Drumming Up Success w/ Rich Redmond :: Ep 242 Mostly Middle Tennessee Business Podcast

Episode Transcript
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Unknown (00:00):
Like, hold on, hold on. Let me do this. Would you let me

(00:04):
do this? Let me do this. Wherethe hell is my freaking intro.
Here it
is. This is the mostly MiddleTennessee business podcast.
Thank you. Podcast about MiddleTennessee business owners and
professionals,
mostly. So you said you got anew gig. Is that? Is that what

(00:25):
you're telling us,
oh, I've always wanted to doFoley. Foley is a lot of fun.
It's very much like being apercussionist, yeah. But it also
involves, you know, extremecreativity and using sounds to
create things, which is like apercussion instrument, and you
might do things like walk insand or run or break
watermelons. How

(00:45):
do you it's like, how do you getall those fun sound effects?
That's exactly what I used to doin radio, was creating different
sound effects from other soundeffects. So if I wanted the
sound effect of an arm breaking,right? And that's typically
a tree branch breaking,
yeah? Remember the lasers andStar Wars were hitting the sides
of those, the industrial wires,the guy wires holding up

(01:08):
telephone poles. Yeah. So I'vegot a friend in Hollywood,
George. He's a great drummer,and he's been doing Foley for
2025, years, and
he gets paid to, you know, weneed you know, you watch like
the classic scene where HughJackman playing Wolverine, and
it's for the movie Logan, yeah,and it's his last it's going up

(01:29):
leading up to the end of themovie, and he's running through
the forest and everything theyhad to overdub in a studio, his
reenactment of screaming and allthis other stuff. Yeah, not
crazy.
Gotta be perfectly in time. Youhave to have great timing, like
a comedian or a drummer. And so,you know, George is a drummer,
so she makes him I mean,obviously, the funny thing is,
is that I'd like to do someFoley, and he wants to jump on a

(01:52):
bus and take the music to thepeople. The grass is always
greener, isn't it? Isn't itinteresting human nature,
dude, when I first met you, andway back when Johnny Rabb was
also a part of the that, likethe grouping, I met a lot of
drummers around that time, andit was kind of really cool,
because you let it off when wemet in 22,008 2008 and then I

(02:14):
reached, I don't know, I think Iwe did your vid SIG, and that
led to the front men doingtheirs, because I saw what I did
with you, and Reggie did his. SoI think Johnny Rabb saw it. And
those, for those of you arelistening, you are listening to
the mostly Middle Tennesseebusiness podcast where we talk
to middle tennis Tennesseebusiness owners, entrepreneurs
and people who can't get a wordout of their mouth regularly,

(02:36):
regularly, and Rich and I havebeen friends going on 18 years,
I would say at this point, yeah,
cuz we were basing it on yourson having his 17th birthday.
Yeah, yeah, correct. He doesn'tdo anything fun, like a pin the
tail on the donkey
kind of a thing. No, you 17, youknow typically don't do those
things anymore. At 17,
you are typically not wanting tohang out with adults.

(02:59):
He's, he's good, he's, he'scoming around. He's still kind
of like he's 17. You know how itgoes. He's, we're going to do
something fun with him. I thinktomorrow night, nice, yeah,
because he wants to, you know,have no obligation of school the
next day. Don Arturo's, I don'tknow, whatever he wants to do.
We kind of had dinner. He, youknow, he wanted Cracker Barrel,

(03:20):
because that's
where he works. Here in spring,Hill in, yeah, yep, the
crossings, wow. Okay, so we aredoing a podcast tomorrow from
like, probably, like five to 615or so, yeah, so I'll come crash
it. Come say hi to the birthdayboy. Let me know where you guys
end up. I'll let you, especiallyif you end up at like,
Frankie's, or

(03:40):
if we even go out, yeah, wedon't like really, mean, we've
gone out this past weekend withthe most we've ever gone out in
a long time.
You guys beefed up yourbackyard. You You know,
you got the pergola. It's nice.Fire Pit, the grill, the fire
pits, major selling point.
But getting back to, you know,back when I met you, you kind of

(04:00):
led that effort into me gettingto know like drum heroes, right?
Yeah, not that you know, JohnnyRabb wasn't exactly a huge
influential drum hero to me, butan amazing drummer, nonetheless,
fantastic any innovator,inventor, entrepreneur, author,
author, he Geez, you know,amazing teacher. And for those,

(04:23):
again, those of you listening,look up Johnny Rabb. Look him up
on YouTube. You'll be blown awaywith his technique and just the
stuff he can do on a drum. Buthe, he said the same thing. He
wanted to do more of what youwere doing, and you wanted to do
more what he was doing in termsof
clinics. And we ended up doingthat because then following his
lead, I was like, Wow, thisguy's writing books, and he's a

(04:44):
major clinician, doing that allthe time. So I leaned into that
and built that, and then heended up doing less of that, and
then getting an awesome gig for,I think, maybe a decade now,
with collective soul, which Icannot even believe, because
that's an amazing song book,that's an amazing body. Work,
and you know, they're playing
mostly, yeah, that's right,great. Which is the business of

(05:09):
musicianship, and specificallydrummers these days, you gotta,
you gotta be kind of an octopus.You got to think outside the
box. Because it's funny, sinceyou've come to Nashville in 1997
you're good, Jim, you
did all things you you knew howyou didn't really have we

(05:31):
didn't. The Internet wasn't aspervasive back then, certainly
not social media. Look at him.He's doing Foley again. What
sound is that
could be a shaker and, like, anine inch nail song, if you
like, like, Lo Fi it,
you're kind of doing the, yeah,if you take it out, that's,
that's a a filter of sorts,yeah, dropping out the low end

(05:52):
and kicking up the high. Youknow that you're basically
opening and closing a top
of a fun facing you, because onmy show, I'm usually in this
chair, yeah? And I got more of aside angle. I
like to have you facing theguest. Yeah, I know this is
great. I'm just the guy chimingin from time to time. I'm the
idiot.
You're the robin Howard.

(06:13):
Yeah, that's what I am. You'rebut back when you started in
1997 things were a lot, a lotdifferent. You know, you had to
actually have demos on CD. I'mpretty sure, did you have
cassettes or CDs? Back then
I moved to town with 400cassette demos, rich Redmond
drums and percussion,
and it's like, right there youwere, like, behind the

(06:34):
technological curve, mygoodness, because, I mean, were
there people like cassetteplayers are being phased out by,
well, quickly, I quickly, yeah,got a bunch of CDs, CDs, and
then you
get a DVD reel happening, right?And then before long, you and I
are on MySpace. We're meetingvia my space, and then Facebook

(06:55):
opened to the public in 2007 Iremember sitting in salmon zo's
The day it opened to the public,and I said, I better get on this
thing. Somebody just told me,get on this.
You get on MySpace. You're goingto meet Jim McCarthy. Your
life's going to change forever.Well, you have been a great
maybe for the better, maybe forthe worst. That's yet to be
seen. I
probably no. I probably stole alot of either, you know, because

(07:17):
you have a, you know, you're avoiceover artist, but you know,
you have guys like Mark Hamillthat have like 100 variations
on, like, some cartoon voices,and that's his angle, and your
angle is more, you know, soundand radio, softer, hard sales,
Monster Truck radio. So, youknow, I stole a lot of things
from you, like the, youknow.com, you know what I mean,

(07:38):
the.com Yeah, the fall offs andthe Gary love Vox. Yeah, we did
that back. That's right, we didmy last paid voiceover job was
doing a Live Nation tourcommercial for Gary levox.com
I don't know my last
one was, pull it
up. You have it on cassette? No,I haven't.

(08:00):
It's it's really compelling,great stuff. So much fun. And
you, can you believe? Thank youfor calling APCO. We are
currently closed. Please leave amessage.
Is that a hamburger gig, or asteak gig? APCO, I believe is,
oh, it's certainly a hamburger,yeah, but it's steady.
You know, it sounds good. Isgetting some nice grass fed

(08:23):
beef. And we
should probably reference whatthat means. So grass fed is
hamburger versus steak.
Oh God, gotcha, yeah, gotcha inthis industry, is that because
you
actually you could, you couldprobably talk about that,
because in the beginning,getting to what you were you
wanted to do, and getting toyour current gig, yeah, you had
to take steak gigs, which werenice when they came along, and

(08:45):
then the hamburger gigs werewould add up and pay the bills.
Yeah, right, yeah.
As creatives, you know, wemonetize our creativity. And you
know, sometimes you're playingat, you know, Douglas corner
for, you know, $50 and thensometimes you're on the tour bus
with a major label artist andtheir first single is out, and
you're making $500 but you say,we said yes to everything,

(09:07):
yeah, because you kind of had toback then, because it was a lot
more a lot more difficult to getyour name out there and spread
your seed, a lot easier now,with the advent of social media,
easier, dare I say you stillhave to figure out what the
algorithm feels like doing atthat particular moment. What
hashtags are you using? Is itbeing collaborated? Is you? Are

(09:29):
you getting people sharing it?What's, you know, what's ticking
the box of the American cultureto help them get your stuff out?
You know, that seems to be thebiggest question these days,
back then, it was just allabout, get your name out there.
Yeah, you know, however you canget it out there. So that meant
going down to Broadway. Thatmeant, you know, rubbing out,

(09:51):
rubbing elbows with everybody,
crashing parties, going todrummer's hangs, going to
writers nights, telling writersthat you like their material,
giving them a card and saying,Hey, next time you. Do this,
I'll bring my cajon or my jimbe,and then, you know, this is
Nashville, songwriting capitalthe world. Songwriters lead the
culture here, because without athree chords in the truth and a
story being told, and thenthere's no need for a drummer, a

(10:14):
producer, session musicians, alive band, chefs, social media,
managers, day to day to day,managers, labels, none of that
stuff. You gotta have a songfirst. But no, you know, social
media you can use to open, tocrack a door, but then you gotta
walk through that door and tryto physically connect with those
people in real life. And that'swhat I tried to make, make a

(10:35):
habit of, like, use social mediato create awareness. Yeah, and
then actually, in the realworld,
hit him up on the DMS, yeah,which is a lot of what I do to
get to podcast guests of thatnature, starting that
relationship in a very authenticway, very genuine approach. You

(10:57):
know, not like how we get hit upon LinkedIn these days. What's
your LinkedIn game like when youpeople are inboxing you? Well, I
wanted to ask you about LinkedInbecause I swear I have been on
LinkedIn for probably 15 or 16years, and very, very, very
rarely. I actually don't evenknow if I've ever gotten a job
from LinkedIn, but it just seemslike it creates awareness, and
then my the expectation is tohave one, especially since I'm a

(11:21):
speaker and an author on thatside of things, you're expected
to have a LinkedIn page, right?I do better business on the
other social platforms,
but my inbox in LinkedIn
is, Hi, would you like to be inthe top 50 people under 60?
Yeah. Thanks for accepting myrequest. Let me hit you with

(11:43):
three pages of my pitch that I'msure you're going to read, yeah,
because I'm so intriguing,though.
And the fake profiles, you know,from Malaysia, and you're like,
I don't know this
person, right? Broken English,do you get the ones that like,
they'll, they'll send you amessage, and then a day or two
later, Hey, did you get mymessage? Why aren't you
responding? You know thatthey're like, that aggressive?
Well, you
know what's, what's reallyinteresting is like, you know,

(12:05):
whenever I am like, I use you asa gage for authenticity, and
like to check, to check the gageon potential projects. So I get
hit up all the time for theseinteresting podcast shows, and
they're like, it's a, it's aFacebook Live podcast that pays
$3,000 who's got a budget of$3,000 to pay multiple guests?

