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? Rich Redmond
here? Yes, it's that time. It's

time It's time for another
exciting episode of the rich

Redmond show. We talk about all
things like music, motivation,

success. Hey, anything that
comes up today? Very excited. We

got a new nashvillian here
today, originally from Detroit,

truly a young lion, successful
drummer, music, executive record

producer. For the last nine
years, he's been playing with

the Motor City madman, Ted
Nugent, I'm talking about our

new friend. Jason Hartless,
What's up, buddy? Great to you,

brother, Hey, man, you're not a
new friend. We've known each

other for a good five, six
years, but you're a new

nashvillian. Yes, you moved here
in November, which means you've

been here for about six months.
You like it? Tell us about it.

I've always loved Nashville.
Yeah, I've been commuting back

and forth 1015, years, you know.
So it, it's great to be here,

and it's great to, you know, see
all the friends that I've known

forever and would only see once
or twice a year coming through.

So, yeah, well, welcome, you
know, they said it takes about

two, two years to really be a
nashvillian. But you're fine.

You have this pedigree. There's
something in the water of

Detroit. Man, you got, you know,
Nugent. You got the Motown

sound. Kid rocks from their bub.
See, there's, what's the deal?

It's in the water. I don't know.
Man. I mean, you look at the 60s

and 70s, the amount of music
that came out of Detroit, you

know, not just Ted and Segar,
but, you know, Alice Cooper and

MC five. And you know, it's just
so many, so many iconic bands.

And you know, even, even all the
way to the 80s and 90s, you

know, band called totally red,
that was amazing with Chad

Smith, before he joined chili
peppers, really, okay? And, you

know, Greg Bissonnette came out
of Detroit, right? Just, you

know, so many amazing musicians.
And you know, there's, there's

definitely something in the
water in that town, yeah. And

you, you reap the benefits at a
young age. You were playing at a

high level. What age was it that
you started playing? And your

dad's a drummer, yeah, you know,
I, my dad was, was always around

the scene back in the day, and,
you know, had some pretty good

success, you know, in the
Midwest with his bands. And you

know, he was very close with ace
Fraley camp. You know him and

Ace go back, you know, 35 plus
years. And so I was kind of born

into that music scene right
away. And you know, around the

time I was born, I he kind of
retired from playing. And, you

know, six months old, I was
sitting on his lap banging away.

And then sure enough, you know,
by the time I could crawl in the

kit myself, I was jamming with
his buddies. And you know, then

playing gigs around town when I
was five, and, you know, kind of

that's where everything starts.
Well, you are a great player.

And I was, I love getting to do
this podcast, because I get to

shine a light on on, you know,
friends, old and new, but, you

know, I get to do a deep dive.
We'll get all these videos, even

some covers you have where
you're playing like a who song,

uh, Won't Get Fooled Again. And
you're just like, nailing the

the Keith Moon style, not a
chart in sight. Did you do it?

Note for note that cover? Well,
the WHO and Toto are my two

favorite bands of all. Okay, so,
you know, I studied those, those

tracks, studio precision of
Jeff, right? And then you got

the reckless abandon of Keith,
yeah? And then you, it's like,

you got your peanut butter in my
job is that, is that kind of

like your, your playing style? I
would say, Yeah, you know, like,

I, I've always been a, you know,
a studio rat. I always been in

the studio doing that thing, but
I've also been a live guy for,

you know, my career. So I always
like to be in that situation to

where I can kind of mold myself
into whatever drummer you can

be. If you need a two and four
guy, I can give you that. If you

need a Keith Moon guy, can give
you that. If you need a fun guy,

can give you that, you know, and
that's what keeps it, I think,

interesting and fun about what
we do as Hired Gun musicians is

like, you never know what the
gigs on a call for. You know, I

was on tour with Joly Turner one
time, and I literally flew back

to Detroit, went straight to the
studio and cut a big band

Christmas album with some of Bob
Segers horn section, nice, you

know, going from Rainbow and
deep purple to Big Band, big

band experience. And we would
like, you know, reading like

net, like nestico charts, that
kind of stuff. Yeah, you know,

I've always loved 40s jazz, you
know. And kind of, even since I

was very little big band, 40s
jazz has just always been some

of my favorite stuff. Basie
Ellington, and then, you know,

even then you add, you know,
buddy and Jean and, you know,

Louis Belson, all those classic
drummers too, like I've always

tried to approach my playing
very similar to a big band

drummer, and that you're playing
off the band, versus just

playing a beat, you know,
playing playing a groove, you

have some sort of lope in
whatever you're doing. You know

that kind of still hands back to
that big band 40s drumming. This

is what this is. You can't teach
your level of experience in your

natural talent, because when you
watch someone like you saying

yourself, this guy did not learn
how to play drums from a Hal

Leonard book. And we was like
you.

Just jumped into the deep end of
the pool and started playing

music at a very young age. I
think you're barely, like, at

the tender age of 29 or
something. And it's like, you

really play like a 59 year old
man. You know what I mean? It's

there's a lot of experience
there. And the the double bass

stuff that you do at the at the
end when you're playing, you

know your trash can endings
with, with Ted, fantastic hand

and foot combinations, double
bay speed. Did I see you were

playing some dates with
Halloween? Or is it Halloween?

Yeah, Halloween, yeah. Is that a
European band? No, Detroit band,

actually. But they, you know,
they're big in the than the

European and Mexico. And do they
only work one day a year? Or,

okay, yeah, pretty much, you
know, they'll do the big, giant,

you know, festivals in Germany
or whatever. And you know, the

drummer couldn't get over there,
so they called me to do it

super, super metal, nice, double
bass, fast stuff. So let's say

hi to our friend Jim McCarthy.
Jim McCarthy, voiceovers.com I

was just gonna sit over here in
my ashtray. No, you

know, no, because everybody
knows that Jim is, of is a great

drummer, and there would be no
rich Redmond show without Jim.

He is the secret weapon. We had
a nice little dinner party the

other night. We put a hurting on
a nice box of wine.

It's in Jim's, don't, you know,
throw shade on the box.

Value there this value he goes,
this is four bottles of wine in

one box. Can't go wrong. So no,
not my gal, Cara made it some

nice food. And Jim's wife,
Courtney, brought her famous

homemade bread, the B rib.

So Jim,

I'm sure that you've seen Jason
play at some point online or

somewhere with Ted Nugent. He's
had the job for the last nine

years. He's just a young lion
man. He's a great rock drummer.

Anytime you see him playing any
style, you say to yourself,

that's what that guy does. It's
almost like, you know Omar Akim.

I remember Omar Akim saying, I
love drummers, where you go and

you would see and you're like,
that's what that guy does. When

you realize, oh, my God, a guy
like Omar Kim, he does this. Kid

does everything. He's not even
30 years old. That's incredible.

You just found your calling very
early on. Yeah, very that's a

gift to find your calling and
your purpose. Do you remember

when you started playing like
that? What age? You know, I

just, I've been doing it so
long, it's hard to remember, you

know, just in your DNA, what did
you start playing

professionally, five years old,
and then I started touring.

Don't forget to pay the five
year old we're paying. He gets

paid in candy. Okay, what does
that look like a five year old

professional drummer? Yeah, what
does that what does that mean?

Was that you got paid? Well, you
know, you know, playing local

gigs, you know, the top 40
covers type stuff, you know,

nothing. You know there was this
way, pre YouTube and all that

stuff. Oh yeah, you know, 25
years ago, playing, playing, you

know, in local clubs around town
with, you know, my dad's buddies

and stuff like that. And, you
know, kind of cut my teeth super

early. And so 25 years ago, for
29 years ago, rather, you're

looking at not 25 you're looking
so you're almost 30 now you're

five, so about 24 years ago. So
you're looking at 2000 Yep. And

a lot of the YouTube generation
didn't come to be until oh

60708, but you're still had
people probably getting video of

this. Yeah, absolutely, you
know. And you know, luckily, you

know, my parents would always
kind of film some of this stuff.

So I got a lot of this, you
know, video footage in, you

know, I've been able to share
it. And, you know, and even, you

know, my dad played Pearl drums.
And, you know, I'm a, I've been

a pearl artist for 20 years now.
And there's some classic photos,

because my dad's got this big,
giant Pearl drums banner behind

his kit. So there's video of me
when I'm, you know, two years

old, just playing this kit in
this giant Pearl truck, even

promoting the product. You're
not even knowing it exactly,

exactly they signed up at nine
years old. I mean, that's when a

company really believes in you.
That's incredible. They're like,

we're investing in this kit for
the long haul. And, yeah, I'm

sure your pearl rep comes out,
and it's and, and, you know, you

wine and dine them backstage.
And what a cool thing. Yeah,

it's, it's been great, you know,
it I've been so fortunate to

have to kind of been where I've
been at such a young age. And,

you know, now, looking going on
30, I'm like, Damn, I'm old, but

I gotta, I gotta keep, I gotta
keep reminding myself, like,

Damn, it's okay. Well, it's way
because you started way early,

because obviously you're so busy
playing, getting experience,

getting paid

College. Didn't do college. You
were just, yeah, you did

college, yeah. So I, I graduated
from Berkeley, a rare graduator,

yeah. But I, actually, I was a
music business major, and I

started my degree two weeks
before I got the call for

Nugent, and because, you know, I
didn't want to up and move to

Boston for four years and, you
know, so I went the online

approach. So I all through
college, I was on the road, you

know, doing my degree, you know,
and then rocking with the Music

City madman, yep, the Motor City
madman. You're the Music City

mad man, right?

Well, that.

