Steve Ferrone Pt. 2

For a special Questlove Supreme episode, Questlove interviews one of his heroes, Steve Ferrone. In part 2, Steve tells a great story about meeting Prince and recalls his time working with Average White Band, Duran Duran, Chaka Khan, Rick James, and Tom Petty.

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Episode Transcript

Speaker 1 (00:00):
West Love Supreme is a production of I Heart Radio
Ladies and Gentlemen with self with help with something. You know,
it's been a long time, but here it is the
long awaited part two of our special one on one
to a Less with my hero, my idol Steve Arrone.
So in part one Steve was talking about growing up
in Brighton, England, drumming influences and things tap Answer playing

(00:24):
in Brownstone and that conversation ended with him just joining
the Average White Band. So let's start with part two
right now. This is a special one on one West
Love Supream with Steve Roone, the great all Right, Alan
Gory clearly is of the ilk of of Ray. Charles

(00:45):
um Hamish has a wonderful like falsetto and you know
they're they're extremely soulful. But how how much of the
marketing of these funky white boys are they were lying
on during this time period a lot of people actually
thought Average White Band was a black band. And when

(01:08):
when when we walked out on stage, they did, what
the hell is this? You know? And there was a
lot there was a lot of okay show us that
went on. Yeah, I mean there was a lot of it.
But the band could play. The band was authentic. We
weren't trying to be anything else other than average white

(01:30):
band and play soul music. We love soul music. It
was just what we did. I mean, I've had guys,
I've had I've had bands with guys that I've been
played in with bands and we've been playing average white
band stuff. And I remember we played at Long Beach
once and average White Band were playing across the street
and I think they were opening for Tarot Power and
I got hold of on E and Alan and they

(01:52):
came over and I had them sit in with my
band and show him how it was done, and it
was that they were they were and they were like, oh,
so that's what it is. And I think I think
that you'll find that with bands when people come and
sitting with like you know, if there's is there's two

(02:12):
or three of us from from the Heartbreakers that are
playing together, right, you get that they get that feeling
of what that was like, and it's a powerful thing.
I remember when I was playing with George Harrison and
and Ringo was set at the rehearsal. Ringo is there
and and Ray Cooper had another drum kits set up
because he played double drums with me sometimes and some

(02:32):
stuff back there, and I said to ring the Winger
and I said, come on. So Ringo came up on
the stage and starting to play, and all of a
sudden it was like, oh, this is what the Beatles
felt like. Yeah, there's a there's a way of that's
those people when those guys. Yeah, let me ask you

(02:53):
this much then, because I know that as a drummer,
the bass player and the drummer are married to each other.
Now you're in a group with two interchangeable bass players
and two interchangeable guitarists. Who do you prefer on bass?
And who do you prefer on guitar? Do you prefer

(03:13):
Alan Gore yard bass or Hamas Stewart on bass? Well,
they're they're both. They're both different that they both played.
They both played different different thing. Alan Alan had like
a real nice round round sounds with the bass and Hamish.
Hamish had this sort of more more more aggressive, sort
of like schoolboy crushes. So that's the way you're playing
playing device you were playing with the pick correct? Yeah? Okay, yeah,

(03:38):
but who had the better pocket for you? At least
we're both the sign I mean they're both both both
going bass players. I mean, it was, it was, it
was a joy. I mean when Alan picked up the
guitar and started to play play the way that he played,
they would played guitar, and then how how Honey would
would would fit these rhythm pattern to the to him

(04:02):
and how it was it was it would luck you know, Okay,
A question I always wanted to ask, or the person
to person live album, which incidentally is probably any any
list I make of my favorite albums of Walter, that's
number one. So there's a moment on t l C
where you guys go absolutely apeship in the zone, and

(04:23):
that's kind of the moment where I assume that it's
Hamish Stewart taking this harmonics bass solo, you know, kind
of like Jacobin Story's portrait of Tracy playing harmonics. Like
it sounds like a yeah, yeah right during that moment,

(04:44):
because even when I was looking up old photos, there's
five photos of that period between seventy five and seventy
eight in which both of them are playing bass at
the same time. So I assume that that was a
part of TLC every night at least for that tour.
Are they both playing bass? At the same time because
I've never seen I've seen guitarist. There was one song

(05:07):
that we had two basses, and I forget what it
was now, probably Love your Life it could be, right, Yeah, yeah,
I was gonna say, because Hamis is like sort of
go to the dode do dude, like that's his go
to rhythm reference, and he kind of plays a bass
like a guitarist. But yeah, always yeah, I mean yeah,

(05:28):
that's the That's the thing is Hammis just got eas
he has a way you're playing. I mean, I can't
say one of them was better than than the other.
I mean they just had it would just it would
they figure it out which one, which one was going
to play bass on which song? It would It was
never really a fight over who was going to play bass.

(05:48):
It was maybe he said, what's your me played bass?
Let me okay, and then let's not play guitar. And
it would always we'd always, we'd always work at tracks
until that that thing just sort fell in into into
into the into the pocket. Okay. So that said, during
Alan Gory's uh pick up the piece of solo mhm,

(06:11):
you and him are literally hitting these riffs at the
same time. Now is this a result of listening kind
of muscle memory. No, no, I mean muscle muscle memory
where you know what he's going to do on a
solo or let me tell you something about that album. Yes,
we recorded, I think maybe we recorded in Pittsburgh. We

(06:31):
recorded in Philadelphia, and we and we played, we played
in Cleveland and most of the most and there was
another one too, I think maybe maybe new But there's
like four different concerts over the course of a year
that we recorded. That solo section was always in there, right,
everybody liked the solo from a different place. Most of it.

