The Rich Redmond Show

Music coming to you from crash
studios in Music City, USA,

Nashville. This is the rich
Redmond show. What's up, folks?

It's that time.

It's time for an exciting
episode of the rich Fredman

Sure. We talk about all things
like music, motivation, success,

and, of course, so much more
stuff. Always happy to be joined

my by my co host, co producer,
longtime friend, Jim McCarthy.

Jim McCarthy, voiceovers.com
What's up, Jim? How are you,

sir, doing great. Hey, this,
this mic got all sorts of roomy.

It got roomy all of a sudden. I

think it's kind of like it
doesn't like the being yelled

at, oh, I

just need to just stop yelling
into it maybe, oh, that's I'll

work on it warmer right there.

It's a continuous, I

think it was picking up from
other mics, maybe, yeah, kind of

sounds like

we're getting some input from
our guest today, because he's

not only a world class drummer,
but he's a fantastic engineer,

hailing originally Fort Smith,
Arkansas, calling Nashville home

since 2006 he's an ACM award
winning drummer of the year.

He's played with folks like
Kenny Chesney, Reba McEntire,

Luke Bryan, Jimmy Allen, Ronnie
Dunn, Keith, urban, Steven

Tyler, Toby, Keith Maddie, and
just the list goes on and on.

Our friend Evan Hutchings,
What's up, pal?

What's going on?

I'm sorry, man, I am so excited
to be in the room with you,

because we were just like our
thumbs are sore from texting.

Because you're such a busy guy,
it's like herding cats,

literally. We

got you here talk to my wife.

You blow me away because the
fact that you know you make the

hall every day to work on Music
Row. You got your own projects

going on, and you're a family
man, yeah. So that's a lot. It's

a lot going on. I

appreciate you making making
time for us,

absolutely. Man, I'm glad it
worked out. Yeah, I'm

glad to be here. Thank you for
having me, of course.

Now tell us, like, you know, we
could go back, we could start

with what you're working on now,
we're there's so much stuff that

we can talk about, but you moved
to Nashville in 2006 so we can

start there, or you can, kind of
like, take us back. I know for a

fact that so many drummers start
their journey playing in church,

and I think that was your
journey that,

yeah, that's where it started
for me, two years old, so young

a kid, I know. So the story
goes, my dad tells is that they

were having worship band
practice. This This was actually

in Hot Springs, Arkansas, and
the drummer wasn't there yet.

And or he had went to use the
restroom or something like that,

I don't know. And then I hopped
up on the kit, and they just

thought he was there, you know,
they thought, Oh, the drummer's

here. And they look back and
couldn't see anybody. And it was

a little two year old me. And to
me, that means maybe the drummer

wasn't that good.

Do you remember who this guy
was? I'm sure he

was a great drummer. But anyway,
yeah, so I was just always drawn

to the drums. And during church
every Sunday, you know, we were

at church, it was Sunday morning
service, Sunday night, Wednesday

night, you know, so and I was
there all the time after school,

go to the church, hang out, play
drums, me and my sister and

cousins, they were always there.
So we formed bands together. The

preacher, he was the pastor.
Yeah, wow. He was the senior

pastor. Just retired, actually,
two weeks ago. Wow. 42 years.

Congrats, a long time. Yeah,
amazing. That's

a lot of pressure. Every Sunday,
you got to come up with a new

message, yeah. And

he so he would preach at 9am
10am, 1045, 630, on Sunday,

radio show, TV show, Wednesday
night, at seven. All different

sermons, all different things.
Yeah, busy talking about getting

your

speaking reps in

literally, yeah. And plus, you
were probably just like, raised

to be like a very respectful
young man. Yeah,

I knew how to pretend to be,

but, uh, but yeah, so I would
always sit behind the drummer at

church, during the worship time,
and just soak it in. And then

after church, he would show me
some cool stuff, a guy named Sam

Smith, who's the guy that really
kind of taught me. He was

teaching me really cool stuff
that I was, like, I didn't

realize was way more advanced,
you know, like, Mozambique grew,

oh yeah, like, Steve gad stuff,
picaro kind of stuff. And I was,

like, literally, like, four or
five years old, that's crazy

exposed to that kind of stuff.
So I would, I would hang out at

the church all afternoon in
between services, and just

practice and practice and play
and play and play. Sunday night

rolled around. Whenever I got
older, I was able to play in the

band at church and stuff, and
so, yeah, it was just kind of

non stop playing, which is great
for me, terrible for the people

that worked at the church,

but thankfully, they put up with
it, yeah,

and so, so your parents saw that
in you, and you didn't

necessarily have to go and get
proper lessons right away,

because you were just immersed
in this culture.

Yeah, it was just all the time.
I got one drum lesson from. A

lady in our hometown, and I
hated it. Didn't do your

Connect. You're too young, yeah,
I was too young, yeah, yeah. And

I had my own kid at that time.
It was just always playing. I

joined band, like, proper band
and seventh grade, but I was

also playing football, and that
music was just, it came easy to

me. It wasn't something that I,
like, worked too hard at, you

know? Yeah, so sports was, like,
really, where I was focused on,

like, extra time and things like
that. So I quit band because I

didn't want to march in my
uniform, my football uniform,

that's right. And when we were
playing, I was, like, kind of a

cocky little kid, you know, and
I knew, I mean, I was already

playing everything that we were
supposed to be learning. And,

yeah, you know, the band
director didn't like that, and

we just didn't really, we didn't
jive, you know. So what

was the football your football
career did? Did you, did you get

hurt? Or was it looking like,
Hey, I

might do this. So we, I played
my whole life, up until, oddly

enough, my senior year of high
school, I quit. But we, like,

won state championship. We were
the best, like, high school

football team in Arkansas, you
know, yeah, incredible team,

great coaches, and that really
taught me how to show up and

work really hard when you don't
want to, you know, just Yeah,

before school, 5:30am in the
weight room, like that kind of

stuff, yeah? So you just learn
how to grind. You learn how to

work. Get over it, just like,
toughen up and show up, you

know. And I feel like a lot of
that stuff still, I have a lot

of those traits still today that
still connects with me today,

which is cool, but yeah, so
senior year of high school, I

joined a different band that I
was in Fast forwarding. There's

a bunch of other bands in
between that, and we started

touring the country. We would
book shows via MySpace. Back

when MySpace was around, was
this the band? The exception,

the exception, nice. So, yeah,
we just, we busted out an atlas

and just said, Okay, I've got
family here, here and here.

Let's book shows around that so
we can stay places for free.

Smart. So we went to Denver. We
went to like, Cheyenne, Wyoming,

Chicago, Minneapolis, St Louis,
like, just kind of all around

playing rock clubs, playing rock
clubs, yeah, like 1617, years

old, with the dudes that you go
to the bathroom, and it was like

a trough, yeah? And everybody
else, remember those gyms.

You're like, hey, we weren't old
enough to be in the clubs we

were playing. Yeah? I mean,
yeah. Which was great. It was

great experience. Kind of learn
how to tour with people at a at

an early age. Yeah, and yeah, we
moved to Nashville together in

2006 that band did. And Mike
rinse, the bass player here in

town, he was in that band. We
still do sessions together all

the time. Beautiful. Yeah,
really cool.

Maybe you guys were the only
ones in the band that had either

the aspirations or the skill set
to potentially be session

players. Yeah, there's

another guy, Scott Hundley, was
also in that band. He's doing

sessions mixing. He does a lot
of mixing, nice, fantastic

mixer. These

guys have a band house together.
We did, yeah, Eighth Avenue,

eighth and Wedgewood, eighth and
Wedgwood by Zanies, right across

the street from Zanies in the
back there, behind the dry

cleaner. Kind is, yeah, so

if you were to turn, if you were
to turn this corner, yeah, like

on that side Douglas corner,
there's like a pocket of three

houses right over there. We were
one of those houses. It was like

900 bucks a month. Amazing.
We're a three bedroom, three

bathroom, full basement where we
could practice. It was stupid

cheap.

Yeah, I remember all my bills
for like 500 bucks. Yeah, it was

like, what I could spread. I can
spend that before breakfast.

Now,

that's a lot, you know,

on a pair of drumsticks at that.
Yeah, right.

So yeah, I miss that old Douglas
corner. Douglas corner. So many

great acts have been signed
there. So much great music has

happened there. His 80s is a
magical place, too. I mean, any

comic, who is, anyone has played

that room, Yeah, huge. You know,
saw Mark Marin there, like, a

couple years, Oh, yeah. Like
that, longer that. Just

like, you know, the food is
good, the sweet potato fries,

the veggie burger I'm overdue
for his Jim. Let's do it. We

gotta. We're overdue for a
Zanies hit.

We totally need to do it.

I had an ex wife. She was a
psychic, and she still does

Zanies, occasionally psychic,
not a sidekick. She the

sidekick. The subway sidekick is
the footlong cookie, which does

look good, but no, me and Billy
Hahn. Billy Hahn was Colby

Calais percussionist, and now he
is Brett Young's touring

drummer, awesome. And we had, we
had a little group called strike

that where we would basically
play household objects or office

supplies, and we would make
music. Oh,

cool.

I thought it was, I'd hit that.
I thought that's what it was.

No, I

hit that as a warts and all
podcast that you have done,

yeah, with Dave, yeah. He has a
in he has a he has a a habit of

setting up the interviews many
time in the most loud, busy

places like restaurants, sirens
going by other people. Yeah,

all. All the stuff. He's
awesome. It may it does make it

charming. So anyways, so you
guys all come here and you're

right there. Eighth Avenue.

We're right up in the middle of
it, yeah, all up in it, yeah.

And so I was going to MTSU at
the time, Lalo, right, yeah.

With Lalo and Julie, you know,
teaching, yeah, you know, yeah,

connections, right, yeah.

And another teacher there, Tommy
G, Tom G and Pietro. His name,

life changing teacher for me. He
was like, he was my guy that I

really connected with and worked
with a bunch. Where's

Tommy now? Because I used to run
into Tommy all the time on the

tower records on West Avenue,
yeah. So he's teaching now at

UMass and Amherst, okay, and
doing great things there with

that program. Good for him. He's

amazing. Yeah. We still talk,
like, at least once a week, say

hey for me, please, I will,
yeah. I will, yeah. So I went

in, like I was saying not a not
a lot of formal training for me,

like, not a great reader, but a
great ear, great feel, and could

just kind of play anything, but
just couldn't read that well,

yeah, which you need to do when
you're going to music school.

Shockingly, so I went as a music
production major and and then a

music minor, and then after a
semester, switched that around

and just kind of busted my tail
reading marimba for mallet

stuff, Tiffany, like, all the
the classics, all the stuff,

yeah, yeah. And then went from,
and then, you know, switch

majors, which was kind of like a
jazz studies major with a

minoring minor in recording
engineering, which is great. He

played in a big band at the MTSU
band, yeah, like salsa band went

from not being able to read to
just like could read anything

nice, you know what? I mean,
yeah, just a lot of

time that leveled out the your
skill sets now you now you had

everything going for you,
practical stylistic knowledge,

practical experience, playing in
a band, traveling with a band,

then you're in an academic
environment, and you're like,

okay, just need to get the
reading together. You

did together? Busted it. Yeah,
it moved. I moved to

Murfreesboro. I quit the band
that I was in. We played one

show at the end, you know, right
over there, off on Elliston.

