I don't have it all figured out. I don't have
it all together. I don't know what I thought
I knew. So at some point, I'm speaking generally,
but for me, I had to just surrender. I just got
sick and tired of being sick and tired, man.
Welcome to Overeducated and Underemployed. We
got Marlon J. Williams, a .k .a. Drummer, on
the move. First, I want to tell you about some
other things going on here. We got a lot of great
episodes coming up. We've got Amanda McKay. We've
got Carson Taylor. We've got a whole episode
about the Nucci Space, Heathen's Homecoming Auction.
I'm sitting down later on today with Shonda Clinton,
a .k .a. the Sativa Diva. We're going to talk
all about P -Funk Fest. P -Funk Fest is happening
April 11th at Phipps Park. There's a link to
get tickets in the description of this episode.
And I'll be with Danny Bedrosian next Friday,
the 27th, at the Blue Tavern. He'll be doing
a special show, kind of previewing some of the
stuff going on at P -Funk Fest. I'll be doing
a book signing. I'll be there taking... some
footage for the show, but y 'all do not want
to miss this. It's going to be a really, really
cool experience. He's going to be playing a bunch
of solo Parliament Funkadelic songs on the piano
going all through his book, but on a musical
level. So come check that out next Friday. Also,
Sloan Brothers' Love Another Diagnosis came out
last week. Sloan does all the music on this podcast,
so please go get that record. It's awesome. It's
also got Matt Lane on drums, who's going to be
on the show pretty soon here. Jay Gonzalez plays
on it. He's been on the show before, and he actually
might pop into our new Cheese Space episode coming
up here, too. Lots of exciting stuff going on.
Please hit like. Please hit subscribe. Please
do all the things. The other thing I want to
mention is Wiley Gaby's single. is out idgaf
no more i don't want youtube to ban things because
if you have noticed the view count on that episode
is a little bit low because youtube has not put
it in anyone's recommended feed and has denied
all advertising opportunities for me with that
episode so please please please do what you can
they're suppressing you know queer content it
seems like so please share that episode like
it watch it I don't know what else to say about
that Shane Moss was on earlier this season and
he's got two specials out actually as we speak
so check his website he was a great guest his
show was awesome it was filmed at Meow Wolf which
I'm a big fan of We've talked about it here before.
We talk about it on the podcast episode with
him. Anyway, without further ado, here's my interview
with Marlon Williams, Marlon J. Williams, drummer
on the move. We had a great talk. Thanks, y 'all.
We're on overeducated and underemployed. I'm
here with Marlon Williams, a .k .a. drummer on
the move. He's been on the podcast before. You
might remember him from our Groups for Good episode.
He won the drumming competition on that episode
that we did. And I knew I had to talk to him
again. So here he is. And I'm going to ask you
the first question I ask everybody. What's the
first song that you remember loving as a kid?
Loving as a kid, it had to be something Michael
Jackson. Yeah? Yeah, it had to be. Maybe Billie
Jean or something like that. being a big MJ fan,
still a big MJ fan. The records didn't do anything
wrong. No, no, not at all. Not even a little
bit. Separating the two, you know what I'm saying?
Especially as a kid. No matter what your take
on any of that is, you have to with art, I think.
It's art. Dolly was an asshole. Van Gogh was
psychotic. You know what I mean? But anyway.
I believe to be on something, like to be that
great at something, like there's usually something
that kind of offset it or something. You know
what I'm saying? Usually people that has. People
are people. That level of genius is usually something.
It comes with baggage. There you go. I think.
It manifests in a lot of different ways. Right.
But we digress because I want to talk about you.
Do you remember the first time you listened to
Michael's music? Do you remember what kind of
drew you in, how you got into it in the first
place? My first memory of MJ was I seen one of
his concerts on TV. Me and my dad went over to
a cousin of mine's house to get our haircuts.
And I had to be maybe six or seven, somewhere
up in there. After we got our haircuts, my dad
was like, hey, y 'all listen to some Michael
Jackson or something like that. So they put him
up on TV and it was a concert that he did. And
ever since then, I was just like, I don't even
remember like saying too much as I was watching.
I was just hooked. And ever since then, I was
just MJ, MJ, MJ. Yeah. Started dancing like him.
So you wanted to be him. You were. I was one
of those kids, yeah. Yeah, okay. I wanted to
be MJ. The performance that I seen him do on
screen, it was just magnetic, man. I just never
seen anything like that before in my life. So
that's what got me going with MJ. What was the
first concert that you went to as a kid? Do you
remember? Ooh, that's tough. The first concert
I went to as a kid. Or the first one you remember,
at least. Wow. I would have to say Patti LaBelle.
Oh, nice. Yeah, yeah. I went to a Patti LaBelle
concert because my dad used to sing backup for
Patti. Oh, wow. Okay. So you come from a musical
family. Absolutely. On both sides. On my mom's
side, on my dad's side. Just very musically inclined.
And you were into music like super young. Super
young. Michael was like the first one that you
loved, but were you already into music at that
time? Yeah, by that time I was already into drums.
I came up playing in church. My dad used to play
drums at our home church. So I just took that
from him. I used to sit beside him as he played
in church. And I haven't put the sticks down
ever since then. So I was already into music.
So you were playing music before? You were playing
music before you even had an affinity towards
one musician, and it sounds like that's pretty
cool. That's pretty cool. See, do you remember
some early concerts that you went to? Maybe not
the first, but do you remember some of the ones
that stuck out? Other than, like, Patti LaBelle.
I would say that one stuck out the most. Honestly,
I didn't go to a lot of concerts coming up. But
you were playing music every week in church.
Yes, I was. I'll put it like this. I was wanting
to play music because, again, I come from a musical
family. So, like in church, there was like three
of my cousins that played drums and stuff like
that. You know what I'm saying? Family members
that played drums. So, I was the young cat. So,
I had to wait my turn to play for them to trust
me enough to play in service and stuff like that.
But I definitely came up doing that first. And
even going back to MJ, MJ is the first artist
I was just like, whoa, I think I want to do something
with this for the rest of my life. Maybe not
singing, but music in some capacity. Well, it
sounds like it was not just the music for you
and Michael, but the whole package, the performance,
the persona, the style. It was the passion. Just
the combination of everything you just said,
including the passion. I just never seen anybody
that passionate about performing. You know what
I'm saying? That's what locked me in. Even to
this day, I can still watch. I can watch the
same video I seen back then and still be just
as locked in as I was as a kid. Just that passion,
you know what I'm saying? It just oozes out of
everything he did. And I was just like, I want
to feel like that about something. Yeah, I know
what you mean. I think I found that just as a
fan of music as a kid a lot, like not necessarily.
