The Rich Redmond Show

Unknown: I had a pretty good ass
whipping, you know, because I

always played with the guys that
were a little older than me. And

they would pretty much tell you,
like, all that stuff you're

you're doing, isn't really
helping us, yeah, we really

would like, and they would play
me records, you know, the older

dudes, you know, I'm saying
older, they were four or five

years older, which is a big deal
when you're a kid, yeah, and,

um, they would play me records
like, you know, hockey talk,

woman, nice. And they'd say,
like, there's Stan, there's no

crash cymbal except the very end
of the song, you know what? I

mean, it's just, you just dig
in, you know, and a drum fill

could just be and like, you
know, just get and they would

just say, like, give me a beat,
man, yeah, you know, give me a

group. And, um, so then I, when
I went to California, I didn't

go with, with the guy, you know,
the guys, the Heartbreakers. I

went alone. So I played in a
couple bands out there, and they

were Texas boys, and they were
hardcore, like, they were like,

Man, if I played a Phil they'd
almost look over and go like,

did you make a mistake?

This is the rich Redmond show.
Jim

is joining us, and you're going
to love Jim, because he's the

ying to my Yang and and he's not
a he. He's getting into drumming

again. He hasn't played
professionally in 19 years, and

he's playing with a Huey Lewis
tribute band here in Nashville.

He's all excited. He's all
rehearsed. It's amazing. Should

be a lot of fun. Bill Gibson,
yeah,

man, what I mean? I think I
crossed paths with him years and

years ago. What a fine dude, a
fine gentleman,

and very underrated. And when
you play his parts, you have a

massive appreciation for what
you did. It's

crazy. Those are, those are hit
records, full stop.

Oh yeah, you know, yeah. Well,
hey, we're going to just get

into this right away, because we
could just, I mean, your career,

wow. It's going to take a lot
longer than an hour, but we're

just going to talk real fast.
Hailing from Cincinnati, Ohio

and growing up in Florida. He's
now back in Florida, his home

state. He's a musician, he's a
songwriter, he's a record

producer. He's a member of the
Rock and Roll Hall of Fame,

founding member, 20 years
service with Tom Petty and the

Heartbreakers. He's a horse.
He's a heartbreaker. He's got a

brand new band called The
speaker wars with a mutual

friend, John Christopher Davis
as a songwriter producer, wow,

just some of the other people
he's worked with. Jackson Brown,

the birds, Belinda Carlisle, Bob
Dylan, The Eagles, Don Henley,

Aretha Franklin, Toto, Warren.
ZV, I mean, the list goes on and

on. Our friend Stan Lynch,
What's up, buddy?

I'm exhausted hearing all that.
I mean, yeah.

I mean, it's your, it's your
life in 60 seconds. Yeah,

wow, you know, yeah. I mean, I'm
my whole life is one big wish

fulfillment episode, man. You
know what I mean, it really is.

It's amazing.

Stan, you, you and I got to kind
of be fast friends in the year

2000 at this Warner chapel
songwriting camp, and you were

one of the few guys that was
just so sweet and so nice and so

encouraging, and you were just a
bonafide rock star. So thanks

for being so nice to Tully and I
and Kurt back in the day. Man,

Hey,

man, it was no effort. You guys
were extremely versatile when

you came in and you were thrown
just a hat full of ridiculous

personalities. And, I mean, I
was watching it from the cheap

seats, you know, I was one of
the staff writers. And anytime

you guys I watched, I just
watched you guys taking on these

songs and making them into
records for these people. And it

was blowing my mind that you had
the capacity all of you guys to

get a song and get a track, all
within like 20 minutes. And they

were great sounds. And this is
back in the old analog funk

days, you know what I mean?
There was, I mean, and no

excuses. You guys never made
excuses. You know, you were

hungry, you were tired, you were
working, you know, 11 hour

shifts. And, I mean, I just, I
couldn't believe it. I couldn't

believe what I was seeing. I
mean, it was kind of a an

awakening into this, the session
world of Nashville, which I had

no idea how that worked. You
know, like I said, I've been

from a band situation where you
rehearse every song and you

learn them, and you try to
figure out your chart and take,

you could take weeks to learn a
song, you know? Well, yeah, you

guys were knocking these things
out. You were knocking out four

songs an hour. Oh, my

God. What I mean, the best
education is that, you know,

trial by fire. You just got to
get thrown into the deep end of

the pool, and you got to swim.
You got to make something

happen, you know, we got to work
with, you know, you and Robbie

Neville and Jewel. I mean, it
was fantastic. But enough about

that. Let's talk about your
current band. A lot of guys are

gonna say, how did it all start?
Stanley, 13 years old, you

started playing the drums,
right? But, but, I mean, tell us

about this new band. I mean,
that's what really here. We're

trying to get the the public on
this band. When does the record

drop you? Uh, may

later this week.

Yeah, yeah, yeah. There's three
videos have been put out there,

and they're not, you know, I
don't know if they're the best

songs, worst songs, but they're
just the record company picked

these to put out, and it's been
nice, just sort of getting

reintroduced to the world again,
talking it up. I'm I'm grateful

for you. Like, Hey, man, turn
your listeners onto the band.

This is the way it works today.
There's no machinery to take

your band to the people other
than basically, yeah, knocking

on door. Got a band, yeah? So I
appreciate you all listening. I

appreciate you all giving a
shot. And thank you.

Oh, my God, of course. And where
did the name come from? I think

I know how the band was born.
You were writing with a mutual

friend of ours, John Christopher
Davis, nice, strong Texan.

Actually, it's a Texas band,
right? Born and during pretty

much COVID. Oh, sorry, go ahead,
I was gonna say burn kind of

born during the COVID years,
correct?

You know, back in during COVID,
we were all just like, you know,

freaking out, losing our minds.
You know, basically everybody

learned to, or I learned how to
become a fairly good journeyman

engineer and file share. And,
you know, I won't say it was

fun, but it was either that or
you were just gonna take up

gardening, you know what I mean.
So it's like, I wanted to make

music during those I figured,
well, if this is the end, this

is how it ends. I'm going out
swinging drumsticks and making

tapes, you know, like I'm making
recordings. Yeah, so John, we

just started writing songs. We
didn't even know what we were

really writing for, but we just
like, we have the same places on

the compass. We both like some
cool old R and B. We liked, like

Bob Seager, rock and roll. We
liked all that the same stuff.

We liked eat gospel, we liked
all kinds of stuff. So when we

got together to write, we just
wrote, and we wrote a lot of

songs. And then we met this
gentleman, Mike pasterzi, who

took a liking to us and said he
curated a record out of this. He

said, Look these, I hear 10
Songs that actually make a

record. And I was like, you
know, man, cool, that's great.