Cash only, yeah, beer only. The
sound guy there, legendary,

Legendary Cat, Bruce, Bruce,
yeah. S 10 truck, yeah,

Bruce. I hope he's still around.
I

think he might have passed away.
I know you know what, no Adam,

he would know. He would know. He
would know. He would know. Yeah,

we played one show and with some
great local bands, and I just

thought to myself, we are not
that good. That's we were great

in our hometown. Yeah, classic
story, yeah. And so I thought to

myself, You know what I'm gonna
I wanted to be a studio musician

when I moved here. I just didn't
know what that looked like, or

how you do that, or what that
is, you know what I mean. And so

I decided, You know what, I'm
just gonna go basically live in

a practice room for as long as I
can, and keep networking,

hanging out with folks in
Nashville, try to try to, like,

hang on some sessions or
whatever, like, just do that

whole thing. And then started
touring. Shortly after that,

left MTSU in 2008 the fall of
2008 was my last semester. Okay,

yeah. Then started touring with
a guy named Griffin. How?

Griffin house, then toured with
a girl named Katie HERZIG, yeah,

and just a bunch of other
artists. And at that time,

started to work in some studio
environments, you know, like

working with a producer, Nielsen
Hubbard, over in East Nashville,

and, you know, just building up
those studio chops. And then it

just kind of grew and grew and
grew right and took off. Yeah,

yeah. Because, because you say,
I want to be a studio musician,

but you don't know the pathway
to do it. So there had to be a

couple of experiences. There was
like, Oh, this is, this is

coming into focus. Yeah,

I'm figuring this out. Yeah,
absolutely. There's

a drummer will sales, who I met
while I was in high school. He

was playing with a guy named
Derek Webb. And I was a fan of

their music. They were kind of
Wilco ish, but like a Christian

band too. You know, so
interesting. It was interesting.

Really cool stuff.

Um, I'd like to put, people are
always asking me, do you play

local rich? You got any other
projects going? I'm like, I want

to, I know I would love to put,
like an Americana type Wilco

thing together. But you know
what the most challenging thing

is, is finding that fantastic,
charismatic front person, yeah,

that doesn't want to just be
their own solo recording artist

with invisible players, right?
Like a band concept, yeah? You

think it would be easier to do.
It is not, not easy,

yeah? Because if someone is
great, they're probably already

doing, you know, someone's found
them, right? You know, right?

Which is also tough for artists
to keep musicians around in this

town too, you know, younger,
younger artists, because if

someone's really good, they're
gonna go get it to a ring gig or

whatever, you know. Yeah? So,
yeah, we'll. Sales was hugely

influential to me, and was kind
of like a big brother mentor to

me, even though he probably
didn't think so. He just, like

this annoying kid is just asking
me questions, will sales is

amazing, great, great drama
played with Matt Carney for a

long time. Tons of like session
work. He Yeah, he's great. And

so he would actually let me come
and hang out with him on

sessions, you know, and I, I
wouldn't say anything or just be

in the back. I wasn't, you know,
wasn't annoying, trying not to

be like that annoying young kid,
yeah. So he would teach me like,

this is how you tune drums for
sessions for the studio, because

it's different, you know, live,
if you're tuning more to the

microphone than you are to your
ear necessarily in the room, you

know? And so I learned that at a
pretty young age. I was like 19,

maybe 1819, or whatever. And so
yeah, and then he would kind of

like help me out of like running
tracks, like learning how to

build Ableton sessions and
things like that, just cool

stuff, like recording at home
and and so, yeah, he my first

master session, actually was
with him. It was a double drum

session for an artist named
Aaron McCarthy on universe,

drummers

tracking at the same same

time. Yeah, wow. So it was kind
of like a Jim Keltner, Matt

Chamberlain type of vibe. Yeah,
you know it was, it was at House

of David, which I think is still
there on Music Row, but yeah, so

we would have, we had two kids
set up in two different rooms.

One was sort of the weird,
bigger kick drum, kind of

concert bass kick like weird,
funkier one, and then a more

traditional kind of kid, because
we would swap. That's awesome.

Yeah, it was great. It was
amazing. I love that. So I was

still in college at that time, I
think. And so, yeah, just like

all these experiences started to
add up, and then the, you know,

word kind of gets out about you,
and people go, Hey, why don't we

try this guy out, which is
really difficult for drummers,

you know, I feel like it's one
of the harder instruments to

break into in the studio world,
because it's the most expensive

thing to record, yeah, if the
and if the drums aren't right,

the whole thing just kind of
done. It's

one of the toughest chairs
because, you know, the

expectation is all right, we're
doing five songs in three hours,

and we got to get that drum take
Yeah? So it's the hot seat, and

if the drums aren't right, then
the bass isn't right, or the

guitar or whatever.

So you have to, like, rerecord
everything. Yeah, I

always thought the drums were
just easy. I mean, obviously

getting into them and playing
them, because I was just a

natural, you know, draw to it,
yeah. But I guess that's kind of

interesting to hear at that

yeah, it is, yeah. Like, for a
producer or an artist, whenever

they go into record, they want
to feel, I mean, you have to,

you just have to have that ease.
And you want to know

everything's going to be good
that I don't even want to you

shouldn't have to worry about
the musicians that are there.

Yeah? You know that's just like
your your comfort zone, yeah?

You know, the foundation every

rock band producer in the world
is saying to themselves, this is

a band, please, let the drummer
be good, right? Because if he

doesn't, it gets awkward, and
then they have to bring in a guy

that do behind the scenes stuff,
yeah,

if you have a because the thing
is, you could tell, can you tell

if a guitar player is bad or a
bass player? Yeah, for sure,

tone,

I mean, toning, time, regular
ear, yeah? But then drummer,

it's, it's obvious, right? Yeah.
And if you need to re record the

guitar, you really only need
like, one microphone, right? Or,

like, maybe, you know, so you
could go over to that at your

play. But with drums, you need
the room. You need like, 12 to

15 mics, or whatever it may be.
It's just a lot more expensive

to fix.

It's an organism. Yeah, it's a
it's quite

the operation. Have you

guys heard of the movie dream
wild?

It's with, oh gosh, Casey
Affleck, Walton Goggins is in

it, Beau Bridges, pretty big
cast, but my wife and I watched

it last night, and it's a true
story about these guys, these

brothers named Emerson. His last
name, Donnie Emerson, yeah. Does

that ring a bell? No, there?
Well, one the brother, Walton

Goggins, one of the brothers was
a drummer. They made, like a

self produced record back in the
70s. Okay? And it like got

discovered. These guys were out
of Washington State, yeah, and

somebody, you know, back in the
birth of the Internet, they had

these, you know, chat groups and
stuff like that. And they

discovered their record that
they put out in the late 70s. It

then would became relevant in,
like, the late 90s, early

millennium. And, you know, these
guys just blew up, and the

brother who wrote all the songs,
the front man, started be taking

it very seriously. But back
then, his brother, who was on

drums, was never, now all that
good. And that was the tension

throughout the entire movie.
Gotcha, you know, trying to,

okay, you gotta, you know, step
it up here if they want to put

us on a tour. I

remember seeing the previews for
that. I put that on my my watch

list, did you? Yeah, it's insane
the amount of content we have,

like an. So it's like, you put
you have your favorites, I think

Amazon Prime, and it's my watch
list, or it's my stuff on you,

and it's just loaded with stuff
stressful. It's giving me

anxiety, the amount of things I
have to watch for fun,

yeah, and then I just put on
SportsCenter. Call it a day.

Watch like, a million. Is that
your favorite battery? Like

Arrested Development in the
office, like that era,

yeah, you know, so Arrested
Development is just hilarious.

So good, yeah, it really is
still funny.

We lost him. Oh my gosh, no, no,
we don't know where he is. We

lost,

yeah, he's gonna be all right.

No, he lost his left hand, he's
gonna literally be, all right

now, all right, get it just
dumb. Leslie Nielsen, right

there.

That is actually the same sample
that they use on Sirius Radio

XM, the the comedy station. Oh,
really, yeah, that's

funny, because we're using these
the rodecaster too.

Hey, come on, folks, free plug.

Yeah, all night. So, so what was
the name of that artist and that

album, that was your first
master, so

that was Aaron McCarley, and we
did two cover songs. One was, I

can't even remember, actually
what the names of the songs

were, which is crazy. I should
remember that. And I don't think

it ever came up. There's

been many songs since, yeah, so
that gives you the confidence.

Hey, I can do this. Yeah, yeah.
I

was like, Okay, this is cool.
This is fun. I love it. Yeah, I

can do this. Like, sign in a
card, a union card. Had never

done that amazing, and didn't,
you know, I wasn't. It wasn't

really one of those stories of
like, okay, I did that one time.

Now the floodgates are open. It
was still a grind, still, still,

like figuring it out and like
working on this record and doing

another record and doing this
and that led to that, or

whatever. You know now,

you did a little bit of touring,
so when you were, like, working

with Katie or whatever, did you
kind of have an epiphany, like,

Hey, this is cool, and this is
always an option, but it's like,

I do not want to be on this bus
right now. Yeah, yeah.

And that was kind of always my
thought. I never wanted to, I

always wanted to be in the
studio. Like, I mean, everybody

says that, but it's like, like,
for real. I really, I was drawn

to it at an early age. I was
recording myself in my bedroom

when I was a kid, you know,
like, on a crappy little Tascam,

four channel tape recorder, you
know, yeah, it was just always

enamored with that, like how to
get drums to sound good to a

microphone. And once I started
to make a little bit of money,

touring would buy some gear, buy
by a couple mics I still have

today, actually, yeah. And so
the touring was sort of a means

to get to meet more people, to
float myself, like financially,

to be able to finally be able to
turn down tours because I was

booked in the studio.

Did you ever have to go do the
low brewery thing? Did you ever

do never,

did you know I never did, but I
was I did some odd jobs, like I

was a maintenance man at an
apartment complex Charlotte

playing Mr. Like, early, like,
straight up, wow, Craig's, like,

January, super slow touring
schedule. Like, Well, I gotta

make money somehow, you know.
And I done,

were you married this time? No,
okay, I wouldn't. Um,

so my overhead was low, but, and
that was valeting cars, you

know, like, doing that kind of
stuff, and like, still and doing

gigs around town, but just not
enough to, like, fully, you

know, make the bills happen. So
yeah, couple weeks did that, and

then got another tour and said,
Peace out. Yeah,

now you say you moved here 2006
that's interesting, because that

would have been like, that would
have been like, maybe into

Jason's, like, second or third
single, and I was, I wonder why

we hadn't crossed paths until
just, you know, I know it's

great, another decade later,
right? We must have just been

like we were working the road.
We were doing like, 200 shows a

year, yeah, and I would come
into town on Mondays and

Tuesdays and do my, do my
sessions, yeah, time I was about

your age right now, yeah. And
that was just a very, very

vibrant. I remember, you know,
having my drums with Harry, or

whoever the heck I was with at
the time. And yeah, you do it 10

o'clock at one place, then you'd
have a another kid over for a

two o'clock. It was, it was
robust. Yeah, you know, it's

beautiful, man. And then you get
on the bus, and yeah, the music,

yeah,

come back Sunday.

