Stan Lynch: A Rock & Roll Heartbreaker From Tom Petty to Speaker Wars :: Ep 225 The Rich Redmond Show

Rich and Jim chat with rock legend Stan Lynch, founding drummer of Tom Petty and the Heartbreakers. 

 

Highlights include:

[0:12:30] - Early drumming influences and learning to play with restraint
[0:24:00] - The magic of recording Damn the Torpedoes
[0:45:00] - Working with Don Henley and transitioning from drummer to producer
[0:52:30] - Reflections on modern music and staying creative
[1:03:30] - Introducing his new band, Speaker Wars, and upcoming album release

Stan shares candid stories about his musical journey, the importance of serving the song, and his philosophy of making music with friends. A must-listen for musicians and music lovers alike!

Find out more about Stan’s new project The Speaker Wars and thor upcoming tour dates:

 

https://www.thespeakerwars.com/

 

The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!

 

Follow Rich:

 

@richredmond

www.richredmond.com

 

Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.

 

Follow Jim:  

 

@jimmccarthy

www.jmvos.com

 

The Rich Redmond Show is produced by It's Your Show dot Co

www.itsyourshow.co

Episode Transcript

Unknown (00:00):
I had a pretty good ass whipping, you know, because I

(00:02):
always played with the guys thatwere a little older than me. And
they would pretty much tell you,like, all that stuff you're
you're doing, isn't reallyhelping us, yeah, we really
would like, and they would playme records, you know, the older
dudes, you know, I'm sayingolder, they were four or five
years older, which is a big dealwhen you're a kid, yeah, and,

(00:23):
um, they would play me recordslike, you know, hockey talk,
woman, nice. And they'd say,like, there's Stan, there's no
crash cymbal except the very endof the song, you know what? I
mean, it's just, you just digin, you know, and a drum fill
could just be and like, youknow, just get and they would
just say, like, give me a beat,man, yeah, you know, give me a

(00:45):
group. And, um, so then I, whenI went to California, I didn't
go with, with the guy, you know,the guys, the Heartbreakers. I
went alone. So I played in acouple bands out there, and they
were Texas boys, and they werehardcore, like, they were like,
Man, if I played a Phil they'dalmost look over and go like,
did you make a mistake?

(01:06):
This is the rich Redmond show.Jim
is joining us, and you're goingto love Jim, because he's the
ying to my Yang and and he's nota he. He's getting into drumming
again. He hasn't playedprofessionally in 19 years, and
he's playing with a Huey Lewistribute band here in Nashville.
He's all excited. He's allrehearsed. It's amazing. Should

(01:30):
be a lot of fun. Bill Gibson,yeah,
man, what I mean? I think Icrossed paths with him years and
years ago. What a fine dude, afine gentleman,
and very underrated. And whenyou play his parts, you have a
massive appreciation for whatyou did. It's
crazy. Those are, those are hitrecords, full stop.

(01:51):
Oh yeah, you know, yeah. Well,hey, we're going to just get
into this right away, because wecould just, I mean, your career,
wow. It's going to take a lotlonger than an hour, but we're
just going to talk real fast.Hailing from Cincinnati, Ohio
and growing up in Florida. He'snow back in Florida, his home
state. He's a musician, he's asongwriter, he's a record
producer. He's a member of theRock and Roll Hall of Fame,
founding member, 20 yearsservice with Tom Petty and the

(02:14):
Heartbreakers. He's a horse.He's a heartbreaker. He's got a
brand new band called Thespeaker wars with a mutual
friend, John Christopher Davisas a songwriter producer, wow,
just some of the other peoplehe's worked with. Jackson Brown,
the birds, Belinda Carlisle, BobDylan, The Eagles, Don Henley,
Aretha Franklin, Toto, Warren.ZV, I mean, the list goes on and

(02:36):
on. Our friend Stan Lynch,What's up, buddy?
I'm exhausted hearing all that.I mean, yeah.
I mean, it's your, it's yourlife in 60 seconds. Yeah,
wow, you know, yeah. I mean, I'mmy whole life is one big wish
fulfillment episode, man. Youknow what I mean, it really is.
It's amazing.
Stan, you, you and I got to kindof be fast friends in the year

(02:59):
2000 at this Warner chapelsongwriting camp, and you were
one of the few guys that wasjust so sweet and so nice and so
encouraging, and you were just abonafide rock star. So thanks
for being so nice to Tully and Iand Kurt back in the day. Man,
Hey,
man, it was no effort. You guyswere extremely versatile when