(06:53):
The bulk of the album is taken from from Cleveland, Cleveland, Cleveland.
But uh, there was this song here. I don't even
I can't remember which one, but I remember, but I
remember this whole thing. But we were sitting there the
solos and pick up the pieces, right, Okay, I liked
the one from there. I like the one from there,

(07:15):
I like and and so we said, well, let's see
what happens so kind of past Oh wow, oh man,
like in my mind, in my mind, you guys are
the tightest motherfucker's ever was like, whoa here, they know
exactly what's gonna happen. Okay, well, explain to me this thing.
How much how much how much sweetening post sweetening has

(07:38):
to happen after you get the tapes, Like do they
go and sing some parts over? Are you like I
dropped a drumstick, let me hit the snare and no, never,
I never did anything. It was basically what you heard
is what you get. That is crazy. Maybe there'd be
a vocal line or something that that would next be
necessary to but it was. It was spun. I mean really,

(08:02):
if there was like a little bit they just changed
to the vocal maybe, but but it basically what you
heard was what you got. That was it. Ah, you're
breaking my heart man. Yeah, it's badass bad That man
was badass. Uh. And we didn't cut, we didn't play
with the click either. That was the thing we go

(08:22):
where you get at the end We got, We were
at that. We were at all at the same place
every time. You're the packet king. Um, yeah, I've been.
I've been stalking the current president of Atlantic, Craig Kalman.
Uh to let me listen to all of the recorded
live tapes of you guys, because I yeah, you know,

(08:44):
I know if you go in there if you go,
if you actually get access to all that stuff, what
they have, there's out takes of stuff and different versions
of stuff that we did, right, it's um. I think
part of it was, yeah, like if I ever lose
This Heaven, we all we all listened to that too.
I mean, I remember when I was out here with

(09:06):
Blood Sun and I used to love to ride downtown
and listen to that album. It was it was just
kind of like a soundtrack for Downtown, you know, And
If I ever Lose This Heaven was just a great
what a great track. But you know when they when
when we went into the studio, they tried cutting that
some couple of times with a couple of different people,

(09:26):
and and everybody had got sort of gone in there
what I heard, and they copied the same. It's very
simplistic bass drump, but the drum field that the Quincy
that used for for for the for the thing. When
I went out and sat down, I decided to play
just to play that song, I mean, and I just said,

(09:47):
and I remember when and listened to the first the
first take of it. I don't know even know if
that was the one we user, but I remember Roger
Ball coming over and kissing me on the top of
my head? Yeah, was that you recorded with him in
the studio? Um? No, I don't remember what the first song.
I don't remember what the first song was. Were there
were there any songs of Robbie on the cut the
Cake album? Or is that all? You? We what? We're

(10:10):
just going? All right? So, you know, because you joined
Duran Duran and eight seven, I'm certain that you could
tell the difference between kind of the teen idle fandom
of like screaming girls and regular fans who just like
into the sound and into the band. What was you know? Again,

(10:33):
I know there was a novelty or curiosity of of
these funky ass white boys or whatever. But at least
between seventy five and eight seven, is there what are
the fans like? They were wherever Duran went there were
the duets and and yeah they used to they used

(10:59):
to be they outside of the studio and they were
all very nice, you know. I mean I remember when
we were in London and we were recording, there was
this school Michelle that I was still in touch with her, right,
I was there and I had my kids with me, okay,
and they were little. They go out and there was

(11:19):
a there was a like there was this gate, you know,
and they go out and they sort of talked to
the Durani's through the gate, and finally Michelle said, I said, Michelle,
you want to look after after the kids because I
was inside working. And they go out there and they
sit with the Durani's and they'd have chips and candy
and they would they would just hanging. They love My

(11:40):
kids loved hanging out with these these fans. And I
mean Michelle said to me and she said, well, you
wouldn't do that, now, would you? And I said, well,
making up. But but back then they were they were
they were so nice that, I mean, they were just
fans and they all they wanted was another photograph. Was
it like that for a w B? Though, like that

(12:03):
level fandom? No, no, No, I think it was a
totally different, different thing. That was the average White band.
It was sex basically, it was. It was sex and
Druggon brock and roll with with the with the with
average white Man. But but I think I think it
was it was a different I mean, you know, I

(12:23):
was I think I was like thirty five or something,
and you know, I think and I think and I
think that Duran Duran Durand also started to mature as
as as men. I mean, you know when they when
they first started, they were came straight straight out of college,
would be the biggest band on the planet, right. It
was wild, you know, and that's why they had that

(12:44):
song wild Boys. Yeah, I see. So then by the
time I joined him, I was the I was the
oldest teen idol. And they would they would they calmed
down somewhat, you know, Okay, yeah, you guys were serious.
But you know what's funny, it was at one point
nobody really took Duran Durand and that seriously, you know.
I mean other than being like a team, they were

(13:04):
a phenomenon, a team phenomenon, you know, really and then
a good musicianship though, but they did. Yeah, eventually it
was like they were working on it. I mean, like
they said, they came out and then you know, and
then they went great producer mart Now, I just and
you know that could put that together, Bernard Edwards, and
they worked together and in the power station and studios

(13:26):
and all the money and all the time to do
a record and make make a song happen, you know.
But they started to they started to mature as as
people and musicians. And you know, now they've been around
a long time and they and they still they still
valid and still make music and they aren't just sort

(13:48):
of resting on their laurels. And you know, we we
were theround around they they just really matured into the
bunch a really great players. Well shout out to Durander
and they just got a I'm part of the Rock
and Roll Hall of Fame committe. So I'm very happy
that they got inducted. Finally. Absolutely, that's that's that's fantastic news.
But but but yes, absolutely that that you can't say

(14:12):
that they're not valid. They've been making records. I mean
I remember, I remember, you know, I was working with
George Harrison and I go over to London and I
got I had an apartment on Sloane Street. They gave
me an apartment on sty and I had to drive
out to the rehearsals that Embrace Studios. I get there
right there, I take it right down the King's Road.
I get in my car. I'm driving down the King's

(14:32):
Road and I see this guy and they say this
little muscle muscle bound buffed and they say that looks
like Warren Cokilo. But he's skinny, skinny rock and roll guy,
a little skinny rock and roll guitars, and and then
I look and it is Warren. And I hadn't seen
him in a couple of years, and he'd been pumping

(14:53):
iron and he buffed out, I, Warren, what the hell
is it? You're in town? He said, I need you
to do a session for me. And this is what
I'm still driving very slowly, I'm king and I said,
I got the window down and saying, well, I don't
know what my schedule is. He said, let me know,
and he takes the reaches into his bag and takes
a cassette and he throws it through my car window,

(15:15):
and he said, that's the song. Give me a call
when you when you get when you find out what
you're scheduled. So I drive off down the road and
I take this cassette and pop it in the cassette
player and in the car and it's the Ordinary World. Oh.
And I call up Warren and I say, you don't
need me to play on this. You know this. You

(15:36):
can just put out this demo right now. This is
a hit record. You know this is great, this is
a hit song. And he's like, no, no, no, we
want you to play with So they insisted I play.
And I don't know if I bought anything else to it,
but boy, what a beautiful song and what a great
hit record that was on them, you know. So I
have a question about your your studio sound. So the
thing that always attracted me to your sound was your tone. Uh,

(16:00):
particularly the snap of your snare, Like I think like
you really came alive on the Soul Searching record. Just
your drumming technique, Like I love the fact that you know,
we now live in the age where and drummers hate
when I start speaking down on gospel chops, um, you know,
but for me, I know, but for me, gospel chops