That's, that's impressive,
congratulations. And I think

that's a product, a byproduct,
of the times that we're in,

being able to go to college
online. And it's like, I

remember the whole college
experience for me was like, I

lived in 317 Clement Hall in
Lubbock, Texas, and I had the

meal program where you can eat
the three meals a day, and you

got to ride your bike to your
music theory class. And it was

the whole thing, you know what I
mean, that whole thing, gonna

ride a skateboard to your you
know, you had the bike and, you

know, it's just going across.
Occasionally you would leave the

music building to go because
you'd have to take a physics

class, physics of sound, or
you'd have to take an algebra

class, or American history and,
and, but most of the time you

are in that music building, and
you're playing temps and vibes,

all this stuff that a lot of
times I didn't want to do, but I

said, you know, I have to do
this. Just jump through these

hoops, kid. So you got this
practical degree, you got the

music business degree, and
you've been dabbling in the

business side of the business
for a long time. What are some

of those jobs vinyl? You're
missing vinyl? Yeah. I mean,

I've kind of run a couple
companies, including my own

sound City Music Group for last
number of years. And, you know,

I do that with my dad, and you
know, it's great, because I've

always been a vinyl guy, and,
you know, enjoyed it, and even

before the new, huge, huge
resurgence. So, you know, we

partnered with third man Jack
White's pressing plant in

Detroit. So we've been great
partners with them and

manufacturing all of our stuff.
But, you know, I've done, I've

been, you know, working with the
suite, you know, 70s glamorous

band for last five, six years.
And, you know, I've been

archiving all the Nugent stuff
the last number of years. And

we've put out a bunch of, you
know, stuff like that. And we

just put out Steeler invade
Malmsteen for his band and and,

you know, sparks and the knack
and bunch of bunch of cool

stuff. What about the knack?
Because that literally, that's

just that record dropped 45
years ago, five days ago. Yeah,

we just past November, put out
the knack live in 1980 in in

Holland. You know, Gary. Gary,
he was, who was the drummer in,

in the neck care. Well, Pat
Torpy played drums pre mr., big

with him, too, with them, too,
but, and then, but, yeah, but he

was the house drummer Capitol
Records also, and he was, died

way too young, but he is, he is
one of the most underrated

drummers, absolutely amazing.
You you might know this, but the

the engineer, Pete Coleman, he
engineered all the Blondie

records, all the Pat Benatar
records, and he engineered the

knack recording. So he recorded
night my Sharona, and he said

these guys were so good, and
they were such a hot band in LA

they played every night of the
week all over Los Angeles. They

basically just sat up in the
studio and Pete pressed record,

and they ran the whole record
down. Not surprised. I mean,

that whole first record, to me,
is a perfect album, top to

bottom, yeah? Just raw
performances, great songs, just

perfect record. So vinyl is
profitable, yeah? I mean, in

this day and age, when we're
especially we're dealing with

all the stuff with Spotify and
all the stuff with all the

touring promoters and things of
that nature, you know, vinyl

seems to be the only viable
outlet for a lot of these

artists. You know, unless you're
a massive, massive artist, a lot

of these indies are still able
to actually do work and make

some good money off of it. Yeah,
they're actually calling people

back. They have to find, like
labor to put press the records.

Oh, yeah. I mean, it's, there's
so many, there's more and more

pressing plants opening. I mean,
I'm blanking on which I think

there's quite a few here. I
believe, yeah, there's two, two

or three here. I mean, United
still here. They've been here

forever. But, you know,
Detroit's got to, I mean,

Metallica, literally, they were
pressing so much that they just

straight up bought a pressing
plant, yeah. And I think I don't

remember which, which one they
did, but Lars is like, just so

one of my art pieces, and we'll
buy the factory exactly, you

know. And it's crazy because it,
you know, I'm 29 growing up as a

late millennial, you know, just
barely making the cut, the Gen

Z, yeah, it's, you know, we grew
up with still tangible items. We

still grew up with CDs and, you
know, wasn't really cassettes,

but, you know, I remember I was
10 getting an iPod, and, you

know, we didn't really have the
digital aspect of it. You know,

I love streaming as a consumer,
but of course, us as a as

musicians and creative types, it
hinders us. So having vinyl

helps bring back that
kinesthetic quality that, you

know, I think music has been
lacking since streaming and

digital has kind of come about
because you're paying $10 for a

digital album, or paying your
monthly fee to stream whatever

you want, but you don't hold
something. You don't have an art

piece, you know, and that's the
big thing that I've always tried

to do, is every art that would
be on vinyl records that I would

do always top notch. Well, even,
like, you know, there's a

tactileness to the notion of
vinyl. Anyway, I'm gonna pull

Joe Rogan and find out who the
drummer was for the knack he's.

Sounds so familiar. Like I
should know it off. Gary Bruce,

yeah. Gary Bruce, yeah. I was
thinking Gary Novak the whole

time, right? Yeah. Like, even,
do you remember putting vinyl on

and, you know, some kids back in
the 70s and everything, or even

the 60s, would put the speaker,
like, on their chest or on their

belly and lay on the floor, you
know, and as the record would

play, it was, it was such a
tactile experience. Well, I

mean, you're, you're putting
something on, and then, you

know, in 1520 minutes, you're
gonna have to get up and flip it

anyways, you know. And you've
got a little exercise, yeah, you

get a little exercise. You get
to hold an art piece, you know,

it's, it's, it's great. And you
know, these artists are now able

to, you know, sign, you know,
these, these jackets, and sell

them for a premium. And then
that consumer can either put it

up on their wall as an art
piece, or they can keep it in

their vinyl collection. You
know, there's multi facets to

it, and it's, it's always plus
the fact that it sounds

unbelievable, if you've got
really, the fidelity on them are

just unmatched, even when it's a
modern recording that recorded

the Pro Tools and then transfer,
oh yeah, you know, even so

there's been, there has been
situations where the only format

that I have to put on, you know,
vinyl is a digital format, just

because the tapes are lost or
whatever. And even then, even

with a little bit mastering job,
you know, it's still going to

sound a heck of a lot better
than it would digitally. Yeah,

interesting. Well, I mean, it's
even my kids are getting into

it. They all. They both, like,
Cami and Spencer have record

players, and they listen to
vinyl. Yeah, you know, there's

those really cute little
affordable ones that they have

Urban Outfitters, yeah, the $99
Crosley specials or whatever.

Yes, because, and they'll have
them in, like, these little

hipster hotels in Austin and
stuff. I have the Audio

Technica. I forget the model
number, but it's, like, very

popular. Is that pretty good, or
do I've got, I've got one just

like that too. You know, the
$300 Audio The thing with the

tubes? No, I don't get to that
point, you know, I got good Bose

sound system, like Mark Marin's
like, I got the one with the

tubes.

Yeah, I mean, you know, it's,
it's, it's all those audio

files. It's, it's all went on
their taste is, but you know, if

you get a good turntable and a
good needle and good speakers,

that's all you really need.
Yeah, I do want to get back into

it, because it does sound like a
fun evening to, like, light a

candle, pour a glass of red
wine, and then you're like,

tonight's Blue Note night. And
you just all your Blue Note

recordings. Tonight's, you know,
tonight's my, you know, Detroit,

like we'll do all the Detroit
artists dropped a needle, and

you're reading the credits, and
it just sounds like a fun time.

Well, even then, meet me as a,
you know, audio technical nerd,

you know, I love also comparing
the old masters of the original

pressing compared to the modern,
you know, 2023 or 2024 masters

that they've done. And, yeah,
just hearing the difference in

the mix, and you know how it
kind of conveys, it's just,

there's so many different
outlets, you know that, and

parts of that vinyl collecting
thing, you know that is just,

it's just amazing, yeah, so

tell us about Ted, because
that's the elephant in The room.

What are the qualifications for
working with this guy? Well, you

know, he is a pretty smooth,
yeah. I mean, I he's, he's one

of the best artists I've ever
worked with. I mean, he's just

super easy to get along with,
you know, he treats my family

like family, you know, one of
the nicest human beings in the

world, awesome, you know? And
then you had the fact that he's

one of the greatest guitar
players to ever walk to face the

Earth. It's just amazing. You
know, nine years that I've had

with him, you know, we did our
last long tour last year. You

know, he's not retired. We're
doing two shows this year, you

know. So things will pop up here
and there. But, you know, he's

76 still in the shape, oh my
God, but he's in the shape of a

50 year old, and he's playing
better than ever, you know. And

what's great about that gig is,
you know, it's always keeps you

on your toes. You know, he'll
pull out songs that we haven't

done in two years. So there's a
kind of, yeah, there's a set

list kind of, but, you know,
songs will randomly show up, or

we'll be walking on stage, and
he's like, alright, we're doing

this tonight. I'm like, I've
never heard this song in my

life. Watch me. Yeah, exactly,
you know. And it's, it's, it's

great. And you know, his we had,
you know, we've always run a

three piece since I've been in
the band. And you know that just

that old school, 60s, 70s, just
power trio rock stuff is just

amazing. And what's great about
it, it's, it's all a lot of

jamming going on, so Van Halen
style, so when he goes to do a

guitar solo, the chord changes,
no one is marking the chord

changes, except for bass
Exactly. Wow. Yeah, it's great,

you know? And it has a lot like
when he first called me on the

gig, he's like, I want a
drummer. That's a mix of John

Bonham meets Stuart Copeland
meets Johnny bonange meets Keith

Moon and Johnny Bonanza, the
drummer of the Detroit wheels

and the rockets, iconic Detroit
drummer, another one, just, you

know, icon, shame on you rich.
Okay, no, we got to check this

out. But which is, which is, you
know, Ted's all time, you know,

the Mitch ride in Detroit wheels
is just the pinnacle of what.

And did Ted looks at music as,
yes,

you know, but it's it. I was
like, Yeah, I can, I can do all

that nice. And it's just been
such a fun, you know, nine years

and, you know, yeah, great hire
by Damn Yankees. No, we, the

only Damn Yankees we ever do is
we'll do, like, a small snippet

of, you know, Don't tread on me,
but everything else is just all

Ted's catalog. And, you know,
because some of these songs are,

they're just too iconic that you
can't cut them from the set.

There's a million songs that you
want to always add, but, you

know, strangle holds nine
minutes as it is, yeah? You

know, you're doing an hour and a
half set. Great. One guys do

90s, yeah, 90 minutes, yeah.
Usually we even want more. You

know exactly. That's the Country
Music model is we do not it's

like when I, when I think about,
like, Springsteen, you know,

doing like, four hours, that's
too much. I gotta pee. Man,

exactly.

I gotta pee right now. Look at
all my liquids, guys. If you

guys are watching this, my
friend Bobby Mertz got this for

me. That's what I do. I play
drums. It's my nice coffee mug.

