WEBVTT

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What is going on? This is John Lawyer of Tantric

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and you are listening to My Weekly Mixtape with

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Brian Colburn. Let's get this party started.

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Welcome to My Weekly Mixtape, a podcast that

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takes the classic mixtape approach to building

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a modern playlist. I'm your host, Brian Colburn.

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Joining me once again for tonight's collaboration

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is John Laurie, drummer for Tantric. John, thank

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you so much for joining me tonight again, man.

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I'm so excited about this episode. You have no

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idea. You were my guest earlier on episode nine,

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the greatest drummers of all time. So I thought

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for a logical follow -up, let's talk about the

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drummers that we both consider underrated. Now

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that right there is a loaded question. Because

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if you really think about this, there's somebody

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on this earth. I haven't met them yet, but there's

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somebody who thinks Neil Peart from Rush is underrated

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in some facet. So the word underrated could really

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mean anything to anyone. So I'm very curious

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to see where this playlist kind of heads tonight.

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You know, I was thinking about the same thing.

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And then I was thinking, you know, with the last

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episode, we're talking about. songs that like

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any drummer would would definitely say like this

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is top this is it this is you know hot for teacher

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if you're doing this sort of podcast topic of

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best drummers of all time you almost feel like

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you have to say those songs and for me personally

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of course like hot for teacher but what about

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all these other drummers facet that nobody talks

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about or those drummers that get overshadowed

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by someone else in the band that might be the

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ripping guitar player or the ripping vocalist

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and it's like oh well then there's this guy and

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it's like no but did you listen to this did you

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listen to this drum track this is a crazy topic

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so i'm very very excited to talk about it Well,

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let's not waste any more time and get right down

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to business. Tonight, as I mentioned earlier,

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John and I are curating an underrated drummer's

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mixtape, and we're going to use that old cassette

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deck approach. John, as my special guest, will

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begin Side A with his first song choice, and

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then I'll add a song that I feel best follows

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up his choice. We'll then flip -flop choosing

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songs until we've mapped out 10 songs for Side

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A. We'll then give our mixtape a proverbial flip

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and we'll map out side B, only this time I'll

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kick the side off with John choosing second.

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Our overall goal for this episode is to craft

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the best underrated drummer's mixtape possible

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through only 20 songs. At the end of the show,

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you can take our conversation to the next level

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by visiting the episode page at myweeklymixtape

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.com to give our final mixtape a listen via the

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embedded playlist. And finally, if you like what

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you're hearing on the show, you can help me out

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by either telling a friend, leaving the show

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a five -star review wherever you're tuning in,

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or becoming a Patreon mixtaper at patreon .com

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forward slash myweeklymixtape. And a few of the

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Patreon mixtapers chimed in with drummers that

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they feel should be used to kick off an underrated

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drummer's mixtape, and I want to give a shout

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out to a few of those. Ben from the Too Vague

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podcast chimed in with Alkaline Trio's Glenn

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Porter and the song Cringe. Jason Donchus chimed

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in with a few. Blackberry Smoke's Britt Turner

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and Collective Soul's Johnny Robb, which he calls

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the Kings of Groove. And something you might

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be familiar with, he also added in Matt Tall

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of Days of the New and the original Tantric drummer,

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saying that these are massive grooves with tasty

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fills and a unique sound. Cactus Pete chimed

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in with Chad Smith of the Red Hot Chili Peppers.

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Now, he made our greatest drummer's mixtape without

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giving away too many spoilers. But Cactus Pete

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is not sure that Chad Smith gets the recognition

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he deserves and thinks that when you listen to

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the Chickenfoot album, he was able to spread

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his wings musically more and have that bigger

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sound. So I think that's an interesting concept.

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Seeker went with Cram from the Aussie band Spiderbait,

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who also doubles as their lead singer. Sean Faust

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chimed in with Scott Travis of Judas Priest,

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saying the Painkiller album makes a very impressive

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announcement that he's the new drummer. And finally,

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David Lee Smith chimed in with Montross' Denny

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Karmasi and Space Station No. 5. Now, John, with

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those picks out there to ponder over, I'm going

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to officially press the record button on our

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mixtape and pass the mic to you. Why don't you

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dive into the song that you chose to kick off

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side A? Now, with all of those out there, I'm

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going to choose off of their album, All the Right

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Reasons, Nickelback's Follow You Home, Daniel

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Adair as the drummer. So everybody that hates

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Nickelback, just stop to listening. But. I will

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say this. For one, I really wanted to talk about

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him last podcast. Daniel Adair is the drummer

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that kicked it off for me as a drummer. Seeing

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him live for the first time, it was my first

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concert ever. Seeing Nickelback was my first

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concert. And so, you know. I had back and forth

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on should I be a drummer? Should I not? You know,

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my brothers all pick guitar. So I was like, ah,

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what am I going to do? And if it wasn't for Daniel

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Adair and seeing him play live, I wouldn't be

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a drummer. Definitely. So Follow You Home, though,

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kicks off this record with this crazy double

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bass pattern. And you don't expect that from

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Nickelback, right? And at this point in their

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career, they already had the most. played song

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on radio. So it's like, what else are you going

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to do? This is a new drummer coming into a new

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album. How do you kick it off? And this song

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does exactly that. So it's a great groove. It's

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a great tune, but that double bass intro just

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solidifies it as, okay, this guy can play all

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the ballads, but he can also do this. So. 100

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% agree on that one. I think I've said before,

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and I said this on the last drummers episode.

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Metallica's Black Album had this drum sound that

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was just so massive and so signature. And I feel

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like Nickelback in their heavier songs tries

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to incorporate that really larger than life drum

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sound. Because when you listen to the opening

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drums on Follow You Home, it almost sounds like

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you're in a cathedral with them. And they're

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just so loud and so big. That the song has nowhere

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to go but heavier from there. And the pattern

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that he's playing with the double kick really

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drives it home that people don't realize Nickelback

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is, first and foremost, a meat and potatoes hard

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rock band. And a song like Follow You Home shows

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that they can do it just as well as any other

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hard rock band on the planet. But for some reason,

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the ballads are what give them That whole soccer

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mom hate that I feel like is truly unjustified.

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So I love the pick. Yeah, it's just a great tune.

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And he's one of those drummers, he's been on

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a ton of stuff. So he was in Three Doors Down

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initially. So before Nickelback, he was in Three

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Doors Down and he was on most of those hits from

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their earlier records other than the first album,

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which is Brad Arnold playing drums. But Daniel

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Adair is just one of those prolific rock drummers

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that's been around since the early 2000s. And

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he just keeps showing it time after time on all

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the Nickelback records that he can hold back

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and play. a groove no problem not play any drum

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fills keep it simple and then he'll let loose

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on tracks like this and then shows like okay

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yeah all right this guy can actually play well

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following that up i want to go with a track two

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that stays heavy but has a groove that is undeniable

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from a drummer that has done so much Yet people

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don't talk about him as much as I think they

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truly should. And that drummer's name is Mike

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Borden. And I am going to go to 1992's Angel

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Dust, Faith No More, Midlife Crisis. That drum

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beat is so tribal and so infectious, but the

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song is heavy to the point where when Disturbed

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covered Midlife Crisis. I love disturbed, but

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it didn't pack the punch that the original did.

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People don't realize Mike Borden is everywhere.

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He's played with Jerry Cantrell on the degradation

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trip album. He played with Ozzy. He did the re

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-recordings of blizzard of Oz and diary of a

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madman in 2002. He did the undercovers album,

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black rain down to earth. He toured with Ozzy

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for years. He's played with corn. He's played

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with Primus. People don't talk about Mike Borden

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enough. And Faith No More is such an underrated

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band overall. I know they sell out arenas, but

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people don't realize just how prolific this band

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is. And Mike Borden is such a huge part of that.

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So I'm going to follow up Nickelback's Follow

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You Home with Faith No More's Midlife Crisis.

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love it that's a great pick and mike borden has

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been everywhere like i was just once you said

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his name i immediately thought ozzy re -records

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and also uh to that point the black album sounds

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carry through into that song for sure but the

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tribal drum beat is yeah undeniable well where

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do you go from here uh Underrated, and again,

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like I mentioned at the very beginning, there

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are these guys that get overshadowed by somebody

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else in the band. I was thinking about this because

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we didn't talk about them last time, but I'm

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going with Five Minutes Alone by Pantera, Vinnie

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Paul. That's my favorite Pantera track because

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of how heavy it is. Far Beyond Driven, that's

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probably their heaviest record. So one, I think

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Vinnie Paul is underrated because Dimebag Daryl

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is always the guy that got the spotlight. Vinnie

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Paul has been through a bunch of different things,

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even into bands like Hell Yeah. But he's always

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that guy that is the pocket groove guy. So he'll

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do these things that are super flashy and whatever.

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But if you listen to the very middle, the very

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breakdown of Five Minutes Alone, it's just kick,

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snare, do, do, do, do, do, do, do. It's like

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not this over the top part, but it's so heavy.

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And the way he played was just that massive drumming.

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So Vinnie Paul. Absolutely love it. I mean, he

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did some amazing stuff. You think about Damage

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Plan. You think about all the stuff he did with

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Hell Yeah. Hell Yeah's last album that they put

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out with songs like 333 and Oh My God. His drumming

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never. lost a step. And it is such a bummer that

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he passed. I got to see the Pantera reunion project

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open for Metallica and MetLife stadium. And I'll

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tell you, Charlie from anthrax is holding it

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down with a lot of respect. And Charlie is literally

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one of the founders of the blast beat. So to

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me, Charlie was like, an influence to Vinny and

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now he's paying tribute to him. And you really

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hear the intricacies of what he's doing in Pantera

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because some of the stops and the fills surrounding

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dime bags, guitars. If you think of a song like

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Walk with the guitar solo, some of the stops

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and nuances that he does to let Dime solo over

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it, it's actually a lot more complicated than

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the riff makes it seem. And I'm so glad that

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you brought him up because he is just such a

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big part of what I love so much about metal music.

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And I'm so sad that he's no longer with us. So

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amazing pick. Yeah, for sure. Well. You used

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a word when you talked about him and I have to

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follow up that word because you talked about

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groove and Vinnie Paul brought a groove to Pantera.

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I am going to go with a drummer that I feel has

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one of the most undeniable grooves on a hard

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rock album ever. However, the problems he's had

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in his life have overshadowed. This brilliant

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drumming effort. And I'm going to go back to

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1987 and I'm going to go with Steven Adler from

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Appetite for Destruction. And I'm going to go

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with Rocket Queen, because when you think about

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a swagger to the drums, this song has such. a

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groove to it that even when Matt Sorum joined

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and Matt Sorum is another drummer that could

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be discussed at some point tonight because of

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the stuff he did with the cult velvet revolver

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and with guns and roses. But when he played Steven

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Adler era songs, they were extremely tight, perfect

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for the use your illusion tours. But the groove

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was slightly missing. And every time I watch

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Guns N' Roses perform now, even the drummer they

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have with them now does a fantastic job. But

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there's something about the nuances that Steven

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brought to those songs that I think make Appetite

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for Destruction the classic album that it is.

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So I am going to follow up Pantera and Vinnie

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Paul with Steven Adler, Guns N' Roses, Rocket

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Queen. That's a great, great choice. And I've

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been thinking about it because I've had kids

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that they want to learn Welcome to the Jungle

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or whatever. And so many of those grooves off

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of that record were so hard to replicate live

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because it's not him. It's not the guy that wrote

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it. Matt Sorum did a great job, like you said,

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and for a number of years. But those grooves

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that he created for those songs are undeniable.

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And there is one part, though, we talked about

00:15:06.389 --> 00:15:10.029
it beforehand, not off camera. We talked about

00:15:10.029 --> 00:15:12.389
it with those moments where you're like, did

00:15:12.389 --> 00:15:14.529
he mean to do that? At the very beginning of

00:15:14.529 --> 00:15:16.669
Sweet Child of Mine, he starts on the hi -hat

00:15:16.669 --> 00:15:20.029
and then goes to the ride. Yep. Like first note

00:15:20.029 --> 00:15:22.950
in. And I'm like, was that intentional or not?

00:15:23.230 --> 00:15:27.669
Anyway, sorry to get off topic. But Stephen Adler,

00:15:27.789 --> 00:15:30.490
fantastic drummer. Great choice. Underrated for

00:15:30.490 --> 00:15:33.480
sure. Well, now following it up, what do you

00:15:33.480 --> 00:15:38.740
got? I like all these choices, and we've kind

00:15:38.740 --> 00:15:42.779
of gone to a... We started pretty darn heavy

00:15:42.779 --> 00:15:45.840
and then worked our way to the lighter side.

