeah, I mean, that's the worst thing about the

687
00:37:20,679 --> 00:37:24,039
progressive rock world is that everybody takes everything so seriously

688
00:37:24,079 --> 00:37:28,400
and it's like, dude, you know, just lighting up, man,

689
00:37:28,480 --> 00:37:32,039
it's all just fun and goofy. And I mean, if

690
00:37:32,119 --> 00:37:36,320
you I wish you could see the notifications I've gotten

691
00:37:36,320 --> 00:37:40,159
the same notification for the same hotel thing five times

692
00:37:40,159 --> 00:37:43,159
in a row here, someone really wants me in this hotel.

693
00:37:46,320 --> 00:37:49,119
When you see an interview with like Rick Wakeman or

694
00:37:49,159 --> 00:37:51,800
something like that, and you see how silly he can be,

695
00:37:52,719 --> 00:37:55,320
that's when you go, okay, good. At least he he

696
00:37:55,360 --> 00:37:57,760
doesn't take it seriously in that regard. He takes the

697
00:37:58,320 --> 00:38:04,079
playing of it, the craft seriously. But it's like, if

698
00:38:04,079 --> 00:38:06,239
you know, if you're not laughing and goofing off and

699
00:38:06,280 --> 00:38:08,039
being you know, if you don't have a bit of

700
00:38:08,159 --> 00:38:10,920
humor and everything you do, go home.

701
00:38:11,679 --> 00:38:16,960
Speaker 2: Yeah, exactly, exactly. Well, it's like so Rob Rob that

702
00:38:17,119 --> 00:38:20,360
puts on the jam on cruise to the edge of

703
00:38:20,360 --> 00:38:24,079
the Late Night Live or yea, yeah, Rob ruts and

704
00:38:24,280 --> 00:38:28,400
he like last year he reached out to me. He's like,

705
00:38:30,480 --> 00:38:31,559
I want you to do something.

706
00:38:31,559 --> 00:38:33,000
Speaker 5: I go what.

707
00:38:35,559 --> 00:38:38,320
Speaker 1: He goes that phrase, I've heard that phrase somebody. Yeah.

708
00:38:40,079 --> 00:38:44,639
Speaker 2: He goes, talk to Portnoy like, okay for what. He goes,

709
00:38:45,280 --> 00:38:46,719
I want you guys to come in there and play

710
00:38:46,760 --> 00:38:51,519
some fucking kiss songs. And I'm like, I go, dude,

711
00:38:51,559 --> 00:38:53,320
they will riot. He goes, I know.

712
00:38:54,880 --> 00:38:57,199
Speaker 1: You gotta do it though, And I brought it up

713
00:38:57,239 --> 00:39:00,280
to Portnoy. He's like no way, man, they'll fucking it.

714
00:39:02,400 --> 00:39:04,760
Speaker 2: So we didn't do it, Like, dude, come on, these

715
00:39:04,840 --> 00:39:07,960
Kiss Gieks and those bands, let's do this. Oh that

716
00:39:07,960 --> 00:39:11,519
would be But here's here's my here's a weird point

717
00:39:11,519 --> 00:39:16,360
about Kiss though. I was before one of my Israeli

718
00:39:16,519 --> 00:39:19,960
tribute gigs. We were sitting in the room talking doctor

719
00:39:20,039 --> 00:39:22,599
the band, and an interesting point came up. You listen

720
00:39:22,639 --> 00:39:26,400
to those first three Kiss records, especially the first one

721
00:39:26,800 --> 00:39:30,800
songs like one hundred thousand Years, it's kind of caveman

722
00:39:31,039 --> 00:39:32,639
Prague because they're.

723
00:39:33,760 --> 00:39:36,880
Speaker 1: It's the timing of when the record was made too,

724
00:39:36,920 --> 00:39:41,079
because that's still Prague was still popular, right, yeah, grand

725
00:39:41,159 --> 00:39:42,199
scale general.

726
00:39:43,400 --> 00:39:46,719
Speaker 2: Yeah, but like if you the way that Peter played

727
00:39:46,760 --> 00:39:49,960
in the bass lines and some of the weird chord changes,

728
00:39:50,039 --> 00:39:53,039
like what what the fuck are they doing? You know,

729
00:39:53,320 --> 00:39:55,719
It's like I thought it was a good point. Caveman

730
00:39:55,840 --> 00:39:57,800
Prague is like, all right, cool, God damn it. Now

731
00:39:57,840 --> 00:40:02,119
I have to say I like progue but and let

732
00:40:02,239 --> 00:40:05,039
Jimmy let me. Uh So, you grew up in Hollywood

733
00:40:05,039 --> 00:40:07,159
and you were in the industry. Are you still in

734
00:40:07,199 --> 00:40:10,519
the entertainment industry on the on the acting side, or.

735
00:40:10,559 --> 00:40:15,679
Speaker 1: You not aggressively I mean, I've done some voiceover things

736
00:40:15,800 --> 00:40:18,559
here and there. I mean, if someone cast me in something,

737
00:40:18,599 --> 00:40:20,800
i'd do it. Well, yeah, absolutely, I don't. I don't,

738
00:40:20,800 --> 00:40:22,440
but I don't have an agent anymore, and I don't,

739
00:40:22,480 --> 00:40:23,639
you know, go out for auditions.

740
00:40:23,920 --> 00:40:25,880
Speaker 2: So why were there no songs from Back to the

741
00:40:25,920 --> 00:40:28,199
Future and over the top of Electric Bugaloo?

742
00:40:28,519 --> 00:40:29,400
Speaker 1: God damn it.

743
00:40:32,840 --> 00:40:34,519
Speaker 2: And this is where I'm pissed off that I was

744
00:40:34,559 --> 00:40:37,760
not able. I forgot about getting the Shoot it, Dad,

745
00:40:37,800 --> 00:40:42,880
shoot it, because of course Jimmy was the fucking voice

746
00:40:43,239 --> 00:40:45,320
of Sherman Peabody and Back to the.

747
00:40:45,280 --> 00:40:54,760
Speaker 1: Future Sherman Peabody pines that, you know what, So for

748
00:40:54,840 --> 00:40:58,360
the for the simplest little thing, it's what two two

749
00:40:58,400 --> 00:41:01,960
three lines? Yeah, space alien from Mar's Dad, shoot it,

750
00:41:02,000 --> 00:41:05,320
shoot it. He's muted in the human form. Shoot him.

751
00:41:06,199 --> 00:41:10,679
So I'm sure I was in there tracking for maybe

752
00:41:10,840 --> 00:41:17,079
five minutes. But but here's here's the that session in

753
00:41:17,119 --> 00:41:22,079
a nutshell. It's it's one of those things that I mean,

754
00:41:22,119 --> 00:41:24,039
even in the movie passes by it. It's just it's

755
00:41:24,079 --> 00:41:26,039
one of those things that on a resume, other than

756
00:41:26,039 --> 00:41:28,239
the fact that the movie was so successful, it doesn't

757
00:41:28,239 --> 00:41:30,960
even go on the resume. It's like, what you know,

758
00:41:31,000 --> 00:41:32,880
it's a loop job. They could used to call it

759
00:41:32,880 --> 00:41:40,159
looping or alternate dialogue recording. But I I go to

760
00:41:40,199 --> 00:41:46,519
the studio and well, I got dropped off, and I

761
00:41:46,519 --> 00:41:48,519
don't even remember where we recorded it. I think it

762
00:41:48,639 --> 00:41:53,159
was that universal in there in there in the studio

763
00:41:53,159 --> 00:41:59,719
they have on the lot. I walk into the control

764
00:41:59,800 --> 00:42:01,920
I open the door to the main studio and you

765
00:42:01,920 --> 00:42:04,039
know big studios have the double doors and everything like that.

766
00:42:04,079 --> 00:42:06,159
And as I'm opening one door, the other door is

767
00:42:06,239 --> 00:42:14,639
opening and outwalks Robert Samchis, Steven Spielberg and Michael J.

768
00:42:14,800 --> 00:42:17,239
Speaker 2: Fox. And how old were you at this time?

769
00:42:18,079 --> 00:42:20,599
Speaker 1: I was fifteen going on the scene.

770
00:42:20,599 --> 00:42:21,760
Speaker 2: Because you sound like you're three.

771
00:42:22,960 --> 00:42:24,719
Speaker 1: Well, I also had to imitate the guy.

772
00:42:25,320 --> 00:42:28,320
Speaker 2: Okay, okay, so it's it's.

773
00:42:28,159 --> 00:42:29,960
Speaker 1: Really it doesn't sound anything like because I'm doing an

774
00:42:29,960 --> 00:42:32,400
impression of him, right right. He just wanted a different,

775
00:42:32,800 --> 00:42:39,239
a different Yeah. Yeah, anyway, So I mean, of you know,

776
00:42:39,320 --> 00:42:41,840
if you're any if you're alive in that period of time,

777
00:42:42,039 --> 00:42:44,840
those three people and even Robert Zamcchis was still kind

778
00:42:44,840 --> 00:42:47,000
of on his way up. This would have been the

779
00:42:47,039 --> 00:42:49,960
cement that, like now we know who he is. But

780
00:42:50,239 --> 00:42:52,679
you know, two of the greatest directors of that decade

781
00:42:53,480 --> 00:42:58,280
along with the biggest possibly the biggest television star of

782
00:42:58,280 --> 00:43:00,599
that decade. And eventually you know, movies and stuff like that.

