Latest / Mostly Middle Tennessee Business Podcast / Drumming Up Success w/ Rich Redmond :: Ep 242 Mostly Middle Tennessee Business Podcast

Transcript

Drumming Up Success w/ Rich Redmond :: Ep 242 Mostly Middle Tennessee Business Podcast · Mostly Middle Tennessee Business Podcast

0:00
Unknown: Like, hold on, hold on. Let me do this. Would you let me
0:04
do this? Let me do this. Where the hell is my freaking intro.
0:07
Here it
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is. This is the mostly Middle Tennessee business podcast.
0:17
Thank you. Podcast about Middle Tennessee business owners and
0:20
professionals,
0:22
mostly. So you said you got a new gig. Is that? Is that what
0:25
you're telling us,
0:26
oh, I've always wanted to do Foley. Foley is a lot of fun.
0:30
It's very much like being a percussionist, yeah. But it also
0:33
involves, you know, extreme creativity and using sounds to
0:36
create things, which is like a percussion instrument, and you
0:40
might do things like walk in sand or run or break
0:44
watermelons. How
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do you it's like, how do you get all those fun sound effects?
0:47
That's exactly what I used to do in radio, was creating different
0:52
sound effects from other sound effects. So if I wanted the
0:54
sound effect of an arm breaking, right? And that's typically
1:00
a tree branch breaking,
1:02
yeah? Remember the lasers and Star Wars were hitting the sides
1:05
of those, the industrial wires, the guy wires holding up
1:08
telephone poles. Yeah. So I've got a friend in Hollywood,
1:11
George. He's a great drummer, and he's been doing Foley for
1:14
2025, years, and
1:17
he gets paid to, you know, we need you know, you watch like
1:21
the classic scene where Hugh Jackman playing Wolverine, and
1:26
it's for the movie Logan, yeah, and it's his last it's going up
1:29
leading up to the end of the movie, and he's running through
1:31
the forest and everything they had to overdub in a studio, his
1:35
reenactment of screaming and all this other stuff. Yeah, not
1:39
crazy.
1:39
Gotta be perfectly in time. You have to have great timing, like
1:42
a comedian or a drummer. And so, you know, George is a drummer,
1:45
so she makes him I mean, obviously, the funny thing is,
1:48
is that I'd like to do some Foley, and he wants to jump on a
1:52
bus and take the music to the people. The grass is always
1:54
greener, isn't it? Isn't it interesting human nature,
1:57
dude, when I first met you, and way back when Johnny Rabb was
2:02
also a part of the that, like the grouping, I met a lot of
2:07
drummers around that time, and it was kind of really cool,
2:09
because you let it off when we met in 22,008 2008 and then I
2:14
reached, I don't know, I think I we did your vid SIG, and that
2:17
led to the front men doing theirs, because I saw what I did
2:21
with you, and Reggie did his. So I think Johnny Rabb saw it. And
2:25
those, for those of you are listening, you are listening to
2:27
the mostly Middle Tennessee business podcast where we talk
2:29
to middle tennis Tennessee business owners, entrepreneurs
2:32
and people who can't get a word out of their mouth regularly,
2:36
regularly, and Rich and I have been friends going on 18 years,
2:42
I would say at this point, yeah,
2:43
cuz we were basing it on your son having his 17th birthday.
2:46
Yeah, yeah, correct. He doesn't do anything fun, like a pin the
2:49
tail on the donkey
2:50
kind of a thing. No, you 17, you know typically don't do those
2:53
things anymore. At 17,
2:54
you are typically not wanting to hang out with adults.
2:59
He's, he's good, he's, he's coming around. He's still kind
3:03
of like he's 17. You know how it goes. He's, we're going to do
3:08
something fun with him. I think tomorrow night, nice, yeah,
3:10
because he wants to, you know, have no obligation of school the
3:13
next day. Don Arturo's, I don't know, whatever he wants to do.
3:17
We kind of had dinner. He, you know, he wanted Cracker Barrel,
3:20
because that's
3:21
where he works. Here in spring, Hill in, yeah, yep, the
3:25
crossings, wow. Okay, so we are doing a podcast tomorrow from
3:28
like, probably, like five to 615 or so, yeah, so I'll come crash
3:34
it. Come say hi to the birthday boy. Let me know where you guys
3:36
end up. I'll let you, especially if you end up at like,
3:38
Frankie's, or
3:40
if we even go out, yeah, we don't like really, mean, we've
3:43
gone out this past weekend with the most we've ever gone out in
3:46
a long time.
3:46
You guys beefed up your backyard. You You know,
3:49
you got the pergola. It's nice. Fire Pit, the grill, the fire
3:53
pits, major selling point.
3:55
But getting back to, you know, back when I met you, you kind of
4:00
led that effort into me getting to know like drum heroes, right?
4:06
Yeah, not that you know, Johnny Rabb wasn't exactly a huge
4:09
influential drum hero to me, but an amazing drummer, nonetheless,
4:13
fantastic any innovator, inventor, entrepreneur, author,
4:18
author, he Geez, you know, amazing teacher. And for those,
4:23
again, those of you listening, look up Johnny Rabb. Look him up
4:25
on YouTube. You'll be blown away with his technique and just the
4:28
stuff he can do on a drum. But he, he said the same thing. He
4:33
wanted to do more of what you were doing, and you wanted to do
4:36
more what he was doing in terms of
4:38
clinics. And we ended up doing that because then following his
4:41
lead, I was like, Wow, this guy's writing books, and he's a
4:44
major clinician, doing that all the time. So I leaned into that
4:47
and built that, and then he ended up doing less of that, and
4:52
then getting an awesome gig for, I think, maybe a decade now,
4:55
with collective soul, which I cannot even believe, because
4:57
that's an amazing song book, that's an amazing body. Work,
5:00
and you know, they're playing
5:03
mostly, yeah, that's right, great. Which is the business of
5:09
musicianship, and specifically drummers these days, you gotta,
5:13
you gotta be kind of an octopus. You got to think outside the
5:16
box. Because it's funny, since you've come to Nashville in 1997
5:23
you're good, Jim, you
5:28
did all things you you knew how you didn't really have we
5:31
didn't. The Internet wasn't as pervasive back then, certainly
5:34
not social media. Look at him. He's doing Foley again. What
5:37
sound is that
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could be a shaker and, like, a nine inch nail song, if you
5:43
like, like, Lo Fi it,
5:46
you're kind of doing the, yeah, if you take it out, that's,
5:49
that's a a filter of sorts, yeah, dropping out the low end
5:52
and kicking up the high. You know that you're basically
5:56
opening and closing a top
5:58
of a fun facing you, because on my show, I'm usually in this
6:01
chair, yeah? And I got more of a side angle. I
6:03
like to have you facing the guest. Yeah, I know this is
6:06
great. I'm just the guy chiming in from time to time. I'm the
6:08
idiot.
6:10
You're the robin Howard.
6:13
Yeah, that's what I am. You're but back when you started in
6:17
1997 things were a lot, a lot different. You know, you had to
6:21
actually have demos on CD. I'm pretty sure, did you have
6:24
cassettes or CDs? Back then
6:26
I moved to town with 400 cassette demos, rich Redmond
6:31
drums and percussion,
6:32
and it's like, right there you were, like, behind the
6:34
technological curve, my goodness, because, I mean, were
6:38
there people like cassette players are being phased out by,
6:41
well, quickly, I quickly, yeah, got a bunch of CDs, CDs, and
6:46
then you
6:46
get a DVD reel happening, right? And then before long, you and I
6:51
are on MySpace. We're meeting via my space, and then Facebook
6:55
opened to the public in 2007 I remember sitting in salmon zo's
7:00
The day it opened to the public, and I said, I better get on this
7:03
thing. Somebody just told me, get on this.
7:05
You get on MySpace. You're going to meet Jim McCarthy. Your
7:08
life's going to change forever. Well, you have been a great
7:11
maybe for the better, maybe for the worst. That's yet to be
7:14
seen. I
7:14
probably no. I probably stole a lot of either, you know, because
7:17
you have a, you know, you're a voiceover artist, but you know,
7:21
you have guys like Mark Hamill that have like 100 variations
7:25
on, like, some cartoon voices, and that's his angle, and your
7:27
angle is more, you know, sound and radio, softer, hard sales,
7:32
Monster Truck radio. So, you know, I stole a lot of things
7:35
from you, like the, you know.com, you know what I mean,
7:38
the.com Yeah, the fall offs and the Gary love Vox. Yeah, we did
7:42
that back. That's right, we did my last paid voiceover job was
7:47
doing a Live Nation tour commercial for Gary levox.com
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I don't know my last
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one was, pull it
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up. You have it on cassette? No, I haven't.
8:00
It's it's really compelling, great stuff. So much fun. And
8:04
you, can you believe? Thank you for calling APCO. We are
8:07
currently closed. Please leave a message.
8:09
Is that a hamburger gig, or a steak gig? APCO, I believe is,
8:14
oh, it's certainly a hamburger, yeah, but it's steady.
8:17
You know, it sounds good. Is getting some nice grass fed
8:23
beef. And we
8:26
should probably reference what that means. So grass fed is
8:30
hamburger versus steak.
8:31
Oh God, gotcha, yeah, gotcha in this industry, is that because
8:35
you
8:35
actually you could, you could probably talk about that,
8:37
because in the beginning, getting to what you were you
8:39
wanted to do, and getting to your current gig, yeah, you had
8:42
to take steak gigs, which were nice when they came along, and
8:45
then the hamburger gigs were would add up and pay the bills.
8:49
Yeah, right, yeah.
8:50
As creatives, you know, we monetize our creativity. And you
8:53
know, sometimes you're playing at, you know, Douglas corner
8:56
for, you know, $50 and then sometimes you're on the tour bus
9:01
with a major label artist and their first single is out, and
9:04
you're making $500 but you say, we said yes to everything,
9:07
yeah, because you kind of had to back then, because it was a lot
9:10
more a lot more difficult to get your name out there and spread
9:14
your seed, a lot easier now, with the advent of social media,
9:18
easier, dare I say you still have to figure out what the
9:21
algorithm feels like doing at that particular moment. What
9:25
hashtags are you using? Is it being collaborated? Is you? Are
9:29
you getting people sharing it? What's, you know, what's ticking
9:33
the box of the American culture to help them get your stuff out?
9:38
You know, that seems to be the biggest question these days,
9:40
back then, it was just all about, get your name out there.
9:44
Yeah, you know, however you can get it out there. So that meant
9:47
going down to Broadway. That meant, you know, rubbing out,
9:51
rubbing elbows with everybody,
9:52
crashing parties, going to drummer's hangs, going to
9:55
writers nights, telling writers that you like their material,
9:58
giving them a card and saying, Hey, next time you. Do this,
10:00
I'll bring my cajon or my jimbe, and then, you know, this is
10:03
Nashville, songwriting capital the world. Songwriters lead the
10:06
culture here, because without a three chords in the truth and a
10:10
story being told, and then there's no need for a drummer, a
10:14
producer, session musicians, a live band, chefs, social media,
10:19
managers, day to day to day, managers, labels, none of that
10:22
stuff. You gotta have a song first. But no, you know, social
10:26
media you can use to open, to crack a door, but then you gotta
10:30
walk through that door and try to physically connect with those
10:32
people in real life. And that's what I tried to make, make a
10:35
habit of, like, use social media to create awareness. Yeah, and
10:39
then actually, in the real world,
10:43
hit him up on the DMS, yeah, which is a lot of what I do to
10:48
get to podcast guests of that nature, starting that
10:51
relationship in a very authentic way, very genuine approach. You
10:57
know, not like how we get hit up on LinkedIn these days. What's
11:00
your LinkedIn game like when you people are inboxing you? Well, I
11:03
wanted to ask you about LinkedIn because I swear I have been on
11:06
LinkedIn for probably 15 or 16 years, and very, very, very
11:10
rarely. I actually don't even know if I've ever gotten a job
11:13
from LinkedIn, but it just seems like it creates awareness, and
11:16
then my the expectation is to have one, especially since I'm a
11:21
speaker and an author on that side of things, you're expected
11:25
to have a LinkedIn page, right? I do better business on the
11:28
other social platforms,
11:31
but my inbox in LinkedIn
11:35
is, Hi, would you like to be in the top 50 people under 60?
11:39
Yeah. Thanks for accepting my request. Let me hit you with
11:43
three pages of my pitch that I'm sure you're going to read, yeah,
11:46
because I'm so intriguing, though.
11:48
And the fake profiles, you know, from Malaysia, and you're like,
11:51
I don't know this
11:52
person, right? Broken English, do you get the ones that like,
11:55
they'll, they'll send you a message, and then a day or two
11:58
later, Hey, did you get my message? Why aren't you
12:00
responding? You know that they're like, that aggressive?
12:03
Well, you
12:03
know what's, what's really interesting is like, you know,
12:05
whenever I am like, I use you as a gage for authenticity, and
12:10
like to check, to check the gage on potential projects. So I get
12:15
hit up all the time for these interesting podcast shows, and
12:18
they're like, it's a, it's a Facebook Live podcast that pays
12:22
$3,000 who's got a budget of $3,000 to pay multiple guests?
12:27
Surely, they're trying to scam you and get your bank
12:29
information right.
12:30
You know, that's good. That's why I said, you know, my advice
12:33
was, well, if they have you on and you have to give any sort of
12:38
credit card or anything, or hey, you know, we're going to overpay
12:41
you and then refund the money. What you know, you just refund
12:44
it to us. Yeah, that's
12:44
giving you. My thing is, I'm just not going to respond,
12:48
because it just doesn't seem legit. And if I don't know the
12:52
guest, and I don't know the host, and they don't have much
12:54
of a following, I can't find much information on them,
12:56
they're just going to ask me whatever they want to ask me.
12:59
And I want to have a better read on who's asking me questions,
13:02
because in my line of work, I could be expected to answer on
13:07
behalf of a whole host of people that I would not be comfortable
13:10
ever talking about, right? You know,
13:12
right? It makes sense, yeah. But I mean getting going back to our
13:15
original conversation, getting here, 9798 99 oh, yeah, to now.