00:15:45.960 --> 00:15:49.600
This one came to me very last minute, but I'm

00:15:49.600 --> 00:15:54.440
going to go with Steve Smith from Journey on

00:15:54.440 --> 00:15:58.929
Separate Ways. Ooh. We didn't talk about Journey

00:15:58.929 --> 00:16:01.629
last time, and it's very rare that anybody even

00:16:01.629 --> 00:16:06.049
brings up Steve Smith. But listen to this song.

00:16:06.330 --> 00:16:10.169
The drum fills in the very middle or towards

00:16:10.169 --> 00:16:12.710
the end of it, that whole drum break section,

00:16:12.889 --> 00:16:16.730
that thing is nuts. And that fill going into

00:16:16.730 --> 00:16:18.929
the second chorus, the ba -da -ba -da -ba -da

00:16:18.929 --> 00:16:22.629
-ba -da -ba. Someday love will find you. He's

00:16:22.629 --> 00:16:25.769
playing all of these crazy... fills throughout

00:16:25.769 --> 00:16:28.490
it, but that chorus is just straight kick, snare,

00:16:28.710 --> 00:16:32.529
kick, snare, kick, snare, driving the whole show.

00:16:32.850 --> 00:16:35.129
You know, he's been prolific on a ton of other

00:16:35.129 --> 00:16:37.950
Journey tracks, you know, but I feel like this

00:16:37.950 --> 00:16:40.789
one really showcases all of his drumming. And

00:16:40.789 --> 00:16:43.909
let's just be honest, when people think Journey,

00:16:44.070 --> 00:16:47.610
they think of Steve Perry or Arnell's voice,

00:16:47.690 --> 00:16:50.009
because that's kind of a signature. They think

00:16:50.009 --> 00:16:52.970
the opening piano to Don't Stop Believin'. and

00:16:52.970 --> 00:16:55.450
then you automatically go to the guitar sound.

00:16:55.710 --> 00:16:59.830
I mean, that is Journey. Neil Sean, but you don't

00:16:59.830 --> 00:17:02.990
think about the fact that these drums, Journey

00:17:02.990 --> 00:17:07.450
was a progressive band in the 70s, and the timing

00:17:07.450 --> 00:17:11.710
and the complication in these drums, even though

00:17:11.710 --> 00:17:16.089
the songs don't necessarily give off the complexity

00:17:16.089 --> 00:17:19.730
that is happening, the nuances, like you talked

00:17:19.730 --> 00:17:23.319
about, really shine through. Yeah. And I think

00:17:23.319 --> 00:17:25.380
following that up, I'm going to go even a little

00:17:25.380 --> 00:17:28.640
lighter than Journey. But with a band that I'm

00:17:28.640 --> 00:17:30.740
nervous, I'm actually nervous to say this one

00:17:30.740 --> 00:17:33.900
because people are immediately going to yell

00:17:33.900 --> 00:17:36.359
and they're going to go, oh, come on. He should

00:17:36.359 --> 00:17:38.099
have been included on The Greatest Drummers.

00:17:38.180 --> 00:17:42.420
And I agree. Yeah. However, when you're in a

00:17:42.420 --> 00:17:45.720
band and the bass player and lead singer is Sting,

00:17:45.859 --> 00:17:50.539
you are overshadowed. And Stuart Copeland is

00:17:50.539 --> 00:17:55.210
one of the greatest. groove, punk, rock, reggae,

00:17:55.289 --> 00:17:58.490
jam, whatever you want to call it, drummers that

00:17:58.490 --> 00:18:03.970
I have ever heard. He makes The Police, an already

00:18:03.970 --> 00:18:07.730
excellent band, better. And the song I'm going

00:18:07.730 --> 00:18:11.849
to go back is off of 1979's Regatta De Blanc,

00:18:12.009 --> 00:18:14.269
and I'm going with their massive hit, Message

00:18:14.269 --> 00:18:18.750
in a Bottle. Most people don't think about what's

00:18:18.750 --> 00:18:21.660
happening. in drums in that song because you're

00:18:21.660 --> 00:18:26.180
so fixated on the lyrics and the guitar work

00:18:26.180 --> 00:18:31.079
his drumming in that is insane it's obscene what

00:18:31.079 --> 00:18:33.720
he's doing in that song going from double time

00:18:33.720 --> 00:18:37.019
and the random hi -hat bells that he's ringing

00:18:37.019 --> 00:18:39.759
in the middle like he is flailing around that

00:18:39.759 --> 00:18:42.960
drum kit like animal from the muppets yet he

00:18:42.960 --> 00:18:47.220
never overplays the song no He knows exactly

00:18:47.220 --> 00:18:51.000
how to play for the song, but still keep it complex

00:18:51.000 --> 00:18:55.279
and nuanced. And that thought process is why

00:18:55.279 --> 00:19:00.039
he had no problem stepping into Oysterhead with

00:19:00.039 --> 00:19:04.720
Trey Anastasio and Les Claypool and making that

00:19:04.720 --> 00:19:08.420
so unique because he could follow. Those guys

00:19:08.420 --> 00:19:12.119
who are top tier in terms of where is their mind

00:19:12.119 --> 00:19:14.900
going musically, he's able to keep up with it.

00:19:14.980 --> 00:19:18.759
And to me, no matter how amazing he is and how

00:19:18.759 --> 00:19:21.940
he should be included on every best drummers

00:19:21.940 --> 00:19:26.240
list, I still think he's underrated. I 100 %

00:19:26.240 --> 00:19:29.019
agree because. You've got to approach it from

00:19:29.019 --> 00:19:31.240
a couple different angles, but to the average

00:19:31.240 --> 00:19:34.640
listener, if you asked anybody outside of the

00:19:34.640 --> 00:19:36.359
music world, like, hey, do you know who Stuart

00:19:36.359 --> 00:19:38.779
Copeland is? They'll go, I don't know. If you

00:19:38.779 --> 00:19:42.160
say, who's Sting? The guy's one word. That's

00:19:42.160 --> 00:19:45.140
his name. It's just Sting, right? It's like you're

00:19:45.140 --> 00:19:49.779
not going to get as many people recognizing Stuart

00:19:49.779 --> 00:19:52.339
Copeland outside of the music world. Now, to

00:19:52.339 --> 00:19:55.799
drummers, to me growing up, a funny story about

00:19:55.799 --> 00:19:58.619
Message in a Bottle. I had to learn that song

00:19:58.619 --> 00:20:01.980
note for note because I had a drum teacher that

00:20:01.980 --> 00:20:05.460
we were going over a bunch of songs like that

00:20:05.460 --> 00:20:09.059
and some police tunes and Message in a Bottle

00:20:09.059 --> 00:20:11.900
came up. So I like kind of like half -heartedly

00:20:11.900 --> 00:20:14.259
played it at home. I'm like, I kind of got this

00:20:14.259 --> 00:20:16.079
groove. Here we go. It's Message in a Bottle.

00:20:16.160 --> 00:20:18.380
Like, you know, who cares, right? It's not going

00:20:18.380 --> 00:20:20.740
to be that hard. And then I came in and played

00:20:20.740 --> 00:20:22.920
it like the next week in my lesson and my drum

00:20:22.920 --> 00:20:25.440
teacher's like, nope, nope, totally wrong. Totally

00:20:25.440 --> 00:20:27.339
wrong. And I was like, What do you mean? Like,

00:20:27.380 --> 00:20:29.400
I'm kind of doing it right. And he's like, no,

00:20:29.519 --> 00:20:31.160
we're going to learn this thing note for note.

00:20:31.259 --> 00:20:34.920
And we did. And I didn't realize how much was

00:20:34.920 --> 00:20:37.920
going on in that song until I broke it apart.

00:20:38.500 --> 00:20:41.259
Stuart Copeland's a reggae drummer at the end

00:20:41.259 --> 00:20:43.420
of the day. He's a reggae drummer that knew how

00:20:43.420 --> 00:20:46.720
to play punk rock of the time. So it's like doing

00:20:46.720 --> 00:20:49.660
that and adding that into a song like Message

00:20:49.660 --> 00:20:52.079
in a Bottle or any of those other police tunes.

00:20:52.200 --> 00:20:55.279
You don't realize that. the snare and the bass

00:20:55.279 --> 00:20:59.400
drum in reggae music land together. So it's like

00:20:59.400 --> 00:21:03.279
one and a two and three and four. And there's

00:21:03.279 --> 00:21:06.359
never a bass drum on the one. So Stuart Copeland

00:21:06.359 --> 00:21:09.960
was the king of adding that into music that should

00:21:09.960 --> 00:21:13.000
have had that bass drum on the one. So a message

00:21:13.000 --> 00:21:15.809
in a bottle. Great choice. All right. Well, what

00:21:15.809 --> 00:21:17.509
do you got to follow that up with then? Because

00:21:17.509 --> 00:21:19.809
now we've gone from like heavy and we're kind

00:21:19.809 --> 00:21:22.529
of trickling this set list down here on the side.

00:21:22.730 --> 00:21:26.430
I had to for this slot, but I have to bring him

00:21:26.430 --> 00:21:29.089
up because again, it's like, how could you not

00:21:29.089 --> 00:21:31.769
say him in the first episode of Greatest Drummers

00:21:31.769 --> 00:21:34.990
of All Time? And in my heart, I was sad because

00:21:34.990 --> 00:21:38.589
we didn't talk about him because he is like the

00:21:38.589 --> 00:21:42.269
second biggest influence on my drumming. Bill

00:21:42.269 --> 00:21:46.269
Ward from Black Sabbath, symptom of the universe

00:21:46.269 --> 00:21:50.779
off of sabotage. Listen to that drum track. I

00:21:50.779 --> 00:21:54.220
like I can't pick a Bill Ward song, a favorite

00:21:54.220 --> 00:21:57.000
Bill Ward drum song because it's too hard. But

00:21:57.000 --> 00:22:00.380
if you want to look at his chops as a drummer,

00:22:00.539 --> 00:22:03.660
Symptom of the Universe is the song that I'm

00:22:03.660 --> 00:22:07.200
still working out to this day because it is so

00:22:07.200 --> 00:22:10.079
fast and so complicated. He takes these long

00:22:10.079 --> 00:22:16.740
drum breaks over top of Tony Iommi's. And he's

00:22:16.740 --> 00:22:20.519
just doing these. crazy, rudiment drum fills

00:22:20.519 --> 00:22:24.160
over his kit all throughout it, and then straight

00:22:24.160 --> 00:22:29.440
into a straight groove. I love Bill Ward. He's

00:22:29.440 --> 00:22:32.099
one of my favorite drummers of all time, and

00:22:32.099 --> 00:22:35.440
I was so sad that we didn't put him on the greatest

00:22:35.440 --> 00:22:38.799
drummers list, but I do think because of Ozzy

00:22:38.799 --> 00:22:41.819
and Tony Iommi, he doesn't get the credit that

00:22:41.819 --> 00:22:45.240
he deserves. Bill Ward is one of those drummers

00:22:45.240 --> 00:22:49.200
that, I mean, Black Sabbath invented or was part

00:22:49.200 --> 00:22:53.539
of inventing heavy metal music. And just think

00:22:53.539 --> 00:22:56.480
about the title track from their debut album,

00:22:56.559 --> 00:23:00.119
the song Black Sabbath. The way that he's using

00:23:00.119 --> 00:23:04.099
drums to almost give off a horror vibe, the rolls

00:23:04.099 --> 00:23:06.759
and the fills where they're not on the beat,

00:23:06.779 --> 00:23:10.039
but they're meant to be like swells with Ozzy's

00:23:10.039 --> 00:23:13.700
vocals. Think about at the time when this album

00:23:13.700 --> 00:23:17.000
came out, there was nothing like that at all

00:23:17.000 --> 00:23:20.059
because it was heavy, but there was this tinge

00:23:20.059 --> 00:23:22.720
of psychedelic in it. But then there were these

00:23:22.720 --> 00:23:26.160
creepy lyrics. And then when they got heavier

00:23:26.160 --> 00:23:29.339
and heavier, there was just something about his

00:23:29.339 --> 00:23:32.660
timing. He's a human metronome for one. And then

00:23:32.660 --> 00:23:35.579
on top of that, just some of the unique complexities

00:23:35.579 --> 00:23:39.140
that he brought to songs making the drums musical.

00:23:39.220 --> 00:23:43.970
For example. war pigs how often is a hi -hat

00:23:43.970 --> 00:23:48.730
a musical instrument where i and you know what

00:23:48.730 --> 00:23:50.609
i mean by that obviously it's a musical instrument

00:23:50.609 --> 00:23:53.990
because it's the hi -hat but played in a musical

00:23:53.990 --> 00:23:57.430
sense because i don't care who you are if you

00:23:57.430 --> 00:24:05.589
walk up to somebody and be like hey people know

00:24:05.589 --> 00:24:08.589
what song you're talking about Yes. That is how

00:24:08.589 --> 00:24:11.650
musical of a drummer he is. So I love, love,

00:24:11.690 --> 00:24:15.049
love the pick. And now coming out of Sabbath,

00:24:15.109 --> 00:24:17.730
I'm going to bring it up a couple decades. Sure.