783
00:43:00,840 --> 00:43:01,079
Speaker 2: Yeah.

784
00:43:01,559 --> 00:43:03,960
Speaker 1: And they walk out at the door and it's like hi,

785
00:43:04,960 --> 00:43:06,960
and Spielberg says, oh, you must be here for the

786
00:43:07,119 --> 00:43:09,760
for the loop Jump. Yeah. Man, there's there's some snacks

787
00:43:09,800 --> 00:43:11,280
up there. Go ahead and just make self comfortab We've

788
00:43:11,280 --> 00:43:12,800
got a few more things that we're doing before, but

789
00:43:12,840 --> 00:43:14,320
you know, just hang out and we'll be right there

790
00:43:14,320 --> 00:43:18,159
with you as friendly and down to earth as could be.

791
00:43:18,719 --> 00:43:21,599
Michael J. Fox was leaving, so he said, Hi, you know,

792
00:43:21,719 --> 00:43:23,360
we shook hands and you know, good to meet you.

793
00:43:23,840 --> 00:43:24,679
Speaker 2: Yeah.

794
00:43:25,119 --> 00:43:28,239
Speaker 1: Nothing, I mean, that's it. That's the extent of it. It

795
00:43:28,199 --> 00:43:30,199
was all, you know, four seconds of saying hello and

796
00:43:30,199 --> 00:43:33,000
everything like that. And they all walk out and I

797
00:43:33,039 --> 00:43:36,039
go in the studio. Now there's the engineers and the

798
00:43:36,159 --> 00:43:38,440
text whatever like that, and some assistance and whatnot, and

799
00:43:38,480 --> 00:43:40,199
I sit in the back just I'm going to be

800
00:43:40,239 --> 00:43:42,440
out of the way. I've been in a studio before,

801
00:43:42,519 --> 00:43:44,159
I know what it is. I'm just going to be

802
00:43:44,440 --> 00:43:48,920
flying the wall here until it's my turn. A few

803
00:43:48,920 --> 00:43:52,199
minutes later, Robert Semechis, Steve Vin Spielberg come back in

804
00:43:52,239 --> 00:43:57,519
the room, and again, I'm fifteen years old, and they

805
00:43:57,559 --> 00:44:00,639
are communicating with me as if I am a consomate professional.

806
00:44:01,880 --> 00:44:02,119
Speaker 2: They do.

807
00:44:02,280 --> 00:44:04,719
Speaker 1: They care nothing of my age. They are not speaking

808
00:44:04,840 --> 00:44:07,880
down to me. They are speaking to me. This is

809
00:44:08,760 --> 00:44:11,440
I know what I'm doing. I was as the autocasion.

810
00:44:11,480 --> 00:44:15,000
I didn't audition, okay, I was. I was called in

811
00:44:15,119 --> 00:44:17,719
because the casting agent for this job. I knew very

812
00:44:17,760 --> 00:44:20,000
well because I've done a bunch of auditions for them.

813
00:44:21,159 --> 00:44:22,719
So they just said, Jimmy, you're you're perfect for this.

814
00:44:22,880 --> 00:44:24,760
Just go down and take care of it. Oh, okay, thanks.

815
00:44:24,920 --> 00:44:26,840
I had no idea what it was. I didn't know

816
00:44:26,920 --> 00:44:29,400
what the movie because this wasn't this movie didn't exist yet,

817
00:44:30,400 --> 00:44:32,599
so I was, you know, but I knew that Zamechis

818
00:44:32,679 --> 00:44:34,360
was tied to it, and I knew that was Ambling

819
00:44:34,559 --> 00:44:40,559
and that's Spielberg. But that's that's a very impressive thing

820
00:44:40,719 --> 00:44:44,440
to walk into a studio and have these guys talking

821
00:44:44,519 --> 00:44:50,119
to a teenage kid like a professional rights as I'm

822
00:44:50,400 --> 00:44:53,639
meaning I'm a professional. They were just they were friendly,

823
00:44:55,000 --> 00:44:57,880
They gave very little direction other than like, when I

824
00:44:57,960 --> 00:45:00,239
finally got out there, they gave me, you know, let's

825
00:45:00,239 --> 00:45:02,039
do a couple of alternates, maybe shift the pitch a

826
00:45:02,079 --> 00:45:04,840
little bit, you know this, and that was it. Otherwise

827
00:45:04,880 --> 00:45:10,559
they let me do my thing. It was funny, you know,

828
00:45:10,880 --> 00:45:15,280
there were some jokes told and everything like that, and

829
00:45:15,679 --> 00:45:18,679
the whole event lasted maybe twenty minutes.

830
00:45:20,239 --> 00:45:22,920
Speaker 2: But it's something that it's something that lasted a lifetime.

831
00:45:23,400 --> 00:45:26,039
Speaker 1: It's a lifetime obviously because a I knew who those

832
00:45:26,079 --> 00:45:29,119
guys were and the movie became this giant movie and

833
00:45:30,199 --> 00:45:33,599
you know it's still you know, cycling around today, right.

834
00:45:34,000 --> 00:45:37,199
But the thing is, when you have professionals of that

835
00:45:37,440 --> 00:45:40,840
caliber treat you like a professional at that age, that

836
00:45:41,079 --> 00:45:44,400
sticks with you, right, And that's something that you take

837
00:45:44,480 --> 00:45:46,320
with you as you go along in your career. How

838
00:45:46,360 --> 00:45:49,599
do you communicate with people? And you just you wonder

839
00:45:49,639 --> 00:45:52,719
why when you look at Spielberg movies, all the kid

840
00:45:52,800 --> 00:45:58,679
actors always put on these unbelievably brilliant performances, you know,

841
00:45:58,960 --> 00:46:02,079
et all of the kids in that top to bottom,

842
00:46:02,599 --> 00:46:09,039
even the little kid in uh Close Encounters, when you

843
00:46:09,119 --> 00:46:10,719
find out how they got him to say some of

844
00:46:10,760 --> 00:46:13,599
those lines and everything like that it's just just mind

845
00:46:13,679 --> 00:46:17,760
blowing to have that that sense about them. But they

846
00:46:17,880 --> 00:46:21,719
all talk about what a what a kind and and

847
00:46:22,679 --> 00:46:27,760
caring person Spielberg was. It was never second directors. Whenever

848
00:46:27,800 --> 00:46:29,840
the kids were involved. He was always the director on

849
00:46:29,920 --> 00:46:32,320
the thing. It was alternate you know, ads or you

850
00:46:32,360 --> 00:46:34,639
know second unit directors. Yeah, he was always there for

851
00:46:34,719 --> 00:46:37,719
the kids, and every one of them talks about them

852
00:46:37,960 --> 00:46:43,119
with the utmost respect and love like family. And that's

853
00:46:43,559 --> 00:46:45,840
that says a lot. I mean, you take that forward,

854
00:46:45,880 --> 00:46:49,800
you move. It helps define you, I mean a lot

855
00:46:49,840 --> 00:46:50,199
of ways.

856
00:46:50,599 --> 00:46:54,199
Speaker 2: Yeah, well, so we've learned two important lessons this evening.

857
00:46:54,239 --> 00:46:56,679
And I like that was what what were your thoughts

858
00:46:56,719 --> 00:46:58,360
when you saw the movie for the first time.

859
00:47:01,599 --> 00:47:03,639
Speaker 1: I loved it. I mean it was fun. It was

860
00:47:03,840 --> 00:47:06,320
it was you know, funny, and it was a hoot

861
00:47:06,480 --> 00:47:09,199
and I love you know, I mean, all the actors

862
00:47:09,239 --> 00:47:13,199
in it are all great. You know, it's it's meant

863
00:47:13,280 --> 00:47:16,960
to be fun, right, It's not a movie that's I mean,

864
00:47:16,960 --> 00:47:19,159
I love when people start getting into the analysis of

865
00:47:19,239 --> 00:47:21,480
the time and all that sort of God.

866
00:47:22,559 --> 00:47:25,559
Speaker 2: Dude, it's just like it goes back to music. We

867
00:47:25,719 --> 00:47:26,679
do it because it's fun.

868
00:47:27,320 --> 00:47:30,239
Speaker 1: Yeah, you're supposed to walk, you know, Spielberg, And that's

869
00:47:30,320 --> 00:47:31,840
I mean, not that Spielberg made that one, but but

870
00:47:32,199 --> 00:47:35,079
Zamechis was his protege. So like when those guys make movies,

871
00:47:35,079 --> 00:47:39,719
they understand the difference between we're making Shindler's List. Yeah,

872
00:47:40,639 --> 00:47:46,320
you know, we're making Jurassic Park. Right, one gets an oscar,

873
00:47:46,480 --> 00:47:49,119
the other one gets the crew the oscar because of

874
00:47:49,159 --> 00:47:52,519
the technical achievements. But Spielberg's not looking for an oscar

875
00:47:52,599 --> 00:47:57,239
on that movie. Why it's just a silly you know, yeah,

876
00:47:57,599 --> 00:47:59,000
popcorn exactly.