I got my Michael Buble, and I
got some, like, cold water.

Michael Buble, yeah, let me I'm
gonna get that on camera here,

real quick. Hold on. What's that
I got? I got a drink cam, let me

zoom in. Oh yeah, Jones, that's
what I do. I play drums,

nutrition facts. It says talent,
100%

skill, 500% passion, 100%
creativity, 300%

caffeine, 110%

Thanks, Bobby. Bobby Murray
Scott got this for me. So we're

kind of just jumping around all
all, all over the place today,

which is kind of we do that. But
I'm just so excited to be around

your your young energy. And I
think it's just, I mean, I have

youthful energy. You totally do
rich, but I'm probably the

oldest guy in the room.

Now we've Tommy clefetus moved
to town, yeah? So Tommy played

in with Mitch rider, right?
Yeah, yeah. So Tommy was

actually my drum teacher, and,
yeah, why he was playing for

Ted? Actually, I was like, 10
years old, or something like

that, and taught me for a while.
And, but, yeah, his his dad is

a, was a big, you know, band
leader, and every time I played

with Mitch Ryder, his dad is who
hired me on the gig. So you guys

have, I might call it nepotism,
but, but it is your dad, your

second generation musicians. I
mean, it's just like in the

blood. So Tommy did a cool
little clinic over at forks drum

closet, and he's become, like,
good friends with Greg Morrow.

And, like, I went and we, we
hugged it out, and he's like,

Yeah, I want to do the podcast.
But it's so funny because I

remember my one of my first
marquee jobs. I was 29 I was

playing with a gal named Pam
Tillis. She was the daughter of

mama Mel Tillis. And we, I was
in a elevator, getting into an

elevator with my Pam Tillis band
in Los Angeles, and coming off

the elevator was Tommy clefes
and the Ted Nugent band. And I

said, What's it like working
with Ted? He's like, it's

wonderful guy, man. He's only
one of they broke the mold. No,

yeah, oh, yeah. So that's cool.
And I got to see you guys at the

Saban theater Beverly Hills. You
killed it. We hadn't met at that

point. But I was like, look at
that kid. I told my friend of

mine. I was like, I was like, I
think he's like, 24 years old or

so. He's like, what? He's
killing it. He's playing like a

44 year old. Man, great job,
man. I appreciate it. And you

guys, it's a lot of it has been
documented. You have some DVDs,

couple albums? Yeah, I've done
two records with Ted, and we

shot a DVD. Think 2017 what's
the recording process? Does he

does he record in Detroit live,
like everybody on the floor at

the same time? Yeah. I mean, we
did one record down in Waco,

Texas, and then the last record
Detroit muscle we, you know, we

did the entire record in like
three days. But it was learning

the record, playing the record
first or second take. We did it

in his barn in Michigan. We
brought all this vintage Neve

stuff in. So it was, it was
awesome, you know, just super

old school, organic, you know,
stuff you can't most people

don't do nowadays. Honestly,
does he count off the songs

live, or do you because I don't
even see our tempo reference?

Oh, he does 100% I never, I
don't see a rhythm watch or

anything. No. I mean, there's,
there's, you know, depending on

how he's feeling the night those
there's times where we've played

stuff super fast. And there's
times we've done stuff super

slow. Just depends on what his
mood is that night. Again,

that's what I love about it's
that old school organic. You

know, I've, we've all done gigs
where we're on clicks and

backing tracks and loops and
stuff which there's no budging,

which is great, yeah, I mean,
but at the end of the day, it's,

it's, it's, brings that,
musician, organic quality, back

to it when you're just going for
it. Yeah, and you got to work

over the years, in addition to
touring and recording with Ted,

as I mentioned, Joe Lynn Turner,
Mitch Ryder, uh,

toured as support act with
Motley Crue Godsmack, theory of

a dead man Drowning Pool. So
these are it was this all with

Ted and those? No, no. So I did
the Motley Crew crew fest two

tour, which had most of those
guys on it. I was 14, playing

with Brian tram, who kind of
started my touring career. He

was with Uncle cracker for a
while, and then kind of branched

on his own. So I was with him to
when I was 12 to about 15, six.

Team. And, you know, he really
gave me my my start, and you

know, that whole kind of boosted
my career. And, you know, in a

sense, and yeah, we did the
whole three months with Motley

Crue and God smack and therapy.
Dead Man was It was wild. You

must, you really must have had
great parents mentors, because

to be on the road at 14, like
you're this pubescent guy,

right? And it's like you're
surrounded by

topless women throwing bras on
stage, and it's booze backstage,

and it's like you're a good kid.
Well, you know, I, honestly, I

didn't even touch a drop of
alcohol until I was 21 I've been

around it for my whole life.
Yeah. And, you know, my, my dad

would always be on the road with
me, because his, but his, you

know, experience in the
industry, he would be the tour

manager. So it's like, Why hire
a tour manager when he's already

gonna be there anyways, yeah,
you know. So my dad was always

there. And it was, it was, it
was a great, you know,

experience for us to tour, you
know, backwards and forwards of

this country a million times.
Yeah, you know what? Yeah. I

mean, I've seen a lot of things
in my in my day, but, you know

it's, I'm happy I came out,

like, on the positive side. Now,
you're definitely, man, there's,

that's a lot of lot of
discipline there, looking at

some other things. He worked
with producers, like, hey, we

both worked with Dale Penner.
Oh, really, yeah. Dale was

producing, like an Americana
artist here in Nashville, and he

wanted me to the artist
requested me to play drums, and

he goes, you got a great room. I
want to use a lot of great

outboard gear. So, my friend, I
don't know if you met Tony Mora

yet, but Anthony Mora's good.
You know, New York guy's been

here for forever and ever. We're
dear friends, but he was one of

the first guys in Nashville to
create the float the floors,

take his garage, do the thing.
He's got, like, enough outboard

gear to, like, you know, to run
the power station and and, and

so we went into his place and
knocked out these tracks and got

to, you know, hang out for a day
or two at Dale and go eat sushi

and stuff. Nice guy. Oh, it's
great. Yeah, I worked with him

up in Winnipeg, Canada, yeah,
with this artist I was talking

about. And yeah, we were in this
big, giant mansion in Winnipeg,

Canada, and October, and, you
know, for a few days cutting

some tracks. It was awesome.
Yeah, Dale's, I keep in touch

with him often. I love that
great guy. He also worked with

guys like Tom Morris, Chuck
alcazian, nice. Yeah, I've been

very fortunate to, you know,
because I've always tried to

brand myself as just the one
stop shop guy, you know, I've

been a big session guy, I've
been a touring guy, you know, I

just just being able to just say
yes, when somebody comes at you,

do you like doing some teaching?
Do you kind of have, like, a

teaching philosophy? Will you do
to somebody says, Hey, can I

take a lesson? Yeah, I mean, I
back in Detroit. I was, you

know, a teacher at one of the
School of rocks there for almost

10 years. You know, it's a
great, great program, great

teachers. You know, it was just
a fun time to kind of step back.

And I started teaching there was
18, so I wasn't that much older

than some of my students. And,
yeah, you know, it kind of

because I really didn't start
taking one on one lessons until

I was already in high school,
you know, and done, you know, a

bunch of stuff. And, you know,
my teacher, guy named George

Dunn in Detroit. He just old
school, you know, Greg bisnet

and him go way back. Wow. So, so
here's your rudiments, kid,

here's your swing beat, here's
your very, very old school,

like, started me from square
one, you know. And took me from

being a rock drummer to being a
more resonant drummer, you know.

And he also was my drum line
teacher in in high school, in

high school, so I had kind of
the combination of the both. And

you know how I can take these,
you know, marching rudiments and

incorporate them on the kit,
and, things of that nature. And

he just completely changed my
playing. And, you know, I'm

forever grateful for that. But,
you know, coming from that

aspect of being the the student
to the teacher was just a big,

you know, kind of Swift and and,
you know, kind of my old outlook

and how I even approach what I
do for a living, yeah, you know,

like hell Leonard had done, you
know, I've done a DVD for them

learn to rock drums with Jason
Hartless and friends. 2011 which

means you were, I

was still in high school, and
came out, 716, 17, something

like that. Cool man. And you
know, it was fun doing clinics,

you know, around guitar centers
and stuff like that. And, you

know, it was a great experience.
But, you know, again, like

coming from that aspect of
changing your whole mindset, of

just being a player and moving
to be okay, how can I help the

next generation? How can I take
everything that I've done in my

career and, you know, help
elevate those kids and get that,

you know, those those mentor
moments that I got when I was a

kid? Yeah, and it says that you
have been mentored by love.

Corky Lang, man, dude, da da
Das, Eric Singer, we were just

talking off camera a little bit
about Eric Anton Fig, so these

are, it's great you have these
guys. They're homies. You could

like, text them, yeah. I mean
Eric, Eric's honestly.

One of the closest things I have
to an uncle, even though he's

not my uncle, you know, just
been a great, great, you know,

friend and mentor over the
years, Corky Lang, like

I only did one solo racket in my
life, and it was went between

timeout seven and 10. And it was
honestly an excuse for Corky to

come in and produce me through a
recording session. So Corky and

me worked on that, you know, for
a number of years you drive down

to Detroit from Toronto, and you
know, it was just amazing

experience. And you know, like,
I learned how to chart music

from Anton Fig. And, you know,
some of these guys had just been

very fortunate to kind of been
around when I was little. And,

you know, just really helped
shape, you know, the player I am

amazing. Isn't that fun Jim to
be? You know, when your folks

are in the music business, it's
like, you can adopt their

Rolodex a bit, and you're
exposed to, like, great things.

It's like Larry aberman, our
friend, Larry, you know, growing

up in, like, New York, it's like
people that grow up in a New

Yorker, and I look at Josh
Freese, I mean, he was destined

to be, you know, connected. He's
born on Christmas Day. His dad

ran the music program at
Disneyland. Of course you're

gonna, you know what I mean,
it's like, it's in your blood.