But you're stay, you stayed in
town. And, I mean, this is a

great body of work here, very,
very robust discography. You got

anybody on here that you are
just like, that is like, wow.

That was,

you know, Steven Tyler was kind
of a wow moment in taller Rico,

yeah, yeah. Like, I actually
recorded, so recorded some for

him at my studio, at my own
place, doing overdubs and, like,

having his vocals going through
your headphones is insane. Yeah.

I mean, it's just like, you're
an Aerosmith for like an hour.

You know, it was incredible.
Yeah, it was, it was. Saying, I

mean, I remember taking, like,
videos of it and sending it to

my parents, being like, check
this out. Was that was that his

country solo records the
country, and then Sarah Tomic

went to go do the tour. Yeah.
Now I got called originally when

I actually, before Sarah did
that, I was playing with this

man loving Mary, which is
basically the Stevens

background, almost. But I hear I
can't be in two places at once.

So there's a reason for every
season in like. So Sarah

killing, we got to get more
female drummers on this show.

Jim, there's some great we
really do. Great. Yeah, I think

people are going to look at the
episodes and be like, where's

all the chicks?

The women drummers are slim
picking so

well in this town, we've got
Sarah, yeah,

Megan Coleman, we've got

two. We're just,

we're just going blank right
now,

Evelyn Glenny and Sheila E and,

Oh yeah, yeah, right. Zoom her.
You

know? Blackman, yeah. Cindy
Blackman, incredible. She's

working here, right? Cindy black
Yeah, pushing, yeah.

She married Carlos.

She gets to play the smooth drum
fill like all the time.

She married him.

She is Miss Santana. Miss
really? Carlos Santana. Good for

her.

That drum fill cracks me up. I
play it kind of as a joke all

the time, because it's so hooky,
like you immediately know what

song that is,

the drum fill, but it's also the
conga congas, doubling it

up, yeah? Just

like when you're like, checking
your drum sounds, I always do,

like, some version of being
cracking, yeah, or I'll do the

jaded version, which was kind of
inspired by that, where you make

sure that you can test both
times being I tell the young

kids, when you got to get drum
sounds live or in the studio,

don't do a drum solo, just play
a pattern that incorporates the

sounds of the kit, Yeah. So
things can breathe, and you can

actually see how the kids go,
yeah, exactly,

which is hard

to do. Look what I can do.
Nobody

does. Everybody wants some.

You know what? I'm sorry.

John hits. Know what?

I'm sorry. Yeah, incredible. So
much fun.

So Steven, Steven Talarico, was
great, and Keith

Urban, that was awesome,
attracted at my studio as well.

So

this is happening more often.
So, so yeah, we'll just tell

people. You're in a suburb of
Nashville, and you've got your

man cave above the garage filled
with great drums, great gear.

Yeah, you go up there with your
cup of coffee in your skivvies,

yeah? And do the drama shorts,

whatever. Yeah. And I tracked
the Barbie movie. One of the

songs from the Barbie movie at
my it's called push the Matchbox

20 song that Ryan Gosling did.
Track that like before a

session, 8am at the house, and I
didn't know, I didn't really

know the vibe of what the scene
was going to be, or what the

whole deal was. The producer
just hit me up, like, I think

maybe even the night before, and
said, Hey, do you want to record

on this song is for a movie?
Yeah, absolutely. A national

producer. National producer.
Amazing. And, sure, yeah, send

me the files, go up, check it
out. And I it was Ryan Gosling

singing. And in the movie, it's
sort of a funny thing. It's like

him, kind of, he says, I'm gonna
sing at you Barbie, you know.

Oh, he's playing the guitar,
yeah? It's like, on the beach,

yeah. And so it's kind of, it's
meant to be funny, but I didn't

know that, yeah. So I'm just
thinking, like, God, this is

terrible,

like playing on a movie
soundtrack, but

it's Ryan.

I didn't, you know. I just
thought it was like a demo

session singer, kind of making
fun of that Rob Thomas kind of

style, you know, like, because
it was over the top and all

that, you know. And so did it
and sent it off. And even the

mix, Jim Cooley mixed it, and
none of us really knew the the

context of the song, which was
meant to be funny, yeah, but we

didn't know that, and we were
just kind of like, what Cooley?

Yeah. So

you remember now Jim Cooley has
become an award winning mix

engineer, and he's back off the
mic just a tad, okay, but for

about a decade, we worked
together non stop, because when

we had new voice in new voice
entertainment, second engineer,

he did. He mixed a lot of the
tops. He tracked square stuff,

the panel and stuff. Yeah, so
dude. So never leaves his man.

Case, he never does. He's in
there. I'm like, Dude, that's

how do you not go crazy locked
up. He's

got a special skill to be able
to, like, stare at a screen for

hours and hours and hours keep

your ears fresh. I mean, I
guess, right, I guess you have

to maybe step out and you know
how, like when ginger is a

palate cleanser in between bites
of sushi. I don't know what a

mix engineer would do to kind of
like, just, just silence some

birds or something. Yeah, every
once. Struggle. We'll see him,

like, pop out of his cave. And,

I mean, he listens pretty loud,
too sometimes. I mean, it's

like, and he's, he's, he's one
of the best mix engineers I've

ever worked with. Her. Now, you
dabble with that as well, right?

Yeah, I

also mix a little bit, you know,
and produce and produce session

lead and session, which is
great, yeah, the great thing

about you must have a great ear,
because, you know, when I get

called a lead session,
sometimes, like, I will get the

charts done, you know what I
mean, but I am so slow at Yes,

you know it's, you must be just
really fast to be able to do

that all the time.

Yeah, I grew up, actually,
guitar was my first instrument.

There you go. So that's kind of,
yeah, yeah. Started on guitar.

Well, it wasn't my first it was
the first instrument I got.

Drums were my first instrument,
but I never didn't have a drum

set till I was nine years old.
Yeah, got a guitar when I was

really young, and would just
play along to the room my dad.

My dad kind of plays everything,
just like, good enough, you

know, to kind of get behind he
must be proud, right? Your

folks, oh yeah, they're super
proud. Just like, Look at this

kid is done. He's doing it. It's

amazing. He bought a house,

yeah? Exactly, playing drum,
raising a family, playing the

drums,

crazy, yeah. So he taught, he
taught me, like, just basic

guitar stuff, when I was young,
piano. He sings, as well as my

mom, my sisters all sing. One of
my sisters plays guitar. So it's

a real musical fan. So it was
just kind of the ear was always

in there, yeah,

you know now, now, since Evan
session leads, Jim, his, his

retirement, his, his pension
from the union will be bigger

than mine, because he gets
double scale a lot, because he

get double scale by session
leading. He he takes on the

responsibility of getting
together with the artist and or

just, you know, being
entertaining the rough demos.

And then he does the number
charts, and he gets them all

copied up, and he passes them
out with the coffee to all the

players. And he had, just has to
kind of make sure that

everything is going smooth.
Yeah, more responsibility. But,

you know, like, I

love it, yeah, I really enjoy
it, honestly. And like, I

remember doing, you know, triple
demos, like, multiple days of

triple demos with, like, Eric
leg over at Ocean Way Yeah, and

factory Yeah, and just tones the
songs, which is, it was great,

yeah. And sometimes, like, I
would have to just write the

chart out there. They would
switch out the song, and so no

guitar in hand, just like
writing it out, just ear

training kind of stuff. You
know, Tommy harden

is really good at that, too. Jim
Riley's really good at that. But

usually it's a keyboard player
or a guitar player, because

you just have more of a
harmonic, right? Unless it's a

Christmas song, I'm good. Lot

of chords in those Christmas
songs.

Who's the guy on your sessions
for Jason? Oh, that's

Adam Schoenfeld. Yeah, Adam
Jones. Adam was telling me what

his um thing is, and it's, yeah,

not bad. It's

bigger, yeah, bigger.

But drums are more fun. Let's be
honest. It's the best chair. So

it's the best seat in the house.
It really is. Yeah,

it's the sweatiest seat in the
house, for

sure. Gear, bro.

So I don't have a kid
endorsement. I was talking to

Gretch for a while, but pulled
out of that, I played Gretch. I

play Gretsch, usually in the
studio, Gretch or Ludwig and

Zildjian symbols, Vic, first
six, Evans, drum heads,

you and I can never do a clinic
tour together. A

lot of banners, so many, so many
banners. You

guys remember the D drums? Yeah,

they tracked great. They were
the sensitivity, the tracking,

yeah. And they weren't, like, it
was a, it was a really nice

feeling head, much more than the
mesh,

not the, not the electric drums,
the acoustic drums that they

had. Oh, I

do remember those, but those
weren't as good as the as the

electronic drums that they I

momentarily had a kit of D
drums, yeah. They were really

nice. They rock,

they're great for, like, heavier
rock, like, real punchy, Yep,

yeah,

they're great, really long
shells, yeah, kick drum shells,

Yeah, beautiful. Very long,

very long compensating. That's
right. Like, like, when you pull

up with your Porsche and you're
like, Yeah, okay, yeah. Someone

always told me, they're like,
Hey, you can always check out

and see, like, how a session
player is, like, how well

they're doing depending on,
like, what they're driving. So

like, when Alia pulls up with
his like, Porsche grocery

getter, yeah. The thing is, if I
look, if I have a Porsche, I

don't want it to be a grocery
getter. I want it to be like a

look at look at me. Demon. Yeah.
You know,

totally Yeah, absolutely, yeah.
Ever drive one slow rocking?

No. But you know, you know, I'm
an Audi man. You made me an Audi

man. Thanks.

You understand that Porsche is a
high end Audi.

It's like a step above, right?
Yeah. What do you think like the

luxury version of an Audi? But
an Audi is luxury enough. I

mean, it's,

those are great. They're great,
yeah? Amazing? Does? I. So,

you know, for a high end
Volkswagen, they're

fantastic. But some people just
don't want to put their money

into cars. You know what? I
mean, it's like some people

like, are proud owners of
Hondas. You've discovered that

you're somewhat of a car guy.
You

got a taste. I

did get a taste of it. But right
now, I'm back in the in the

grocery getter. Yeah, that's
what? Yeah, I'm

Acura MDX guy, nice. And I'm
just gonna drive, you know, for

a high end,

those are great cars. It is.