877
00:48:00,599 --> 00:48:05,480
Speaker 2: Yeah, that's why I love basketball. That's why I love

878
00:48:05,840 --> 00:48:10,199
Beads of Glory, you know, because I want I know

879
00:48:10,320 --> 00:48:12,320
how bad my life sucks. I want to escape for

880
00:48:12,400 --> 00:48:14,559
a little while. That's why I love eighties music. It's

881
00:48:14,599 --> 00:48:16,719
all about the party and the hookers and the hole

882
00:48:16,880 --> 00:48:19,800
is in the cocaine. And that's why I hate nineties music.

883
00:48:19,880 --> 00:48:22,599
Is like you're reminding me that my life sucks because

884
00:48:22,599 --> 00:48:24,800
you're singing about how bad your life sucks.

885
00:48:24,800 --> 00:48:28,639
Speaker 1: Right right right, someone else's life socks.

886
00:48:28,679 --> 00:48:31,760
Speaker 2: Yeah, yeah, no exactly, but yeah, but that's that's why

887
00:48:31,840 --> 00:48:34,320
I love what I love. That's why I am like

888
00:48:34,559 --> 00:48:35,840
I am, Yeah, you.

889
00:48:35,880 --> 00:48:37,880
Speaker 1: Know, no, but that's great. But that's the thing is

890
00:48:37,880 --> 00:48:40,320
I mean, you have to have a balance of all

891
00:48:40,360 --> 00:48:41,840
that stuff. You have to be able to walk into

892
00:48:41,880 --> 00:48:46,159
some movies and go that was just silly and wonderful,

893
00:48:46,880 --> 00:48:48,239
you know. Is it an Academy award?

894
00:48:49,199 --> 00:48:49,239
Speaker 2: No?

895
00:48:50,440 --> 00:48:52,679
Speaker 1: Right, But it doesn't matter. It achieved what it was

896
00:48:52,679 --> 00:48:56,960
supposed to achieve. I had a great time. I'm glad

897
00:48:57,000 --> 00:48:59,320
I spent the two hundred and eighty seven dollars to

898
00:48:59,360 --> 00:49:01,639
see this movie. How much there's a movie now, don't.

899
00:49:01,519 --> 00:49:03,719
Speaker 2: Yeah, No, it's ricolculous. I mean it's like, you know,

900
00:49:04,719 --> 00:49:07,719
it's like when you tour the hat around, it's like

901
00:49:07,800 --> 00:49:15,440
turning the in Ginova because you also, we're in over

902
00:49:15,480 --> 00:49:19,920
the Top. I was, what do you remember about that?

903
00:49:20,519 --> 00:49:25,639
Speaker 1: How did I remember the audition? So I don't.

904
00:49:26,000 --> 00:49:27,840
Speaker 2: I haven't watched this movie since i've known you.

905
00:49:28,440 --> 00:49:31,639
Speaker 1: So what scene? I mean, were you in the movie?

906
00:49:31,920 --> 00:49:35,400
Predominantly there's a center scene. There's a turning point in

907
00:49:35,480 --> 00:49:38,320
the movie where so the basic principle of the movie

908
00:49:38,440 --> 00:49:42,320
is that, for those that haven't seen it, Stallone plays

909
00:49:42,360 --> 00:49:45,280
a truck driver arm wrestler. He arm wrestles on the

910
00:49:45,320 --> 00:49:49,800
side to kind of make extra cash. He apparently had

911
00:49:49,840 --> 00:49:52,679
a relationship with this wonderful woman who was very the

912
00:49:52,800 --> 00:49:56,159
daughter of a very wealthy man, and they had a child.

913
00:49:56,719 --> 00:49:59,639
But because the wealthy man couldn't stand the idea of

914
00:49:59,679 --> 00:50:02,719
his dark being with this guy, he ruined the relationship.

915
00:50:02,760 --> 00:50:07,039
Now that's all implied. It's very poorly implied in the movie.

916
00:50:07,079 --> 00:50:09,639
We really don't know a lot of this. We just

917
00:50:09,760 --> 00:50:12,000
kind of why is he not with her anymore? He

918
00:50:12,000 --> 00:50:14,559
seems to really love her, and yeah, yeah, yeah, she

919
00:50:14,679 --> 00:50:17,760
doesn't hate him. She's all defensive, like, I don't get what.

920
00:50:18,559 --> 00:50:20,719
But then we meet, you know, Robert Louis's character, and

921
00:50:20,760 --> 00:50:22,840
we realize, oh, he's kind of a jerk. Oh he's

922
00:50:22,880 --> 00:50:26,199
a big jerk. Oh he's a really big jerk. Oh okay,

923
00:50:26,280 --> 00:50:27,880
maybe that had something to do with but it's again,

924
00:50:27,920 --> 00:50:32,320
it's very poorly implied. So Mom is very ill in

925
00:50:32,400 --> 00:50:35,440
the hospital and she decides that, you know, Dad needs

926
00:50:35,519 --> 00:50:38,440
to meet and really get to know his son. So

927
00:50:39,079 --> 00:50:43,360
he picks up So Stallone's character picks up David Mendenhall's

928
00:50:43,440 --> 00:50:47,159
character at his military school, and they're going to take

929
00:50:47,199 --> 00:50:49,360
him across country to bring him back to see Mom

930
00:50:49,360 --> 00:50:55,440
who's in the hospital, and on the way they bond, Well,

931
00:50:55,519 --> 00:50:57,960
of course they don't immediately bond. You know, this is

932
00:50:58,000 --> 00:51:01,440
a military kid, mostly raised by Grandpa, who's the jerk

933
00:51:01,480 --> 00:51:03,360
and everything like that. So he's being a jerk to

934
00:51:03,519 --> 00:51:05,719
dad as well, and he's believing all the stories that

935
00:51:05,840 --> 00:51:09,000
were told. Somewhere in the middle of it all, they

936
00:51:09,079 --> 00:51:14,599
stop at a truck stop and have food and Stallone's character,

937
00:51:16,199 --> 00:51:18,159
which we don't know if his name is Lincoln Hawk

938
00:51:18,320 --> 00:51:21,280
or Lincoln Hawks because he's called both in the movie,

939
00:51:23,280 --> 00:51:28,119
notices a bunch of kids playing pinball in nineteen eighty five.

940
00:51:28,239 --> 00:51:30,159
I don't know how many kids played a lot of

941
00:51:30,199 --> 00:51:33,800
pinball in nineteen eighty five in coffee shops, but anyway,

942
00:51:34,400 --> 00:51:38,800
there I was with my buddies. One of the kids

943
00:51:40,159 --> 00:51:43,119
was the kid that played Waldo in the Hot for

944
00:51:43,239 --> 00:51:47,920
Teacher video. Really yeah, the one on my left. I

945
00:51:48,000 --> 00:51:49,599
want to know that kid more than I want to

946
00:51:49,639 --> 00:51:49,880
know you.

947
00:51:50,480 --> 00:51:51,519
Speaker 2: Yeah right, I'm kidding.

948
00:51:51,800 --> 00:51:55,559
Speaker 1: And his dad, with no costume except for the fur coat,

949
00:51:56,239 --> 00:51:58,400
was Waldo. As he gets older. At the end of

950
00:51:58,440 --> 00:52:00,639
the movie, whatever happened to Waldo? And we show his

951
00:52:00,760 --> 00:52:03,760
dad getting out of the limousine with the girls. That's

952
00:52:03,840 --> 00:52:07,039
his actual dad. And that's how he looks anyway. Wow,

953
00:52:08,400 --> 00:52:12,280
So we do this whole scene where he convinces me

954
00:52:12,559 --> 00:52:14,719
to arm wrestle him. Now I'm much bigger than him

955
00:52:14,760 --> 00:52:17,880
in the film. I'm actually in stilt boots and walking

956
00:52:17,960 --> 00:52:22,000
on quarter apples, which are three inch boxes, and I'm

957
00:52:22,039 --> 00:52:23,800
way taller than everybody in the movie. In reality, we

958
00:52:23,840 --> 00:52:24,800
were all about the same size.

959
00:52:25,239 --> 00:52:29,199
Speaker 2: Hence why do this? Hence why then IMDb they call

960
00:52:29,280 --> 00:52:30,519
you big Boy Richie?

961
00:52:31,679 --> 00:52:35,039
Speaker 1: Yeah, because it's some one version of the script, my

962
00:52:35,239 --> 00:52:37,400
name was Richie, and another version of the script, my

963
00:52:37,519 --> 00:52:40,119
name was big Boy. And in one version of the

964
00:52:40,159 --> 00:52:45,840
script he says the buddy says, smash him Richie, So

965
00:52:45,960 --> 00:52:50,239
I have a name. But that wasn't the final script.

966
00:52:50,320 --> 00:52:53,360
The final script was, you know, just smash him.

967
00:52:53,679 --> 00:52:56,239
Speaker 2: Yeah, yeah, yeah, yeah, all right. Sorry, didn't mean to interrupt.

968
00:52:56,519 --> 00:52:59,400
Speaker 1: So they yeah, anyway, So that's the scene. It's me

969
00:52:59,719 --> 00:53:03,119
armor whistling the kid and you know, between Stallane, the kid,

970
00:53:03,239 --> 00:53:05,800
me and my buddies, and it's sort of this turning

971
00:53:05,880 --> 00:53:08,719
point where he gives him the big speech about the

972
00:53:08,800 --> 00:53:14,880
world meets no one halfway made me halfway. You know,

973
00:53:14,920 --> 00:53:16,280
if you want it, you got to reach out and

974
00:53:16,320 --> 00:53:18,000
grab it. You gotta take it, and that's the scene

975
00:53:18,000 --> 00:53:20,960
where he they bond and then from that point on

976
00:53:21,360 --> 00:53:22,159
everything's good.