(16:24):
is if you're a chef, you gotta know how much
garlic and salt and pepper and spices to add to
your meal. And sometimes you can overdo it, but you
always have these clean feels, so really really good piece
of meat, really good kind of meat with too much
and sometimes you don't need spices, you know. Um. So

(16:45):
that said, can you walk me through a typical session
for a w B, like, you know, like, do you
have a say in the tone of your drums um,
you know, like I know that your signature gretch set
kind of comes in at the tailing of the tour,
like are you allowed to tune your drums or is

(17:05):
a thing where like the engineer just don't touch my microphones,
don't touch my drums, just play. At that point in time,
I did it. I did it myself, you know, I
was my own. I mean, I can't say that I'm
a really a great drum tuno other than the fact
and I wanted dang thing. I wanted to dang thing
to sound like you know. The first cut the cake
was was it was the sonar kit that they had

(17:29):
in the studio Atlantic. There was in the little box
and did you ever see that to photographs of that
drump k It's like in a little box and the
symbols were right there and it was and that was
that was, that was, that was cut the cake. And
then by the time but the time he got around
to soul searching, it was I got I wanted, always

(17:51):
wanted a great drum kit and I could afford one,
and I got That's when I go. So there wasn't
such a thing as we'll endorse you, here's a free kit.
Well that the endorsement that I had regret you at
that point was they gave me a fifty discount. Now
they give you a good way, but back then it
wasn't giving us. And I got this drum kit and

(18:13):
I set it up and set it up in the
in the studio, and there was something that I wanted
to try because I always felt that there was uh
you talk about the sound of the tone of the
snare them that there wasn't quite the pop that I
wanted to get at the crack that I wanted to
get out of the drum with the microphone just on
the top. So Jean Paul, who was Les Paul's son,

(18:37):
was our engineer, and I said, I said, Gene, could
we put the microphone like underneath the snared it on
facing up so that we can and we can bleame
those two things so that we can get the Christmas
of the snare underneath plus the pop on the top.
And he said, yeah, sure, we can do that. So
they that's when they started to do that, and then
I then they were in so searching. I actually asked

(19:01):
him to put like a little delay or a little
echo on there. As on the underneath as well, and
that's why it has that sort of roomy sort of sound. Yeah,
and and and that was it was, it was. It
was such great fun to be able to experiment with
stuff like that back in those days. You know, a
Reef Martin was very open to how how is a

(19:24):
Reef Martin as a coach incredible? Are you guys writing?
We're in there writing as we Sometimes we start we'd
have an idea of a groove and then we write
it in the studio. It was expensive, but not as
expensive as will be to do that today. You're talking
about the studio that's Atlantic Records. M hm, yes, okay,

(19:48):
so yeah, I worked when we did The Hamilton's Broadway. Yeah,
we I worked on the Hamilton's Cast album at that
particular studio. And I always wanted to know, Okay, one,
did they only have one studio? And how does time
get how does time get divided? Like do you have
just a week to get in the studio and then

(20:09):
we gotta getut because the ref's coming or Bette Midler's
coming or I know, we used to just go in
and start recording and when we were there, that was
it was, That was it. We'd have like a couple
of weeks or something and we just work in there.
Sometimes we got That's how Benny and Keep Benny and
Ascott recorded was because we got stuck. We could sort
of got we won't going anyway. So somebody suggested us

(20:33):
doing an album with Benny King, and then we did
Benny King album and then went back to I think
it was so searching, and I think it was so
searching it maybe no, it may or maybe war more communications,
woman communications. I think it was woman communications. So do
you guys work out in sound check or like, how
is songwriting traditionally done? Well? We we always at a

(20:54):
tape recorder running all times, because what we discovered was
that we jam and out of the jam will come
something that the nucleus of the song. Yeah, but this
is where a reef was really good. When we were
in the studio, was we going and we started to
play this song, and we play and we played the

(21:15):
song there and then the reef would say, everybody come in,
and we come in and he gets to a certain
point in the song that we'll be playing and still
looking for this group, right, I was still trying to
find it, and he would say, okay, this two bars
right and there it was, Oh okay, okay, I get it.

(21:39):
That's where we are with it. This is this is
where the song is going to be. It would be this.
He spot a section of the song that was where
he wanted the thing to sit. And that's the magic.
And then there's there's the magic. Now, now go and
do that, you know, schoolboy schoolboy crash. We tried. We
must have done it about four times one and it

(22:04):
just would not hang together, would not would not really.
And so so he said, okay, pack it up, go home,
go out, come back tomorrow. We'll do it. We'll do
it tomorrow fresh when you come in. We all went
off to that stuff, went out, came back, came back
the next day. We walk in there. Okay, let's run
it down. So we run it down, and I said, okay,

(22:28):
let's do let's do a take. Let's do a take.
We did the take, and then we went in and
listen and it just wouldn't know. Here we go again.
It's not just not hanging together. And and Jean Paul says,
you want to listen to the run through. He had
the presence of mind to press that record. Pat in
the first time Schoolboard question through is what you was
sat with? Did he loop that? Nope? You just went

(22:52):
the run through wound up being the master version the
run through? Was it? Wow? In seventies seven, especially on
the Montro and your second appearance on Soul Train, you
guys had a bongo player in the group. Who was
that guy, Sammy figure? On that? Would Sammi figure? Okay? Yeah,

(23:16):
what was the idea of letting him in the group? Well,
Sammy was crazy? Sammy. Sammy was a guy around town.
He used to play in a band called Racist from
Puerto Rico. Wait what man called Racist? And Sammy was

(23:38):
the best Sammy Davis impersonator ever. Really, well, I should
say it is because he's still alive. Yeah, And he
was a very funny guy. And we started doing things
like Queen and My Soul when everything, and it was
like we could use the cast. Is this Sammy, Sammy
come with us? You didn't feel like it was in
your way? No, because the thing is on the live

(23:59):
I don't know if you ever listened to be the
Montro seven live album, but his presence there really doesn't
allow you to do your paronisms. So in my mind,
it's like, oh, you gotta be more tight. It was.
It was. It was a little different animal, but it
was it was cool. I love Sammy. You know the
only thing that used to annoy Sammy was he had

(24:24):
this giant rainstick. Yeah, it was huge. I mean it
was probably like six ft tall. And he would we
we used to travel on a legit and he would
bring this thing in the on the on the plane
and lay it down and right down in the middle
of the you know, it's tiny, right, so it would
be right and take up most of the thing and

(24:47):
as that as we would go to take off, it
would be like it was just annoying, but he was.
He's a funny guy, Sammy. I love Sammy to He
was just really great. Devon, how how are band decisions made? Like,
is it is it the idea that you all get

(25:07):
a say? Or who are the alphas that say this
is what we should do? We'd have a bad meeting. Okay,
are you guys buy seventy nine? Are you guys still friends?
Are you kind of phony in from home? Are you
tired of each other yet? Or uh seven? You know

(25:27):
you're talking about that Aristus Well no, no, feel no
friend before you go, yeah we we we we were
still update we still how many on making? Now why
was there an exodus to Arista? Because also Aretha goes
to Arista as well. Like I noticed that there's there's

(25:47):
at least four or five Atlantic acts that get wooed
away by Clyde Davis, and that I think that's what
that's what I have. Management management were pushing heavily for
us to move from Atlantic to go to to Irish stuff.
I don't, I know, I wasn't not sure about it
because I love being Atlantic now without without ruffling, you know.