I have this theory that all comedians like want
to be rock stars and a lot of rock stars. Wish
they were comedians. And I've met a few comedians
that doesn't apply to, and I've met a few rock
stars that doesn't apply to. But in general,
I think it's pretty, it's like we're cut from
the same cloth. Yeah. I've heard that before,
actually. And I always, like, was connected to
bands and musicians that connected to their audience
in a passionate way. So. Not just the passion
for the music, but I would go see bands in smaller
clubs. They'd put the mic out for people to sing
along or they'd be down in your face and doing
kind of some of the cheesy rock shit of the 80s.
But in a way that to a 12, 13, 14 year old kid,
you're like, these people are deities. And that's
what I'm getting at is I think we all. have these
pop culture deities growing up, were they all
music related to you? Pretty much. Yeah. Same.
Pretty much, yeah. I think about, I used to get
so annoyed with Entertainment Tonight and the
tabloids, because they would talk about actors
and celebrity. And I'm like, I don't care about
these people. And I don't care about the way
that they covered those people either. But I
think those two things go hand in hand. I think
when you start talking about real artists, people
that aren't just famous for a living. Right.
And not to say that celebrities don't have talent.
I'm following. I'm talking about fame that transcends
their talent. You know what I mean? Right. There's
something there that is completely separating
from the people, their fans. The passion, the
passion isn't there. It's just this. I understand.
Who's dating, who was seen wearing what, who's
blah, blah, blah. There's no like meaning to
any of what they're talking about. No substance.
What was it to you when you were getting into
music? What were some of the music that really
spoke to you? What was the stuff that you were
growing up listening to that really meant something
to you? The music that. I connected to most coming
up. I would have to say this is going to sound
really wild, right? But as a kid, I used to listen
to like a lot of Christmas music. Okay. Like
just big choirs that sound real angelic. Everybody
sounds so unified. I used to listen to that year
round. That's something a lot of people don't
know about me too. I think I'm revealing that
for the first time. But I used to listen to like
Old Holy Night, We Three Kings. So like the traditional
stuff. The traditional stuff, but just like with
a hundred voices and like orchestra. I love music.
Big choral arrangements. Exactly. That music
used to like just take me away from earth. Like
I still listen to it to this day. I still listen
to it to this day. Like it didn't have to be
Christmas or anything like that. But anything
that was just that sounds like what I guess what
we would perceive heaven to sound like, that's
always resonated with me. Even to this day, I
listen to it when I go to the gym, listen to
it while I'm getting ready. Just anything like
ethereal. That's the word I'm looking for. Anything
ethereal. Okay. I'm all about that. Interesting.
That's not the kind of music you play. That's
what I'm saying. Not at all. Your input is way
different than the output there. That's what
I'm saying. I know that's going to throw a lot
of people off based off of what they see me perform
and do and everything. But yeah, anything ethereal
that just mellows you out, chills you out, puts
you in a clear head space, heart space, spiritual
space. I've always been about that, even as a
kid. I think that a lot of people feel that way
about their favorite music. So whether it's choral
music or heavy metal, you talk to a metalhead,
and I'm not one, but if you talk to a metalhead,
metal music doesn't make them angry. It sounds
like very angry music, but it's like... soothing
and calming and almost like meditative to them
yeah and i could see how that i could see how
that could be the case too sure sure sure what
were at what point did you decide you you wanted
to just be a musician did that come later or
was that something you were gonna pursue from
a young age i would have to say okay so i grew
up i was either going to go to the nba Because
I played basketball, too, like from middle, I
mean, from elementary to high school, varsity
and everything like that, summer leagues, tournaments.
So I was either going to go to the league or
I was just going to do music full time. Again,
my dad sung professionally with Pat LaBelle.
So I had that right in the house with me, seeing
somebody going out doing tours. Where did you
grow up? I was born and raised in Tallahassee,
Florida. Okay. From a small town called Miccosicky.
I'm a country boy. Yeah, yeah. And Patty is from,
what, Bainbridge? Is that right? I don't, I'm
not sure where she's from. I feel like she's
from, like, southern Georgia somewhere. Somewhere
close. Okay, yeah, I'm not sure. Not Tallahassee,
but somewhere close. Okay. I could be wrong.
Yeah. But how did, do you know how he got connected
with her in the first place? Yeah, she came to
Tallahassee for a concert. She performed at the
Civic Center. My parents went, and she had a
segment on the show where she just called random
people up from the audience to sing along with
her. Oh, okay. And my dad was one of the ones
that she called up there, and he did his thing.
Everyone went crazy. I believe one of her managers
or something like that reached out to my pops.
He got the call to go out on the road. He was
out on the road with her. for about seven years,
seven, eight years. And like, even to this day,
he still goes out and does like spot dates and
stuff with her. So he's always going to be associated
with Patty. And she's a legend. Was she the legend
she was back then? Yeah. Okay. No, no. How long
ago this was? Yeah, this, oh man, 90, I want
to say 95, 96, somewhere up in there. She was
still. Yeah, she was still up there. I feel like
by the time I heard about her, it was probably
like 10 or 15 years later. Okay, yeah. I was
also like 10 years old. Gotcha. You know what
I mean? I'm trying to think. I feel like she's
already playing in the Civic Center at that point,
but I feel like her name, Trent, now, like back
then she was probably one of the biggest gospel
singers in the world. Now her name transcends
all genre. I feel like everybody knows who she
is. Everybody knows. She's definitely a legend
in the game. Just growing up and just seeing
that, just seeing that. He would have me and
my sister and my mom come to a lot of the shows
and stuff like that, have us backstage. And I
got a chance to meet her and stuff like that.
So I've always been affiliated with music. I
always knew that's something I wanted to do.
Was gospel music something you really connected
with as a kid? I know traditional Christmas music
is, but was the more modern gospel music something
you were into? Yeah, I was definitely into it.
Coming up, it was pretty much all I knew, other
than Michael, I guess. You know what I'm saying?
Everybody knew Michael. You know what I'm saying?
It was hard to get around that. But yeah, I definitely
loved a lot of gospel music, grew up playing
a lot of gospel music. So I'm always going to
be connected to that, always. Definitely, it's
a lot of gospel artists that I love to listen
to from time to time. But just even coming up,
it was other things that caught my ear that I
would say resonated with me personally the most.
So that's just what I gravitated to. Did your
dad have a solo career as well? Yeah, he did.
