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The Art Of Hard Rock Drumming With MONI LASHES · HEAVY Music Interviews

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  Speaker 1: I'm money Lashes, the drummer and stick spinner for oussy
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  Speaker 1: hard rock band The Babes, and I'm the proud author
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  Speaker 1: of the Art of Hard Rock Drumming.
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  Speaker 2: And thanks to Chris from Heavy for having me on today.
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  Speaker 3: My absolute pleasure. Thank you for joining us.
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  Speaker 2: I'm very lucky to be a part of this.
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  Speaker 3: It's going to be good, going to be an interesting interview.
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  Speaker 4: So you officially launched your book That Art of Hard
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  Speaker 4: Rock Drumming, A Comprehensive Toolkit for the Modern hard Rock Drummer,
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  Speaker 4: in your hometown of Badelaide last month.
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  Speaker 3: So that was the earlier response been.
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  Speaker 1: Yeah, it's been really positive and I'm very fortunate to
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  Speaker 1: have such support and I've had some great testimonials from
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  Speaker 1: drummers that I actually look up to myself, so it
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  Speaker 1: gives me the boost of confidence to just keep pushing
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  Speaker 1: with this. But yeah, so I basically wrote this book
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  Speaker 1: as a drum educator, because when I'm not on tour
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  Speaker 1: with the band, I teach drums. And you know, I
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  Speaker 1: grew up learning from drum books and picked and choose
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  Speaker 1: things I liked, and you to have the authors of
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  Speaker 1: those books actually give me testimonials has blown my mind.
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  Speaker 4: It is there's something in that child that I want
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  Speaker 4: to ask you a little bit more about, Like it
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  Speaker 4: says for the modern hard rock drummers, So why actually
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  Speaker 4: add the modern in there? Is there a difference between
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  Speaker 4: hard rock drumming now and what there was previous.
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  Speaker 1: I think nowadays the modern drummer needs to be proficient
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  Speaker 1: with metronomes and click tracks if you want to be
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  Speaker 1: in the studio, and even more so nowadays live there's
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  Speaker 1: a lot of backing tracks for certain bands. Whereas you know,
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  Speaker 1: back in the classic rock that I grew up loving,
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  Speaker 1: you know, the drummers had a bit more movement during
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  Speaker 1: recording in tempos and things like that.
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  Speaker 2: And it doesn't go to.
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  Speaker 1: Say they couldn't play with a click track. It was
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  Speaker 1: just the time and what they went with. Whereas nowadays,
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  Speaker 1: time is money in the studio, I guess, And if
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  Speaker 1: you've got a drummer who's proficient and skillful enough to
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  Speaker 1: do less takes because they're playing with a click track,
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  Speaker 1: it saves money for the band. And also when you're
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  Speaker 1: playing live as a modern drama, you've got lighting and
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  Speaker 1: piro set up.
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  Speaker 2: I guess with click track, So I just kind.
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  Speaker 1: Of the things I learned as a drummer weren't for
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  Speaker 1: those reasons, but they benefited me as a drummer. And
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  Speaker 1: I mean, my band doesn't have PIRO. I wish we did,
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  Speaker 1: but I don't play with the click track. Well i've
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  Speaker 1: been in the studio, I do, and that just helps
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  Speaker 1: polish the tracks to be more.
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  Speaker 2: Modern for radio and things like that.
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  Speaker 4: Yeah, now, but the better for anyone listening it might
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  Speaker 4: not be familiar with your life and career, like, tell
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  Speaker 4: us a bit more about yourself and what actually qualifies
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  Speaker 4: you to write a book about drumming.
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  Speaker 3: Yeah.
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  Speaker 1: So, I've been playing drums for about thirty just over
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  Speaker 1: thirty years, and I started learning drums from my dad,
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  Speaker 1: who never let me touch a drum kit until I
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  Speaker 1: was proficient on a practice pad.
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  Speaker 2: And for anyone who knows that a practice pad is a.
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  Speaker 1: Boring rubber circle and it makes no exciting sound.
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  Speaker 2: But I learned how to read drum music and drum.