Man, that is so cool. I was
like, my parents are or

accountants and nurses, and we
have no connection to the music

industry. So I just had to,
like, kick and claw and scratch

and, like, who plays music,
right? Exactly, you know what? I

mean, it's so cool. That's a
cool thing. But you made it

work. We all, I made it work.
Yeah, from the sweat of my brow,

just a little bit I'm fixing
here, but I think you're gonna

have a great time in Nashville.
And probably the next thing for

you is, I mean, you're, you're
probably gonna get super

connected. I mean, playing on
big records that we hear on

Music Row. And then you could
either start ground level with

some, you know, cool singer
songwriter, Americana girl that

just grows up and is the next
Miranda Lambert, or you're just

gonna get connected at the
highest level. And, you know,

you be getting that that check
for showing up for those 30

shows. I mean, this the world's
your oyster. Because, I mean, I

feel like this is one of the
last cities for the music

business. You know,

do I want to live in Nashville
the rest of my life? I don't

know. But it's like, this is
where the industry is. Yeah,

exactly. I mean, everyone LA is
moving here, yeah, New York, you

know, is turning more and more,
just straight up Broadway

musicals, you know. So it's
everyone's coming right here.

You know, whatever last resort
that we have still left of the

music industry is all right
here, yeah, you heard it here,

guys, what do you think the next
step for the music industry is,

you know, it's, it's a, it's a
really tough thing. And I think

about this a lot. You know,
with, you know, we're even

seeing the vinyl market change.
We're seeing, you know, the

issues going on with all the
concert promoters and the

streaming services. And I think,
you know, once all that stuff's

rectified a little bit, at the
end of the day, there's going to

be one thing, live music, you're
going to have all the AI stuff

going on for recorded music.
Yeah, it's going to put us hired

musicians out of work. But at
the end of the day, you're still

going to have live music, yeah.
So, you know, I think once

everything like that gets kind
of propelled and, you know,

moved into a the position it was
even pre covid, and the cost of

touring goes way down, you're
going to see everyone kind of go

right back to it, yeah, you
know. And there's going to be

that built up energy that people
are lacking, you know, you've

got YouTube, and you've got all
these things that you can watch

all these concerts and stuff,
but there's nothing that'll ever

replace that experience. Yeah,
man, you know, I would tread,

you know, our pal, Trevor
Lawrence. He was, you know, two

years ago at SoFi stadium. He
was, he was the drummer at the

Super Bowl, backing up Jay Z and
everybody. And he did a clinic

at forks, and he was talking
about AI, I guess there's a site

called udio, right? It's udio.
And you can basically use udio

to, like, compose just about
anything. And then, apparently,

if you take whatever comes from
your AI prompts, and you dump it

into Moises, and you separate
all the stems, and then you get,

you get certain people to
replace, it's license free.

You've created something that
you could monetize, right? This

is scary. Well, I think it also
goes back to what's happened

with

who's it? I think it's Scarlett
Johansson. Is

it or is it somebody else? One
of the big actresses are suing

the AG, companies for using her
likeness, basically from her

voice, you know. And I think
that's what we're going to start

seeing with music too, you know,
we're going to see more of these

artists. They're going to start
suing for their intellectual

property, their likeness, their
their sound, you know. And you

know, if you can even to the
point to where it's like, Okay,

I'm gonna type in a computer
sound like the Beatles, and it

sounds exactly like the Beatles.
Is it really copyright

infringement? It? I think it
should be, if it sounds exactly

like it. You know, because how
do they create? Like, how is AI

generate? Because our friend
Larry, I mentioned we.

Going to lunch the to breakfast
the other day, and he basically

typed into AI write a song about
rich and Larry getting breakfast

that sounds like a 1960s three
chord country. And it came back.

It was, Don't bom, bom, Bing,
don't Larry and rich. I was

like, what it sounded exactly
like. Hank Williams, have you

heard the one where they do the,
just write a country song, no.

And it's like, you know, guns up
your butt and boots in the hood

and yes, so beer in your truck.
And, you know, it's like trucks

and guns and mud and mud

and butts.

But at the same time, if you
know you, if you know how to

clearly prompt the technology,
you can write books. You can

compose songs. And the the AI
country pop songs are like,

dang, yeah. I mean, it's pretty
good. But even then, I mean,

there's the whole issue going on
with Steve Marriott with from

Humble Pie, apparently there's
unreleased stuff, and they're

trying to use AI to finish his
vocal tracks. Oh my. I mean,

he's been dead for 2025, years,
or whatever. And it's like,

that's not real. And there's
something with Randy Travis

recently, where he released an
AI song, and there was, like,

5050, on both sides. I like
this. What is this? Well, it's

like, you know, I might be 29
and in this current generation,

but I'm the mold of the 70s and
80s studio guys. No one's ever

gonna replace Jeff Picardo, no
one's ever gonna replace Vinnie

caluda, no one's ever gonna
replace Steve Gadd and Jim

Keltner and all those guys that
played on every freaking record

that came out of LA in the 60s
and 70s and 80s. And it's like,

that's the human quality that I
don't think a computer will ever

fix. You know, yeah, they might
have these technology that make

it sound like it and all this
stuff, but at the end of the

day, there's a human, human
quality to that sort of stuff

that I really don't think the
consumers will ever fully grasp.

Yeah, you know, remember the LIN
drum machine exactly? I mean,

that was like, we're out of
business. That was 45 years ago,

and we're still, you and I are
live drummers, exactly. And the

LIN drum machine, you know, who
were the guys that they called

in to program the linen drum
machine. Garibaldi, Jeff

Keltner, you know, all these
guys were the ones that were

programming all the records.
Lynn drums were the first

electric it was like a beautiful
Roger Lynn created this

gorgeous. It was about this big,
and it had wood panel on it,

wood paneling like everything
else, yeah,

like it was all the prince
sounds too. It's like a station

wagon from Chevy Chase. You
know, the Christmas the family

truckster, yeah, drum machines.
But had beautiful sounds. And

like, for example, Tina Turner,
what's love got to do with it?

Boom, boom,

boom, those are the Lynn sounds,
yeah. I mean, the LIN two is all

of the prince sounds, yeah, you
know. So it's like we look back

now, and as the iconic Prince
drum sound, it was just a Lin

drum machine that everybody had
access to back then, you know,

and at the end of the day, would
have sound differently if a real

drummer would have played it,
sure, but it's, again, it was

created by a human. It was not,
it was not a computer that

someone typed in create X, Y and
Z, and it pops it out. There was

still a human quality to those
old school drum machines. Yes,

you know, like behringer's
Making copies of the 808 and the

909 I encourage people all the
time go buy them and just learn

how to program these drums like
these old school guys, either

boxes. Yeah. Do you think that
there's a like, fatigue that

will happen with AI in general?
Because, I mean, one of the

things that even in writing like
an email, I've noticed a pretty

good uptick in just open emails
by saying, written by a real

human being. That's an edge
right now, yeah, you know, we've

gone from sent by iPhone to now
written by a human Yeah, you

know, it's, it's crazy, you
know. And I'm horrible, horrible

at spelling in English,
honestly. And, you know, I'll be

the first one to admit I've used
AI technologies to help write

emails, you know.

Snap, what is it? Chat? GPT,
yeah, have you used that

original somebody demonstrated
to me. They were like, Hey, I'm

they were like, check out these
parameters. You tell it one. It

was an African American
gentleman that was like, telling

me about he goes, look at I can
make this. I can make it sound

colloquial, yeah, basically like
it like he said, There was two

versions of the same way of
communicating the same thoughts,

and it was from his prompts, and
he goes, Look at this. I was

like, Oh, my God, it's so
convincing. Yeah, I mean, it's

crazy in you know? Yeah, we're
seeing now, especially on

YouTube, all of these crazy I
mean, I've had some people that

have sent me these videos, and
they're deadly convinced, and

I've had to tell them, No,
that's AI. I.

Yeah, oh no, no, it's not. Yeah,
it is, you know, it's really,

and it's, it's disturbing, it's
so scary, and at the end of the

day, what is it going to do?
It's going to put us musicians

out of work, you know? But I
mean, even to the point like,

you know, every music got so
regimented that everything had

to be so lined up with the grid,
right? They can't have and have

any flams, nothing. But if you
go back to listen to the 70s,

your 80s, tons of lambs, tons of
flams, and, you know, tempo

vacillations, variations, you
know, absolutely. I mean,

obviously they're, they're
working on tape, and they'll do

a different take, and it'll be a
different tempo. I love when you

hear that cutting it, it slows
down to bpm, you know, it's, it

adds that cool quality to it,
you know? And it's, it's, it's

just such a interesting time
that we're in right now.

Obviously, we've all been saying
that about the music industry

for the last 60 years, because
more and more stuff changes, and

as long as there's humans
involved in music, Yeah, we're

good. It's gonna change. But
it's, it's changing every single

day. You know, I did remember
the age of mashups. I still kind

of do them for to a certain
extent. We carried a radio show

that did nothing but mashups,
and it was just he played as

mashups, you know, different
songs and stuff like that. And I

did a mash up of Van Hill and
Mean Streets with a rap song at

the time. It's on YouTube. You
can actually find it.

And when I was putting it on my
editor, their song, the rap

song, was perfectly right on the
grid, but Alex was all over the

flippin map. I kept on having to
stretch and crunch and do all

sorts interesting beat match. I
love the Mashups that happen.

You know, put a Black Sabbath
tune with James Brown vocals.

It's, it's killer, you know,
it's cool. It's it, that's

creativity, because that person
still had to do it, yeah, you

know. But again, at the end of
the day, I always revert back to

the 70s and 80s studio
musicians. You know, these guys

and gals would be perfectly
aligned if there was a click,

but there was no click, you
know. But even if there wasn't a

feel, yeah, he did it by field,
even if there was a lope within

the tune that played a big part
of that tune, you're such a

young person to understand that
and to be able to to embrace

that at the highest levels and
be able to execute that as well.

But you know, you bring up this
idea of Alex Jim, thank you.

This is a hot topic, because
Alex, did you bid on any of his

stuff? Is not going to play
drums again. He is cleaning out

his closet. He and he's making
mad money. What you think about

it? He's only charity. Oh, it
is, no, I thought he was

walking. He only played with his
brother, you know. So it's, it

makes sense. I he was, they were
selling a a pearl mahogany

sensitone snare drum, and that,
apparently, was shipped to them.