What's his name? Anthony Williams. Okay. Anthony
Williams, yes. He has several solo projects that
he did on R &B. He has R &B albums. He has a
gospel album. So, again, I always knew I wanted
to do music. It's running in my veins. It was
either that or going to the NBA. NBA didn't work
out. I remember carrying his records at Vinyl
Fever back in the day. Yeah. Okay. Wow. Yeah.
Yeah, man. Man, you're taking me back because,
yeah, he definitely used to really do it. He's
mellowed out a little bit now. We all do when
we get older. He's done it. He's been all over
the world, and he's done it. You were a really
successful basketball player, it sounds like,
in high school. Did you try to get into college?
Did you get injured? Did something happen? Nah.
To be completely transparent, I was really good.
I was really good. I just honestly just lost
a passion for it. That's something people don't
talk about very often. For anything, whether
it's you want to be a great musician or a great
actor or a great athlete, any of these things,
you can have all the talent in the world. But
if you don't have the drive to practice and stick
with it and keep wanting to do it, and if that's
just not what you want to do with yourself, then
none of that matters. Exactly. And what it brought
down to me, I didn't want to be owned in any
sense of the word. And as I was climbing, playing
basketball and stuff, got to varsity and everything
like that, I seen where that was headed. Yeah.
And I'm more of a free -spirited person. I like
to pretty much just move how I want, be how I
want, and I just didn't want to be owned. You
don't meet solo drummers very often, man. That's
one of the things at first. Not that you don't.
You work with other people all the time. Absolutely.
But at your core, you don't belong to any group,
or you're you. You're drummer on the move. I
see where that comes from. And especially back
then, college athletes had no way of making money.
So anyway, that all makes total sense. Yeah,
yeah. So thinking about it now, I know I said
I lost my passion. I've always loved ball, but
just the politics of it. I seen where it was
going. I was just like, I don't know if I'm going
to be able to withstand all of that. Well, and
now, man, now that I've seen how much gambling
has taken over all of, not just, not really just
sports, but everything. You can go, you can bet
on who's going to win political elections and
all this crazy stuff. But the more I've seen
how that takes over. I just don't know that there's
a lot of players that play for themselves anymore.
Exactly. And that's the only way I can really
put it. It's a much bigger agenda. Like, it's
a business. There's a lot of money involved that
is way more than any of these players ever make.
Yeah. Yeah. And that's the thing. Like, it's
so much bigger than just the love of the game.
Yeah. Even when it comes down to music, it's
the same way. talent anymore you have to have
something that comes along with it it's all of
this politics and stuff like that so like social
media having a presence yeah i mean it's it's
a pain it's a nightmare which is why i like it
proves that you really have to want to do it
right to do it right because that shit is not
fun it playing music that's the easiest and most
fun part but it's everything that comes with
it behind the scenes you really got to watch
out for and have a foundation of why you're doing
it. You know what I'm saying? Or are you going
to be pulled this way and that way and want to
change you, make you into something that you're
really not aspiring to be? And stuff like with
labels, when it comes to hooking up with labels
and stuff like that. I just had a conversation
with Justin Long, who was in a band called No
Address out of Tallahassee. They got signed to...
Warner, Elektra, Atlantic. I think it was Atlantic
when they got signed, and then they merged before
the record came out. But that was the core focus,
is how, in a lot of ways, these labels ruined
the music scene in Tallahassee for a long time.
Because they plucked all the talent out, all
the people that were going, drawing crowds, plucked
them all out of the town, and then changed who
they were, didn't let them be who they were anymore.
And then they failed on the road. And a lot of
them, they suffered. Their mental health suffered
and all that kind of thing, too. Bingo. Yeah.
Once you have the man involved in any capacity,
and I'm talking like the Jack Black School of
Rock version, like the very basic version of
the man. Yeah. Once you have the man involved,
it all gets fucked. Yeah. Again, you end up becoming
something that you didn't want to become and
be and just even admit to the world. Because
there's an agenda. You know what I'm saying?
They want you to basically be puppets to the
agenda that they want to push. And even though
what I do is music, drum on the move, I'm still
aware of that. You know what I'm saying? I'm
still aware. So I'm not, even though I... Putting
the basketball thing down, I'm still not totally
out of the woods on this side either. Well, sure.
But basketball is a team sport. Right. And you
have to play for, to make any money doing it,
you have to play for a corporate entity. You
have to. There's all these things. I think there
are similarities, but the differences are, like,
I understand why you were like, yeah, this I
can tolerate and this I can't. Even just down
to freedom of speech. It's only so much that
they're going to allow you to say, you know.
Well, look at Colin Kaepernick, right? Case in
point. Yep. Yeah. Dude, like, one of the most
qualified couldn't get a job because the motherfucker
took a knee. What the fuck? Yeah, just standing
up for what he personally believed in. No, this
is what I'm saying, man. I think you read the
writing on the wall. I think you may, because
even as a drummer, even if you decide to sign
with a label, you try to go that route. Let's
say someone in their 20s, not even you, but a
musician in their 20s wants to, and I've talked
to plenty of people that this has happened to,
where they've gone the major label route. They've
tried that. Sometimes it boosted them into something
better. Sometimes it didn't. But in the times
that it didn't, it wasn't over for them necessarily.
Right. You're a drummer. You don't need four
other guys and a corporate sponsorship to be
a drummer or a musician of any kind. No. So I
think you read the writing on the wall, man.
Honestly, I appreciate that. And that's something
I'm very conscious of. I don't want to be told
what I can and can't say. Or B, or anything like
that. To me, that's more important than any of
this. Just knowing who you are and being solid
in who you are just as a human being. I think
that's the difference between an artist and an
athlete. Really. Right. Because, one, you're
advocating for your body more than your mind.
There you go. And the other one, you're advocating
for your mind more than your body. That is so
true. I never really thought about it quite like
that. I don't know that I have either. But that's
spot on. I don't want to just entertain. You
know what I'm saying? We have so much of that.
That's another conversation. I don't want to
just be here for your entertainment. I want to
be able to instill something else in you the
way that I feel, the way that I want to emit
that. You can't really do that in a lot of these
fields. You might be telling too much truth.
We don't want them to know that. Those situations.