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  Speaker 1: Charts and learn all my rudiments, which are basically the
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  Speaker 1: fundamentals of drubbing. It's kind of the equivalent to guitarists
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  Speaker 1: learning scales and things. So you've got the whole background knowledge.
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  Speaker 1: So I did all the boring stuff, so to say,
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  Speaker 1: and then when I finally got on the drum kit,
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  Speaker 1: I really found my love of drumming. And I continued
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  Speaker 1: studying under one of Essay's best educators, Lauri Kennedy, and
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  Speaker 1: that's where I learned the stuff that I hated but
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  Speaker 1: I needed, things like Latin drumming and jazz drumming. But
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  Speaker 1: I always just came back to hard rock. It was
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  Speaker 1: just where my heart lied.
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  Speaker 3: You know.
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  Speaker 1: I'd be going to my drum teacher with a CD
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  Speaker 1: back in the old days of led Zeppelin, like show
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  Speaker 1: me how to play this film or something cringe now,
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  Speaker 1: but like I used to love avro leving, like, oh, how.
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  Speaker 2: Do they play this?
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  Speaker 1: You know, and you go, well, we're doing this today,
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  Speaker 1: We're playing jazz standards.
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  Speaker 2: And I hated it.
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  Speaker 1: But if it wasn't for that, I wouldn't have the
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  Speaker 1: independence of my four limbs that you know make me
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  Speaker 1: a okay drummer. Okay, I think, so yeah, that's my
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  Speaker 1: like learning side of drumming.
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  Speaker 2: But the real.
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  Speaker 1: Learning curves when you hit the road with the band,
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  Speaker 1: and it's not just rocking up in a drum kit setup.
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  Speaker 2: You need to have the energy.
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  Speaker 1: To set up your drum kit, put on a proper
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  Speaker 1: show from start to finish, then pack up your drum
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  Speaker 1: kit and get to the next place.
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  Speaker 2: So stamina was something that I learned.
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  Speaker 1: Real quick was very important for a hard rock self
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  Speaker 1: sufficient drumming act. And I guess that kind of leads
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  Speaker 1: into In twenty fifteen, I set a world record for
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  Speaker 1: drumming NonStop for twenty four hours. That was to help
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  Speaker 1: my family raise money for my dad's life staving medical treatment,
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  Speaker 1: which was luckily a success.
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  Speaker 2: And yeah, so I guess after that.
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  Speaker 1: Record it kind of got a little bit of attention
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  Speaker 1: towards my band and myself as a drummer. And I've
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  Speaker 1: just been teaching for the last sixteen years and the
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  Speaker 1: book is a combination of what I learned my learning
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  Speaker 1: style from my teachers, as well as what I find
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  Speaker 1: is beneficial for my students. And a couple of my
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  Speaker 1: students have actually gone on to get scholarships at the
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  Speaker 1: Conservatorium and international music colleges, and one of them is
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  Speaker 1: even an endorsed artist himself. So I think I've got
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  Speaker 1: some success stories from my method of teaching. I really
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  Speaker 1: believe that we need to have more kids playing instruments,
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  Speaker 1: So I don't think we need to be so rigid
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  Speaker 1: and make it as boring as maybe history did. So
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  Speaker 1: you know you're going to give and take, make it
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  Speaker 1: fun and still get the fundamentals down, which is what
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  Speaker 1: I hope my book does.
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  Speaker 3: Really cool now is the book?
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  Speaker 4: Is it designed to help teach your drum from scratch
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  Speaker 4: or is it one way you need to have some
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  Speaker 4: idea what you were doing first?
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  Speaker 1: I really wanted this to be an all encompassing books,
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  Speaker 1: so whether you're a beginner or advanced drummer, you're going
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  Speaker 1: to get something out of it. It's chronologically structured, so
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  Speaker 1: since you open the first page, it's going to teach
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  Speaker 1: you absolutely everything I believe you need to know as
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  Speaker 1: a drummer, all the way through to the final pages,
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  Speaker 1: which are advanced drum play along tracks that even some
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  Speaker 1: of my best drummer friends have had trouble finishing some
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  Speaker 1: of the parts off, but it's like a really.