(12:27):
Surely, they're trying to scamyou and get your bank
information right.
You know, that's good. That'swhy I said, you know, my advice
was, well, if they have you onand you have to give any sort of
credit card or anything, or hey,you know, we're going to overpay
you and then refund the money.What you know, you just refund
it to us. Yeah, that's
giving you. My thing is, I'mjust not going to respond,

(12:48):
because it just doesn't seemlegit. And if I don't know the
guest, and I don't know thehost, and they don't have much
of a following, I can't findmuch information on them,
they're just going to ask mewhatever they want to ask me.
And I want to have a better readon who's asking me questions,
because in my line of work, Icould be expected to answer on
behalf of a whole host of peoplethat I would not be comfortable

(13:10):
ever talking about, right? Youknow,
right? It makes sense, yeah. ButI mean getting going back to our
original conversation, gettinghere, 9798 99 oh, yeah, to now.
You know, with somebody newcoming to town, Broadway has
become a highly coveted gig.Yeah, so here in Nashville, for
those of you who are listeningoutside the area, they call it

(13:32):
lower broad basically, it'sturned into a giant tourist
destination, bachelorettes onpedal taverns. Why am I talking
like,
hey, China, China.
Other things, you know, hot tub,busses, a bunch of women on
there, and wedding dresses andstuff, wooing away a lot of

(13:53):
people. I think that Friday andSaturday nights they shut down
lower, broad, so it's pedestrian
only, kind of like Sixth Streetin Austin did that for years and
years and years.
Yeah, it's a good idea because,I mean, it's attracting more
tourists, and it's better forthe city Beale Street, but, I
mean, those guys, when you camehere, Broadway was like stone,
but you had to cut your teeth atleast be abandoned the window

(14:14):
places to go play. You know howmuch for the drummer in the
window? You know, I played inLegends with this girl named
Christy cook. And she, ofcourse, wore the super, super,
super, super short Daisy Dukesway up high. So, you know, her
cheeks were hanging out. Andeverybody would pass by, and
they would like, they would comein. It's like, what do you want
to hear? You're cheating heart.Tammy Wynette, so it was good.
That was good training. And youknow, my buddy, Jim Riley, you

(14:36):
know, 20 years as the bandleader for the rascal flats. You
know, we went, we kind of wentto college, into the same
college, and kind of kickedaround Dallas together, ended up
in Nashville, and that was justthe thing to do. You went you
went down there, you played thesong book, you advertised your
wares, which was, you know,trying to play nice musical
drums, and hopefully you had afirm handshake, just trying to

(14:56):
shake trees and see whathappened.
But prior to this, you were inTexas. Dallas in Dallas, right?
Amazing music scene. To thisday, some of the best cover
bands in the world are inDallas, Texas, because there's
just this incredible host ofmusicians that go to, you know,
the University of North Texas,this small, little sleepy town
Denton, Texas that just cranksout world class musicians, you

(15:19):
know, and those musicians toearn extra money will go work in
the Dallas clubs in theevenings, or after graduating,
they'll kick around Dallas for ayear or two, save some money
before they move to New York, LAor Nashville. And that's kind of
what I did, and and I knew thatI had to get out of town because
I got wind that my professor, EdSoph was like Redmond's still in
town, because I was down inDallas playing in the club's

(15:41):
killer top 40 band called randomaccess. He's like, Redmond,
still, he's got to get out ofhere. He's not getting any
younger, you know,
like 23 at the time, 26 yeah,getting any younger for
Coronavirus, yeah. But 26becomes 30, really fast. Oh,
yeah, as we all know. But youknow, you you come to town from
that situation, because I playedin cover bands in Connecticut,

(16:02):
yeah, and I think we talkedabout, I mean, what did you get
for a gig in Dallas, on average?
Back then, in 1995
the nightclubs paid 75 or 80bucks, a man, a man. And then
that's for how long, forcorporate parties would pay
about 150 $175 and you have achance at, you know, getting a
slice of, you know, the bachelorcake, the Groom's Cake, right?

(16:24):
And then some shrimp, maybe somegreasy tortellini. But you're
talking about five, six hours ofworking, oh, yeah, because the
nightclubs, you'd have to loadin in the afternoon, so that
kind of ate up your whole day.You'd have to go before the
dinner crowd, set up your kit,and then the then the Nike. The
gig would be from like, 10 totwo. Oh, wow, late night. And

(16:46):
then after, after you break downyour drums and kibbutz and high
five and make your money, andthen drive home, you know, it
took everything in your powernot to stop at the Whataburger,
yeah, you know. And then you'rein bed by four in the morning.
And then I might have a musictheory class at eight in the
morning. That's a 12 hour day.It's a long day to make, so if
you start crunching 80 bucks. Sowhat was I making? $8 an hour,

(17:09):
$7 an hour, yeah, but it wasn'tabout the money. It was about
the 1000s. It was about theexperience that was leading to
the 10s of 1000s of hours ofexperience. Connecticut.
Dude, we got paid. I think Ithink I made 175
to 225 on average in a coverband. Yeah, just outside of New
York.
Maybe it was saturated inDallas. So the musicians were

(17:32):
plus, I will say that that'strue. A lot of the nightclubs
there had live music sevennights a week, yeah, from 10 to
two, right? You know. So youbait a lot of competition, and
then big, you know, charismaticchurches, you know, I played in
Robert tilton's House bands. Youknow, the guy that spoke in
tongues on TV. I was in hisband. There was jazz brunches,

(17:53):
there'd be Wednesday nightchurch services. There'd be some
killer big bands in Dallas, theDallas jazz orchestra, the
collection Jazz Orchestra, coolrooms like strictly taboo, where
you would play cool smooth jazz,you know, like Kenny G and Jeff
Lorber fusion. And it was areally cool scene. There was,
like a soul funk scene. Therewas this original music thing

(18:14):
happening down in Deep Ellum.There's a section of town called
Deep Ellum where, like EdieBucha and the new Bohemians were
kind of formed. So Dallas isalways going to have a great
music scene because of the thethe schools that are in the
area, just like Nashville.Nashville, we got TCU, we got
MTSU, we got Vandy, we gotBelmont. We got, it's a whole

(18:35):
three school of rocks. We gottwo Bucha rocks. We got, it's
just a music
intensive city, yeah. So you gota lot of competition here,
totally. But the funny thing is,you know, you met my brother
this past weekend. We hung outfor a bit. He's like, I just
don't like the whole notion of,you know, if I were to move
here, and he's an experienced,seasoned musician, piano player,

(18:56):
getting on Broadway and beggingfor money. And I'm like, But
dude, you know, you're in adifferent a lot of these are
people trying to get broken intothe business and find a cool day
job. He's a lawyer. He's alawyer, and he can, he could pay
his bills. And I'm like, youcould do this, like, literally,
as a leisurely hobby. He's like,TMZ Harvey, right? I'm a lawyer,

(19:17):
right? Yeah. And maybe I should,even, you know, be a lawyer for
the industry itself. Yeah, givehim a fresh pair of eyes. But
it sounds like he's got anotherchapter and city planned.
Yeah, he's kind of lookingtowards different, you know,
Southern cities. I told him thathe's going to be a halfback. He
goes, What's a half pack? Isaid, all the people from, like,
northern states, I think Floridais great. And then they realize

(19:39):
they get down there, they'rethere for six months, and this
is a place better visited thanlived. And then they make their
way halfway back to NorthCarolina. Or interesting,
yeah, because my parents havebeen in Florida for a very long
time. They went down there totake care of my aging
grandparents and but that makessense for them. Just stayed,
yeah. I mean, you get thevitamin D. It's wonderful. You
can't go outside in the month ofJuly. Lie in Florida, and, you

(20:02):
know, you've got mosquitoes andgators. You know, gators is kind
of fun, you know, because it'slike, wow, it's just like,
dinosaurs are still roamingamong us. But they also have
these things called the no seeUMS. There's these little
annoying bugs that make sittingoutside and enjoying the
outdoors, like, nearlyimpossible. Really, you got to,
just, like, cover yourself with,you know, off, to just exist in

(20:25):
Florida.
So, yeah, he's looking towardsFlorida, which I told him, I
said, you're going to be a halfback. Yeah, you're gonna, you're
gonna be over it in three to sixmonths. Or you could just bypass
all that and move here with yourlittle brother and, you know,
we're the only family we haveleft of each other. Let's, let's
hang out, man, let's make it.Let's work together and buy a
place in Florida that we can goto and share. We could visit on

(20:49):
a regular
Well, Jim, you're verypersuasive. And maybe he'll,
hopefully he'd the call, but hewas all,
he was kind of like, up, andhe's like, I just don't want to
pass a bucket around onBroadway.
And he doesn't have to do that.Hey, believe me, if I ever
played blower Broadway again, Iwould hopefully curate the
playlist, curate the musicians,and we would get an attractive
woman to go, like, with thebucket, right? I would never do
that. It's almost, it's almostlike patreon.com you and I can

(21:12):
have patreon.com on our podcast,but it seems like we're just
patronizing. We're just why theycall it
Patreon, yes, but you know,it's, in a way, it's not really
patronizing. You're saying, Hey,we're not funding anything.
We're not being funded byanybody. We're not you don't
hear any commercials on thisthing? Yeah? Help us support
it. Well, the most common pitchon that angle is a this thing

(21:36):
requires massive amounts of workand our time, so please help us
out. Right? Yeah, that's a
good pitch. Yeah, getting backthe whole Broadway thing, yeah,
when you came here, it was aghost town, kind of like a pain
in the butt, I guess to, youknow, well, I guess I'll do it.
You know, it sounds really, youhad to really. You were working
for peanuts at that point,
but no how we were excited to doit. Jim and the parking was

(21:57):
free. I would park way up at thechurch on the top of Broadway,
right, right, right by theBridgestone. And I had a little
rock and roller cart with mycymbals and my pedal and my
snare drum and my sticks andthen my tools and parts, just
because, you know, the wing nutsand everything would be walking
away all the time. You go on, godown there. You get down there
early, you set up. You justready for anything. You're just
in your I mean, what? This wasan amazing time.

(22:20):
Do you remember like reallybeing in the moment then and
saying, I need to enjoy this?Were you cognizant of that?
Absolutely not really, becauseyou were always looking forward
to the next thing, and
that's, that's our that's ourdisease. In the human condition,
you have to really be self awareand have just some, just some

(22:42):
spiritual training to like, youknow, know that, hey, life goes
by fast, and there's only onenow. So I should just enjoy
this. No matter what ishappening. I'm enjoying the heck
out of this sparkling ice. I'msure it's filled with aspartame,
but like, I'm just enjoyingthis. I'm enjoying this time
together. And, you know, we're,we're here now, now we look at

(23:03):
it that way, but back then, no,you're like, Dude, I gotta make
something myself. Oh my god, I'mout the
rush. It's like, oh my god, Igotta get it done. I gotta get
done. I remember that being likethat in radio. Yeah, I spent
three years at i 95 I need, Igotta find, I gotta move on.
It's time. I gotta move. I gottashow that I'm, you know, making
moves and moving up the ladderand get a gig, and
then you want a better gig, andyou want to gig that has more

(23:24):
dates, and gig has morevisibility, and then a gig that
pays better, and go, my God, Ineed a gig where they have w2 so
I can buy a house. And then, youknow, and
then you all of a sudden, you,you've had a couple of different
you were, you backed some prettybig artists. Yeah, the biggest
one to date had was a seven yearplay, which I find out, like we
just, you know, we've had on theother podcast I produced. We had

(23:46):
Michael Knox, the producer forMr. Aldean. That was a great
episode. Did you listen to thatone? Yeah. And I texted Michael
afterwards, and I said, I justwanted to thank you again. And
then a couple of days later, Isaw him because he had basically
hired al Dean's band to come andplay on this new kids record.
Tim Dunc, Tim Duggar on curbrecords, yeah, it's always great
to have that team together, butthat team wouldn't be together

(24:06):
unless, you know, there wasn't aMichael Knox to, you know,
believe in everybody. The
vision that guy must have had,and the tenacity, that's what
I'd love to have and talk to himabout on this podcast, if he's
listening, is that, look, I wantto know about the days you woke
up and you wanted to quit. I'm
supposed to connect you guys.So, yeah, good. I forgot it's on
my to do list. I
mean that that that isinteresting to me, but I keep on

(24:28):
like, tangent city right now.It's funny because Broadway,
getting back to Broadway in thebeginning, you were excited to
do it, and the excitement kindof compensated for the lack of
compensation. Because I rememberwhat that felt like in radio. It
was like Courtney and I weretalking about it the other
night. I said it wasn't a greatpaying gig, but man, the
experiences we had, you know,the people we met and all the

(24:49):
fun things we were able to dowere great for that time in our
life, until we finally had toget serious and make some real
money. But for you, I guess itwas kind of similar, because now
you. Broadway is extremely like,you really, you're gonna be
excited if you got a gig onBroadway. Now, I think, because
it pays so much better, there'sso many more people down

(25:10):
there, it's just exciting downthere, you know, like, I don't
make a habit of going downthere, and usually, unless I
have out of towners, and we'llgo honky Tonkin, and we'll make
a day of it. And I'm definitelygoing to go to laylas. I'm
definitely going to go toRoberts. There's, like, certain,
certain spots where I just like,wow, this is just, I mean,
Robert's western world is thegreatest Honky Tonk on the