I don't want to be like that. And it's still
kind of like that. But it's over. The algorithm
suppresses certain things and all that sort of
thing. But you can still overcome that. Because
people are people. And I think being out, playing
out. as much as possible like that's how you
like connecting with people like for real and
not online that is one of the which is why I've
done some of my interviews remotely if the people
are in California or Hawaii whatever but right
I really prefer to sit down and have a face -to
-face to do right nothing beats this right here
that's true you made the decision not to pursue
basketball and pursue music It sounds like around
the time you graduated high school, maybe a little
after. Yeah, yep. Did you start playing in bands
initially? Yeah, yeah. So I was pretty much just
freelance, just being called for hire, whoever
needed a drummer, which I still do that to this
day. But out of high school, I participated in
the Guitar Center Drum Off. Okay. And I won it
for Tallahassee. At the time, which I didn't
know, there was a guy there from a rock band.
They needed a drummer. And so he approached me
after I won the competition, asked me if I was
interested in trying out for the rock band. I
told him, yeah. I went and auditioned, made the
band. I was part of a band called Edensville.
Oh, yeah. I remember Edensville. Hell yeah, man.
Yeah, Edensville. That was my first, that was
the first band that I could say that I was like,
actually. Who else was in that band? Do you remember?
Barry, Barry, Smeek, Hunter, my guy Hunter Dolls,
Caleb. Those are my guys. So I got in there.
I was with them for five years. Probably some
of the best times I've had. I remember that band,
man. Those were my high school, college years,
I think. Really? Yeah. That was like... I'm thinking
like 99 to like 2004. Somewhere up in there.
Yeah, somewhere up in there. Yeah, we used to
play at Bullwinkle's a lot. Yeah, yeah. Bullwinkle's,
we used to play at Floyd's. I think you used
to play with my friend's band. There was the
audience and there was Hybrid. It was like basically
the same band. Hybrid sounds very familiar. Hybrid
was like, they were both the same band with a
different singer pretty much. Okay, okay. I feel
like I've heard of Hybrid. It was so funny because...
hybrid was like a rock rap band they had a rap
singer okay and the audience was like they found
her at karaoke they found the singer at karaoke
wow so it was like the same band but like totally
different gotcha gotcha i think i've heard a
hybrid before though yeah they were they got
out a lot my friend kelly was the drummer shout
out to kelly she was the drummer that and that
was what people were So it makes sense to me
that you would remember them because their drummer
was like the centerpiece of the band. Gotcha.
It definitely rings a bell for sure. So you played
in Edensville for five years. And then I remember
that band broke up probably around 05. Somewhere.
Around the time that we're talking about, the
scene fell apart because five bands, they weren't
one of them, I don't think, but five bands got
signed to major labels. 2003, 2004. Really? I
didn't know that. Presence, Social Burn, No Address,
Eric Durrance, and did I already say Standstill?
And Standstill. I think all five of those bands
got signed to major labels out of Tallahassee.
And it created, but like each one of those bands
had five or six other bands that would open for
them on a regular basis. And Edensville would
be one. You know what I'm saying? Like those
bands were like leading. a scene where people
were actually coming out to see original live
music. Yes. Not just cover bands. Not just cover.
Because that's what everything has turned into
now. Facts. And that was, being in that band
really opened me up to just, pretty much just
everything outside of gospel music, which I grew
up playing in. Yeah. It was just a whole new
world. I probably had some of the most fun I've
ever had on stage playing in a rock band. It
was just different. Oh, my goodness. Especially
back then. Things were like pre -iPhone. Things
were a little crazier at the rock show. When
people came to the shows, they came to rock out.
Very seldomly seen people with the phones up
recording. It was coming to head. They were present.
Very present. That's the word, yes. And I think
that's what people who love going to see just
live music in general, not even necessarily knowing
who they're going to see, that's why they go.
And then the people that are there filming it,
they go so they can have the Instagram moment
or whatever it is. Right. I'll take two or three
pictures in the beginning. Because guess what?
The band's going to wear the same outfit the
whole night. That's true. Yep. That's true. Definitely
not changing. That's true. And I'm never going
to watch the videos. Right. If I'm going to watch
a video of that show, I'm going to rely on somebody
taking a way better video than me. Yeah, and
then you were there, too. So I'll take a couple
of pictures to remember that I was there and
what it looked like. Had that time stamp. From
my perspective or whatever. But I don't need
to take pictures all night. I understand taking
a couple. I don't understand. I'm not like a
never take any pictures or videos. But sitting
there filming. Like the whole time. It doesn't
make sense to me at all. Yeah, I'm not that guy
either. I'm going to go. I want to enjoy what's
going on. I want to be present, just like you
said. So after Eatonsville breaks up. And you
don't have to get into how. I don't even know
if you remember how that band broke up at this
point. But where did you go from there? And were
you able to be a full -time musician at this
point? At that time, no. I worked a job. I think
I was working at Firehouse Subs and stuff like
that. Because we were gigging, but I wasn't making
enough money to. Right. sustain myself yeah yeah
it was just good money to have like spending
money and stuff like that but yeah because even
when people were coming out it's not like bands
were making money hand over fist or anything
that wasn't that wasn't the case i would say
we did well for tallahassee yeah you know what
i'm saying so we did well for that we like i
said Floyd's sometimes too. I worked at Floyd's
as a teenager. Wow. All of these memories just
coming back, man. All of these memories coming
back to me. They would send me to the late night
library parking lot to flyer it. Okay. Because
I was a minor, so if the cops came, I wasn't
going to get in any real trouble. Right. So they
would send me on like the covert ops. They played
that smart. They played that smart. I played
that smart. Yeah. Yeah. Floyd's was a good time
too. I used to love their stage. Yeah, man. Yeah.
That was, that's what this town is missing is,
like, real music venues where they have a dedicated
sound and lights guy. There you go. There you
go. Shout out to Eddie, who just recently passed
away. He was the sound guy at Floyd's for years
and years. And then, but Club LA down in Destin,
man, they've basically, like, the whole crew
from Floyd's has been running that club. Really?
The Booker. Eddie, the sound guy who just passed
away, and Brad, the light guy, he's been there.
He taught me how to run lights when I was like
15 years old. Wow. And he's down there running.
So shout out to Club LA. Yeah, shout out. Keeping
something going down there. Yeah. But yeah, that
whole Floyd's crew, man, they were really professional.
They had a great stage set up. So true. That's
what brought me onto that kind of tangent. There
was a reason that stage was so good. They had
a really professional crew. Yeah. That stuck
out. I used to love when we played at Floyd's.
Because, again, everything was just so professional.
Sound check went smooth. The lights, just everything.
It was very, very professional. Very easy to
work with, too. They would have some crazy artists
come in there sometimes, too. Yes. Fishbone would
always play there back in the day a lot. And
that was the size club they were playing. But
they would play there every tour. And that was
always great. But didn't crazy artists like Filter
played there one time when they were on a stadium
tour? And they just did a one -off night at Floyd's?