I'm not objective. I don't even
know. I don't care. And so

that's how it kind of came
together. Then this John. I

thought we were making John's
solo record, you know, I

figured, well, we're just going
to make this dumb John kept just

bugging me. Man, get behind the
kid. Man, come on. Come out to

Texas. Start playing some drums.
And that was right around the

time Mike Campbell was going on
the road, and he, his drummer,

took a little break to go to
Italy. And Matt log, Matt log,

yeah, playing with he's playing
with AC DC right now. No slouch,

this kid, no,

no slouch. And his a big claim
to fame is playing on that

Jagged Little Pill record five
number ones,

yeah, oh yeah. He's, he's a
great drummer. So Mike said,

Would you like to sub for Matt?
And I hadn't played drums in

public in decades, so I'm like,
you know, I'm basically shedding

Matt's parts to play with my old
friend. And so that kind of got

me behind the kid again. Got me,
um, talking to some people about

maybe building a kid because I
hadn't had a new drum set since

back when dinosaurs roamed the
earth. You know what I mean?

Yeah, and

you're and you're a Dixon guy
now, right? Dixon? Nice, yes.

Thanks to

Greg Bissonette. He um, we were
taught he's been an old friend

of mine for years. And he said,
You know, I told him, Look, I

got these old, my old 60s
Ludwigs, you know? And he said,

man, have you heard Dixon? I'm
like, No. And he sent me some

files, but you know, he sounds
good playing opio cans. So it's

like, you know, I'm going, like,
well, that doesn't really help

me, Greg, because, you know,
you're a badass. He goes, No,

let me build you a kit. So he
built me this cool heat to his

spec, like, almost like an old
this, I'm not, what am I saying?

An old thermo gloss style,
almost like a Bonzo kit. Yeah.

Man and Greg designed them for
me and create, you know, built,

he really built me a great drum
set that got me back swinging

again, which is, which was
really fun, got me playing with

Michael. Got me playing with
John. You know, drums, man, it's

like, if you don't play them,
you it's pretty daunting to sit

down behind a kid if you haven't
played him in a while. You know,

it's funny, scarier, yeah.

You know John, my business
partner, yeah, he taught he sat

down at my kid. He's an old
drummer as well, and he, he kind

of experienced the same thing
that I did, you know, shaking

off the rust. He's like, I can
only play about 15% of the fills

I was able to play. And I'm
going, you. Yeah, that happened

to me too, because you kind of
lose your confidence after a

while. It's not really like
riding a bike, you know, two and

four and yoga, nothing. Those
kinds of things kind of come

handy. But some of the stuff I
used to do, it's like, I can't

do that anymore. It's gonna take
some practice, man.

Well, you know, not to, not to
put too fine a point on drum

fills. But you know what?
Sometimes you're more valuable

if you do leave them out, right?
You know what? I mean? Yes, it's

like a valuable singer I have
found over the years. You know,

I started really wanting to make
all this racket. Then I

realized, like, what really
makes hit records is the beat.

Yes, you know, it's just the
beat. Like, give me a pulse,

man. You know, Can you lay that
down and get on that balance

beam for four minutes and just
do that job so your singer feels

like, if your singer don't feel
sexy, the whole thing just falls

apart. The whole thing is
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But you were just so good and so
intuitive, so young. I mean, you

had like, you know, classic rock
and Stax Records in Motown and

all that stuff in your DNA does
get as good as good at gun. Got

dudes good at those good all the
stuff, all the user friendly,

sexy stuff that still works and
creates energy but doesn't get

you fired. You know what? I
mean, you were so good at it,

because when you joined the
band, you were practically a

teenager, right? Pretty

much, yeah, I was just turning
20 when we were making that

first record, and it was, um,
but, you know, I had, I had a

pretty good ass whipping, you
know, because I'd always played

with the guys that were a little
older than me, and they, they

would pretty much tell you,
like, all that stuff you're,

you're doing, isn't really
helping us? Yeah, we really

would like, and they would play
me records, you know, the older

dudes, you know, I'm saying
older, they were four or five

years older, which is a big deal
when you're a kid, yeah, and,

um, they would play me records,
like, you know, hockey talk,

woman, nice. And they'd say,
like, there's Stan, there's no

crash cymbal except the very end
of the song. You know what? I

mean, it's just, you just dig
in, you know, and a drum fill

could just be and, like, you
know, just get and they would

just say, like, give me a beat,
man, yeah, you know, give me a

group. And, um, so then I, when
I went to California, I didn't

go with, with the guy, you know,
the guys, the Heartbreakers, I

went alone, so I played in a
couple bands out there, and they

were Texas boys, and they were
hardcore, like, they were like,

Man, if I played a Phil they'd
almost look over and go, like,

did you make a mistake? You
know, was that, oh,

my god, mean to do that? Were
you guys playing, like, the

Palomino club and stuff in North
Hollywood, or, like, Yeah, we

actually

did play the Palme and we played
them. God, all those clubs are

pretty well gone, like the
Starwood and, you know, the

whiskey was still not a pay to
play place, you know, all these

play casaris And all those fun
clubs in LA and, yeah, they

were, it was fun stuff, man. And
you play like, you know, you

just the corral, and Topanga was
a gig like all these. It was

just really fun to be a musician
in LA in the 70s, because there

was still a little echo of the
60s still there. Like when I

drove by the whiskey, I couldn't
imagine seeing the birds logo

and and the doors and, you know,
like. It was all in my mind. I

was taking part of this magical
thing, you know, it was the

birth of and I was the second
wave. But, you know, the real

bang, the Big Bang, had already
gone off, you know, but it was

still like, Wow. You can still
smell it around here,

you know, oddly enough, I never,
I didn't hear about Tom Petty, I

believe on MTV, because that's
when I started really getting

into my music. My gateway drug
was Van Halen and back at 8384

but for some reason, I remember
Tom Petty being a very frequent

guest on the Garry Shandling
show. Do you remember that way

back in the day? It's like he
was always, it seemed like he

was always a guest.

It's, this is already now. The
band is already established at

this point, right, right? Like,
you know, there was a, there

were some, there were three or
four, pretty lean years, you

know, that we were accepted in
England way before the states

bit into it, you know, and we
would go over there, and we

could actually headline cool
theaters, and we were kind of a

thing in Europe, but, boy, we
couldn't, you know, we couldn't

get, I shoot. I didn't even have
an apartment or a car in LA till

the damn near the third album,
you

know, because you guys were just
gone.

Well, it's also we were just
broke ass knucklehead, you know,

we were, we were struggling guys
in a band, you know, we were

just like, everything we made
went back into the product. Or,

you know, we were just so
excited to get on the road. I

mean, hell, there's some of the
guys in the crew made more than

me. That's

interesting, because in a
business, that's what you have

to do to feed the business. And
did you guys know that you were

doing that? Like, you know, hey,
we've got a little bit of money.

We could probably pay ourselves
and take them on the majority

share of it and live, you know,
maybe high on the hog. You

didn't. You had the discipline
to reinvest it into the business

that was that kind of like, were
you cognizant of that at the

time? Are you just something you
did? No,

you're making it sound as if we
had a plan.

I think the plan was to survive,
yeah, and not break up and keep

making music. We knew into I
think we just knew we were

pretty good. Like, you know,
when we walked we had a and we

knew we had a good singer, and
we knew we had cool songs, and

we knew that, I mean, I knew
everybody in the band was the

best guys I had ever played
with. I mean, you know, you got

Ben montage, Mike Campbell, Ron
Blair, Tom Petty, playing rhythm

guitar, who's a great you know,
and singing and writing songs. I

mean, all I had to do was count
four, and that noise came out.