It's the, it's the luxury Honda.
It's a luxury Honda, and it will

go for hundreds of 1000s of
miles. Yeah.

So back to the drums. There's no
reason for you to really take on

an endorsement if you're not
touring, other than if you would

like to, you know, align
yourself with the company

culture. And then you could, you
know, probably get some more

gear. Yeah, more often, yeah,

which is great, yeah. I mean,
I'm not opposed to it, for sure,

it just hasn't presented itself
in a way that seemed like the

right choice. Yeah, for me at
the moment, are

you a beefy stick? 5b 5b 5b
Yeah, 5b I get some people that

are just like, how wide the 5b
I'm like, well, the five A is,

is it is nice, but it's just not
big enough. It's not enough,

yeah? And I like to, I mean, I
don't hit super hard, yeah, but

if I want a bigger sound, I feel
like the stick can get some of

that for you around and use the
butt. But that has this

different sound. Yeah, it has a
certain sound to it, which is

cool sometimes, but not all the
time. And, I mean, all you can

see on my left, because I
usually rim shot, like, just all

the time, yes, no. Left stick is
just frayed to, like, no end,

you know? I mean,

and then the shank of the right
stick, yeah, from the high Yeah,

exactly, yeah.

So I'll kind of enter, you know,
yeah, interchange them up, but

yeah, 5b man. I love it.

Now. I love that. And I know
I've seen your the Carter Drake.

There's a lot of snare drums,
and they all have personalities

and characters. You got to be
able to pull things up really

quickly. But am I right in
saying that you could probably

get through just about any
situation in life with an

acrolytic, super phonic and a
black beauty?

Yeah, you really could, right?
Yeah, even just a black beauty,

really. And I mean, it can do a
lot. And that was the first

eardrum I bought.

I don't have a piccolo, but I
want to call I've been listening

to, I listened to, we just had a
Jason Hartless in here, so, oh,

cool. He's Ted Nugent's drummer
for the last nine years, and he

just has made Nashville home, so
he just moved here. So like,

Come on, let's have a
conversation. We were just

talking about a one he had
downtime with uh Ted. He went

out and played with a sponge. So
my new thing is now that we have

this Spotify thing that we pay
$10 a month for all the music in

the world when, when, when I'm
reminded of a band, like

someone's the other day, was
like, helmet. I was like,

helmet, oh. So then I went on
like, a helmet, deep Yeah. So

the other day I go on a sponge,
Deep Dive. It's all Piccolo,

right? It's 90, that was the
thing. I'm just like, I don't

have one right now, so I want to
maybe get one of those, like DW

carbon fibers or something.
They're cool. Just to

have one, you can crank it up
and kind of do the Steve Jordan

thing with those, you know,
like, it can be funky and cool,

you know,

you do the large thing from st
anger,

yeah. Everybody,

everybody makes fun of that
sound on that album. It's,

it's arguably the worst snare no
offense Lars, if you're

listening to this, he's like, I

don't care. I am laughing all
the way to the worst snare drum

sound I've ever heard. He sure
is on a record, yeah, but, I

mean, didn't stop him from
selling millions of records,

right? We're Metallica, you're
not, yeah, he's playing

stadiums. I'm not, yeah,

right? He's laughing now, yeah,
we

should be getting him on here
soon, right? Yeah,

if they pass through, yeah, we
have to go through so many

layers of red tape. He's

not on your cell phone. No,

I know his drum tech. Yeah,
there you go, yeah. I

mean, maybe that's that would be
a convo. I

would want to be a fly on that
wall.

Yeah? Maybe we need to have a
drum tech round table. That'd be

really, really fun. Yeah,

tell all, spill the beans. Kind
of thing. Start talking. Liquor

them up.

Whatever you say, there's no
backsies.

Yeah, right. So, you know, black
beauty. So like a kid, you know,

I tell the kids, like, look at
if you use a moon gel, a drum,

dot, a drum, tack, the snare
weights the big fat snare drums,

gaff tape and different
patterns,

typing paper,

uh, wallet, all of it is going
to make the drum sound

completely different, totally
and absolutely, you know? So,

yeah, I mean, I you could the
Black Beauty was the first snare

drum I bought based on will
sales. The guy I was telling you

about, I was like, hey, what
snare drum should I get that

could be kind of a do it all
type of thing, yeah, six and a

half black, beauty, cool, done.
Still use it to this day. Love

it. It sounds incredible. Isn't

that kind of what I have
upstairs, the black, it's a

chrome over brass, right? Yeah,
yeah. Black chrome over brass,

yeah. So I have the DW version
of that. They're great. Did you

buy that? I traded in? A like a
snare drum and a symbol. And it

was an even exchange through
forks. Love at times, the drum

was on sale and it is just

swap. How about the three? We a
city this size. We have three

World Class drum shops.

It's incredible, beautiful. It's
amazing, really, well

time. I mean, for decades, up
until, like, what, like, the

last five or six years, maybe,

and now they have the
reputations like,

what they do, but like forks is
like, is more like new gear, you

know, and they have a repair
department, and there is some

youth stuff. And then you go to
Nelson, it's like, well, we go

there for the the espresso
machine and all the vintage

stuff. And then you go to see
Andy, because he's got all the

weirdest rattly, totally things.
And

his snare drums that he makes
are incredible, man. They're

great. I want to treat myself to
one. They're called Hello, hello

drum. I kind of helped name
that. Did you? Because they used

to be called Best drum, yeah.
And I have a couple of those,

and whenever I hit one of them,
I just said, like, hello. That

sounds like incredible.

What's the one to get? Oh, man,
you

get a hello snare drum. So

the six and a half steel is
great. And if you get it with

the no flange hoops, it's it's a
beautiful thing, like, where

it's single flange, like the
straight up and down, yeah, it

sounds better choppers, yeah,
yeah. Like those. That sounds

incredible, man. I use that
snare drum on a bunch of Luke

Bryan number ones actually, like
that very one on a ton, ton of

stuff. And so that would be the
one that I would probably go to

first. And then he also makes,
uh, I've got one of his five and

a half coppers. That's really
cool.

Yeah, I think that's when our
friend Larry aberman was like,

Oh, I like this one. Plus you
can get the wood rims on them as

well. You

do the wood ramp thing. This is
great,

yeah, Andy sauce

yacht. Remember a yacht? Yeah,
great. And they're also,

I had a snare drum from a
company called L company called

Allegra love.

But love them. I

think they're still in business.
I

think they are barely Yeah, but
yeah. But they niche. There are

they in, like Vancouver,

in our we had a the great flood
of 2010

and I lost a gorgeous sonar, 18
inch floor tom, which goes for

like, $4,000

Yeah. What about the kick drum
you had,

it turned into a coffee table or
something.

I lost those things, like a 26
inch

kick drum that you had red and
black sparkle, and

it made it. It made it. And I
sold that Kip when I filmed

drumming in the modern world.com
which is already coming up on 10

years.

Oh, wow, wow, that's awesome and
good for you. But, but, um,

you know, it's just, I, you
know, I don't have kids. You

guys that have kids, you have
this instant legacy. I'm like,

What can I do?

High Definition drone,

a huge legacy

that's amazing. He downplays
himself. So it's

better to be aw shucks than look
at me. Yeah, I think.

But the Allegro stuff, was

it a master craft? It would
Yeah? Was like, Andy blonde with

the wood rim killer, and I use
it for the

Yeah, the kind of thing

birthday in

the studio. Does anybody really
tell No, yeah, you can eat more

than anywhere else. I mean, if
you play, if you record a song

with a CB 700 kit and you just
mic it and tune it the right

way, can you really tell just

all about how it sounds? I think
that was even for like a to make

a weird loops,

getting wood from the bottom of
Lake Superior and then putting

the kit together. Can you really
tune No no, and you know, Lake

Superior would, you know,
charging $15,000 for a four

piece that kind of,

I mean, John good gets these
brilliant ideas, you know, it's,

they're a for profit business,
so, you know, right

money, yeah, yeah, you

gotta, you know, innovate and
try and collect your collectors.

I would always say, I'm like,
Dude, you can put a pearl export

kit on stage, Mike it, and once
it comes out the fronts, you're

not going to tell

Yeah, live is different than the
studio, because, like in the

studio, you are hearing every
single over nuance, and it has

to be versatile. If they go we
like the toms, but it's kind of

doing a Boing thing, you know?
And you're like, well, that's

just in the drum because it's
this crappy drum set, yeah? So

if you have a good drum set, you
can change it. And it and make

it sound like anything.

These are the only drums I have.
Okay, 700

you want this, you got to take
that. I've

actually got some old CB Uh, hi
hats. That sound incredible.

Really trashy, real trash. Yeah,
trashy. They're looking for

loops.

You look up like Wuhan China's,
yeah, those are great. China's

Great. And there's, they're
cheap. Yeah,

it doesn't have to be expensive
to be good. That's, that's for

sure. Yeah,

upstairs, actually, yeah,

you know they're they don't last
very long. They crack, but

they're awesome. I

beat the crap out of mine. I
watch me watch my freaking crack

at them.

I remember that song by the out
the outfield, Joe. He's on a

vacation. We're far away, and
I'm in my garage in my early

teens and twirling my six just
waiting to

exactly could not wait getting
after it coming up. Here we go,

Dude, I

love it. So hey, so I want to
might as well steal some info

from you, like you're you do a
lot of great loops, something

like, say, Keith Urban's, you
know, wild hearts, super high

fidelity loop. And then you've
got, like, some other kind of

strange, trashy, Lo Fi stuff.
What, you know, Greg uses the

AKAI MPC thing. Some guys have
just got the a physical machine.

Other guys have got the machine
app on their iPad. What's your

go to? Well,

I've got, right now, I kind of
just switched it up. So I've got

a hybrid of a bunch of a couple
different things. I usually

whenever I'm traveling, or
whenever I'm my go to that comes

with me all the time, or that
goes with me all the time, is

the machine, the micro machine,
the little guy, yeah, because

you can set it up wherever, and
doesn't take up a bunch of

space. And I've got a bunch of
samples and stuff in my laptop

that I can drag and drop and
pull into that and build

something. And then I also in my
car to rig I've got, kind of

almost like another recording
setup, you know, where I've got

an interface, I'll set up a
couple microphones, record

myself into Ableton, live, yeah,
chop that up, do some effects,

and then send that out the same
loop lines that the machines

going out

of. Just, you just tell the
guys, hey, I got it. Yeah, let

me just record this real quick,
and then I'll edit it, and then

throw some effects on it. And it
takes like, 10 seconds. Yeah,

that's awesome, yeah, because,
you know, Ableton super fast.

And then I've also got the SPDs
X Pro over to my left. Okay, so

I'm kind of going in this hybrid
thing. We'll see how long it

lasts, but triggers on kick and
snare, which is awesome. And

then I've also those are going
to their own outputs from the

from the pad, triggering my own
samples or other samples that

I've got, you know, and then
I'll use the pad as well to to

play loose. So I've got a kick
drum trigger, like external

trigger pedal, yeah. So I'll
play loops on the pad into

Ableton, chop it up, send it
out, or I'll just play it live.