(25:30):
planet.
20 years in this town, I'venever stepped foot in that.
We're going to go, we should go.
We'll get, we'll get our friedbologna sandwich with the, you
know, the crinkle fries and aCoors originally serve food
there, I guess they do. Yeah,really good food. There's like,
a short order guy, really, yeah,it's like a greasy burger. We'll
have to go. It's dirt cheap,

(25:51):
you know. Yeah, that soundsappealing. Now, we probably
should have done that this pastSunday with my brother. Oh,
they would have, because it'sliterally, like walking back
into 1955 Yeah, a
lot of the old school countryyou're going to hear is
in that tootsies, tootsies,tootsies is the only room I have
an old school room. I've neverplayed in Nashville, in the

(26:12):
front room. I've played in theback room or from the front
room, where you're like, rightin that little, tiny, little
window. Haven't, haven't donethat, really, haven't
even sat in there ever. You'venever played toads place either.
And
I have, I know, buddy, it'samazing,
right by Yale University. Whoknows Yale's got a school of
music. Maybe I'll do a clinicthere. I think it's very

(26:32):
classical, you know, right? Idon't know if they have a jazz
program,
but you always had a bucketlist. You knew exactly what you
wanted to do, you know, again,Broadway is a different beast.
Now for those people coming in,still a good place to kind of
shake hands and kiss babies, rubelbows with other music industry
types, I would think, butprobably a lot more tourists,

(26:54):
yeah, but don't, also, don'tmake a career out of it, yeah,
you know, I mean, don't, don't,don't,
you know, I'd be fine. You know,if we did a, if I did a gig at,
you know, I kind of whatever Ifelt like doing it, maybe a
Sunday afternoon, and I knew thesongs I would do it. It's like,
it's not important for me as adrummer right now to be doing
what you do, you know, yeah,it's just, I tell people, I
said, I'm glad I met you,because it's not really, I'm not

(27:17):
sure if it was a life I would, Iwould be matched for. Oh,
yeah, you were telling me youdidn't necessarily want to wake
up in a different city everyday. And there's something to me
is like, I love there's like atroubadour in me, you know, I
don't necessarily have a guitarstrapped to my back and I'm
walking down the railroad tracksto the next gig, you know, but
the idea of, you know, gettingon a bus with my friends and we

(27:38):
play some great music, and thenwake up in another city The next
morning, and, you know, there'sa chef inside. He and I said,
Can I get, you know, three overmedium eggs? And he makes them
for me. I mean, I kind of likeit. What's an over medium egg?
Over medium is where the whitesare done completely, but you can
still crack the
yellow. Oh, okay, yeah, isn'tthat kind of like over easy? No,
over easy. There might be somewhite slime. That's

(28:00):
not okay. And it's the same guyevery day, and he knows
exactly now it's different. Wehave carried caterers with us,
but we have realized that forsome reason, sometimes the
quality control is better havinga different chef in every city,
because they're just trying toimpress you for that one.
Oh, wow. Good strategy.Interesting. Yeah. So they show

(28:20):
up. Tell me about, like, a dayyou're out on you're going to be
on tour in a couple of weeks.Can wait for the big summer
tour. Yep. What's you get outthere? You know, you get, you
have bus call at night. What'syour what do you do? You get on
there. You just kind of hangout.
And so we meet at the WalmartSupercenter, yeah. And then, you
know, you get out of your bus,you load your luggage into the

(28:41):
car. You hang your, you know,your your your show shirts in
the back curtain. You set upyour little bunk, plug in your
plug in your iPhone. You set upyour little world. You take your
shoes off. You know your space,yeah, it's our little on the
submarine. You know that yourcoffin, your little coffin,
right? And it's, it's a very Ilove it. Some guys don't like
it.
What if you have a CPAP? Anybodyhave a CPAP on the bus? Not yet?

(29:02):
No. Where do you put the CPAP ifyou have that would be so bad.
Seriously, I'd be hanging out inthe hallway, or it'd be pushed
up against the wall of the bus.It'd be very uncommon. There's
no nightstands next to your bed?No, yeah. It's as you it's body
size.
Yeah. So, you know, you kibbutzwith everybody, catch up with

(29:22):
everybody. You know, the youknow, and you know, we're My
guys are older now, and they gotkids, and they're used to
getting up at six in themorning, so they might be right
in the bunk immediately, right?You know, sleeping. But I might
have to wind down a little bit.I might have to watch a scary
movie on the satellite. Andhopefully, you know, the the
buffering and everything isgood, because it is a satellite,
and sometimes you'll, like, geta glitch. And it's the most

(29:42):
incredible part, all right? Thisis where the chest bursters
coming out, and then it justjust pixelates, and then it
freezes there, and then fivemiles down the road, it comes on
again. Oh,
good, yeah, it's rough. Soyou're out in the general area
watching TV on the sofa,whatever, and just rolling down,
or am I going to my bunk andgetting my iPad, and then I. Of
course, you can download thingsfrom Netflix and, yeah, all

(30:02):
that. So I might do the thingwith the ears and the iPad. I
mean, it's, it's, it's easyliving man, you know. And then,
you know, set my alarm for thenext day. All right, typically,
is what we're gonna wake up andsay, We're gonna wake up in
North Carolina, the bus isgonna, you look at your mileage,
oh, the bus is gonna pull inaround 730 in the morning. I'm
gonna, let's see, it's oneo'clock now. I'm gonna get up at

(30:23):
9am right? Because, really, Idon't have to do anything until
sound check at three in theafternoon, right? Johnny's got
my back, setting up the drumsand all that kind of stuff. So
the first thing I'll do as I getup, I probably go and get some
get some eggs to order, and thenI'm off to the gym somewhere.
But if we're in the middle ofnowhere festival, I carry in the
bay of the bus, a weight bench,weights, a Bosu bands, jump

(30:45):
ropes, all the stuff to make alittle mobile gym. And I got a
little Bluetooth player, and Iget my Gatorade zero and a bunch
of cold waters, and kind of giveit hell. Get that out of the
way. Shower up, maybe go breakbread, lunch with somebody. Of
course, I've got this wonderfulstreet team of people around the
nation who I've met for allthese 20 plus years of touring.
So they remember, like, hey,Redmond, I see you're gonna be

(31:07):
in town tomorrow. I'm gonna Allright, so I'll pull on at 730
come pick me up at, you know,10am they pick me up and they
take me to the nice coffee shop.We go get some coffee shop food.
A big fan of coffee shop food,and catch up with that person.
They drop me off at the venue,we do the sound check. Then, you
know, break bread with the band.We have the thing called the 501

(31:28):
club. So at 501 we all go in, wetry to break bread together as
our little road family, and it'sjust time together. And then
it's time to shower and such.And then we have an acoustic
show. You're showering twice aday, sometimes three times a
day, really, yeah. And then wego ask that question. We do an
acoustic show, yeah, for these,for the VIP high rollers, they
pay a little extra money, andthey'll get to see Jason answer

(31:52):
four or five questions, and usplay three songs, and I have
this little cajon rig that I canplay with my hands and a pedal
and sticks and brushes andstuff. And it's kind of really
fun. And then that brings us toabout 7:45pm I get the sticks in
my hands, and it's morekibitzing, and potentially walk
watching the opening acts at thebeginning of the tour. I always
like to take pictures and videoof the opening act. Drummers.

(32:13):
Just let them know. Hey, man, wegot solidarity. I got your back.
I'll get some videos of you thatyou can use on the socials.
Maybe you'll do the same for me.Yeah, go out there, do our show.
After the show, you get offstage at 11pm you're drenched in
sweat. Definitely time foranother shower. It'd be cool
down with the guys a bit. Youknow, we're cutting it's a lot
of very social life, yeah,highly social, you know.

(32:36):
And do the same thing again in adifferent city, they do the same
thing again. But
maybe I have a clinic. Maybeit's a Saturday, right, and
they're picking me up at 9am andthen it's 45 minutes away the
drum shop or the high school orwherever is 45 minutes away. And
then hopefully, you know, I sendthem a nice little writer that
says, I like these drums. I letthem set set up this way. I like

(32:56):
them to sound this way. I justwant to pull in with my laptop
and my ears plug in, maybe tweakthe drums a little bit, and then
I could do and I could do someteaching. I could do some
lessons, I could do amasterclass. I could do a
clinic, and I might do a middaycorporate speech, you know, for
like, a chamber of commerce orsomething like that. And then
they'll get me back, hopefullyin time for the sound check,

(33:17):
right? And I always try to bethere an hour before downbeat,
right? And then it's, you know,more of the same. So it's all a
variation on what I'm eating,who I'm visiting, am I teaching?
Let me get the workout in andthen execute that show. You
know, no matter what is goingon, you got to play those 24

(33:38):
shows, 24 songs, I guess, thelast time you're ever going to
play. Yeah, it might be. Here's
your life today. Yeah, this is ahighly coveted life that a lot
of musicians would love to have,and probably kill to have. That
you're coming to Nashville. Arethey putting it? Putting
yourself it can be done.Obviously, you getting back to,
you know, let's say 2000 2001you're still here. You're

(34:01):
grinding it out, you're figuringout the system and stuff like
that. You've already met Jason99 I believe 99 Yeah, you know
all of you, he was probably justlike, I'm gonna dare say that a
lot of the artists, as amusician, if you're an artist,
you got to look at it. Mylottery ticket is me, right, and
it's either going to win or it'sgoing to fail. And I could

(34:24):
probably get into other areas ofthe music business, but I'm
going to try my shot. I'm takingmy shot at being a big artist.
I'm going to play the biggamble. So to speak with a
musician, you get to play abunch of different lottery
tickets, you know, side person,that kind of thing. Artists are
like, you know, we got it. Yougot to spread your seed, get the

(34:44):
experience the time in thetrenches. And hey, one of them
might hit, you know, Oh, yeah.That's kind of like the the
odds, in a way. But it's funny,because going back to what we're
talking about with Mr. MichaelKnox and Jason, seven years i.
That's blows my mind, that theystuck with it. That is a long
time, deep commitment. Would tohave a proof of proof of concept

(35:07):
in a business idea, and have thefaith to see it through amazing
it's, it's, thank God. It's mindnumbing to think about that, you
know, because you were a part ofthat journey, but you were also
doing other things because
you had to pay the bills, right?Yeah,
he was a part of your story, buta minute part, you know, because

(35:28):
you had so many at one point youwere playing with, how many
bands
we had? 2029, bands in one year,in one year without any zero
conflict, that's crazy. Sothat's God saying. I want you to
get even more experience. I wantyou to cut your teeth more.
Yeah, you're not. What was itlike, baby? Going to give you

(35:49):
the big prize yet,
right? Six years of doing that,though, you had to be like when
you know I know something'sbound to happen. You just had to
know intrinsically in your gutthat I'm destined to be a big
name in this town, out of thistown, in this country, in the
drumming community, which youhave become. But what were the

(36:10):
days like, where you like, isthis really that had to cross
your mind? Is this really goingto happen? Did you have your
doubts? Did you have those dayswhere you're like, I just, I'm
freaking exhausted. You know,it's just, it's a grind.
Even there were days that Icalled Haagen Dazs, days where
you kind of range on a pie toHaagen Dazs, because you're just
like, well, man. But luckily,there was, you know, a bunch of

(36:31):
true believers, you know, theMichael Knox's and, you know,
you know, I had Kurt and Tullyin my life to kind of lean on,
because we were kind of like aunit, you know, we had a we, you
know, we were playing withJason, we were playing with Tim
rush low. We were highlycoveted, sought after showcase
band. We were started to do demosessions together for all sorts
of publishing companies. We hada rock band called feeling

(36:53):
Fiona, and we played 12th andPorter and third and Lindsley.
And so there's a strength innumbers thing that's nice where
you can kind of lean on otherpeople, and that's right, yeah,
I tell people that could be amodel, that could be a business
model for you. Yes, it's kind ofthe music businesses, like every
man for himself, you against theworld kind of thing. But it sure
is nice to find like mindedpeople that you know, and found

(37:16):
a tribe. Yeah, yeah. It's nice.So it helps you weather that
storm, tons of storms. Yeah, itsucks doing it by yourself, and
it's nice Michael. Michael Knoxwould be like, Hey, here's a
gift card, or, Hey, I got lunchcovered for you guys today. And,
you know,
and is like, you know, he's ararity in the business too,
because he's waiting on hisreturn. Yeah, you know, he had