Okay. And they pulled out from the party lot
with two semi -trucks? Yeah. It was insane. Yeah.
Floyd's was definitely the venue for all of that.
So they could handle all of that kind of stuff.
For sure. For sure. So what did you do after
Edensville? After Edensville, I just went back
to just doing fillers for bands and artists and
everything like that. Just make my rounds. And
then that's when I got into drum on the move,
which I didn't set out to do. It just fell upon
me, to be honest. I just started doing my own
thing, which started out with me. I was looking
for, which is a day I'll never forget. I'll never
forget it. It was a Saturday. It was a beautiful
day out. Looking for somewhere to practice. Called
a couple of guys around to see if I could come
in and just practice this shit on some drums.
I just really felt like playing that day. No
one was available. So I set my drums up at a
park on Jackson Bluff, actually. Got the name
of the park. I know a park. I used to live right
there. Dale Mabry Park? Say it again? Dale Mabry
Park? Is that the name of it? It could be. It's
now right next to Sale High School. Sale High
School, Sale High School. It used to be, what
was that? It was an elementary school for a long
time. Okay. And then they turned it into Sale.
Sale, okay. Jackson Bluff and, like, Lapona,
right? Lapona, yeah. It had a baseball park out
there. Yeah, okay. So I set up my drums out there
on a park bench, and I was out there for hours,
at least maybe five or six hours just practicing.
And ironically, nobody else was out there that
whole time, so I wasn't aggravating anybody or
anything like that. From that day on, I was just
like, hey, yo, this felt really good to even
just play outdoors. Seeing people, like, honking
as I was playing, like, cars that was going by.
And just saying, woo! And I was like, hey, man,
this actually feels pretty good just to play
outside, outdoors. Man, that's the park I used
to take my daughter to. Really? Yeah, when she
was, like, really little. That's a special place,
man. Yeah. Very special place. And it's hardly
ever, I don't know about now, but it. Wasn't
a whole lot of people that just go over there
and just hang out there. No, it was never very
crowded. Yeah, not at all. That's part of why
we liked it. Bingo. Yeah, because I used to stay
on that end. So I just pulled up over there.
And from there, I just became Drum On The Move.
And it started just by playing outdoors in different
places? Because now you do show shows. Which
took me years to even play inside of a building.
I really started out just playing outdoors. So
I played outside in the park. And I was just
like, man, this feels really good. So I just
started setting my drums up just different places
around town. Just pretty much everywhere, on
the streets and everything. And I started making
content with it. Just started recording myself.
Initially, I was just recording myself. to track
my progress of me practicing but then I don't
know I don't even know what to say like I just
started posting it because everybody already
knew I played so I just started posting it and
I started seeing the reactions and the love that
I was starting to get so I was just like maybe
I can turn this into something yeah and I went
home one day and I was like man what should I
call myself and I was like, man, I'm playing
outside, and all of these ideas just started
coming to me. And I was like, drummer playing
outside? I was just like, nah, that's not it.
And then drummer on the move just fell in my
lap, and it just felt right. Yeah. And I was
like, ah, this is it. Do you remember what year
this was? God, I'm so bad with time. I guess
I'm just trying to think of what kind of social
media was going on back then. This had to be,
let me see, this was at least about 12 years
ago. It was, yeah, it was about 12 years ago.
Probably Facebook and MySpace maybe? Facebook.
Definitely started with Facebook. Okay. Definitely
started with Facebook, and I made my way to Instagram.
Instagram is what really got me out there. I
got you. Yeah. And I just started. Set my drums
up weird in a non -traditional way for a different
aesthetic. Just trying to challenge myself on
how to approach it and stuff like that. One thing
that really struck me watching you play is you're
not just playing a beat. You really are playing
a song with your kit. And I think we talked about
this last time you were on the pod. How did that
develop for you? Going from playing in a rock
band. to being a solo drummer? It's definitely
different because rock band, everything is just
a thousand miles per hour musically. Everything
is aggressive, which I love, by the way. You
know what I'm saying? I'm not complaining. I
loved everything about it. But playing solo,
you pretty much, you are the show, per se. So
you don't really have anybody else to lean on.
You know what I'm saying? You have to generate
your own energy to... perform and everything
like that. But me, I never tried to put pressure
on myself. I just wanted everything to just be
natural. So I can't really say I really played
to impress people. You know what I'm saying?
I just go out and just play from my heart. When
in a rock band situation, you playing the music,
you playing the song, still playing from my heart,
but it's more structured. That's the way I look
at it. But just being freelance. You're playing
a song that other people are playing too. I'm
going to change it. You're not playing jazz.
But that still sticks with, that still, even
when I'm playing a drum solo, I have a cousin
named Andre Forrest who's a genius musician,
plays keys. So big shout out to my cousin Andre.
The thing that he taught me growing up, he just
always play the music, always play the song.
If you can. especially on drums, if you can just
play by yourself and whoever listening can tell
where you are in the song, you're doing your
job. Yeah. So that's never left me. That's never
left me. And also, in Tallahassee, just having
your own kit and showing up, that usually gets
you the job. Yeah, yeah. Having your own stuff,
you know. Yeah, that never hurts anybody. Yep.
My buddy Kane Stanley. He's a drummer for a band
called Cosmic Charlie, which they have two drummers
because they're a Grateful Dead tribute. Gotcha.
But he started doing this thing, and we haven't
talked about it on the pod yet, but we're going
to. He started renting out his kit to venues,
backlining drums for touring musicians. Is that
ever something you've ever done before? Yeah,
I loaned out my kit for other drummers that need
it. I've definitely provided my kid for a few
shows around town. It's not something I do a
lot, I would say. Not saying I wouldn't. He would
do it. Because with touring musicians, they would
pay. They would pay for it. If it was something
he didn't have, he would just go buy it. That's
probably something I need to get into for real.
That's just, I would say, passive income. That'd
be nice to really get into that. Like, my drummer
friends and stuff like that, if they need something
from the kit, whether it's snares, cymbals, or
even a full kit, I just let them get it. You
strike me as the kind of person that has a very
elaborate collection of drums. I have four kits
that I'm proud to have, and just a lot of different
snares and cymbals and knick -knacks and everything
like that. Yeah, I've come a long way. I'll put
it like that. I've definitely worked hard to
have the stuff I have. What are some of the most
interesting or unique drums that you like to
play on sometimes? Honestly, I just started getting
into a drum called a slapbox. Okay. Yeah, it
stays in the car. It's basically a cajon. Yeah,
yeah. I can get it. Yeah, go grab it. I'll just
cut this pause real quick. Yeah, I got it. It
stays with me, man. I'm going to check out this
kitty situation. You got to chill, bro. Stop
it. It's all right out there. Yeah, man. Yes,
sir. All right, we got a slap box here. I'm going
to adjust the camera so we can get it on. Okay.