I was like, oh, you know, maybe,
maybe I'll bid on it, and yeah,

and I didn't. But, you know,
it's, it's, it's crazy, because,

again, you look back at, you
know, those, those late 80s van

Hagar records, and you know
they're there. I've been in a

big van Hagar mood recently, and
just going back and listen to

all of them, and, you know, the
Simmons, the Simmons stuff, even

then, it was still human. It was
still Alex Van Halen, no matter

if it was all the Simmons
samples or it was his, you know,

Ludwig drums, it still was him.
And that snare sound exactly,

break out the duct tape. What's
the thing is, is like, I just, I

seen a video because Hagar and
Jason Bonham and

Michael, Anthony, yeah,
Satriani, yeah, they're doing

that. They're doing that tour
where they're just doing Van

Halen stuff. And I heard, you
know, Jason Bonham, and I heard

that snare sound. I'm like, oh,
that's an Alex Van Halen snare

sound. Then I thought about,
wait a minute, no, that's a John

Bonham snare sound that Alex Van
Halen took and made it his own,

you know. So it's, it's because
Alex had a very specific with

the tape and the direction he
did underneath the head under,

you know, exactly. It was a very
but, I mean, it was also the

processing, you know, that that
went into it too. Because my

brother was a huge, you know,
1984 was a big defining album

for him. He's a piano keyboard
player, and he told me, he says,

nobody's ever been able to
duplicate the brass, the sound

of the brass on all weight, and
some of the other songs on that,

that album. Well, again, it goes
back to these, these musicians

back then. Yeah, people can
never replicate it. You know,

I've been studying Rosanna for
15 years, I will never get

close. No one will ever get
close. You know, there's those

little intricacies that these
that these players put into

their playing that just will
never be replicated. Yeah, you

know, I can put a drum beat into
90 different drum machines and

it'll sound the exact same with
different samples, whereas us as

humans, us as musicians, just it
can't be replicated within that

person. Yeah, you know, I know
when I can play a Jason Aldean

song, I can try to play like
rich Redmond, but it'll never

sound like rich Redmond, because
there's only one of us. We're

snowflakes, exactly. And you
know, whatever song I play, it's

just going to be sloppy as crap,
no, but it's, it's very

intentional. There's a lot of
heart. I.

Um,

you know, it's, it screams
Connecticut. We're both from

Connecticut. If it's
Connecticut, it's sloppy, okay,

you know, you know, what was I
gonna say? We're, you know what?

There's one style that I that is
all the rage where, you know,

there's some guys that are just
masters of it, like Trevor, my

friend, Trevor Lawrence, is
really good at it. Da Rue is

really good at it. Where you can
sound like that, that almost

like drunk, where it's like the
kick and snare is on, but the

hat and they're and they're
quantized, but the hat is not

like a dilla kind of a thing.
I've been working my whole life

to try to be as tight as
possible with the click. So to

do that, I I just have such a
hard time. Yeah. I mean, it's,

it's, it has its purpose in in
the music that it's used for,

you know, I personally am not a
fan of that, that style, but I

can't do it, you know, it's,
it's it is very, very unique to,

you know, that genre that they
use it for. And there's so many,

so many players these days that
are trying to do that, versus

try to learn a groove, yeah,

like the Italian guy who's
blowing up on Tiktok. Oh, that

kid. That kid is crazy, yeah,
but he's like, he, what did he

do? He did rush Tom Sawyer. And
every all the purists are like,

dude, just don't. Just stop,
don't. Did he have the multi

service Tom? No, he just
basically had, I think he just

plays like a floor tom a snare
and a kick, anybody. But he's

like, he's like, doing, you
know, with one hand, you know,

and he's just one of these guys
who's, as you would say, a

circus drummer,

come over here with his posse
and just, just go after me,

because he could be in the
mafia, but who knows. But no, I

mean, he's got some things where
he's got, like, a glass of wine

on a snare drum. And he's like,
have you seen this guy? Yeah, I

mean, there's, you know, we're
in the land of tick tock and

YouTube drummers, you know, it's
great, you know, they, they, a

lot of, some of them have gone
on to, you know, get gigs, and

some of them are just there for
their social media.

He can monetize the social
media, with, with, with, like

shirts and hoodies, and they do,
and he'll probably, he'll

probably get be one of these
rare guys that is actually paid

to play a musical brand like the
old Carmine aposy days, where

it's like, exactly here's your
salary to pay Slingerland drums

for the year, kind of a thing,
right? Because that disappeared

a long time ago. But is he going
to do in person clinics, and is

he going to play music with
other people? Yeah. I mean, I

think, I mean, really, the only
example that we see is grace and

recruitment nowadays, and, oh,
you know, he's playing with all

these different artists. And,
you know, I remember, you know,

Artist Relations at Pearl, you
know, signing him, really,

before he even broke on on the
internet. And he's kind of like,

you got to see this kid. Have
you seen him? He's great. No.

He's actually a wonderful
musician who, I think he kind of

burst on the scene by doing tons
of like, Buddy Rich covers. And

he's got all this, you know, the
combo stick stick, and he's well

versed. But next thing you know,
he's playing with suicidal

tendencies. Yep, exactly like
Gus got that whole thing,

Wackerman Brooks. Wackerman,
same kind of exactly even,

oh, man, who's the other guy I
just had in my head? Old Man

Marine, never mind, yeah, but
Grayson, yeah. I mean, he's,

he's one of the rare exceptions
that has kind of been able to

break that mold, you know. And I
think it's, it's, it's, in a

way, kind of hindered our
industry, because, you know, us

that don't really do the social
media thing. We've kind of now

been forced do the social media
thing. You have to, you know,

you got to do, like coverage
exactly. You have a presence,

but you don't go crazy, right?
Exactly, you know, I throw out a

couple videos here and there,
you know? But it's, it's not my,

my life, you know, I like being
a studio musician, yeah, I'd

rather people not see my face
and be the guy that's on the

record. Yeah, you know, and
doing the live gig and things

like that. Use the face while
you have but you're smart enough

to, like, put a GoPro up and you
got some great angles on your

kit with Ted. I've never tried
that angle right in front of,

like, between the crash symbol
and the hi hats. I was like, Oh,

I don't want people to see if,
like, I got, like, a little

belly or something, but you know
what I mean, but that's why I

don't put it on the side. You're
just like, dude. I mean, just

crushing it and companies, we're
both sapien guys, right? Yep.

Great symbols. Remo, yep. Remo.
Chris tanky, art and Primark,

Vader. So I got, I got signed by
Vader and Pearl, the same exact

week. 2005 do they have a Darth
model?

They should? They? Should they
Darth? Vader, Darth Maul, sorry,

no, it's great. But yeah, I mean
it. You know, I've been with

Sabian, played Sabian my whole
life. I left. I never was

endorsed by saving when I was a
kid. And I, you know, I used

dream symbols for a number of
years, and they were great to

me. Can a small Canadian company
put me on the box and, you know,

all that stuff. And then when I
joined Nugent, you know, I

wanted to go back to playing
what I know and grew up with,

and beyond, you know, and just
the best symbols.

Which, of course, what are your
I've been there since 2000

What are your go tos like, I'm
a, I'm a 1516, inch hat. Guys,

20 inch crashes. How about that?
Chad Smith, it's no longer Chad

Smith, but the Holy China. The
holy China got to be one of the

greatest sounding I love those.
But I actually use the AX

extreme

China, because it has like, this
really wild kind of sizzle to

it. Aax, extreme, yeah, 2119 21
I think it's a 19. I used the

Paragon China for years, and
then Chris tanky came to one

gig. He's like, why don't you
try this? Yeah, and I tried. I

was like, that's it. There's my
China. Have you experimented

like, you know, with 35 inch
symbols or anything like that?

Talk to Keo Stroud about that.
We're

gonna take two gongs and make hi
hats. He's

a crazy, you know, thinker. He
was always putting crazy stuff

together, but maybe it's a
thing. Yeah, you know that

Paragon, um, right symbol that
Neil helped. I've used that with

Ted for years. It's like, can
slice off a dragon's head, and

that's, and that's and that's
why, whoa, because that ride

symbol is going to cut right
through those, those guitars

that are stupid loud. Because
TED is not the kind of guy

that's like, You're too loud.
It's never going to be he's not

that guy I play, I play in the
cage with Ted, and that's mainly

because front of house, but also
he has the headset mic, and

it's, he's right in front of it,
you know. So it, it cuts down on

the symbols, you know. Plus it
the at the end of the day, my

where my riser is, my crash
symbols are right at his ears.