13:20
You know, with somebody new coming to town, Broadway has
13:26
become a highly coveted gig. Yeah, so here in Nashville, for
13:30
those of you who are listening outside the area, they call it
13:32
lower broad basically, it's turned into a giant tourist
13:36
destination, bachelorettes on pedal taverns. Why am I talking
13:41
like,
13:42
hey, China, China.
13:45
Other things, you know, hot tub, busses, a bunch of women on
13:49
there, and wedding dresses and stuff, wooing away a lot of
13:53
people. I think that Friday and Saturday nights they shut down
13:56
lower, broad, so it's pedestrian
13:57
only, kind of like Sixth Street in Austin did that for years and
14:00
years and years.
14:01
Yeah, it's a good idea because, I mean, it's attracting more
14:03
tourists, and it's better for the city Beale Street, but, I
14:06
mean, those guys, when you came here, Broadway was like stone,
14:11
but you had to cut your teeth at least be abandoned the window
14:14
places to go play. You know how much for the drummer in the
14:16
window? You know, I played in Legends with this girl named
14:19
Christy cook. And she, of course, wore the super, super,
14:23
super, super short Daisy Dukes way up high. So, you know, her
14:27
cheeks were hanging out. And everybody would pass by, and
14:29
they would like, they would come in. It's like, what do you want
14:31
to hear? You're cheating heart. Tammy Wynette, so it was good.
14:33
That was good training. And you know, my buddy, Jim Riley, you
14:36
know, 20 years as the band leader for the rascal flats. You
14:39
know, we went, we kind of went to college, into the same
14:41
college, and kind of kicked around Dallas together, ended up
14:44
in Nashville, and that was just the thing to do. You went you
14:46
went down there, you played the song book, you advertised your
14:49
wares, which was, you know, trying to play nice musical
14:52
drums, and hopefully you had a firm handshake, just trying to
14:56
shake trees and see what happened.
14:58
But prior to this, you were in Texas. Dallas in Dallas, right?
15:01
Amazing music scene. To this day, some of the best cover
15:05
bands in the world are in Dallas, Texas, because there's
15:08
just this incredible host of musicians that go to, you know,
15:12
the University of North Texas, this small, little sleepy town
15:15
Denton, Texas that just cranks out world class musicians, you
15:19
know, and those musicians to earn extra money will go work in
15:24
the Dallas clubs in the evenings, or after graduating,
15:27
they'll kick around Dallas for a year or two, save some money
15:30
before they move to New York, LA or Nashville. And that's kind of
15:32
what I did, and and I knew that I had to get out of town because
15:35
I got wind that my professor, Ed Soph was like Redmond's still in
15:39
town, because I was down in Dallas playing in the club's
15:41
killer top 40 band called random access. He's like, Redmond,
15:44
still, he's got to get out of here. He's not getting any
15:47
younger, you know,
15:48
like 23 at the time, 26 yeah, getting any younger for
15:52
Coronavirus, yeah. But 26 becomes 30, really fast. Oh,
15:56
yeah, as we all know. But you know, you you come to town from
15:59
that situation, because I played in cover bands in Connecticut,
16:02
yeah, and I think we talked about, I mean, what did you get
16:04
for a gig in Dallas, on average?
16:06
Back then, in 1995
16:09
the nightclubs paid 75 or 80 bucks, a man, a man. And then
16:14
that's for how long, for corporate parties would pay
16:16
about 150 $175 and you have a chance at, you know, getting a
16:21
slice of, you know, the bachelor cake, the Groom's Cake, right?
16:24
And then some shrimp, maybe some greasy tortellini. But you're
16:27
talking about five, six hours of working, oh, yeah, because the
16:31
nightclubs, you'd have to load in in the afternoon, so that
16:34
kind of ate up your whole day. You'd have to go before the
16:37
dinner crowd, set up your kit, and then the then the Nike. The
16:41
gig would be from like, 10 to two. Oh, wow, late night. And
16:46
then after, after you break down your drums and kibbutz and high
16:49
five and make your money, and then drive home, you know, it
16:53
took everything in your power not to stop at the Whataburger,
16:56
yeah, you know. And then you're in bed by four in the morning.
16:58
And then I might have a music theory class at eight in the
17:00
morning. That's a 12 hour day. It's a long day to make, so if
17:04
you start crunching 80 bucks. So what was I making? $8 an hour,
17:09
$7 an hour, yeah, but it wasn't about the money. It was about
17:13
the 1000s. It was about the experience that was leading to
17:16
the 10s of 1000s of hours of experience. Connecticut.
17:19
Dude, we got paid. I think I think I made 175
17:24
to 225 on average in a cover band. Yeah, just outside of New
17:28
York.
17:29
Maybe it was saturated in Dallas. So the musicians were
17:32
plus, I will say that that's true. A lot of the nightclubs
17:35
there had live music seven nights a week, yeah, from 10 to
17:40
two, right? You know. So you bait a lot of competition, and
17:43
then big, you know, charismatic churches, you know, I played in
17:46
Robert tilton's House bands. You know, the guy that spoke in
17:48
tongues on TV. I was in his band. There was jazz brunches,
17:53
there'd be Wednesday night church services. There'd be some
17:55
killer big bands in Dallas, the Dallas jazz orchestra, the
17:57
collection Jazz Orchestra, cool rooms like strictly taboo, where
18:01
you would play cool smooth jazz, you know, like Kenny G and Jeff
18:06
Lorber fusion. And it was a really cool scene. There was,
18:11
like a soul funk scene. There was this original music thing
18:14
happening down in Deep Ellum. There's a section of town called
18:17
Deep Ellum where, like Edie Bucha and the new Bohemians were
18:21
kind of formed. So Dallas is always going to have a great
18:23
music scene because of the the the schools that are in the
18:27
area, just like Nashville. Nashville, we got TCU, we got
18:30
MTSU, we got Vandy, we got Belmont. We got, it's a whole
18:35
three school of rocks. We got two Bucha rocks. We got, it's
18:38
just a music
18:39
intensive city, yeah. So you got a lot of competition here,
18:43
totally. But the funny thing is, you know, you met my brother
18:46
this past weekend. We hung out for a bit. He's like, I just
18:49
don't like the whole notion of, you know, if I were to move
18:52
here, and he's an experienced, seasoned musician, piano player,
18:56
getting on Broadway and begging for money. And I'm like, But
18:58
dude, you know, you're in a different a lot of these are
19:01
people trying to get broken into the business and find a cool day
19:08
job. He's a lawyer. He's a lawyer, and he can, he could pay
19:10
his bills. And I'm like, you could do this, like, literally,
19:13
as a leisurely hobby. He's like, TMZ Harvey, right? I'm a lawyer,
19:17
right? Yeah. And maybe I should, even, you know, be a lawyer for
19:21
the industry itself. Yeah, give him a fresh pair of eyes. But
19:24
it sounds like he's got another chapter and city planned.
19:29
Yeah, he's kind of looking towards different, you know,
19:31
Southern cities. I told him that he's going to be a halfback. He
19:34
goes, What's a half pack? I said, all the people from, like,
19:36
northern states, I think Florida is great. And then they realize
19:39
they get down there, they're there for six months, and this
19:41
is a place better visited than lived. And then they make their
19:44
way halfway back to North Carolina. Or interesting,
19:47
yeah, because my parents have been in Florida for a very long
19:50
time. They went down there to take care of my aging
19:52
grandparents and but that makes sense for them. Just stayed,
19:55
yeah. I mean, you get the vitamin D. It's wonderful. You
19:57
can't go outside in the month of July. Lie in Florida, and, you
20:02
know, you've got mosquitoes and gators. You know, gators is kind
20:06
of fun, you know, because it's like, wow, it's just like,
20:08
dinosaurs are still roaming among us. But they also have
20:11
these things called the no see UMS. There's these little
20:14
annoying bugs that make sitting outside and enjoying the
20:17
outdoors, like, nearly impossible. Really, you got to,
20:20
just, like, cover yourself with, you know, off, to just exist in
20:25
Florida.
20:26
So, yeah, he's looking towards Florida, which I told him, I
20:30
said, you're going to be a half back. Yeah, you're gonna, you're
20:32
gonna be over it in three to six months. Or you could just bypass
20:35
all that and move here with your little brother and, you know,
20:38
we're the only family we have left of each other. Let's, let's
20:40
hang out, man, let's make it. Let's work together and buy a
20:44
place in Florida that we can go to and share. We could visit on
20:49
a regular
20:49
Well, Jim, you're very persuasive. And maybe he'll,
20:52
hopefully he'd the call, but he was all,
20:53
he was kind of like, up, and he's like, I just don't want to
20:56
pass a bucket around on Broadway.
20:57
And he doesn't have to do that. Hey, believe me, if I ever
20:59
played blower Broadway again, I would hopefully curate the
21:02
playlist, curate the musicians, and we would get an attractive
21:05
woman to go, like, with the bucket, right? I would never do
21:09
that. It's almost, it's almost like patreon.com you and I can
21:12
have patreon.com on our podcast, but it seems like we're just
21:17
patronizing. We're just why they call it
21:19
Patreon, yes, but you know, it's, in a way, it's not really
21:22
patronizing. You're saying, Hey, we're not funding anything.
21:26
We're not being funded by anybody. We're not you don't
21:28
hear any commercials on this thing? Yeah? Help us support
21:30
it. Well, the most common pitch on that angle is a this thing
21:36
requires massive amounts of work and our time, so please help us
21:40
out. Right? Yeah, that's a
21:41
good pitch. Yeah, getting back the whole Broadway thing, yeah,
21:45
when you came here, it was a ghost town, kind of like a pain
21:48
in the butt, I guess to, you know, well, I guess I'll do it.
21:50
You know, it sounds really, you had to really. You were working
21:53
for peanuts at that point,
21:54
but no how we were excited to do it. Jim and the parking was
21:57
free. I would park way up at the church on the top of Broadway,
22:00
right, right, right by the Bridgestone. And I had a little
22:02
rock and roller cart with my cymbals and my pedal and my
22:04
snare drum and my sticks and then my tools and parts, just
22:08
because, you know, the wing nuts and everything would be walking
22:10
away all the time. You go on, go down there. You get down there
22:13
early, you set up. You just ready for anything. You're just
22:17
in your I mean, what? This was an amazing time.
22:20
Do you remember like really being in the moment then and
22:23
saying, I need to enjoy this? Were you cognizant of that?
22:26
Absolutely not really, because you were always looking forward
22:30
to the next thing, and
22:31
that's, that's our that's our disease. In the human condition,
22:34
you have to really be self aware and have just some, just some
22:42
spiritual training to like, you know, know that, hey, life goes
22:46
by fast, and there's only one now. So I should just enjoy
22:51
this. No matter what is happening. I'm enjoying the heck
22:53
out of this sparkling ice. I'm sure it's filled with aspartame,
22:56
but like, I'm just enjoying this. I'm enjoying this time
22:58
together. And, you know, we're, we're here now, now we look at
23:03
it that way, but back then, no, you're like, Dude, I gotta make
23:05
something myself. Oh my god, I'm out the
23:07
rush. It's like, oh my god, I gotta get it done. I gotta get
23:10
done. I remember that being like that in radio. Yeah, I spent
23:12
three years at i 95 I need, I gotta find, I gotta move on.
23:15
It's time. I gotta move. I gotta show that I'm, you know, making
23:19
moves and moving up the ladder and get a gig, and
23:22
then you want a better gig, and you want to gig that has more
23:24
dates, and gig has more visibility, and then a gig that
23:27
pays better, and go, my God, I need a gig where they have w2 so
23:30
I can buy a house. And then, you know, and
23:33
then you all of a sudden, you, you've had a couple of different
23:36
you were, you backed some pretty big artists. Yeah, the biggest
23:40
one to date had was a seven year play, which I find out, like we
23:44
just, you know, we've had on the other podcast I produced. We had
23:46
Michael Knox, the producer for Mr. Aldean. That was a great
23:49
episode. Did you listen to that one? Yeah. And I texted Michael
23:51
afterwards, and I said, I just wanted to thank you again. And
23:54
then a couple of days later, I saw him because he had basically
23:57
hired al Dean's band to come and play on this new kids record.
24:00
Tim Dunc, Tim Duggar on curb records, yeah, it's always great
24:04
to have that team together, but that team wouldn't be together
24:06
unless, you know, there wasn't a Michael Knox to, you know,
24:09
believe in everybody. The
24:10
vision that guy must have had, and the tenacity, that's what
24:13
I'd love to have and talk to him about on this podcast, if he's
24:17
listening, is that, look, I want to know about the days you woke
24:20
up and you wanted to quit. I'm
24:22
supposed to connect you guys. So, yeah, good. I forgot it's on
24:24
my to do list. I
24:25
mean that that that is interesting to me, but I keep on
24:28
like, tangent city right now. It's funny because Broadway,
24:31
getting back to Broadway in the beginning, you were excited to
24:35
do it, and the excitement kind of compensated for the lack of
24:38
compensation. Because I remember what that felt like in radio. It
24:41
was like Courtney and I were talking about it the other
24:43
night. I said it wasn't a great paying gig, but man, the
24:46
experiences we had, you know, the people we met and all the
24:49
fun things we were able to do were great for that time in our
24:52
life, until we finally had to get serious and make some real
24:55
money. But for you, I guess it was kind of similar, because now
24:59
you. Broadway is extremely like, you really, you're gonna be
25:03
excited if you got a gig on Broadway. Now, I think, because
25:06
it pays so much better, there's so many more people down
25:10
there, it's just exciting down there, you know, like, I don't
25:13
make a habit of going down there, and usually, unless I
25:17
have out of towners, and we'll go honky Tonkin, and we'll make
25:19
a day of it. And I'm definitely going to go to laylas. I'm
25:22
definitely going to go to Roberts. There's, like, certain,
25:24
certain spots where I just like, wow, this is just, I mean,
25:28
Robert's western world is the greatest Honky Tonk on the
25:30
planet.
25:31
20 years in this town, I've never stepped foot in that.
25:33
We're going to go, we should go.