(37:37):
some pretty big jobs, and itpaid the bills, I'm sure, but
not to the point where he wastaking that money and
reinvesting it into a lotteryticket, essentially, you know, I
mean, it's, he's continuouslypumping it into that. And I just
know something. I mean, I thinkthe number was 40 showcases you
guys did, yeah, so many. Mygosh, that

(37:58):
would never happen today. Thatwould never happen today, and it
would be really rare to find agroup of people that would stay
together for seven years. That'swhat I'm saying. It would be,
when was the
last time? What was, if itdidn't happen in seven would you
was still stuck around foreight, nine or 10? I'm sure.
I mean, look at the guys like,you know, there's other stories,
like the ELI young band. Let'sjust tell it. Say the ELI young

(38:20):
band, you know, they ended uphaving a nice couple of kids and
hits, and they have a goodcareer, but they were kicking
around all over Texas for abouta decade trying to make it
happen. Gosh, you got to do itfor the joy at that point. Got
to love playing your instrument.Yeah, you know what I mean. No
matter what happens, I love thephysical act of playing my

(38:43):
instrument, and then how itmakes me feel, and then how it
makes others feel and impactstheir life. I mean, it's just
playing the drums. It's just awin, win. I mean, my whole goal
in life is to just, you know,keep taking care of myself,
because it's such a physicalinstrument, so I could keep
doing that thing. And I think ofthe people that are continue to

(39:05):
doing it at the highest levels.I mean, Louis Belson played to
the practically the day he died,you know, Roy Haynes was in his
80s, an amazing jazz drummer.They just, guys are just, I'm a
lifer. I'm gonna play myinstrument till I drop. I have,
you know, during my speech, Ihave a, I have a, you know, a
moment where I go, I'm probablygoing to go out like this, whoa,
you know, counting off a song.And that'll be a glorious

(39:27):
moment, because I will be in mypurpose, sitting behind this
thing that is a physicalmanifestation of my purpose in
life. You know, that's nuts,man, because it's
you really have to enjoy thejourney. I love it. You have to
love my craft, man, yeah, I'mlike, when you start thinking of

(39:47):
like painters, you know theseguys that you know, they have to
rent some place that's bigenough for their, their the
materials that they need. Theycan throw paint at a wall and
they just, they're just in. Ididn't, I don't know how they're
paying their bills, and that atsome point, some taste maker
comes along and says, I approveof this, and I will bring this

(40:08):
to all of my rich friends. Andthe next thing you know,
someone's paying $2 million forthis piece. And is that artist
going to probably upgrade hisart studio and his quality of
life, probably, but really it'sthe focus his reason is, or
their Why is, its purpose is thepainting? Yeah, you know,

(40:32):
I actually typically try to lookup questions.
Oh, I was going to tell my whileI got you here. This was kind of
an interesting moment. I keeptelling people that I'm having a
midlife crisis. I think I'vebeen having it for 15 years. But
anyways, I've been going aroundNashville and going to old
houses and condos that I haveowned or I lived in. So today, I

(40:54):
was out in Donaldson, Tennesseeby the airport, and I have a
good friend of mine, GeorgeBruner. And George Bruner, he's
a craftsman. He's a leatherworker, and he combines leather
and metal, and he makes thesereally nice handmade jewelry.
And you know, a bunch of rockand rollers wear them. You know,
Kenny are enough. Where's hisstuff? And so anyways, I was, he
was making a new belt for methat I'm wearing right now, and

(41:16):
I was looking through this tubof cuffs. And I go, I put this
one on, and it fits, and hegoes, he goes, Oh, man, do you
realize that I made this foryou, but it's for some reason.
Last time you saw me, you passedon it. But he goes, that metal
on there is actually a piece ofJohn Wysocki symbol from the

(41:37):
band stain. So John Wysocki wasa member of our community and
was a good friend of all ofours, and he died about a year
ago, and this was a part of hissymbol. And so for some one
reason today, I tried this thingon. He goes, he goes, take it,
man, I made it for you. Youdidn't take it last time. Let's
hold it up for the camera. Yeah.So, so this is a piece of John
Wysocki, God rest his soul,drummers symbol. And so I'm

(42:02):
wearing this today. Now I canlook down and think about our
friend John. That's great. It'sa really interesting so, I
mean, really like, you know, allthe instruments us being
drummers, we are imprinting ourpersonality on those
instruments. Yeah, you know,
Bruner model works. So I went togo see George today. I'll go see
him, you know, once you're oncea year before tour, and to say,

(42:23):
Hey, you got any new leather?Yeah, you know, you know. I
mean, I'm a fan of of a dead cow
all the guy, you know, they saythat nice guys finish last, you
know, I think about a MichaelKnox, and he just had the faith
and the long obedience in thesame direction when it came to

(42:43):
just believing in his artist,you know, and he believed in you
guys. I, despite all the biggiestelling me that, Nah, I just
don't see anything. I believein. This thing's gonna pay off
someday, absolutely, and I'mwilling to put the time in.
Yeah, you on the other hand, youknow you being, you know, you're
a great guy, a nice guy.Everybody loves you, who comes

(43:04):
across, even everybody thatwe've had recently on your your
podcast. It's amazing to me,unprompted, we're not prompting
them at all. Guys, you go andlisten to the rich Redmond show.
Go check it out. Richredmond.com forward slash
podcast. It probably in the lastI want to say 567, episodes,
we've had some of the newerpeople to town that have made a

(43:25):
name for themselves, who haveliterally listened to you and
absorbed your wisdom and thethings that you've had to say
over the last 20 years, and nowthey're, they're, you're like,
they're you're not pro you,they're doing it and that you
were no These. Nobody's beingprompted. Everybody feels
compelled to like Thank you.We're doing what you did and
showing us how to do it, andthat's starting to come around.

(43:47):
Now, crazy. It is crazy. It'snot, though, because that's what
you set out to do. You. What wasyour your card? What did this
say? What was your mantra whenyou got here? Remember when we
talked about
the first card I ever had when Icame to town was
Vistaprint. You know? Because,
if so, not a business card, butyour yourself, your mantra, oh,
my mantra is, my purpose in lifeis to affect people in a

(44:10):
positive way and change lives.And my
was it kind of, did you know youwere going to do that? Or was it
kind of like, this is, yeah,this is a lofty goal. If I do
great. If not, who knows if I'llever know? Well, you can that
that validation is happeningnow. Yeah, it's cool, man.
That is cool because it is coolto see. You know, like I said,

(44:30):
you know, I've never hadchildren. I'm always uncle
Richie. You know, Uncle Richieis the cool uncle, and that's
great. But I start lookingonline, and I thinking, Oh, my
God, oh, I taught that person. Itaught that person. I taught
that person. They took my class.They came to drummers weekend.
Oh my god. Hundreds of peoplethey have read has really added

(44:50):
up. And I could look at theircareers and go, Wow, they just
signed with a major rock band.That person just finished
Berkeley College of Music. Thatperson got accepted to the
University of North Texas. Thatperson's writing. A Buster
playing with a hit. Wow, didthat person bought a house?
Yeah, hold for with their drums.And so if I can have any, you
know, like I said, I'm not agenius, I'm just in my purpose.

(45:12):
And if there's a ripple effectof a person being in their
purpose and enjoying what theydo and it helps others,
fantastic, you know, because Iam a teacher, I've always been a
teacher. You know, I have ateacher's heart. I was trained
to be a teacher. I have mymasters in music education. So
along the lines, you have towrite a lot of papers, you have
to study a lot of pedagogicalpractices. You have to study
educational philosophies. Andyou know, how you might, you

(45:36):
know, conduct a high schoolchoir or a high school symphonic
band or score for a marchingband, all sorts of things they
don't necessarily use all thetime, but I'm sure glad I did
it. You know that no one cantake that away from me. I mean,
I hated studying the clarinet. Ihated making shapes on a

(45:57):
football field with a with amarching band, but it was a
means, it's just because Iwanted to be, I wanted to be in
a rock band. You know, I was 18years old, and I really wanted
to be in a rock band. What wasall your that's like being a
comedian, that's about as safeas being a comedian. So my
parents were like, look at we'regoing to go to school for four

(46:17):
years. You're only going to be2122 years old when you get out
and you'll have something thatno one can take away from you.
And then, while you're there,jumping through these flaming
hoops of taking science of soundand studying the bassoon for a
semester, I got to practicehours and hours every single
day, and all summer, I'm in themusic building at Texas Tech

(46:39):
University, and I have myprofessor, Alan Shin, gave me
one of the beautiful Wengerlockout units that was like had
AC in it, and I had my set ofRemo drums in there, and like
stacks and stacks of methodbooks and a leases sr 16 going
through a bass amp, and I couldjust practice and practice and
transcribe 12 hours a day andsit in my room and work on my

(47:00):
cup, slap on the conga, and thenget in there, and, you know
what, I mean, listen to Fusionrecords, and it was so it was a
great time in life, you know,was
it great? Did you realize howgreat it was at that time,
still wanted to be out theredoing it, you know? Because
every time a clinician wouldcome into town, or I played in
the big band at Texas TechUniversity. And we'd have these

(47:22):
amazing guys that would come in,like Steve Wiest, who was in,
you know, Maynard Ferguson'sband with Greg Bissonette. He
would come in, Dennis de Blasio,the guys from the yellow jackets
would come in. There'd be allthese guest artists, and I would
just be so excited to meet them,because they would always live
in New York or LA and I'd belike, you know, and I haven't
really, I hadn't really gottenout of Connecticut or Texas, and

(47:43):
I was like, What's it like insunny Los Angeles, and what's it
like to play on the mean streetsof Manhattan? Are you telling me
you got to move your drumsaround in a taxi? Will they stop
for you? Like, what does it pay?Where do you live? Like, it was
just,
oh, to me, it sounds like anightmare. Well,
you know, looking back on it,it's a young man's game. Yeah,
you know, I mean, Sean Pelton,you know, 25 years as the

(48:05):
drummer, was Saturday NightLive. He's like, Man, I lived in
this, you know, rat infestedapartment on the fourth floor,
and he'd have to schlep hisdrums. There's no elevator.
You'd have to, you know, dodgehomeless people and people
taking dumps in the street toget his drums up to his fourth
floor, you know, studioapartment. And you know, how
many higher drum sets, how manyyears later? Yeah, he's the

(48:28):
contractor for the SaturdayNight Live Band. He's played on
some of the most iconic recordsof all time, and and he owns, I
believe it's like an urbanlegend, two sizable apartments
in Manhattan. He knocked thewall down, and he got a nice pad
with a studio, recording studioin his apartment. Good for him
in Manhattan. Yeah, that is noteasily done. Well, he put the

(48:52):
time in. He put the time in andhe got a television job. And
television jobs pay rate,because there's a union and
there's residuals, right? Soevery episode that reruns of
Saturday Night Live, he's seeinga check
so, but does he? He's got to bea part of the episode, though,
at some point, and typically heis. He's on camera,

(49:13):
he's on camera, and he's on theand he's backing up artists, and
then that's good. We need to gethit by
Sean. Would be great. You know,
when we played SNL in 2017 youknow, it was nice. He took the
time to come backstage and giveme a hug and say, I like what
you're doing. I read yourarticles in MD, and was he? Did

(49:37):
he know who you were? Yeah, didyou meet him before then
it's, I'm sure we we knew ofeach other. Yeah, you know, we
never personally met. Yeah, wemet personally. Then he's like,
yeah, man, good job. Reach outto him. Was great. He'd be a
good guy to get out. Yeah, zoomit up. I'd love to talk we got a
zoom tomorrow with Stan Lynch,the original drummer from Tom
Petty, 20 years with Tom Petty.I mean, that's going to be and

(49:59):
I've known. And I've known Stansince in the year 2000 that's
when I met him, 25 years ago.
Well, it's 20 longer than 20years he's he's been Tom Petty's
drummer the
entire but I met him in the year2000 when I was me, Kurt and
Tully were in the in the houseband for the Warner chapel
songwriting camp, and webasically just sat in the studio

(50:20):
all day, and Stan would writewith Ital Sure, who was this guy
who wrote and digging forCarlos? Never heard of it. He
wrote that jewel was there.Robbie Neville was there. You
know the he had that song, c'estla vie. Say La Vie and Neville
Brothers, no not rob this isRobbie Neville. He was a pop