977
00:53:22,719 --> 00:53:27,639
Speaker 2: So that's like the predecessor to the Rocky Balboa speech.

978
00:53:28,519 --> 00:53:30,920
What he's talking to his kid after his kid basically

979
00:53:30,960 --> 00:53:32,760
tells him to fuck off because he wants to get

980
00:53:32,800 --> 00:53:35,320
back in the ring again. You used to be able

981
00:53:35,320 --> 00:53:37,679
to spit right here in my head, and he did

982
00:53:37,760 --> 00:53:40,239
that whole you know, the world hits you hard, you

983
00:53:40,320 --> 00:53:41,239
gotta get back up.

984
00:53:41,360 --> 00:53:45,960
Speaker 1: That's basically the same speech, one degree to the left.

985
00:53:46,280 --> 00:53:51,360
Speaker 2: And according to IMDb, it is Lincoln Hawk because Susan Bake.

986
00:53:51,519 --> 00:53:55,119
Speaker 1: Oh no, I know, I know, okay, all right. Well,

987
00:53:55,199 --> 00:53:58,119
of course throughout the movie. Throughout the movie, Robert Loja

988
00:53:58,199 --> 00:54:01,119
calls him hawks. We get back in here.

989
00:54:01,079 --> 00:54:07,079
Speaker 2: Hawks because uh, because Susan is Christina Hawk.

990
00:54:07,719 --> 00:54:10,920
Speaker 1: Yeah I don't know that. Yeah, you know, yeah, his

991
00:54:11,159 --> 00:54:14,159
character's name was Lincoln Hawk. But throughout the movie, yeah,

992
00:54:14,320 --> 00:54:15,519
Robert Losa calls him hawks.

993
00:54:15,760 --> 00:54:17,719
Speaker 2: Oh my god, I forgot Terry Funk was in this.

994
00:54:18,400 --> 00:54:24,360
He was, oh, you have did you have any have

995
00:54:24,440 --> 00:54:26,519
any paths crossed?

996
00:54:26,639 --> 00:54:31,079
Speaker 1: Was sly? Oh yeah, I mean obviously when we shot

997
00:54:31,159 --> 00:54:33,320
the whole movie and then you know script readings and

998
00:54:33,320 --> 00:54:35,679
stuff like that, table readings, and how was he to

999
00:54:35,760 --> 00:54:39,159
work with? He was great. I actually, I mean I

1000
00:54:39,239 --> 00:54:41,960
have a really same thing. I I can go in

1001
00:54:42,039 --> 00:54:44,440
the same deal about that. This was not you know,

1002
00:54:44,559 --> 00:54:46,719
the highest production standards in the world. That was a

1003
00:54:47,360 --> 00:54:52,159
you know, Canon Films. Yeah, but when he was on

1004
00:54:52,239 --> 00:54:54,519
the set, he was He had a lot of great energy,

1005
00:54:54,880 --> 00:55:01,920
very positive, very constructive. A lot of our lines were improvised,

1006
00:55:02,039 --> 00:55:06,159
and he oh nice, he nurtured that. He's like, you

1007
00:55:06,159 --> 00:55:09,280
wouldn't say that, would you, No, well, what would you say?

1008
00:55:09,400 --> 00:55:11,119
You know that kind of stuff. He was, you know,

1009
00:55:11,199 --> 00:55:13,360
but always kept the spirits up. It was two days

1010
00:55:13,360 --> 00:55:17,079
of filming. Our elbows were just on fire because we

1011
00:55:17,159 --> 00:55:19,079
were on plexit. They had to put plexiglass down on

1012
00:55:19,119 --> 00:55:21,880
the ship so we weren't breaking the glass of the

1013
00:55:22,800 --> 00:55:29,400
the the pinball machine. So bruised for days. But you know,

1014
00:55:29,679 --> 00:55:32,599
four kids, four teenage boys, and he kept the spirit

1015
00:55:32,719 --> 00:55:34,159
up and everyone on the there was you know a

1016
00:55:34,199 --> 00:55:37,880
lot of extras on the set. So yeah, he was.

1017
00:55:37,960 --> 00:55:40,039
He was a pleasure to work with. I have nothing

1018
00:55:40,119 --> 00:55:45,519
but positive things to say about him. You know, he

1019
00:55:45,599 --> 00:55:48,679
knows what he's doing as silly and formula as some

1020
00:55:48,719 --> 00:55:50,719
of those movies are. He knows what he's doing.

1021
00:55:51,239 --> 00:55:53,400
Speaker 2: Yeah. Yeah, well, I mean that's kind of why he's

1022
00:55:53,440 --> 00:55:54,119
at where he's at.

1023
00:55:54,599 --> 00:55:58,840
Speaker 1: Yeah, yeah, absolutely, and so yeah, I mean I'm glad again,

1024
00:55:58,880 --> 00:56:01,400
I'm also glad that that's sperience was a positive experience,

1025
00:56:01,480 --> 00:56:04,760
regardless of you know what's you know, how silly some

1026
00:56:04,880 --> 00:56:09,320
of his movies are. Yeah, he was, he was fantastic.

1027
00:56:09,760 --> 00:56:12,119
Speaker 2: Yeah, And we're not we're not going to get into

1028
00:56:12,159 --> 00:56:14,840
Break into Electric Bugloo because that could be an entire episode.

1029
00:56:15,239 --> 00:56:18,400
Speaker 1: Uh, good luck finding me in that one.

1030
00:56:18,800 --> 00:56:22,880
Speaker 2: Yeah. Right, but let's let's talk about, you know, end

1031
00:56:23,000 --> 00:56:25,079
up with something that's gonna be a lot of fun

1032
00:56:25,119 --> 00:56:28,079
and in a couple of weeks, cruise to the Edge.

1033
00:56:28,800 --> 00:56:30,960
You are you've been on in the past as a

1034
00:56:31,000 --> 00:56:33,519
member of spocks Beard. You're no longer in spocks Beard,

1035
00:56:34,880 --> 00:56:38,199
and you've been just on hanging. You've been on playing

1036
00:56:38,280 --> 00:56:41,480
with h with Walter and a whole bunch of other people.

1037
00:56:41,679 --> 00:56:44,920
Speaker 1: J J Patterns, Saeking Animals. Did it last year? Yeah?

1038
00:56:45,440 --> 00:56:46,039
Is it last year?

1039
00:56:46,199 --> 00:56:46,400
Speaker 2: Yeah?

1040
00:56:46,480 --> 00:56:46,840
Speaker 1: Last year?

1041
00:56:47,719 --> 00:56:51,039
Speaker 2: Yeah? And you uh, you're a host this year along

1042
00:56:51,119 --> 00:56:54,039
with my close personal friend and bandmate Mike Dawson from

1043
00:56:54,079 --> 00:56:55,079
The Adam Carolla Show.

1044
00:56:55,480 --> 00:56:59,079
Speaker 1: Right, Yeah, that was kind of a surprise. I I

1045
00:56:59,159 --> 00:57:01,519
had had no intention of doing the cruise this year,

1046
00:57:02,119 --> 00:57:04,920
mainly because I booked other work. You know, when I

1047
00:57:05,000 --> 00:57:07,239
when I knew that Patterns Seeking Animals wasn't gonna wasn't

1048
00:57:07,239 --> 00:57:09,559
gonna go on the cruise, I just did, you know,

1049
00:57:09,679 --> 00:57:12,679
what you normally do, and booked other work. And I

1050
00:57:12,719 --> 00:57:15,239
don't know where I get a text from Larry, from Larry,

1051
00:57:15,320 --> 00:57:21,840
who produces the cruise. Hey man, you want to host

1052
00:57:21,960 --> 00:57:27,199
the cruise. I'm kind of looking at the camera doesn't show,

1053
00:57:27,239 --> 00:57:30,400
but you know, I'm sitting at my my studio desk

1054
00:57:31,119 --> 00:57:37,960
and I'm looking up, going what host the host the cruise?

1055
00:57:38,639 --> 00:57:41,199
And then the follow up text explains, you know that

1056
00:57:41,320 --> 00:57:42,840
the circumstance with John Kirkman.

1057
00:57:43,079 --> 00:57:45,679
Speaker 2: Yeah, unfortunately, but we love John Kirkman.

1058
00:57:45,880 --> 00:57:48,719
Speaker 1: Guys, yeah, fantastic. He won't be back.

1059
00:57:48,840 --> 00:57:55,360
Speaker 2: He will be back, but finger struck away. I love them.

1060
00:57:55,800 --> 00:57:59,760
Speaker 1: But uh, I kind of went, wait a minute. So

1061
00:58:00,679 --> 00:58:03,880
I consulted with a few people because one of the

1062
00:58:04,000 --> 00:58:08,719
issues is as a working musician, I can't just turn

1063
00:58:08,840 --> 00:58:10,960
down work once I've booked it. I mean a I've

1064
00:58:10,960 --> 00:58:13,760
already booked it, so I have to sort of honor that, right.