25:35
We'll get, we'll get our fried bologna sandwich with the, you
25:39
know, the crinkle fries and a Coors originally serve food
25:43
there, I guess they do. Yeah, really good food. There's like,
25:45
a short order guy, really, yeah, it's like a greasy burger. We'll
25:48
have to go. It's dirt cheap,
25:51
you know. Yeah, that sounds appealing. Now, we probably
25:54
should have done that this past Sunday with my brother. Oh,
25:56
they would have, because it's literally, like walking back
25:58
into 1955 Yeah, a
26:00
lot of the old school country you're going to hear is
26:04
in that tootsies, tootsies, tootsies is the only room I have
26:09
an old school room. I've never played in Nashville, in the
26:12
front room. I've played in the back room or from the front
26:14
room, where you're like, right in that little, tiny, little
26:16
window. Haven't, haven't done that, really, haven't
26:20
even sat in there ever. You've never played toads place either.
26:22
And
26:23
I have, I know, buddy, it's amazing,
26:26
right by Yale University. Who knows Yale's got a school of
26:29
music. Maybe I'll do a clinic there. I think it's very
26:32
classical, you know, right? I don't know if they have a jazz
26:37
program,
26:37
but you always had a bucket list. You knew exactly what you
26:40
wanted to do, you know, again, Broadway is a different beast.
26:44
Now for those people coming in, still a good place to kind of
26:48
shake hands and kiss babies, rub elbows with other music industry
26:52
types, I would think, but probably a lot more tourists,
26:54
yeah, but don't, also, don't make a career out of it, yeah,
26:57
you know, I mean, don't, don't, don't,
26:59
you know, I'd be fine. You know, if we did a, if I did a gig at,
27:02
you know, I kind of whatever I felt like doing it, maybe a
27:05
Sunday afternoon, and I knew the songs I would do it. It's like,
27:07
it's not important for me as a drummer right now to be doing
27:10
what you do, you know, yeah, it's just, I tell people, I
27:14
said, I'm glad I met you, because it's not really, I'm not
27:17
sure if it was a life I would, I would be matched for. Oh,
27:20
yeah, you were telling me you didn't necessarily want to wake
27:23
up in a different city every day. And there's something to me
27:25
is like, I love there's like a troubadour in me, you know, I
27:28
don't necessarily have a guitar strapped to my back and I'm
27:31
walking down the railroad tracks to the next gig, you know, but
27:34
the idea of, you know, getting on a bus with my friends and we
27:38
play some great music, and then wake up in another city The next
27:40
morning, and, you know, there's a chef inside. He and I said,
27:43
Can I get, you know, three over medium eggs? And he makes them
27:46
for me. I mean, I kind of like it. What's an over medium egg?
27:50
Over medium is where the whites are done completely, but you can
27:52
still crack the
27:53
yellow. Oh, okay, yeah, isn't that kind of like over easy? No,
27:57
over easy. There might be some white slime. That's
28:00
not okay. And it's the same guy every day, and he knows
28:03
exactly now it's different. We have carried caterers with us,
28:06
but we have realized that for some reason, sometimes the
28:10
quality control is better having a different chef in every city,
28:14
because they're just trying to impress you for that one.
28:16
Oh, wow. Good strategy. Interesting. Yeah. So they show
28:20
up. Tell me about, like, a day you're out on you're going to be
28:23
on tour in a couple of weeks. Can wait for the big summer
28:26
tour. Yep. What's you get out there? You know, you get, you
28:30
have bus call at night. What's your what do you do? You get on
28:34
there. You just kind of hang out.
28:35
And so we meet at the Walmart Supercenter, yeah. And then, you
28:38
know, you get out of your bus, you load your luggage into the
28:41
car. You hang your, you know, your your your show shirts in
28:43
the back curtain. You set up your little bunk, plug in your
28:46
plug in your iPhone. You set up your little world. You take your
28:49
shoes off. You know your space, yeah, it's our little on the
28:52
submarine. You know that your coffin, your little coffin,
28:55
right? And it's, it's a very I love it. Some guys don't like
28:58
it.
28:58
What if you have a CPAP? Anybody have a CPAP on the bus? Not yet?
29:02
No. Where do you put the CPAP if you have that would be so bad.
29:08
Seriously, I'd be hanging out in the hallway, or it'd be pushed
29:12
up against the wall of the bus. It'd be very uncommon. There's
29:16
no nightstands next to your bed? No, yeah. It's as you it's body
29:19
size.
29:20
Yeah. So, you know, you kibbutz with everybody, catch up with
29:22
everybody. You know, the you know, and you know, we're My
29:25
guys are older now, and they got kids, and they're used to
29:27
getting up at six in the morning, so they might be right
29:29
in the bunk immediately, right? You know, sleeping. But I might
29:32
have to wind down a little bit. I might have to watch a scary
29:35
movie on the satellite. And hopefully, you know, the the
29:37
buffering and everything is good, because it is a satellite,
29:40
and sometimes you'll, like, get a glitch. And it's the most
29:42
incredible part, all right? This is where the chest bursters
29:44
coming out, and then it just just pixelates, and then it
29:47
freezes there, and then five miles down the road, it comes on
29:50
again. Oh,
29:50
good, yeah, it's rough. So you're out in the general area
29:54
watching TV on the sofa, whatever, and just rolling down,
29:57
or am I going to my bunk and getting my iPad, and then I. Of
30:00
course, you can download things from Netflix and, yeah, all
30:02
that. So I might do the thing with the ears and the iPad. I
30:05
mean, it's, it's, it's easy living man, you know. And then,
30:08
you know, set my alarm for the next day. All right, typically,
30:11
is what we're gonna wake up and say, We're gonna wake up in
30:14
North Carolina, the bus is gonna, you look at your mileage,
30:17
oh, the bus is gonna pull in around 730 in the morning. I'm
30:20
gonna, let's see, it's one o'clock now. I'm gonna get up at
30:23
9am right? Because, really, I don't have to do anything until
30:25
sound check at three in the afternoon, right? Johnny's got
30:28
my back, setting up the drums and all that kind of stuff. So
30:31
the first thing I'll do as I get up, I probably go and get some
30:34
get some eggs to order, and then I'm off to the gym somewhere.
30:37
But if we're in the middle of nowhere festival, I carry in the
30:40
bay of the bus, a weight bench, weights, a Bosu bands, jump
30:45
ropes, all the stuff to make a little mobile gym. And I got a
30:48
little Bluetooth player, and I get my Gatorade zero and a bunch
30:51
of cold waters, and kind of give it hell. Get that out of the
30:54
way. Shower up, maybe go break bread, lunch with somebody. Of
30:59
course, I've got this wonderful street team of people around the
31:02
nation who I've met for all these 20 plus years of touring.
31:04
So they remember, like, hey, Redmond, I see you're gonna be
31:07
in town tomorrow. I'm gonna All right, so I'll pull on at 730
31:09
come pick me up at, you know, 10am they pick me up and they
31:11
take me to the nice coffee shop. We go get some coffee shop food.
31:14
A big fan of coffee shop food, and catch up with that person.
31:19
They drop me off at the venue, we do the sound check. Then, you
31:26
know, break bread with the band. We have the thing called the 501
31:28
club. So at 501 we all go in, we try to break bread together as
31:32
our little road family, and it's just time together. And then
31:35
it's time to shower and such. And then we have an acoustic
31:37
show. You're showering twice a day, sometimes three times a
31:40
day, really, yeah. And then we go ask that question. We do an
31:45
acoustic show, yeah, for these, for the VIP high rollers, they
31:48
pay a little extra money, and they'll get to see Jason answer
31:52
four or five questions, and us play three songs, and I have
31:55
this little cajon rig that I can play with my hands and a pedal
31:58
and sticks and brushes and stuff. And it's kind of really
32:00
fun. And then that brings us to about 7:45pm I get the sticks in
32:04
my hands, and it's more kibitzing, and potentially walk
32:07
watching the opening acts at the beginning of the tour. I always
32:11
like to take pictures and video of the opening act. Drummers.
32:13
Just let them know. Hey, man, we got solidarity. I got your back.
32:16
I'll get some videos of you that you can use on the socials.
32:19
Maybe you'll do the same for me. Yeah, go out there, do our show.
32:23
After the show, you get off stage at 11pm you're drenched in
32:26
sweat. Definitely time for another shower. It'd be cool
32:29
down with the guys a bit. You know, we're cutting it's a lot
32:31
of very social life, yeah, highly social, you know.
32:36
And do the same thing again in a different city, they do the same
32:39
thing again. But
32:40
maybe I have a clinic. Maybe it's a Saturday, right, and
32:42
they're picking me up at 9am and then it's 45 minutes away the
32:47
drum shop or the high school or wherever is 45 minutes away. And
32:50
then hopefully, you know, I send them a nice little writer that
32:53
says, I like these drums. I let them set set up this way. I like
32:56
them to sound this way. I just want to pull in with my laptop
33:00
and my ears plug in, maybe tweak the drums a little bit, and then
33:02
I could do and I could do some teaching. I could do some
33:04
lessons, I could do a masterclass. I could do a
33:06
clinic, and I might do a midday corporate speech, you know, for
33:11
like, a chamber of commerce or something like that. And then
33:14
they'll get me back, hopefully in time for the sound check,
33:17
right? And I always try to be there an hour before downbeat,
33:21
right? And then it's, you know, more of the same. So it's all a
33:24
variation on what I'm eating, who I'm visiting, am I teaching?
33:30
Let me get the workout in and then execute that show. You
33:34
know, no matter what is going on, you got to play those 24
33:38
shows, 24 songs, I guess, the last time you're ever going to
33:41
play. Yeah, it might be. Here's
33:44
your life today. Yeah, this is a highly coveted life that a lot
33:47
of musicians would love to have, and probably kill to have. That
33:51
you're coming to Nashville. Are they putting it? Putting
33:53
yourself it can be done. Obviously, you getting back to,
33:57
you know, let's say 2000 2001 you're still here. You're
34:01
grinding it out, you're figuring out the system and stuff like
34:04
that. You've already met Jason 99 I believe 99 Yeah, you know
34:09
all of you, he was probably just like, I'm gonna dare say that a
34:14
lot of the artists, as a musician, if you're an artist,
34:16
you got to look at it. My lottery ticket is me, right, and
34:21
it's either going to win or it's going to fail. And I could
34:24
probably get into other areas of the music business, but I'm
34:27
going to try my shot. I'm taking my shot at being a big artist.
34:31
I'm going to play the big gamble. So to speak with a
34:35
musician, you get to play a bunch of different lottery
34:38
tickets, you know, side person, that kind of thing. Artists are
34:41
like, you know, we got it. You got to spread your seed, get the
34:44
experience the time in the trenches. And hey, one of them
34:48
might hit, you know, Oh, yeah. That's kind of like the the
34:51
odds, in a way. But it's funny, because going back to what we're
34:55
talking about with Mr. Michael Knox and Jason, seven years i.
35:00
That's blows my mind, that they stuck with it. That is a long
35:03
time, deep commitment. Would to have a proof of proof of concept
35:07
in a business idea, and have the faith to see it through amazing
35:11
it's, it's, thank God. It's mind numbing to think about that, you
35:16
know, because you were a part of that journey, but you were also
35:18
doing other things because
35:21
you had to pay the bills, right? Yeah,
35:24
he was a part of your story, but a minute part, you know, because
35:28
you had so many at one point you were playing with, how many
35:30
bands
35:30
we had? 2029, bands in one year, in one year without any zero
35:37
conflict, that's crazy. So that's God saying. I want you to
35:41
get even more experience. I want you to cut your teeth more.
35:44
Yeah, you're not. What was it like, baby? Going to give you
35:49
the big prize yet,
35:50
right? Six years of doing that, though, you had to be like when
35:54
you know I know something's bound to happen. You just had to
35:58
know intrinsically in your gut that I'm destined to be a big
36:02
name in this town, out of this town, in this country, in the
36:05
drumming community, which you have become. But what were the
36:10
days like, where you like, is this really that had to cross
36:12
your mind? Is this really going to happen? Did you have your
36:16
doubts? Did you have those days where you're like, I just, I'm
36:19
freaking exhausted. You know, it's just, it's a grind.
36:22
Even there were days that I called Haagen Dazs, days where
36:24
you kind of range on a pie to Haagen Dazs, because you're just
36:27
like, well, man. But luckily, there was, you know, a bunch of
36:31
true believers, you know, the Michael Knox's and, you know,
36:33
you know, I had Kurt and Tully in my life to kind of lean on,
36:36
because we were kind of like a unit, you know, we had a we, you
36:40
know, we were playing with Jason, we were playing with Tim
36:43
rush low. We were highly coveted, sought after showcase
36:47
band. We were started to do demo sessions together for all sorts
36:50
of publishing companies. We had a rock band called feeling
36:53
Fiona, and we played 12th and Porter and third and Lindsley.
36:56
And so there's a strength in numbers thing that's nice where
37:01
you can kind of lean on other people, and that's right, yeah,
37:04
I tell people that could be a model, that could be a business
37:06
model for you. Yes, it's kind of the music businesses, like every
37:10
man for himself, you against the world kind of thing. But it sure
37:13
is nice to find like minded people that you know, and found
37:16
a tribe. Yeah, yeah. It's nice. So it helps you weather that
37:20
storm, tons of storms. Yeah, it sucks doing it by yourself, and
37:23
it's nice Michael. Michael Knox would be like, Hey, here's a
37:25
gift card, or, Hey, I got lunch covered for you guys today. And,
37:30
you know,
37:31
and is like, you know, he's a rarity in the business too,
37:33
because he's waiting on his return. Yeah, you know, he had
37:37
some pretty big jobs, and it paid the bills, I'm sure, but
37:40
not to the point where he was taking that money and
37:42
reinvesting it into a lottery ticket, essentially, you know, I
37:46
mean, it's, he's continuously pumping it into that. And I just
37:51
know something. I mean, I think the number was 40 showcases you
37:55
guys did, yeah, so many. My gosh, that
37:58
would never happen today. That would never happen today, and it
38:02
would be really rare to find a group of people that would stay
38:05
together for seven years. That's what I'm saying. It would be,
38:10
when was the
38:10
last time? What was, if it didn't happen in seven would you
38:13
was still stuck around for eight, nine or 10? I'm sure.