(26:09):
And here's the thing. I'm I'm actually friends with Foster.
I'm a fan of the work. Like I love the
new Birth stuff, you know, all that stuff. And you know,
and I'll admit that maybe younger in my twenties and thirties,
you know, I might side eye the fact that Wow,
like Chicago used to sounds away and then they got
with Foster, and then Earth when Fire used to sounds

(26:31):
away and then they got with Foster. Now, you know,
sign comes out when I'm nine, So you know, I'm
not I'm not cynical. So I will say the nine
year old me I loved you know what you're gonna
do for me. I loved Into the Night, you know,
I love help is on it like I like those songs,

(26:53):
like I listened to sign constantly. But clearly it's a
more mature sound. Yeah, I wasn't very I mean there
was Working with David is fun because he's a great
musician and I think he's a great producer. But I
don't think that he was in a tune. I think

(27:17):
he's more attuned to artists than he is with a band. Okay,
because Average White Band was such such a special combination
of how the how the parts of everybody fit together
to make to make Average White better. I understand that
the producer has got to do, you know, his job,

(27:39):
to come in and make some changes. But I don't
think that you can actually lose the essence of a
band like Average White Band without having having some some
some problems. And the problem, the problem that I found
with it was when we finished that album and we
sat down and started to play it six people, the

(28:01):
band one sounding right, so we had to didn't have
the elements of overproduction that you had in the studio.
It didn't it didn't translate live, No, and we ended
up get. We had to get and we got another
keyboard player to come in and play with us, and
we got a couple of background vocalists to come in
with us. And I found myself sitting on stage playing

(28:25):
those songs and saying, where the hell did average want
band go? I see um at the turn of the eighties,
especially on like songs like catch before I have to
testify whatever. Like this is sort of introduction of like,
you know, I can hear the sin sonic drums or
like sort of drummer scene, you know, and kind of

(28:48):
the Filma and Louise car Jump for a lot of
these bands who were killing in the seventies. And this
goes for the Ohio players in the common everyone. They
have a decison to make to either sink or swim. Um.
How aware of you of what technology is and your

(29:10):
role in it isn't like Okay, this Roger Lynn Box
might replace me. Do I embrace it and learn how
to program it? Or the Simmons drums, like do I
roll with the punches or do I just fight the
power and be like Nope, I'm not learning technology, I'm
playing drums. Well, I like I like the Simmons drums.

(29:32):
I mean I used to my statement me tonight Jeffrey
Osman and I had to fight George. You do for that,
because I said, I said to George, and we cut
it with the real drumpa and I said, yeah, George,
don't I think this thing could use I've heard that
blinded me with science, and I thought, I like that.
I like the sound of that. So you were all
you were all for it. I was so ful. I

(29:54):
was so full of that. I mean, drum machines had
never interested me. We need to program anything, I'm mean,
I mean even though I did program at the so
misled on the Duranda and things started off as meet
programming something for them to play too. They were writing
in the studio, so I programmed that, and then I
had to figure out how to play. So what were
your opinions on like people that clearly we're going to

(30:16):
find the era i e. Princess music. You know the
fact that now deep snare sounds are kind of the
thing that's invoked kind of the opposite of what what's
your signature sound? Are you? Are you with us or
are you sort of fighting? No? I mean, I mean, look,
I used to fight the click. I mean when they

(30:39):
first started saying, you know, you got a cut with
a click. I mean, I think when you're talking about
those songs that you're talking about, all of a sudden
we were cut cutting stuff to clicking and just sort
of walk in there. And it was the play to
the clicking that that was. That was it. When before
we used to go in and have to find the
tempo right, the tempo would come from the song. Okay,

(31:01):
this is the song s tempo, and this is what
we're playing it at, and you know, and it was
it was kind of uninvolved, you know, I had when
you know, when people started to play, I'd worked hard
on my tempo and and I remember a reef, you know,
you say we were going to cut this with a click,
and I'm like, oh, come on, a reckon, we can

(31:23):
this is for the second Yeah, some of it, but no,
I mean even even the early stuff we shack o
lovers falling on me and then the click, it was
just that's playing. But I'm every woman. The one cut
with a click it was played that please answer this morning.
Who is playing bass on some Love? Is that her

(31:44):
brother Mark the Dirt Anthony Jackson. That's Anthony Jackson playing
some Love. I think so wow, it's crazy. Okay, that
was that day we cut a Reef and put aside
the whole day to cut love has fallen on me.
We did it in one take. Yeah, I was gonna say,

(32:05):
for a song to get cut, how long when you're
not working on your projects per se, when you're working
as a session musician, how long do you guys have
to get it right? Well, you know Shacker with a Reef.
With Shacker was was like we go in and a
Reef had a definite idea about how this thing would

(32:25):
would be right, and we go in and we rehearse
the parts and we get everything and run it down,
run it down. Shacker would show up like you know, whenever.
She showed up, like two o'clock in the afternoon or something.
And when she walked in there and she got in
that booth and she opened her mouth, everything went out
of the window. Everything changed. Okay, so you have the

(32:46):
vibe with her, It was like, okay, with all the
stuff that we've been sitting there rehearsing and rehearsing and rehearsing,
it was it was all about it. It was her
and she would it would change one thing that I
just found out, Um, your work with the Burke Family. Um, yes,
I wasn't aware that the Invisible Man Band was basically

(33:09):
the Five Stair Steps as another name. Yes, Um, and
a lot of hip hop fans are unaware that that's
you drumming or keep rising to the top. Yeah, when
you're when you're drumming with other acts. Again, my favorite,
my favorite percussion part on All Night Thing. You played
the percussion on the cow Bill. Yeah, I like ding

(33:35):
ding ding ding ding. Don't don't go dink don't. I
was gonna ask, did you guys track live? Because even
with you matching their ad libs at the end with
the drum fills or whatever, like, was that song just
cut at the same time with everyone? Or yeah, we

(33:57):
cut it like yeah, Jesus Christ. And then I mean
basically we cut it live, the vocals alive as well,
And and then I guess they did with bits of
the ad libs and stuff. They loved it, so they
just either kept it or did another redid it. Did
you have a relationship with the Five Stairs Steps? Like?
Why you know? What was your relationship with a Birke family?