00:24:17.829 --> 00:24:20.250
And I'm going to go with a band that, again,

00:24:20.309 --> 00:24:22.710
is hiding in the shadows of one of the best of

00:24:22.710 --> 00:24:25.069
all time. And I've mentioned the name before

00:24:25.069 --> 00:24:29.509
because Stuart Copeland sat behind Trey Anastasio

00:24:29.509 --> 00:24:35.450
and Les Claypool in Oysterhead. Tim Herb Alexander.

00:24:36.299 --> 00:24:40.599
sat behind Les Claypool in Primus. And in Primus,

00:24:40.660 --> 00:24:44.140
everything is being overshadowed by the bass

00:24:44.140 --> 00:24:49.740
and by Les' unique vocal delivery. However, you

00:24:49.740 --> 00:24:52.519
take a song like Over the Electric Grapevine

00:24:52.519 --> 00:24:58.099
from 1995's Tales from the Punchbowl, Tim Herb

00:24:58.099 --> 00:25:03.579
Alexander makes that song amazing because you

00:25:03.579 --> 00:25:07.299
need to keep up. with wherever Les' head is going.

00:25:07.440 --> 00:25:11.680
And not only did he keep up with it, he was in

00:25:11.680 --> 00:25:14.200
unison with this weirdness that was happening

00:25:14.200 --> 00:25:16.119
in the middle of the song. And the drum fills

00:25:16.119 --> 00:25:20.079
and breakdowns in this tune are absolutely sick.

00:25:20.279 --> 00:25:22.900
I could even go with the hit from that album,

00:25:23.039 --> 00:25:25.119
Winona's Big Brown Beaver, that was all over

00:25:25.119 --> 00:25:27.460
the radio. If you listen to the drums on that,

00:25:27.519 --> 00:25:31.460
it's a little more refined, but the fills complement

00:25:31.460 --> 00:25:36.109
the bass runs that... Les is doing. So he always

00:25:36.109 --> 00:25:39.049
knew exactly where Les was and where he needed

00:25:39.049 --> 00:25:42.470
to be. And over the electric grapevine, to me,

00:25:42.470 --> 00:25:45.710
is his shining moment of a drum track. And Primus

00:25:45.710 --> 00:25:50.069
obviously deserves some recognition because you're

00:25:50.069 --> 00:25:52.289
keeping up with Les Claypool. So over the electric

00:25:52.289 --> 00:25:55.509
grapevine. That's a great choice. And I think

00:25:55.509 --> 00:25:59.549
Primus in general is so out there, even from

00:25:59.549 --> 00:26:03.029
a drummer standpoint. So to try to play that.

00:26:03.369 --> 00:26:07.789
from my perspective is like, I'm not him at all.

00:26:08.069 --> 00:26:11.210
I've tried to play Primus songs and I can't do

00:26:11.210 --> 00:26:17.670
it. Also to your point, how often is a instrument

00:26:17.670 --> 00:26:20.470
like a hi -hat, a musical instrument, the ride

00:26:20.470 --> 00:26:30.230
bell on If you start that, you know, on that

00:26:30.230 --> 00:26:32.380
ride cymbal back there. People are going to go,

00:26:32.420 --> 00:26:36.759
oh, that's Primus. It's just a great, great little

00:26:36.759 --> 00:26:40.059
nuance. But yeah, great choice. Love Primus.

00:26:40.720 --> 00:26:43.700
All right. You have one pick left for side A.

00:26:43.759 --> 00:26:46.759
So what do you got for it? All right. I was again

00:26:46.759 --> 00:26:49.279
going. It's been cool because we've kind of been

00:26:49.279 --> 00:26:51.700
like, you know, back and forth. It's like a good

00:26:51.700 --> 00:26:56.859
old tennis match here. I want to pay homage to

00:26:56.859 --> 00:27:01.339
the guy that. gave me a job, basically. And one

00:27:01.339 --> 00:27:03.980
of the harder jobs I've ever had to do was figuring

00:27:03.980 --> 00:27:06.640
out his drum grooves. And we mentioned him earlier,

00:27:06.779 --> 00:27:09.799
but Matt Tall from Tantric, the original drummer

00:27:09.799 --> 00:27:14.279
of Tantric, their song Live Your Life is such

00:27:14.279 --> 00:27:17.180
a great drum groove. It's my favorite drum groove

00:27:17.180 --> 00:27:19.400
out of all the Tantric songs that I get to play

00:27:19.400 --> 00:27:23.940
every time. Funny story about this tune. I learned

00:27:23.940 --> 00:27:26.180
it when I was going out with the guys the first

00:27:26.180 --> 00:27:29.000
time. And I was like, yeah, I've got this groove.

00:27:29.119 --> 00:27:31.359
All right, cool. It's an interesting hi -hat

00:27:31.359 --> 00:27:34.259
pattern. I'm like, I think I got it. Two years

00:27:34.259 --> 00:27:37.059
later, I listened to it with good headphones

00:27:37.059 --> 00:27:41.859
through like a good system on CD. And I'm like,

00:27:41.920 --> 00:27:45.339
oh my gosh, I've been playing this groove wrong

00:27:45.339 --> 00:27:49.940
for two years. And it's the littlest nuance on

00:27:49.940 --> 00:27:52.400
the hi -hat. I was doing like 30 second notes.

00:27:52.480 --> 00:27:54.839
He was doing 16th note triplets on this part.

00:27:54.960 --> 00:27:57.759
And I was like. I can't believe that I've been

00:27:57.759 --> 00:28:01.119
playing this so wrong. That's the genius of Matt

00:28:01.119 --> 00:28:05.079
Tall. Hugo, my singer, he always said that Matt

00:28:05.079 --> 00:28:07.519
was one of those guys that was, he was so out

00:28:07.519 --> 00:28:09.680
there and so eccentric. He's got so many funny

00:28:09.680 --> 00:28:12.460
stories about this guy, but he could never play

00:28:12.460 --> 00:28:15.339
the same thing twice. He was always this jam

00:28:15.339 --> 00:28:18.519
band style drummer, but the grooves and the things

00:28:18.519 --> 00:28:20.880
he created for these tantric songs that I've

00:28:20.880 --> 00:28:23.400
had to learn off the first two records are my

00:28:23.400 --> 00:28:26.920
absolute favorite. tantric songs out there it

00:28:26.920 --> 00:28:30.579
was jam band style stuff it was out there playing

00:28:30.579 --> 00:28:33.720
verses on the ride playing choruses on the hi

00:28:33.720 --> 00:28:37.900
-hat having hand drums where usually we hear

00:28:37.900 --> 00:28:40.259
it drummer perspective so we'll hear hi -hats

00:28:40.259 --> 00:28:42.500
in the left and we'll hear rides on the right

00:28:42.500 --> 00:28:46.640
tantric was flipped so hi -hats were on the right

00:28:46.940 --> 00:28:48.900
Rides were on the left. It was crowd perspective.

00:28:49.559 --> 00:28:53.180
Just those little things about his drumming style

00:28:53.180 --> 00:28:56.500
and what he carved his sound as, I've really

00:28:56.500 --> 00:28:59.759
modeled a lot of this career being in Tantric

00:28:59.759 --> 00:29:03.039
off of Matt Tall. So I have to throw him in there.

00:29:03.200 --> 00:29:05.539
I have to give a lot of respect to that. Just

00:29:05.539 --> 00:29:08.119
like Patreon mixtaper Jason Donchus said at the

00:29:08.119 --> 00:29:10.240
top of the hour, you also have to think about

00:29:10.240 --> 00:29:12.640
the stuff he did with Days of the New. Let's

00:29:12.640 --> 00:29:14.779
just use Touch, Peel, and Stand, for example,

00:29:14.779 --> 00:29:18.029
which... He has that jam band style, but the

00:29:18.029 --> 00:29:21.029
nuances, because when you're playing in a band

00:29:21.029 --> 00:29:23.650
that's primarily acoustic driven like Days of

00:29:23.650 --> 00:29:27.390
the New, you could easily overplay those songs

00:29:27.390 --> 00:29:31.029
and take them out of the element. But he knew

00:29:31.029 --> 00:29:34.109
how to fall into where it needed to be for those

00:29:34.109 --> 00:29:39.170
tracks and keep that sound really engaging, but

00:29:39.170 --> 00:29:41.710
not in a showboating kind of way. Just take the

00:29:41.710 --> 00:29:44.029
verse of Touch, Peel and Stand. And that's my

00:29:44.029 --> 00:29:47.349
example here. And I feel like it's a perfect

00:29:47.349 --> 00:29:50.490
spot to put in here. And speaking to the guy

00:29:50.490 --> 00:29:53.470
that has to play them every night, I think it's

00:29:53.470 --> 00:29:56.329
amazing to hear that because there's probably

00:29:56.329 --> 00:29:58.230
no other person on this earth that could speak

00:29:58.230 --> 00:30:00.950
better to the experience of what it's like to

00:30:00.950 --> 00:30:03.789
play these songs because people are in the crowd

00:30:03.789 --> 00:30:06.910
expecting a certain vibe and you need to capture

00:30:06.910 --> 00:30:09.170
that. And there's got to be a challenge in that,

00:30:09.230 --> 00:30:11.680
I'm guessing. The biggest compliment that I ever

00:30:11.680 --> 00:30:14.900
get is the people that come up and go, dude,

00:30:14.980 --> 00:30:17.279
you sound exactly like the record. I don't want

00:30:17.279 --> 00:30:19.319
to sound like John Laurie. John Laurie's got

00:30:19.319 --> 00:30:21.859
his own sound. John Laurie will put his own sound

00:30:21.859 --> 00:30:24.259
on whatever tantric record comes in the future.

00:30:24.440 --> 00:30:28.720
But I want to do the job of the songs that these

00:30:28.720 --> 00:30:32.160
people all know from 20 years ago. They don't

00:30:32.160 --> 00:30:34.599
want to hear John Laurie's interpretation. So

00:30:34.599 --> 00:30:37.940
I got to put a lot of credit to Matt Tall because...

00:30:38.240 --> 00:30:40.539
these songs have one, they've made me a better

00:30:40.539 --> 00:30:42.380
drummer and a better performer and all of that,

00:30:42.400 --> 00:30:45.599
of course, but it's given me the job to do something

00:30:45.599 --> 00:30:49.920
justice that people grew up with. And to get

00:30:49.920 --> 00:30:52.920
that compliment, you know, every night of somebody

00:30:52.920 --> 00:30:55.839
saying like, dude, you really do those songs

00:30:55.839 --> 00:30:58.700
justice. That is like above. I don't want to

00:30:58.700 --> 00:31:00.700
hear John Laurie's a great drummer. I want to

00:31:00.700 --> 00:31:02.859
hear John Laurie's doing the right job. amazing

00:31:02.859 --> 00:31:05.480
and i also love the fact that you took the liberty

00:31:05.480 --> 00:31:08.140
and played double bass throughout the entire

00:31:08.140 --> 00:31:11.380
song of breakdown because that's unexpected where

00:31:11.380 --> 00:31:14.500
it's just the entire time really create yeah

00:31:14.500 --> 00:31:18.099
i wanted i wanted my artistic freedom on that

00:31:18.099 --> 00:31:20.920
so i was like oh blast beats is that here's here's

00:31:20.920 --> 00:31:22.759
the song everybody knows and you drop into a

00:31:22.759 --> 00:31:27.160
blast beat yeah see if i was if i heard that

00:31:27.160 --> 00:31:30.200
i would go like man why you gotta show off like

00:31:30.200 --> 00:31:33.210
that you know it's like I don't want to hear

00:31:33.210 --> 00:31:36.789
that. If somebody were to come in and do any

00:31:36.789 --> 00:31:39.369
sort of song by another drummer, it's like, you've

00:31:39.369 --> 00:31:42.809
got to do it right. Whether or not you're better

00:31:42.809 --> 00:31:45.529
than that, like we talked about with Pantera,

00:31:45.650 --> 00:31:49.049
for Charlie to come in and do the songs the way

00:31:49.049 --> 00:31:52.470
that Vinny did them, that takes a lot of credit.

00:31:52.630 --> 00:31:55.869
You have to do these songs that people are expecting.