38:16
I mean, look at the guys like, you know, there's other stories,
38:18
like the ELI young band. Let's just tell it. Say the ELI young
38:20
band, you know, they ended up having a nice couple of kids and
38:23
hits, and they have a good career, but they were kicking
38:25
around all over Texas for about a decade trying to make it
38:29
happen. Gosh, you got to do it for the joy at that point. Got
38:34
to love playing your instrument. Yeah, you know what I mean. No
38:36
matter what happens, I love the physical act of playing my
38:43
instrument, and then how it makes me feel, and then how it
38:48
makes others feel and impacts their life. I mean, it's just
38:53
playing the drums. It's just a win, win. I mean, my whole goal
38:57
in life is to just, you know, keep taking care of myself,
39:00
because it's such a physical instrument, so I could keep
39:02
doing that thing. And I think of the people that are continue to
39:05
doing it at the highest levels. I mean, Louis Belson played to
39:08
the practically the day he died, you know, Roy Haynes was in his
39:12
80s, an amazing jazz drummer. They just, guys are just, I'm a
39:15
lifer. I'm gonna play my instrument till I drop. I have,
39:18
you know, during my speech, I have a, I have a, you know, a
39:21
moment where I go, I'm probably going to go out like this, whoa,
39:23
you know, counting off a song. And that'll be a glorious
39:27
moment, because I will be in my purpose, sitting behind this
39:33
thing that is a physical manifestation of my purpose in
39:36
life. You know, that's nuts, man, because it's
39:41
you really have to enjoy the journey. I love it. You have to
39:43
love my craft, man, yeah, I'm like, when you start thinking of
39:47
like painters, you know these guys that you know, they have to
39:50
rent some place that's big enough for their, their the
39:54
materials that they need. They can throw paint at a wall and
39:58
they just, they're just in. I didn't, I don't know how they're
40:01
paying their bills, and that at some point, some taste maker
40:03
comes along and says, I approve of this, and I will bring this
40:08
to all of my rich friends. And the next thing you know,
40:11
someone's paying $2 million for this piece. And is that artist
40:17
going to probably upgrade his art studio and his quality of
40:21
life, probably, but really it's the focus his reason is, or
40:26
their Why is, its purpose is the painting? Yeah, you know,
40:32
I actually typically try to look up questions.
40:35
Oh, I was going to tell my while I got you here. This was kind of
40:38
an interesting moment. I keep telling people that I'm having a
40:42
midlife crisis. I think I've been having it for 15 years. But
40:45
anyways, I've been going around Nashville and going to old
40:49
houses and condos that I have owned or I lived in. So today, I
40:54
was out in Donaldson, Tennessee by the airport, and I have a
40:58
good friend of mine, George Bruner. And George Bruner, he's
41:02
a craftsman. He's a leather worker, and he combines leather
41:04
and metal, and he makes these really nice handmade jewelry.
41:08
And you know, a bunch of rock and rollers wear them. You know,
41:10
Kenny are enough. Where's his stuff? And so anyways, I was, he
41:14
was making a new belt for me that I'm wearing right now, and
41:16
I was looking through this tub of cuffs. And I go, I put this
41:20
one on, and it fits, and he goes, he goes, Oh, man, do you
41:23
realize that I made this for you, but it's for some reason.
41:27
Last time you saw me, you passed on it. But he goes, that metal
41:33
on there is actually a piece of John Wysocki symbol from the
41:37
band stain. So John Wysocki was a member of our community and
41:41
was a good friend of all of ours, and he died about a year
41:44
ago, and this was a part of his symbol. And so for some one
41:47
reason today, I tried this thing on. He goes, he goes, take it,
41:50
man, I made it for you. You didn't take it last time. Let's
41:53
hold it up for the camera. Yeah. So, so this is a piece of John
41:56
Wysocki, God rest his soul, drummers symbol. And so I'm
42:02
wearing this today. Now I can look down and think about our
42:05
friend John. That's great. It's a really interesting so, I
42:09
mean, really like, you know, all the instruments us being
42:11
drummers, we are imprinting our personality on those
42:14
instruments. Yeah, you know,
42:16
Bruner model works. So I went to go see George today. I'll go see
42:19
him, you know, once you're once a year before tour, and to say,
42:23
Hey, you got any new leather? Yeah, you know, you know. I
42:25
mean, I'm a fan of of a dead cow
42:28
all the guy, you know, they say that nice guys finish last, you
42:32
know, I think about a Michael Knox, and he just had the faith
42:38
and the long obedience in the same direction when it came to
42:43
just believing in his artist, you know, and he believed in you
42:46
guys. I, despite all the biggies telling me that, Nah, I just
42:49
don't see anything. I believe in. This thing's gonna pay off
42:53
someday, absolutely, and I'm willing to put the time in.
42:55
Yeah, you on the other hand, you know you being, you know, you're
43:00
a great guy, a nice guy. Everybody loves you, who comes
43:04
across, even everybody that we've had recently on your your
43:07
podcast. It's amazing to me, unprompted, we're not prompting
43:10
them at all. Guys, you go and listen to the rich Redmond show.
43:13
Go check it out. Rich redmond.com forward slash
43:15
podcast. It probably in the last I want to say 567, episodes,
43:22
we've had some of the newer people to town that have made a
43:25
name for themselves, who have literally listened to you and
43:29
absorbed your wisdom and the things that you've had to say
43:32
over the last 20 years, and now they're, they're, you're like,
43:35
they're you're not pro you, they're doing it and that you
43:38
were no These. Nobody's being prompted. Everybody feels
43:41
compelled to like Thank you. We're doing what you did and
43:44
showing us how to do it, and that's starting to come around.
43:47
Now, crazy. It is crazy. It's not, though, because that's what
43:50
you set out to do. You. What was your your card? What did this
43:54
say? What was your mantra when you got here? Remember when we
43:57
talked about
43:57
the first card I ever had when I came to town was
44:01
Vistaprint. You know? Because,
44:02
if so, not a business card, but your yourself, your mantra, oh,
44:06
my mantra is, my purpose in life is to affect people in a
44:10
positive way and change lives. And my
44:13
was it kind of, did you know you were going to do that? Or was it
44:17
kind of like, this is, yeah, this is a lofty goal. If I do
44:20
great. If not, who knows if I'll ever know? Well, you can that
44:23
that validation is happening now. Yeah, it's cool, man.
44:26
That is cool because it is cool to see. You know, like I said,
44:30
you know, I've never had children. I'm always uncle
44:32
Richie. You know, Uncle Richie is the cool uncle, and that's
44:36
great. But I start looking online, and I thinking, Oh, my
44:42
God, oh, I taught that person. I taught that person. I taught
44:44
that person. They took my class. They came to drummers weekend.
44:46
Oh my god. Hundreds of people they have read has really added
44:50
up. And I could look at their careers and go, Wow, they just
44:53
signed with a major rock band. That person just finished
44:55
Berkeley College of Music. That person got accepted to the
44:57
University of North Texas. That person's writing. A Buster
45:00
playing with a hit. Wow, did that person bought a house?
45:04
Yeah, hold for with their drums. And so if I can have any, you
45:09
know, like I said, I'm not a genius, I'm just in my purpose.
45:12
And if there's a ripple effect of a person being in their
45:15
purpose and enjoying what they do and it helps others,
45:19
fantastic, you know, because I am a teacher, I've always been a
45:22
teacher. You know, I have a teacher's heart. I was trained
45:24
to be a teacher. I have my masters in music education. So
45:27
along the lines, you have to write a lot of papers, you have
45:29
to study a lot of pedagogical practices. You have to study
45:32
educational philosophies. And you know, how you might, you
45:36
know, conduct a high school choir or a high school symphonic
45:40
band or score for a marching band, all sorts of things they
45:43
don't necessarily use all the time, but I'm sure glad I did
45:48
it. You know that no one can take that away from me. I mean,
45:51
I hated studying the clarinet. I hated making shapes on a
45:57
football field with a with a marching band, but it was a
46:01
means, it's just because I wanted to be, I wanted to be in
46:04
a rock band. You know, I was 18 years old, and I really wanted
46:08
to be in a rock band. What was all your that's like being a
46:11
comedian, that's about as safe as being a comedian. So my
46:14
parents were like, look at we're going to go to school for four
46:17
years. You're only going to be 2122 years old when you get out
46:21
and you'll have something that no one can take away from you.
46:24
And then, while you're there, jumping through these flaming
46:26
hoops of taking science of sound and studying the bassoon for a
46:31
semester, I got to practice hours and hours every single
46:36
day, and all summer, I'm in the music building at Texas Tech
46:39
University, and I have my professor, Alan Shin, gave me
46:42
one of the beautiful Wenger lockout units that was like had
46:46
AC in it, and I had my set of Remo drums in there, and like
46:49
stacks and stacks of method books and a leases sr 16 going
46:53
through a bass amp, and I could just practice and practice and
46:56
transcribe 12 hours a day and sit in my room and work on my
47:00
cup, slap on the conga, and then get in there, and, you know
47:03
what, I mean, listen to Fusion records, and it was so it was a
47:09
great time in life, you know, was
47:12
it great? Did you realize how great it was at that time,
47:14
still wanted to be out there doing it, you know? Because
47:16
every time a clinician would come into town, or I played in
47:19
the big band at Texas Tech University. And we'd have these
47:22
amazing guys that would come in, like Steve Wiest, who was in,
47:25
you know, Maynard Ferguson's band with Greg Bissonette. He
47:28
would come in, Dennis de Blasio, the guys from the yellow jackets
47:32
would come in. There'd be all these guest artists, and I would
47:35
just be so excited to meet them, because they would always live
47:37
in New York or LA and I'd be like, you know, and I haven't
47:39
really, I hadn't really gotten out of Connecticut or Texas, and
47:43
I was like, What's it like in sunny Los Angeles, and what's it
47:47
like to play on the mean streets of Manhattan? Are you telling me
47:50
you got to move your drums around in a taxi? Will they stop
47:54
for you? Like, what does it pay? Where do you live? Like, it was
47:57
just,
47:58
oh, to me, it sounds like a nightmare. Well,
48:00
you know, looking back on it, it's a young man's game. Yeah,
48:03
you know, I mean, Sean Pelton, you know, 25 years as the
48:05
drummer, was Saturday Night Live. He's like, Man, I lived in
48:07
this, you know, rat infested apartment on the fourth floor,
48:10
and he'd have to schlep his drums. There's no elevator.
48:13
You'd have to, you know, dodge homeless people and people
48:16
taking dumps in the street to get his drums up to his fourth
48:19
floor, you know, studio apartment. And you know, how
48:24
many higher drum sets, how many years later? Yeah, he's the
48:28
contractor for the Saturday Night Live Band. He's played on
48:31
some of the most iconic records of all time, and and he owns, I
48:35
believe it's like an urban legend, two sizable apartments
48:39
in Manhattan. He knocked the wall down, and he got a nice pad
48:44
with a studio, recording studio in his apartment. Good for him
48:48
in Manhattan. Yeah, that is not easily done. Well, he put the
48:52
time in. He put the time in and he got a television job. And
48:55
television jobs pay rate, because there's a union and
49:00
there's residuals, right? So every episode that reruns of
49:05
Saturday Night Live, he's seeing a check
49:08
so, but does he? He's got to be a part of the episode, though,
49:10
at some point, and typically he is. He's on camera,
49:13
he's on camera, and he's on the and he's backing up artists, and
49:17
then that's good. We need to get hit by
49:23
Sean. Would be great. You know,
49:26
when we played SNL in 2017 you know, it was nice. He took the
49:30
time to come backstage and give me a hug and say, I like what
49:33
you're doing. I read your articles in MD, and was he? Did
49:37
he know who you were? Yeah, did you meet him before then
49:40
it's, I'm sure we we knew of each other. Yeah, you know, we
49:44
never personally met. Yeah, we met personally. Then he's like,
49:46
yeah, man, good job. Reach out to him. Was great. He'd be a
49:49
good guy to get out. Yeah, zoom it up. I'd love to talk we got a
49:53
zoom tomorrow with Stan Lynch, the original drummer from Tom
49:57
Petty, 20 years with Tom Petty. I mean, that's going to be and
49:59
I've known. And I've known Stan since in the year 2000 that's
50:04
when I met him, 25 years ago.
50:06
Well, it's 20 longer than 20 years he's he's been Tom Petty's
50:10
drummer the
50:10
entire but I met him in the year 2000 when I was me, Kurt and
50:13
Tully were in the in the house band for the Warner chapel
50:16
songwriting camp, and we basically just sat in the studio
50:20
all day, and Stan would write with Ital Sure, who was this guy
50:24
who wrote and digging for Carlos? Never heard of it. He
50:30
wrote that jewel was there. Robbie Neville was there. You
50:33
know the he had that song, c'est la vie. Say La Vie and Neville
50:37
Brothers, no not rob this is Robbie Neville. He was a pop
50:42
artist in the late 80s. I thought that was,
50:46
say, loving
50:47
I thought Robbie Neville was part of the Neville
50:50
you're thinking about Ian Ian Neville. Ian Neville, and
50:55
there's a guy that had the mole on his leg. They
50:57
were like they were big guys, and they always looked like they
50:59
were squeezing the crap out of the microphone. Yeah,
51:02
yeah. Well, shame on us for shame on us for not remembering
51:06
the Neville Brothers. Aaron Neville. Aaron Neville, there
51:08
you go. Yes, Robbie. I think Robbie might have been his
51:11
brother. Oh,
51:12
yeah, I'm wrong. Different ethnicity. Okay, I see.
51:19
So. Anyways, yeah, tell me what was like to hear yourself. You
51:23
know, I know we've talked about it before, especially in the
51:26
world, world class, award winning documentary we both put
51:29
together, working the dream. Working the dream on YouTube.