You know it's like because you
can switch over play left, and

then here comes the chorus,
Phil, and now the feeder back on

hi hat and kick drop, yeah. So
three options. So there's a lot

of options. Yeah, that's great,
yeah. And then whenever I'm

tracking at home, I usually just
a lot of times I'll just drag

and drop in samples if I'm
building a loop, or I'll just

play it on my kit and then kind
of affect it more, spend some

more time with certain things at
the house. Yeah, I love it.

Okay, so I gotta get faster at
Ableton. So this is always, you

know, you don't want moss
growing on you. You gotta, I

know it's all about workflow.
And so what I tell people is,

just spin that. Like, I would
practice this kind of stuff at

my own studio when I'm on my
own. So you're fast, yeah? So

like, whenever I get to the
studio session, they're not

sitting around waiting on me,
and it's more like, All right,

we're creative. We want to be
the moment. Let's go cool. And

so sometimes, actually, while
we're listening to the song,

I'll leave a little bit earlier,
if I kind of get the gist of the

song, I'll leave around chorus
two or bridge, start building.

Go into the room. Start building
something. So by the time

everybody's sitting down and
tuning and got their thing. I'm

ready to go. We printed the
loop. We're ready to rock.

You're thinking, you're

thinking an efficiency, yeah?
Efficiency

and so, because even

on a master recording, like,
it's a luxury to have, like,

say, one song every three hours,
right? Yeah, master recording,

it's more like, every

90 minutes, two songs a session.
Yeah? It's usually two songs a

session. Some guys still do one
song a session, which is great,

yeah, um, sometimes it's three
songs one hour, baby, that's

moving, that's moving, that's
usually, if they're going to do

overdubs later, yeah, guitar
overdubs and things. But, yeah,

two songs a session's a good
pace.

I like that. It's pretty much
the L That's the Aldean pace.

Yeah, we do one song every 90
minutes. So it's a, it's a four

song day, yeah? So we record 15
tracks for the record. So

really, we're done in about
three days. That's great, you

know? And yeah, it's

a lot of music. Adam

comes in, does the does the
guitar over Dubs. I might come

back on another day and do
shaker tambourines or whatever,

kind of what a funky stuff we
got to do there. And then Jason

sings at his own pace. Yeah.
It's

amazing, man. Keep her tracks.
Yeah. And in Nashville, I mean,

that's so that doesn't really
happen in other cities, which we

don't we, we kind of forget in
Nashville how quick and

efficient we are in the studio
and just like on it, you know,

in the engineers too, like,
across the board, not just the

musicians, but it's the
engineers, the assistant

engineers. It's everybody, like,
the gear works, you know, like,

yeah, all that's been tested
out. Mics are tested out before

we get there, yeah, so that we
can just go

and the punching, like the
engineers that, like, you know,

working with Cam the other day,
sounds. So fast. I get you, I

got you, I got you in, I'm gonna
get you out. Boom, boom. Richie

going all the way down to the
top. Yeah, I'm going down with

Adam again. Let's go.

He's built different. He's built
different. Man, he can hear five

different people talking at one
time. Encode it all, internalize

it while he's doing other stuff.
Yeah, you know, it's wild.

I'm relatively patient, like,
from being an educator, but,

like, if I got five people
talking at me, like, Whoa, yeah,

that's how I would be, yeah, one
at a time, please. Yeah,

yeah. So what about the stuff
that you're, uh, producing.

You're looking for talent all
the time. Yeah, scouting you?

Are you looking at tick tock?
You just out on the town

watching showcases? Where do you
Where are you finding these

folks that you want to work

with. For me, producing usually
comes from writing. So whenever

I'm writing with an artist and
I'm working on the demo, if they

like the demo, they go, Hey,
let's do a record together, or

we'll write some more, or
whatever. So a lot of the a lot

of the production stuff I've
done has stemmed from just

writing with people, and so it's
a natural progression. I'm

producing a record right now for
an artist that's actually in

Egypt, and they just hit me up,
like online, and it's really

close to how we wrote the whole
record together, lot of doom

back in there. Yeah, right.
Yeah. It's interesting, because

it's like more of a pop record.
Yeah, the artist is from

California, but has lived in
Egypt for a little while. Yeah,

and yeah, we wrote the record
remotely. I would send her

tracks and stuff, and she would
write and sing on her phone,

melodies and lyrics. Send me her
vocals. I would chop that up and

arrange it all, you know. And
then she flew here, and we did

the record last week. So cool.
It's amazing. Yeah.

Now, do you have your like, your
ear contracts, like, here's my

production contract, boom, yeah,

yeah, get it out of the way,
yeah, yeah. We usually talk. I

like to talk about that stuff
beforehand, just so it's not so

everybody's expectations are
set, you know. So you know, you

know what you're getting into.
You know, everybody knows what's

up and yeah, so do all that. And
I enjoy producing. It's just a,

it's a totally different hat to
wear, because, you know, in the

session world, when you're done,
when that in that three, six

hour, nine hour block, you're
done, you know, you go home and

you don't see those sessions
ever again. When you're

producing, it's like, so I'm,
I'm like, cutting vocals,

editing vocals, tuning vocals,
doing harmonies with the artist.

I might sing some as well,
playing extra synth parts,

guitar parts, incredible. Man,
yeah. So it's kind of like

renaissance man building it all,
you know, and then yeah, and I

enjoy it. It's just a different
creative outlet for me, yeah,

you know? And well, you're still
so young and you're already

doing a lot, yeah?

Just like, Yeah, do it again.

Do it better, yeah? But,

I mean, yeah, you're in, you're
not even 40 years old, so, like,

this is a town like, you can
just keep working out, just keep

growing and adding these skill
sets. And I can't imagine where

you're going to be, like, 55
years old. I mean, you probably

winning Grammys.

That would be, that would be
awesome. Yeah, that's, that's

the goal, yeah, yeah. And so I
just enjoy it. You know, if I

was doing the same thing every
day, I'd probably get bored,

yeah? Even tracking, like, if I
was to track at home every day,

I'd probably get bored with it,
yeah? And if I wasn't tracking

at home at all, I would be like,
Man, I want to, I want to do

that. Yeah? So it's nice to mix
it

up. And we were covered the
same, if you know what I mean,

we're, yeah, we're recording the
same song,

six or seven songs, yeah.

Is it a six eight? Is is it the
cute little thing with the bar

four and the bar two, right? Or
but, you know, the bar three and

the bar two, they kind of go
back and forth with each other,

yeah? Is it the definitely not a
shuffle, because we're not doing

shuffles anymore. It's rare.
Unfortunately, you know, is it

the trap at the

75 beats per minute? Yeah?

Like that pattern probably a
probably 100,000

times. Yeah? And humans actually
pull that off.

Oh yeah. Pat stuff,

if you got the SPDs right next
to

you, little five stroke rolls.
Yeah,

right, yeah, exactly.

Man, yeah. Jim, what comes to
mind for you? What do you want

to know from this? This young
man is on fire. I mean, he's

like, you know, winning the
awards. He's doing the thing

he's booked. What's, what's the
schedule? I mean, you get into

like, scheduling conference,
like, Oh no, I'm with dad this

week. And then like, Can you
wait till the end of the month?

Awesome, crazy. It's exactly
what I was gonna ask. Sorry,

Jim. Thanks.

Thanks for while I asked you. I
thought something that I just

wanted

to check scheduling, I think, is
one of the more difficult

aspects to juggle in what and
what I do like, because

sometimes, you know, you'll be
booked out for however long with

somebody, and then you get a
master session or something that

might, it's, you know, that
might just pay more, you know.

And you kind of, there's back
end money with those things too,

that you have to like, Can.
Sitter and so. So for me, yeah,

it's just juggling
personalities. Who can I smooth

this over? Can we look at maybe
another date? Or, if not, I'm so

sorry, but I can help you find
somebody else that will do a

great job. You know, if

you get hired for a custom
recording for some guy you know,

Joe from Montana that comes in,
and he's got a whole day booked.

Yeah, and then, and then Dan
Huff calls. Yeah, you

have to do the Dan Huff thing.
You try to send somebody else,

yeah, yeah. And, and everybody
gets it. Like the people that do

this a lot totally understand,
yep, it's only the people that

aren't really in the business,
or aren't necessarily. And this

sounds bad, but like doing it at
a high level, you understand?

And you've had to do that same
thing, like, Hey, man, something

else comes up. People bail on
me. Like, if I'm producing

something like that. Just
happened recently. Hey, so

sorry. Had a day of masters come
up. Can't do no worries.

Totally. Get it all good. We'll
find somebody else. Yeah,

there's so many great musicians
in this town. You know you're,

you're gonna be, they're gonna
be okay, yeah? I

hear it's a music town, yeah,
yeah, big music town.

Well, somebody amazing will be
available to come in and help. I

mean, the pool is deep.

Hey guys, I'm all I'm always
available if you want something

to sound bad, let me know, Jim's

got a nice, natural feeling.
Let's

go. Come on,

Jim. I cut you off. I'm so
sorry, buddy. What? What were

you thinking about?

I was going back. I took a note
on you have like you noticed

that the guy, Bruce drove an S
10? Are you one of those guys

who memorizes the cars that
people drive?

I've never thought about that,
but I kind of Yeah,

you see why you do the same
thing rich. I mean, when you I

have

a weird thing, I memorize
people's email addresses. Really

bizarre. Yeah, man, yeah, you're
like, AOL, right?

Yeah, if it's, if it's unique
and just odd, then it's hard to

forget. But yeah, I feel like
sometimes with it's like

musicians, they play a lot of
times, like their personality,

you know, yeah, and a lot of
times someone's car is kind of

like their personality a little
bit too. And so it just whenever

that's really connected, and it
goes together really well. It

sticks in my brain. When you

pull up to a session, you see a
beamer there. You kind of like,

um, yeah. Oh crap,

Beamer. Here they are. They

must be leading the session.

Yes. Mercedes guy, yeah,

only because, but I was never, I
never thought I'd be one, a

Mercedes guy. I sold cars once
upon a time, and I first started

selling Honda, which made sense,
because we drove a Honda Odyssey

for the family. It was our, you
know, the the the family

truckster, and I had a customer
tell me that you need to be

selling Highline. And at the
time, the company that I worked

for had Porsche, Audi, BMW,
Mercedes. Mercedes had an

opening. I put in for a
transfer. I'm like, Sure, I'll

give it a shot. I never knew I
would fall head over heels for a

German vehicle. I know, right,
crazy. They're meant to go fast.

But no, Mercedes is comfy.
That's comfort. You're you're

going to be comfortable in it.
BMWs. You feel it in the

steering wheel. You feel the
rise in the seat. Yeah, and

Thomas Lang and I, we kind of
went head to head with our

conversation about about the
cars. Yeah, really, he's a

beamer guy, and I was a
Mercedes. There you go. And I

told him, I say no, BMW
backwards stands for he goes,

No. I said, watts, Mercedes
Benz.