You know what? I mean, it wasn't
like. We had no the only plan

was, damn it, how long is going
to take before people realize

how good we are? You know, it's
like, so I think we were. The

backup plan was, live under a
bridge. You know what? I mean,

it was like. So we were, you
know, hell or high water. We

were gonna either go out. We
were gonna, it was like, Go big

or go home. You know, it's like,
yeah, so it was, it was a great

time, and we had nothing to
lose. I mean, hell we were a

bunch of, bunch of guys from
Gainesville, Florida. You know

what I mean, like, the worst
thing that's gonna happen is

we're gonna have to go back
home. Hell no. You know what I

mean, we're gonna go, we're
gonna do something, yeah, and

you

did, and yeah, you had the, you
had the eye of the tiger. I

mean, I'm, I'm looking back at,
you know, 20, you know, 526,

years, you know, playing with
Curt and Tully as a rhythm

section, we were so dead broke
and sharing a flop house, but we

always had money to go get a
leather jacket and buy cocktails

and go out on the town, you
know, because that was our

priority, go out and mix and
mingle and be seen and create,

you know, work for ourselves.
And we were three headed Hydra,

you know. So it was like three
people that were kind of like

work on each other's behalf. It
was that same kind of spirit, oh

yeah. It's like, you've gotta,
it's almost like, I feel sorry

for people when, like,
somebody's dad will come up to

me and say, you know my kid,
he's a drummer. He's really

good, but he's in law school,
because if it doesn't work out,

I I want to make sure he has
something to fall back on. I'm

like, he's gonna fall back on
it. Just tell him to go ahead

and quit. Yeah, he's gonna be
don't worry

about so you're honest with the
dad, like, so you just say, look

at he's gonna do the backup
plan.

I it that took a long time for
me to

kind of say, like I had a gag
now I have a gag reflex, like

when I when somebody says
something to me that I go that

doesn't make any sense. I mean,
from you know, I have enough

ethnographic field work to say
to somebody to. Unless you,

unless you want this more than
anything, don't even bother. I

mean, it's, it's so hard and so
chock full of headache

heartbreak, you know, it's
unless you're ready for all of

it. Yeah, go home. Yeah. I mean,

but you may, you really caught
the wave. I mean, I'm jealous of

your experience in 1970s Los
Angeles, because I really feel

like some of the greatest music
that ever was created was

between 70 and 79 I mean, those
nine years, you know, really

established this, just this
incredible body of work. I mean,

to think when you were recording
Damn the torpedoes. Did you

think that it would have the the
impact that it has had bus good

at gotta, boom, you're in,
right? And then it's still just

a rock recurrent,

um, I had no clue it was
fraught. You know, that

timeframe was fraught for me. It
wasn't easy, you know, and I was

catching a lot of shit from
producing and from producers and

drummers. You know, it's like I
didn't It's hard not to take it

personal. But back in those
days, there were no click

tracks, you know, you played all
this stuff off the floor, and

you either caught magic, you
caught lightning in a bottle, or

you didn't. And, um, so if there
was a bad day, it's obviously

the drummer, you know what I
mean? As I think someone was

said, another bummer, another
drummer. You know it's like so I

caught a lot of shit that
probably did I need it? I don't

know if I earned quite the
whooping I got, but it's okay.

It all's well, that ends well, I
didn't realize that torpedoes

was a big record till I was I
had a buddy, and we were running

down Santa Monica beach, you
know, we used to jog together,

and there were, you know, what
we would talk about, a mile each

way. And I heard four different
radios, and on four different

stations, I heard four different
songs from the record we just

put out, like a week ago, to me,
and my buddy looked at me as we

were running, and he goes,
Lynch, are you punking me? Did

you like, did this? Did you pay
these people? You know, it's

like I was hearing like, you
know, refugee, don't do me like

that. Here goes my girl and even
the losers like, as I'm running

down the beach on four and I'm
going, What the shit is I was

literally, what is happening,
you know, like, I couldn't, you

know, I'm 24 years old, and I'm
going,

that had to feel great man. That
had to feel like I was in a

coffee shop yesterday and I
heard my drumming. I'll be in an

elevator. I'll hear my drumming.
I'll be in a supermarket. I'm

like, God, I wish I was making
residuals on this. But it sure

is cool, because somehow, some
soccer mom is listening to my

spirit, my essence. It's
captured for all time,

I could tell you guys, I will, I
will never hear my drumming on

the radio. I have not heard my
drumming on the radio ever.

Probably, maybe someday, who
knows? I've heard my voice on

the radio many a time. Yeah.
Well, listen to that voice.

Yeah.

Well, back then, TV wasn't if
you were on TV, that was a, this

is before even MTV. Like,
getting to do Saturday Night

Live was almost like, you know,
you couldn't believe it, you

know. Like, then, what the next
day, you know, you're just

walking down the road, and
people are going, you know, and

then when MTV came out, I mean,
this is, I mean, this is back,

remember, this is way before
podcasts and and everybody doing

zooms, and everybody's famous,
you know, back then, it was like

it was a, really, an
extraordinary time to be a kid

and and be thrown into that. And
Tom processed it extraordinarily

well, because, you know, he was
obviously the thing you saw and

heard, and, man, he he figured
out what was going on very

quickly. I was just a, just what
you'd expect, you know, just a

rock drummer going, Holy crap.
You know, awesome. Years later,

I sort of started to process it
all. And, um, but it was quite

a, quite a freak show there for
a minute, yeah? Like, you know,

it was out of it was really an
out of body kind of experience

for a few years there, you know,
what

was the album or the song on the
radio that made you go, Okay,

we're on to something. Things
are going to be okay, you know,

we're starting to make some good
money, you know what? What was

the time frame that you kind of
realized that what we're doing

is going to work? And what was
the album?

Oddly enough, it was really when
I was out of the band, I was no

longer in the band, I'm
producing and I'm writing, and

we did a greatest hits record.
And the last thing I did with

the band was a song called Last
Dance with Mary Jane, and it was

that, oddly enough, was the
first time, because I wasn't in

the band anymore. When I heard
that on the radio, I went, Holy

crap. This stuff's pretty good.
I could hear it out sort of like

I wasn't in the cult anymore. I
wasn't in the if that makes any

sense. I was seeing it as an
outsider, yeah, and and then I

started hearing it. Finally I it
really wasn't until,

historically, rather recently,
that I got it like I heard, I

think I heard, here comes my
girl, you know, a couple years

ago, and I wasn't listening to
the drums. I was listening to

Ben montage, and I was going, Oh
my God, and the guitar, I

started, you know, because
usually what happens is, the

first time you hear yourself,
you hear every bass drum you

should have played, or the thing
you could have done, or, you

know, you're, you're analyzing
and over analyzing. Now, when I

hear it, I hear the other guys,
and I just am blown away at the

how good they are, and blown
away at Tom like, I didn't you

know, I was probably so up my
own butt trying to make the

records that I wasn't really
experiencing it as a whole until

much later. I don't think

it's possible to do both. You
know what I mean? I don't think

it's possible to, you know, Jim
and I were talking yesterday

about being present and because,
you know, we're kind of looking

back at our lives, kind of mid
life, and going, Wow, we did

this and we did that, but at the
time, you're not really totally

taking it in and appreciating
it, because you're always

looking to the future, you know,
well,

and you're busting the balls,
yeah, you know, really, you're,

you're throwing down everything
you got. You know, it's not like

you go home full of thought. You
just go home exhausted having

spent, you know, you just did 70
takes a refugee. I, you know,

I'm losing my mind like I hope
you know so you it, you're so

immersed in the life and, you
know, and I won't lie, I mean,

there were a lot of things going
on in that time, extracurricular

madness that probably didn't
help, you know, took some focus

away. And, and, uh, it's quite
a, quite a whirlwind when you

know, you it's, it's eight
seconds in the rodeo there, you

know what I mean, eight

second ride, man, well, you
know, that is kind of like an

urban legend. The number of
takes on refugee. Was it 70, or

was it 150 what? Which was the
keeper?