51:33
You can go check it out. It's only about 45 minutes long, and
51:35
perfect for an hour long documentary that needs
51:38
commercial breaks. Well,
51:39
actually 45 minutes, but originally it was probably two
51:43
and a half hours, but I kept telling you to take things out,
51:45
because I was so gun shy at that point in my career. About
51:50
your so what you were only people PR sensitive, you
51:54
know? And I still am, you know what? I mean? Yeah, I know you
51:57
we're in a world where at any moment, things could be taken as
52:00
sound bites, and they can be taken out of context and used in
52:04
an inappropriate way, which is very scary,
52:07
but I think ultimately, yes, you're right, but we're also to
52:10
the point as a society where we are our skepticism is at such a
52:14
level that we automatically think it's fake. Okay, so it's
52:19
either AI, I know, the other day I saw, you know, I watched these
52:22
boat videos, wavy boats, especially where you'll see
52:26
these people in a in an inlet, haul over inlet. And I think,
52:30
dude, at this point in my life, if it gives me joy, I go for it.
52:33
You guys kind of gravitate towards it. That's why I've got
52:35
all the Marvel stuff up to my left. And, you know, I got back
52:39
in the drumming again, and I'm enjoying it. With that. I just
52:43
enjoy watching boats like idiots and pontoons going through this
52:49
tumultuous inlet, which is like one of the most world's most
52:53
tumultuous inlets ever. You know, high tide and low tide.
52:57
This thing just eats boats and, oh, let's take it out in the
53:01
ocean, the rental pontoon from the bay. And it's like, these
53:04
guys just get their stupid human tricks. It's awesome. Yeah. So
53:07
I'm watching one the other day, and it says, this wave comes up.
53:10
Watch the wave. You know, wait for it. That's the big thing.
53:12
They put in the text, wait, wait for it, because they want you to
53:15
watch the entire video. Helps the algorithm. And, you know, in
53:19
the video, this seemingly like you know what you'd see at a
53:22
beach. What do you gotta
53:26
do? Okay, I'm passing up on a great opportunity for
53:29
everybody. We're gonna we're gonna make sure it's on there,
53:31
but you got to put it in prominence. Give me the book.
53:33
We're doing this live hand to hand it to me. I'll put it in
53:36
back of me. Actually, I think I'm gonna have potential.
53:46
See, guys, this is happen as we're recording, made us leave
53:50
it in to the chopper. So in this video, they got like what
53:56
seemingly is like a beach wave, a very medium sized beach wave
54:01
that you'd go body surfing on the beach. It comes over the
54:04
boat and, like, takes the entire boat, like, oh my gosh, the
54:07
whole thing disappeared. It's AI. It's fake. And I was like,
54:11
almost like, Oh, really. Come on, that would have been a cool
54:15
video. Otherwise, you know,
54:17
you know, the AI generated headshots and such. I'm
54:21
interested to see,
54:23
yeah, but you know, they did that a couple of years ago. I
54:25
did that too, and you pay for like, a pack of 10 pictures, or
54:29
whoever, however, $10 for a bunch of like 100 pictures. But
54:32
they take about seven pictures of you, and have different AI,
54:38
they take your, like, your attitudes, your facial
54:41
structure, general, you know how you smile if you don't smile.
54:45
And then they put personalities to it. It's odd. I'll have to
54:49
show it to you. They like, they made me look like Bruce Willis
54:51
from Armageddon. Remember that? Yeah, there was like, one point
54:55
where I had my shirt off and I was jacked, you know? And I'm
54:57
like, I wish I looked like that. But it was also. When I was bald
55:00
and had the, you know, the badass beard bald look, until
55:04
Courtney wanted my hair to grow back. I love it. But, yeah,
55:07
those things got nice little head of hair. You working on
55:10
there, buddy. Now they got aI flying apps. You could actually
55:13
upload your photo and likeness, and they'll make videos of you
55:16
flying.
55:17
I mean, where is it going? I just don't know. Man, you know
55:21
it's,
55:22
you know, any we just heard about an app that apparently
55:25
will strip instruments out of songs. I
55:28
don't like it. I know you don't like that. I know I don't like
55:31
it, buddy.
55:31
That brings me to the business of music. I mean, ever since
55:35
Napster, your industry has just been in flux. But you know,
55:41
maybe it's fair to say that even in in while the formats of the
55:45
delivery of the music changed, you had eight track, you had
55:48
vinyl, you had cassette, then it went to CD, then it went to mp
55:51
three. But since Napster, the industry has been shaken up,
55:58
right? Yeah,
56:00
it would be interesting to have found I'm grateful for
56:03
everything that I have my life, and work so hard for it, and
56:07
it's fantastic. But what if I had hit with a rock band in the
56:13
My 20s, in the 90s, because, because that was the velvet rope
56:17
era. I mean, that was limos and velvet
56:19
ropes, but I think it was trending down by that point. I
56:22
want to say the mid eight the 80s was more like
56:24
there was money in the music business. Then water. Yeah, in
56:28
the 90s, the 90s, people battle the boom and, you know, sound
56:34
garden and Pearl Jam and modern rock radio. And
56:38
did singles ever take off like, you know, remember the singles
56:41
when they had offered it was like buying mp three. Now you
56:44
buy, you spend your buck on iTunes. You just want the song.
56:47
Now it's just all streaming. Were singles a big thing back in
56:53
the 90s? Or they still, they still bought out albums, right?
56:57
People still bought albums, yeah, but you had to have a
56:59
single for the radio. You know, there's the new one from Stone
57:02
Temple Pilots, right? You know? Oh, yeah, of course. Man, that
57:05
was a heyday of quality rock bands.
57:09
90s music, to me, was such a hodgepodge. It was such an
57:13
interesting time for new music to come out, because I was
57:16
certainly, I was listening at that time more to than modern
57:20
rock stations, because I was getting in the radio. I wanted
57:23
to get in the radio. I wanted to work for 92 3k rock in New York
57:26
City, and they were the premier modern rock, active rock, well,
57:30
probably modern rocket.
57:31
But if you had gotten the lead DJ job at that station in New
57:34
York City, that
57:35
would be impossible, because it was Howard Stern at the time. He
57:38
was a morning guy,
57:39
okay, but what I'm saying is, if you were a rock jock on one of
57:44
the other shifts, right, did
57:47
it pay a lot of money in that city? Oh, yeah, you made,
57:50
probably I would have, if you're an afternoon guy, 200 probably
57:54
250 quarter
57:56
of a million dollars in 1990s money. Yep, and you were
57:59
actually had a say in what was played? No,
58:03
I think you probably, you, yeah, you probably had a say,
58:06
depending on their role. If they were music director. Music
58:09
directors typically brought late, they would be the first
58:12
ones to hear what the record company representatives would be
58:16
like, Hey, could you, you know, add this this week? How many
58:19
spins can we get they would have those conversations. And then,
58:22
typically, the music director would bring it to the program
58:25
director and say, Hey, what do you think? Let's, you know,
58:27
let's put it in, you know, rotation at night, in the
58:29
evening, see how it does, how does the audience respond? So it
58:32
was very organic. I would say, back then, to a certain point, I
58:36
think paid a Paola was still a thing, you know, in terms of
58:39
wining and dining, but, you know, not like it was in the 70s
58:43
and 80s with the boss jocks so interesting.
58:47
And when you played that new single from Stone Temple Pilots,
58:50
was it still the physical CD? Blow on it, put it on Yeah,
58:55
because there was a risk of it being scratched or having dust
58:59
on
58:59
it, you they would sit in their own like, ready to go jewel
59:02
cases, and you'd put it into the CD player, which is a
59:06
specialized industrial, commercial CD player, and it
59:09
would queue up. You'd dial, you had a little knob on it, you'd
59:11
dial with the track in, and it would be ready to go. And
59:14
typically on the board, you'd fire it right from the board,
59:17
you know? And that, that was in the mid 90s, was the last
59:20
bastion of hardware based, hardware based disc jockeys that
59:26
were one step beyond queuing up vinyl, because that used to
59:29
happen, they would have to sit there and hold the vinyl, and
59:31
the turntable underneath would be spinning, and they just hold
59:36
on and be like until they're ready. Okay, here's an and they
59:38
would back it up so they wouldn't have really, you know?
59:41
Yeah, it was. It's an art form. There's actually, you go to
59:44
California Air, check on YouTube, and it's fascinating.
59:49
Like the guys from the 80s pulling their music and their
59:53
writing game, and they're hitting the post, those are
59:55
videos of it. Oh yeah, it's amazing to watch. I mean, it was
59:59
a true.
1:00:00
Word for awesome skill set. And then if those guys stayed in the
1:00:03
business, and they were trying to stay relevant, to keep up
1:00:06
with the latest technology, they had to totally change to a
1:00:09
software based system.
1:00:12
Well, that's when automation came in, voice tracking. That's
1:00:15
about the time I got in the radio. Was when all the things
1:00:18
started, you know, I got into the at the point where
1:00:22
everything was on a computer. I literally, in my live shift, I
1:00:25
would hit a button and it's got to, you make an art out of it.
1:00:29
Oh, I totally, I did the the thumb slap, or the, you know,
1:00:32
the, you know, my hurt my finger. But yeah, that kind of a
1:00:34
thing. Nice. No, no. Homer, rock and roll. I 95 bam,
1:00:37
bam. See percussion again, right? Exactly. Percussion,
1:00:41
DJing percussion, working in radio percussion,
1:00:43
exactly, but it was, it was a kind of a cool experience. One
1:00:47
day I came in for my shift, and the entire system shit the bed.
1:00:52
Everything was down. What happened? The whole the hard
1:00:55
drives just crashed, and all the stuff, all the commercials, all
1:00:58
the music, they had to go back, to quote, the stone age. They
1:01:02
kept their wall of music readily available in the studio for that
1:01:06
purpose, maybe, or maybe for esthetics. But getting all the
1:01:11
commercials, all the spot sets, literally, the production
1:01:15
director's job that day was to put all the spot sets on reel to
1:01:18
reel, and they would carry in the platters and say, Okay,
1:01:21
here's the next hour. Yeah, here's the next hour, here's the
1:01:23
next hour, here's the next hour. And because that was important,
1:01:26
they had to make sure that they played the spots. That's how we
1:01:28
got paid. Interesting. And, you know, he had to put them all
1:01:30
back to back. Not a fun job, but getting a taste of running the
1:01:35
board manually was a lot of fun pulling your music the next hour
1:01:39
of music. That was a lot looking forward on the logs and seeing
1:01:42
where you are and stuff. I had a blast, because you had to stay
1:01:44
there for six hours being on the air,
1:01:46
I'm sure. And you had your P songs, right? Like steroid of
1:01:50
heaven.
1:01:50
Yep, sorry to heaven. And white satin. I
1:01:55
love it, yeah. But it just goes to show, if you're an open
1:01:59
minded person, you notice that every person that has any job on
1:02:04
this planet, there is an art form to that job, whether it you
1:02:10
are a janitor or a host at brick tops, or you are a garbage man,
1:02:16
or you are creating high Art, or you, like every there is an art
1:02:22
to doing a job, a job, well done. There's an art form to all
1:02:27
of it. Good point. I mean, there's actually in the
1:02:30
electrical field, because trades are starting to make a huge
1:02:33
comeback, dude, I found out yesterday at ntsu, they have a
1:02:36
concrete program to pour concrete, to learn about
1:02:41
concrete. Yeah, it's a whole degreed program. And these guys
1:02:44
that are coming out of this program, they could make 80 to
1:02:46
$150,000 a year within the first year or two. It's awesome,
1:02:49
because there's no about the chemistry of concrete and what
1:02:52
works and what it's I learned about this yesterday. It's
1:02:54
crazy. As you know, concrete can be an art form. Well, thank God
1:02:58
for the trades. You know, like you look at electrical there are
1:03:00
guys on Instagram that are getting tool deals and
1:03:03
representation and things of that nature. There's a guy named
1:03:06
Tennessee electrician, and he'll just put a camera behind him and
1:03:09
rework a panel, you know, pull all the guts out, redo the wire,
1:03:13
make the wire like, have like, you know, just they're all
1:03:16
parallel to each other. It's to watch somebody put properly, put
1:03:20
a panel together and redress it up. It's about an eight hour
1:03:24
job, yeah, but when you time compress and you see the
1:03:27
artistry involved when it's done properly, it's freaking
1:03:31
beautiful when it's done. You ever go into Costco, like these
1:03:35
big warehouses, and look up, look at the pipes that are
1:03:38
running, the big the silver pipes, somebody has to bend
1:03:41
those and they got to be perfect. They got to fall in
1:03:44
light. That's a freaking art form. Yeah, bending pipe and
1:03:47
conduit in the electrical field is truly an art
1:03:51
form. And if you have pride in your job, there is even an art
1:03:55
form to be in. The guy that works at the deli counter at
1:03:59
Publix, there was a young man. I went in there and I said, Hey,
1:04:02
my parents are coming. First of all, big smile on his face.
1:04:05
Young kid, kind of unexpected. How you doing, sir? How can I
1:04:09
help you today? I mean, total sincerity. Oh, parents are
1:04:13
coming in town. I was thinking about getting maybe, like,
1:04:16
maybe, like, a full pound of your boars head, black pepper.
1:04:21
Great choice. How, how many sandwiches you think you're
1:04:23
gonna have to make? Like, he's totally, he's got the sales
1:04:26
process down. And I was like, Dude, I'm probably gonna, we're
1:04:28
probably gonna have about four sandwiches, but we might do that
1:04:32
two times, all right, so eight sandwiches and two slices of
1:04:37
turkey. You think per sandwich? I'm like, Oh yeah, my dad
1:04:39
Dagwood. He wants to make some dagwoods totally set me up
1:04:42
because let me know if you need anything else. You know, I'm
1:04:44
here, Monday, Wednesday, Fridays great. I mean, it's like, wow,
1:04:48
what a pleasurable experience. Yeah, or when somebody's
1:04:51
checking you out at the counter at Publix, and they're they are
1:04:57
efficient, they have a smile, they're pleasant. They. Help you
1:05:00
bag everything. It's, you know, because I've seen the opposite
1:05:03
ends of the spectrum. Oh,
1:05:04
totally. We have those. Sucks. Yeah, because that's what you
1:05:08
expect, though. Because it's a
1:05:09
supermarket, they're taking your money either way. So if you're
1:05:12
going to take my money, God, if it's pleasurable,
1:05:15
yeah, the experience matters, yeah. And when you got somebody
1:05:18
who is an entertaining aspect of it. Look at the bartenders. You
1:05:24
ever see a flare tender? You had to in your days on the road. If
1:05:27
I was a bartender, I would be a flare tender. You know what a
1:05:29
flare tender is? Put some, you know, some spins Tom, some Tom
1:05:33
Cruise stuff, Tom Cruise, like cocktail, right? So we first saw
1:05:36
that when we moved to Vegas, and that bartender made bank because
1:05:41
you're entertaining. Now,
1:05:44
even if you don't go that far and you are just a great person
1:05:48
on it, you're on it. And if the you have the art of like,
1:05:52
there's someone way down at the bar, he's holding up $100 bill.