1065
00:58:14,079 --> 00:58:16,559
But but there was a lot of money over that week,

1066
00:58:16,760 --> 00:58:21,719
and so I sent a message about that and that

1067
00:58:21,920 --> 00:58:24,519
all was taken care of. So the professional aspect of

1068
00:58:24,599 --> 00:58:28,679
it all was covered. Turns up, Brian Tishy is covering

1069
00:58:28,760 --> 00:58:30,719
for me in one of my nigs. Thanks Brian.

1070
00:58:31,239 --> 00:58:32,719
Speaker 2: Yep, yep, God bless Brian Tishy.

1071
00:58:34,599 --> 00:58:37,320
Speaker 1: But yeah, once all the you know, the details were

1072
00:58:37,360 --> 00:58:39,320
worked out, then it became one of those things I went, great,

1073
00:58:39,400 --> 00:58:43,400
so I'm hosting the cruise. I don't even know what

1074
00:58:43,480 --> 00:58:50,920
that means. And then so you know, Roy and I

1075
00:58:51,039 --> 00:58:56,039
still haven't spoken to Dawson. I've met him before. I

1076
00:58:56,159 --> 00:58:58,119
met him on the last cruise that I was on.

1077
00:58:58,840 --> 00:59:01,880
Oh okay, yeah, yeah, yeah, and yeah he's great. He's great.

1078
00:59:01,920 --> 00:59:04,199
But uh but it was like we finally had some

1079
00:59:04,320 --> 00:59:07,320
conversations about, Okay, what does this fully? I knew some

1080
00:59:07,519 --> 00:59:10,840
of the bits like what does it fully entail? And

1081
00:59:10,920 --> 00:59:12,480
I talked to Rob as well about you know, some

1082
00:59:12,559 --> 00:59:15,840
stuff I'll do with him and various things. But but yeah,

1083
00:59:15,920 --> 00:59:18,400
that's gonna be a hoot. I it's right up my out.

1084
00:59:18,480 --> 00:59:19,679
I don't have any trouble talking.

1085
00:59:20,400 --> 00:59:22,880
Speaker 2: Oh you don't, you don't And look, I mean, I'm

1086
00:59:23,400 --> 00:59:25,599
I've never listened as a quote unquote host on all

1087
00:59:25,679 --> 00:59:27,559
these but I technically am because I do a lot

1088
00:59:27,599 --> 00:59:29,519
of the band intros and you know, help out and

1089
00:59:29,599 --> 00:59:32,119
have fun, you know, so you know, and of course

1090
00:59:32,199 --> 00:59:35,480
the late night shit show karaoke right right, right right,

1091
00:59:35,639 --> 00:59:38,280
always always a hoot, especially on a Cruise of the

1092
00:59:38,400 --> 00:59:40,480
Edge because the thing, this is the thing I love

1093
00:59:40,519 --> 00:59:42,519
about Dream and Karaoke and Cruise of the Edge is

1094
00:59:43,599 --> 00:59:46,760
it seems like the band guys go up there and

1095
00:59:46,960 --> 00:59:49,519
sing songs to annoy prog fans.

1096
00:59:51,079 --> 00:59:52,599
Speaker 1: That's the last vote we were on.

1097
00:59:52,840 --> 00:59:53,280
Speaker 5: That was it.

1098
00:59:53,880 --> 00:59:57,000
Speaker 1: Yeah. It was me and Kneely and Scott Tunis and

1099
00:59:57,880 --> 01:00:02,559
and a bunch of these total super high level musicians

1100
01:00:03,360 --> 01:00:04,920
singing dancing queen.

1101
01:00:04,840 --> 01:00:09,119
Speaker 2: And yeah that's what it's about. It's like, my god,

1102
01:00:09,239 --> 01:00:12,159
I can only hear a forty five minute Pio Peter

1103
01:00:12,280 --> 01:00:14,079
Gabriel song so many times.

1104
01:00:14,639 --> 01:00:17,960
Speaker 1: Let's do some abba. So so this was so, this

1105
01:00:18,159 --> 01:00:21,320
was the best part we did. We're the last night, right,

1106
01:00:21,400 --> 01:00:25,360
so they have the party. Yeah, and I got up

1107
01:00:25,400 --> 01:00:28,239
and sang your Love the.

1108
01:00:30,400 --> 01:00:31,320
Speaker 5: Jose Is on a veg.

1109
01:00:31,440 --> 01:00:34,599
Speaker 1: Yeah, yeah, yeah, the wait the Outfield song, and a

1110
01:00:34,639 --> 01:00:37,079
bunch of people jump up behind me, you know, and they're,

1111
01:00:37,199 --> 01:00:39,800
you know, singing the background parts. And I have these

1112
01:00:39,840 --> 01:00:42,519
alternate lyrics that I've gotten to sing over the years,

1113
01:00:42,599 --> 01:00:46,079
just because you know, you sing a song enough times, right,

1114
01:00:46,760 --> 01:00:48,800
And so I'm and I'm thinking, it's all we're doing

1115
01:00:48,880 --> 01:00:50,639
this for, you know, to be silly as well. And

1116
01:00:50,679 --> 01:00:53,519
I'm singing all these crazy alternate lyrics and having a blast,

1117
01:00:53,599 --> 01:00:56,239
and and everyone's you know, it was that it was

1118
01:00:56,480 --> 01:00:59,119
everyone was having a great time. And at the end

1119
01:00:59,159 --> 01:01:02,360
of it, John Young walks out from Life Signs and

1120
01:01:02,480 --> 01:01:04,880
he says, Oh my god, I can't believe this. You

1121
01:01:04,960 --> 01:01:08,880
know now I can remember his name, the singer for

1122
01:01:08,960 --> 01:01:09,559
the Outfield.

1123
01:01:10,519 --> 01:01:12,199
Speaker 2: Hold on, I have I have a device.

1124
01:01:13,639 --> 01:01:21,639
Speaker 1: Oh Field band, Tony Lewis. Tony Lewis. Oh wow, you're good.

1125
01:01:21,679 --> 01:01:22,400
Speaker 2: You beat me to it.

1126
01:01:22,760 --> 01:01:24,559
Speaker 1: He comes to me. He says, man, I've I was

1127
01:01:24,639 --> 01:01:26,800
friends with Tony for years and years and years. We

1128
01:01:26,880 --> 01:01:30,599
were best buddies. I texted his wife while you were

1129
01:01:30,639 --> 01:01:32,760
singing this, and I got her on FaceTime and I

1130
01:01:32,880 --> 01:01:38,719
was playing only for you. I should have gone wait

1131
01:01:38,920 --> 01:01:42,760
a minute, I was doing silly lyrics to this. Oh no, oh,

1132
01:01:42,880 --> 01:01:46,760
to this. I'm sure this wonderful woman. I'm just going,

1133
01:01:47,119 --> 01:01:49,159
oh my god. If I'd have known that, I would

1134
01:01:49,199 --> 01:01:51,119
have taken a little I would have at least sang

1135
01:01:51,320 --> 01:01:51,960
the song.

1136
01:01:53,119 --> 01:01:55,039
Speaker 2: But you know what, it makes it better that way.

1137
01:01:55,960 --> 01:01:57,840
Speaker 1: Well, it turns out she was like, oh my god,

1138
01:01:57,920 --> 01:02:00,679
that she actually laughed at the other lyrics, anding like that, right.

1139
01:02:00,920 --> 01:02:03,159
It ended up being very fun and very sweet and

1140
01:02:03,199 --> 01:02:05,800
everything like that, but like, what a bizarre surprise. I

1141
01:02:05,960 --> 01:02:09,559
was here texting with Tony's wife widow and like.

1142
01:02:09,679 --> 01:02:13,840
Speaker 2: Oh my god, Oh that is fucking hilarious. One more

1143
01:02:13,880 --> 01:02:16,800
thing before we go, I want to give a shout

1144
01:02:16,840 --> 01:02:20,960
out to Soda Stick for sending me the sweet hockey.

1145
01:02:20,719 --> 01:02:23,559
Speaker 1: Sweater sort of stick there.

1146
01:02:24,199 --> 01:02:28,559
Speaker 2: You know Minnesota, there's some they make shirts and hats

1147
01:02:28,639 --> 01:02:29,119
and stuff.

1148
01:02:30,920 --> 01:02:33,280
Speaker 1: They know their hockey. Man, of course they know their hockey.

1149
01:02:33,320 --> 01:02:36,719
Speaker 2: It's it's all about Minnesota sports. It's awesome and they

1150
01:02:36,760 --> 01:02:39,159
have They're sending me a Michelob Golden White jersey and

1151
01:02:39,440 --> 01:02:41,559
it's my favorite beer in the world, which you can

1152
01:02:41,639 --> 01:02:44,360
only get in the Upper Midwest. But so I wanted

1153
01:02:44,360 --> 01:02:46,159
to give them a shout out and check them out.