I think, take 11. Take 11

out of 70. That's a lot. That's
a lot of tape. Man. Well,

you know, in my mind, yeah, I
think, I think it would, oh,

yeah, because you could only do
three takes per reel. Yeah. And

I remember there were, there's
probably still somewhere.

There's a warehouse full of two
inch tape that says refugee on

it somewhere. And, um, but yeah,
I think that one of the earlier

takes actually is the record.
And we didn't even know you

could edit, yeah, you know, we
didn't really. And Tom saying

every track, saying every take.
So basically, a lot of the takes

were the best vocal, you know,
like, because Tom was about five

feet from me when we were
recording that stuff, wow. And

um, you know, he's, like, right
in my face, and um, and his

vocal mic is part of my drum
sound. You know, like, if

there's a little bit of delay on
his vocal, there's a little

delay on my drums,

everybody had to get it.
Everybody had to get it. Like

Motown

it was, there was um, the only
overdubs until probably the

fifth album, were maybe a guitar
solo, tambourine, background

vocals, um, maybe Ben Mott would
add another keyboard layer, but

usually he'd play it all, you
know, the guy was, is a genius,

and he could play piano and
organ or piano. He all that went

down, you know, he when you
basically, when you walked in to

hear the take, you know, after
you play three, you go and take

a break, you know, you go and
listen. And the take sort of

sounded like the record. Yeah,
it was like, there's not much,

you know, you're not going to
massage it or move this around.

I mean, maybe you fix a base
mistake, but back in the old

days, those were destructive
edits. I mean, if you punched in

the bass, you couldn't retrieve
it. You know what? I mean, it's

not you can Apple Z and go back
and go, Oh shoot. It was better

before you know. So if you if
you burned a solo, you better. I

beat it. I don't know, you want
to keep that one. Like, yeah,

it's pretty good. Like, okay,
you know, I kind

of like that because they
because it really informs your

musicianship. Because the
expectation was to be, get to be

able to get through a track all
the way, and it's like high art,

and then we can, we could do it
again. We could do it 70 times.

And now with the technology is a
crutch, you know, the you know,

I don't want to sound like Get
off my lawn, but the kids know

that they can fix anything at
any time.

Oh, man, I I've been in
producing sessions for younger

drummers. Literally, the kid
will walk in and play it four

times, and walk in and then look
me in the eye and say, You got

enough there to work with. And I
look at him, and I say, you

don't have enough money to pay
me to edit. You know what? I

mean? You don't have you don't
have eggs. Now I'll listen to

you play, because I like you,
and I will listen to you learn

how to be better and become a
better drummer. But no, I'm not

going to sit here for three days
and turn this thing into a silk

purse. You know? I'm not going
to do it for you. That's not my

job. Your job is to play drums.
You know, my job is to tell you

when I think you're getting
better, and it's like, and to

help you get better. But the the
like you said, the expectation

now is like, Oh yeah, man, that
was a good first verse. You

know, looping. It's like, and
that's cool. I get it. And look,

music has become more in tune
and in time. Nothing wrong with

that. But I still think there's
something holy and sacrosanct

about four or five guys that can
still make that noise off the

floor, and it's going to make
them a hell of a lot better live

band. Yeah, ultimately, yeah,
that's what. And you guys, yeah.

I mean, you guys are great. You
guys are very like, you guys are

a great live band because you
played together now for decades.

You can, you can look at each
other and you know what's going

to happen. You almost can.
You're looking into the future

the whole time you're playing.
You can see around corners. You

know it's like, you know, you
know when Jason's going to step

away and miss the queue, and
it's going to be funny. And you

know how to back that up and
say, you know, if it goes to 13

bar blues for one minute, you
know how to handle that? It's

like, it's like, it's cool, or
Jack makes a funny noise, or

it's got to go around again.
It's like, that's where the fun

is. But, I mean, that's, you
know, that's the high wire act.

That's when you don't have a net
and you really see what you're

made of. And that's a gig, man,
when you come off the stage on

that one, you go, man, didn't
we? We'll never do that again.

Yeah, that was fantastic. You

know, well, it's, it's pretty
much a really cool kind of a

thrill of a lifetime thing to
have had you at the sound board

at several of our shows. You
know, when our buddy Jack size

was like, Stan's gonna be at the
board tonight? And I know that

there's a there's a piece of
rock and roll history at the

board watching our show, and
then you come back for the and

we're like, how do we do is
like, yeah, good, pretty, good

buddy. Not bad, not bad, not
bad. Yo, you

were good. You guys might have a
future at this

the years are running by. Man, I
can't believe I've been

Nashville 28 years. Been playing
with Jason for 26

Wow, wow. You know, it's funny.
You mentioned, you know, forming

that bond on the floor, on a
studio floor, you guys do it.

That's how you record, yeah, and
the way you guys have been

recording hasn't changed in 20
years, I guess, right? Same

place, same studio, same coffee
cup, same seats that you said,

same chicken, same chicken. It's
funny. I go back to 91 when

Metallica put out the Black
Album, they had an accompanying

two video box set of the
recording of that album, as well

as the subsequent World Tour and
it they spent nine months or 10

months in the studio, writing
and creating the music and

recording, I think Enter Sandman
probably took a month, and it's

like, oh my, that does not
happen anymore, because you

guys didn't write in the studio,
right? You, you, you knew the

arrangements, and then went to
go record little bit of both.

Well, early, early, early on,
we, we probably, well, lot of

the songs came in, Tom would
come in with an idea, you know,

pretty I mean, he he busted his
butt. I mean, as a writer, he

would have his story, and he
basically knew how his song

could be played acoustically,
and it was really what the band

would do on the floor, was
arrange, like instantaneously,

like we would all mean
literally. My first question

would be, is this one going to
have drums? Because they were

all pretty much presented
acoustically, yeah. And Tom

would go, Yeah, let's find out.
Well, why don't you try it? You

know? Because in his mind and in
my mind, it's like, if we don't

need drums, I'm not gonna, you
know, I'm gonna try because I

love the drums, but I don't want
to just screw up a good song.