(34:18):
It was a guy called Alex Massucci who used to
work at Fanio Records. Okay, who was who had who
was a friend with it was? I guess he signed
Clarence and and and Alex. I've met Alex to uh
you see, go and hang out with Ray Bretto and
all those people up there courso and and Alex asked

(34:40):
me to play on this record. So I just want
to say, I wasn't even aware of the stairsteps, that connection.
It was just you realize that no, no idea back.
This is all news to me right now. Great, seriously, yeah, seriously,
you don't know that the five stairs up and invisible

(35:01):
man man that did all my thing? And well surely
you know that. I mean you know Kenny Berkin. Yeah,
hell yeah. I spoke to Kenny not so long. And
you know what's funny. It's in northern California, up near Cartmel.
There's a radio station and they play all night thing
all the time. Dude, it's that was a black That

(35:21):
was a black radio staple in seventy nine eighty. You know,
even in my dad's been like the my the way
that you know, my dad would do like five sets
at night, but his band went out to do three
dance sets of like the songs of the day or whatever,
and they used to kill that song. I of course
I shouldn't known that was you drumming, because you know,

(35:44):
again you have the perfect pocket um By this point,
how do you? Are you your own manager? Are you
your own negotiator? Yeah? I do on my own stuff.
You know, I've always done. I mean there was a
couple of people would come in and say, you know,
I would really like to manage you, and I'm like, well,
you know, so you just keep your own dates, keep

(36:07):
your own dates, and you keep Now at that point,
are you like, are you a quadruple scale guy or
are you like the whole album give Me twenty thousand
or whatever? So you were still a scale guy? Yeah,
and you could make a a solid living, just as

(36:29):
you never ran out of work. No is there is
there a particular song that you were asked to play
on that got away that you weren't able to play
on because you had something else to do. No, John
Robinson miss a Date, one Thriller or off the Wall
or something like can you do this gig real quick?
You can't do it? Like, no, I don't think I

(36:51):
don't think so okay, okay, Um, so you know NB eighties,
of course you know you'll you'll join Duran Duran, But um,
could you talk about the the Clapton period? Yeah, yeah,
it was great. How did you guys look up? It
was with Duran Durant and we were in London and
we and we got invited to Bob Goldorf Snyderood party

(37:16):
which is at the hard Rock Cafe. And I went
there and I was hanging out there and it's sunny.
He gets suspanned. El Ballet were there and and and
and they they they did a little squabb will going
with with the randurand it was like they were like
rival rivals, like this rival theme between them and uh.

(37:36):
And so I'm at this party and Phil Collins comes
up to me, you know I've met for a couple
of times before, and feels like, hey, Steve, did you
ever meet Eric Clapton? And I said, well no, I said,
I met him once. He came to an average white
man show and I just met him briefly, let's to
say hello. That was about it. He said, how I

(37:58):
come over and come on? And do you come over?
Come over and hang out with us? So I got
over and I sit down and I'm there with Eric
and we're just sitting there talking. I mean, we're talking
for a bit and don't remember what the conversation was about, really,
you know. And uh. And then I said, well, I
bet I better get back over to my crowd over
there's nice meeting. And that was it. Did see you feel?
And I went back over and I hung out with

(38:18):
my band and that was it. Go back to New
York and uh. And I get this phone call and
go said, listen that would you would you like to
go and play with Eric Clapton? I don't know, Well
that sounds like fun. Yeah, what's what's the geek? You know?
And they said, well, he's playing a couple of clubs,
one in Boston and one in New York. Mhm. And

(38:41):
I said, well, yeah, great, he's in the band Gregg
Feeling Gains in Nathan East. Okay, my buddies, my man, Okay, yeah, fine,
that sounds good. And so we went up to Boston
and we we we rehearsed a bit. I think Eric
wound up in the hospital after day one. I think
he's one of these drinking periods, and so we we

(39:04):
just rehearsed on our own, and and and then he
showed up for us last day or two rehearsal, and
then we went and played in this club. And then
we went down and played the club in New York,
this club in New York. When you're in this position, um,
you know when I drum with other people, UM, I
tend to think like a shape shifter, Like I don't
think I have a definitive sound. Um. My default sound,

(39:29):
of course, is your sound, which, weird enough, I never used,
even though if I were to just start drumming, I
would basically say what would for Ron do right now?
Even though my brand of drumming is kind of way
different than that. However, I do find myself shape shifting
a lot, like currently right now with D'Angelo. Um, I'm

(39:53):
sort of somewhere in between Tiki Fulwood and Funkadelic and
Jerome Balley, uh drumming and ways I haven't drum before.
But for you, if you're with Clapton, is how hard
is it to not channel Ginger Baker? Like, Okay, so
I give him a cream moment or like or is

(40:16):
it just strictly like I'm gonna drum like I do? Yeah?
I mean I think, I think, I think, I always
refer to Okay, I defer to the song first and played.
I just go and played the song. And I don't
think about anything well in listening to the song. When
I'm listening to song, there's always bits a sort of
stand out. They go like, oh, well, if I don't

(40:36):
play that, then I noticed it. It's big enough for
big enough moment for me. I should play. I should
do that. And sometimes there's stuff like that. I don't
know this some stuff until later. But I mean, I
never really I never really think too much about I mean,
I played a bit replaced like a lot of people

(40:58):
in bad I mean, I remember I did. I did.
I played for this band called the Pooh Pooh. It's
a it's a like Winnie the Pooh. Ok. Their Italian band.
And they've been together for like over forty years and
they're sort of like progressive rock band and and they've

(41:19):
been together forever and and and their drummers Stephano, retired,
and they asked me to go and do this, do
an album and sort of to move them forward, not
just one album, and and a bit of a tour
just to keep them, just to keep them going and
I went over and did that, and and there was
I had to listen to a lot of their music

(41:41):
and and and the Stephan I were recording, you sort
of give it a nod. And but the rest of
the time I played myself and try to bring something
something to the song. And then so I did this
interview and this disguises me. I don't know if you
realize how big a thing this is that you're doing,