1154
01:02:46,199 --> 01:02:49,840
You'll see the links in here. We've done a lot

1155
01:02:50,000 --> 01:02:54,519
of these kiss throwdowns where we do the first three records,

1156
01:02:54,559 --> 01:02:58,559
the second three records, and then the four solo records,

1157
01:02:58,599 --> 01:03:03,239
and it was always all drummers. It was Portnoy, Charlie Bononte,

1158
01:03:04,920 --> 01:03:08,679
Roy Mayorga Nice and uh Well, and then Eddie Trunk

1159
01:03:08,760 --> 01:03:11,920
joined because he's so fella kissick myself and Paul Gargne

1160
01:03:11,960 --> 01:03:14,519
from Meddle Edge magazine and the first one we had

1161
01:03:14,559 --> 01:03:20,400
this conversation about Peter Cris and I made the comparison

1162
01:03:21,119 --> 01:03:23,800
and we went around the room. We were around the

1163
01:03:24,800 --> 01:03:28,679
zoom room, you know, getting their thoughts on this about

1164
01:03:28,719 --> 01:03:35,480
how Peter Cris and Ringo Starr are the most how

1165
01:03:35,559 --> 01:03:39,679
do we say this, the most underrated drummers that get

1166
01:03:39,760 --> 01:03:42,519
the most shit, But there are two of the most

1167
01:03:42,679 --> 01:03:45,840
influential drummers of all time. I want to get your

1168
01:03:45,880 --> 01:03:46,360
thoughts on that.

1169
01:03:47,039 --> 01:03:54,320
Speaker 1: Well, I'll add to that. So the three, well, let's say,

1170
01:03:54,360 --> 01:03:58,639
the foremost influential drummers of all time would be exactly

1171
01:03:58,679 --> 01:04:04,280
as you said, Ringo Star, Peter Chris, Neil Peter, and

1172
01:04:04,480 --> 01:04:07,360
John Bonham. I think it's very funny when you look

1173
01:04:07,400 --> 01:04:11,800
at those four. While I consider Ringo to be technically

1174
01:04:11,840 --> 01:04:17,639
great as well. Peter, you know, he did well.

1175
01:04:18,280 --> 01:04:21,360
Speaker 2: Well, here's the here's the thing about Peter's playing. Peter

1176
01:04:21,480 --> 01:04:24,719
came from a big band swing, yeah, and that's what

1177
01:04:24,920 --> 01:04:27,360
he brought to the rock world. Now, when he started

1178
01:04:27,400 --> 01:04:32,920
getting fucked up, it declined. But as it tends to do,

1179
01:04:33,440 --> 01:04:36,599
as it tends to do, especially for drummers. But I mean,

1180
01:04:36,639 --> 01:04:38,280
if you listen to Kiss, a live one which we

1181
01:04:38,440 --> 01:04:40,880
all know was re recorded, the only thing that is

1182
01:04:41,079 --> 01:04:44,559
live on that record is the drums, the only thing

1183
01:04:44,639 --> 01:04:47,119
they did not re record. So that says something about

1184
01:04:47,119 --> 01:04:50,960
Peter's playing, especially on No That's what I mean.

1185
01:04:51,039 --> 01:04:54,599
Speaker 1: He does his thing and and it's again, there's a

1186
01:04:54,679 --> 01:04:58,400
difference between when I'm when I'm talking about you know,

1187
01:04:58,480 --> 01:05:01,000
like Dave Weckel or Vini Kelly, I'm not just talking

1188
01:05:01,039 --> 01:05:03,840
about the performance, but I'm talking about the technique and

1189
01:05:03,920 --> 01:05:08,760
the grace and there's all these other adjectives that come

1190
01:05:08,800 --> 01:05:11,320
online when it comes to these drummers. But it but

1191
01:05:11,400 --> 01:05:16,119
it has nothing to do with impact, right. You know,

1192
01:05:16,960 --> 01:05:19,840
My favorite Jeff Bercara song of all time is Dirty Laundry,

1193
01:05:19,880 --> 01:05:23,840
and he plays dun't debt, dun't debt, dun't debt the

1194
01:05:23,880 --> 01:05:26,880
whole song. The best drum fill on my mind is

1195
01:05:26,960 --> 01:05:29,400
the is the going into the last chorus, don't debt,

1196
01:05:29,760 --> 01:05:34,440
don't get goh. And it's impact, it's effect. What effect

1197
01:05:34,480 --> 01:05:37,280
did it have? How did it kick off that chorus perfectly?

1198
01:05:37,840 --> 01:05:43,320
Is it hard? No, that's not the point. Musically speaking,

1199
01:05:43,639 --> 01:05:45,320
what effect did it have? So when you look at

1200
01:05:45,360 --> 01:05:47,800
someone like a Peter Cris, you're not talking about the

1201
01:05:47,960 --> 01:05:51,599
technical aspect of what he's doing. You're talking about the impact. Right, well,

1202
01:05:51,679 --> 01:05:53,960
look how did it how did it fit within the song,

1203
01:05:54,039 --> 01:05:58,000
and how did it how did it uh support the song?

1204
01:05:58,440 --> 01:06:00,719
And then what impact did it have on the fans?

1205
01:06:00,800 --> 01:06:05,559
Speaker 2: And obviously you know, well look, but here's the other

1206
01:06:05,679 --> 01:06:07,400
thing about that too. And I say the same thing

1207
01:06:07,440 --> 01:06:13,159
about Steven Adler. Nobody can play those songs like them.

1208
01:06:13,239 --> 01:06:16,519
They can play the songs like when Matt Storm joined

1209
01:06:16,519 --> 01:06:18,559
Guns n' rolls is he said, I cannot play these

1210
01:06:18,639 --> 01:06:21,760
songs like Steven Adler yea, And he couldn't. Eric Carr

1211
01:06:21,800 --> 01:06:23,920
could not play those songs by Peter Chris because he

1212
01:06:24,039 --> 01:06:27,559
was a bottom guy. Yeah he could play him, but

1213
01:06:27,679 --> 01:06:31,440
he couldn't play him like Peter and that's I think

1214
01:06:31,519 --> 01:06:34,159
that's another you know, go back to going back to

1215
01:06:34,280 --> 01:06:37,599
like sloppy guitar playing. Sometimes that's part of the magic

1216
01:06:38,039 --> 01:06:41,360
that nobody can. Tommy Thayer can't play those solos exactly

1217
01:06:41,440 --> 01:06:44,119
like Asraeli because he doesn't have Ace Fraeli's hands. You

1218
01:06:44,199 --> 01:06:45,800
can't play those songs exactly right.

1219
01:06:46,360 --> 01:06:50,559
Speaker 1: Yeah, it's feel and right whatever condition was happening at

1220
01:06:50,599 --> 01:06:53,480
that time and whatever was going on. But that's what's

1221
01:06:53,519 --> 01:06:57,880
funny about it is that the the top most most

1222
01:06:58,000 --> 01:07:06,920
influential drummers ever are are this weird juxtaposition of technique

1223
01:07:07,800 --> 01:07:11,280
and feel and in the middle is like the Bonham

1224
01:07:11,360 --> 01:07:14,559
and like I would add Buddy Rich to that as well. Yeah, yeah, yeah,

1225
01:07:14,559 --> 01:07:16,719
I wanted to get into that. That's that's you know,

1226
01:07:17,079 --> 01:07:20,360
Buddy is the epitome of feel and technique. He had

1227
01:07:20,400 --> 01:07:23,440
all of that within that that genre of music. You know,

1228
01:07:23,559 --> 01:07:28,320
Bonham is feel and technique. Neil is more. I wouldn't

1229
01:07:28,320 --> 01:07:30,800
even put him in the same category as technique. I'd

1230
01:07:30,800 --> 01:07:33,239
put him over with feel because it was more the

1231
01:07:33,360 --> 01:07:37,760
way he played those songs right. And again, there's drummers

1232
01:07:37,760 --> 01:07:39,679
that I can critique just as much as I can

1233
01:07:39,760 --> 01:07:41,960
praise I can critique Neil.

1234
01:07:41,800 --> 01:07:44,320
Speaker 2: Too, Yeah, I don't like to.

1235
01:07:44,519 --> 01:07:47,440
Speaker 1: I prefer not to critique anyone in general. And I

1236
01:07:47,480 --> 01:07:49,440
hate it when people have these who was the worst

1237
01:07:49,519 --> 01:07:52,559
drummer ever? Who's the worst guitar player ever? It's like, dude, really,

1238
01:07:54,559 --> 01:07:55,880
what's the worst idea ever?

1239
01:07:56,559 --> 01:07:57,599
Speaker 2: Yeah, this conversation.

1240
01:08:00,519 --> 01:08:02,519
Speaker 1: But that's that's what I think is fascinating, is like

1241
01:08:02,840 --> 01:08:06,480
I would you would never think to put Ringo Starr

1242
01:08:06,599 --> 01:08:10,280
in the same category with Buddy Rich. They're they're over here,

1243
01:08:10,639 --> 01:08:16,560
and yet they absolutely are because of impact, because of

1244
01:08:16,720 --> 01:08:20,520
because of intent, because of the point. Ringo doesn't play

1245
01:08:20,680 --> 01:08:23,840
this music. He doesn't play that Buddy, and Buddy doesn't

1246
01:08:23,840 --> 01:08:25,840
play that music, So if you put Buddy in his chair,

1247
01:08:25,920 --> 01:08:29,560
it would sound weird that either of them couldn't play

1248
01:08:29,680 --> 01:08:34,319
something in that world. Buddy would probably have a more

1249
01:08:34,359 --> 01:08:37,840
successful time in that. But it's not the point. It's

1250
01:08:37,920 --> 01:08:40,800
how did it impact the song that they were tasked

1251
01:08:40,840 --> 01:08:43,479
to play? And you know what influence did it have

1252
01:08:43,600 --> 01:08:46,680
on the listener? And you know, you can't beat the

1253
01:08:46,720 --> 01:08:48,920
Beatles for that kind of thing. You can't beat Neil,

1254
01:08:49,640 --> 01:08:51,920
you know, and and Bonham, and you know, there's like

1255
01:08:51,960 --> 01:08:54,800
there's a lot of other guys that fall in that Categoryah,

1256
01:08:55,159 --> 01:08:56,840
but but these are the guys that really kind of

1257
01:08:57,079 --> 01:09:02,399
defined that concept. That was the first ringo was the

1258
01:09:02,439 --> 01:09:06,079
first time that a drummer showed up on television. And

1259
01:09:06,199 --> 01:09:08,680
the following day there was something like Ludwig had something

1260
01:09:08,760 --> 01:09:11,119
like two hundred and some odd orders for drum kits.