But most of the time it would
work. Where we go, oh, yeah,

that adds value, you know? Like,
it's kind of nice to, let's hear

it rock, or how, what's the
scale of the song? Like, that

was the term we would use. Like,
is this one on the mountaintop?

Is this one in the kitchen? Is
this one in the bedroom? You

know? Like, what's the scale?
And if somebody would tell me,

like, hey, Lynch, you know,
you're off the chain, it'd be

like, Well, hell yeah, you know,
that's, that's all I needed to

hear, you know, I'm gonna, I'm
gonna, I'm gonna fire on every

cylinder I got, you know, but
some songs would work better.

And, you know, sometimes we just
get lucky, and that was a good

take, we'll know. And we just
knew it. We'll never do that

again. Like, there's your
record, you know, like, Yeah,

but yeah, we would learn. We
learned in the studio. Um,

probably three, three albums we
would we were getting very

experimental. We were trying to
figure out how to make records.

But sometimes we would rehearse,
especially if we were on the

road. We sometimes, you know,
you'd learn a song and sound

check or start dabbling with a
new song, and you don't get an

idea, but a lot of the stuff,
man, it was pretty much early,

early takes. I mean, stop
dragging my heart, wow. Probably

like, the only, like, the second
time I've ever played the song

that's awesome. Did did you guys
feel like you arrived when Weird

Al covered that song?

I never heard it really, you
know, I mean, I'm, I'm, you

know, that I'm, like, a Luddite
man. I still carry a flip phone,

even back then I'd be, like,
somebody would say, like, oh

yeah, Alvin, the chipmunks got
refugee. And I'm like, great,

you know, like, cool. You know,
I don't like,

I love that you use a flip
phone, buddy. I think that's

amazing. Because, you know
what's great about it, when you

close it, you know the call has
ended this, yeah, sometimes

people are like, you hear him
talking about you afterwards.

You know, they never, they never
clicked end, and you're

listening to this like, Man,
this is awkward now for our

friendship,

Stan, Stan is complete. Is off
the grid when it comes to cell

phones, dude, I love it.

It's like, I don't I mean, I
guess I'm doing social media,

but I have no, I have no desire
to be known anymore. I mean,

obviously it's great because
it's you and I know you and I

have a bond about drumming and
and all the goofy stuff, and we

have friends in common. But
really, I probably live a full

life. You know, I already went
off into the sunset years ago.

Well,

what's a day look like these
days? What do you get up and do?

And you know, tell us about

I have a feeling that Stan is
like he looks out his bedroom

window in the and the the
Pacific, not the Pacific, but

the Atlantic Ocean. Is there.
You know, I

have a, I have I've been, I have
been provided a, really, a life

well beyond my wildest
imagination. And, um, it's, it's

been extraordinary. And I have
a, physically, I have a lot of

room, which I'd never thought
I'd ever have, but I have space.

I have friends that I've had
since junior high school and

even before and my life has been
very consistent, the same things

I loved when I was 13, cars,
girls, music, I love it, really.

No. The only thing that's
changed is the man in the

mirror, who is this old bastard
like but he still loves the same

stuff. I love to, I love to use
the grill. I love I love a

tractor. I love it. I love my
truck. I love, you know, I I

love the drums. I love, yeah,
just looking at them, cleaning

them. I love reheading them. I
love the guitars. I love

restringing them. You know, it's
amazing. I think, okay, I want

what I have. That's the truth. I
love how it all worked out. I

just, I What can I just have a
little more? Can I just have a

couple, a few more, more years
of this would be fantastic. Oh,

I think you're gonna, man,

you're you're fine. And you know
how they always say, Never mix

business and pleasure. You
totally have a PhD in mixing

business and pleasure, because
you're still, I don't know a lot

of people that keep in touch
with friends from, you know,

seventh grade, and you continue
to work with your friends,

mixing business and pleasure,
and that's that's the sign of a

great life. Man, you know when

everybody I've made music with,
and all the successful stuff,

whatever you metric you use for
that, it has always been with

people that I love. I really,
truly love them. And if we get

together, you know, the people I
make music with today, even if

we don't get a song, or we don't
get a track, or we if we get

scumped, I wouldn't care if we
just went out and got a

cheeseburger man and took a ride
around town. It's like just the

chance to hang out with my
friends. Because the bonuses,

occasionally, we turn around and
go, Wow, did we do that? That's

pretty good, you know, that's
pretty good. Like, so I, I have

always sort of friendship has,
you know, that's been the first

thing, like kids in the sandbox,
you know, when you're a kid, you

meet a guy and you go, like,
Hey, man, is that your talk a

toy? You know? It's like, Oh, I
like that, you know? It's like,

Can I play with that? It's like,
yeah. Or the guy where you go,

Oh, man, he's kind of a dick. I
I'm not gonna be friends. You

keep moving on. But it's been
wonderful, man. Yeah, it does.

Music is passed from my social
life, you know, I guess it's

kind of sad. But this is, this
is what I got, man, you know,

it's like, I got music. I got
pals

now, in in your in your small
town in Florida that you're

living in, when you get out, and
are you kind of like the mayor,

the people that just, they're
just like, tip the hat, you

know.

Now everybody's over it, yeah? I
mean that maybe for about it

seemed like that lasted about a
week, you know, like, everybody

got a little excited, you know,
had to talk about it. Now

everybody's like, yeah,

so they let you do your thing.
You can walk about and not, oh,

yeah,

let me do my thing.

I'm almost like, you know, oh,
are you ever gonna get a job?

Man? They're almost, I get no
respect. It's fine. You know,

it's really fine. Now,

when your buddies do get
together and, you know, there's

nothing really to write, or
maybe nobody's inspired, what's,

what are the bands that you jam
to? What you know? What are that

you cover and stuff? What are
the go tos if you're playing

with them?

I can honestly tell you, I was
never, I mean, it's been

probably I was, I haven't that
that's not a thing for me. What

I usually will do is just talk
through it, like until somebody

gets a hot hand, like until I
feel a pair of, pair of queens

coming in the room, like, it's
like, it's sort of like, Oh,

somebody's, you know, you're
sad, yeah, I think musicians are

divided into two groups, you
know, we're, we're

transmitters and receivers, you
know, and like.

And I think you can't really be
in a room full of transmitters

all the time, because it's just
too much. It's like everybody's

just yelling. But if, some days
I'm a really good receiver and I

can listen, because, you know,
some guy will walk in and he's

kind of half lit, or he's
excited and he's got a million

things on his mind, that's the
day I've learned to just go grab

my legal pad and just go, Uh
huh,

tell me more,

yeah, and see if there's
anything coming out of it. Then

other days, somebody will be
looking at me going, like, What

the hell did you just say? And
I'm like, I don't know. You're

supposed to have a legal pad
today. It's like, so it's fun,

and I feel that way when I sit
down to play with people. I

really hate it when they don't
listen, or they think I'm

supposed to be doing more, like
if I'm just playing a beat. You

know what? That's probably
enough to get us. I shouldn't

have to blow a bunch of fire out
of my butt to make a song, you

know, it's like, if I most of
the hit records that I liked as

a kid, like, Hold on, I'm
coming. Or, you know, it's or

respect by Aretha, it's like the
beat, you know, we should be

able to say something to a beat.
Yeah, it's like,

So, James Brown said a lot, man.
James Brown said a lot to a

beat. I mean, you know, oh my
gosh, yeah. But you, you know,

you've got many you got chapters
to your career. I mean, you were

always a songwriter. You There
was always a producer inside of

you. But that chapter two kind
of came along when, you know

your friend Don Henley kind of
said, Hey kid, it's like he had

a cigar. And he's like, Hey,
come with me, you know. And

like, you know, hey, watch, come
on in, you know. So that's,

that's cool, man, you know,
very, very cool.