Hey, come off, bud. Just
whenever they

start to sound bad, yeah, um,
Greg Morrow, he's like, he's

like, I like to keep those
tones.

They've been on forever, for
decades, and they still sound

great. Man smooth whites that he
uses, yeah, yeah, for me, it's

maybe once. It just depends,
like, on my Cartage kit,

probably once a month. You know,
snare drums more often, for

sure, yeah, I could just hear it
like, whenever I can't tune it

how I want to, or if it starts
to sound a little too Slappy

bounding, then it's like, gotta

go. Do you use lug locks for
your rim shots?

I do, yeah. Drone, lifesaver,
the tama makes some that are

incredible, yeah, yeah. They're
like, black and red, and they're

kind of like diamond shaped, ah,
they work the best of anything

that I've ever used. Like, yeah,
they're awesome. Speaking

of drum kit endorsements, are
they going to be? I mean, who

here endorses Tama? Tama is not
too much of a country. Lonnie

Wilson,

Tama guy, they're a great
drummer. Others, they're great,

yeah, they're incredible. And
like Peter Erskine said Tama.

Tama guy, I always say Tom,
yeah, I don't know tama,

Tama potato, pasty feisty, yeah,
exactly. But

they, they've kind of come into
a different market recently,

yeah, where it's like, not just
rock stuff, because they've kind

of been more known as, like,
Rock Metal, yeah, but they're,

they're making, like, Great kits
that sound a little bit more.

Into G or coming to more open.
Uh, Ronnie CASP is another

drummer, so I did this Zildjian
event last year, last fall, up

in Boston. Yeah, honoring Eddie
bears. They're doing their it

was their 400th year anniversary
of being a company. Zildjian.

Zildjian, Yeah, crazy. 1623,
like, wow. Oldest music company

in the world, yeah, anyway, um,
and they were also inducting

some of their drummers into
their Hall of Fame. Eddie Bayers

was one of those. So they hit me
up and said, Hey, can, can you

come up and play in honor of
Eddie? You know, absolutely, of

course, big time. So there was
some, like, it was just a ton of

incredible drummers. I was just
like, why am I here? You know,

like, what am I? I'm, like,
going up to Antonio Sanchez,

going, like, you're a god, I
love what you do. Birdman, yeah,

yeah. Birdman, which, like,
talking about music bed stuff

earlier. Oh, yeah, I got that
idea to do an all drum kind of

cinematic project from him,

like, musicbed.com has been
piquing my interest. It's, yeah,

it's licensed music you can
license. But instead of, like,

full songs for films, it's more
of, like, the bed, yeah, no, not

no lyrics. Well, there

are some on there, yeah?
Production, like, there's a

bunch, yeah. So they have
everything, anything that you

would ever want, like,
musically, like, if you were

wanting to put it in a
commercial or a film or a video

for a wedding or whatever, you
know, you can find that on

there. And, yeah, so I had the
idea to do just drums because I

had seen, you know, Birdman,
obviously that movie, Antonio

Sanchez scored all the music for
it, and most of it is just

drums. And it's like some at a
time, kind of free jazz ish

stuff, which is really piqued my
interest, just because it's so

different than anything that I
do, yeah, you know. And then I

would watch, like, some
commercials I would see there

were just drums, and I'm going,
Okay, this is, I've never

noticed that, but this is a
thing. So reached out to them,

and they were interested in it,
and did a project for them, and

it did really well. And, I mean,
there are companies in Paris,

France, like clothing companies,
that will use my drum songs, you

know, drum songs, like, for
their ads and stuff. Yeah,

really cool. Like,

did you have to call them to do
the project? Or is it a thing

where, like, basically, you, you
sign up an account, and you load

your stuff up, and you throw
your hat in the ring, right?

Anybody can do it,

not anybody can do it. They kind
of have to approve the idea. And

so I had some, I had produced
some things, produced some

records with artists that had a
relationship with that company.

And so I was already involved in
the company. And so that, I

guess, kind of helped with the
relationship was already there,

and I just had the idea and
said, Hey, would you guys be

interested in this? And they
were, yeah. So I've done like,

four or five different projects
now within nice and it's great

because I can, I can do it for
my place, and mix everything and

do it all myself. I kind

of use that Birdman thing as an
inspiration, because this actor,

Larry Romano, reached out to me
last year, and he was on this

show called King of Queens,
yeah, and he, but he's also a

film director, and he has a
movie coming out. It's going to

hit the festival circuit called
Saturday in the park. And he

goes, I want this score to be
almost all wrong. That's

awesome. So, you know. So we
went over to Tony Morris house,

and, you know, because Tony has
way more outboard gear than I do

these, yeah, and it's nice to
work with another drummer,

right, you know, because we can
get each other inside each

other's head, yeah, absolutely,
you know. And so, so hopefully

that'll see the light of death.
That's so cool, man. A lot of

drums,

it's such a different way to
create than what we normally do,

because you're kind of, you have
to think a little bit more like

you're like, punching certain
spots, you know, like you're not

necessarily playing a form of a
song. I mean, you kind of are,

but it's just like a different
style of a song, yeah? And so I

would think, like, sometimes,
honestly, like, I would throw up

movies from YouTube and have it
with no sound, and then play to

the movie. That's smart. So it
would like, kind of create

certain hits or certain peaks,
emotion on the drums, you know,

and I did a lot of that stuff
with Tommy G at MTSU, like he

would go, I want you to play
like clouds. And I'm like,

that's cool.

What is that? Lot of symbol
swells, maybe, yeah,

or like, mallets on the Tom
swells, or just like a certain

thing, he's like, okay, now I
want you to play like fire, or I

want you to play like rocks, or
I want you to play like you're

mad or you're sad or whatever,
you know, evoking a certain

emotion, because that's what
music is, is like conveying

emotion through your instrument.
And you know, you want to, you

know, have somebody react to
that. We're not

just playing patterns. And then
the occasional Motown. Phil,

right,

yes, if you want to make money,
yeah,

that's the money. And then you
have some samples that you got.

So

I just did a sample pack a
couple months ago, and you can

get it at my website. Evan
hutchings.com nice, yeah. And I

made that for. For writers and
producers that want just good

sounding drums to play to, you
know, there's samples, like,

there's one shots in there of,
like, just kick snares toms,

like, with a tight mix and with
a roomy mix, you know, and then

grooves and all different
tempos, dry mix where it's real

tight, and then a big rock kind
of roomy thing, and fills and

swells. I mean, it's the whole,
the whole shebang, smart. It was

fun. It was a blast to make.
Man, I'm actually working on

another one right now. It's
really cool.

I got, I got a couple of
packages with yurt rock, I don't

know. Yeah, those guys are
awesome. That's a great company.

Man, they're, they're like, the
biggest Ryan. He spends a lot of

money on advertising, and he
gets the word out, yeah, you see

it all, all the time. But
practical, I'm always thinking

practical, because there's so
many loop packages and things

out there that are just,
they're, they're almost too

smart and almost unusable. Yeah,
let's do some knucklehead things

that somebody that wants to play
a three court country song two

can just immediately pull up
absolutely,

sounds great, feels great. You
don't have to think about it.

Yeah, and so, and then,
ultimately, too, like, I'll be

on sessions where the demo was
made with the drums from my

sample pack. I love it. They're
like, well, you can just go grab

some coffee if you want, or
record it. You know, amazing,

but it's cool, you know, it's
cool. It's kind of connecting

with people. And, yeah, it's the
same thing, like, what you're

talking about. It's not overly
processed. So many sample packs

are, like, the guys were just
bored. It sounds like, you know,

and just like, throwing every
plug in on here, and, like,

we're gonna blow this up and,
like, all those, which is fun to

do, right? But then in like, a
practical setting for what we

see in this area code that's not
really usable, you

know? It's kind of like
scrolling through a Roland

electronic drum kit. Yeah, the
TD kits, and like, 90% of the

sounds on there are completely
unusable, right?

They're fun to play for a
minute, right? But then, if you

want to, like, actually use them
practical, you're gonna go with

the classic,

you know, this,

I guess that could be used. That
was a bad example. That was

great sample

that, yeah, something like that.
Could, you know, hey, just throw

it in. Just, you know, give him
as many as we possibly can,

yeah,

yeah. That's fun. It's funny.
Guitar Center. That was me when

I was a kid. Man is on that
electric kids on Saturday,

Saturday morning, I

want to hit the stadium setting.

Yeah, that's very inspiring. So
are you? What are you?

Who are your favorite rumors
coming up? I was just sitting

there, right?

Oh god, yeah. I mean he's like
the recording goat, you know,

we're just holding it down. And
he died,

tragic, like one year older than
you get that entire body of

work. It's

nuts. Man, crazy. No, he's 30.
He wasn't 3838 really? Yeah,

it's so crazy. Yeah, crazy. So
yeah, him. Jim Keltner, early

on, was like a big influence.
Matt Chamberlain, nice, um, a

lot of lot of jazz guy like
Stanton Moore was a big

influence on me. Early on, he
took some lessons with him,

yeah, whenever you know, he'd be
here doing clinics. And then,

teacher, great. Teacher, yeah,
like that that I had a little

like, New Orleans second line
band in my hometown, and we

would play at this Cajun
restaurant like every Thursday

night. That's cool. It was super
cool. So it was like, just kick

drum, snare, cowbell, ride and a
hi hat, and so just, and I was

like, all over the Stanton Moore
stuff, like, had his book, and

was just like, eating it up,
yeah? So I just go there and

just kind of like, practice all

that stuff down to a sticking it
really

is, yeah, and it's really basic.
It's not anything crazy. It's

just, and then what you do with
that, you know, is what makes it

music. But, um, yeah, Matt
Chamberlain, he was a big

influence on me, early on, just
kind of looking up online,

what's he using? Because I love,
always love the sounds of his

drums on records like Fiona
Apple stuff, or, you know, the

wall flowers, all, I mean. And
then, you know, spanning that

from like Kanye West, and like
all these the, the his

discography is crazy, yeah,
yeah, confusing him with the

drummer from Pearl Jam, that's
right, Matt Cameron. Cameron,

yeah, that's right. Also a great
drummer, yep. And there's also

Jay Chamberlain, too,

yeah, Jimmy Chamberlain,

Matt. Matt's a big risk taker,
real out of the box thinker, and

a man a few words. He looks the
drums do the talk. Yeah,

he is. And he kind of, he was
always, it seemed like he was

always recording himself too,
which was interesting to me.

Yeah, so it's okay, like, what
mice is he using? What's and, I

mean, it couldn't buy any of
that stuff, but I would just at

least see it, you know, and go,
Okay, maybe that sounds like

this, or this is before YouTube,
obviously, right? You

know, you know, I'm glad to see
getting their due a little bit

lately, at least on social
media, is Brooks Wackerman,

yeah, he's amazing, incredible.