1261
01:09:11,880 --> 01:09:17,000
Following day it's like, we can't fulfill these orders. Are

1262
01:09:17,079 --> 01:09:19,119
you crazy? It's going to take us, you know, two

1263
01:09:19,239 --> 01:09:21,199
years to do that. I don't know what their answer was,

1264
01:09:21,279 --> 01:09:25,319
but that's the right that one drummer showed up on

1265
01:09:25,399 --> 01:09:28,319
television and two hundred just for one company because he

1266
01:09:28,359 --> 01:09:33,680
played Ludwig drums. Nobody can top that. Nobody can top that.

1267
01:09:33,800 --> 01:09:38,079
You know, Lars Lars Ulrich has this huge influence, you know,

1268
01:09:38,520 --> 01:09:41,960
and it's why he's the primary endorser with Toma Drums.

1269
01:09:42,039 --> 01:09:44,600
Is he the best, the best drummer for Toma Drums?

1270
01:09:45,039 --> 01:09:45,079
Speaker 5: No?

1271
01:09:46,479 --> 01:09:50,439
Speaker 1: Right, No, but the impact and you know, the way

1272
01:09:50,600 --> 01:09:52,840
he hit and the way his audience reacted to what

1273
01:09:52,960 --> 01:09:55,560
he did. Tons and tons and tons and tons and

1274
01:09:55,600 --> 01:09:57,479
tons of guys played drums because of him, and you

1275
01:09:57,600 --> 01:10:00,479
can't deny that, and you have to say, celebrate that

1276
01:10:00,640 --> 01:10:04,520
because you know, that's the point. It got people listening,

1277
01:10:04,560 --> 01:10:07,640
and it got people interested in more than just listening

1278
01:10:07,680 --> 01:10:08,920
to music, but playing music.

1279
01:10:09,359 --> 01:10:12,800
Speaker 2: Yeah, and that's the most important thing. It's like getting

1280
01:10:12,840 --> 01:10:15,880
people and that's why, like, I'm all for Grenit Van Fleet.

1281
01:10:16,239 --> 01:10:18,439
I don't care if they sound like led Zeppelin. There's

1282
01:10:18,640 --> 01:10:21,199
kids going to those shows looking at that stage or

1283
01:10:21,239 --> 01:10:22,399
a dad. That's what I want to do.

1284
01:10:22,920 --> 01:10:26,079
Speaker 1: Sure, absolutely, you know that's and that's how I feel

1285
01:10:26,119 --> 01:10:28,359
about any band. It's like, I'm not a I'm not

1286
01:10:28,479 --> 01:10:30,159
a fan of Metallic. I mean, I like a couple

1287
01:10:30,159 --> 01:10:32,680
of their songs here and there. I understand, I understand

1288
01:10:32,720 --> 01:10:35,479
them more than I uh than I like them. But

1289
01:10:35,600 --> 01:10:40,359
it's who cares. That's that's for me. It's my opinion

1290
01:10:40,399 --> 01:10:43,800
for someone else has no no, no validity. It's just it.

1291
01:10:44,000 --> 01:10:46,159
But you can't get around the fact that those guys

1292
01:10:46,279 --> 01:10:52,119
influenced million, potentially millions of kids. Yeah, absolutely know, thousands

1293
01:10:52,159 --> 01:10:54,000
and thousands and thousands of kids to play music.

1294
01:10:54,560 --> 01:10:57,640
Speaker 2: Do you think, really you you were talking about Buddy Risch,

1295
01:10:57,680 --> 01:11:01,359
Do you think the big guys from that era still

1296
01:11:01,439 --> 01:11:04,079
have an effect on kids today?

1297
01:11:04,399 --> 01:11:09,920
Speaker 1: Aids Grayson N. Kreutman. I don't know how you say

1298
01:11:09,960 --> 01:11:13,640
his last name. He's now the drummer for Suicidal Tendencies.

1299
01:11:14,439 --> 01:11:17,079
He started putting out videos a little while ago, playing

1300
01:11:17,119 --> 01:11:21,800
along to big band mostly Buddy and uh you know,

1301
01:11:22,079 --> 01:11:25,199
Louis Belson and stuff like that, and his videos are

1302
01:11:25,239 --> 01:11:27,159
getting millions and millions of views.

1303
01:11:27,560 --> 01:11:28,800
Speaker 2: Really awesome.

1304
01:11:29,640 --> 01:11:35,840
Speaker 1: It only takes one person to remind us how great

1305
01:11:37,399 --> 01:11:40,000
this era of music was, and this era of music was.

1306
01:11:42,039 --> 01:11:44,000
You know, I didn't grow up a big band fan,

1307
01:11:44,119 --> 01:11:46,800
but I mean I went and saw Louis Belson, and

1308
01:11:46,840 --> 01:11:49,239
I went and saw I saw Buddies, both Buddy and

1309
01:11:49,359 --> 01:11:50,920
Louie's last shows at Disneyland.

1310
01:11:51,199 --> 01:11:51,479
Speaker 5: Wow.

1311
01:11:52,760 --> 01:11:55,039
Speaker 1: And do I I own a couple of their records

1312
01:11:55,039 --> 01:11:57,039
and anything like, But I wouldn't consider myself a big

1313
01:11:57,159 --> 01:11:59,800
band fan in that I you know, I seek it out,

1314
01:12:00,359 --> 01:12:03,600
but I get it. I respect it, and when I

1315
01:12:03,720 --> 01:12:06,039
see it, I know that every single one of those

1316
01:12:06,079 --> 01:12:10,039
musicians is a monster. But every once in a while

1317
01:12:10,079 --> 01:12:13,840
you'll get someone, you'll get a you know, whether it's uh,

1318
01:12:15,399 --> 01:12:17,680
you know this this this this young guy you know

1319
01:12:17,840 --> 01:12:19,960
playing all this big band stuff and playing so great,

1320
01:12:20,840 --> 01:12:24,279
or it's Harry Connick Junior singing like, uh you know,

1321
01:12:25,760 --> 01:12:28,760
like you know, I don't know that he sings like Sinatra.

1322
01:12:28,840 --> 01:12:31,680
He sings more like a He's more of a crooner

1323
01:12:31,840 --> 01:12:35,359
like Dean Martin. But when you get these guys that

1324
01:12:35,399 --> 01:12:37,600
are doing that kind of thing and re energizing that

1325
01:12:37,760 --> 01:12:40,880
kind of music and bringing it back again, it's love.

1326
01:12:41,000 --> 01:12:45,399
It's it's brilliant because it reminds everyone the importance of musicians.

1327
01:12:46,199 --> 01:12:49,119
They're hiring full bands and big bands and taking them

1328
01:12:49,199 --> 01:12:51,920
on the road, and suddenly there's a reason to be

1329
01:12:51,920 --> 01:12:54,359
a trumpet player again. There's a reason to play trombone,

1330
01:12:55,279 --> 01:12:59,359
you know, and you know, saxophone.

1331
01:12:58,760 --> 01:13:02,159
Speaker 2: And yeah, I think saxophone is missing in the in

1332
01:13:02,239 --> 01:13:02,920
the music world.

1333
01:13:03,640 --> 01:13:05,000
Speaker 1: No, I think we I think we had a bit

1334
01:13:05,039 --> 01:13:06,439
too much of it for a while. I think that's

1335
01:13:06,520 --> 01:13:09,840
it's it's time for us. I think we're in the

1336
01:13:09,880 --> 01:13:12,239
middle of a sabbatical on saxophone. And I'm cool with that.

1337
01:13:15,119 --> 01:13:17,199
Speaker 2: Yeah, But then I watch any of the cruises, like, God,

1338
01:13:17,279 --> 01:13:19,039
how is so bitch magic?

1339
01:13:20,079 --> 01:13:21,720
Speaker 1: Yeah, but that's true. I mean any of the great

1340
01:13:21,760 --> 01:13:25,079
sax players. You know, you look at you know, the boss,

1341
01:13:25,279 --> 01:13:27,720
and you got it. You know, it's it's not it

1342
01:13:27,840 --> 01:13:32,399
really isn't, you know. Bruce Springsteen without without the sidekicks

1343
01:13:32,439 --> 01:13:35,960
and everything, and right right, no, I get it. It's

1344
01:13:36,239 --> 01:13:38,479
part of the part of the vibe and everything. So yeah,

1345
01:13:38,479 --> 01:13:41,079
I mean, I love any musician that can inspire another

1346
01:13:41,159 --> 01:13:44,000
musician to play they're They're fine by me. That is

1347
01:13:44,039 --> 01:13:45,760
going to respect you and I'm gonna love you. I

1348
01:13:45,800 --> 01:13:48,640
don't care what kind of music you play, and I

1349
01:13:48,680 --> 01:13:50,880
don't need to buy your music. It's but I'm still

1350
01:13:50,920 --> 01:13:53,079
gonna respect you and I'm still gonna appreciate you and

1351
01:13:53,560 --> 01:13:55,960
be thankful that you're there doing that.