Well, that's an invitation only
room, you know. You don't, you

don't knock on Don Henley's door
and say, Hey, man, I want to

write songs. You know, you're
secure. You'll have you out on

your ass in about a minute. So
it's like, but Don and I were

friends. Once again, I come back
to friends. I well, he,

fortunately, he liked me. You
know, it wasn't hard for me to

like Don. You know, he's really
brilliant, he's gregarious, he's

to me, he's he's insightful,
he's poetic, he's well read.

He's like your big brother. You
know, it's like, you want to

know this guy, you know, when
you're in his orbit, you're

like, Hey, can I you know? So he
somehow, he said he must have

seen something in me that he
thought, Well, why? Don't you

step in here and let me. Let me,
let you audit my process. Let

me, let you watch how we do it.
And so I did. I spent about a

year in the back of the room, in
the studio, just watching, you

know, like I was just allowed to
be there, you know, I didn't

really have a job. I wasn't
hired to do anything I was just

I got to be Don's friend and
watch his process, which was

unbelievably disciplined and
meticulous. Oh my gosh, you

know, that's but, but at the
same time, it's very, very

experimental and open minded,
Don doesn't hate a guy with a

good idea. If somebody comes in
the room and they're brilliant,

he's the first one to go, hey.
But if

they're not,

oh, he just doesn't suffer. He
doesn't suffer anybody. He

doesn't suffer fools, and
doesn't suffer himself like he's

very can be very hard on
himself, and, that's why I

believe he feels in his mind,
hey, if I'm hard on you, it's

good enough for me. Like, if I
can take it, you should be able

to take it. And that was a real
lesson that realizing that if

you are feeling somehow like
you're getting quote picked on,

or you're it's like, all he's
saying is, is it personally to

me, it'd be like, Lynch, you got
better. You can do better. You

know, I expect more from you,
you you can do better. And some

people would sort of crumble
under that and go like, man,

you, you're being hard on me. I
see it as like, challenge

accepted. Yeah,

and you're writing songs
together, right? First of all,

you're writing songs together,
but then you earn his trust.

Trust so much that you start
producing his records.

Well, he that's a with Don. It's
a very unique situation, because

what you do is, you, you help
facilitate, really, you know,

what you do is, Don's very
directed. He doesn't need anyone

to come over and say, Hey, today
we should use tubas, you know,

like, or like, Don's going to be
the guy going, Look, it's going

to feel something like this.
It's going to work something

like this, help me get there,
you know, like, just help me get

and part of the he's a unique,
very unique situation. And

there's really, that's why he's,
yeah, he's very, you know, look,

and plus, he said, like I've
always said, if he didn't sing

so good, write so good, and
produce so good, you'd only know

him. Only know him as the guy
who played drums on every Eagles

hit record, which would be,
that's a hell of a trick too,

that that that's a legacy. And,
you know, it's really funny is,

I tell all my students, I say,
why is Don Henley one of the

greatest drummers in the world?
Because he doesn't play when he

is sick. He doesn't do a fill
when he's singing. So pretend

that that your lead singer is
what do they want from you? They

want you to stay out of the way.
What would Stan Lynch do? He

would play the perfect fill at
the right moment, and he would

stay out of the way. So you two
guys are like holy grails of how

to be craft musical drummers as
students, because I do a lot of

teaching and and the kids are
working on their rada mccues,

and they want to do that thing
right. And you say, like, You

got to have it in your bag, but
you got to have the discipline

to not do it

well. The other thing is, I've
said before is, like, there's

you can be a drummer or you can
be the best drummer in your

band, yes, for your and that's
there's a distinction with a

difference. It's like, look a
great drummer. It's almost like

Stupid Pet Tricks. You know
what? I mean. I can see a guy

who could do a triple Rada
McCue, well, barbecue and a

shrimp and playing a, you know,
triple strokes with his feet.

And it's like, but the but the
key is, will he, will that guy,

ever play on a hit record? I
don't know, right? So I prefer

to be part of something bigger
than myself. I would prefer it.

And, um, but I grew up as a band
guy I always love. I mean,

shoot, I watched The Ed Sullivan
Show, watch the Beatles, The

Stones, The Kinks, all these
great bands. And everybody would

tell me how great the front man
were. But for four minutes, all

man was, I'm just staring at the
drummer, going, oh, man, look at

that. That's so cool. And then I
realized what the what Charlie

Watts was doing was making Mick
Jagger look good. You know what

I mean. What Ringo was doing was
playing the perfect part for a

John Lennon Paul McCartney song,
you know, like just looking good

doing it looking like he wasn't
stressing. You know what I mean.

So it's um, to me that's. You
want? If I could teach that or

tell a kid anything today, I go,
first off, what's your goal? Do

you want to be the best drummer
in the world that you've already

bitten off a careful you know
that's you're chasing a 700

horsepower Ferrari, and even if
you catch it, I don't even know

what you got. But if you'd like
to be the best drummer in your

band, I can probably help you. I
can help you get your head

dialed in. And you should start
looking at the lyrics that you

know and start reading the song.
Don't worry about the chart,

just listen to the song. Listen
to your singer's intensity. If

he's talking, your scale is
down, you know. And if he's, if

he's, he's telling you what the
rhythm should be. He's, if he's

a good singer, he's like Wilson
Pickett. It's like, you know, it

goes Mustang salad, you know.
You know. Like, you know exactly

what you're going to play, but
you know. So try to try to be

something bigger than just your
drum your drum parts, you know.

And your sound is so important.
And I think drummers have

forgotten because of samples and
sound replacement libraries, you

know, you got to get a good
sound, you know. And you got to

make it feel good, you know, she
feel luscious. You know, for

playing to a clock, be able to
make it feel pretty sexy, you

know, feel swanky. Yeah, there's
nothing wrong with that, but I

think it's I, but also I realize
I'm, I'm a, I'm a dinosaur, I'm

a, I'm a living, breathing
dinosaur. I

know it you say that, but you're
also a part of a lot of

standards that came out of that
era that will that have multi

generational endurance. You
know, I've always been saying,

in the last 20 years, I can't
really tell you what song has

resonated. And again, I'm not of
creating life moments and

associating music with those
life moments and stuff like

that. But once I got into
country music in 2005 that kind

of took its place. Oddly enough,
one of the songs you were a part

of back when was a big part of
our coming to Nashville with Tim

McGraw's back when Stan helped
write the song, yeah, and it's,

what do you are there any bands
out there now and or even the

last 1015, years that you're
gonna say, oh, yeah, that's,

that's the next, don't stop
believe in, you know, Africa,

you know, Tom Petty hit that we
had back in the day. Is there

anybody that comes to mind that
you that makes you go, yeah,

that's, that's gonna last
another 40 years and be a

classic, a standard, anything
come to mind today.