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  Speaker 2: Fun challenge for them. So you should be able to play.
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  Speaker 1: You should be able to turn to any page of
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  Speaker 1: the book and look at something, and even if you
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  Speaker 1: don't know how to play it, the lesson aspect of
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  Speaker 1: it teaching you how to do it is somewhere earlier
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  Speaker 1: in the book, so it's all involved in one and
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  Speaker 1: the way I did that chronologically is I actually recorded
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  Speaker 1: video play alongs and demonstrations for every exercise. So whether
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  Speaker 1: you go to a drum teacher and learn from that
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  Speaker 1: drum teacher, or you're just doing it on your own,
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  Speaker 1: I'll be there in the room with you, teaching you
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  Speaker 1: along the way as a mirror image. So when I'm
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  Speaker 1: hitting it with his hand, you're hitting it with that
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  Speaker 1: corresponding hand. And that's a real benefit because I'm actually
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  Speaker 1: a left handed drummer, so that mirror technique has really
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  Speaker 1: benefited my students over.
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  Speaker 2: The last decade and a bit.
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  Speaker 1: So it's just like a culmination of the last fifteen
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  Speaker 1: sixteen years printed into a book.
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  Speaker 4: Yeah, okay, it's sort of touch on this, but the
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  Speaker 4: press release says the book is particulously crafted to cover
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  Speaker 4: every facet of hard rock drumming, singling out stamina, technique, dynamics,
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  Speaker 4: and showmanship solo structures. So could we go through each
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  Speaker 4: of those facets individually and elaborate on what you mean
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  Speaker 4: by that.
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  Speaker 3: So we'll start with stamina.
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  Speaker 2: So stamina I kind.
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  Speaker 1: Of touched it a little bit earlier, where you need
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  Speaker 1: to have the stamina not just for the set, but
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  Speaker 1: for the load in and the packing up. But the
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  Speaker 1: main part of stella that's important to me is when
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  Speaker 1: you think about you go to a show of you're
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  Speaker 1: playing live, that is, I want to be able to
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  Speaker 1: give it my all from the first hit to the
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  Speaker 1: final hit of a set. I don't want to be
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  Speaker 1: lacking energy or dropping down the vibe the last couple
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  Speaker 1: of songs because my body can't keep up cardio wise.
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  Speaker 1: You know, people work hard a week, they study all week,
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  Speaker 1: whatever they do a week, but they're coming there to
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  Speaker 1: watch you for your half an hour an hour and
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  Speaker 1: they're spending the money on you. So I want them
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  Speaker 1: to walk away like, hell, yeah, that was worth my
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  Speaker 1: time and money and above. I want to give them
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  Speaker 1: more than they expect. And you can't do that if
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  Speaker 1: you're unfit. And that all leads into technique and building
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  Speaker 1: up the fundamentals. So that's the first chapter of the
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  Speaker 1: book really kind of covers some stamina exercises, building up
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  Speaker 1: techniques to just keep going endurance wise, right, So go.
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  Speaker 3: Into the technique aspect of it.
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  Speaker 2: Deeba so we're technique.
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  Speaker 1: It's not just about the stamina, it's also about power.
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  Speaker 1: So we want to we want to play heavy music,
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  Speaker 1: we want to play hard rock. We need to have
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  Speaker 1: the consistency of hard strokes as well as the finesse
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  Speaker 1: of ghost notes, which are softer strokes, and that contrast
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  Speaker 1: in between the loud strokes and the soft strokes helps
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  Speaker 1: build songs. And it's not just playing songs. We're actually
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  Speaker 1: creating a story and we can do We can be melodic,
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  Speaker 1: we can be musical on drums.
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  Speaker 2: It's not just.
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  Speaker 1: Bam bam boom boom, like some people think some of
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  Speaker 1: the greatest drummers are the most melodic drummers. And you know,
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  Speaker 1: people like to give hate to Tommy Lee because it's
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  Speaker 1: all showmanship. But if you never saw him in your
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  Speaker 1: life and you never saw his spinning cage drum kit,
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  Speaker 1: and you just listen to his drumming, it's melodic and
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  Speaker 1: it serves the song. So my book's very much trying
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  Speaker 1: to not just teach drummers like physicality, but also the
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  Speaker 1: mentality behind crafting drum tracks, because I don't want that
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  Speaker 1: art form to be lost as music tends to go electronic,
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  Speaker 1: and rigid. Even though you're playing with a click track,
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  Speaker 1: you can still make your drum part interesting and serve
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  Speaker 1: the song.