You want to give us a little demo with it? Yeah,
I got you. Yeah, man. Hell yeah. Yeah. Hell yeah.
Yeah, I love this thing, man. It's called a Slapbox.
It comes from the Cajon family. So if you've
seen a Cajon, this is essentially what this is,
but it has inputs to where you can amplify it
and put it into a system. And the bass on here,
it's really massive. When I see it's got multiple...
Holes, driver holes. I don't know what you would
call that. Yeah, it just emits the sound. You
know what I'm saying? Just puts it out there
more. So just one beat. And you can make all
kinds of different sounds with that too, I noticed.
Yeah, yeah, yeah. Like this. And you get your
bass here. But if I plug it into a system, like
it'll. It's like a whole kit. It'll fill up the
room. Yeah. It's like a whole kit in your lap.
Yeah. That's wild. Very... Yeah. It's actually
a really big hit. Like, whenever I take it out
somewhere, because it reminds you, like, of a
school desk. So it makes people feel like anybody
can... Really, anybody could play it. If you
want to... Oh, man. Yeah, it's nothing to it,
man. I'm going to probably end up cutting this.
Nah. There it is. There it is. A lot of different
sounds coming out of that thing at once. A lot
of different sounds, man. That's pretty cool.
I played a little drums on Rock Band before.
Say that again? I played drums on Rock Band,
the video games. Yeah. Oh, man. I used to do
that, too. I haven't thought about that in years.
I'll bust it out after the interview if you want.
Let's play. Oh, my goodness. Man, that's pleasant.
Yeah, I haven't even thought about Rock Band
in a while. Yeah, that'll get you right, too.
At what point did you – because you told me last
time we talked that you're – this is it. You're
able to do this full time now. What was the turning
point for you for that? The turning point was
really I just wanted – okay, so I was working
at – I was doing security. I was working security
at Bond Elementary School. So I was doing that,
which is a cool job. Honestly, I didn't have
any issues. or anything like that. Yeah, just
in case this doesn't work out. You know what
I'm saying? Let's be clear. Let's be clear. I
had no problems with that. None. I was cool.
But you know how you just want to see if you
can fly. You know what I'm saying? Just do this
full time. Just make your own schedule. So that's
really just what inspired it. Me just stepping
out there. I wanted to be able to say that I
gave it a shot. I didn't want to live my life
with regrets and be like, yeah, I just never
took that leap of faith to see if I can just
solely do this. Now, I will be honest. You know
what I'm saying? It's not all. Oh, it's hard.
Yeah. And it gets harder. It's getting harder.
Yeah. Honestly, it is. I have to be completely
transparent, like still having that stability,
knowing when the tickets come in, what it's going
to be and everything like that. I would not knock
that for anyone. You know what I'm saying? Because
this is a different ballgame. Because you can
have your hot season where you're getting booked
all the time, gigging out every week, every weekend,
everything's rolling. But the dry season happens
too, where you may have a gig here and there
and stuff like that. So it comes in waves. I
had J. Roddy Walston on here. He's a musician,
songwriter, piano player, guitar player, that
kind of thing. And he told me that if you want
to make that kind of thing work, like if you
want to make it in any way, if you want to be
able to make a living doing what you love, you
can't have a backup plan. No plan B. Because
that plan B, like that stability, that stuff
is really nice. But the moment you have that,
it takes away. The survival instinct aspect of
being, of driving your heart. Yeah, that's so
true. And if you make it the primary focus, if
you make it your only option. You have to. You
have to make it. You don't give yourself a choice
but to make it work. Once again, I wouldn't recommend
that to everybody. I wouldn't either. I'm just
going to be honest. But I do think if you're
going to give it a shot, if you really think
you want to give it a shot, figuring out a way
to do that is the right way for me. And I think
that was one of the first things that attracted
me to talking to you when we first met. I knew
you were one of these people that... We're putting
your all into it. Thanks. What are some of the
projects that you, cause you play, you drummer
on the move is something you do consistently.
What are some of the one -off things that you've
done that, that you, that really stuck with you
or maybe not even one -off, but you've worked
with people a few times and really stuck out
really. Maybe like they taught you something
about your solo music or something like that.
Is there anything that kind of sticks out? I
know you've worked with Seep a lot. He's a guru
when it comes to music. You said the right word.
A true guru. I'm so glad you brought him up.
Big shout out to my guy Seep. I call him Seep.
We've had Terace on here. We haven't had Seep
on yet. Gotta get him on here. That'd be really
inspirational too. For real. Man. Seep. He inspires
me so much because he's just introducing me to
just other styles of music, just other cultures.
I feel more cultured when I'm playing with Seep.
Matter of fact, we have a show coming up at the
Blue Tavern together. But yeah, man, I've been
wanting to come to one of those. I've been out
of town the last couple times you've done it.
We're going to have plenty more throughout the
year. Y 'all have worked together a lot. Absolutely.
What is it like working with somebody consistently
versus working with somebody just once or twice?
How does that change how you work with them?
When you work with someone consistently, you
start to build chemistry. You just know what
they're going to do before they do it and vice
versa. So it just makes things flow a lot better
because you spend time with that person and seeing
how they think, seeing how they move, seeing
their whole process. You're a lot less improvisational
when you're working with somebody for the first
time. Right. You're just trying to gel. You're
trying to see where their headspace is. You're
just trying to collab and just try to come together.
As opposed to with somebody like Seat. I can
freestyle more. I pretty much know what he's
going to do. We'll find each other playing the
same thing at the same moment. That just comes
with it. consistency of just playing with somebody,
just developing that chemistry. As opposed to
someone you work with every now and then, or
like you said, like a one -off, you're pretty
much just trying to find that chemistry because
you haven't spent a lot of time together to see
how each other think. At what point do you think
you would work with somebody on a more official
basis where like, maybe we do some recording,
maybe we do... more than one, maybe we come up
with a name. Is that something that you're open
to? Absolutely. I'm absolutely open to collaborating
and just working with people. But more than just
like a one -off show or an occasional gig? Yeah,
I'm totally open to that. I just, I like working
with people that have substance. Something to
say. I love working with passionate people, just
basically like -minded people. So people like
that, I could absolutely work with no problem
consistently. We talk smack about cover bands
or whatever, but what it comes down to is that's
what people want to hear a lot of the time. That's
what the market calls for, especially when you
don't have a real venue that consistently has
music. We have a couple of spots that have good
local shows. Don't get me wrong. I've seen some
really good local shows recently. 926 and The
Bark. But we don't have any dedicated music venues
of club size in this town anymore, really. What
Floyd's used to be, even The Moon is a really
big room for a lot of the artists that we're
talking about and for local bands to play, especially.