1352
01:13:56,359 --> 01:13:58,760
Speaker 2: Yep. And look, people can hate on Nickelback all they want,

1353
01:13:58,800 --> 01:14:01,039
but they're still selling Order to Read every fucking night.

1354
01:14:01,119 --> 01:14:03,159
Speaker 1: Good for that. I I don't know why anyone would

1355
01:14:03,159 --> 01:14:05,760
hate Nickelback. I can see why you wouldn't necessarily buy

1356
01:14:05,800 --> 01:14:07,680
their music, but I don't know why anyone would hate them.

1357
01:14:07,720 --> 01:14:11,840
They're nice guys and they make good records. Yeah, if

1358
01:14:11,880 --> 01:14:15,359
you like guys sing like that. But you know, well,

1359
01:14:15,920 --> 01:14:18,199
there's a comedian that did a whole stick on that, Like,

1360
01:14:18,279 --> 01:14:20,840
I don't know why you don't like that. It's talked

1361
01:14:20,840 --> 01:14:23,960
about Nickelback, and he talked about who's the guy that

1362
01:14:24,079 --> 01:14:31,800
does uh drive ins Oh, Guy Fieri. Guy Fieri. Here's

1363
01:14:31,920 --> 01:14:34,800
here's a guy and his whole bit, and I wish

1364
01:14:34,800 --> 01:14:36,960
I knew his name to credit this comedian who does this,

1365
01:14:37,000 --> 01:14:39,520
because it was great and I'm not gonna do the

1366
01:14:39,560 --> 01:14:41,279
comedy of it, just the point that he makes, right,

1367
01:14:42,159 --> 01:14:44,159
Why are we hating on this guy? Here's a guy

1368
01:14:44,279 --> 01:14:47,520
that that has that developed a TV show that goes

1369
01:14:47,600 --> 01:14:54,479
around and features small, independent fam often family owned restaurants

1370
01:14:54,520 --> 01:14:56,600
that no one would ever hear about in a million

1371
01:14:56,720 --> 01:14:59,760
years except for those few people in that area, and

1372
01:15:00,039 --> 01:15:04,000
features them on national television and now you know, internet television,

1373
01:15:04,000 --> 01:15:07,920
where the whole world can see them and does wonders

1374
01:15:08,000 --> 01:15:12,760
to drive up their business and celebrates the whole idea

1375
01:15:12,840 --> 01:15:16,760
of an independent restaurant, the idea of an individual making

1376
01:15:16,840 --> 01:15:19,720
a difference in a community and very often in the

1377
01:15:19,800 --> 01:15:24,920
process raises money for the community when he's there, gives

1378
01:15:25,279 --> 01:15:30,159
ship tons of money to charities, and people hate him.

1379
01:15:31,079 --> 01:15:32,000
Speaker 2: Well, I'll tell you why.

1380
01:15:32,399 --> 01:15:33,479
Speaker 1: I'm sorry.

1381
01:15:34,520 --> 01:15:37,720
Speaker 2: Well, I can tell you when my guy fied hatred started.

1382
01:15:38,399 --> 01:15:43,199
He had just won Next Big Food Network Star, the

1383
01:15:44,439 --> 01:15:47,640
competition show, so he got his own show, and he

1384
01:15:47,880 --> 01:15:51,399
used the phrase on his new show, I need to

1385
01:15:51,640 --> 01:15:56,560
de Bling for this, and then I was I'm out out,

1386
01:15:57,279 --> 01:15:57,840
I'm god.

1387
01:15:59,439 --> 01:16:02,800
Speaker 1: But right, okay, well that's a bad choice and phrases.

1388
01:16:03,119 --> 01:16:05,319
But really, I mean, but that's the thing people rip

1389
01:16:05,439 --> 01:16:07,960
on him, and but the reality is that's who this

1390
01:16:08,079 --> 01:16:12,399
guy is. He's out there bringing you know, attention to

1391
01:16:12,560 --> 01:16:16,439
all these mom and pop restaurants that desperately need it

1392
01:16:17,239 --> 01:16:20,520
and reminding us of what's important about a community restaurant,

1393
01:16:21,119 --> 01:16:22,359
you know. I mean, I wish we had that in

1394
01:16:22,399 --> 01:16:25,119
the music industry, reminding us of how important community. You know,

1395
01:16:25,439 --> 01:16:28,720
music stores are, and you know how important pro drama is,

1396
01:16:28,960 --> 01:16:31,880
and you know all these shops that really just celebrate

1397
01:16:32,279 --> 01:16:34,640
the drummer or the guitar player or whatever it is.

1398
01:16:36,159 --> 01:16:39,039
So how do you how do you speak poorly about

1399
01:16:39,079 --> 01:16:41,359
that guy? You don't so anyone that.

1400
01:16:41,399 --> 01:16:45,319
Speaker 2: Does, it's like really, yeah, but he said I need

1401
01:16:45,399 --> 01:16:46,159
to delink for this.

1402
01:16:46,560 --> 01:16:50,119
Speaker 1: That's what I think.

1403
01:16:50,119 --> 01:16:54,159
Speaker 2: It's the it's the image, and it's the people just

1404
01:16:54,199 --> 01:16:57,600
can't look at him. I think that's a lot of it. Yeah.

1405
01:16:58,000 --> 01:17:00,600
Speaker 1: I know, if I was a rest owner and he

1406
01:17:00,720 --> 01:17:03,159
showed up outside my door, I look at him all day.

1407
01:17:03,560 --> 01:17:09,319
Speaker 2: Yeah, I get it. I'm gonna hit the ultro music

1408
01:17:09,399 --> 01:17:16,119
here and boom ladies and gentlemen. Jimmy Keegan. I did

1409
01:17:16,239 --> 01:17:19,760
not realize that this show would go hour and a half.

1410
01:17:20,279 --> 01:17:21,720
I figured it's.

1411
01:17:22,399 --> 01:17:23,159
Speaker 1: About an hour and a half.

1412
01:17:23,239 --> 01:17:26,239
Speaker 2: We went almost I thought this is gonna be a

1413
01:17:26,239 --> 01:17:28,640
half an hour forty five minutes. I can tell me

1414
01:17:28,720 --> 01:17:32,399
in that's great and I love it, and I'm sad.

1415
01:17:32,479 --> 01:17:34,560
This is the first time I've had you on in

1416
01:17:34,720 --> 01:17:38,640
all the years that I've known you. I'm serious, I'm serious.

1417
01:17:39,279 --> 01:17:41,760
I'm mad at myself. I am literally mad at myself.

1418
01:17:42,239 --> 01:17:45,239
Check out Jimmy Keegan dot com. That's k E E

1419
01:17:45,600 --> 01:17:46,439
G A N.

1420
01:17:47,000 --> 01:17:49,600
Speaker 1: And click that little uh by the.

1421
01:17:49,640 --> 01:17:52,520
Speaker 2: Record gimmick, which is going to be available March first,

1422
01:17:52,560 --> 01:17:54,840
and we will see him on the not Munsters of Rock.

1423
01:17:54,840 --> 01:17:57,520
I'll be getting off Monsters of Rock, having a night

1424
01:17:57,640 --> 01:18:00,239
of refreshment and getting right back on the look for

1425
01:18:00,319 --> 01:18:01,319
a cruise to the edge.

1426
01:18:01,359 --> 01:18:04,720
Speaker 1: That is March fourt he no no, no, no, no,

1427
01:18:04,920 --> 01:18:07,960
no seventeen seven eight.

1428
01:18:08,199 --> 01:18:10,479
Speaker 2: We get we get off the boat on the third team,

1429
01:18:11,479 --> 01:18:16,319
and then I fly home and then nurse cankles.

1430
01:18:19,079 --> 01:18:21,279
Speaker 1: Well, at least you get again. I have some good lobstock.

1431
01:18:21,319 --> 01:18:23,279
Speaker 2: I mean whatever, Jimmy Keegan, great to talk to you.

1432
01:18:23,399 --> 01:18:25,399
Make sure you guys check out all the socials at

1433
01:18:25,439 --> 01:18:27,119
Real Lizzie Presley all the way across the board. Twitter

1434
01:18:27,199 --> 01:18:29,319
is a Facebook and of course the show page. Another

1435
01:18:29,359 --> 01:18:31,840
reffering podcast, Jingo Jimmy King. You can find all the

1436
01:18:31,920 --> 01:18:35,119
socials on the website, order the record and we'll see

1437
01:18:35,159 --> 01:18:39,359
you next week with maybe uh guitar player from scatter Brain.

1438
01:18:39,720 --> 01:18:42,159
This has been another efferent podcast. My name is Iszzie Presley.

1439
01:18:42,199 --> 01:18:44,039
I'm the host of the program and don't forget what

1440
01:18:44,119 --> 01:18:45,600
I lack of talent I make up for in the

1441
01:18:45,640 --> 01:18:45,840
cock