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  Speaker 3: Yeah, very cool. How about dynamics, So.
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  Speaker 1: Yeah, dynamics kind of ties into that, like having that
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  Speaker 1: ability for your technique to hit hard when you need
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  Speaker 1: to and to hit soft. So dynamics is just making
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  Speaker 1: song selections, so what your musical choices are in a song.
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  Speaker 1: Just like Tommy Lee. You know, he could have played
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  Speaker 1: solid rock beat four on the floor for most of
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  Speaker 1: Kickstart My Heart, but he doesn't. He's playing this excellent
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  Speaker 1: snare paddn which builds up that motor engine kind of
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  Speaker 1: feel of Kickstart My Heart. That's a dynamic choice he makes.
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  Speaker 1: So I try and incorporate little examples in the book
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  Speaker 1: as well. So there's a whole chapter towards the end
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  Speaker 1: of iconic drum parts and films, so that the next
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  Speaker 1: generation who may not have a dad who's involved with music,
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  Speaker 1: like my dad showed us all this cool stuff growing up,
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  Speaker 1: and that's how I know about Motley cru That's how
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  Speaker 1: I know about kisses, drummers intros of certain songs. But
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  Speaker 1: like for the person who doesn't have that in their family,
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  Speaker 1: they can look up. Oh, that looks like a cool feel.
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  Speaker 1: I might be listened to that song. It's kind of
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  Speaker 1: trying to reinvigorate the interest in hard rock again.
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  Speaker 3: Very cool.
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  Speaker 4: And the final one you've got is showmanship and solo structure.
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  Speaker 3: Yeah.
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  Speaker 1: So when I was like growing up learning from books,
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  Speaker 1: they were all very rigid and.
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  Speaker 2: Formal and there was nothing about showmanship.
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  Speaker 1: And so the first time I saw say, Tommy Lee
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  Speaker 1: or kiss Peter Cris on his elevating drum rise, I
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  Speaker 1: was just like blown away because you know, there was
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  Speaker 1: nothing like that at the time, And that's just showmanship.
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  Speaker 1: And some people hate showmanship, and that's fine, you can't
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  Speaker 1: be right all the time. But for me, showmanship is
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  Speaker 1: what heavy and hard rock is all about.
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  Speaker 2: You know, whether.
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  Speaker 1: It's the most brutal of heavy metal and they're doing
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  Speaker 1: synchronized hair flips, that's showmanship. If you've got Eloy cass
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  Speaker 1: A Grande from Slipknot just beating the living hell out
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  Speaker 1: of his snare drum, that's showmanship.
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  Speaker 2: That's a choice he's making. He doesn't need to do that.
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  Speaker 1: They could eily put a trigger on that, they could
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  Speaker 1: do anything in the world, but he makes that choice.
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  Speaker 1: Because it suits his band and it suits the audience.
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  Speaker 1: Like I never was interested in the slipknot. That's not
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  Speaker 1: because I hate it, I just didn't listen to them.
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  Speaker 1: As soon as I saw just the drum cam of
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  Speaker 1: Eloy for three minutes, I was hypnotized because it was
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  Speaker 1: so power but so tasteful and that's showmanship. And incorporated
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  Speaker 1: in that chapter is solo structure, because there was no
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  Speaker 1: textbooks at the time when I was growing up that
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  Speaker 1: taught me any mentalities or ideas of how to set
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  Speaker 1: up a solo. And my nightmare as a kid was
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  Speaker 1: I'd be in a school band and the teacher would say, Okay,
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  Speaker 1: you've got eight bars of solo, and I'd be like,
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  Speaker 1: oh no, I've got this whole bank of ideas from
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  Speaker 1: what I've learned for the last ten years, but I
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  Speaker 1: don't know how to implement that at all, and so
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  Speaker 1: I'd freeze and do something really lame, and I'd regret
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  Speaker 1: it for the next fifteen years.