(50:42):
artist in the late 80s. Ithought that was,
say, loving
I thought Robbie Neville waspart of the Neville
you're thinking about Ian IanNeville. Ian Neville, and
there's a guy that had the moleon his leg. They
were like they were big guys,and they always looked like they
were squeezing the crap out ofthe microphone. Yeah,

(51:02):
yeah. Well, shame on us forshame on us for not remembering
the Neville Brothers. AaronNeville. Aaron Neville, there
you go. Yes, Robbie. I thinkRobbie might have been his
brother. Oh,
yeah, I'm wrong. Differentethnicity. Okay, I see.
So. Anyways, yeah, tell me whatwas like to hear yourself. You

(51:23):
know, I know we've talked aboutit before, especially in the
world, world class, awardwinning documentary we both put
together, working the dream.Working the dream on YouTube.
You can go check it out. It'sonly about 45 minutes long, and
perfect for an hour longdocumentary that needs
commercial breaks. Well,
actually 45 minutes, butoriginally it was probably two
and a half hours, but I kepttelling you to take things out,

(51:45):
because I was so gun shy at thatpoint in my career. About
your so what you were onlypeople PR sensitive, you
know? And I still am, you knowwhat? I mean? Yeah, I know you
we're in a world where at anymoment, things could be taken as
sound bites, and they can betaken out of context and used in
an inappropriate way, which isvery scary,

(52:07):
but I think ultimately, yes,you're right, but we're also to
the point as a society where weare our skepticism is at such a
level that we automaticallythink it's fake. Okay, so it's
either AI, I know, the other dayI saw, you know, I watched these
boat videos, wavy boats,especially where you'll see
these people in a in an inlet,haul over inlet. And I think,

(52:30):
dude, at this point in my life,if it gives me joy, I go for it.
You guys kind of gravitatetowards it. That's why I've got
all the Marvel stuff up to myleft. And, you know, I got back
in the drumming again, and I'menjoying it. With that. I just
enjoy watching boats like idiotsand pontoons going through this
tumultuous inlet, which is likeone of the most world's most

(52:53):
tumultuous inlets ever. Youknow, high tide and low tide.
This thing just eats boats and,oh, let's take it out in the
ocean, the rental pontoon fromthe bay. And it's like, these
guys just get their stupid humantricks. It's awesome. Yeah. So
I'm watching one the other day,and it says, this wave comes up.
Watch the wave. You know, waitfor it. That's the big thing.
They put in the text, wait, waitfor it, because they want you to

(53:15):
watch the entire video. Helpsthe algorithm. And, you know, in
the video, this seemingly likeyou know what you'd see at a
beach. What do you gotta
do? Okay, I'm passing up on agreat opportunity for
everybody. We're gonna we'regonna make sure it's on there,
but you got to put it inprominence. Give me the book.
We're doing this live hand tohand it to me. I'll put it in

(53:36):
back of me. Actually, I thinkI'm gonna have potential.
See, guys, this is happen aswe're recording, made us leave
it in to the chopper. So in thisvideo, they got like what

(53:56):
seemingly is like a beach wave,a very medium sized beach wave
that you'd go body surfing onthe beach. It comes over the
boat and, like, takes the entireboat, like, oh my gosh, the
whole thing disappeared. It'sAI. It's fake. And I was like,
almost like, Oh, really. Comeon, that would have been a cool
video. Otherwise, you know,

(54:17):
you know, the AI generatedheadshots and such. I'm
interested to see,
yeah, but you know, they didthat a couple of years ago. I
did that too, and you pay forlike, a pack of 10 pictures, or
whoever, however, $10 for abunch of like 100 pictures. But
they take about seven picturesof you, and have different AI,

(54:38):
they take your, like, yourattitudes, your facial
structure, general, you know howyou smile if you don't smile.
And then they put personalitiesto it. It's odd. I'll have to
show it to you. They like, theymade me look like Bruce Willis
from Armageddon. Remember that?Yeah, there was like, one point
where I had my shirt off and Iwas jacked, you know? And I'm
like, I wish I looked like that.But it was also. When I was bald

(55:00):
and had the, you know, thebadass beard bald look, until
Courtney wanted my hair to growback. I love it. But, yeah,
those things got nice littlehead of hair. You working on
there, buddy. Now they got aIflying apps. You could actually
upload your photo and likeness,and they'll make videos of you
flying.
I mean, where is it going? Ijust don't know. Man, you know

(55:21):
it's,
you know, any we just heardabout an app that apparently
will strip instruments out ofsongs. I
don't like it. I know you don'tlike that. I know I don't like
it, buddy.
That brings me to the businessof music. I mean, ever since
Napster, your industry has justbeen in flux. But you know,

(55:41):
maybe it's fair to say that evenin in while the formats of the
delivery of the music changed,you had eight track, you had
vinyl, you had cassette, then itwent to CD, then it went to mp
three. But since Napster, theindustry has been shaken up,
right? Yeah,
it would be interesting to havefound I'm grateful for

(56:03):
everything that I have my life,and work so hard for it, and
it's fantastic. But what if Ihad hit with a rock band in the
My 20s, in the 90s, because,because that was the velvet rope
era. I mean, that was limos andvelvet
ropes, but I think it wastrending down by that point. I
want to say the mid eight the80s was more like

(56:24):
there was money in the musicbusiness. Then water. Yeah, in
the 90s, the 90s, people battlethe boom and, you know, sound
garden and Pearl Jam and modernrock radio. And
did singles ever take off like,you know, remember the singles
when they had offered it waslike buying mp three. Now you

(56:44):
buy, you spend your buck oniTunes. You just want the song.
Now it's just all streaming.Were singles a big thing back in
the 90s? Or they still, theystill bought out albums, right?
People still bought albums,yeah, but you had to have a
single for the radio. You know,there's the new one from Stone
Temple Pilots, right? You know?Oh, yeah, of course. Man, that

(57:05):
was a heyday of quality rockbands.
90s music, to me, was such ahodgepodge. It was such an
interesting time for new musicto come out, because I was
certainly, I was listening atthat time more to than modern
rock stations, because I wasgetting in the radio. I wanted
to get in the radio. I wanted towork for 92 3k rock in New York

(57:26):
City, and they were the premiermodern rock, active rock, well,
probably modern rocket.
But if you had gotten the leadDJ job at that station in New
York City, that
would be impossible, because itwas Howard Stern at the time. He
was a morning guy,
okay, but what I'm saying is, ifyou were a rock jock on one of
the other shifts, right, did

(57:47):
it pay a lot of money in thatcity? Oh, yeah, you made,
probably I would have, if you'rean afternoon guy, 200 probably
250 quarter
of a million dollars in 1990smoney. Yep, and you were
actually had a say in what wasplayed? No,
I think you probably, you, yeah,you probably had a say,
depending on their role. If theywere music director. Music

(58:09):
directors typically broughtlate, they would be the first
ones to hear what the recordcompany representatives would be
like, Hey, could you, you know,add this this week? How many
spins can we get they would havethose conversations. And then,
typically, the music directorwould bring it to the program
director and say, Hey, what doyou think? Let's, you know,
let's put it in, you know,rotation at night, in the

(58:29):
evening, see how it does, howdoes the audience respond? So it
was very organic. I would say,back then, to a certain point, I
think paid a Paola was still athing, you know, in terms of
wining and dining, but, youknow, not like it was in the 70s
and 80s with the boss jocks sointeresting.
And when you played that newsingle from Stone Temple Pilots,

(58:50):
was it still the physical CD?Blow on it, put it on Yeah,
because there was a risk of itbeing scratched or having dust
on
it, you they would sit in theirown like, ready to go jewel
cases, and you'd put it into theCD player, which is a
specialized industrial,commercial CD player, and it
would queue up. You'd dial, youhad a little knob on it, you'd

(59:11):
dial with the track in, and itwould be ready to go. And
typically on the board, you'dfire it right from the board,
you know? And that, that was inthe mid 90s, was the last
bastion of hardware based,hardware based disc jockeys that
were one step beyond queuing upvinyl, because that used to
happen, they would have to sitthere and hold the vinyl, and
the turntable underneath wouldbe spinning, and they just hold

(59:36):
on and be like until they'reready. Okay, here's an and they
would back it up so theywouldn't have really, you know?
Yeah, it was. It's an art form.There's actually, you go to
California Air, check onYouTube, and it's fascinating.
Like the guys from the 80spulling their music and their
writing game, and they'rehitting the post, those are
videos of it. Oh yeah, it'samazing to watch. I mean, it was

(59:59):
a true.
Word for awesome skill set. Andthen if those guys stayed in the
business, and they were tryingto stay relevant, to keep up
with the latest technology, theyhad to totally change to a
software based system.
Well, that's when automationcame in, voice tracking. That's
about the time I got in theradio. Was when all the things
started, you know, I got intothe at the point where

(01:00:22):
everything was on a computer. Iliterally, in my live shift, I
would hit a button and it's gotto, you make an art out of it.
Oh, I totally, I did the thethumb slap, or the, you know,
the, you know, my hurt myfinger. But yeah, that kind of a
thing. Nice. No, no. Homer, rockand roll. I 95 bam,
bam. See percussion again,right? Exactly. Percussion,
DJing percussion, working inradio percussion,

(01:00:43):
exactly, but it was, it was akind of a cool experience. One
day I came in for my shift, andthe entire system shit the bed.
Everything was down. Whathappened? The whole the hard
drives just crashed, and all thestuff, all the commercials, all
the music, they had to go back,to quote, the stone age. They
kept their wall of music readilyavailable in the studio for that

(01:01:06):
purpose, maybe, or maybe foresthetics. But getting all the
commercials, all the spot sets,literally, the production
director's job that day was toput all the spot sets on reel to
reel, and they would carry inthe platters and say, Okay,
here's the next hour. Yeah,here's the next hour, here's the
next hour, here's the next hour.And because that was important,
they had to make sure that theyplayed the spots. That's how we

(01:01:28):
got paid. Interesting. And, youknow, he had to put them all
back to back. Not a fun job, butgetting a taste of running the
board manually was a lot of funpulling your music the next hour
of music. That was a lot lookingforward on the logs and seeing
where you are and stuff. I had ablast, because you had to stay
there for six hours being on theair,
I'm sure. And you had your Psongs, right? Like steroid of

(01:01:50):
heaven.
Yep, sorry to heaven. And whitesatin. I
love it, yeah. But it just goesto show, if you're an open
minded person, you notice thatevery person that has any job on
this planet, there is an artform to that job, whether it you
are a janitor or a host at bricktops, or you are a garbage man,

(01:02:16):
or you are creating high Art, oryou, like every there is an art
to doing a job, a job, welldone. There's an art form to all
of it. Good point. I mean,there's actually in the
electrical field, because tradesare starting to make a huge
comeback, dude, I found outyesterday at ntsu, they have a

(01:02:36):
concrete program to pourconcrete, to learn about
concrete. Yeah, it's a wholedegreed program. And these guys
that are coming out of thisprogram, they could make 80 to
$150,000 a year within the firstyear or two. It's awesome,
because there's no about thechemistry of concrete and what
works and what it's I learnedabout this yesterday. It's
crazy. As you know, concrete canbe an art form. Well, thank God

(01:02:58):
for the trades. You know, likeyou look at electrical there are
guys on Instagram that aregetting tool deals and
representation and things ofthat nature. There's a guy named
Tennessee electrician, and he'lljust put a camera behind him and
rework a panel, you know, pullall the guts out, redo the wire,
make the wire like, have like,you know, just they're all
parallel to each other. It's towatch somebody put properly, put

(01:03:20):
a panel together and redress itup. It's about an eight hour
job, yeah, but when you timecompress and you see the
artistry involved when it's doneproperly, it's freaking
beautiful when it's done. Youever go into Costco, like these
big warehouses, and look up,look at the pipes that are
running, the big the silverpipes, somebody has to bend

(01:03:41):
those and they got to beperfect. They got to fall in
light. That's a freaking artform. Yeah, bending pipe and
conduit in the electrical fieldis truly an art
form. And if you have pride inyour job, there is even an art
form to be in. The guy thatworks at the deli counter at
Publix, there was a young man. Iwent in there and I said, Hey,