(42:03):
replacing Stephano in a band that's been together for that long.
And I said, well, I've done it before. I did it.
I did it with Duran Duran, I did it with
the Average White Band, I did it. I did it
with I did it with the with Theriic Clapp too,
because there was basically that introduction was Phil Collins saying

(42:24):
I can't do this. I got my own Geeg to do.
Try Steve. So then I think, I think I to
go and do that with Phil Collins. There's been a
stand lynch with the Heartbreakers. I've replaced. I've replaced so
many people great drummers that have done at great moments,

(42:47):
have had iconic, i'd say iconic moments, and I don't
think too many people have missed them, you know. I mean,
it's just that I've gone and done that, and and
and But I played the song, and I don't really
think too much about what everybody else plays when I listened.
When I listened to something, there's certain fields that it's like, well,

(43:08):
you know, that's that I can't not play that. That's
got to be there right right. But I listened more
to the song, and I do to what the drummers playing.
So one of the most magical nights that I've ever seen.
One was the first time I've ever seen you play live.
And too you're playing drums for another hero of mine,

(43:28):
which is Prince. I was there in the Rock and
Roll Hall of Fame. Yeah, then when you guys do
my guitar gently weeps? Was this at all sound checked
or rehearsed? Well, we were hearsed. We were hearsed here
with elements of the heart. But Tom Scott Thurston's playing bass.
When we got to New York, there was Winwood, and

(43:51):
there was Jim Cabodi, and Jim was a very funny guy,
and and and and he was playing he was going
to play percussion, you know, and h and Jeff Young
was playing keyboards as well, and and then Preach materialized
over there, and I'm like, I said, what's the women

(44:11):
would sitting around a said what's Prince? I don't know
he's coming. He said, no, no, no no, he's here. I
think he's sort of this is sort of like last
minute addition to the band. And there was a little
bit of an uneasiness because apparently what had happened was
Olivia wanted people that were connected with George to play.
Olivia Harrison wanted the people that were connected with you,

(44:33):
but the Grammy people have persuaded them to let Prince
come and play, right, So I said, to win would,
I said, I'm going to go over and say hello
to him, you know. So he said he would say
you're not and I said, yeah, I'm gonna go over.
I'm not frightened of him, so I can go on
and and say, Hi, Prince, how are you doing. Steve
FERRONI nice to meet you. And he says, oh, he says,

(44:56):
I know who you are, and as it, and I thought,
I feel for you right right, Yeah, I played on
a field for it. And I said, well, we had
a little bit of a chat and said, okay, well
I'm gonna go back over there, but really nice to
meet you. Yeah, And I go back over and then
who was like, what's what did he say? And I said,
he's really nice, go over and say I to him.

(45:18):
Don't introduce it. So all of a sudden, I hear
schoolboy Crush being played, right, hear dog Dog do, didn't do,
didn't thing, And I thought it was like somebody from
the from the Letterman band or something, just messing with me,
you know. And I look across the stage and Prince
is looking right at me, playing Schoolboy Crush, and I'm like, dang,
he does know who I am. You're god, but you know,

(45:44):
And so we we played a little bit and then
Tom sort of went up to Prince and said, listen,
just take that solo at the end, and you know,
just did you guys? I had no idea, and he
put on a whole show. He put on the whole show.
When he fell into the audience, we had no idea.
We thought he'd fallen off the stage. The whole band

(46:07):
we just killed Prince. I think the guy Big Joy
catches him and pushes him back up on the stage,
and then the guitar went up on the top and
then everybody was like, what where did that go? That was?
It was? It was a show for us, It wasn't
for them. It was a show. He told me that
that was I asked him, I said, was that a
revenge solo? Because you know, Rolling Stone had comprised a

(46:30):
one hundred best guitarist lists and they never mentioned Prince,
which to me is like, dude, he's a monster and guitar.
How do you guys not? And you know he's sort
of uh, you know, it's kind of scoffed, like, well
they know now, you know, that's sort of but I

(46:51):
you know, I instantly felt like that was his moment
to let them know that, you know, I'm a motherfucker
or and guitar. It's an incredible solo. It's just incredible.
It was just just incredible. Of all the bands that
you've been anchor members of, what is the more favorable

(47:17):
for you as far as just experiences? Is it The Heartbreakers?
Is it? I spent twenty five years of Tom Petty
and the Heartbreakers. That's the longest that I've ever ever
associated myself with any band. I love that band and
uh and I love the experience, but making music with
that band No, constantly, always relevant, always fresh, always doing

(47:41):
something new. Tom's toms motto was, I may have made
a lot of money, but it's not going to stop
me from being an artist. What more could you want? Yeah?
What was Do you remember the last show that you
did with him? Yeah? Hollywood Bowl? Was there anything particularly?
I got inducted into the rock Walk in Brighten, in
my hometown in England on the pier. They gave me

(48:03):
this black and they put a plaque up on the
pier and h and Julia and my fiance. She she
decided that she was going to start off like getting
people to make one of those little films when they say, oh,
congratulations Steve. You know, all these people leaving nice messages.
And she got older, she got older Nathan and Nathan

(48:25):
just went crazy and got like, you know, Eric Clapton
to to say stuff and all these people. And she
was trying to get me to watch it for the
longest time. Right, So we're going over to England to
do this thing, and and we're sitting waiting for the
plane and she says, she pulls out a computer and
she says, right, we're going to look at this now.

(48:47):
And I said, okay, and they sat there and they
see all these people that left beautiful messages for me,
and I was just sitting it's done. It was so
nice that everybody all this stuff that people were saying.
It was like being at my own funeral. People say
the nicest stuff about And it got it got to
the very end, and she put Tom introducing me at

(49:11):
the Hollywood Bowl and he used to and Tom saying
one of the best musicians I've ever played with, and
he said I was a great person too. Did I
help a lot of people? I guess maybe because I
did the stuff in a a or something right. And
I just lost it in the airport. I just started
blubber and I just I just couldn't it was it

(49:34):
was and she was like, I'm sorry. I was like, no,
this is this is good, tist, this is I think
it's good too. That's that's kind of a theme on
the show. Like I I, for at least five years,
I hated it when people bestowed praise on me. Um
And so I'm fighting tooth and nail and kind of

(49:54):
learning to accept love and appreciation, you know, because well,
I listen, there's there's something that that that you're that
your people who are going to watch this, that they
should they should see that when we when you inducted
me into the rock down here in in the in
in Los Angeles, when we played pick up the Pieces,
I think we look I think we looked that pretty
good together. We absolutely did. You know. You know what