00:31:56.289 --> 00:31:58.829
They expect it to sound a certain way, and you

00:31:58.829 --> 00:32:02.009
have to do that. Well, closing out Side A, we've

00:32:02.009 --> 00:32:04.109
stayed on kind of the heavier rock side of the

00:32:04.109 --> 00:32:07.589
spectrum here. But because you went with Tantric,

00:32:07.609 --> 00:32:10.470
I feel like I have the perfect closer for this

00:32:10.470 --> 00:32:13.910
side. And it's a band that when you mention the

00:32:13.910 --> 00:32:16.779
name. I don't think this name comes up until

00:32:16.779 --> 00:32:19.779
maybe third or fourth in the band's notoriety

00:32:19.779 --> 00:32:23.380
rankings. Musicians and drummers will immediately

00:32:23.380 --> 00:32:27.160
say, yes, I know why you picked this. But the

00:32:27.160 --> 00:32:30.039
average music listener, when I say the band name,

00:32:30.220 --> 00:32:33.680
might raise an eyebrow. And the band is Alice

00:32:33.680 --> 00:32:37.579
in Chains. But I am going to go off of 1994's

00:32:37.579 --> 00:32:43.059
Jar of Flies with no excuses. Following up Tantric,

00:32:43.059 --> 00:32:46.099
I don't think I can with a good conscience follow

00:32:46.099 --> 00:32:48.799
it up with a song like Them Bones or Man in the

00:32:48.799 --> 00:32:52.579
Box, but No Excuses checks off all the boxes

00:32:52.579 --> 00:32:55.460
that musically flows from Tantric into Alice

00:32:55.460 --> 00:32:59.059
in Chains, as well as kind of across this entire

00:32:59.059 --> 00:33:02.279
side of a mixtape that we've made here. But Sean

00:33:02.279 --> 00:33:07.039
Kinney's drums in that track, where it's, you

00:33:07.039 --> 00:33:15.200
know, it's so rhythmic that jerry cantrell's

00:33:15.200 --> 00:33:18.480
acoustic guitar and then you have the two -part

00:33:18.480 --> 00:33:20.859
harmony that alice in chains is just known for

00:33:20.859 --> 00:33:23.500
i mean that is probably the number one thing

00:33:23.500 --> 00:33:26.960
people think about is lane and jerry cantrell's

00:33:26.960 --> 00:33:30.329
vocals harmonizing over each other but You take

00:33:30.329 --> 00:33:32.569
any other type of beat and you put it into No

00:33:32.569 --> 00:33:35.490
Excuses, and that song's not a hit. Sean Kinney

00:33:35.490 --> 00:33:38.190
is definitely an underrated drummer, and that's

00:33:38.190 --> 00:33:40.430
what I'm going to go to close outside A. Love

00:33:40.430 --> 00:33:43.190
it. I had an Alice in Chains song on my list.

00:33:43.289 --> 00:33:45.470
I had Sean Kinney on the list. I had Wood, but

00:33:45.470 --> 00:33:48.349
that's just because I love that drum intro. And

00:33:48.349 --> 00:33:50.990
again, he was the type of drummer where he was

00:33:50.990 --> 00:33:53.730
busy enough, like you were talking about, with

00:33:53.730 --> 00:33:56.269
that song specifically. It wasn't that he was

00:33:56.269 --> 00:34:00.250
just keeping a straight groove. But he was adding

00:34:00.250 --> 00:34:03.049
his flair into it, but it never overshadowed.

00:34:03.049 --> 00:34:05.490
It never took the spot of like, oh, you're just

00:34:05.490 --> 00:34:07.809
listening to Sean Kenny's band. You still were

00:34:07.809 --> 00:34:10.449
like, oh, Jerry Cantrell, you know, Elaine Staley.

00:34:10.510 --> 00:34:13.309
You're thinking those two guys. But the background

00:34:13.309 --> 00:34:15.889
that he was able to provide for a lot of Alice

00:34:15.889 --> 00:34:18.670
in Chains songs, even to this day, he's like

00:34:18.670 --> 00:34:22.329
still crushing it. Yeah, Wood was also on my

00:34:22.329 --> 00:34:25.869
list, but I think coming out of Tantric, I just

00:34:25.869 --> 00:34:28.670
feel like from a musical standpoint, No Excuses

00:34:28.670 --> 00:34:31.670
has a little bit more of a vibe to kind of close

00:34:31.670 --> 00:34:35.869
out. Starting with Nickelback, I just felt like

00:34:35.869 --> 00:34:39.530
No Excuses was a better bookend on this instance,

00:34:39.630 --> 00:34:42.820
but Wood is an incredible song. Well, there you

00:34:42.820 --> 00:34:45.760
have it, folks. That concludes side A of our

00:34:45.760 --> 00:34:48.900
greatest underrated drummer's mixtape, which

00:34:48.900 --> 00:34:52.179
consists of Nickelback, Follow You Home, Faith

00:34:52.179 --> 00:34:55.559
No More, Midlife Crisis, Pantera's Five Minutes

00:34:55.559 --> 00:34:59.139
Alone, Guns N' Roses, Rocket Queen, Journey's

00:34:59.139 --> 00:35:02.280
Separate Ways, Worlds Apart, The Police, Message

00:35:02.280 --> 00:35:05.139
in a Bottle, Black Sabbath, Symptom of the Universe,

00:35:05.719 --> 00:35:08.849
Primus, Over the Electric Grapevine, Tantric,

00:35:08.869 --> 00:35:12.750
Live Your Life, and Alice in Chains, No Excuses.

00:35:12.750 --> 00:35:15.690
Head to myweeklymixtape .com to hear all the

00:35:15.690 --> 00:35:18.510
songs we've discussed in this mix through the

00:35:18.510 --> 00:35:22.510
playlist embedded on the episode page. Now, John,

00:35:22.570 --> 00:35:24.730
before we flip things over and start Side B,

00:35:24.889 --> 00:35:27.929
it's been a pretty busy year over at the Tantric

00:35:27.929 --> 00:35:31.989
camp. And now Tantric is a part of Creed's Summer

00:35:31.989 --> 00:35:37.299
of 99 Cruise, which is on sale right now. More

00:35:37.299 --> 00:35:40.599
importantly, have you ever played drums on a

00:35:40.599 --> 00:35:44.440
boat before? Yeah. I mean, first off, it's my

00:35:44.440 --> 00:35:46.539
first cruise that I've ever been on. Never been

00:35:46.539 --> 00:35:49.920
on a cruise my whole life. Uh -oh. Yeah, I know.

00:35:50.059 --> 00:35:53.099
I know. It's like, oh, hey, where's John? We're

00:35:53.099 --> 00:35:54.840
supposed to be playing right now. Oh, he's over

00:35:54.840 --> 00:36:00.130
the side barfing. But, no, I... When I got this

00:36:00.130 --> 00:36:03.449
call, I said, no way. Like, first thing, you

00:36:03.449 --> 00:36:06.090
know, Creed, we've played with Scott Stapp a

00:36:06.090 --> 00:36:08.829
bunch. And years ago when we were playing together,

00:36:09.030 --> 00:36:11.289
I approached Scott and I was like, hey, man,

00:36:11.389 --> 00:36:13.230
you know, this is a great package. It was us,

00:36:13.389 --> 00:36:17.170
Hinder, Drowning Pool and Scott Stapp. And so

00:36:17.170 --> 00:36:19.769
I was like. we should do this more often. He's

00:36:19.769 --> 00:36:22.190
like, you know what? We should do this more often.

00:36:22.329 --> 00:36:25.469
I was like, all right. So then this Creed thing

00:36:25.469 --> 00:36:28.250
came up. I was like, I'd like to hope that I

00:36:28.250 --> 00:36:30.570
said something that was like, hey, Tantric's

00:36:30.570 --> 00:36:33.829
still here. But yeah, I am just beyond blessed

00:36:33.829 --> 00:36:38.070
to be a part of this. It's Creed. Three Doors

00:36:38.070 --> 00:36:41.829
Down, Vertical Horizon. It's just like a bunch

00:36:41.829 --> 00:36:44.849
of groups that I grew up listening to from the

00:36:44.849 --> 00:36:48.429
early 2000s. And I don't know, there's really

00:36:48.429 --> 00:36:50.429
no words. And then we got picked up for a second

00:36:50.429 --> 00:36:52.949
cruise. So right after those five days on that

00:36:52.949 --> 00:36:55.190
first cruise with Creed and Three Doors Down

00:36:55.190 --> 00:36:57.650
and us and everybody else, then we go two days

00:36:57.650 --> 00:36:59.889
off and we have to head to Orlando and then we

00:36:59.889 --> 00:37:03.179
pick up the... Same crews again, slightly different

00:37:03.179 --> 00:37:06.500
lineup, Daughtry's on it and a couple other bands

00:37:06.500 --> 00:37:09.460
like Jimmy's Chicken Shack hops on. Nice. Yeah,

00:37:09.599 --> 00:37:13.199
so all of these bands are coming back and it's

00:37:13.199 --> 00:37:17.460
like one big nostalgia trip, but I could not

00:37:17.460 --> 00:37:19.840
be more excited. And with that, we're hoping

00:37:19.840 --> 00:37:22.579
to bring a new record on the horizon and hoping

00:37:22.579 --> 00:37:24.920
to do some recording going into October and such.

00:37:25.000 --> 00:37:28.440
So it's like things are moving, things are happening.

00:37:28.519 --> 00:37:30.800
I couldn't be more happy. Awesome. Well, I'm

00:37:30.800 --> 00:37:32.539
going to give you one bit of advice. If you happen

00:37:32.539 --> 00:37:35.699
to have one of the sets that are outside on a

00:37:35.699 --> 00:37:37.960
cruise ship, you probably won't have an overhang.

00:37:38.019 --> 00:37:41.539
So my old hard rock band 20 years ago opened

00:37:41.539 --> 00:37:44.019
for Zach Wild's Black Label Society at the Stone

00:37:44.019 --> 00:37:46.639
Pony on the summer stage. And our drummer made

00:37:46.639 --> 00:37:49.219
the mistake of putting suntan lotion on his forehead

00:37:49.219 --> 00:37:52.739
before we went on. And in the middle of the first

00:37:52.739 --> 00:37:56.079
song, it leaked into his eyeballs. And he basically

00:37:56.079 --> 00:37:58.440
spent the whole song screaming. He kept the beat

00:37:58.440 --> 00:38:01.000
the whole time. So kudos to him for that. But

00:38:01.000 --> 00:38:03.300
that song was never more intense. He was hitting

00:38:03.300 --> 00:38:06.159
the drums like he wanted to murder them because

00:38:06.159 --> 00:38:09.079
his eyes. So at the end of the song, a bottle

00:38:09.079 --> 00:38:11.460
of water flew over my head up to him. He caught

00:38:11.460 --> 00:38:14.019
it, poured the whole bottle of water over his

00:38:14.019 --> 00:38:16.300
face, looked at us and gave us the thumbs up

00:38:16.300 --> 00:38:19.079
and just said, go, keep going. So don't put any

00:38:19.079 --> 00:38:22.289
suntan lotion on a. Above your cheeks. Yeah,

00:38:22.369 --> 00:38:24.710
that's it. That's it. I'll just burn from the

00:38:24.710 --> 00:38:27.710
top. Yeah, there you go. Oh, my gosh. That's

00:38:27.710 --> 00:38:30.329
too funny. Well, I am looking forward to hearing

00:38:30.329 --> 00:38:32.289
more about this cruise. We'll let people know

00:38:32.289 --> 00:38:33.949
at the end of the episode where they can find

00:38:33.949 --> 00:38:36.409
out more. Now we're going to flip over to side

00:38:36.409 --> 00:38:39.170
B and kick off our underrated drummers mixtape.

00:38:39.590 --> 00:38:44.010
And when I think about classic drum songs, I've

00:38:44.010 --> 00:38:46.809
said a million times over on this show. I know

00:38:46.809 --> 00:38:50.860
I've beaten it to death, but. The Cars self -titled

00:38:50.860 --> 00:38:54.340
album is my favorite album of all time. And when

00:38:54.340 --> 00:38:57.239
people think about The Cars, they think about

00:38:57.239 --> 00:39:00.519
Rick Okasik, his vocals, his production, Benjamin

00:39:00.519 --> 00:39:04.119
Orr, his vocals, his bass playing, Greg Hawks,

00:39:04.199 --> 00:39:07.440
the keyboards. You talk about Elliot Easton's

00:39:07.440 --> 00:39:11.139
tasty guitar riffs. But behind all of that, the

00:39:11.139 --> 00:39:15.840
iconic drum sounds of David Robinson. And I'm

00:39:15.840 --> 00:39:18.059
going to go with, because we're starting off.

00:39:18.670 --> 00:39:21.869
Side B, I'm going to go with the song that starts

00:39:21.869 --> 00:39:24.829
off Side B on my favorite album of all time.