(01:04:02):
my parents are coming. First ofall, big smile on his face.
Young kid, kind of unexpected.How you doing, sir? How can I
help you today? I mean, totalsincerity. Oh, parents are
coming in town. I was thinkingabout getting maybe, like,
maybe, like, a full pound ofyour boars head, black pepper.
Great choice. How, how manysandwiches you think you're

(01:04:23):
gonna have to make? Like, he'stotally, he's got the sales
process down. And I was like,Dude, I'm probably gonna, we're
probably gonna have about foursandwiches, but we might do that
two times, all right, so eightsandwiches and two slices of
turkey. You think per sandwich?I'm like, Oh yeah, my dad
Dagwood. He wants to make somedagwoods totally set me up
because let me know if you needanything else. You know, I'm

(01:04:44):
here, Monday, Wednesday, Fridaysgreat. I mean, it's like, wow,
what a pleasurable experience.Yeah, or when somebody's
checking you out at the counterat Publix, and they're they are
efficient, they have a smile,they're pleasant. They. Help you
bag everything. It's, you know,because I've seen the opposite
ends of the spectrum. Oh,

(01:05:04):
totally. We have those. Sucks.Yeah, because that's what you
expect, though. Because it's a
supermarket, they're taking yourmoney either way. So if you're
going to take my money, God, ifit's pleasurable,
yeah, the experience matters,yeah. And when you got somebody
who is an entertaining aspect ofit. Look at the bartenders. You
ever see a flare tender? You hadto in your days on the road. If

(01:05:27):
I was a bartender, I would be aflare tender. You know what a
flare tender is? Put some, youknow, some spins Tom, some Tom
Cruise stuff, Tom Cruise, likecocktail, right? So we first saw
that when we moved to Vegas, andthat bartender made bank because
you're entertaining. Now,
even if you don't go that farand you are just a great person

(01:05:48):
on it, you're on it. And if theyou have the art of like,
there's someone way down at thebar, he's holding up $100 bill.
He's just trying to get yourattention. He's not, I've done
that. I'm not trying to bedouche. I'm just letting you
know, hey, I'm gonna hook youup, bro, yeah, it just give me,
give me a nod and be like, onesecond, or I'll be right with
you or something. It's the onesthat ignore you. And he's like,

(01:06:09):
is it my ever going to begreeted? Here am I chopped
liver? It's acknowledgement.Acknowledge. Huge, huge, big.
Yeah, you know, being a sessiondrummer. Well, that's the
thing that you talked about, um,you know, in like, we kind of
did some driving scenes, and wewould ask questions, demand
element, which, back in the goodold days, it's the best car

(01:06:29):
ever. Know about you. You made,you made so many different
little wisdom nuggets that Iremember at the time hearing
them come out of your mouth. Iwould file them in the back of
my head. One of them was, look,treat everybody in the studio,
at least in the studio setting,you know, you're talking about
recording at the time, like,like you would want to be
treated, or they would want tobe treated. You know, you they,

(01:06:51):
the people that are at the frontdesk are working there, they're
getting their foot in the door.And for somebody who's
influential coming in, who'sactually doing the thing they
want to do, for you, to be niceto them was just a huge part of
their day, and it's your brand.Your Brand made them feel good,
because you said, Look, everysingle person in that building
wants to move up. Yeah, theywant to excel in their career.

(01:07:13):
And if they can remember me andhow I treated them, that's going
to help me, because eventually,if they land in an engineer spot
or a second engineer and then tobecome a producer, maybe they
become, you know, into thealongside of a major artist, and
they remember me, I can be apart of that gig. You had the
right attitude. I can't imagine.I think a lot more people
because of you sharing thatinformation, probably apply

(01:07:36):
those principles to their lives,which makes competition more
fierce. But for probably onceupon a time, you so you talked
about getting vibed out in thestudio, especially when you were
new.
Oh, and you're new, yeah, yeah.Gotta be nice to everybody. I
mean, just doing a great job asa as a hired gun musician, you
know, you get the information.You talk to the producer or the
artist or the engineer. What arewe looking for? What's the vibe?

(01:07:58):
What's the energy you'rereferencing? What are the what
are the artists? Who otherartists? Oh, it's like a stone
temple pilot thing. Okay, so I'mgonna bring my, you know, Ludwig
Vista lights, a wide open bassdrum. But I'm gonna have a towel
in the car, some towels. I'mgonna have a variety of pillows
in the car, a variety of snaredrums. I got a, Oh, it got a
bunch of sticks and mallets. Andevery
drummer of your level when youwere coming up. Did they have

(01:08:21):
that wherewithal and thatawareness to even have those
things on hand, just in case?Were you kind of, like, were you
ahead of the
curve? I think I most guys havethe stuff on hand. You know, you
gotta have a variety of snaredrums, or just have one really
amazing snare drum that can do alot of things, and you can get
there quickly. But what if youbreak the bottom head on that

(01:08:43):
one snare drum? Like you atleast got to have two drums,
because time is money in thestudio. So what if you the snare
wires pop, or the bottom headpops, and then you're eating up
time? But no, no one wants todeal with that, man, it's time
is money a second bass drumpedal, you know? Because what if
you break the spring, you know,right?
What do you bring to a typicallike, demo session or, you know,

(01:09:07):
because when you're recordingthings these days, what are you
bringing with you into a studio?
And does it vary for it variesproject
to project, because, so let'ssay they're going to a studio.
There's a house kit. So you talkto the person that owns the
studio, the engineer or theproducer, you say, like, hey,
what's the condition? Like, whatis the make and model of the

(01:09:27):
house? Kid, what is thecondition? Is it well
maintained? Is there hardware?This is the Can I just the snare
drum? Is there a high hatclutch? Is there is stuff
stripped out? Is the bass drumpedal. Is it squeaky? Is there
metal rubbing on metal on thesimple stands? Are there Felts?
And they say, man, it's it'spretty good, and the heads are

(01:09:50):
pretty fresh. And you go like,Oh, great day. So then, really,
all I need to bring is my stickbag, a bag of percussion to over
dub, some stuff, a couple. Snaredrums. Still probably going to
bring my bass drum pedal,because that's so personal.
Yeah, what if the pedal reallyis super squeaky, or it's, like,
super tight, oh, like, and youcan barely move it. That's

(01:10:11):
really going to slow down yourday. You're not going to have a
good time. You're not going tosound like yourself. And then
it's, no matter what they sayabout the hi hat stand and the
snare drum stand, it's alwaysgood to have those things
because, you know, the way Iplay pretty physically, you
know, a student model 1970ssnare drum stands probably not
gonna hold up, right? And thenyou gotta have lug locks. You

(01:10:32):
gotta have tons of gaff tape,because you can use the gaff
tape to modify the sound of yourdrums. But you can also use the
gaff tape to first thing I do isI gaff down the bass drum spurs,
so that doesn't move because Ihave a gorilla foot, and then I
gaff down the bass drum pedal,so that doesn't slide off,
because I have some sort of aweird technique with my bass

(01:10:53):
drum where I kind of slide onthe pedal, and it just makes the
bass drum pedal do this soaksout, which is not
fun. So the bottom of the bassdrum pedal you're taping down.
Yeah, even when I go to thesejam nights, you know, the
Nashville drummers jams, or TomHurst loud jams, or whatever,
I'm the weird guy that runs upafter the other guy. You have
other guys getting off. I'mpatting him on the back. Great

(01:11:13):
job, man. Get the hell off,because I gotta. I taped down
because I know that I'm onlygoing to play a song for three
and a half minutes. It'sprobably going to be videotaped
for all time. I want to enjoymyself. So this could be a deal
breaker, so I tape that suckerdown. Then I'll probably put a
couple of strips of duct tape onthe snare drum stand super quick
while the girl singers like howyou guys doing you having a good
time taping stuff. You know, I'mtaping it down so I can enjoy

(01:11:37):
myself.
So you have, you have your owngaff tape that you bring with
you. Always, wow. Always got
my man bag, you know, with mylug locks and my gaff tape and
my my pedals and you might needin ear monitors. Or you might,
you know, it's just good to
have this stuff with you. Okay,this is getting geek talk. We're
getting very professional. Justprofessionalism. I'm not blaming
you. I'm this is fascinating tome. I don't think I've ever we

(01:11:58):
have these conversations out ofall the time we've known each
other. This is where all thebusiness people are changing.
Business people are checking outthe podcast they're off. But
this is the thing. This is aboutwhat you need to be prepared.
And a lot of people just aren'tthat prepared,
systems and processes,especially if you're gonna try
repetition travel for a living.Man, yeah, I just bought my new
bat. My last backpack made iteight years? Yeah, leather

(01:12:22):
backpack, really nice. Wentaround the world. Yeah, I got a
new one for 2025 with all thefresh zippers, and it's got that
new backpack smell, and all mystuff goes in a specific
compartment, because you want tobe able to find things quickly,
and you want to know whereeverything is, so you don't lose
things, because then you startlosing, you know, your iPhone

(01:12:45):
charger and your computercharger, and, God forbid your
laptop said security. So you gotto have systems together when
you're mobile. Yeah, you know,
and know where all things are atall times. How many symbols do
you think you have? Well, we
start thinking about drum sets.I mean, just drum sets, man, I

(01:13:05):
got three drum sets in a lockerin Burbank, California. I have
three drum sets at drum paradisein Nashville, along with about
25 snare drums and tons ofsymbols, bags and vaults of
symbols. And then I have stuffat Jason l Dean's locker.

(01:13:29):
There's a B rig that is ready togo in the locker, in case we
have back to back gigs indifferent parts of the country.
Then I have my a rig that liveson Jason's, you know, semi,
yeah, and that's got tons ofbackup symbols, several backup
snare drums. Then I have tons ofstuff at Crash studio, my

(01:13:53):
studio, yeah, in Nashville,another 30 snare drums,
nine drum sets. So think of thedays when you just had the
Yamaha kit, the one
drum set that only did one thingin the floor time was hung from
the it was a rack tom. It was,it was, it was a rack floor

(01:14:14):
because it was the Dave weckelSmokey black with the gold lugs.
Okay, I wonder who has that kitnow, man, because
you that's that's very nostalgicfor you. Totally. It's funny
because I did that with my pearlexports. We had two of the
drums, I think I, I made my 16by 16 floor tom, a hanging floor
tom with just one of the pearlYeah. Adapters. Drilled the

(01:14:38):
whole the whole nine yards.Yeah. I
think about the history of thedrums you've had. I had that
those cherry red Yamaha stagecustoms and then, but
you didn't have duplicate kitsback then, it was a matter of
affordability. Yeah, so yourfirst endorsement deal was with
sonor back in no one or two. Soyou what was that like? You

(01:14:58):
know, did you get to pick. Pickout, you know, hey, you got you,
hey kid you got you could pickout four kids. Go
have fun. Beggars could not bechoosers. Back then, when I was
new on that roster, I wasplaying with a group called rush
low, with Tim rush low fromlittle Texas. And, you know, we
worked really hard. We had twosoft hits on country radio and

(01:15:18):
can't be your friend.
Yep. And I got a anymore. I gotan S Class drum set. That's
funny, because that's theflagship Mercedes. It's the,
yeah, it's the S Class drum set.And that drum set ended up on
hick town. It ended up on thevideo. It's in the in the middle

(01:15:39):
of middle of this mud pitsurrounded by monster trucks and
flames and smoke and hot chicks,and I actually might be selling
the hick town drum set. Might bereally I was thinking about
letting it go into the universe.I think it would be great if it
ended up in like a Hard RockHotel or a Hard Rock Cafe. Yeah,
that'd be nice. But I do know afriend of mine that is, they

(01:16:04):
call him the drum pusher, and hesells celebrity drummer drum
sets. And is he the guy who didcelebrity sidemen? Now,
if you again, if you'relistening to this podcast, very
musical, a lot of insight, notinside baseball stuff, but I
hope still good information thatyou could take and apply to your
business, because a lot of whatyou know Rich is, of course,

(01:16:28):
technique. A lot of people seeyou as a country rock drummer,
but it's amazing, because you dohave a really varied approach to
different styles and all thethings that you know, you know,
you have one of the mostbuttery, smooth, freaking double
stroke roles I've ever seen.And, you know, I've seen you
play jazz, I've seen you playbig band. I've seen you do snare

(01:16:48):
solos. I mean, you areclassically, you're a master
percussionist at what you do,but you're also and you and I
have talked about this over theyears, is the fact that you have
such business acumen in amultitude of areas, in probably
one of the most difficultbusinesses on the planet, you

(01:17:08):
know, which is very applicableto, I think all businesses.
I mean which one is gross andwhich one is
net. Give me a good episode. So,but yeah, you
probably don't use that one alot on your podcast, forgetting.
Oh, yeah. People love it. Yeah,it's apropos. Well, thanks, Jim.
I feel like you know what,you've had me on your show and

(01:17:30):
your various iterations of yourshows over the years well, and
there's only so many things youcan ask me, but you have found
all these different ways to askit,
and you know, it's stillfascinating to me, because it's
still, you know, as much of alifestyle, it probably wouldn't
have been a match for me. It'sstill fascinating. It's still
interesting. Because even when Isold cars, people were

(01:17:54):
fascinated. People hated carsales, people, but I believe I
was an exception to the rule,because I did it. Integris Lee,
I did it very honestly, and Imade friends with my customers
and made sure that they couldtrust me, but they were always
intrigued about the back roomworkings of a car dealership.
Yeah, well,
when he when you say, Well, letme go talk to my boss, right.