I think bands have sort of
become almost like commoditized.

Well, they're almost like,
they're not, they're not as

valued, right? Like you use when
we were kids, we knew who was in

the band, right? You know, we
knew. And now to nowadays, you

know, it's a lot of it's track,
and a lot of it is so focused on

the guy or the girl

or the first three seconds?

Yeah, I don't know. And I really
don't know I, and honestly, what

contemporary music and being,
being contemporary, or even

being I put no stock in it. I'm
not saying it as a as a jerk.

I'm just saying it's a
meaningless currency to me right

now, right? Um, what's important
to me is joy, creativity, love

doing the best I can today.
Because, hey, man, for all I

know the thing I'm recording
today could be the last thing I

get to record. I'm going out
doing my best. Yeah. Know what I

mean, yeah. Like, so, you know,
the clock is ticking, and I know

that, and I'm and I'm not afraid
of it, but at the same time, I

don't want to waste time
worrying about that stuff,

right? You know, it's like, I
want to waste, what I want to

waste my time on is being around
cool cats. You want to make cool

music that's that's got you have
my attention. Everything else is

like, okay, great.

It's funny. Take a walk in the
last, I don't know, three years

Billy Joel put out another song.
That's right. And it's really

funny when you've got just a
master of their craft that has

one more in them that that
pierces into the vernacular of

the of society, and has there it
is. You have that moment where

it's like, that's how it's done
guys, you know what I mean?

Because that's such a great song
he put out. It's one of my faves

these days.

Did I wait too long? Was that
it?

Yeah, yeah. I think it's what
it's called. Now I gotta make me

look it up.

I think it was, or turn the
lights back on. That's what it's

called, excuse me, yeah, oh
yeah. But it's all about waiting

too long. And you know he was,
he was on the Stern show talk at

Stern. Asked him directly. Who's
that song about? He's like, I'm

not gonna tell. So, yeah, you
are. You're gonna tell me, No,

I'm not. Yeah, you are. And
eventually admitted that it's

about music, his relationship
with music, wow. So,

wow, I think that. I think he's
an artist, yeah, and I think

that get a certain I allow them.
It's like, you know, Picasso?

It's like, if Picasso wants to
paint an ants, but that's what

he's gonna paint, because that's
what he was into. It's like,

Cool, man, I You don't owe me
nothing, you know? I mean, he

Billy Joel doesn't owe the world
anything. No, you know, it's

like, it's, it's, he's done
everything he should have done.

And then, then some

so many hits.

Oh my gosh. So if you write a
song or not write a song, man, I

applaud him. He's an artist.
There really are in my world,

there's that you're either an
artist or a criminal, and it's

like, or you're somewhere in
between. But it's like, if

you're an artist, you suffer it,
and you you have some good

times. You have some hard times.
If you're a criminal, you can

usually figure out a way to
steal what you need and keep,

you know, right? You can keep
and keep up pretty fat and

happy, you know? Yeah,

what was just a change, just 180
what is the snare drum that you

used? You know how Ringo had one
snare drum his entire career,

pretty much. He flew it
everywhere. Was it the Ludwig

superphonic to six and a half?

It was, it was probably an olive
badge six and a half. And then I

used a acrolyte, occasionally,
an old Keystone badge acrolyte.

And then I also had a super
phonic Keystone badge, five,

five. And then on the last
record I did with Tom, I

actually used a noble and coolie
Piccolo. On last

day, Mary Jane was a noble and
coolie Piccolo. Yeah,

I kind of tuned it down by
accident because I got kind of

tired of that. It was like, you
know, the drums were like, it

was like, hitting a ball of
molasses for a while there, you

know, and, um, but, you know,
once I decided that it was going

to be more fun, you know, I just
want to have some fun. And now

I'm enjoying, I do enjoy, like,
I still love the Ludwigs. I've

got a couple Jazz Fest that are
old 60s that I think are great

drums, wooden Drum Band. Those
are cool. But, yeah, I keep, you

know, I kept, like, I didn't
keep a lot of drums, but I kept

a pretty good locker of snares
that are kind of fun. You know,

they're all set up the same way,
so they kind of sound the same

but, but they're kind of, you
know, snare drums are kind of

sexy to look at. It's like, they
all look great when they're

together. Yeah, they do. I still
get a kick out open the fly case

and seeing 10 snare drums. I go,
Yeah, that looks cool. It's

like, I still get kind of like,
tools,

Tool Time. Tim Taylor, right
there. Look at my tools. Yeah,

no. Drummer can resist a snare
drum collection,

you know, oh my God. Say, Well,
drummers, you heard it here. You

only need like, three Ludwig
snare drums. Three

of I have two. Both are not
Ludwig. At some point I need to

get one. Yeah, I'm

just saying they're really
pretty good. I mean, they're

very versatile drum. They make
a, you know, that you can go,

you can go tight and ring and
honk your brains out and and

have a ball and rim shot it. Or
you can, you know, put a CS spot

and back it down and turn into a
big thud. And it is still, they

still project. And the oddly, I
mean, I'm not going to do a plug

for it, but, well, maybe I will.
The Bissonette designed a snare.

It's a hammered snare that, um,
for the for Dixon, that's a,

that's a pretty good snare drum.
I mean, it's, it's very got a

similar quality of the Ludwigs
might be a little louder, which

is good and bad. You know,
sometimes, you know, can the

snare drum be too loud? I don't
know.

So are the speaker wars gonna go
on tour? It's a kind of a big

band. You got like, six or seven
guys, right? Got

six guys mostly because, um,
well, they all do. They're very

good, but they sing great. I've
got, fortunately, I've got three

to four singers that can really
sing, almost like gospel. These

guys can sing, I mean, so it's
really fun. And, you know, I'm

kind of a song guy, vocal
driven. I love it when guys can,

you know, when the Harveys come
in and it's like, it's not a

joke, you know, it's like, it's
not just, I hope it works. It's

like, nah. So we sit down and we
really do shed harmonies for

days on end. So it would be a
ball to go on the road. As you

know, it's extremely expensive,
yep, and hard, and we need to

get a leg up and. Um, but, yeah,
we can play. We've actually

played a couple gigs, and it was
fun and it was easy and it was

joyful, and everybody gets
along, and they're goofy guys,

so you know what that's worth.