00:39:25.650 --> 00:39:29.710
From 1978's The Cars, I'm going with the track

00:39:29.710 --> 00:39:32.869
You're All I've Got Tonight. Now, I've said this

00:39:32.869 --> 00:39:35.110
before on the show. The drums he plays on this

00:39:35.110 --> 00:39:40.070
song are absolutely thunderous. In the 1990s,

00:39:40.070 --> 00:39:44.949
for the Bullet With Butterfly Wings CD single,

00:39:45.309 --> 00:39:48.630
Smashing Pumpkins covered this song. And it introduced

00:39:48.630 --> 00:39:51.989
a lot of nineties kids to this song. They didn't

00:39:51.989 --> 00:39:53.769
know it was a cars cover. As soon as I heard

00:39:53.769 --> 00:39:55.190
the drum beat, I'm like, Oh my God, they're doing

00:39:55.190 --> 00:39:58.829
one of my favorite car songs. I respect smashing

00:39:58.829 --> 00:40:01.630
pumpkins version, but it will never be as heavy

00:40:01.630 --> 00:40:04.690
as the cars because David Robinson's drum sound

00:40:04.690 --> 00:40:08.050
on that track is just another level. If you play

00:40:08.050 --> 00:40:11.510
it on a good stereo, the wall shake just from

00:40:11.510 --> 00:40:14.909
the drums. And that to me really says all I want

00:40:14.909 --> 00:40:17.280
to say about it. So starting off with a little

00:40:17.280 --> 00:40:19.579
bit more of a classic rock tinge here, David

00:40:19.579 --> 00:40:22.900
Robinson, the cars, you're all I've got tonight.

00:40:23.440 --> 00:40:26.059
Yeah. David Robinson. I was going to say the

00:40:26.059 --> 00:40:29.679
modern lovers comes to mind as well, but I mean

00:40:29.679 --> 00:40:32.659
the cars. Yeah. Again, you don't think about

00:40:32.659 --> 00:40:35.460
him at all. He's very much a background drummer,

00:40:35.579 --> 00:40:40.420
but thunderous for sure. And a great choice to

00:40:40.420 --> 00:40:45.360
kick it off. I don't know. Because now you went

00:40:45.360 --> 00:40:48.960
with the classic rock thing, which is fine. That

00:40:48.960 --> 00:40:51.039
totally works. All right. I'm going to pick somebody

00:40:51.039 --> 00:40:55.199
that was on your show that I love the episode

00:40:55.199 --> 00:40:58.019
for. And we talked about him previously off camera.

00:40:58.219 --> 00:41:01.679
But Huey Lewis in the news. You think about Huey

00:41:01.679 --> 00:41:04.079
Lewis. You don't think about anybody else. But

00:41:04.079 --> 00:41:07.619
Bill Gibson on one of my favorite songs ever

00:41:07.619 --> 00:41:11.800
is couple days off. That is a great. drum song.

00:41:12.039 --> 00:41:15.400
The only thing I want everybody to go and listen

00:41:15.400 --> 00:41:18.940
to is the very middle of the song with that drum

00:41:18.940 --> 00:41:25.980
fill. The way they go into the solo section is

00:41:25.980 --> 00:41:29.199
fantastic. When I first heard it, I'm like...

00:41:29.480 --> 00:41:31.860
Are you kidding? This is a Huey Lewis and the

00:41:31.860 --> 00:41:34.039
News song? Because everybody thinks about him

00:41:34.039 --> 00:41:36.059
as, well, nobody thinks about him. That's why

00:41:36.059 --> 00:41:39.099
he's on the underrated drummer's playlist. But

00:41:39.099 --> 00:41:42.840
at the same time, it's like he had to do such

00:41:42.840 --> 00:41:47.059
a job of being the background character to a

00:41:47.059 --> 00:41:50.340
front man and being a part of the news. And then

00:41:50.340 --> 00:41:52.719
to do a track like this, when I first heard it,

00:41:52.739 --> 00:41:56.420
I was like, no way. If you're a fan of drummers,

00:41:56.420 --> 00:41:59.000
I highly recommend you go back and check out

00:41:59.000 --> 00:42:02.280
the Huey Lewis in the News episode with Bill

00:42:02.280 --> 00:42:05.780
Gibson. So many great stories. Such a great guy.

00:42:05.880 --> 00:42:09.440
Amazing drummer. I mean, he is, again, a human

00:42:09.440 --> 00:42:12.320
metronome. And the grooves that he brings to

00:42:12.320 --> 00:42:16.840
that band are undeniably underrated because the

00:42:16.840 --> 00:42:20.320
news isn't the news without Bill behind the kit.

00:42:20.420 --> 00:42:22.679
It's as simple as that. The thing that blew my

00:42:22.679 --> 00:42:25.860
mind about that episode with him was that Tell

00:42:25.860 --> 00:42:28.699
Me a Little Lie was like just a throwaway tune.

00:42:28.840 --> 00:42:31.980
Dude, I swear to God, I literally hung up the

00:42:31.980 --> 00:42:34.719
session with Bill and called my parents because

00:42:34.719 --> 00:42:36.559
that was one of their favorite songs with me

00:42:36.559 --> 00:42:39.400
as a kid. And I'm like, Dad, I got to break your

00:42:39.400 --> 00:42:42.280
heart here. Tell Me a Little Lie by Huey Lewis

00:42:42.280 --> 00:42:44.440
and the News was apparently a throwaway track.

00:42:44.659 --> 00:42:46.739
And he went, you got to be kidding me. We always

00:42:46.739 --> 00:42:48.760
talked about how this song wasn't a hit single.

00:42:49.179 --> 00:42:52.519
And apparently. Wow. That's nuts. Anybody that

00:42:52.519 --> 00:42:54.639
hasn't listened to that episode, you have to

00:42:54.639 --> 00:42:58.539
go back. It is just a great episode overall for

00:42:58.539 --> 00:43:01.679
drummers. And just, you know, like you said,

00:43:01.719 --> 00:43:04.440
little tidbits of information. But that blew

00:43:04.440 --> 00:43:06.920
my mind. I was like, especially for a second

00:43:06.920 --> 00:43:09.559
song off a record, you're like, oh, well, they're

00:43:09.559 --> 00:43:12.119
just bringing out all the A material first, you

00:43:12.119 --> 00:43:14.079
know, and then the B sides are all the B sides.

00:43:14.199 --> 00:43:16.179
I can't believe that that was just a throwaway

00:43:16.179 --> 00:43:19.780
tune. Blew my mind. Same here. Well, following

00:43:19.780 --> 00:43:24.300
up Huey Lewis. Hmm. All right. I'm going to go

00:43:24.300 --> 00:43:26.059
back a little bit. I'm going to stay in this

00:43:26.059 --> 00:43:28.340
kind of classic rock thing we got going here.

00:43:28.900 --> 00:43:32.559
And I'm going to go with a band that is basically

00:43:32.559 --> 00:43:36.360
God's gift to studio musicians. They are the

00:43:36.360 --> 00:43:40.460
ultimate studio musicians band. And I don't think

00:43:40.460 --> 00:43:42.880
people talk about the drums in this group enough

00:43:42.880 --> 00:43:46.239
because they're so busy talking about the other

00:43:46.239 --> 00:43:50.090
sums of the parts. But I'm going to go to Steely

00:43:50.090 --> 00:43:54.110
Dan and 1977's Asia. I'm going with the title

00:43:54.110 --> 00:43:58.489
track, Steve Gadd. I mean, to me, when you think

00:43:58.489 --> 00:44:02.349
about Steely Dan, they're the ultimate musician's

00:44:02.349 --> 00:44:06.320
band. They don't have a ton of songs where everybody's

00:44:06.320 --> 00:44:08.579
up singing and dancing. Like the people that

00:44:08.579 --> 00:44:11.619
I know that really love Steely Dan are either

00:44:11.619 --> 00:44:14.099
obsessed with music or musicians. They have,

00:44:14.099 --> 00:44:16.159
you know, Ricky Don't Lose Your Number and some

00:44:16.159 --> 00:44:19.440
other songs that were big radio hits. But when

00:44:19.440 --> 00:44:22.059
you listen to the rest of their albums, it's

00:44:22.059 --> 00:44:25.380
a musician's cornucopia of just awesomeness.

00:44:25.460 --> 00:44:30.449
So I'm going with Asia. Nice. Great. great choice

00:44:30.449 --> 00:44:32.829
and this is this is really interesting first

00:44:32.829 --> 00:44:37.469
off that drum solo in asia is like the drum solo

00:44:37.469 --> 00:44:40.449
tons of drummers try to do that and he'll talk

00:44:40.449 --> 00:44:42.690
about it in interviews and go yeah i mean it's

00:44:42.690 --> 00:44:45.409
kind of like this or like it's a little bit of

00:44:45.409 --> 00:44:47.389
that and you're like you don't know that note

00:44:47.389 --> 00:44:49.610
for note like all of us are trying to learn it

00:44:49.610 --> 00:44:52.809
note for note and you're just up here like like

00:44:52.809 --> 00:44:55.869
you're just uh improvising the whole thing it's

00:44:55.869 --> 00:44:59.760
like it's crazy And he's a drummer that's been

00:44:59.760 --> 00:45:03.519
in a ton of stuff. Prolific studio drummer. Doesn't

00:45:03.519 --> 00:45:08.539
get enough recognition for sure. I'm going to

00:45:08.539 --> 00:45:13.820
do something maybe unprecedented. Maybe I shouldn't,

00:45:13.820 --> 00:45:17.760
but I'm going to do it anyway. Because off of

00:45:17.760 --> 00:45:23.150
Steely Dan's album Asia. is another drummer that

00:45:23.150 --> 00:45:26.690
doesn't get enough recognition. In the drumming

00:45:26.690 --> 00:45:29.510
community, he doesn't get enough recognition.

00:45:29.530 --> 00:45:31.750
Well, he gets enough recognition in the drumming

00:45:31.750 --> 00:45:34.150
community, I should say. In music as a whole,

00:45:34.289 --> 00:45:37.289
this guy has been in everything. He's one of

00:45:37.289 --> 00:45:40.530
my favorite drummers, Bernard Purdy on Home at

00:45:40.530 --> 00:45:43.730
Last with the Purdy Shuffle. So this drummer

00:45:43.730 --> 00:45:47.409
is so prolific in the drumming community that

00:45:47.409 --> 00:45:52.150
he has a shuffle named after him. The Purdy Shuffle.

00:45:52.389 --> 00:45:57.429
And every drummer from Jeff Porcaro in Toto to

00:45:57.429 --> 00:46:00.289
John Bonham from Fool in the Rain off of In Through

00:46:00.289 --> 00:46:03.170
the Outdoor, everybody's been trying to figure

00:46:03.170 --> 00:46:07.409
out the Purdy Shuffle. And I've been so blessed

00:46:07.409 --> 00:46:09.909
to have the opportunity to do a clinic with him

00:46:09.909 --> 00:46:12.590
last year in November, where it was the Bucks

00:46:12.590 --> 00:46:14.869
County Drum Company Drum Clinic of the Year.

00:46:14.949 --> 00:46:17.449
And it was out here in Bucks County, Pennsylvania.

00:46:17.710 --> 00:46:21.539
In this drum clinic, it was... Me, Kevin Sofera,

00:46:21.760 --> 00:46:23.880
who's a local guy to New Jersey and Pennsylvania,

00:46:24.119 --> 00:46:26.639
and Bernard Purdy doing this drum clinic. And

00:46:26.639 --> 00:46:30.980
to watch Bernard talk for an hour and play. He

00:46:30.980 --> 00:46:33.880
was playing and talking about how to do grooves

00:46:33.880 --> 00:46:36.880
and how to be just, it's the light touch on the

00:46:36.880 --> 00:46:40.880
drums. This guy is pushing like close to 90 now.

00:46:41.159 --> 00:46:44.320
And he's still playing with just as much funk

00:46:44.320 --> 00:46:48.500
and taste and groove. It's like, I wish that.

00:46:48.840 --> 00:46:51.860
I could achieve that level of groove in my life.

00:46:52.019 --> 00:46:55.739
And then the coolest part was after he started

00:46:55.739 --> 00:46:57.980
his little clinic and I was done and I'm like,

00:46:57.980 --> 00:47:00.539
oh, man, like I really kind of I wish I did better

00:47:00.539 --> 00:47:02.780
because that's just what musicians do. We always

00:47:02.780 --> 00:47:05.599
are so hard on ourselves. And he got up there

00:47:05.599 --> 00:47:07.320
and he was playing and he stopped for a second.

00:47:07.360 --> 00:47:11.699
He's like that young guy. He was all right. And

00:47:11.699 --> 00:47:15.239
then he kept grooving. And I was like, oh, no

00:47:15.239 --> 00:47:19.289
way. And then. Later on, I went and said, Mr.

00:47:19.449 --> 00:47:22.030
Purdy, I just want to say I am such a big fan

00:47:22.030 --> 00:47:23.829
of yours and everything that you've done. And

00:47:23.829 --> 00:47:28.630
he's like, you, you, you are good. Keep doing

00:47:28.630 --> 00:47:31.570
it. And I was like, to hear it from him? Are

00:47:31.570 --> 00:47:33.949
you kidding? I could have died there. Struck

00:47:33.949 --> 00:47:36.130
me down with lightning. I'd be fine and happy.