(50:16):
I want to ask about that night? How you know
it's weird. The weirdest part about that whole night was
it wasn't until I left that I realized that was
Steve Perry I was playing with. He's such a he's
so mysterious. I thought Steve Perry is like one of
the I thought he was a roady or something. And
he was so nice to us that that was the

(50:38):
funniest thing is because Steve really good friends with Steve
and known him for a long time, and he's very
much reclusive, but heat in and I was always trying
and coming. Man, you know, if I had a voice
like that, i'd be at there. Oh but I don't
have to range that. I used to I said, man,
you can sing, you know what you gotta do. If
I had that voice, I'd be out there singing. Now

(50:59):
do just thinking that he can't sing anymore or no,
he can still sing, he still makes records, but he's
he has a lot of a lot of insecurity about it,
you know that. But it's it's just a wonderful singer
and a wonderful human being. He's just a great guy,
you know. And and and so he liked to go.
He was sort of liking to go to see people

(51:20):
rehearse and sitting in rehearsals, and he liked to be
around that, you know. So I told him that, you know,
Hamish was in town for this thing, and and and
I said, we're gonna we're gonna be rehearsing over the
rehearsal studio. And I said, can I come and say yes,
Sure of course. So we get over there and we
start playing I think it was person to person. And

(51:41):
when we're playing it, I'm I'm missing a harmony in
a vocal harmony. I'm like, I'm missing a note, you know.
And and Hay said, well, what not there's and we'll
they're all singing. I'm like, no, there's a note missing.
Not on which one it is, but it's missing. And
they were trying and they're really annoying there there's nothing missing, Steve,

(52:03):
And I'm getting more and more uped. Right, Steve is
sitting there and he knows exactly what notes missing. So
so Steve says, can I can I yeah, come come
and sit. So he sit there, boom and there it
was right that, yeah, there you see that was missing.
And I said, you're in the band. And he what
I said, you're in the band? Good at that moment,

(52:25):
like he I thought he was. And then he was
playing percussion about he says, way over this. But the
funniest thing was was when I when I introduced him,
it was like all the audience is like looking at me, right,
and I said, let's start over that side there on
background vocals. We've got Steve Perry, and everybody sort of
went I was on the drum set like, wait a minute,

(52:49):
this is Steve Perry this whole time, like I did
not know he needs to sing more, man, please, please,
I'm gonna tell you, you know, are pointing to this
thing here. He's just he's got this voice is just
so special. He's got an instrument that's so special. And
and I don't know, I don't know anybody now from

(53:12):
you know that's in the from area that can sing
in the in the same key as they did back
in the eighties or or even their nineties. But you
know you can drop a key as long as you
can sing, because you know, I mean, I get I
get annoyed. You know when you talk about the gospel chops,
I get annoyed. The people who think they're on America's

(53:35):
got talent, and they got like thirty seconds to sing
every dang note that they can in the book. And
I hear people singing those songs like that, and and
it's like, just sing the thanks sing What make the
word means something. Don't ain't about what you can do
with it. Just make that word. You know. I heard
somebody singing something, somebody that the cover of Average White

(53:56):
Band something. They said me, this singer that was, uh okay.
I'm gonna I'm gonna wrap this up momentarily. I just
have a few more questions left. Number one, of your career,
as far as your actual performance is concerned, what do

(54:16):
you feel is your most memorable satisfactory performance in terms
of drumming, in terms of tone, Like if I want
to know what's the definitive three steve her own songs?
What is it? And I don't mean popular, I just
mean in terms of yeah, you you you locking it

(54:40):
in the pocket? Well, I mean I have to say,
I have to say school board crush okay, and where
you playing? Were you playing the bells and drums at
the same time? No, I added that as an afterthought
on the recording. Okay, cool, Yeah, but every time you
start you do it. Yeah, I just told about it.

(55:02):
But but but I just thought it's just kind of
that that sort of fit the song somehow, and then
and then all the rappers like it. So that was good. Yes,
exactly that Wildflowers, the whole album with Tom Petty was that.
That was an amazing experience. I love the album Secret Story,

(55:22):
Pat Ntheeney, I love so much. Easy's been on our show.
I think that's one of the most beautiful albums that
a little now. I wanted to ask you about the
glow Sessions, but I will just because you know, that
was definitely Rick james craziest period in his career. He
was um but in the book, yeah, I know, I

(55:47):
was going to say from one to ten, how crazy
were the Rick James Glowes sessions? Great, but that was
a lot of reverb on those sneers, man. Yeah, it was.
It was crazy. But Rick Man, well, yeah, he just
had such an energy that was really cool. I love
these music. I mean I just I went and sold bad.
I saw this little band playing one of one of

(56:09):
the clubs in Los Angeles. Forget Peppermint or something like that,
it's schooling and and it's that they were playing. They
were playing some Rick James but do do do? And
they were like, man, that's a great what a great energy.
That's amazing. Yes, give it to me baby, Yes, all right.
So I was gonna say, what was the hardest session

(56:31):
you ever had in your your cannon? Oh hardest take
after takeout, to take after takeof to take didn't nail
it got through by the skin of my teeth, you know,
as a schoolboy crushes. Was was pretty hard. But I
think there was a song on Secret Story. I forget
what it's called now, but there's this and and it
was it's in seven four and and Pat wanted wanted

(56:55):
to keep the bass drump, but he had done something
with the synclap and the sort of busting over of
this book. And I had to figure out what what
what how to play it? So I said, yeah, I said,
tell you what just run the tap and I'll play
and and see if I can come up with something.

(57:16):
And I was trying to figure out how to play
this thing and just playing, and then finally I got
settled into this one sort of pattern with it, and
I tried to do something and I almost fell off
off the drum kit doing it, and so I just
abandoned it. And then I went and I went in,
and then I went in. I went back in there
and said, okay, was there anything in there in that

(57:36):
and he said, yes, you played it once. It was
just opposed my feet off the ground at the same time.
It's just I had to really sort of I had
to go in and sit down and wood shed a
little bit just to get comfortable with my balance and
as I played that. But it doesn't sound that much,
but it's just a little bit. It's just a kind
of going there with the especially with the bran Arger

(57:57):
stuff like you were doing a lot of you know,
was quasi progut rockets liked meters and yeah, yeah, I
was young. I was very youthful with fran Ago. It
was twenty three years old, you know. I listened to
that stuff and it's like, wow, it's so young, So
I want to mention before going, Um, you have a
new project he functions. Yeah, you're on drums, and Jeff

(58:21):
Abatka one keys, and Wi Monkowski on vocals, Ethan Farmer. Yeah,
in shape area. That was fun to do. They did
that in the lockdown in my studio, and and they
bought the songs over and and and and a bass
player they had and Jeff had done all the stuff
with the keyboards, and they've done most of our vocals