The whole Wackerman family,
they're all crazy. Good

drummers, yeah, um, family
business. He just needed to get

that job. That's a. Big job and
put them. It's like, here, it's

a big platform for sevenfold.
Yeah, yeah,

incredible.

Is there any, like, sleepers in
there where they're like, Oh, I

wouldn't think that would be an
influence, like some weird rock

metal dude or something. Oh,

yeah. That's a good question.
Well, I grew up on, well,

Christian music. I wasn't really
allowed to listen to anything

non Christian when I was for a
while, yeah, wow, until I

discovered Led Zeppelin,
there's, like, a lot of Sonic

flood DC talk. Yeah, it was,
like my first concert ever. Was

DC talk, yeah. So I grew up
hearing Chris McHugh, Chad

Cromwell, Dan Needham, Scott
Williamson, you know, Steve

Brewster. And I didn't know it,
you know, I would look at the

credits, but I didn't know who
those guys really were, yeah. So

that's just all in there. It's
all in me, you know, just

ingrained in there. So whenever,
whenever I work with slows. It's

just like two peas in a pod
because you've been listening,

or like, Mark Hill, yeah, oh
yeah, been listening to his bass

playing since I could walk. You
know, Scott's

son works for us here. Oh,
really, that's

cool, yeah, video producer,
that's

awesome. He's made a nice he
made a couple of nice videos for

me. Great kid. Yeah, it's cool.
The

movie, that thing you do, that's
what made me really want to get

a drum set, really, yeah? Kenny,
yeah. So after I saw that movie,

I'm like, Okay, I want to be
that guy. Yeah, that's what I

want to do. My parents, like,
all right, you got to clean out

the garage, and then we'll get
you a kid. So did it, and they

did nice first kid it was, it
was actually a knockoff of a

pearl export. It was just an
expo

by Piero, by

Yeah, Pierre, I don't

even know. I mean, it was just,
it was like, yeah, just

probably, like, 200 to 300
bucks, and the kids sounded

amazing. Like, what we were
talking about, did you hold onto

it? You still got it? Yeah,
folks, place, the Tom, the kick

and the Tom sounded incredible.
Do some new heads on it. And, I

mean, I could, you could record
with it, you know, like a

certain sound, you know, had all
my favorite band stickers on the

front and stuff with that tour
of that kid, a bunch. But was it

brand new? When you got it, it
was, it was brand new, and a red

bow on the front, yeah, and I
annoyed the crap out of my

sisters. I got that kit.

I had dictionaries, dictionaries
and encyclopedias for my first

drum kit on a bed. Yeah, nice.
Hey,

that'll work, man, that worked
for Dave Grohl. That's right, he

learned how how to play on
pillows. I learned how to play,

I will say probably he's, he's
my number one, yeah, influence

wise, right now, at least, yeah,

he's not underrated, though.
Like, if you have to pick out

who is an underrated drummer
right now, and you're like, Who

comes to mind right now?

Uh, Ronnie caspy, the drummer I
was just talking about. She was

a girl, she from Israel, and a
monster, monster drummer,

Ronnie CASP,

Ronnie caspy. R o, n, i, k, A,
S, P, I check her out. She's got

her own stuff. She's got her own
records. She plays with Avi Shai

Cohen, Israeli jazz guy, yeah,
Trio. And she went to Berkeley,

like, just a couple years ago,
left Berkeley and is, like, now,

like she played at the Zildjian
event. That's how I met her. I

didn't, I didn't know of her
before that, and we're all like

me and Aaron spears and Adam
deitsch and all these guys

hanging backstage. And you could
see at rehearsal, there was a

TV, you know, broadcasting what
was going on on the stage. And

when she started playing,
everybody shut up. And was like,

Good, yeah, she has

interesting choices,

interesting phrases, like her
chops, her energy, just like,

ferocious on the kit. I mean,
she sits up. She's tiny. She's

probably, like, five one, you
know, and like, 100 pounds,

hairs, like pink, you know, like
she gets on the kit and she sits

up super high and just
demolishes the drum. Wow. Check

her out. It was amazing, yeah,
check her out.

Annika nillis,

Annika Niles. Niles, she's

amazing. She's incredible. She's
incredible. Yeah, absolutely.

What

about maytal Cohen,

you know, haven't heard from her
in a while now,

she kind of, like started a
family, yeah? But she was

playing, you know, like metal
covers and stuff like that. She

had

a lot of eyes for a long time,
pretty much

for a reason. She was wearing,
like, lingerie while she was

playing.

That is a trick that the girls
use sometimes. I

You don't want to see me doing
that.

I try to pull the word off.

That's funny. Get off the drums,
yeah, put on a shirt. But yeah,

she, she's kind of on, like, the
radar for me. Of like, I'll,

like, just look her up on
YouTube and she'll blow your

mind. Like, instantly, yeah,
whatever she's doing, it's

amazing.

Was there a jazz phase when you
were at MTSU with the.

I think that's all I did,
really, when I was at MTSU. Was,

like, it was a jazz snob kind of
guy, like, like, studying the

big band drummer, Big Band
drummers, yeah. I mean

everything, like, going all the
way back, you know, like to the

early dudes, yeah, and then
modern guys as well. Brian blade

was a huge influence on me,
like, so much so that I was

like, trying. I was like,
subconsciously looking like him

when I was playing, and kind of
moving like him, because he's

really animated when he plays.
And Tommy G, my teacher at the

time was like, Dude, you gotta
take a break. Stop that. No more

Brian blade for a while. No more
Brian blade. It's affecting your

playing. Yeah. And then not a
good way, yeah.

Topical things as at the moment,
the Alex Van Halen auction, did

you pick up anything

I didn't know? Have your eye on
anything I didn't even know was

going on? Should have asked that
first. Yeah, no, I didn't know,

but I'm sure. I mean, there's
some great stuff in there. What

a legendary drummer. You know,

I'm still shocked at the 1981
Gong, 40 inch pisti Gong with

the stripes around the the rim.
I guess the holder went

for like 300 grand or something,
286,000

that's a lot of money for a

gun. But were you gonna put
that? I guess,

yeah, that's true. It's probably
a doctor or lawyer definitely

purchased that

damn doctors and

lawyers. Isn't it cool that our
parents never said be a doctor

or a lawyer. They're just, you
wanna play the drums, okay?

Yeah,

they didn't say that. We just
didn't listen. Yeah, right,

yeah. I'm super thankful my
parents let me pursue this for a

career, and they let me go out
on, like, do tours when I was a

teenager, you know, like, leave
home and we, I guess we had cell

phones at the time, but, you
know, we didn't have GPS or

anything. We just print off
Mapquest direction, math quest

direction. I mean, this is back

in the day. Yeah, that's what I
used to do, to go do my

substitute teaching. That was my
day job around here when I moved

here, substitute teach during
the day, then playing the clubs

at night. You know, that's
awesome. Yeah, just grinding to

that.

The last time I ever seen you
wear khakis, right, right,

right, right, right.

What are you wearing? Khakis?

You should. You should actually
do one of these episodes dressed

how you used to teach with my

roller briefcase. I had a
briefcase

gotta do it. Had to do that. We
should actually do that.

We should swap looks for one
episode, I should dress like you

and you should dress like me. I
could, I could put on

my valet jacket,

park cars, the sunset grill or
something like, yeah.

It was like those restaurants
Hillsborough, like private

parties, yeah, like restaurants,
overfweston's, places like that.

I hated it, man, I couldn't even
drive a stick. Did

you ever get those douche bags?
They were like, Hey kid, be

careful.

Thankfully, no. But there was
one time at a private party with

the owner of the company. I was
like, you guys, I don't drive a

stick shift. It's just, it's
not, I don't, you know, I'm

just, if it's so standard, I'm
your guy, you know, or automatic

whatever. Um, cool. Got it?
We'll make a note of that. No

worries. It's all good. So we're
at this private party, and it

lets out and there's like,
couple 100 people there. It's

super nice, like, you know,
black tie event. And we're just

running. We're just running. And
gone in and going to get cars,

whatever. So I get a BMW, that's
a stick shift, super nice car.

And I'm like, oh God. And I
can't, like, go, Hey, can't you

know, you got to come back.
Yeah, yeah. So got it in

reverse, doing the thing, pull
it up. And, like, I just staying

in first gear the whole time.
But pull it up to, like, the

entryway of this, like, giant
mansion where the dude standing

there and waiting and like,
totally stalled the car.

Your clutch in, the brake didn't
hit, and it was like, you're

topping out of like 6000 RPMs on
the wheel.

Yeah, that was me, and the guy
was super nice. He was like,

hey, almost, that's fun, but
yeah, and he still tipped me,

which is great. That's great. At
least you gave it a shot. Bad.

You felt bad for me. Yeah,
that's right.

Have you ever learned since, no,

oh, man,

they don't make them. It's yeah,
millennial. It's the millennial

car security system. It is, get
a get a stick shift, yeah, yeah.

No, nobody knows, yeah.

I mean, I did. I practiced, I
guess more after that. But you

have to, like, live with that,
you know, it's got to be a car

that your dad or somebody has,
that you can actually,

I learned the concept of stick
on a motorcycle, a dirt bike,

oh, yeah, yeah. Like, with a
clutch, yeah, clutch on the left

hand, and the throttle and the,
you know, you went through the

gears on the left foot. And I
would actually, my first car was

a Suzuki Samurai, Samurai, 1988
There you go with a five, five

speed stick shift. And I'd go
back and forth in the driveway,

just getting used to it. Yeah,
yeah. Way to learn I was, I was

a really boring kid.

Yeah. My dad taught me the
stick. Shift, and there was a

lot of profanity, oh, I'm sure,

vanity and like smashing the
invisible brake on the right

side of the

car. I had to teach Courtney
because we bought her a car when

we were still dating, we were
living together. Her car got

crapped to bed, and then we
traded that in, got her a Nissan

Sentra that was a stick shift.
That was a fun car to drive,

yeah? And she just, she had no
idea how to drive him, yeah. And

we took it to a Costco parking
lot, all right? That's how you

learn love it. That's how she
learned,

I wouldn't want to live in San
Francisco

and have to learn how to dress
when I like. I had a I had a

stick out in LA and you'd be up
there right on, dohee, going up

to sunset, and that this the
hell's like that, yeah? Just

like, and you're like,

Oh my God, no one pulls up
behind me, please.

Out of your bro crazy,

yeah? Well, you know what, it's
time for the Fave Five. Don't

think about it. Favorite color
blue. That's high. We

get a lot more blue.

New York Giants blue, even
though I don't like the giants

as a football team, but color
blue.

Love drums. Get a set of drums
like that.

I should, you should, actually
should call it like a great

green olive satin flame kit.
That's pretty sick, nice. Yeah,

how many kids you got? Oh, God,
I think 11. Yeah, 11 kids, yeah,

seven at my place, and then four
in guarded, nice,

favorite drink,

tequila, yeah straight, just
wow,

yeah, chilled or anything.