Yeah, so ears, or a wedge, he's
on he's on wedge, but me, the

bass player on ears, just for
protection. I honestly, I hate

playing with a wedge. Yeah, I've
used ears forever, and I hate

playing without him, yeah, you
know, because it just, number

one, I'm saving my ears, yeah.
And number two, I can just hear

everything so much better and so
much even if it's a horrible

mix, I can still hear the inner
sequences that are happening

within the guitar player and the
bass player. Yes, it kind of

allows me to add a little bit
more spice to it. I think that's

fine. I think, you know,
musicians in the last 20 years,

I mean, I started using in ears
in 2000 and I think that is

where we're seeing this uptick
in just the quality of musicians

and how tight they can play is
that we've got these things,

high fidelity things in our
ears. So you can hear the flam

between the 808 loop and your
kick drum. And if you're right

with your bass player, it's
like, if you're just playing

Madison Square Garden, like Led
Zeppelin with some wedges, and

it's all floating around. Yeah,
it's amazing. They were as tight

as they were, yeah, exactly,
especially considering the

technology, you know, I mean,
even to this day, I get on stage

and there's wedges and no
monitor in ears, and I'm like,

How the hell do these guys hear?
Yeah, you know, I have to wear

my the I use 64 audio and they
make the molded earplugs. Yeah,

I have to wear those if I'm
using a wedge, because, if not,

I ain't hearing a single damn
thing. Yep, wow. You know, I

don't feel like blowing my ears
off. No, I always just use the

headphones. Like Jim Riley, I
couldn't do the in ears. No, you

can. You'd get used to it. I
mean, your hair. I mean is hair

is so important. And it's like,
if you wear those headphones,

you know, you then after the
show, you got the big divot in

your mohawk. Look at me. Do you
think I'm, you know, I'm not

exactly a chick magnet anymore,
man. You know, to a certain

extent I am. Well, you know,
even then in the studio, like I

love using in ears in the
studio, I hate the CANS because

it just it number one, that
helps isolate everything that's

going on around me. And again,
being from that kind of studio

mold player, I love a monitor.
Engineers hate me because I want

it to sound like a freaking
record. Yeah, you know, I want

to hear everything perfect, and
drum, big drums, big guitars and

all that stuff. You probably
have a great working knowledge

of telling them exactly how to
achieve exactly, exactly, you

know. So it's, it's, it's, I can
do the crappy in ear mixes we

all are going to have it, you
know, a lot of times in our

career. But, you know, I would
still rather use them than not

use them. Yeah,

nice. I use the headphones. And
I wonder sometimes if when I'm

playing, because I've been
playing a lot more recently, up

in the bedroom here at the
office and with some drums that

I gave Jim, yeah, Jim works for
gear. That's what. It's a great,

amazing relationship. That's
what I do. Yeah? And

I find I'm like, do, am I
playing harder? Because I'm

trying to hear the articulation
of all the symbols and

everything you guys do. I guess
you could feed that into your

feed and get that, you know, you
get the overheads and right?

Yeah, yeah. But he but even
then, I do find, I do find that

happen when it's a situation
where there is no overheads,

it's just, you know, like, if
you're playing a gig downtown

Nashville, there ain't gonna be
no good monitor mix, it's gonna

be whatever they give you. And
sometimes I find myself, if I'm

playing down there, hitting way
harder than I should, right? You

know, just try to hear those
symbols. But.

Do you feel like the fatigue in
your arms and your wrists and

everything, oh, 100% you know.
But over the years, I've tried

to work on my technique and make
sure that, you know, everything

kind of works the way it does.
But you know, over over time,

you know, I look at still, I'm
almost 30, and been playing for

so, yeah, right. But my my tell
my body that, because my body

thinks I'm 65 you know, I wake
up cracking, you know, it's, uh,

it's, it's a similar thing is,
is like, you know, I do have,

you know, there's gonna be
issues that can come about. So

how can you combat them before
they do? My left hand falls

asleep, man, I wake up in my
bunk with my left hand like

tingling in the morning. And so
I get up, and you run it under

hot water, and you stretch it,
and you do the thing, and you

try to warm up. Really, it's
just amazing that the body is

holding up, you know, because
you're taking this piece of wood

and you're cracking it over this
metal rim 1000s of times a

night, every night, hundreds of
pounds of force. You know, it's

crazy, you guys. I mean, you're
holding onto the stick two time,

maybe, or no, you know, for the
other thing is probably gonna

use some looper, Derm,
luberderm. No, I've saved that

for other things. But anyways,
um,

get up. Give me a splashable.
But splash, yeah, he's got to

find it, or a toilet flushing or
something.

But no, I mean, warming up,
correct technique, molar

technique, you know, you look at
Kenny, you look at Liberty, you

know, very nice Gemin. You got
to have that ready to go. Man,

there's so many different tabs,
I know, but yeah, you know, it

was little ting years. Here's a
secret, okay, and I discovered

this, I don't know, probably
about last year sometime we

ended up getting a grounding
sheet for our bed. And you sleep

on top of you. Ever hear the
technique of grounding? Yeah,

putting your oil, you're putting
your feet around to the earth,

yeah? And what that does is it
rebalances, I guess, you know,

the electronic electrolysis, or
whatever, the electrical

impulses of your body. That's
everything from the earth, yeah?

And everybody's house, we have a
grounding rod, a literal piece

of copper that goes in the
ground, probably about 15 feet

and in a plug, the little, you
know, the the face, yeah, in the

mouth is the ground, and the
blanket plugs right into that,

maybe you, you are grounded. So
I, we started using it, and lo

and behold, I'm going down the
stairs one day and I'm going,

Wow, my knees don't hurt. It
literally was probably within a

week or two blanket that's
called dude. What a difference.

Yeah, it's pricey, but what a
difference. Oh, what's pricey?

Like, like, pricey for
Alexander, for me, I want to say

ours. I mean, it's the one I
have is a blanket so it just

covers me, yeah? 140 All right,
maybe, yeah, I can look it up.

So when you're watching Netflix,
you put the grounding blanket.

It's like, I feel like I'm not
sleeping without my bubby. Yeah,

your boobie. What do you what do
you do for fun? What do you do

for for you know, you're
listening to vinyl, you got a

you got a lady friend, you any
other like, things that we

wouldn't know about that are
like, are you movie buff? You

know, I, I've been a

huge Disney park enthusiast for
many years. So I go to Disney

World like Josh for Yeah,
exactly, just like Josh, I go

to, you know, Disney World four
or five times a year. When I

would go to Nam, I'd come in a
few days early and go to

Disneyland crossing the
convention center. Wow. So it's,

it's always been a big hobby of
mine, you know, in watching

documentaries, reading books
about the more the technology,

history, construction,
architecture, that sort of

thing, coasters, your roller
coaster? Guy, absolutely not.

No, yeah. I don't do drops. I
don't do spinny stuff.

Well, Haunted Mansion, like the
classics. You know, you're like

an old soul dude. Yeah? He
really, yeah. I've been told

that my entire life. I'm
wondering, I was gonna ask about

that, yeah? Cuz, no, he's
around. He's a renaissance man,

and he's, you're there. This
isn't a such a word, but you're

like a practicalist. I mean,
it's like, everything you do is

practical application for your
God given talents. And you know

what? I mean, it's like, yeah,
you are an old soul, yes, oh,

yeah, beyond your years. How do
you feel about that? Oh, you

know, you're already, like,
Dating Yourself. I'm going to be

30. Well, give the 30 again for
Corona. I know, but yeah, with

the knowledge that you have,
which is possible? Well, it's,

it's, it's, you know, can be
tough. You know, just trying to

make sure I have the right
perspective. And, you know, life

and what I've done, and you know
what I'm gonna do in the future,

and you know, things like that,
and especially in this industry,

are changing all the time. You
know, I've been with Ted for

nine years, and now we're only
playing two shows this year. So

it's like, okay, well, what am I
doing next? Reinvent Are you

worried about it? No, absolutely
not. You know, I just, I love, I

love doing what I do. You know,
I love being in the industry I

am, you know, I love being
around the people that I'm

around, you know? So it's, it's,
it's, it keeps my my my toes up,

because you never know what's
going to be called. You know,

I've been on a rock gig forever,
but I've done, you know, I was

on the road this past weekend
with a country Tiktok artist,

you know.

So it's going from that to that,
to this, to that, you know, it

just, it always keeps it
exciting. It keeps it

interesting. And, you know, and
you know, I love going from

playing to a click on a gig to
not playing to a click on a gig,

reading charts on a gig to not
reading charts on a gig. It's

just, it's always a hodgepodge
of everything, but keeping that

perspective and knowing that,
you know, I've, I've been very

fortunate to have been, to have
done what I've done, but there's

still more on the horizon. Oh,
yeah, you're always moving for

and if, if I quit the music
industry today, I could still

look back and say I was, you
know, proud of what I've

accomplished in my life. You've
done a lot more than most people

on the planet. Yeah, I'm very,
very fortunate for that. You

know, it's, it's, I'm not a
religious man, but you know, I

do believe in karma, and I
believe in universe and

everything happens for a reason.
And, yeah, you know, it's, I

love me some laws of attraction.
I tell you me, I'm a student of

that.

Sometimes I don't, you know, the
other night I was, we were at me

and Jim were having our little
dinner party, and I was, I had

my violin out, and I was like,
and he was like, this is from

the motivational speaker. But
sometimes the motivator needs

the motivation, you know? I mean
sometimes, sometimes mentors

need mentoring, you know,
sometimes the clown just isn't

happy. Yeah, that makes other
people happy. Well, exactly

makes other people laugh. Clowns
are scary as hell. That's

because you watch terrifier. Oh,
terrify you. Horror buff at all,

absolutely not, but even, but
even though Jaws is my favorite

movie of all, times, like you
rarely see the shark because it

didn't work, but they made it
work. They made it work because

it's it's better because you're
afraid of the thought of the

shark, yeah, because the shark
was kind of cheesy. And most of

the people around destin and the
Gulf Coast this past weekend or

two are very far. Are finding
out, you know for a fact, you

know the shark is around you at
any given moment. But what did

they and they always have been,
but, but what is this with these

attacks in two feet of water?
Something is going on, yeah?

That's why I never stepped foot
in ocean, because they'll come

out and get you scarier the
ocean or the lake. Ocean, you

think so because lakes, I don't
see the lake though, bottomless

pits of despair, I don't go in
either. I'd rather just give me

a pool. I like to be biased at a
Disney Resort, yeah, exactly,

exactly. I like to be by it. Now
I want to do the Disney thing,

because on the same way, I don't
like the big scary rides. But

also, there's all that history,
and there's all the little

actors in their little suits
running around. The food's got

to be pretty good. It's the
best, you know. And especially

Disneyland, you know, you have
the history of Walt was there,

and he, you know, built the
place you know. And even the

musical history, the carnation
gardens, you know, back in from

the 50s to the 80s. Count Basie,
Louie Bellson, Buddy Rich, like

a house gig. Everyone played
there, yeah, you know. And still

live music happening a lot at
Disneyland, not, not as much as

it was, you know, but it's, it's
still a just such a rich history

and all that stuff, you know.
And I've talked with Kathy rich

about this many times, because
her and Greg are massive

Disneyland people as well. And
it's, it's like, you know, going

on a Saturday night to see Buddy
Rich at Disneyland. Like, how

cool can it get? Doesn't get
more American than that,

exactly. Buddy Rich. Buddy Rich.
Like they always say, I gotta

get a real band in here. I told
you,

no facial hair in my band. This
is American as apple pie,

baseball and Buddy Rich.