(01:18:16):
Where are you going and what areyou saying? But, you know, I
kind of got to the point whereI'm like, you know, if this is
the kind of if this kind of, ifthis, if we can get this, and I
can get my brought my boss toagree on it, is this something
you want to move on? You know?If he says, Okay, are you ready
to move on this? I can't takethis to him, and with a weak
agreement, you know, if we'regoing to be talking about, let's

(01:18:37):
doing the let's do the deal.Let's figure out a price point,
and let's see. I don't know whathe's going to be agreeable to.
Let's Make a Deal seriously.Yeah. And that's the way I would
kind of put it to them and say,Is this so if he's a we come
back and he's good to go. Areyou good to go now you're ready
to put this thing in yourdriveway this afternoon? Did
that work? A lot. Yeah, nice.Because typically, you know, at
that point I would say it insuch a way that it was I was

(01:18:58):
serious, because, like, if I canget them to agree? I don't know.
I don't know where we were inthe month of terms of how
desperate we were to move metaland how many cars were out and
what kind of grosses were onthem. I mean, there was all
nebulous. It was all a lot ofvariables in that business,
yeah, you know.
But ultimately, it's, it's aboutthe customer, what they was,

(01:19:19):
your case, your artist, andwhoever you're working for,
right?
Totally, we you've heard it fivebajillion times. We are here to
serve the song, serve theartist. So
is the artist a customer. Is thesong, the customer or the
listener, the customer, right?They're all, that's all a yes,
yeah, that's that was a problemwith radio. The artist can't

(01:19:42):
exist without the listener, theaudience, the fans,
and there would be no audiencewithout the song, right, right?
Yeah. So it's this symbioticrelationship.
It's such a balance, definitely.Complicated balance, even in
radio coming up in thatbusiness, I always said it was

(01:20:05):
the most complicated business tosudden, you know, in general,
because you've got two end usersto appease in that business.
You've got your listener, andthen you got your advertiser,
you know, and the you had tocreate an audience of listeners
that would appeal to a certainkind of advertiser. And a lot of
the sales people will say, well,our audience, the advertisers,

(01:20:29):
more important than thelistener, except what pays for
everything. I mean, we wouldsay, well, as program people,
programming department people,without the listener, you've got
nothing to say, no businesswhich comes first chicken or the
egg and so, and then you workfor a publicly traded company,
you throw in a shareholder, oh,boy, you got three. It's a
delicate balance, and that's whyyou've seen a lot of these radio

(01:20:49):
companies are just falteringthese days. Yeah, they didn't
keep up with technology.
You know? We should do isscratch our own back, you know?
We do have this thing called therich Redmond show, and we have
220 episodes. Yes, prettyincredible. It is. It's amazing
that we just keep showing up.
It's akin to Michael Knox, JasonAldean, sticking it out for six,

(01:21:14):
seven years. Yeah, and it'sfunny, you know, weird kind of
doing the same thing inpodcasting world. Yeah. I tell
all my clients, well, you know,when can I monitor can I
monetize that? Sometimes thatquestion comes up and I say, you
can monetize right off the outof the gate, if you want. Yeah.
Well, how do I do that? Hang ashingle. I put put an ad rate
card together. How much for a 30or 15, a 60? How much is a show

(01:21:34):
sponsorship? How much is astudio sponsorship? You know?
How do we put numbers to allthat? The numbers aren't going
to be huge, but they couldcertainly offset your production
costs. You could probably findsomebody who's willing to take a
gamble on the show a year fromnow being something and they
get, they get in on the groundfloor of an opportunity, and pay
a very nice entry fee to gettheir business plastered all

(01:21:58):
over this thing, and then theyhave first right of refusal
when, hey, now we got numbers,let's renegotiate. Well, now we
got we can, you know, ask for alot more. You're more than
welcome to accommodate thisprice. This is our agreement for
a year. If not, we'll findsomebody who will, you know, and
that's a lot of people kind ofgo into podcasting. Well, one
can I monetize? I always sayright off the bat, but don't get
your hopes up. Monetize itthrough the joy. Have you got to

(01:22:22):
find the fun in doing this? Youknow, much like you guys did
from 90s, you did it. You wantedto do it for work and make a
living. But, man, so doesmillion other people. But
podcasting, much like authoringbooks nowadays, is basically a
business card for some other
business? Sure, right? There'sso many, there's so many

(01:22:42):
elements to a podcast. I mean,it's talking about your own
business. It's talking aboutother people's business. Who do
you want to meet? Do you want tomeet a CEO and invite them on
your podcast? You never know,ask. You got a show, you got a
platform. It's got, you know,you getting a couple 100
downloads and episodes, nothingto balk at. You got somebody
who's enjoying it no and over

(01:23:03):
the years, we want to publiclythank you. Know Angie McCarthy's
her birthday today, from rock.Angie and Kelly were a sponsor,
a long time sponsor. It wasvery, very fun. And then, of
course, my friend Bruce Klein,who was the lead singer of said,
best top 40 band in Dallas,random access. We were like long
time buddies, and he got intoreal estate, and he did some
advertising with us. And Ialways enjoyed that because, you

(01:23:27):
know, you put so much time andenergy into the show, and it was
a great way for me to get youpaid, you know. So if there's
any listeners out there thatwant to, you know, advertise on
a hip, fresh, cool music,motivation, success,
entrepreneurial angle podcast,you know, talk to us. I think, I
think our podcast would be greatfor, you know, coffee companies,

(01:23:49):
fashion brands, musicalaccessory brands, local, local
music stores, spots in hips,hipster spots in Nashville with
a, you know, great, a greattaqueria. Because, you know,
basically every musician in theworld never met a musician that
didn't like tacos, right?
Or coffee. Well, I agree withyou, the coffees, the fashions,

(01:24:11):
things of that nature. I'veoften toyed around the notion of
taking all the podcasts weproduce, and we've, John and I
have talked about this, puttingjust a rate card together. How
many, you know, pick the podcastyou want to be on. Here's how
much it is for them. Here's, youknow, like a network of
podcasts. Let's take the samespot, put it across all the
different podcasts and see whichone hits, if this one produces

(01:24:33):
more than put more of anemphasis and a spend on that
podcast. Because I produce, youknow, probably 1516 podcasts at
this point,
and we would do a live reads forour clients, you think, or, I
mean, because we did producedads,
yeah, we did produced ads. Imean, I think the live reads,
the integration into an episodeyou would have to make a client

(01:24:54):
understand, there's a premiumfor that, because once it's
baked in, like that, it's um.Um, it's there forever. You know
what I mean? As opposed torunning a 3060, or a 15 second
ad that can be dynamicallyplaced, you can pull them in and
plug, you know, unplug them andstuff like that, which is
something we should probablythink about doing. But, you

(01:25:15):
know, for the try that podcast,they've got a about three
sponsors at this point. Nice,they're doing, you know, video
they got to that run during theshow, when it runs pre, pre
roll. So, yeah, it's, it's, itcan be done. And that's the way
the general market is moving.You know, because some of these
podcasts have audiences thatdwarf, or that complete love, is

(01:25:39):
it dwarf? Is it them dwarfing?So like some like the Joe Rogan
show has got an audience thatdwarfs most radio I thought it
was a little person. Joe Rogan,no, I thought dwarf was little
person. But you know, howsomething dwarfs another thing,
you know? Why are we totallyYeah. So basically, he's got an
audience that's just probably 10times larger than most radio

(01:26:01):
networks, like the entirety ofthe CBS infinity Radio Network
Joe Rogan probably has from hisone show, and it's
pretty incredible. How did hebecome so popular?
Because he had momentum goinginto it. He took advantage. He
got into it because he lovedbeing on Opie and Anthony show,
the radio show back in the day,and he says, Well, I want to do

(01:26:22):
that, but I'm not going to tryand fight a gatekeeper or pay to
be on another radio show or tryto, you know, audition my way on
XM. There's this thing calledpodcasting that was coming out
no 607 because they called itpodcasting, because you could
actually have a broadcast of ashow on an iPod. So they
combined the two words and wentfrom broadcast to podcast. So

(01:26:46):
didn't know if you knew that.
Oh, yeah. And I remember SteveJobs announcing that we had this
thing called a podcast. Yeah, soMarin has been at it, I think,
15
years, so that Rogan's been atit for probably nearly 20 at
this point. Oh, so he was beforemarriage. Yeah, he, I think
Rogan started, I would say, oh,eight or nine. Whoo, so. And,

(01:27:07):
you know, he didn't, it wasn'tlike it is now, you know, he had
to have, you know, the tip ofthe iceberg, of what you see is
the rest of the icebergunderneath the sea as well. All
the work he put into it, keptdoing, kept going. He kept
going. And a lot of what we'redoing today, I think, with you
and I doing your show, and whatI'm doing with my show this
particular show, yeah, it's not,it's, it's a local business

(01:27:28):
show, yeah, I'm not going to befreaking hitting it out of the
park with a ton of listens. Thefunny thing is, I have a podcast
that's 11 episodes deep, and weneed to start it up again. It's
called capes and hammers. Idon't know if I told you about
this. Oh, it's about it's aboutMarvel, the Marvel stuff, all
the movies and everything likethat. There's a lot of Marvel
fans. We haven't produced anepisode on that friggin podcast

(01:27:49):
in probably three years. Itstill gets downloads. Who's the
other people? It was CJ Whelanand gray. Arnold. Gray was like
the the Encyclopedia of comicbook knowledge, which, oddly
enough, I've got somebody likethat, and Ben, a new associate
that works with me. Oh, Ben's aMarvel guy. Yeah, he's, he's a
comic, comic book guy. And CJwas one of the guys at the

(01:28:11):
previous organization who was agreat technician, great
electrician. Now he's actually,if you need an electrician, I'll
give him a plug. CJ Whelan,great guy. He's here locally in
Spring Hill, and he does a greatjob. Comes to your house. He's
great in front of your kids, infront of your family, very good
customer facing person, and he'sgot a family to feed, and great.