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  Speaker 2: So I don't want anyone to.
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  Speaker 1: Have to feel that way, And so I love it
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  Speaker 1: when my students come to me and they've got a
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  Speaker 1: chart and it says, though to bar drum solo or
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  Speaker 1: drum feels like excellent. Let's just plot out some ideas
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  Speaker 1: and however they join, they joined, but at least you've
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  Speaker 1: got an idea in your head. So that's kind of
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  Speaker 1: explaining the book a little bit, just to touch on it.
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  Speaker 1: It's not a thorough.
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  Speaker 4: It's also now this one's coming back to something we're
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  Speaker 4: talked about a bit earlier, but we're speaking about the
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  Speaker 4: four over four hundred video demonstrations that you've got in
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  Speaker 4: the book. You've also come up with a great idea,
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  Speaker 4: like the QR codes that link to all of them.
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  Speaker 4: So I'm sure there would have been people going, how
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  Speaker 4: the hell do you get order all these videos?
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  Speaker 3: But simply point your phone at it and it does
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  Speaker 3: the rest for you. Yep.
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  Speaker 1: So that's one thing I really wanted to make it
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  Speaker 1: easier access, so that no matter what device you're on,
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  Speaker 1: whether it's a kid on an iPad or on your
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  Speaker 1: phone or laptop, each page has got a QR code,
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  Speaker 1: and when you scan it, it takes you directly to
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  Speaker 1: my website that has that exercise video demonstration of me
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  Speaker 1: playing it, but then also two other videos at two
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  Speaker 1: different tempos. So once you've nailed it, you can push
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  Speaker 1: yourself playing along at two different tempos and really have
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  Speaker 1: that concrete in your brain after that.
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  Speaker 3: That's awesome.
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  Speaker 2: It took a very long time.
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  Speaker 1: It went down to like three hundred and twenty five
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  Speaker 1: individual videos I had to make.
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  Speaker 3: I'm glad it's you, not me.
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  Speaker 2: Never again, my friends again.
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  Speaker 4: There's an interesting quote there that said, eighteen minutes of
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  Speaker 4: drumming a day will make you a better drummer than
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  Speaker 4: ninety five percent of the world. Like, at what level
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  Speaker 4: would you need to be started off with for that
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  Speaker 4: to come true?
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  Speaker 1: I think that actually that quote is actually applicable to
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  Speaker 1: every skill, not just drumming.
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  Speaker 2: So I read that from a professor somewhere.
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  Speaker 1: I can't remember where I got it from, but it's
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  Speaker 1: actually like proven. So you could be starting from scratch,
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  Speaker 1: but if you're doing efficient eighteen minutes, not fluffing around
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  Speaker 1: focus for eighteen minutes, it's been proven that you will
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  Speaker 1: be in the top echelon whatever skill you put your
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  Speaker 1: mind to.
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  Speaker 2: And to be honest, we all have the same twenty
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  Speaker 2: four hours in a day.
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  Speaker 1: I get that, and I get that some people work
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  Speaker 1: double shifts and some people have kids. But if you
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  Speaker 1: can do eighteen minutes or sign for yourself instead of
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  Speaker 1: watching that episode on Netflix, instead of doom scrolling for
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  Speaker 1: an hour eighteen minutes, or you can even watch netflick.
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  Speaker 1: So I guess in the background and do the eighteen
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  Speaker 1: minutes on a practice pad. You will noticeably improve dramatically
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  Speaker 1: and fast. Because I implemented it myself the last five years.
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  Speaker 1: It's not just airy fairy. I wasn't practicing enough. I
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  Speaker 1: wasn't practicing efficiently enough. So I really honed in and
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  Speaker 1: made an efficient workout that killed all the birds with
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  Speaker 1: all the stones and did it as fast and efficient
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  Speaker 1: as possible, and my drumming just elevated incredibly.
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  Speaker 3: Yeah right, very cool.