1:05:55
He's just trying to get your attention. He's not, I've done
1:05:58
that. I'm not trying to be douche. I'm just letting you
1:06:00
know, hey, I'm gonna hook you up, bro, yeah, it just give me,
1:06:03
give me a nod and be like, one second, or I'll be right with
1:06:06
you or something. It's the ones that ignore you. And he's like,
1:06:09
is it my ever going to be greeted? Here am I chopped
1:06:11
liver? It's acknowledgement. Acknowledge. Huge, huge, big.
1:06:16
Yeah, you know, being a session drummer. Well, that's the
1:06:18
thing that you talked about, um, you know, in like, we kind of
1:06:21
did some driving scenes, and we would ask questions, demand
1:06:25
element, which, back in the good old days, it's the best car
1:06:29
ever. Know about you. You made, you made so many different
1:06:32
little wisdom nuggets that I remember at the time hearing
1:06:34
them come out of your mouth. I would file them in the back of
1:06:37
my head. One of them was, look, treat everybody in the studio,
1:06:42
at least in the studio setting, you know, you're talking about
1:06:44
recording at the time, like, like you would want to be
1:06:49
treated, or they would want to be treated. You know, you they,
1:06:51
the people that are at the front desk are working there, they're
1:06:54
getting their foot in the door. And for somebody who's
1:06:56
influential coming in, who's actually doing the thing they
1:06:58
want to do, for you, to be nice to them was just a huge part of
1:07:03
their day, and it's your brand. Your Brand made them feel good,
1:07:06
because you said, Look, every single person in that building
1:07:10
wants to move up. Yeah, they want to excel in their career.
1:07:13
And if they can remember me and how I treated them, that's going
1:07:16
to help me, because eventually, if they land in an engineer spot
1:07:19
or a second engineer and then to become a producer, maybe they
1:07:23
become, you know, into the alongside of a major artist, and
1:07:26
they remember me, I can be a part of that gig. You had the
1:07:29
right attitude. I can't imagine. I think a lot more people
1:07:32
because of you sharing that information, probably apply
1:07:36
those principles to their lives, which makes competition more
1:07:39
fierce. But for probably once upon a time, you so you talked
1:07:42
about getting vibed out in the studio, especially when you were
1:07:45
new.
1:07:45
Oh, and you're new, yeah, yeah. Gotta be nice to everybody. I
1:07:48
mean, just doing a great job as a as a hired gun musician, you
1:07:53
know, you get the information. You talk to the producer or the
1:07:55
artist or the engineer. What are we looking for? What's the vibe?
1:07:58
What's the energy you're referencing? What are the what
1:08:00
are the artists? Who other artists? Oh, it's like a stone
1:08:02
temple pilot thing. Okay, so I'm gonna bring my, you know, Ludwig
1:08:05
Vista lights, a wide open bass drum. But I'm gonna have a towel
1:08:08
in the car, some towels. I'm gonna have a variety of pillows
1:08:11
in the car, a variety of snare drums. I got a, Oh, it got a
1:08:15
bunch of sticks and mallets. And every
1:08:17
drummer of your level when you were coming up. Did they have
1:08:21
that wherewithal and that awareness to even have those
1:08:26
things on hand, just in case? Were you kind of, like, were you
1:08:29
ahead of the
1:08:30
curve? I think I most guys have the stuff on hand. You know, you
1:08:33
gotta have a variety of snare drums, or just have one really
1:08:36
amazing snare drum that can do a lot of things, and you can get
1:08:40
there quickly. But what if you break the bottom head on that
1:08:43
one snare drum? Like you at least got to have two drums,
1:08:45
because time is money in the studio. So what if you the snare
1:08:49
wires pop, or the bottom head pops, and then you're eating up
1:08:52
time? But no, no one wants to deal with that, man, it's time
1:08:56
is money a second bass drum pedal, you know? Because what if
1:09:00
you break the spring, you know, right?
1:09:02
What do you bring to a typical like, demo session or, you know,
1:09:07
because when you're recording things these days, what are you
1:09:12
bringing with you into a studio?
1:09:16
And does it vary for it varies project
1:09:18
to project, because, so let's say they're going to a studio.
1:09:20
There's a house kit. So you talk to the person that owns the
1:09:22
studio, the engineer or the producer, you say, like, hey,
1:09:25
what's the condition? Like, what is the make and model of the
1:09:27
house? Kid, what is the condition? Is it well
1:09:29
maintained? Is there hardware? This is the Can I just the snare
1:09:35
drum? Is there a high hat clutch? Is there is stuff
1:09:39
stripped out? Is the bass drum pedal. Is it squeaky? Is there
1:09:43
metal rubbing on metal on the simple stands? Are there Felts?
1:09:47
And they say, man, it's it's pretty good, and the heads are
1:09:50
pretty fresh. And you go like, Oh, great day. So then, really,
1:09:53
all I need to bring is my stick bag, a bag of percussion to over
1:09:58
dub, some stuff, a couple. Snare drums. Still probably going to
1:10:02
bring my bass drum pedal, because that's so personal.
1:10:04
Yeah, what if the pedal really is super squeaky, or it's, like,
1:10:07
super tight, oh, like, and you can barely move it. That's
1:10:11
really going to slow down your day. You're not going to have a
1:10:13
good time. You're not going to sound like yourself. And then
1:10:16
it's, no matter what they say about the hi hat stand and the
1:10:18
snare drum stand, it's always good to have those things
1:10:21
because, you know, the way I play pretty physically, you
1:10:24
know, a student model 1970s snare drum stands probably not
1:10:28
gonna hold up, right? And then you gotta have lug locks. You
1:10:32
gotta have tons of gaff tape, because you can use the gaff
1:10:34
tape to modify the sound of your drums. But you can also use the
1:10:37
gaff tape to first thing I do is I gaff down the bass drum spurs,
1:10:41
so that doesn't move because I have a gorilla foot, and then I
1:10:45
gaff down the bass drum pedal, so that doesn't slide off,
1:10:50
because I have some sort of a weird technique with my bass
1:10:53
drum where I kind of slide on the pedal, and it just makes the
1:10:55
bass drum pedal do this soaks out, which is not
1:10:58
fun. So the bottom of the bass drum pedal you're taping down.
1:11:01
Yeah, even when I go to these jam nights, you know, the
1:11:03
Nashville drummers jams, or Tom Hurst loud jams, or whatever,
1:11:07
I'm the weird guy that runs up after the other guy. You have
1:11:11
other guys getting off. I'm patting him on the back. Great
1:11:13
job, man. Get the hell off, because I gotta. I taped down
1:11:16
because I know that I'm only going to play a song for three
1:11:18
and a half minutes. It's probably going to be videotaped
1:11:20
for all time. I want to enjoy myself. So this could be a deal
1:11:24
breaker, so I tape that sucker down. Then I'll probably put a
1:11:26
couple of strips of duct tape on the snare drum stand super quick
1:11:29
while the girl singers like how you guys doing you having a good
1:11:32
time taping stuff. You know, I'm taping it down so I can enjoy
1:11:37
myself.
1:11:37
So you have, you have your own gaff tape that you bring with
1:11:39
you. Always, wow. Always got
1:11:41
my man bag, you know, with my lug locks and my gaff tape and
1:11:44
my my pedals and you might need in ear monitors. Or you might,
1:11:48
you know, it's just good to
1:11:49
have this stuff with you. Okay, this is getting geek talk. We're
1:11:53
getting very professional. Just professionalism. I'm not blaming
1:11:56
you. I'm this is fascinating to me. I don't think I've ever we
1:11:58
have these conversations out of all the time we've known each
1:12:00
other. This is where all the business people are changing.
1:12:02
Business people are checking out the podcast they're off. But
1:12:04
this is the thing. This is about what you need to be prepared.
1:12:08
And a lot of people just aren't that prepared,
1:12:10
systems and processes, especially if you're gonna try
1:12:13
repetition travel for a living. Man, yeah, I just bought my new
1:12:18
bat. My last backpack made it eight years? Yeah, leather
1:12:22
backpack, really nice. Went around the world. Yeah, I got a
1:12:26
new one for 2025 with all the fresh zippers, and it's got that
1:12:31
new backpack smell, and all my stuff goes in a specific
1:12:35
compartment, because you want to be able to find things quickly,
1:12:38
and you want to know where everything is, so you don't lose
1:12:42
things, because then you start losing, you know, your iPhone
1:12:45
charger and your computer charger, and, God forbid your
1:12:48
laptop said security. So you got to have systems together when
1:12:53
you're mobile. Yeah, you know,
1:12:55
and know where all things are at all times. How many symbols do
1:12:59
you think you have? Well, we
1:13:02
start thinking about drum sets. I mean, just drum sets, man, I
1:13:05
got three drum sets in a locker in Burbank, California. I have
1:13:11
three drum sets at drum paradise in Nashville, along with about
1:13:18
25 snare drums and tons of symbols, bags and vaults of
1:13:24
symbols. And then I have stuff at Jason l Dean's locker.
1:13:29
There's a B rig that is ready to go in the locker, in case we
1:13:32
have back to back gigs in different parts of the country.
1:13:35
Then I have my a rig that lives on Jason's, you know, semi,
1:13:42
yeah, and that's got tons of backup symbols, several backup
1:13:46
snare drums. Then I have tons of stuff at Crash studio, my
1:13:53
studio, yeah, in Nashville, another 30 snare drums,
1:13:59
nine drum sets. So think of the days when you just had the
1:14:02
Yamaha kit, the one
1:14:04
drum set that only did one thing in the floor time was hung from
1:14:09
the it was a rack tom. It was, it was, it was a rack floor
1:14:14
because it was the Dave weckel Smokey black with the gold lugs.
1:14:18
Okay, I wonder who has that kit now, man, because
1:14:21
you that's that's very nostalgic for you. Totally. It's funny
1:14:24
because I did that with my pearl exports. We had two of the
1:14:28
drums, I think I, I made my 16 by 16 floor tom, a hanging floor
1:14:34
tom with just one of the pearl Yeah. Adapters. Drilled the
1:14:38
whole the whole nine yards. Yeah. I
1:14:39
think about the history of the drums you've had. I had that
1:14:41
those cherry red Yamaha stage customs and then, but
1:14:46
you didn't have duplicate kits back then, it was a matter of
1:14:49
affordability. Yeah, so your first endorsement deal was with
1:14:53
sonor back in no one or two. So you what was that like? You
1:14:58
know, did you get to pick. Pick out, you know, hey, you got you,
1:15:02
hey kid you got you could pick out four kids. Go
1:15:04
have fun. Beggars could not be choosers. Back then, when I was
1:15:06
new on that roster, I was playing with a group called rush
1:15:10
low, with Tim rush low from little Texas. And, you know, we
1:15:13
worked really hard. We had two soft hits on country radio and
1:15:18
can't be your friend.
1:15:20
Yep. And I got a anymore. I got an S Class drum set. That's
1:15:24
funny, because that's the flagship Mercedes. It's the,
1:15:27
yeah, it's the S Class drum set. And that drum set ended up on
1:15:34
hick town. It ended up on the video. It's in the in the middle
1:15:39
of middle of this mud pit surrounded by monster trucks and
1:15:42
flames and smoke and hot chicks, and I actually might be selling
1:15:48
the hick town drum set. Might be really I was thinking about
1:15:52
letting it go into the universe. I think it would be great if it
1:15:55
ended up in like a Hard Rock Hotel or a Hard Rock Cafe. Yeah,
1:15:58
that'd be nice. But I do know a friend of mine that is, they
1:16:04
call him the drum pusher, and he sells celebrity drummer drum
1:16:09
sets. And is he the guy who did celebrity sidemen? Now,
1:16:13
if you again, if you're listening to this podcast, very
1:16:16
musical, a lot of insight, not inside baseball stuff, but I
1:16:20
hope still good information that you could take and apply to your
1:16:23
business, because a lot of what you know Rich is, of course,
1:16:28
technique. A lot of people see you as a country rock drummer,
1:16:32
but it's amazing, because you do have a really varied approach to
1:16:37
different styles and all the things that you know, you know,
1:16:40
you have one of the most buttery, smooth, freaking double
1:16:43
stroke roles I've ever seen. And, you know, I've seen you
1:16:45
play jazz, I've seen you play big band. I've seen you do snare
1:16:48
solos. I mean, you are classically, you're a master
1:16:52
percussionist at what you do, but you're also and you and I
1:16:56
have talked about this over the years, is the fact that you have
1:16:59
such business acumen in a multitude of areas, in probably
1:17:05
one of the most difficult businesses on the planet, you
1:17:08
know, which is very applicable to, I think all businesses.
1:17:12
I mean which one is gross and which one is
1:17:16
net. Give me a good episode. So, but yeah, you
1:17:20
probably don't use that one a lot on your podcast, forgetting.
1:17:23
Oh, yeah. People love it. Yeah, it's apropos. Well, thanks, Jim.
1:17:27
I feel like you know what, you've had me on your show and
1:17:30
your various iterations of your shows over the years well, and
1:17:34
there's only so many things you can ask me, but you have found
1:17:38
all these different ways to ask it,
1:17:40
and you know, it's still fascinating to me, because it's
1:17:43
still, you know, as much of a lifestyle, it probably wouldn't
1:17:47
have been a match for me. It's still fascinating. It's still
1:17:49
interesting. Because even when I sold cars, people were
1:17:54
fascinated. People hated car sales, people, but I believe I
1:17:58
was an exception to the rule, because I did it. Integris Lee,
1:18:00
I did it very honestly, and I made friends with my customers
1:18:04
and made sure that they could trust me, but they were always
1:18:07
intrigued about the back room workings of a car dealership.