00:47:36.510 --> 00:47:40.170
But yeah, Bernard Purdy, home at last. Steely

00:47:40.170 --> 00:47:44.190
Dan. I first want to applaud you on the incredible

00:47:44.190 --> 00:47:47.590
way you were able to find a loophole. in the

00:47:47.590 --> 00:47:50.150
we don't choose bands a second time but this

00:47:50.150 --> 00:47:53.190
is about the drummer not about the band so i

00:47:53.190 --> 00:47:57.030
applaud your loophole for that bravo obviously

00:47:57.030 --> 00:48:00.469
the purdy shuffle like to me i had a hard time

00:48:00.469 --> 00:48:03.889
between asia and home at last because of that

00:48:03.889 --> 00:48:06.889
reason but that drum solo in the middle of it

00:48:06.889 --> 00:48:09.090
was like i think i'm gonna go with that one but

00:48:09.090 --> 00:48:12.269
you nailed it and i love it as long as i'm able

00:48:12.269 --> 00:48:14.739
to do that You know, we didn't talk about the

00:48:14.739 --> 00:48:17.159
rules. I make up the rules as I go along. We

00:48:17.159 --> 00:48:20.840
are fine. So following that up, you took a liberty.

00:48:21.559 --> 00:48:24.880
So I'm going to take a liberty. And the liberty

00:48:24.880 --> 00:48:27.960
I'm going to take is I'm going to use a drummer

00:48:27.960 --> 00:48:31.460
that we included on our greatest drummer's mix

00:48:31.460 --> 00:48:35.619
and also include him on our most underrated.

00:48:35.639 --> 00:48:39.559
Because depending on who you ask. I feel like

00:48:39.559 --> 00:48:43.219
this one would be that instance. And that is

00:48:43.219 --> 00:48:46.519
Mitch Mitchell, drummer for the Jimi Hendrix

00:48:46.519 --> 00:48:50.019
Experience. When you're behind Jimi Hendrix,

00:48:50.219 --> 00:48:53.579
who's the greatest guitarist of all time, arguably,

00:48:53.599 --> 00:48:57.099
you need to bring something unique and special

00:48:57.099 --> 00:49:00.320
to the table. But when people talk about Jimi

00:49:00.320 --> 00:49:02.559
Hendrix Experience, who are they talking about?

00:49:02.760 --> 00:49:05.980
Talking about Jimi. Talking about Jimi. And he

00:49:05.980 --> 00:49:08.539
stayed in that. kind of behind the spotlight

00:49:08.539 --> 00:49:11.460
at all times but when you think about the grooves

00:49:11.460 --> 00:49:14.440
that he brought to the songs he is the canvas

00:49:14.440 --> 00:49:20.699
that jimmy was allowed to paint his musical wizardry

00:49:20.699 --> 00:49:24.860
over and to me that speaks to the fact that it's

00:49:24.860 --> 00:49:27.340
underrated because anytime you mention the jimmy

00:49:27.340 --> 00:49:30.340
hendrix experience no one's going oh dude mitch

00:49:30.340 --> 00:49:33.309
mitchell they're not And they should be because

00:49:33.309 --> 00:49:36.750
without that iconic drumbeat, Manic Depression

00:49:36.750 --> 00:49:40.389
is not the song that it is. I've seen bands cover

00:49:40.389 --> 00:49:43.489
this song. They don't capture the groove. They

00:49:43.489 --> 00:49:46.610
don't capture the uniqueness about the song.

00:49:46.869 --> 00:49:49.130
I did have the chance to catch the Experience

00:49:49.130 --> 00:49:52.030
Hendrix tour when Mitch Mitchell was still alive.

00:49:52.150 --> 00:49:55.389
I want to say it was back in 2007. And even with

00:49:55.389 --> 00:49:58.110
his health not being as good and him being up

00:49:58.110 --> 00:50:01.210
there in age. He still sat down on that kit and

00:50:01.210 --> 00:50:05.650
it was just riding a bike for him. And he still

00:50:05.650 --> 00:50:09.949
had that magic to what he brought to the band.

00:50:10.110 --> 00:50:14.349
So you pulled a little bit of a loophole. I'm

00:50:14.349 --> 00:50:17.670
pulling one, even though he was featured on our

00:50:17.670 --> 00:50:20.190
greatest drum tracks mix, which I'm not going

00:50:20.190 --> 00:50:22.130
to say the song. I want you to go back and listen

00:50:22.130 --> 00:50:24.429
to the other episode. Yeah, go listen. I'm not

00:50:24.429 --> 00:50:27.260
going to say what song, but it's not. The one

00:50:27.260 --> 00:50:29.079
I picked for tonight, which is Manic Depression.

00:50:29.780 --> 00:50:32.340
Manic Depression is a great track. And that to

00:50:32.340 --> 00:50:35.099
your point, exactly what you were saying. He

00:50:35.099 --> 00:50:39.059
is so overshadowed by such a guitar monster.

00:50:39.300 --> 00:50:41.760
You know, he's just that's Jimi Hendrix. It's

00:50:41.760 --> 00:50:44.260
always going to be Jimi Hendrix. But he was such

00:50:44.260 --> 00:50:47.300
a jazz drummer, too, because there was no rock

00:50:47.300 --> 00:50:50.119
yet. They were inventing it at that time. So

00:50:50.119 --> 00:50:53.139
all of his fills were these like tasty jazz licks

00:50:53.139 --> 00:50:58.219
around a straight. feel and so it's really interesting

00:50:58.219 --> 00:51:01.139
to try to play those songs and that's what us

00:51:01.139 --> 00:51:04.480
modern drummers miss out on is most of us don't

00:51:04.480 --> 00:51:07.500
grow up starting off with jazz we start off with

00:51:07.500 --> 00:51:09.840
rock we start off with motley crew or whatever

00:51:09.840 --> 00:51:12.159
all these straight feel bands to where it was

00:51:12.159 --> 00:51:14.719
already ironed out but if you start off with

00:51:14.719 --> 00:51:17.579
jazz like a guy like mitch mitchell You're going

00:51:17.579 --> 00:51:20.400
to be playing that way in this straight feel

00:51:20.400 --> 00:51:23.380
context. And that's exactly what he did. And

00:51:23.380 --> 00:51:25.659
he did it perfectly. And I try to play those

00:51:25.659 --> 00:51:28.619
Jimi Hendrix songs. I just I don't have the feel

00:51:28.619 --> 00:51:31.280
for it. I didn't grow up with it, but he did.

00:51:31.500 --> 00:51:33.559
And that's what makes him such a prolific drummer.

00:51:33.960 --> 00:51:36.559
Well, we're kind of staying classic rock on this

00:51:36.559 --> 00:51:38.500
side. So now I'm curious to see where you go

00:51:38.500 --> 00:51:41.300
from here. I'm curious to see where I go to.

00:51:41.420 --> 00:51:46.519
And I have to go with him because, again, overshadowed

00:51:46.519 --> 00:51:51.880
by Guitar Monster. I'm going to go with Frank

00:51:51.880 --> 00:51:57.079
Beard from ZZ Top on the track Just Got Paid.

00:51:57.119 --> 00:52:01.800
Yes. I love ZZ Top. I think that they're one

00:52:01.800 --> 00:52:03.840
of the best blues bands of all time, one of the

00:52:03.840 --> 00:52:05.860
best Southern rock bands, one of the best rock

00:52:05.860 --> 00:52:08.599
bands of all time. And even in their age, they're

00:52:08.599 --> 00:52:12.119
still going. Frank Beard is still playing just

00:52:12.119 --> 00:52:16.199
as good as he did back then as he is now. The

00:52:16.199 --> 00:52:19.440
one thing he always had was that Texas blues

00:52:19.440 --> 00:52:22.460
swagger to how he played. Things were shuffled.

00:52:22.579 --> 00:52:25.760
Things were just bluesy. Even on Eliminator,

00:52:25.780 --> 00:52:27.539
when things started to get a little bit more

00:52:27.539 --> 00:52:31.340
straightforward MTV style. they were still able

00:52:31.340 --> 00:52:34.760
to maintain their blues -ness about them. But

00:52:34.760 --> 00:52:37.679
he's always overshadowed because everybody thinks

00:52:37.679 --> 00:52:40.380
of Billy. Everybody thinks of him. So it's like

00:52:40.380 --> 00:52:44.500
Frank Beard is just as big a drummer as Billy

00:52:44.500 --> 00:52:48.719
is a guitar player. And Just Got Paid is a drum

00:52:48.719 --> 00:52:51.719
-driven song. Make no mistake about it. I know

00:52:51.719 --> 00:52:55.239
the riff is what people think of, but if you

00:52:55.239 --> 00:52:58.340
just played a straight beat to that song... Cause

00:52:58.340 --> 00:53:01.739
Mastodon did a cover of just got paid. Joe Bonamassa

00:53:01.739 --> 00:53:03.800
has done a cover of just got paid and they're

00:53:03.800 --> 00:53:08.239
all great, but they're not ZZ tops because there's

00:53:08.239 --> 00:53:10.659
this little bit of what he's doing with the brush

00:53:10.659 --> 00:53:14.099
on the snare on top in between the hits where

00:53:14.099 --> 00:53:17.000
it's. And again, I'm not a drummer, so I might

00:53:17.000 --> 00:53:20.360
totally make this sound, but he's hitting it

00:53:20.360 --> 00:53:23.039
on the two and four, but he's also kind of dragging

00:53:23.039 --> 00:53:27.219
it on the threes and the ones and kind of. giving

00:53:27.219 --> 00:53:30.380
it that groove that if you just play it on the

00:53:30.380 --> 00:53:34.260
twos and fours you lose that feel because the

00:53:34.260 --> 00:53:37.719
song is bluesy and heavy but it also has a vibe

00:53:37.719 --> 00:53:41.539
to it and i feel like those nuances are overlooked

00:53:41.539 --> 00:53:44.619
yeah there and that's what made him one of at

00:53:44.619 --> 00:53:47.440
least my favorite drummers was all of those ghost

00:53:47.440 --> 00:53:51.480
notes and all of that additional material into

00:53:51.480 --> 00:53:54.760
these grooves his hi -hat work on just got paid

00:53:54.760 --> 00:53:57.199
is just something to look at so if you're a drummer

00:53:57.199 --> 00:53:59.380
you have to go and check out this track if you

00:53:59.380 --> 00:54:02.460
haven't sat down and listened to it you know

00:54:02.460 --> 00:54:04.179
everybody thinks lagrange and all these other

00:54:04.179 --> 00:54:07.539
bigger zz top songs but listen to just got paid

00:54:07.539 --> 00:54:10.139
and you won't be disappointed couldn't agree

00:54:10.139 --> 00:54:12.460
more and i think i know what i'm gonna follow

00:54:12.460 --> 00:54:14.820
that up with we're staying classic rock it looks

00:54:14.820 --> 00:54:17.739
like on this side and i have to go with one that

00:54:18.670 --> 00:54:24.710
My parents owned on 8 -track when I was a kid.

00:54:24.710 --> 00:54:28.650
Love it. And this song was so long that on the

00:54:28.650 --> 00:54:31.110
8 -track, it faded out halfway through the song,

00:54:31.150 --> 00:54:32.949
and then the 8 -track would flip to the next

00:54:32.949 --> 00:54:35.110
side, and it would play the rest of the song.

00:54:35.170 --> 00:54:37.710
And it always faded out during the song's drum

00:54:37.710 --> 00:54:40.650
solo. Now, when I mention this song, this song,

00:54:40.650 --> 00:54:44.420
it's kind of a love or hate with this song. But

00:54:44.420 --> 00:54:48.260
I'm going to go with 1968 Iron Butterfly in Agata

00:54:48.260 --> 00:54:52.659
DeVita. Ron Bushy's drums on that song. The drum

00:54:52.659 --> 00:54:57.940
solo. I dabble with drums. I'm not great. I love

00:54:57.940 --> 00:55:01.119
sitting down and practicing and kind of getting

00:55:01.119 --> 00:55:03.679
a groove going and just having fun. I've played

00:55:03.679 --> 00:55:06.059
drums for friends to jam for a night just for

00:55:06.059 --> 00:55:09.000
the hell of it. I could keep a beat, but I'm

00:55:09.000 --> 00:55:12.340
not anywhere near that I would ever play in front

00:55:12.340 --> 00:55:15.750
of people. But I could do it and goof off and

00:55:15.750 --> 00:55:18.630
have fun. The thing I always do when I'm warming

00:55:18.630 --> 00:55:31.030
up is the drum solo. And it's this weird tribal

00:55:31.030 --> 00:55:33.789
drum solo in the middle of this psychedelic acid

00:55:33.789 --> 00:55:37.369
trip of a song where halfway through the tribal

00:55:37.369 --> 00:55:40.900
beat. He starts adding the symbol in where it's.