Yeah. So is Chris responde in
the band? No,

Chris is not in the band, but he
did. Did a lot of the work on

the record, nice, a lot of the
engineers did some guitar

playing and, uh, but yeah,
great, cat. So we've got access

to a lot of when we were making
the record, we were using a lot

of friends and people, and then
we settled on the guys we found

when we went into rehearse, we
booked a rehearsal place and set

up shop for about three weeks,
and tried to find combinations

of people that felt right. And
it's mostly about people that

can play with me, because I'm a
weird I got a weird lane. You

know what? I mean, every
drummer's got a lane I gotta

it's like, if you can't find my
groove, I

don't know how people couldn't
find your groove. Stan, I mean,

I mean, come on, boom, smacking
down the highway, just all the

right things at the right time.
I mean, you know, many times

someone has asked for a Stan
Lynch vibe on a recording

session in Nashville, Tennessee,
if I had a peso for every time,

I'd be living in the governor's
club. Oh, man,

that's really hard for me to
process. I don't really even

know where to put it, because a
lot of my playing, you know, was

was pretty it was, it was hard
fought, you know, wasn't like,

it wasn't like, the easiest
thing in the world to make some

of those records. So I still,
I'm just now getting the point

where I can hear some of those
records and not hear the pain,

or not hear the, you know, the
not feel that, the nervousness

or but, yeah, that's very kind
of you to say, Oh,

God, amazing, man. And hey, so
as have people approached you

about a a book, an
autobiography, you're in that

season of your life that there's
a book inside of you, man.

Well, I think Mike just, I think
Mike just nailed it. I think

Mike did a really good job. I
mean, I've read his It was

great. He's, um, I think he kind
of, he spoke a little bit for

all of us, yeah, which was fine.
I'm really, I'm so proud of

those guys. I can't tell you
like, you know, I'm so proud of

Mike, and he's getting his
acknowledgement for all the

great writing he did and and the
great guitar playing. You know,

those guys stood in the shadow
of Tom for a long time, and, um,

rightfully so. I mean, you know,
it's kind of hard to, you know,

he was quite a beacon, and, um,
but you know, Ben Mont is making

great music. He's a really
beautiful guy, same with Mike,

and I'm just so happy, and I'm
really proud that they're my

friends. And, man, I long may
they run? Man, yeah.

Man, what a fun conversation. We
so appreciate you spending this

time with us. Speaker wars. How
can people support the speaker

wars? They records dropping
later the month, late May.

Correct,

I think there's a I think you
can go, you can check out the

videos. If you, I think if you
Google speaker Ward's vids,

you'll get, you know, a song
called it ain't easy. You'll get

a song called forgiveness tree,
and you'll get it you make every

lie come true. And those are you
can give you, give you a taste.

You can kind of go like, okay,
that's my thing, or ain't my

thing. And, but if it's your
thing, I think you there's,

you've got speaker wars. We've
got a website. You can pre order

the record. If you're so
inclined, I would certainly

appreciate that. Yeah, I got a
birthday coming up. Want to give

me a birthday present? Order the
record.

When's that, my friend? When's
that?

May 21

may 21 is that, is that the big
one? The big God, you're gonna

make me say it. I know you don't
have to say it, but we can go,

wink, wink. Yeah,

I'm afraid so it's it definitely
happened. The odometer rolled

over.

I mean, that is incredible. Hey,
man, you know, I always was the

youngest guy in every band you
know, 25 years old, and I'm

about to be 55 years old. Man, I
don't know how it happened.

When, Hey, man, 15 years gonna
go by real fast, man.

You know, geometrically it does.
I can honestly tell you, you,

you will look up and go, was
that five years? Or was that

last year? You know what? I
mean, it starts like you, and

I'll drop a decade now, I'll go
like, Oh yeah, that was 2000 you

go, no, no, dude, that was 94
Yeah.

Where was I? You know, 90 I
thought it was 2004

here's a here's a fun thought is
that life is like a roll of

toilet paper. The more you get
to the end, the faster it goes.

Yeah, time seems like it's slow.
It's life speeds up. Get out of

me. Yeah, my

dad's gonna be 80 in June. 80 in
June. So I'll be flying to

Florida to celebrate. He goes, I
don't want a party. I'm like,

Dad, you're getting a party.
You're only 81 time. They live

in Port Charlotte. So I'll be
flying in and of course, our

friend Jack Sizemore is always
inviting me to crash at his his

house. And maybe when I crash at
his house, I'll come sneak I

want to play a groove on that
set of drums behind you. Man,

Hey, man,

if you end up anywhere near me,
just tell Jack, like, yeah,

we're, you're, you're coming
over. Awesome. That'd be great.

I would love to see you here.
Nice. You know, that would be

what as the Redneck say, I'll
see you here, or I'll see you

here. Stan,

thanks so much, man. We really
appreciate it. Jim wasn't Jim.

Wasn't this

fun. It was great conversation.
Great conversation to meet

you. Great to meet you guys and
look, thanks a lot for helping

get the word out on the band.
Anything you can do, it's I

don't I don't take it lightly. I
don't take it for granted, and I

thank you.

Well, we tagged the heck

out of Speaker One. Reach out
when you come through Nashville,

if that happens. Yeah, love to
come see you

an agent. I last time I was
there and even recognize the

place. I literally didn't know
where I was. Yeah, I was like,

walking around going, like, what
happened to Nashville? Yeah,

it's like, yeah,

we got, we got Martini bars and
valet parking now, and

everything

taverns. And that's funny. When
I moved here 20 years ago, they

called it Nash Vegas, and I had
moved from Las Vegas, I was in

radio for a majority of my
professional life, and they

called it Nash Vegas when we
moved here, and I was like, No,

it's not Las Vegas.

New, new, new, new so I mean,

the last time I remember having
a really easy time there. You

could still go to the cooker and
get a meeting three and you

could, like, you know, there
was, like, you know, Nashville

was still in the little area
down in there before all that

became 50 stories tall. And,
yeah, it was, it was actually

easy. I mean, the town was easy
to move around in, yeah. Now

it's like, man, it's like, LA,
you need the 40 minutes to go

anywhere. 40

minutes wrong? Because la moved
here, yeah, LA is moving here.

Yeah,

you're right. You're right.
Well, I moved 662, miles away.

You know, I know exactly how far
it is. I've driven it a million

times and, uh, but it I'm sure
you guys are having a lot of fun

and making a lot of music, and
that's, that's all that matters.

It's the last place for the
music business. And I just, I'm

happy that I've been here for 28
years, because, you know, at

least I'm in line. I went at the
back of the line, man, you know,

you

guys know the Kings, man, you
guys are you're doing, it seems

like you're doing Everybody's
cool records. I mean, it seems

like it know that the doors are
really big, and you guys have

been been a train for a long
time. I'm really proud of you

for staying together and staying
at it. Thanks, badass. That's,

that's, that's a, that's a tough
thing to do, man, it's hard,

yeah, well,

I really appreciate it. Means so
much coming to you, from you and

you know, thank you for making
the soundtrack of our lives.

Brother. Appreciate it.

Yeah. Well, give Telly my best.
Totally my best too. Okay, I

will.

Hey, they'll probably, they've
got a podcast too. They'll

probably be reaching out to you
to come on that show. Yeah, you

know, Jim produces their
podcast, so, so, yeah, expect

that phone call. But thank you
so much for coming on and

everybody out there support the
speaker wars records dropping

later this month. And to all the
listeners, thank you so much for

tuning in. Be sure to subscribe,
share, rate and review. It helps

people find the show. Thanks.
Stan, really appreciate it, man.

Thanks, Jim, thank you, sir.
Thanks Rich. Talk to you soon,

buddy.

Thanks. Bye. This has been the
rich Redmond show. Subscribe,

rate and follow along at rich
redmond.com, forward, slash

podcasts you.