1:18:12
Yeah, well,
1:18:13
when he when you say, Well, let me go talk to my boss, right.
1:18:16
Where are you going and what are you saying? But, you know, I
1:18:19
kind of got to the point where I'm like, you know, if this is
1:18:22
the kind of if this kind of, if this, if we can get this, and I
1:18:24
can get my brought my boss to agree on it, is this something
1:18:27
you want to move on? You know? If he says, Okay, are you ready
1:18:30
to move on this? I can't take this to him, and with a weak
1:18:34
agreement, you know, if we're going to be talking about, let's
1:18:37
doing the let's do the deal. Let's figure out a price point,
1:18:39
and let's see. I don't know what he's going to be agreeable to.
1:18:42
Let's Make a Deal seriously. Yeah. And that's the way I would
1:18:44
kind of put it to them and say, Is this so if he's a we come
1:18:47
back and he's good to go. Are you good to go now you're ready
1:18:50
to put this thing in your driveway this afternoon? Did
1:18:52
that work? A lot. Yeah, nice. Because typically, you know, at
1:18:54
that point I would say it in such a way that it was I was
1:18:58
serious, because, like, if I can get them to agree? I don't know.
1:19:01
I don't know where we were in the month of terms of how
1:19:04
desperate we were to move metal and how many cars were out and
1:19:07
what kind of grosses were on them. I mean, there was all
1:19:10
nebulous. It was all a lot of variables in that business,
1:19:13
yeah, you know.
1:19:14
But ultimately, it's, it's about the customer, what they was,
1:19:19
your case, your artist, and whoever you're working for,
1:19:21
right?
1:19:21
Totally, we you've heard it five bajillion times. We are here to
1:19:26
serve the song, serve the artist. So
1:19:29
is the artist a customer. Is the song, the customer or the
1:19:33
listener, the customer, right? They're all, that's all a yes,
1:19:38
yeah, that's that was a problem with radio. The artist can't
1:19:42
exist without the listener, the audience, the fans,
1:19:46
and there would be no audience without the song, right, right?
1:19:54
Yeah. So it's this symbiotic relationship.
1:19:58
It's such a balance, definitely. Complicated balance, even in
1:20:02
radio coming up in that business, I always said it was
1:20:05
the most complicated business to sudden, you know, in general,
1:20:08
because you've got two end users to appease in that business.
1:20:13
You've got your listener, and then you got your advertiser,
1:20:17
you know, and the you had to create an audience of listeners
1:20:21
that would appeal to a certain kind of advertiser. And a lot of
1:20:25
the sales people will say, well, our audience, the advertisers,
1:20:29
more important than the listener, except what pays for
1:20:31
everything. I mean, we would say, well, as program people,
1:20:33
programming department people, without the listener, you've got
1:20:36
nothing to say, no business which comes first chicken or the
1:20:39
egg and so, and then you work for a publicly traded company,
1:20:44
you throw in a shareholder, oh, boy, you got three. It's a
1:20:47
delicate balance, and that's why you've seen a lot of these radio
1:20:49
companies are just faltering these days. Yeah, they didn't
1:20:52
keep up with technology.
1:20:53
You know? We should do is scratch our own back, you know?
1:20:58
We do have this thing called the rich Redmond show, and we have
1:21:03
220 episodes. Yes, pretty incredible. It is. It's amazing
1:21:08
that we just keep showing up.
1:21:09
It's akin to Michael Knox, Jason Aldean, sticking it out for six,
1:21:14
seven years. Yeah, and it's funny, you know, weird kind of
1:21:18
doing the same thing in podcasting world. Yeah. I tell
1:21:20
all my clients, well, you know, when can I monitor can I
1:21:23
monetize that? Sometimes that question comes up and I say, you
1:21:25
can monetize right off the out of the gate, if you want. Yeah.
1:21:27
Well, how do I do that? Hang a shingle. I put put an ad rate
1:21:30
card together. How much for a 30 or 15, a 60? How much is a show
1:21:34
sponsorship? How much is a studio sponsorship? You know?
1:21:38
How do we put numbers to all that? The numbers aren't going
1:21:40
to be huge, but they could certainly offset your production
1:21:42
costs. You could probably find somebody who's willing to take a
1:21:45
gamble on the show a year from now being something and they
1:21:49
get, they get in on the ground floor of an opportunity, and pay
1:21:53
a very nice entry fee to get their business plastered all
1:21:58
over this thing, and then they have first right of refusal
1:22:01
when, hey, now we got numbers, let's renegotiate. Well, now we
1:22:04
got we can, you know, ask for a lot more. You're more than
1:22:07
welcome to accommodate this price. This is our agreement for
1:22:10
a year. If not, we'll find somebody who will, you know, and
1:22:13
that's a lot of people kind of go into podcasting. Well, one
1:22:15
can I monetize? I always say right off the bat, but don't get
1:22:18
your hopes up. Monetize it through the joy. Have you got to
1:22:22
find the fun in doing this? You know, much like you guys did
1:22:26
from 90s, you did it. You wanted to do it for work and make a
1:22:29
living. But, man, so does million other people. But
1:22:33
podcasting, much like authoring books nowadays, is basically a
1:22:38
business card for some other
1:22:40
business? Sure, right? There's so many, there's so many
1:22:42
elements to a podcast. I mean, it's talking about your own
1:22:45
business. It's talking about other people's business. Who do
1:22:50
you want to meet? Do you want to meet a CEO and invite them on
1:22:54
your podcast? You never know, ask. You got a show, you got a
1:22:56
platform. It's got, you know, you getting a couple 100
1:22:59
downloads and episodes, nothing to balk at. You got somebody
1:23:02
who's enjoying it no and over
1:23:03
the years, we want to publicly thank you. Know Angie McCarthy's
1:23:05
her birthday today, from rock. Angie and Kelly were a sponsor,
1:23:10
a long time sponsor. It was very, very fun. And then, of
1:23:12
course, my friend Bruce Klein, who was the lead singer of said,
1:23:16
best top 40 band in Dallas, random access. We were like long
1:23:19
time buddies, and he got into real estate, and he did some
1:23:22
advertising with us. And I always enjoyed that because, you
1:23:27
know, you put so much time and energy into the show, and it was
1:23:30
a great way for me to get you paid, you know. So if there's
1:23:33
any listeners out there that want to, you know, advertise on
1:23:36
a hip, fresh, cool music, motivation, success,
1:23:41
entrepreneurial angle podcast, you know, talk to us. I think, I
1:23:46
think our podcast would be great for, you know, coffee companies,
1:23:49
fashion brands, musical accessory brands, local, local
1:23:56
music stores, spots in hips, hipster spots in Nashville with
1:24:00
a, you know, great, a great taqueria. Because, you know,
1:24:03
basically every musician in the world never met a musician that
1:24:06
didn't like tacos, right?
1:24:08
Or coffee. Well, I agree with you, the coffees, the fashions,
1:24:11
things of that nature. I've often toyed around the notion of
1:24:14
taking all the podcasts we produce, and we've, John and I
1:24:18
have talked about this, putting just a rate card together. How
1:24:21
many, you know, pick the podcast you want to be on. Here's how
1:24:23
much it is for them. Here's, you know, like a network of
1:24:27
podcasts. Let's take the same spot, put it across all the
1:24:30
different podcasts and see which one hits, if this one produces
1:24:33
more than put more of an emphasis and a spend on that
1:24:36
podcast. Because I produce, you know, probably 1516 podcasts at
1:24:40
this point,
1:24:41
and we would do a live reads for our clients, you think, or, I
1:24:43
mean, because we did produced ads,
1:24:45
yeah, we did produced ads. I mean, I think the live reads,
1:24:48
the integration into an episode you would have to make a client
1:24:54
understand, there's a premium for that, because once it's
1:24:56
baked in, like that, it's um. Um, it's there forever. You know
1:25:01
what I mean? As opposed to running a 3060, or a 15 second
1:25:06
ad that can be dynamically placed, you can pull them in and
1:25:10
plug, you know, unplug them and stuff like that, which is
1:25:12
something we should probably think about doing. But, you
1:25:15
know, for the try that podcast, they've got a about three
1:25:18
sponsors at this point. Nice, they're doing, you know, video
1:25:21
they got to that run during the show, when it runs pre, pre
1:25:24
roll. So, yeah, it's, it's, it can be done. And that's the way
1:25:30
the general market is moving. You know, because some of these
1:25:33
podcasts have audiences that dwarf, or that complete love, is
1:25:39
it dwarf? Is it them dwarfing? So like some like the Joe Rogan
1:25:45
show has got an audience that dwarfs most radio I thought it
1:25:48
was a little person. Joe Rogan, no, I thought dwarf was little
1:25:52
person. But you know, how something dwarfs another thing,
1:25:55
you know? Why are we totally Yeah. So basically, he's got an
1:25:57
audience that's just probably 10 times larger than most radio
1:26:01
networks, like the entirety of the CBS infinity Radio Network
1:26:05
Joe Rogan probably has from his one show, and it's
1:26:08
pretty incredible. How did he become so popular?
1:26:12
Because he had momentum going into it. He took advantage. He
1:26:16
got into it because he loved being on Opie and Anthony show,
1:26:19
the radio show back in the day, and he says, Well, I want to do
1:26:22
that, but I'm not going to try and fight a gatekeeper or pay to
1:26:27
be on another radio show or try to, you know, audition my way on
1:26:31
XM. There's this thing called podcasting that was coming out
1:26:34
no 607 because they called it podcasting, because you could
1:26:37
actually have a broadcast of a show on an iPod. So they
1:26:41
combined the two words and went from broadcast to podcast. So
1:26:46
didn't know if you knew that.
1:26:47
Oh, yeah. And I remember Steve Jobs announcing that we had this
1:26:52
thing called a podcast. Yeah, so Marin has been at it, I think,
1:26:56
15
1:26:57
years, so that Rogan's been at it for probably nearly 20 at
1:27:00
this point. Oh, so he was before marriage. Yeah, he, I think
1:27:03
Rogan started, I would say, oh, eight or nine. Whoo, so. And,
1:27:07
you know, he didn't, it wasn't like it is now, you know, he had
1:27:10
to have, you know, the tip of the iceberg, of what you see is
1:27:13
the rest of the iceberg underneath the sea as well. All
1:27:15
the work he put into it, kept doing, kept going. He kept
1:27:18
going. And a lot of what we're doing today, I think, with you
1:27:21
and I doing your show, and what I'm doing with my show this
1:27:25
particular show, yeah, it's not, it's, it's a local business
1:27:28
show, yeah, I'm not going to be freaking hitting it out of the
1:27:31
park with a ton of listens. The funny thing is, I have a podcast
1:27:35
that's 11 episodes deep, and we need to start it up again. It's
1:27:40
called capes and hammers. I don't know if I told you about
1:27:42
this. Oh, it's about it's about Marvel, the Marvel stuff, all
1:27:44
the movies and everything like that. There's a lot of Marvel
1:27:46
fans. We haven't produced an episode on that friggin podcast
1:27:49
in probably three years. It still gets downloads. Who's the
1:27:52
other people? It was CJ Whelan and gray. Arnold. Gray was like
1:27:57
the the Encyclopedia of comic book knowledge, which, oddly
1:28:02
enough, I've got somebody like that, and Ben, a new associate
1:28:05
that works with me. Oh, Ben's a Marvel guy. Yeah, he's, he's a
1:28:08
comic, comic book guy. And CJ was one of the guys at the
1:28:11
previous organization who was a great technician, great
1:28:15
electrician. Now he's actually, if you need an electrician, I'll
1:28:19
give him a plug. CJ Whelan, great guy. He's here locally in
1:28:22
Spring Hill, and he does a great job. Comes to your house. He's
1:28:26
great in front of your kids, in front of your family, very good
1:28:28
customer facing person, and he's got a family to feed, and great.
1:28:32
He just does a great job. So he would also be on the podcast,
1:28:35
because he was intrigued like I was, and I said, you know, we
1:28:38
would always have these amazing conversations before they would
1:28:41
go off and work for the day about different ideas of the,
1:28:45
you know, the Marvel Cinematic Universe. You know, things like,
1:28:48
you know, why did Doctor Strange, what was the one thing
1:28:52
he had control over when fan, he met Thanos on Titan, you know,
1:28:56
and 10 and he they had the big fight and everything like that.
1:28:59
And Doctor Strange with all the 14 what happened? Buddy, falling
1:29:04
asleep.
1:29:08
What I mean? I mean, man, I came up loving Spider Man. But then,
1:29:13
you know that universe just expanded and expanded. I'm sure
1:29:16
there's people out there that just Yeah,
1:29:18
about that those universes, I mean, now they get into the
1:29:20
multiverse concept. And, you know, you see the Spider Man
1:29:24
where they all, three of them came together. I
1:29:26
didn't miss that one. Oh, it's a good one. Yeah, really good one.
1:29:28
Yeah, it
1:29:30
was one of the best ones since. But one of the the key movies
1:29:33
that stand out since end game were definitely that one. I
1:29:36
think Shang chi was a great movie. Like anything. I'll go
1:29:39
back and watch again. I think it's a good one, nice. And I've
1:29:42
probably seen Shang chi of like, 12
1:29:44
times. I never even had Shang chi on the to do list. Do you
1:29:47
think it's great? It's good, wow.
1:29:49
It's a kung fu movie, gotcha. If you like those, yeah, modern
1:29:53
take on it with some, you know, mystical magic and all that fun
1:29:57
stuff. Yeah? But it's. You're an author as well. We wanted to
1:30:01
make sure that we have the book behind us. You see on my shot
1:30:05
that I've got the Making it in country music book right there?