Now old man Disney didn't
always. There's some I don't

think they called him that rich
old man Disney. Don't think they

referred to Walt as old man
Disney, but they

he had, doesn't have, like, a
perfectly squeaky clean

reputation. No, no. He died from
smoking, yeah, you know. And he

drank whiskey, which was, you
know, back in the day, smoking

was considered to be a benefit
for your health. Yeah, exactly,

you know. He died at six lucky
strikes, early, mid 60s, yeah,

you know. And just smoking and
drinking and, like, one of my

that like they've literally
photoshopped cigarettes out of

so many iconic photos the
company has. Oh, wow, you know.

And I always love trying to find
the photos of Walt screaming in

a meeting. He's like this
because, you know that he wasn't

actually a nice boss. He was a
slave driver. He was like, get

it done now. Type situation you
don't build the Empire to do

being the nicest guy in the
world. Look at Steve Jobs,

exactly, you know. And it's you
look at the imperfections, the

perfections are there. Point out
the imperfections. And I

sometimes, unfortunately get
like that too much, you know,

I'd look at the negatives, but
it's like, if you got all the

positives, you know, those
positives are gonna work. Do you

think Walt Disney would be
canceled today?

You never know. I mean, it's,
it's, uh, that I'm saying, like,

there is some bad stories about
his hiring practices, yeah. I

mean, and that that was all of
corporate America back then,

yeah. So it's, it's.

Mad Men era, exactly, you know,
everybody had a liquid lunch

back then, yeah, mark a couple
martinis at lunch and smoked a

bunch of cigarettes then kept on
going, Yeah, which were all the

spots on a couch over there?
Yeah, that kind of stuff. Yeah,

just cigarette burns. Yeah. I
like a good martini, but I just

don't know how you would do it
at lunch and then be productive

after lunch. You know what I
mean? Because the liquid lunch

was there to loosen up the
clients. Gotcha All right,

especially in the advertising
world, they take them out, get

them all liquored up, and sell
them. You know, hundreds of

1000s of dollars of ad
campaigns. So exactly, so smart.

Yeah. Now I listen to, I usually
will try to listen to a podcast

or two, or go do a deep dive on
YouTube with our guests. There's

this LOS lobotomies record that
you love, right? I think I had

it on CD. What's it live at the
baked potatoes? Eric, well, it

was cut at the blink of the name
of the studio. It was actually

cut at the studio, yeah. But the
Lost lobotomies was, you know,

part of that baked potato.
Lucather, Lucas, well. It was

different lost bodies, mainly
lucather, picaro,

David Garfield, you know, bunch
of different bass players. Clar,

yeah, Leland, or Jimmy Johnson,
or all those guys. But the

actual lost bodies record they
cut in the studio, and it was

Carlos, Vega, Jeff Vinny, Will
Lee on base.

And a couple years ago, I ended
up putting it on vinyl through

my company. I was just like, it
never been on vinyl. It's, you

know, super cool. And, you know,
I we even restored the original

art that Jeff painted by his
hand, and I was the one that did

it in Photoshop. And I was, it
was the most wild experience in

my life. My, you know, probably
my top drummer of all time, Jeff

Ricardo. And I'm sitting here on
Photoshop in 2020 when I was at

21 or 22 when we did that. And
I'm with a digital brush putting

over Jeff's signature to enhance
it on the on the record. It was

just wild experience for me, you
know, being a drummer, doing a,

you know, something that iconic
drummer did, but it had nothing

to do with drumming amazing, you
know, I so what is, what is the

business behind something like
that? It's, you got to get into

fine print contracts, legalities
to to get the rights to put

something like that out. Yeah,
absolutely, you know. And David

Garfield owned the rights to all
that stuff, so I worked with him

and all that, you know. And the
actually, we did that in 2019

because Nugent was we were
rehearsing in LA to start the

tour, and we had just put out
the record, and I seen that

David was playing up in the West
villages. Or think, I think it

was low at West Lake, or
something like that, north,

north LA. And Joe Pacwa was on
drums. And, you know, I never

met Joe, and I had actually
flown in earlier to go to Sabian

pick up some stuff from Chris
stanky, and I was going to stop

at Jeff's grave up in the

the cemetery that he's in. And I
never, I hate cemeteries with a

passion. Is he in the Hollywood
Forever Cemetery? He's in the

Hollywood Hills, forest, lawn,
gotcha. And, you know, right by

Disney and all the Burbank
studios, and I wouldn't go visit

him, and you know his grave, and
I can't stand funeral, you know,

cemetery. So it was a weird
experience for me. But that

night, I went up to North
Hollywood and seen Joe, yeah, 90

years old, playing the drums,
best jazz drummer I've ever seen

live in you know that he passed,
you know, less than a year

later, and I think that was
might have been his last gig,

and got to meet him. And just
like it was a wild experience

to, you know, do it, but you
know, just to see this icon, you

know, not just that his son was
Jeff Ricardo, but also the

amount of sessions that Joe did,
you know, as a percussionist,

just meeting some of these guys
that were part of the Wrecking

Crew, and part of that scene
from that era. It just was

amazing for me. That was 2019
Yeah, because that's when I met

Joe per car as well. I met him
at NAMM, 2019

He was charming, funny. Firm
handshake was he was just happy

to talk. And he was great. I was
so happy I got to talk to him,

yeah, I mean, and so many people
don't even realize the amount of

stuff, because Jeff kind of
oversight. Kind of oversaw

cartoons, TV shows, but every
movie out of that era he played

on, yeah, it's just insane. I
was always very, almost like

starstruck with ml Richards and
his collection of percussion

stuff. And you know that a big
portion of, I think a lot of his

instruments are now owned by um,
Danny Elfman, oh, really, yeah,

so maybe, I mean ml. ML had the
largest, well, he's who brought

Joe from Connecticut to LA,
which obviously changed the, you

know, course of music history.
Yeah, he said you could do it.

You could hang out here, man.
You know, have you guys seen the

there's a new Netflix
documentary. Might be Netflix,

but it's about the Beach Boys.

Uh, Disney plus, Disney plus.
That's right, that's right. And

all those got low. It's amazing
to watch the process those guys

went through, especially with
Pet Sounds. Well, I mean, Pet

Sounds was put, those guys were
put up against the Beatles quite

a bit. Well. I mean, you know,
you look at Pet Sounds as just,

again, the the pinnacle of
session players, yeah, all the

Wrecking Crew. It's the Wrecking
Crew with Beach Boys singing.

You know what? I mean, it's,
it's those, those records, those

that that time being able to,
you know, Hal Blaine had five

different rigs that would just
go from studio to studio, and he

would go from Sunset Sound over
to capitol, over to, you know,

all these places. And, you know,
do five sessions in a day, and

it's like, man, that's, that's,
that's the time that I always

try to long for. You know,
we'll, unfortunately never get

back, yeah, and Kenny aronoff's
words, it'll never happen again.

Yeah, absolutely, which sucks.
But you know, how was smart? He

always had Kit A on all of his
kits, because some producers

would be like, I want kit a,
yeah. Well, why do I have kit D,

yeah, all of his kits were Kit
A, that's kit one, or whatever.

Marketing are so smart, how
smart? And he had the gift of

gab. He always had the latest
joke there's, there's such an

art to being able to tell a
typical right hook, Right Hook,

left hook. Joke, you know, with
a punch line, I suck at it

because I know the punch line,
and I can't wait to get there.

Can we talk a bit more about the
Alex Van Halen raffle? Well,

yeah, you know, yeah. Because, I
mean, that's, that's, that's big

news, you know. I mean,
especially for, you know, one of

the most iconic drummers of in
our history. I didn't know he

was giving it all the charity.
It's incredible. That's from

what I know. Yeah, because, I
mean, he's for a while there

that 5150 kit didn't move. It's
out at 75 grand. And then at the

end, I think it went for about

and then the last kit that he
did, that you played on at the

Nashville drummer's jam, yeah, a
tribute I did all wait.

I think that was 135

but it came, at least came with
symbols and hardware. Wow. The

thing that I find so interesting
is, you know, we see, we see how

much these guitars that are
owned by legendary guitar

players go for they're going for
300 quarter million, 100 plus.

How often do drum sets go for
over 100 guitars, by legendary

guitar players go for three.
Siri wants to chime in.

Apparently, amazing. Yeah. But
you know, I, you know, Stuart

Copeland sold his iconic blue
Tama kit and all the police a

couple years ago, I don't even
think it went near 100 you know.

And it's like these, if that was
a guitar, sometimes the guitars

are even starting, you know,
just almost at 100 just being

the guitar itself. Then you add
the fact that it was the artist.

So, you know, are there kits
that are going to go for more

than what Alex has just did?
What's the deal with the

guitarist? Man, it's they just,
it's a much better investment.

Well, I think that you have more
iconic attributions to a guitar,

you know, Eddie Van Halen
frankenstrat, would be a million

dollar plus guitar if wolf ever
wanted to auction it off. Well,

it's, it's, it's the same thing
with, you know, Ted, with his

birdlands. These are iconic
guitars and but Prince's guitar,

but exactly, but the same.
There's the same thing with drum

sets. Though, you know, you've
got so many iconic drummers that

use iconic drum sets. You know,
why isn't the value equal to

that? Because I don't think the
general public really drummers

pay attention to it. I think the
general public would, I just

think there are a lot of more
people that are consumers of

music that will don't know what
a Pete Townsend guitar, Eddie

Van Halen, any of those guitars,
Randy Rhodes, Zach Wilde, they

would be, oh, that I know that
guitar. You know the 5150 drum

kit, the you know the see
through acrylic drum kit is

known to us guys because we
watched that live without a net

till it was worn thin. But

I was surprised to see that the
1981 Gong with the stripes

around the frame, yeah, what for
$287,000

amazing. That's a 40 inch pisty
Gong. Can you imagine having

that test kind of expendable
income? It's got to be the most

expensive symbol ever sold. My
gosh, that's insane. I mean

quarter million dollars, over a
quarter million dollars for a

gong. I didn't, I didn't realize
he never played Black Beauty

snares. What was I thought he
did? I always thought he was,

yeah, super phonic. Oh, super
phonic, yeah. But he played

tama, like, Redwood type snares,
yeah, there was a bunch of those

Tama snares, yeah, too. But I
found that very interesting, you

know? Well, yeah, that's the
thing is, is that he, they had

one pearl snare for sale, and it
was a mahogany Pearl snare that

is big on wood snares they
apparently was going to try to

use for a recording session, and
just never ended up happening.