00:55:42.639 --> 00:55:46.480
And then it goes into this psychedelic trippiness.

00:55:46.559 --> 00:55:49.579
So he changed timing a couple of times in this

00:55:49.579 --> 00:55:54.239
drum solo and somehow brought them back to the

00:55:54.239 --> 00:55:57.420
original opening of the song, which is 17 minutes

00:55:57.420 --> 00:56:00.570
after. They originally started the song. The

00:56:00.570 --> 00:56:03.190
radio version is only two minutes. So you can't

00:56:03.190 --> 00:56:04.670
listen to the radio version because you're not

00:56:04.670 --> 00:56:07.369
getting the Ron Bushy experience. You need to

00:56:07.369 --> 00:56:09.050
listen to the full length version. And that's

00:56:09.050 --> 00:56:11.429
the version I'm going to include on this playlist.

00:56:11.550 --> 00:56:15.750
But the timing changes. There was not in 1968

00:56:15.750 --> 00:56:19.750
and 1967, probably when they recorded this, they

00:56:19.750 --> 00:56:22.469
didn't have the tools we have now. There may

00:56:22.469 --> 00:56:24.889
have been metronomes involved, but a lot of these

00:56:24.889 --> 00:56:28.389
bands recorded these tracks live. And to be able

00:56:28.389 --> 00:56:31.789
to end at the same speed you started with 17

00:56:31.789 --> 00:56:35.550
minutes earlier with timing changes is something

00:56:35.550 --> 00:56:39.230
that to me blew my mind as a kid. And as I got

00:56:39.230 --> 00:56:41.610
more and more into music and I got the CD event,

00:56:41.630 --> 00:56:44.070
I got a DeVita where the drum solo never faded

00:56:44.070 --> 00:56:47.570
out. It blew my mind even more. So I have to

00:56:47.570 --> 00:56:49.809
give a shout out to this one. Iron butterfly

00:56:49.809 --> 00:56:53.070
in a God of DeVita. Love it. This is that track

00:56:53.070 --> 00:56:58.719
that musicians or. People that know that there's

00:56:58.719 --> 00:57:01.139
a drum solo in that song, that's always the like,

00:57:01.300 --> 00:57:04.059
well, do you know how to play the In a Gata De

00:57:04.059 --> 00:57:09.139
Vida drum solo? It's like you're not a true drummer

00:57:09.139 --> 00:57:11.519
yet unless you've played In a Gata De Vida the

00:57:11.519 --> 00:57:13.519
right way. You can't just play the two -minute

00:57:13.519 --> 00:57:15.820
version. No, no, no. You got to play that full

00:57:15.820 --> 00:57:19.739
drum solo. And like you said, it's overlooked

00:57:19.739 --> 00:57:23.320
because... it's iron butterfly. And that's like

00:57:23.320 --> 00:57:25.400
the track. The radio version is what everybody

00:57:25.400 --> 00:57:27.179
heard. Everybody heard the two minute version.

00:57:27.219 --> 00:57:29.159
So then when you realize that there's a drum

00:57:29.159 --> 00:57:32.340
solo attached to this thing, you have to go back

00:57:32.340 --> 00:57:34.599
and listen to it. And he doesn't get enough credit.

00:57:34.639 --> 00:57:36.639
That's for sure. And I'll tell you right now,

00:57:36.739 --> 00:57:40.440
I miss drum solos and songs. I mean, like jam

00:57:40.440 --> 00:57:42.559
bands will do it from now, you know, every now

00:57:42.559 --> 00:57:45.820
and then, but think about the songs that you

00:57:45.820 --> 00:57:48.920
hear on classic rock radio, Frankenstein by Edgar

00:57:48.920 --> 00:57:52.320
winter group. obviously in a God of Davida radar

00:57:52.320 --> 00:57:54.880
love by golden earring. Yeah. All these songs

00:57:54.880 --> 00:57:57.239
had drum solos in it. The last time I heard a

00:57:57.239 --> 00:58:02.099
drum solo in a song that was popular was a cover

00:58:02.099 --> 00:58:05.139
of golden earrings, radar love by white lion,

00:58:05.300 --> 00:58:08.000
where they did the video and they included the

00:58:08.000 --> 00:58:11.159
drum solo in it. That is the last time I think

00:58:11.159 --> 00:58:13.739
I've heard a drum solo in a rock track, but to

00:58:13.739 --> 00:58:16.639
me, I miss them. And if they're done in the right

00:58:16.639 --> 00:58:19.480
way, So iron butterfly definitely checks off

00:58:19.480 --> 00:58:22.639
that box. Now you've got two picks left and I've

00:58:22.639 --> 00:58:25.039
got one. So we're coming to the tail end of this

00:58:25.039 --> 00:58:29.059
here. This might, I might have to flip just to,

00:58:29.079 --> 00:58:33.099
to fit it in because I have to talk about them,

00:58:33.119 --> 00:58:36.360
but. If we're talking about drum solos and we're

00:58:36.360 --> 00:58:39.360
talking about guys that do them well, he's never

00:58:39.360 --> 00:58:43.519
done one in a track. And to your point, I miss

00:58:43.519 --> 00:58:46.739
that. Nobody does drum solos. And honestly, I

00:58:46.739 --> 00:58:49.190
don't either. Right. It's one of those things

00:58:49.190 --> 00:58:52.170
that even live, they kind of stopped happening

00:58:52.170 --> 00:58:54.369
because it's just song after song after song.

00:58:54.429 --> 00:58:56.730
And a drummer will get a break or I'll get these

00:58:56.730 --> 00:58:59.090
like trash can endings where I get to throw out

00:58:59.090 --> 00:59:02.150
all the drum solo material I know. And just like,

00:59:02.230 --> 00:59:04.889
here it is. This is what I can do. And you get

00:59:04.889 --> 00:59:07.309
those moments. But there's not a whole lot of

00:59:07.309 --> 00:59:10.630
drum solo material going on. But one of my favorite

00:59:10.630 --> 00:59:13.340
drummers of all time. the guy I've probably ripped

00:59:13.340 --> 00:59:17.420
off a lot of my material from, off of a band

00:59:17.420 --> 00:59:19.659
that you may or may not know, I know you know

00:59:19.659 --> 00:59:22.900
them, but the listener may or may not know, is

00:59:22.900 --> 00:59:26.079
John Fred Young from Blackstone Cherry. The song

00:59:26.079 --> 00:59:31.260
is Blind Man. Yes! That is the song that... changed

00:59:31.260 --> 00:59:34.219
the game for me as a drummer because at the time

00:59:34.219 --> 00:59:38.659
I was only really listening to classic rock and

00:59:38.659 --> 00:59:40.960
I was listening to things of that nature I had

00:59:40.960 --> 00:59:43.179
Nickelback from when I was a kid not a whole

00:59:43.179 --> 00:59:46.320
lot of modern bands did it for me to where I

00:59:46.320 --> 00:59:49.300
was like like I need something else I need a

00:59:49.300 --> 00:59:52.000
good musician behind the song too like I need

00:59:52.000 --> 00:59:55.679
a drummer to aspire to be and when I saw the

00:59:55.679 --> 00:59:57.739
music video for blind man for the first time

00:59:57.739 --> 01:00:01.280
I'm like This guy hits hard, and in the song,

01:00:01.360 --> 01:00:03.480
in the very middle, there's these drum breaks

01:00:03.480 --> 01:00:07.079
where he's throwing in these crazy fills. I remember

01:00:07.079 --> 01:00:10.000
being a young little John Laurie listening to

01:00:10.000 --> 01:00:13.719
this song going, how do I do that? Like, what

01:00:13.719 --> 01:00:17.039
can I do? And I have studied probably every single

01:00:17.039 --> 01:00:19.460
Blackstone Cherry song that there is. I mean,

01:00:19.500 --> 01:00:23.039
maybe not much of the recent stuff, but when

01:00:23.039 --> 01:00:26.840
I was a kid... It was all I played. It was all

01:00:26.840 --> 01:00:29.219
I listened to. When I saw that John Fred Young

01:00:29.219 --> 01:00:31.239
was a showman, I was like, I want to be like

01:00:31.239 --> 01:00:33.179
that guy. I want to be a showman just like that

01:00:33.179 --> 01:00:36.599
guy. So I've ripped off probably so much of his

01:00:36.599 --> 01:00:39.039
career, but he was just that drummer that changed

01:00:39.039 --> 01:00:42.239
it all for me. So I have to bring him up. Absolutely

01:00:42.239 --> 01:00:45.000
love it. You scooped me on the band and the song.

01:00:45.630 --> 01:00:50.170
Because that middle part, the like, I can't even

01:00:50.170 --> 01:00:54.050
do it with my mouth. The Muppets animal flailing

01:00:54.050 --> 01:00:57.150
that he's doing. But it fits so well leading

01:00:57.150 --> 01:01:00.489
into that guitar solo. It like amplifies it.

01:01:00.510 --> 01:01:02.789
It gets you psyched for the rest of the song.

01:01:03.690 --> 01:01:05.909
Criminally underrated. Blackstone Cherry is one

01:01:05.909 --> 01:01:08.690
of those bands that every time they put out an

01:01:08.690 --> 01:01:11.389
album, I buy it the day it comes out. Every song

01:01:11.389 --> 01:01:13.070
on it, I'm like, this is fantastic. I've got

01:01:13.070 --> 01:01:17.400
their live Blu -ray. I don't get how they haven't

01:01:17.400 --> 01:01:20.960
made the jump to a larger status because every

01:01:20.960 --> 01:01:25.579
album they've put out has had at least five or

01:01:25.579 --> 01:01:28.400
six songs that I think could be smash radio hit

01:01:28.400 --> 01:01:31.460
singles. Yep. And I just don't feel like they've

01:01:31.460 --> 01:01:34.300
caught fire yet, but I know it's going to happen.

01:01:34.320 --> 01:01:37.179
It's just a matter of when. And they do. They're

01:01:37.179 --> 01:01:41.719
huge overseas. If you go to the UK, they're selling

01:01:41.719 --> 01:01:44.460
out stadiums over there. They're huge over there

01:01:44.460 --> 01:01:47.400
because rock music is still really big over there.

01:01:47.500 --> 01:01:51.039
We're in America where rock music isn't as big

01:01:51.039 --> 01:01:54.340
as it used to be. So harder to break out in that

01:01:54.340 --> 01:01:58.320
market. But their vocals, their harmonies, their

01:01:58.320 --> 01:02:01.659
musicianship, their live show, everything about

01:02:01.659 --> 01:02:06.059
this band is fantastic. And like you said, I

01:02:06.059 --> 01:02:08.300
still do it, too. I buy the record the day it

01:02:08.300 --> 01:02:10.360
comes out and I listen to it all the way through

01:02:10.360 --> 01:02:12.519
and I'll probably spin it for like, you know,

01:02:12.519 --> 01:02:15.619
a month after it comes out and just play it till

01:02:15.619 --> 01:02:19.340
the album just stops playing. But it's just one

01:02:19.340 --> 01:02:22.840
of those bands that is so underrated as musicians.

01:02:22.920 --> 01:02:26.480
But John Fred Young as a drummer, every time

01:02:26.480 --> 01:02:29.659
I watch him play, I just go back home and start

01:02:29.659 --> 01:02:32.570
practicing again because I'm like. I'm just not

01:02:32.570 --> 01:02:36.710
there yet. He's just got it. And I'm lucky and

01:02:36.710 --> 01:02:39.050
very fortunate to call him a friend and a mentor.

01:02:39.329 --> 01:02:42.929
And they're just a great band that I just keep

01:02:42.929 --> 01:02:46.170
praying that they'll get that top hit. They did

01:02:46.170 --> 01:02:48.690
have a top country hit that was picked up by

01:02:48.690 --> 01:02:51.150
Florida Georgia Line. So at least they had that.