Right. What are some of the challenges that you...
What are some of the ways that you think that
what you're doing overcomes those challenges
that I think a lot more traditional, original
musicians are facing in the scene? I think part
of it, just my observation, part of it is it's
a lot easier to pay one person than it is four,
five, six people. And you can have a smaller
audience and it still be a sustainable show as
a solo artist. What are some of the other, I
think, one of the things I see about you is getting
out there and playing on the street. I was just
finna say, yeah, just getting out, playing on
the street, like, I still do that. And I also
have this series called Acoustic Thursdays as
well where I collaborate. It was about basketball.
Yeah. Where I collaborate with different musicians
and artists around town. What gave me, what sparked
that idea is that I see where A .I. is headed.
So I want to. For musicians, I want to go in
the opposite direction. So I'm just trying to
offset where I see everything is going by just
making sure that there's still something going
on around here that's still authentic and pure.
Not trying to be perfect. You know what I'm saying?
Not even really out here trying to impress or
to put on to impress people. Because you play
music. You're playing. play outside or play in
a game like you're supposed to have fun and it's
supposed to be you're supposed to play music
but where i see everything is going you have
to be perfect like people crash out over feeling
like they aren't enough yeah and for sure that's
perfection like i think that personally has been
one of the biggest that was one of the biggest
things that stopped me from doing the things
i wanted to do like That drive for perfection
for the longest time. Sometimes it's an excuse
to not do it. Sometimes it's a self -esteem thing.
I think it's a combination of all these things.
But I know exactly what you're talking about
because if you look online and everybody's life
is perfect, everybody's songs are perfect, everybody's
beats are perfect, everybody's got their drums
fixed to... By some producer who, you know. Yeah.
And I'm not saying that there's not a place for
that. Right. But when that's all there is, and
that's all, it's really hard to think that your
shit is worth anything. That's exactly it. That's
exactly it. And it's really hard to be like,
I'm going to put this out there, and it's not
perfect, even though everything I see seems to
be. That's hard. That's very hard. And it's all
perspective, too. It's all perspective. So what
you can think, oh, man, this is the most perfect
thing I've ever seen. The next person can think
it's trash. So really, the whole time, it's all
in your own head. Man, the best thing I did was
just said, fuck it. I started putting them out.
There you go. Yep. And I think there was elements
of that procrastination, trying to get it right.
Get it perfect. That served me well. Right. Don't
get me wrong. But eventually you have to let
go of it. That's it, man. That's it. Having examples
out there of things that aren't polished. I don't
want to say they're not perfect because they
are perfect. But they're not polished. Right.
In the way that the algorithm might reward or
something like that. I think seeing that more
is more inspirational than seeing everything
being perfect all the time. Bingo. And I think
that, to bring it back to the slap box, I think
that's why people love it. You get such a response
with it. It goes back to what you were talking
about, because anybody feels like they can do
it. That's where the connection happens, I feel,
in humanity. You know what I'm saying? People
like to feel... Like, they can be a part too.
Sing this line for me. Yeah. It's exactly like
what drew me in in the first place to rock and
roll was, yeah, I want to be part of this. It's
a happening. It's not just a show. And I think
that's where, like, big shows, arena shows, civic
center, that gets lost. Right. That's why I love
club shows more than anything. I love a 500 seat
venue. That is where I want to see a band. Yeah,
you feel included. Yeah. You feel included. And
I think everybody wants to feel included in some
type of way. I'm going to shift gears just a
little bit here because I want to talk about
this too. I think a lot of musicians are afraid.
To busk, essentially. Because that's essentially
what you're doing a lot of the time. What are
some of the legalities around that here and in
other places that you've worked? Is it something
that you concern yourself? For you, is it more
of a, I'd rather ask for forgiveness than permission?
Or have you done a lot of research on this stuff
to figure out where you can and can't play? Honestly,
no. Nah, nah. Okay. Honestly, I just try to go
off of intuition. I'm not going to be anywhere
to where I know I'm going to cause a lot of problems.
I'm not going to play directly in front of a
store. Right. You know what I'm saying? So I
try to find space. Most of the time, I'm on the
street. You know what I'm saying? I'm not really
around anybody where I can disturb the peace,
basically. So I look for... for areas where I
can essentially just not be a disturbance. I
haven't done a, now, which I should've did, you
know, one of my earlier videos when I first started
out with Drum On The Move that went viral, I
played on the train track and I wasn't, I didn't
know it was illegal until I started getting comments.
Hey, you might want to take this down. But I
was already like... It was already, like, taking
off and getting high. I was just like, oh, I
can't. Yeah. It was AI anyway. Yeah. You shot
that on a green screen. It's fine. I was like,
look, I'm just going to take my chance because
my name is getting out there with this video.
I'm just going to take my chances. My dad called
me. He was like, hey, Marlon, don't ever do that
again. That's illegal. Like, you cannot just
set up and just play on a train track. So I was
like, ah, okay. Ah, yeah. I haven't done it since,
but that's a time that I remember I was just
like, I probably should have did my research.
I feel like that's one of those times, though,
that if you had done your research, that video
never would have gotten made. Thank you. It was
meant to happen. I wasn't in fear of being hit
by a train. You hear it coming. I didn't set
up my whole drum set the way I have to. Just
little bits and pieces the way if I hear something,
I can just pull it to the side. What if you were
really into it, man? What if you were just grooving?
Nah, I was still conscious because I was, you
know what I'm saying? I was just like, I want
to be able to hear something coming. So you play
in a lot of places where it can be noisy. There's
other noises, other sounds going around. Does
that ever get incorporated into what you're playing?
Really nothing other than just people honking
and saying, we love you or you sound great or
something like that. People have come, like pulled
around. They've gotten out of their cars and
just come and dance in the video and stuff like
that. Just being a part. Because around here,
that's rarely seen. People just outside playing.
So I guess it's really intriguing to people.
So I've definitely had several instances. I want
to see more of it. Me too. I think it'd be cool
to just see people just on the corner or whatever,
like playing guitars. Pretty much anything musical.