(58:41):
and stuff. And then and then then Ethan came over
to the house and and my engineer at the end,
the guy who engineered, Eric Tongan. He does the engineering
for me, and we figured out how to do it
so he could engineer me from Long Beach right and
so and so he was in Long Beach and we
were there in the Roman massed up. You know, it

(59:02):
really is something I don't know if you've experienced this
with your band, but it really does give something when
when you can actually even if you if you're overdubbing
to attract that's already there, and if you if you
put down bass and drums at the same time, it
just had that little feel of there's an interplay that
happens between between between base place, It just makes the

(59:23):
track field I think a lot warmer. So are you
guys planning on like going out live with it? And
I'd like to go out and play. We were we
were doing this little gig at this this uh Pastrami
I think it's called Joe's Pastrami place. We were playing
on on Friday nights that were going there and playing
who I was playing with Jeff? I said when your

(59:43):
bunch is going to come APay? And he say, oh,
I don't know, I'm too busy, But I would, really
I would. I would hope that we'd go and play
a gig at least one, you know at some point.
Right there's one that I want to ask about that
I forgot to ask about. Um. It's on Soccer's fourth album.

(01:00:03):
She did an extremely ambitious medley called Bebop Medley. Yeah. Yeah,
you know she's basically marrying all these old jazz on
that was a reef. Yeah, did you piece that together?
Or we can? We got we cut a piece of
it every day. Yeah. I felt you'll did that in
one fell swoop And I always wanted to know how

(01:00:25):
did you guys get that together, So you guys cut
had to cut and paste that. Yeah, Cut Reef would
would would would we call it that bit? And then
he'd take it home. He listened to it, and then
he write the next bit, and then we come back
in the next day and then we played the next bit,
and then he tag it on and then we go
take it away and then write the next bit. There
were times where I saw you play with soccer. Have
you guys ever attempted to do the Bebop Medley live?

(01:00:47):
I think we have done it live. I think we've
done it Jesus Age Christ exactly. Yeah, you know, yeah
we did. I think, yes we did. We did it live.
There's a there's a I think we did it at
the concert. Um maybe we did something at the Roxy.
Did you did. I've seen only maybe like four or

(01:01:09):
five songs from that particular thing, but I think I
think we may have done it there. That was That
was fun. But you know, it's really hard because I've
played with so many great musicians and so much had
so much fun playing in my career and continue to
do so grateful and really grateful for that, but but
it's hard to sort of, um narrow down to say,

(01:01:31):
you know, I always feel like I'm leaving somebody out.
I usually, I usually usually when they do, when they
do something like this, I always make a big point
of thanking, thanking the School of Local Laedo too, and
the School of Local forty seven. Yeah you really are
a union guy. Yeah, man, I tell you, you know,

(01:01:52):
they may be they maybe they may be pay pay
for a pension. And I did. I'm like, give me
the money pension. I'm really I'm really happy that they did. Now,
those guys are always on my case. Um, you know,
I'm kind of in a different category where I don't
depend on that, But I also understand that musicians have

(01:02:12):
to make a living. Oh wait, speaking of which we
do have something in common. You were I didn't realize
that you were in eighty five VV House drummer for SNL. Yes, yeah,
how was that gig for you? You just did it
for one year? Correct? I had the gig for three seasons,

(01:02:32):
but in the middle of the second season, I started
to get really busy with Eric Clapton and Duran Duran,
and so I was out of town a lot. And
so funny, I just said, I it's it's silly me
keeping this gig as you give it to something, so
you decided to let someone. Okay, Yeah, So for you, Lan,
Lan has always been really really nice with me. I

(01:02:54):
mean he's always every time, and I always introduced myself
and he says, I know who you are. So my
final question is is there ever a thing as stopping
you know? Yeah? No, So for you, drumming is still

(01:03:15):
a passion you still have. I love doing it. I
love playing the drums. Yeah, I love making music. I
have a dream and I thought, you know, if COVID
wasn't here by the time I turned fifty, I said,
before I die, you know. And unfortunately, uh, Malcolm uh
is no longer here with us. But before I pass away,

(01:03:40):
I have to see the core five members of the
group lay one more time. Are you guys at all
as far as the average white band is concerned? Is
there an average white band thread on your phone? You know?
We talk every once in a while, and I tried
to get this utsman to make peace. You know, who's that,

(01:04:03):
Who's who's that? Odds here? Well yeah, some it depends
on the day, sometimes odds and sometimes uses the odds
and sometimes you know, I mean, you know, uh Molly
passed away with you, I mean I try to get
something back together, and and and don easy pieces and yeah,
all these projects with one or two members. But you know,

(01:04:26):
I mean, I mean, you know, I mean I was
talking actually talking with was as old man. You know,
it would be great to have quest littlecome producers, average
white but now he enjoyed as much as we would.
I would, I would honestly say to you, I would
probably risk the ire of anybody I've ever worked with
and walk away in the heartbeat if I knew that

(01:04:49):
I could facilitate an average right White band reunion. Well
I get I'll tell you what I do. I'll get
your allegories telephone number, I send it to you. So
he's the missing piece and if he agrees with it,
and then you think everyone. I think I could persuade Hamish.
I think that could be done. Yeah, I just want
a proper closing. Yeah, I think it would be a
good thing to do, because, like I say, everybody can

(01:05:12):
still play. It would it would be fun thing to
see what would happen your mouth with the God's ears? Yeah,
you know I in closing, I just want to say yes,
I really truly I hope that you know that literally,
you know you. You sparked a revolution of where I

(01:05:35):
am right now in my life, like the starts with you.
I'm truly, I'm truly grateful for that because it's nice
to see you. I have somebody walk up to you
and say, man, you've been a great inspiration, and I
can actually turn me and say, man, that guy plays
his ass off. Thank you, And also thank you for

(01:05:55):
that snare drum um. I'm literally using it all over
the I saw you doing it. The TV is absolutely
on the next Roots album. Wouldn't it be wonderful if
all those instruments got used that way? I mean that
that that people who got them and didn't just put
them in glass cases and look at them and thinking
with a lot of man that that snare has a

(01:06:18):
snap like no other. But I thank you for the
ladies and gentlemen, the great Steve Arne uh my my
musical hero or on Quarch Love Supreme. I thank you
for taking the time out to listen to this, and
we will see you on the next round, all right,
see y'all usch Love Supreme is a production my Heart Radio.

(01:06:45):
Well more podcasts for my Heart Radio visit the I
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