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  Speaker 4: Now, I'm sure there's bound to be drummers out there
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  Speaker 4: who think that they don't need this sort of stuff,
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  Speaker 4: and you know, they know it all. Drummers are like that,
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  Speaker 4: they always know it all. But to tell us one
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  Speaker 4: or two things that are in the book that even
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  Speaker 4: seasoned drummers might not know about or might not put
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  Speaker 4: into practice until they know it.
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  Speaker 1: I think the mentality of the solo structure, the way
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  Speaker 1: I've kind of mapped it out with an actual visual
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  Speaker 1: representation of the storyline of the structure and what it's like.
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  Speaker 2: It's very similar to a movie plot.
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  Speaker 1: You need to have an intro, you need to have
• 16:00
  Speaker 1: a contrasting part to engage the audience.
• 16:03
  Speaker 2: You need to have the build up, the climax.
• 16:08
  Speaker 1: You need to have some kind of silence because the
• 16:10
  Speaker 1: contrast again engages the audience. I think that's maybe something
• 16:14
  Speaker 1: that a lot of drummers don't think about, is not
• 16:17
  Speaker 1: playing actually is hugely impactful. So that's probably something that
• 16:21
  Speaker 1: a lot of drummers, like everyone in this world and
• 16:23
  Speaker 1: day and age on Instagram, like Instagram drumas and they're
• 16:27
  Speaker 1: just crazy at chops. They're fast, last beats are insane.
• 16:31
  Speaker 1: But it's the drama that does something, you know, interesting,
• 16:35
  Speaker 1: but then just stops. It's like your ears are just
• 16:39
  Speaker 1: like what like that that will grab my attention more
• 16:42
  Speaker 1: than someone playing eight hundred beats per minute, you know.
• 16:45
  Speaker 2: So I think it's drummers don't have to play every beat.
• 16:49
  Speaker 1: There's a lot to be silence in gaps, and the
• 16:51
  Speaker 1: gaps is what makes your playing actually elevated.
• 16:55
  Speaker 4: Yeah, Now, if you have to sum up the benefits
• 16:58
  Speaker 4: of reading the Art of Heart Drumming, what would they be?
• 17:02
  Speaker 1: I think that this book if you are able to
• 17:05
  Speaker 1: work through it, not necessarily complete the whole thing, but
• 17:08
  Speaker 1: if you're actively working through the book, you'll be proficient
• 17:12
  Speaker 1: enough to be a studio drummer. You'll be able to
• 17:15
  Speaker 1: go in live situations and be confident, or you'll be
• 17:19
  Speaker 1: able to play songs at home. Not everyone wants to
• 17:21
  Speaker 1: play on bands on tours, and not everyone wants to
• 17:23
  Speaker 1: be in a studio. Some people just want to be
• 17:25
  Speaker 1: the best drummer they can be at home to jam
• 17:27
  Speaker 1: belong to their songs.
• 17:28
  Speaker 2: But I feel like my book.
• 17:30
  Speaker 1: Covers every aspect of being a good drummer, and even
• 17:34
  Speaker 1: if you get halfway through the book, you'll be an
• 17:37
  Speaker 1: absolutely better the drummer than a lot of people out there.
• 17:40
  Speaker 3: Yeah. Really cool.
• 17:41
  Speaker 4: Now, no notice the book comes in the digital format
• 17:43
  Speaker 4: and the hard copy, So where can people get hold
• 17:46
  Speaker 4: of a copy?
• 17:47
  Speaker 1: So the hard copy is available on my website, which
• 17:50
  Speaker 1: is money lashes dot com, and I post that everywhere worldwide.
• 17:54
  Speaker 1: In this day and age, people like to have the
• 17:56
  Speaker 1: digital e book copy which is available.
• 17:59
  Speaker 2: I'm very fortune.
• 18:00
  Speaker 1: I got published through Hudson Music, which is a New
• 18:03
  Speaker 1: York publishing house. So if you go to Hudsonmusic dot com,
• 18:07
  Speaker 1: I think I'm the only Australian author on there, but
• 18:10
  Speaker 1: it's on there for a digital e book, and it's
• 18:12
  Speaker 1: exactly the same book.