1:30:08
Yeah, we had our friend Vince Santoro on last night, who
1:30:11
played a lot of music with Dave Pomeroy and Dave Pomeroy, world
1:30:15
class bass player. He's also the president of our local 257,
1:30:18
American Federation musicians chapter here in Nashville, he
1:30:21
wrote the forward, and I had some help with this book with my
1:30:25
friend Jennifer delazana. She's a professional author, and took
1:30:28
about a year of our lives to write this thing. And got a
1:30:31
great test, a lot of testimonials from great people
1:30:34
in the industry. And think it's got five stars on Amazon, and
1:30:37
hey, it exists for all time. And if people want some insights on
1:30:42
how to shave off time on navigating the thing that is
1:30:47
Nashville
1:30:49
might help you out. You know, yeah, maybe we need to advertise
1:30:52
your book on your show. Hey, how much to advertise your book on
1:30:55
your show
1:30:56
just depends on what I need for you to produce the pug, to
1:30:58
produce the ad. Okay, sounds like a trip to Don Arturo's. And
1:31:04
you do, and you do have a nice, a nice, brand spanking new ad
1:31:08
for my drum tensive, which is really nice. But there's
1:31:12
another thing that you kind of you're a great marketer, and
1:31:15
sigh like you know your hustle is still spot on, because you've
1:31:20
created a service that where people could fly in and spend a
1:31:24
day with you, and you'll break down all that. You've done it
1:31:28
for me as I get ready to gear up and play for the Huey Lewis man
1:31:30
that's coming up, if you guys haven't heard about that, that
1:31:33
those tickets are still available by the time this comes
1:31:35
out, it should be about a week away. It's May 28 at the city
1:31:39
wide.
1:31:39
I'll be there, Jim. And also, the best thing on the city, I've
1:31:42
been there so much recently, they've got flatbreads, and
1:31:45
they've got, like, a spicy chicken flatbread. So I will be
1:31:49
front row with my flatbread and a glass of red
1:31:52
Nice. Yeah. Well, sit at the table with the wife and my
1:31:55
brother and all that fun stuff. Totally, yeah, whoever else
1:31:58
comes. And I think we have, like, a multitude of the
1:32:00
drummers that we've been, Anna coming and, oh, his Dan's
1:32:05
girlfriend, I don't know. I don't know yet. She may have to
1:32:07
work that week. She's an esthetician in Washington, so
1:32:12
Saturdays are important.
1:32:13
Oh, you mean, like facials and waxing and all that kind of
1:32:15
stuff. Good to know. So he'll be
1:32:17
there because he's playing. He and I are performing that
1:32:20
weekend in Georgia with first time he and I are playing into
1:32:25
probably about 1314, that'd be awesome. I know that'd be really
1:32:28
great. I'd love it if you moved here, man, yeah. I mean, that
1:32:30
would be so much that would just like just to be in a band with
1:32:34
him. We've never really been in a band, you know,
1:32:37
that'd be awesome being a band with my brother. But, you know,
1:32:39
neither one of my brothers play musical instrument. That would
1:32:42
be difficult. I that would be difficult, but, yeah, so, you
1:32:45
know, if there's any musicians listening, or if there's any
1:32:47
folks with with musician kids, yeah, you fly into Nashville, we
1:32:53
do three hours of educational training, and then I take you to
1:32:56
a nice lunch, which is like sushi or steak. It's definitely
1:32:59
not McDonald's. Then we do another three hours in the
1:33:01
afternoon and and I just have a deep we answer other questions.
1:33:04
Then I have a deep curriculum which kind of prepares you with
1:33:08
the skill sets that you're going to need to master to come to a
1:33:12
city like a Nashville, a New York, or a Los Angeles, because
1:33:15
it's really this, you know, a big city, Music City there, the
1:33:19
same principles are going to a ply, yeah, you know, but most
1:33:22
people are gearing up to come to Nashville, because this is one
1:33:25
of the last true places for the music industry, where people are
1:33:28
all recording in the same room at the same time, and it's still
1:33:32
affordable enough where you can get a house and have some dirt
1:33:36
under your feet, not really worry about your kids going to
1:33:40
school and, You know, create a life for yourself while you're
1:33:42
going after music,
1:33:44
I would say, for anybody that is even a hobbyist, like somebody
1:33:47
in my shoes, by nature, being around you, being your one of,
1:33:52
you know, you're one of my best friends looking at the way and
1:33:55
style that you play you I'm a chameleon like that. I absorb it
1:33:59
and I apply it, you know, I think I am not the drummer I was
1:34:04
when I was in my 20s. I think I'm a lot better. I think I'm
1:34:07
more tasteful, and I've got a lot more flamboyant energy,
1:34:11
energy, because a lot of that is your packaging that you display
1:34:15
on a nightly basis when you're out doing your thing. Yeah, for
1:34:18
anybody who's listening, who knows a drummer, or is a
1:34:21
drummer. This is great. Just even if you're a hobbyist,
1:34:23
you're playing in Des Moines and cover bands, you want to be the
1:34:27
best guy in that area. This is a good program to take rich up on,
1:34:33
because he'll break down all you know. He'll, he'll celebrate
1:34:37
your strengths and build upon your strengths. But also, hey,
1:34:39
this is a little bit weak. Let's, let's try this. I mean, I
1:34:43
think for me, you identified, we were working on shuffles, and
1:34:47
you suggested a kind of different variation of a
1:34:49
shuffle. I'm like, Okay, now I got, yeah, something here. You
1:34:53
know,
1:34:53
I just showed a student of mine the other day, Curtis, and he
1:34:56
is, he's had taken two drum 10s. So it was the second time he.
1:35:00
Flew into Nashville, the study with me, and we were talking
1:35:02
about reeling in the years, because I was talking about all
1:35:04
the different types of shuffles. So, you know, shuffles are like,
1:35:07
you don't hear him too many, too much on the radio, yeah. So you
1:35:11
don't hear him much. And so we were talking about reeling in
1:35:13
the years, which is, you know, kind of a yacht Rock Shuffle.
1:35:17
And he was playing the kick drum pattern. It was feeling pretty
1:35:19
good, but I said, put that little middle note in there
1:35:23
after beat one and after beat three, and it's kind of like the
1:35:25
glue. It's like the force, it binds it all together. And he
1:35:28
started working on that, and it just took it up a game. So this
1:35:31
attention to detail, like I said, you know, we'll find out
1:35:34
what you need to work on. Definitely going to get you into
1:35:37
reading music. You're I'm going to expose you to some other
1:35:40
styles of music. So if you're just a rock and roll drummer,
1:35:42
we're gonna talk about jazz a little bit. We're gonna talk
1:35:45
about rhythms from other countries that you can
1:35:47
incorporate into your playing. It'll make you a richer, more
1:35:50
versatile, more marketable, commercial drummer, because,
1:35:55
hey, playing drums for fun is great, but what don't you want
1:35:58
to be the best in your town at it? Don't you want to maybe make
1:36:00
a little money at it, so I can help you do that. Yeah,
1:36:03
even for those like as a voiceover, person myself doing
1:36:07
it, as long as I have finding I still could probably use some
1:36:11
coaching. The tough thing is, is finding the coach that can you
1:36:16
know that I'm not better than Yeah, I mean, and I would
1:36:20
imagine that's kind of like for you who's speaking into your
1:36:23
life as a coach that you draw, because you still have to, you
1:36:27
know, you're great at your craft, yeah, but you still want
1:36:30
to work on it and develop it. Is there anything that's happening
1:36:33
now that,
1:36:34
Oh, nice. Well, there's some of my heroes that I have been
1:36:37
following my entire life, and it just works out that the age
1:36:40
difference between us is always going to be the same, because
1:36:43
the math works out like that. So I've had a couple of peoples in
1:36:46
my life that I kind of use as career models. And these guys
1:36:49
are now in their 50s, 60s and 70s, and so I'm looking at them
1:36:53
going, how have they bobbed and weaved and changed and stayed
1:36:56
relevant and, you know, evolved in the industry? So I'll kind of
1:37:00
watch their career and like and I think that some of these guys
1:37:03
might be looking at me too, because I'm coming from another
1:37:06
generation just a couple years back and going, well, how does
1:37:09
he see the world? And, oh, man, this kid started speaking, so
1:37:12
maybe I need to start speaking. Or, Hey, this guy, you know,
1:37:15
some of these guys are making themselves uncomfortable, and
1:37:18
they're putting themselves in situations that they're not
1:37:22
necessarily doing all the time that really helps their
1:37:24
musicianship. So I have my people that I keep an eye on.
1:37:28
What are they doing? What can I keep stealing from them? Right?
1:37:31
It's obvious that things are going well for them, because he
1:37:34
just did 22 years with this recording artist, and this guy
1:37:37
just got a residency in Vegas, and this guy is doing it. So I
1:37:42
just, you know, and social media is a great way to kind of keep
1:37:45
an eye on everybody all at the same time. Yeah, just, I think
1:37:50
one of the perks of social media, as long as you don't use
1:37:52
it as you get into the death by comparison thing, because that
1:37:57
can really make you sour. And you just, you just assume that
1:38:02
everybody's got a better life than you. Yeah, is doing better?
1:38:05
They
1:38:05
can definitely put a good veneer out there. Yeah, that's exactly
1:38:09
what a lot of social media is. It's the highlight. So here's
1:38:11
the thing, we're an hour and 30 May, 38 minutes. Oh, my God,
1:38:15
we've been able to, even after knowing each other so well,
1:38:18
still have, hopefully a very compelling, informative, value
1:38:21
packed conversation. I think it
1:38:22
is, you're a good
1:38:25
host, you're a good you're a good interviewer,
1:38:27
because I still have a genuine curiosity. You know, it's we
1:38:30
probably don't talk about a lot about this stuff, you know.
1:38:33
Well,
1:38:33
you and I have just kind of dove head first into the trenches.
1:38:37
And, you know, originally starting my podcast was a way
1:38:43
for me to continually practice thinking on my feet and
1:38:48
sharpening my interview skills in a very kind of almost
1:38:51
prepared inside the actor studio, buttoned up way because
1:38:55
I had a lot of interest in potentially being like a Mario
1:39:00
Lopez, yeah. And in all honesty, I don't think that's gonna
1:39:05
happen. So I just, we're just another iteration. Yeah, you and
1:39:09
I are just kind of like, I just, we just dove into the deep end
1:39:12
of the pool, and we get in there with the our guest. And one
1:39:17
thing that the guest always says every time, so much so that
1:39:22
we're putting it on on one of our shirts. Yeah? Well, that was
1:39:26
fun.
1:39:27
It was. It's always fun. Yeah, you know, that's the thing. Is,
1:39:30
I'm a practitioner of what I tell my own clients is that even
1:39:33
though I'm not getting directly paid for doing our show, doing
1:39:36
the ales and tails podcast, it's fun. Ales and tails get free
1:39:40
beer, free beer. We get exposed to different beers. Mike is such
1:39:44
a it's another podcast I produce, the yells and tails
1:39:46
podcast, the yells and tails podcast. He is so good at
1:39:53
describing beer, his articulation of the the notes
1:39:58
and the smells and the tastes and. Flavors. It's really a fun
1:40:02
episode, a fun series of episodes to listen to, because
1:40:05
we get into the beer, then we'll let it kind of linger, and you
1:40:09
kind of want to let it marinate, and that's when we get into the
1:40:12
tales portion, whatever may come up storytelling.
1:40:16
And it could be anything that's on their mind or from their
1:40:19
past. Oh yeah, we get blue. I'm part of the show, so we're gonna
1:40:22
get blue. I think
1:40:23
it'd be nice to have some palette cleansers on that show,
1:40:27
like we do in between season, crackers and some some,
1:40:30
well, we'll clean, we'll cleanse our palettes in between every
1:40:33
episode. So we shoot three episodes at a time, because we
1:40:36
can't do any more. Four episodes will be snotcher. And it's like
1:40:40
we always say, Okay, it's the third episode. Get
1:40:42
ready. Oh, my God. Does Mike drive his Porsche, Porsche over
1:40:46
here? Nice. He is Ridgeline. He's got a Honda Ridgeline. You
1:40:49
know, we're not that bad. You know, any cops that are
1:40:53
listening so, well, man, I'm gonna wrap it up and they every
1:40:57
they can find all the things at rich, redmond.com correct,
1:41:00
R, E, D, M, o, n, d, yeah. I'd love for you to visit my
1:41:03
overpriced website. No, I, I love the guys. Everybody's
1:41:08
looking for a quality website. They always do me a solid. But
1:41:12
there's a great company called mule town digital. Yeah, right,
1:41:15
south of us, tons and tons. Need to have those guys on my show.
1:41:17
It'll be great. Adam Silverman is a was the drummer with Lauren
1:41:21
Elena, and we toured together 1213, years ago, and that's when
1:41:24
I met him. And even at that time, he had this side hustle of
1:41:27
teaching himself web design, and now he's got a huge company with
1:41:30
tons of employees. Yeah, so it's amazing. He's
1:41:32
doing a website building business. Check those guys out.
1:41:34
Yeah, maybe they need to advertise mule town. Am I
1:41:38
talking like I'm from Wisconsin? Yeah. Advertised like from
1:41:41
Chicago, yeah. So yes, go to Rich redmond.com
1:41:45
and of course, if you want to be on the show, there's a
1:41:48
link@mmtbp.com
1:41:51
the mostly Middle Tennessee business podcast, that is a.com
1:41:54
address as well, but a lot more to type in. That's why I
1:41:57
truncated it down to mm tbp.com all. The things are there. If
1:42:03
you want to be on the show, let me know. And please be from this
1:42:07
area, or have some sort of influence in this area, that
1:42:09
would be great. And, yeah, all the things are there rich as
1:42:13
always. We do this every now and then. Great. We're still have
1:42:16
stuff to talk about, so I'm happy about that.
1:42:18
Fantastic. Well, I appreciate you having me. I was,
1:42:22
yeah, I was on the can this morning, and I got the text, do
1:42:25
you want to be a guest on my show today? And I was like,
1:42:28
Absolutely, okay, cool. Sometimes they work out that
1:42:31
way. It was great, buddy. Thank you so much. I don't think I
1:42:33
sent the text from the can, but maybe, maybe I did, I don't
1:42:36
know. Well, there you go. Check us out. Thanks again for being
1:42:39
on we're gonna wrap it up. Talk to you later. Thanks, pal. You.