01:02:51.210 --> 01:02:53.849
At least the song got out there. It's not the

01:02:53.849 --> 01:02:56.429
Florida Georgia Line song. Their version is not

01:02:56.429 --> 01:02:58.469
as good as the Blackstone Cherry version by any

01:02:58.469 --> 01:03:01.250
means. If you don't know Stay by Blackstone Cherry,

01:03:01.309 --> 01:03:03.130
you have to listen to their version, not the

01:03:03.130 --> 01:03:05.710
Florida Georgia Line version. But at least their

01:03:05.710 --> 01:03:09.110
song got out there to the masses. Which is why

01:03:09.110 --> 01:03:11.989
I feel like they just need it for them because

01:03:11.989 --> 01:03:14.769
- Yes. I mean, really, Stay was everywhere in

01:03:14.769 --> 01:03:17.110
Florida. I'm like, why isn't - Because back in

01:03:17.110 --> 01:03:20.949
the 90s, there was an instance where I Swear

01:03:20.949 --> 01:03:23.130
was a big hit for John Michael Montgomery and

01:03:23.130 --> 01:03:25.880
then like - Within six months, All For One did

01:03:25.880 --> 01:03:28.300
an R &B version and they were both hits. How

01:03:28.300 --> 01:03:31.300
the hell did Blackstone Cherry's version not

01:03:31.300 --> 01:03:34.760
explode at the same time? It forever baffles

01:03:34.760 --> 01:03:39.099
me. Yep. So they have a touch of Southern rock

01:03:39.099 --> 01:03:42.010
to them. So for my last song. I am going to go

01:03:42.010 --> 01:03:43.809
back to classic rock, but I'm going to touch

01:03:43.809 --> 01:03:45.889
on the southern rock that Blackstone Cherry brings

01:03:45.889 --> 01:03:48.250
to their music. And I'm also going to go back

01:03:48.250 --> 01:03:50.510
and give another shout out to Patreon Playlister

01:03:50.510 --> 01:03:53.150
Seeker because he chimed in with Cram from the

01:03:53.150 --> 01:03:55.929
Aussie band Spiderbait because he doubles as

01:03:55.929 --> 01:03:58.909
the lead singer. Now, that's happened before

01:03:58.909 --> 01:04:03.210
in bands, and I feel like I want to include a

01:04:03.210 --> 01:04:07.849
singing drummer because to me, that is two parts

01:04:07.849 --> 01:04:11.440
of the brain working simultaneously. to be able

01:04:11.440 --> 01:04:14.599
to keep a beat and keep your notes, keep on pitch.

01:04:15.300 --> 01:04:18.719
To me, that is underrated in and of itself. But

01:04:18.719 --> 01:04:21.539
I'm going to go with the one that I feel did

01:04:21.539 --> 01:04:23.739
it better than anyone else. And I'm sure somebody

01:04:23.739 --> 01:04:26.019
can come up with an argument, but I feel like

01:04:26.019 --> 01:04:28.019
one of the best to ever do it. I'll just say

01:04:28.019 --> 01:04:30.599
that. So I don't say the greatest, but I'll say

01:04:30.599 --> 01:04:34.000
one of. And I'm going to go with Levon Helm from

01:04:34.000 --> 01:04:37.360
the band. And I'm going to go with 1969 self

01:04:37.360 --> 01:04:41.050
-titled album Up on Cripple Creek. Again, this

01:04:41.050 --> 01:04:48.050
is a swampy New Orleans rock tune. The groove

01:04:48.050 --> 01:04:53.690
on it is so funky and so jazzy, but there's this

01:04:53.690 --> 01:04:57.050
rock element to it. And as he's doing it, he's

01:04:57.050 --> 01:04:59.869
singing the damn song at the same time. Yeah.

01:05:01.039 --> 01:05:04.920
I can't stress enough. You've got your arms and

01:05:04.920 --> 01:05:08.119
feet independently moving and you're singing.

01:05:08.460 --> 01:05:11.460
I've seen a lot of drummers sing harmonies where

01:05:11.460 --> 01:05:14.179
they'll go in and do a couple of lines here and

01:05:14.179 --> 01:05:17.579
there. But to take the entire vocal melody behind

01:05:17.579 --> 01:05:20.800
the kit and pull it off as flawlessly as he did

01:05:20.800 --> 01:05:24.420
is something that I'll never forget. And one

01:05:24.420 --> 01:05:26.599
of my favorite concert experiences of my life

01:05:26.599 --> 01:05:29.739
was going to the Levon Helm tribute at the then

01:05:29.739 --> 01:05:33.099
Izod Center in New Jersey. And we got to watch

01:05:33.099 --> 01:05:36.619
band after band pay tribute to Levon Helm. And

01:05:36.619 --> 01:05:38.880
it was just such an amazing night of music. And

01:05:38.880 --> 01:05:43.760
Up on Cripple Creek, to me, is just a signature

01:05:43.760 --> 01:05:45.739
band. So I could have went with the weight. I

01:05:45.739 --> 01:05:48.500
could have went with. But I'm thinking drums

01:05:48.500 --> 01:05:52.079
more than. the entire song, but up on Cripple

01:05:52.079 --> 01:05:55.239
Creek's drums are just perfect. So that's my

01:05:55.239 --> 01:05:58.380
last song of the night. I love it because that

01:05:58.380 --> 01:06:00.880
is one of the hardest things. I try the harmony

01:06:00.880 --> 01:06:04.559
thing for Tantric and I can only do so much.

01:06:04.780 --> 01:06:08.360
That is a hard thing to sing. And his voice too,

01:06:08.420 --> 01:06:13.159
being so soulful as it was. Maybe one could argue

01:06:13.159 --> 01:06:15.300
it's not like this technically proficient. He's

01:06:15.300 --> 01:06:17.159
not hitting like all these runs and notes and

01:06:17.159 --> 01:06:19.780
whatever. But to do it and to do it so well,

01:06:19.900 --> 01:06:23.139
very hard thing to do. And I love up on Cripple

01:06:23.139 --> 01:06:25.440
Creek. You can't help but sing along to that

01:06:25.440 --> 01:06:31.300
tune as well. So great, great choice. I'm pulling

01:06:31.300 --> 01:06:35.039
it. and audible actually oh really you know i

01:06:35.039 --> 01:06:37.719
have so many in the bank that's what still makes

01:06:37.719 --> 01:06:40.239
this hard because we thought like the greatest

01:06:40.239 --> 01:06:44.360
drummers of all time was hard doing this and

01:06:44.360 --> 01:06:47.760
having to get underrated drummers it's still

01:06:47.760 --> 01:06:51.480
i've got like i don't know 20 more on my list

01:06:51.480 --> 01:06:55.980
that i that i could pull from and so it's still

01:06:55.980 --> 01:06:59.849
such a challenge for me to actually choose the

01:06:59.849 --> 01:07:02.989
last one but you said singing drummer and so

01:07:02.989 --> 01:07:07.829
I want to keep it with that he is highly underrated

01:07:07.829 --> 01:07:12.010
but Don Brewer from Grand Funk Railroad we're

01:07:12.010 --> 01:07:14.929
an American band I feel like that caps it off

01:07:14.929 --> 01:07:19.329
that is one of the best drum intros out there

01:07:19.329 --> 01:07:22.889
another one of those things that if you start

01:07:22.889 --> 01:07:26.940
playing that You don't even have to do the cool

01:07:26.940 --> 01:07:29.260
stuff yet. You just have to play that cowbell

01:07:29.260 --> 01:07:32.019
with that groove and everybody knows right away

01:07:32.019 --> 01:07:38.039
what that is. The single pedal style. That's

01:07:38.039 --> 01:07:40.199
one of those things that once I learned that

01:07:40.199 --> 01:07:42.659
John Bonham and John Fred Young and Don Brewer

01:07:42.659 --> 01:07:45.889
were all. single pedal guys i threw away my double

01:07:45.889 --> 01:07:48.269
bass i'm like i don't need that i'm like i just

01:07:48.269 --> 01:07:51.349
need to do single pedal so that was one of those

01:07:51.349 --> 01:07:54.190
songs that for me growing up i'm like all right

01:07:54.190 --> 01:07:57.789
i gotta go faster i gotta go faster but not there

01:07:57.789 --> 01:08:01.150
yet all right next time so yeah we're an american

01:08:01.150 --> 01:08:04.090
band and he's singing the whole thing so it's

01:08:04.090 --> 01:08:08.210
like come on and it's also strangely poetic that

01:08:08.210 --> 01:08:10.690
you closed with that and i'll give you a reason

01:08:10.690 --> 01:08:15.599
why the greatest drummers episode you closed

01:08:15.599 --> 01:08:18.020
and I'm not going to say what song but you closed

01:08:18.020 --> 01:08:22.020
with the Beatles and Grand Funk Railroad one

01:08:22.020 --> 01:08:25.579
of their biggest claims to fame was selling out

01:08:25.579 --> 01:08:28.000
their appearance at Shea Stadium in New York

01:08:28.000 --> 01:08:32.979
City faster than the Beatles and why you may

01:08:32.979 --> 01:08:38.159
ask it's the talent of Mark Don and Mel and I

01:08:38.159 --> 01:08:41.779
absolutely applaud the pick A perfect poetic

01:08:41.779 --> 01:08:46.819
ending to our side B of greatest underrated drummers

01:08:46.819 --> 01:08:49.659
mixtape, which consists of The Cars, You're All

01:08:49.659 --> 01:08:52.319
I've Got Tonight, Huey Lewis and the News, Couple

01:08:52.319 --> 01:08:56.380
Days Off, Steely Dance Asia, Steely Dance Home

01:08:56.380 --> 01:08:59.859
at Last, We Allowed It, Jimi Hendrix Experiences

01:08:59.859 --> 01:09:04.060
Manic Depression, ZZ Top, Just Got Paid, Iron

01:09:04.060 --> 01:09:07.399
Butterflies, In a Gata De Vida, Blackstone Cherries,

01:09:07.399 --> 01:09:10.699
Blind Man, the bands Up on Cripple Creek, and

01:09:10.699 --> 01:09:13.479
Grand Funk Railroads, We're an American Band.

01:09:13.800 --> 01:09:16.880
Head over to myweeklymixtape .com to hear all

01:09:16.880 --> 01:09:19.920
the songs we've discussed in this mix through

01:09:19.920 --> 01:09:23.460
the playlist embedded on the episode page. Now,

01:09:23.479 --> 01:09:25.920
John, we talked about the Summer of 99 Cruise.

01:09:26.760 --> 01:09:28.399
Why don't you tell people a little bit more about

01:09:28.399 --> 01:09:30.180
how they can learn more about that, how they

01:09:30.180 --> 01:09:33.699
can get tickets, how they can come hang and anything

01:09:33.699 --> 01:09:35.699
else that's going on in the Tantra camp that

01:09:35.699 --> 01:09:37.239
you want to talk about and how they can get in

01:09:37.239 --> 01:09:40.699
touch with you. Yeah. So summer of 99 cruise

01:09:40.699 --> 01:09:44.100
is April. The first cruise is already sold out.

01:09:44.140 --> 01:09:48.300
But as far as I know, the second. you can check

01:09:48.300 --> 01:09:50.600
the dates on that, the one with Daughtry. That

01:09:50.600 --> 01:09:53.500
one still has cabins available. So head on over

01:09:53.500 --> 01:09:57.680
to summerof99cruise .com and you can catch them

01:09:57.680 --> 01:10:00.180
there. And then on top of that, Tantric's got

01:10:00.180 --> 01:10:03.520
dates all over the place. So we're touring through

01:10:03.520 --> 01:10:06.840
October. We're doing a lot of Northeast stuff.

01:10:06.939 --> 01:10:10.079
So if anybody's in the area, come on out. Hopefully

01:10:10.079 --> 01:10:12.460
a new record soon. And then for me, I'm always

01:10:12.460 --> 01:10:14.819
drumming and making nonsense content. So you

01:10:14.819 --> 01:10:17.789
can go and see that. at Instagram at John's drum

01:10:17.789 --> 01:10:21.510
studio, J O N S no H. We don't do that in my

01:10:21.510 --> 01:10:24.550
family. And so John's drum studio, you can connect

01:10:24.550 --> 01:10:28.210
with me there and on Facebook, John Laurie. And,

01:10:28.229 --> 01:10:30.409
uh, yeah, that's about it. I got a lot going

01:10:30.409 --> 01:10:32.970
on this year, but I'm very, very blessed and

01:10:32.970 --> 01:10:35.670
very stoked. Well, I am very, very thankful that

01:10:35.670 --> 01:10:38.090
you took time out of your crazy schedule to join

01:10:38.090 --> 01:10:40.350
me again tonight. It's always a pleasure talking

01:10:40.350 --> 01:10:42.890
music with you. Thank you so much for joining

01:10:42.890 --> 01:10:45.260
me again on my weekly mixtape. Thanks, Brian.

01:10:45.460 --> 01:10:47.859
Appreciate it. Remember, mixtapers, you can find

01:10:47.859 --> 01:10:50.699
my weekly mixtape on all the social media haunts

01:10:50.699 --> 01:10:53.819
at my weekly mixtape. You can also head to my

01:10:53.819 --> 01:10:55.979
weekly mixtape dot com to check out the full

01:10:55.979 --> 01:10:59.420
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01:10:59.420 --> 01:11:01.220
like what you're hearing on the show. Let me

01:11:01.220 --> 01:11:04.640
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01:11:06.079 --> 01:11:08.619
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01:11:17.319 --> 01:11:19.460
That's all for this week. Thanks again for listening,

01:11:19.520 --> 01:11:21.659
and until next time, enjoy the tunes.