• 18:13
  Speaker 2: As the physical copy, but you can just have the whole.
• 18:16
  Speaker 1: Thing accessed on your iPad and it includes all the
• 18:19
  Speaker 1: videos and the audio that huh, I've got one he's got,
• 18:25
  Speaker 1: So they're both the same version, but just for people
• 18:28
  Speaker 1: who are more digital interested.
• 18:30
  Speaker 2: I'm very old school. I don't have an iPad, so
• 18:33
  Speaker 2: I like having.
• 18:34
  Speaker 1: A physical copy, which is something I really wanted to
• 18:36
  Speaker 1: have for my students because basically everything in this book
• 18:40
  Speaker 1: I've handwritten for all three hundred of my students over
• 18:43
  Speaker 1: the last fifteen years. So I should have just done
• 18:45
  Speaker 1: it the first time, photo copied it. But you know,
• 18:49
  Speaker 1: hindsight is a great thing.
• 18:52
  Speaker 4: Well, now what's next, fim money like you, I'm taking
• 18:55
  Speaker 4: you're not going to kick back and rest on your
• 18:57
  Speaker 4: laurels with the book. I'm sure You've got some someone
• 18:58
  Speaker 4: else planned.
• 19:00
  Speaker 1: I just can't wait for our band to finish our
• 19:02
  Speaker 1: album and get back on the road. We've missed out
• 19:05
  Speaker 1: on the last couple of years touring. But the next
• 19:08
  Speaker 1: album we've been working hard on and I'm really excited
• 19:10
  Speaker 1: to get back on the road. As you know, you
• 19:12
  Speaker 1: helped us with our Japan tours and we feel really
• 19:15
  Speaker 1: at home there, so we really want to get back there.
• 19:18
  Speaker 1: But as far as drumming wise, I've got some finally,
• 19:21
  Speaker 1: some more international tours in the works for next year
• 19:24
  Speaker 1: because I've been doing only domestic stuff the last two
• 19:27
  Speaker 1: years because I've been writing this book like a crazy
• 19:31
  Speaker 1: and it's had its ups and downs over that. You know,
• 19:34
  Speaker 1: it's all learning and progress. I've never written a proper
• 19:36
  Speaker 1: book before, and now in hindsight, you learn more efficient
• 19:40
  Speaker 1: ways of doing things. But it's done and I just
• 19:43
  Speaker 1: look forward to getting out there and showcasing it to
• 19:45
  Speaker 1: people who are interested.
• 19:47
  Speaker 4: I'm glad you actually brought up Japan because it reminded
• 19:49
  Speaker 4: me of something that I read when I was doing
• 19:50
  Speaker 4: some research.
• 19:51
  Speaker 3: And You've actually got a drink named after you in
• 19:53
  Speaker 3: the hard Rock Cafe in Japan, Like what.
• 19:57
  Speaker 1: That was so crazy to me because that was after
• 20:00
  Speaker 1: the world record they I think.
• 20:02
  Speaker 2: The Japanese love crazy achievements.
• 20:05
  Speaker 1: So we were on our second tour of Japan and
• 20:09
  Speaker 1: we got booked to play at the hard Rock Cafe
• 20:11
  Speaker 1: or Soccer and when we were booking at and organizing it.
• 20:17
  Speaker 2: They're like, oh, we'd like to have a special drink
• 20:19
  Speaker 2: named after you.
• 20:20
  Speaker 1: I thought they were, you know, joking, And then we
• 20:23
  Speaker 1: rocked up and there was all these closters of the
• 20:25
  Speaker 1: money lashes me and Margarita. I was like, this is insane,
• 20:30
  Speaker 1: and I'm not much of a drinker, but I definitely had.
• 20:32
  Speaker 4: One very good well as usual. It's been a pleasure
• 20:37
  Speaker 4: speaking with you. Good and luck with the Book of Congratulations.
• 20:40
  Speaker 4: From what I've read, I don't think you could teach
• 20:42
  Speaker 4: me how to drum, but I'm sure i'd be able
• 20:44
  Speaker 4: to help a lot of people out there, but people
• 20:46
  Speaker 4: plugging away