Just displaying their talent. I think that'll
be cool to see. That's inspiring. I think that's
the kind of thing that the commissioners could
get behind that wouldn't divide them, wouldn't
turn into this. Everybody wants to hear some
music in certain places. Anyway. It's all positive
vibes, man. Just positive energy. What I get
most out of it is when people approach me and
say they had a bad day. I'm going to share this
story that I was outside playing. I was out on
Capitol Circle, just playing on the sidewalk.
And a lady stopped at the red light and she told
me to come to her car. She was like, I just lost
my baby. And I'm really going through it. And
I heard you playing as I was coming down the
street and it just completely made my day. I'll
never forget that because you don't know. what
people are going through. You know what I'm saying?
So it's stories like that's what really drives
me to play outside. Cause just honestly, I don't
be out there asking for money. I'm not really
trying to get anything out of people. Now, if
they come with it and be like, Hey, I want to
bless you with something. I'm just like, who
am I to turn it down? You know what I'm saying?
If that's on your heart, if that's on your heart
to want to give, you see what I got going on.
I'm flattered. I'm grateful for that, but I don't
just intentionally go out there to play for money.
I think when people do that, when they support,
it's because they want to see it happen more.
And then to support these things is to keep them
going, is to keep them sustainable. Right. And
so that's the way I've always looked at it. That's
real. That's real. It's not anything other than,
hey, man, I want you to be here tomorrow. Wow.
Yeah. I haven't thought about it like that until.
Yeah. Yeah. Yeah. Man, one thing that comes up
on this podcast quite a bit is like a lot of
artists have either internal or external like
turmoil, struggles, maybe a darkness. Some people
get into it just for the love of the art, though.
And it's not necessarily like a coping mechanism
for anything else. Where do you think you fall
on that spectrum? Honestly, all of the above.
I do it because I really do have a passion for
it. I truly love it. And then a lot of times
I do it to cope with something, to get through
something. You know what I'm saying? Anytime
I'm going through something, I aim to channel
it constructively instead of destructively. I've
been there. I used to drink a lot. I used to
smoke a lot, like a lot. Yeah. And now I just
channel that into just playing and working out,
basically. Was there like a turning point for
you with that kind of lifestyle, converting that
energy into more positive outlets? Honestly,
after my divorce. After I got a divorce, I was
just like, hey, what am I doing out here? What
am I doing out here? Just took accountability
of everything that I contributed to everything.
And I was just like, nah, I have to turn my life
around. Like, what I've been doing got me here.
Right. You know what I'm saying? And it comes
to a point where you just have to surrender and
just be like, hey, man, I really don't know everything.
I don't have it all figured out. I don't have
it all together. I don't know what I thought
I knew. So at some point, I'm speaking generally,
but for me, I had to just surrender. I just got
sick and tired of being sick and tired, man.
Yeah. I get upset or stressed or something like
that. Instead of going to get a bottle or get
a pack of beer or something like that, I just
started. going outside, you know what I'm saying?
And just playing, get that fresh air, let the
sun hit me, let hear the birds and everything
like that. And like, even while people may feel
like I'm making their day by them seeing me,
they making mine too. Cause they don't know what
I'm going through as well. You know what I'm
saying? So it was actually like a give and take
even to this day. Like people would never know
that I have. Something says going on because
I'm just out there with all smiles, but they're
blessing me as well. So after my divorce, I was
just like, no, something has to change. I have
to change. I'm not going to continue to live
my life like this. It's not conducive to the
well -being of my mental health. So I was just
like, you always have the power to decide what
to do. A lot of things are you just really only
one decision away from just changing your life.
For better or for worse. For better or for worse.
You always have the power to decide. So that
was the turning point for me. What are some of
the things that people can find you on? You've
got your Acoustic Thursdays. You're playing out
in the community on a regular basis. Where can
people find you if they want to follow what you're
doing? Yeah, I play a lot at Island Wings. I'm
there quite a bit. No set schedule there. Just
when they hit me up to come through and play,
I play out there. But I'll be out there quite
a bit. And you said Instagram is your biggest
platform? Instagram is my biggest platform. I
would say Instagram is the platform to where
I was really able to reach people all over the
world with my videos. Facebook is solid. As well,
I would say Facebook is more so like around the
area, around the region. Yeah, yeah. You know
what I'm saying? That makes sense, yeah. More
the Tallahassee area community, I would say.
But Instagram is definitely it. I have a TikTok
as well. YouTube, I post on YouTube. I wouldn't
say those are as popping as Instagram, but Instagram
is absolutely. Man, it's with all the different
platforms. Another content creator, it is so
hard to make, when you're doing it by yourself,
to make yourself present on all the platforms.
I've focused really hard on just one platform.
YouTube has been really good to me. But I think
focusing on one for each purpose is really smart.
Having Facebook for your local stuff. promoting
where you're going to be in town and stuff like
that. And then your Instagram, that's your content
machine. That makes a lot of sense to me. Yeah,
that's how it set up for me. What's next for
you? This year I'm going to be releasing a lot
of music. Okay. And a lot of my music, I would
put it in the genre of more so like easy listening
type deal. Just a lot of instrumentals, easy
listening instrumentals. I'll be dropping a lot
of that this year. Okay. Which, honestly, has
taken me a lot of courage to even get to this
point because I was in my own head trying to
make it perfect. When I think it's right, I'm
just like, ah, it could still be more or it could
still be this, you know what I'm saying, as opposed
to just get it out there, just release it. So
that's something that I'm embarking on this year.
And I also have... collab projects that I'm working
with different artists. My friend Tobias, I don't
know if you're familiar with Brad Fouts, plays
guitar. That name's familiar, but I don't think
I know him personally. Yeah, I have stuff coming
out with him. I would love to do something with
Seat. Yeah. Get more into earthy sounds and rhythms.
Multicultural music. Marlon, it's been really
awesome talking to you, man. Is there anything
else you want to mention before we wrap this
up? Let's see. I just want to give people an
encouraging word real quick. Just be yourself.
It sounds really cliche to say, like everybody
said, but just be who you are. There's no one
else in the world like you. God made you for
a reason. Walk in that. Stand firm in that. Know
who you are and know who you aren't. That's what
I have to say. Hell yeah, Marlon. Thanks, man.
No, thank you. Thank you. That was my interview
with Marlon Williams, drummer on the move. You
can catch him anywhere around the 850 area. Follow
him on Instagram and all that jazz, and you can
find out where he's at at any given time. Hit
that like button. Hit that subscribe button.
Please share this episode if you enjoyed it.
If you didn't enjoy it, tell me why in the comments.
I can take it. We'll see you guys next week.
Thanks a lot.