Oh no. On the rocks, okay, yeah,
that's good tequila on the

rocks. Just a little bit. I
don't like hot tequila. Oh god

no, no, yeah. I used to be a
bourbon guy, but then that's

just, I can't do it. It's just
random, course, yeah, it sticks

with me. You mean the next day,
yeah? Just don't feel don't feel

good. Yeah?

They do say, do the white

liquors? Yeah, yeah. But that
and just literally water, I mean

cold beer, guys, sodas, not I
used to be, not as much anymore.

You know, oddly enough, yeah,
like, if I'm gonna have anything

to sip on at home after a long
day or something, just a little

bit of tequila, that's

nice. PB and J beer.

Oh yeah, Jim and I, Jim and I
had a PB and J beer. It was

out incredible sour. Oh, a sour.
Yeah, interesting. Oh, it

tastes just like the bread the
peanut butter took me back to

being six drinking. I

put it up. Oh, nice, yeah. On a
beer podcast, on the Ailes and

tails podcast.com, Instagram
page, yeah.

Everybody, check out

another podcast. We do. Jim's
got a

mostly Middle Tennessee business
podcast. He's got his production

company. It's your show.co,
yeah. He's got his hands in a

lot of things. What about, um,
favorite dish, or

food? Pad Thai? Yeah, my wife's
Pad Thai. She's an incredible

Cook, wow, yeah, she's amazing.
Like, every year for my

birthday,

you don't do native tie, do you?
No, yeah, I

don't mess with that, man. I'll
do like, one star spicy.

My colon would be like, yelling
at me. I

just feel like it's so
inconsistent wherever you go.

American, zero, Americans, it
like, yeah, like the opposite of

spicy zero. And there are guys
like, you know, Mike Johnson,

obviously, yeah. And he'll get
like, five star or native hot

sometimes, and just be fine, and
then we'll go still work. Mike

Jefferson, Mike's lessons. Mike
Johnson, no. Pedal Steel player,

okay, yeah, incredible. Pedal
Steel player.

Plays a steal. And a lot of the
Aldean stuff. It's either him or

Russ Paul, depending on the
attitude and, yeah,

the vibe needed.

This is a tough one sometimes,
but it could be based on, oh my

god. I love this producer, I
love this band. I love this

drummer, this melody is
incredible. I can't escape this

thing. It's favorite song.

Favorite song would be, uh,
there's a John Bryan song called

strings that tie to you. Yeah?
That was on. It was on a

soundtrack for what was that?
Jim Carrey movie, Eternal

Sunshine of the Spotless Mind,
yo, yeah. And it's only like two

and a half minutes long, maybe
one of the most beautifully

written simple songs, and Jim
Kellner plays on it, actually

beautiful. The Count off, even
on it, they left the count off

in and the song, it's just
everything about it is just

music, just beautiful music.
Like, if I'm on an airplane or

something, that song out, throw
the song on, stare out the

window, and it's like, all is
right?

My version of that is Jeff
Buckley hallelujah, yeah. Oh

god, so good. Man, so great, so
good. Yeah, yeah, that's, that's

one for me, yeah, man, movie on,
favorite movie, favorite movie.

Oh, wow, that's a Interstellar.
Oh,

yeah, yesterday,

did you really? Yeah?

We got that with someone
yesterday or the other.

I bought a surround sound system
at my house just to watch that

movie.

That's so good, the Christopher
Nolan movies in life, it's so

good, the

writing and it's great. And the
theoretical, the, you know, the

theoretic physics of that movie
is all accurate, yeah, like,

they worked with a physicist.
Yeah. I was really big into

like, like string theory and
like the CERN, like Large Hadron

Collider and all that kind of
stuff at that time. String

Cheese theory, yeah, string
cheese theory, yeah, quantum

physics, yeah. I mean, just, are
you a reader?

Do you like? Yeah, I don't, not
as much anymore.

Reader, until I met my band and
my my IQ just dropped.

It's weird. Yeah, it was crazy.
My wife is a huge reader. I

mean, she could read all day,
every day. She reads like, over

100 books a year. Wow, insane.
That's cool. Hand me downs,

yeah. And I just like, What are
you doing? She's like, reading.

Like, cool. I figured that a
book. Okay, great.

How long have you been married?

Yeah, I was gonna say the same
thing, four years. See that?

Wow. But how long did you guys

date? We dated for three years
before that's good time. Yeah,

she's just she would know that.
You'd have to explain the whole

thing. How many kids, one kid,
one kid, yeah, one and one and

done.

Are you gonna get snips? Snip
already? Did

he do that? Done? Get

the peas on the balls? It was,
yeah,

it's perfect. Actually, it's the
like, that's the cliche for a

reason. Yeah, it's like, truly
works. That's what the doctor

said. So you guys, you guys
said, this is where, this is

where.

Yeah, we had, we had tried some
more, and just had some

complications and work out. And
even after we had our boy's

name's Wyatt. He's a drummer
already. Wow, obviously, two

years old. Yeah, already has his
own little kid, and he can

actually match tempo with you.
Like, I'll sit up. I'll set him

up on my lap. He'll play the
ride or the hi hat, and I'll

play everything else, and he'll
keep time. Wow, it's crazy. It's

in his DNA. It's in the DNA. He
plays piano, like he'll kind of

just pluck around on it, yeah,
sings too, like we'll sing along

to songs. And it's wild. It's
great. It is. It's cool, it's

cool, yeah, so we, we lucked
out. Huge blessing. He's the

best kid ever. So even after I
was like, Man, I'm good, yeah, I

always wanted two kids or three
kids, or whatever. But whenever

he showed up, I was like,

we could be just spoiling good,
yeah,

this is it. You know, rotten,
spoiled, rot, spoiled. Jump,

yeah, he's a ham too. He's a
performer. Yeah, he's gonna go

get in the middle of the room
and do his ABCs for the whole

family. He's gonna be

entertainer. I relate. Spider
Man,

yeah, exactly. Yeah.

Still do.

What do you mean, use that
you're right. You're right.

Whenever we got

him his kit, we bought him his
his grandfather, one of his

grandfathers, bought him a kit,
like just a little, you know,

Amazon, $200 toy kind of kid
kit, but as heads, you know, and

symbols, he got it for his
second birthday, and we

surprised him with it. Set it
up. We had a, you know, party

with the family at the house,
set up the kit, and he was

surprised, super surprised, when
we sat him down on it, and he

was locked in, like, locked
like, started playing, got the

big cheer, everybody's clapping,
and he just kept playing. He

didn't stop. That's your job.
Okay, we're good now, buddy,

yeah, let's take a break. Get
off the drums.

We have had enough. Oh, my God,

hey. So Evan hutchings.com Evan
hutchings.com and then you're

active on the book of face, the
Instagram, yeah, all the

socials, some on there. Yeah, I
love that. And then, folks, if

you are listening to country
radio, Kenny Chesney, Reva

McIntyre, Luke, Bryan, Jimmy
Allen, Ronnie

Evans on the drums, yeah, it's

good. Thankfully, it's really
good. Nate Smith, he's Top 10

right now. His latest single,
bulletproof. Brian Martin,

actually, too.

Brian Martin, yeah,

that's top 10. I think he's
eight or nine right now. Yeah.

So,

so you occasionally follow the
charts of being like,

I do, yeah, I like to see, I
just like to see what's up,

where, how it's going, like,
what's climbing, what isn't

climbing, and not just songs I
played on. Just kind of, it's

interesting. Muso.ai,

yeah, hey. So sometimes I'll be
in the top point zero, 1% of

drummers in the world, you are
like, in the point. I mean,

it's, it's like, you're always
like, in the top,

it is crazy. I don't know how
accurate that. There's no way

drummers on the planet. You

know what? I mean, yeah, it is
wild.

When I looked it up, and it's
like, if I'm in

the mix somewhere, I'm like,
that's cool. But, I mean, the

first couple of guys are like,
yeah, you and near and yeah,

McHugh and it's cool, yeah, it's
a cool studio, tans, and

everybody's just the community,
as you know, in this town is so

tight, and everybody's cool, you
know, like,

I'll hit up Chris or whoever.
Like, Hey man,

you know, let's grab lunch. Or,
yeah, you know, let's just hang

or, Hey, man, can you do this
session for me? Or he'll do the

same thing. Hey, man, can you
fill in? Or. Whatever, and, and

it's the the ego. I mean, you
have, everybody has an ego,

like, in a healthy way, usually,
and some more than others,

polite competition in Nashville,
Yeah, everybody's got each

other's backs, which is cool,
you know, how long does it

take to you feel like you're
part of the community? I guess

there's a lot of I

think it's different for
everybody. You know? I think,

like, once you play on a number
one song, you're kind of like,

okay, I'm I'm in the mix, you
know, school, not everybody's

done that, you know. And you
know, you people just start

being more friendly to you. If
you're like, a drummer hang or

something, meritocracy, you get
a little bit more respect from

people. Yeah,

right? This way. Mr. Hutchings,
yeah, right. Preferential

treatment. Brick tops, yeah.

Don't you know who I think I am

for us by preferential treatment
at Brix,

there you go. That's our
treatment. Hey, man, I'll

take that. Yeah, bricks pizza,

the deviled eggs at brick tops.
What about

the bacon on there? Dear god,
yeah, and they've got those

Shanghai shrimp. Oh, with a
martini. I'll probably do that

tonight before bus

you should call that's our
restaurant of choice. When we go

meet people. I know it's my
spot. That's

a good spot, guys, if you want
to buy us a drink, you want to

run into us just the brick tops
right there in Cool Springs.

That's it, man,

you'll see us there. Oh, my

God. Do you have any fun, like,
like, hobbies, or things like,

you know, cigars or,

yeah, I do golfing. That's kind
of really the only other hobby

thing that I do that I have time
for. And it takes, it can take

up a lot of

time. Hey, my dad plays four
days a week, and he has four

hole in

ones. That's amazing, man. My
old memory four holes in one is

that four holes ones actually
got a hole in one on my bachelor

party weekend. That's a great
golfing town. It was amazing,

yeah, with my brother in law and
like some best friends, Scott,

yeah,

I'm so happy that we finally got
to do this. And it was worth it.

Man, it was worth the wait.
Evan, thank you so much. Thank

you so much for having me. Man,
yeah,

congratulations on your work.
Well, you do likewise. Man, an

honor to be here. Man,
fantastic. Thanks for being

here, folks. That's Evan
Hutchings. Evan hutchings.com,

you listeners. Thanks for
watching the show. Thanks for

listening to the show. Be sure
to subscribe, share, rate and

review. It helps people find the
show. Jim, as always, thanks for

your time and talent. Thank you,
sir, and we'll see you guys next

time, thanks, Evan,

this has been the rich Redmond
show. Subscribe, rate and follow

along@richredman.com

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