And, and when I seen that, I
thought that was very strange,

yeah, given that he's one of the
most iconic Ludwig guys, yeah,

ever you know, to have those you
know, certain random.

Hammers and Pearl and CNC and
just noble Cooley and stuff like

that thrown in there. Yeah,

you know, I, most drummers are
guys that play other brands and

swap other brands, you know, I,
my drum collection is pretty

huge when it's all Pearl, but
even then, you always got to

have at least one Ludwig. You
always gotta have. I mean,

you've been requiring Pearl
drums since you were nine years

old. Yeah, right. I mean,
that's, yeah, you're gonna just

need a big old house for those
drums, man. Well, you know, it's

it, but it's, it's like with
you, you got a ton of dW kids,

but you always got to have at
least a Gretch snare, or you

always got to have that one or
two. Oh, no, but I was very

shocked how many non Ludwig
drums were in that auction. Wow,

yeah, we need a guide as to
become completely iconic that

plays nothing but CB, 700 drums.
Well, I mean, they were made by

Pearl, really. I didn't know
that same factory, huh, amazing.

What did that stand for? Was CB,
like a, I don't know. I mean,

Pearl made so many stencil kits
back in the 70s and 80s, you

know, a lot of those were just,
you know, a max win and CB 700

and a lot of those just random
ones were made in, you know, the

same thing with tama, because
they were both made in that area

in Japan, pretty much right by
each other. So a lot of those

weird Japanese stencil kits were
either Tama or Pearl, and Alex's

drum throne, I think went for
seven or $8,000 it's like, Oh,

he got some Alex's butt sweating
here. Well, it's, it says, you

know, Thou shalt not sit. That's
the one. Oh, nice, yeah. No one,

no one, but no one sits on his
throne. That's crazy. Except you

was that the throne that they
had? I don't know it. I should

have asked his drum tech, John
Douglas,

crazy, well, he's got a book
coming out. John Douglas, no,

Alex, oh. Alex, well, good for
him. The biggest thing is is,

you know, hopefully they start
bringing out some of this vault

stuff, because he had 5150
there. They've got hundreds and

hundreds and hundreds of hours
of all this unreleased stuff.

And, yeah, you know, that's kind
of where we are in this, in this

part of the industry is, is, you
know, these artists going back

into their personal archives and
stuff that they own personally.

And like these fans want this.
They want the built up energy.

You know, they have all this
content. They've been hearing

the same records for 4050,
years. Yeah, new remaster, cool.

But yeah, how much difference is
that master really? We took down

the high end of the snare just a
tad, yeah, and put a little more

compression on the bass line.
Well, like, you know, white

snake did remixes of of the
slide it in record and, like,

cozy pal, cozy drums already
sounded amazing on it. Yeah, the

remix sounds even bigger, you
know, stuff like that. That's

cool. But, you know, remasters,
unless it's a big noticeable

difference if the original
master was terrible, you know,

people want rough mixes, people
want live outtakes. People want

different takes of the actual
song. You know, those are the

cool things that and I think
what's going to continue

sustaining a lot of these legacy
artists is going back into their

vaults and picking out those
things, because these fans want

to hear this stuff. You know, we
started doing with Ted's catalog

a couple years ago and and, you
know, I've been archiving his

his vault for last two years.
And the stuff that we found is

amazing. I found the demos for
the first Ted Nugent record on a

cassette. You know, we've got
Stranglehold and motorcycments

and all this stuff in a working,
you know, rehearsal space. Yeah,

it hasn't, we haven't released
it yet, but it's, you know,

those that's what people want to
hear. People are gonna, are

gonna buy that and gonna grab
that up more than a here's the

ninth color of the same record
that was been already pressed 10

different times. You know, Would
it be weird if Wolfgang actually

did that, you know? Because I
guess once, you know, I hate to

put it this way, but once Alex
is kind of out of the picture,

he'll have full rights, I guess,
to do that. Is it weird when

Prince's estate started doing
it?

I don't know. You know, Prince's
estate immediately started

going, you know, in that vault,

exactly? Well, yeah, but what
is, what is it doing to that

artist's legacy? Right? It's
helping sustain it. It's helped

continuing to release more. The
name is continuing to be said

exactly. It's, it's not the same
records and songs that have been

out for 40 years. You know, now
we're getting new material by

these legacy artists that it's,
it's, it's like old new stock of

gear. You know, people love
finding old, new stock stuff.

Exact same thing with all this
vaults, you know, material they

want that those rough mixes,
those, yeah, if the true fans

want all the extra stuff. Oh
yeah, I would imagine, like

even, I think it was on Amazon
or one of the streamers, uh,

behind the music is another one
with Wolfgang, mainly with

Wolfgang and Valerie Bertinelli,
yeah, talking about Wolf and

Eddie's relationship. And even
Alex didn't chime in on that.

He's, he does not want to be
public at all. I knew that at

that point. I'm, like, I watched
it. I'm going, yeah, he's, he's

done well, I mean, but you know,
they're starting to, I think

next, next month.

They've got a, you know, deluxe
edition of one of the van Hagar

records, and they have live
concert and video, and it's only

a remaster. But, you know, at
least they're starting to dip

their toes into that, you know,
I think they, they were supposed

to, like, 20 years ago, put out
a rough, mixed version of the

first album, or one of the first
albums, and Warner just shelved

it, or something like that. And
you know, it's circling around

the bootleg community and things
like that. But again, when you

have especially brands, all
these legacy artists are brands,

so why don't we continue to
expand on that brand and bring

these vault lost gems out for
these consumers? Amazing,

amazing. Hey,

we're gonna finish up with the
Fave Five, Fave color, hmm, red

or blue, the whole American like
Ted blue, like, like that. I

like favorite drink,

probably, root beer. Yeah, nice.
I like a good cream soda. Every

once in a while, what about the
PB and J beer diet cream? Hey,

don't know, Jim had got me a PB
and J beer the other night. It

was like, this is a beer. It
tasted like a peanut butter and

jelly sandwich. Was amazing. It
was, I was I gotta, I'm gonna

finish it tonight. Favorite food
or favorite dish? Um, I'm a

sucker for a good filet with,
uh, you know, mushroom risotto

type thing, nice. Now here in
town, it the price of Dining Out

is anywhere in the world is
getting more and more expensive.

Used to go to PF Changs. You get
Chang spicy for 1390 and now

it's 2399 right? So if you're a
filet man, you know you're not

getting out for like, 4550 55
But occasionally, like, I go to

brick tops. I love brick tops.
They're good, ladies and

gentlemen. You want to run in.
Want to run into me? I'll be at

the brick tops on McEwen
Boulevard and Cool Springs.

That's where I'm at the I'm
getting my filet. So they do a

good filet. Now, this is a
difficult one, but maybe it's

you love the artist, you love
the melody, you love the

drummer. You can't escape it.
One of your favorite songs?

Well, it's tough, you know, I I
always look at, you know, songs

like, you know, Rosanna is just
a classic Bob O'Reilly by the

WHO three freaking chords, but
it's just one of the most

powerful songs ever. You know, I
love those type of things. I'm a

sucker for great pop hooks, but
also that have so much

musicality behind it, you know,
and I look at those type of

songs that will never be
replicated, no matter how much

you can try, it will never sound
like it, yeah, whereas, opposed

to, if it was just, you know,
even a lot of the top 40 songs

that people would say, you can
pretty replicate it easily. So

finding those little, teeny,
tiny details that can really

enhance those easy pop songs, or
what I always try to I'm a

little stuck, you know, people
are like, what's the new stuff

you're listening to? I'm like,
Well, I you know, I mean, I'm

willing to check out Vampire
Weekend, or one of these, you

know, more modern bands, but,
you know, it's like sticks and

foreigner and John Waite are on
tour this summer, and it's like,

missing you. John Waite,
classic, it's an all time

favorite. Feels like the first
time foreigner, all time classic

Renegade. It's like, yeah, am I?
Am I old man? Am I? No. I mean,

I listened to very few music
past 1991 Yeah. And, you know,

I'd listen so the cutoff was
blockage, the British, the

British, the British, the band,
guitar. But even then, you know,

Dave Grohl is playing on that
stuff is just epic, unreal,

yeah, yeah. Now, how about this?
Is equally challenging, but a

favorite movie, it's on, you're
like, oh, there goes the rest of

my afternoon. I gotta sit
through this jaws. Okay. I mean,

nice. Back to future Jaws,
Blazing Saddles, Young

Frankenstein, all those call
those classics. He is an old

soul. It really is. You really
are Get off my lawn. Guy already

at 29 Yeah, yeah, you can ask my
wife about that. Nice. How long

you been married? About a year.
Yeah. Nice. So,

jasonhartless.com, nice website.
You're on the socials. You're

new to Nashville. Everybody look
up Jason. Reach out to me. He's

doing some you know, you could
make a killer living down on

lower Broadway. So you might be
down on lower Broadway, he might

be on the big stage. You might
be doing a showcase at, you

know, pretty much I say, get yes
to every gig, even gigs I

shouldn't say yes to. I just say
yes because I'd love doing it.

Yeah, I like, I like to play
man. Well, thanks so much for

doing this, man. And welcome to
Nashville. I'm so happy you're

part of this community. Thank
you. Brother Jim, good. Good

one, right. Today we went along.
Fun conversation, really fun

conversation. Hey to all the
listeners. Thanks so much for

listening and watching us. Be
sure to subscribe, share, rate

and review helps people find the
show. Jason, thanks so much,

man. Thank you, Jim, thank you.
Take care. See you guys next

time. Thanks. This has been the
rich Redmond show. Subscribe,

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along@richredman.com

forward slash podcasts. You.