(01:28:32):
He just does a great job. So hewould also be on the podcast,
because he was intrigued like Iwas, and I said, you know, we
would always have these amazingconversations before they would
go off and work for the dayabout different ideas of the,
you know, the Marvel CinematicUniverse. You know, things like,
you know, why did DoctorStrange, what was the one thing
he had control over when fan, hemet Thanos on Titan, you know,

(01:28:56):
and 10 and he they had the bigfight and everything like that.
And Doctor Strange with all the14 what happened? Buddy, falling
asleep.
What I mean? I mean, man, I cameup loving Spider Man. But then,
you know that universe justexpanded and expanded. I'm sure
there's people out there thatjust Yeah,

(01:29:18):
about that those universes, Imean, now they get into the
multiverse concept. And, youknow, you see the Spider Man
where they all, three of themcame together. I
didn't miss that one. Oh, it's agood one. Yeah, really good one.
Yeah, it
was one of the best ones since.But one of the the key movies
that stand out since end gamewere definitely that one. I
think Shang chi was a greatmovie. Like anything. I'll go

(01:29:39):
back and watch again. I thinkit's a good one, nice. And I've
probably seen Shang chi of like,12
times. I never even had Shangchi on the to do list. Do you
think it's great? It's good,wow.
It's a kung fu movie, gotcha. Ifyou like those, yeah, modern
take on it with some, you know,mystical magic and all that fun
stuff. Yeah? But it's. You're anauthor as well. We wanted to

(01:30:01):
make sure that we have the bookbehind us. You see on my shot
that I've got the Making it incountry music book right there?
Yeah, we had our friend VinceSantoro on last night, who
played a lot of music with DavePomeroy and Dave Pomeroy, world
class bass player. He's also thepresident of our local 257,
American Federation musicianschapter here in Nashville, he

(01:30:21):
wrote the forward, and I hadsome help with this book with my
friend Jennifer delazana. She'sa professional author, and took
about a year of our lives towrite this thing. And got a
great test, a lot oftestimonials from great people
in the industry. And think it'sgot five stars on Amazon, and
hey, it exists for all time. Andif people want some insights on

(01:30:42):
how to shave off time onnavigating the thing that is
Nashville
might help you out. You know,yeah, maybe we need to advertise
your book on your show. Hey, howmuch to advertise your book on
your show
just depends on what I need foryou to produce the pug, to
produce the ad. Okay, soundslike a trip to Don Arturo's. And

(01:31:04):
you do, and you do have a nice,a nice, brand spanking new ad
for my drum tensive, which isreally nice. But there's
another thing that you kind ofyou're a great marketer, and
sigh like you know your hustleis still spot on, because you've
created a service that wherepeople could fly in and spend a

(01:31:24):
day with you, and you'll breakdown all that. You've done it
for me as I get ready to gear upand play for the Huey Lewis man
that's coming up, if you guyshaven't heard about that, that
those tickets are stillavailable by the time this comes
out, it should be about a weekaway. It's May 28 at the city
wide.
I'll be there, Jim. And also,the best thing on the city, I've
been there so much recently,they've got flatbreads, and

(01:31:45):
they've got, like, a spicychicken flatbread. So I will be
front row with my flatbread anda glass of red
Nice. Yeah. Well, sit at thetable with the wife and my
brother and all that fun stuff.Totally, yeah, whoever else
comes. And I think we have,like, a multitude of the
drummers that we've been, Annacoming and, oh, his Dan's

(01:32:05):
girlfriend, I don't know. Idon't know yet. She may have to
work that week. She's anesthetician in Washington, so
Saturdays are important.
Oh, you mean, like facials andwaxing and all that kind of
stuff. Good to know. So he'll be
there because he's playing. Heand I are performing that
weekend in Georgia with firsttime he and I are playing into
probably about 1314, that'd beawesome. I know that'd be really

(01:32:28):
great. I'd love it if you movedhere, man, yeah. I mean, that
would be so much that would justlike just to be in a band with
him. We've never really been ina band, you know,
that'd be awesome being a bandwith my brother. But, you know,
neither one of my brothers playmusical instrument. That would
be difficult. I that would bedifficult, but, yeah, so, you
know, if there's any musicianslistening, or if there's any
folks with with musician kids,yeah, you fly into Nashville, we

(01:32:53):
do three hours of educationaltraining, and then I take you to
a nice lunch, which is likesushi or steak. It's definitely
not McDonald's. Then we doanother three hours in the
afternoon and and I just have adeep we answer other questions.
Then I have a deep curriculumwhich kind of prepares you with
the skill sets that you're goingto need to master to come to a
city like a Nashville, a NewYork, or a Los Angeles, because

(01:33:15):
it's really this, you know, abig city, Music City there, the
same principles are going to aply, yeah, you know, but most
people are gearing up to come toNashville, because this is one
of the last true places for themusic industry, where people are
all recording in the same roomat the same time, and it's still
affordable enough where you canget a house and have some dirt

(01:33:36):
under your feet, not reallyworry about your kids going to
school and, You know, create alife for yourself while you're
going after music,
I would say, for anybody that iseven a hobbyist, like somebody
in my shoes, by nature, beingaround you, being your one of,
you know, you're one of my bestfriends looking at the way and
style that you play you I'm achameleon like that. I absorb it

(01:33:59):
and I apply it, you know, Ithink I am not the drummer I was
when I was in my 20s. I thinkI'm a lot better. I think I'm
more tasteful, and I've got alot more flamboyant energy,
energy, because a lot of that isyour packaging that you display
on a nightly basis when you'reout doing your thing. Yeah, for
anybody who's listening, whoknows a drummer, or is a

(01:34:21):
drummer. This is great. Justeven if you're a hobbyist,
you're playing in Des Moines andcover bands, you want to be the
best guy in that area. This is agood program to take rich up on,
because he'll break down all youknow. He'll, he'll celebrate
your strengths and build uponyour strengths. But also, hey,
this is a little bit weak.Let's, let's try this. I mean, I

(01:34:43):
think for me, you identified, wewere working on shuffles, and
you suggested a kind ofdifferent variation of a
shuffle. I'm like, Okay, now Igot, yeah, something here. You
know,
I just showed a student of minethe other day, Curtis, and he
is, he's had taken two drum 10s.So it was the second time he.
Flew into Nashville, the studywith me, and we were talking
about reeling in the years,because I was talking about all

(01:35:04):
the different types of shuffles.So, you know, shuffles are like,
you don't hear him too many, toomuch on the radio, yeah. So you
don't hear him much. And so wewere talking about reeling in
the years, which is, you know,kind of a yacht Rock Shuffle.
And he was playing the kick drumpattern. It was feeling pretty
good, but I said, put thatlittle middle note in there
after beat one and after beatthree, and it's kind of like the

(01:35:25):
glue. It's like the force, itbinds it all together. And he
started working on that, and itjust took it up a game. So this
attention to detail, like Isaid, you know, we'll find out
what you need to work on.Definitely going to get you into
reading music. You're I'm goingto expose you to some other
styles of music. So if you'rejust a rock and roll drummer,
we're gonna talk about jazz alittle bit. We're gonna talk
about rhythms from othercountries that you can

(01:35:47):
incorporate into your playing.It'll make you a richer, more
versatile, more marketable,commercial drummer, because,
hey, playing drums for fun isgreat, but what don't you want
to be the best in your town atit? Don't you want to maybe make
a little money at it, so I canhelp you do that. Yeah,
even for those like as avoiceover, person myself doing

(01:36:07):
it, as long as I have finding Istill could probably use some
coaching. The tough thing is, isfinding the coach that can you
know that I'm not better thanYeah, I mean, and I would
imagine that's kind of like foryou who's speaking into your
life as a coach that you draw,because you still have to, you
know, you're great at yourcraft, yeah, but you still want

(01:36:30):
to work on it and develop it. Isthere anything that's happening
now that,
Oh, nice. Well, there's some ofmy heroes that I have been
following my entire life, and itjust works out that the age
difference between us is alwaysgoing to be the same, because
the math works out like that. SoI've had a couple of peoples in
my life that I kind of use ascareer models. And these guys
are now in their 50s, 60s and70s, and so I'm looking at them

(01:36:53):
going, how have they bobbed andweaved and changed and stayed
relevant and, you know, evolvedin the industry? So I'll kind of
watch their career and like andI think that some of these guys
might be looking at me too,because I'm coming from another
generation just a couple yearsback and going, well, how does
he see the world? And, oh, man,this kid started speaking, so
maybe I need to start speaking.Or, Hey, this guy, you know,

(01:37:15):
some of these guys are makingthemselves uncomfortable, and
they're putting themselves insituations that they're not
necessarily doing all the timethat really helps their
musicianship. So I have mypeople that I keep an eye on.
What are they doing? What can Ikeep stealing from them? Right?
It's obvious that things aregoing well for them, because he
just did 22 years with thisrecording artist, and this guy

(01:37:37):
just got a residency in Vegas,and this guy is doing it. So I
just, you know, and social mediais a great way to kind of keep
an eye on everybody all at thesame time. Yeah, just, I think
one of the perks of socialmedia, as long as you don't use
it as you get into the death bycomparison thing, because that

(01:37:57):
can really make you sour. Andyou just, you just assume that
everybody's got a better lifethan you. Yeah, is doing better?
They
can definitely put a good veneerout there. Yeah, that's exactly
what a lot of social media is.It's the highlight. So here's
the thing, we're an hour and 30May, 38 minutes. Oh, my God,
we've been able to, even afterknowing each other so well,

(01:38:18):
still have, hopefully a verycompelling, informative, value
packed conversation. I think it
is, you're a good
host, you're a good you're agood interviewer,
because I still have a genuinecuriosity. You know, it's we
probably don't talk about a lotabout this stuff, you know.
Well,
you and I have just kind of dovehead first into the trenches.
And, you know, originallystarting my podcast was a way

(01:38:43):
for me to continually practicethinking on my feet and
sharpening my interview skillsin a very kind of almost
prepared inside the actorstudio, buttoned up way because
I had a lot of interest inpotentially being like a Mario
Lopez, yeah. And in all honesty,I don't think that's gonna

(01:39:05):
happen. So I just, we're justanother iteration. Yeah, you and
I are just kind of like, I just,we just dove into the deep end
of the pool, and we get in therewith the our guest. And one
thing that the guest always saysevery time, so much so that
we're putting it on on one ofour shirts. Yeah? Well, that was

(01:39:26):
fun.
It was. It's always fun. Yeah,you know, that's the thing. Is,
I'm a practitioner of what Itell my own clients is that even
though I'm not getting directlypaid for doing our show, doing
the ales and tails podcast, it'sfun. Ales and tails get free
beer, free beer. We get exposedto different beers. Mike is such
a it's another podcast Iproduce, the yells and tails

(01:39:46):
podcast, the yells and tailspodcast. He is so good at
describing beer, hisarticulation of the the notes
and the smells and the tastesand. Flavors. It's really a fun
episode, a fun series ofepisodes to listen to, because
we get into the beer, then we'lllet it kind of linger, and you

(01:40:09):
kind of want to let it marinate,and that's when we get into the
tales portion, whatever may comeup storytelling.
And it could be anything that'son their mind or from their
past. Oh yeah, we get blue. I'mpart of the show, so we're gonna
get blue. I think
it'd be nice to have somepalette cleansers on that show,
like we do in between season,crackers and some some,

(01:40:30):
well, we'll clean, we'll cleanseour palettes in between every
episode. So we shoot threeepisodes at a time, because we
can't do any more. Four episodeswill be snotcher. And it's like
we always say, Okay, it's thethird episode. Get
ready. Oh, my God. Does Mikedrive his Porsche, Porsche over
here? Nice. He is Ridgeline.He's got a Honda Ridgeline. You
know, we're not that bad. Youknow, any cops that are

(01:40:53):
listening so, well, man, I'mgonna wrap it up and they every
they can find all the things atrich, redmond.com correct,
R, E, D, M, o, n, d, yeah. I'dlove for you to visit my
overpriced website. No, I, Ilove the guys. Everybody's
looking for a quality website.They always do me a solid. But
there's a great company calledmule town digital. Yeah, right,

(01:41:15):
south of us, tons and tons. Needto have those guys on my show.
It'll be great. Adam Silvermanis a was the drummer with Lauren
Elena, and we toured together1213, years ago, and that's when
I met him. And even at thattime, he had this side hustle of
teaching himself web design, andnow he's got a huge company with
tons of employees. Yeah, so it'samazing. He's
doing a website buildingbusiness. Check those guys out.
Yeah, maybe they need toadvertise mule town. Am I

(01:41:38):
talking like I'm from Wisconsin?Yeah. Advertised like from
Chicago, yeah. So yes, go toRich redmond.com
and of course, if you want to beon the show, there's a
link@mmtbp.com
the mostly Middle Tennesseebusiness podcast, that is a.com
address as well, but a lot moreto type in. That's why I
truncated it down to mm tbp.comall. The things are there. If

(01:42:03):
you want to be on the show, letme know. And please be from this
area, or have some sort ofinfluence in this area, that
would be great. And, yeah, allthe things are there rich as
always. We do this every now andthen. Great. We're still have
stuff to talk about, so I'mhappy about that.
Fantastic. Well, I appreciateyou having me. I was,
yeah, I was on the can thismorning, and I got the text, do

(01:42:25):
you want to be a guest on myshow today? And I was like,
Absolutely, okay, cool.Sometimes they work out that
way. It was great, buddy. Thankyou so much. I don't think I
sent the text from the can, butmaybe, maybe I did, I don't
know. Well, there you go. Checkus out. Thanks again for being
on we're gonna wrap it up. Talkto you later. Thanks, pal. You.

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Drumming Up Success w/ Rich Redmond :: Ep 242 Mostly Middle Tennessee Business Podcast

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Drumming Up Success w/ Rich Redmond :: Ep 242 Mostly Middle Tennessee Business Podcast

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