(03:21):
you came in and you were thrownjust a hat full of ridiculous
personalities. And, I mean, Iwas watching it from the cheap
seats, you know, I was one ofthe staff writers. And anytime
you guys I watched, I justwatched you guys taking on these
songs and making them intorecords for these people. And it
was blowing my mind that you hadthe capacity all of you guys to

(03:45):
get a song and get a track, allwithin like 20 minutes. And they
were great sounds. And this isback in the old analog funk
days, you know what I mean?There was, I mean, and no
excuses. You guys never madeexcuses. You know, you were
hungry, you were tired, you wereworking, you know, 11 hour
shifts. And, I mean, I just, Icouldn't believe it. I couldn't

(04:06):
believe what I was seeing. Imean, it was kind of a an
awakening into this, the sessionworld of Nashville, which I had
no idea how that worked. Youknow, like I said, I've been
from a band situation where yourehearse every song and you
learn them, and you try tofigure out your chart and take,
you could take weeks to learn asong, you know? Well, yeah, you
guys were knocking these thingsout. You were knocking out four

(04:28):
songs an hour. Oh, my
God. What I mean, the besteducation is that, you know,
trial by fire. You just got toget thrown into the deep end of
the pool, and you got to swim.You got to make something
happen, you know, we got to workwith, you know, you and Robbie
Neville and Jewel. I mean, itwas fantastic. But enough about
that. Let's talk about yourcurrent band. A lot of guys are
gonna say, how did it all start?Stanley, 13 years old, you

(04:50):
started playing the drums,right? But, but, I mean, tell us
about this new band. I mean,that's what really here. We're
trying to get the the public onthis band. When does the record
drop you? Uh, may
later this week.
Yeah, yeah, yeah. There's threevideos have been put out there,

(05:11):
and they're not, you know, Idon't know if they're the best
songs, worst songs, but they'rejust the record company picked
these to put out, and it's beennice, just sort of getting
reintroduced to the world again,talking it up. I'm I'm grateful
for you. Like, Hey, man, turnyour listeners onto the band.

(05:32):
This is the way it works today.There's no machinery to take
your band to the people otherthan basically, yeah, knocking
on door. Got a band, yeah? So Iappreciate you all listening. I
appreciate you all giving ashot. And thank you.
Oh, my God, of course. And wheredid the name come from? I think

(05:55):
I know how the band was born.You were writing with a mutual
friend of ours, John ChristopherDavis, nice, strong Texan.
Actually, it's a Texas band,right? Born and during pretty
much COVID. Oh, sorry, go ahead,I was gonna say burn kind of
born during the COVID years,correct?
You know, back in during COVID,we were all just like, you know,

(06:16):
freaking out, losing our minds.You know, basically everybody
learned to, or I learned how tobecome a fairly good journeyman
engineer and file share. And,you know, I won't say it was
fun, but it was either that oryou were just gonna take up
gardening, you know what I mean.So it's like, I wanted to make

(06:37):
music during those I figured,well, if this is the end, this
is how it ends. I'm going outswinging drumsticks and making
tapes, you know, like I'm makingrecordings. Yeah, so John, we
just started writing songs. Wedidn't even know what we were
really writing for, but we justlike, we have the same places on
the compass. We both like somecool old R and B. We liked, like

(07:01):
Bob Seager, rock and roll. Weliked all that the same stuff.
We liked eat gospel, we likedall kinds of stuff. So when we
got together to write, we justwrote, and we wrote a lot of
songs. And then we met thisgentleman, Mike pasterzi, who
took a liking to us and said hecurated a record out of this. He

(07:21):
said, Look these, I hear 10Songs that actually make a
record. And I was like, youknow, man, cool, that's great.
I'm not objective. I don't evenknow. I don't care. And so
that's how it kind of cametogether. Then this John. I
thought we were making John'ssolo record, you know, I

(07:41):
figured, well, we're just goingto make this dumb John kept just
bugging me. Man, get behind thekid. Man, come on. Come out to
Texas. Start playing some drums.And that was right around the
time Mike Campbell was going onthe road, and he, his drummer,
took a little break to go toItaly. And Matt log, Matt log,
yeah, playing with he's playingwith AC DC right now. No slouch,

(08:02):
this kid, no,
no slouch. And his a big claimto fame is playing on that
Jagged Little Pill record fivenumber ones,
yeah, oh yeah. He's, he's agreat drummer. So Mike said,
Would you like to sub for Matt?And I hadn't played drums in
public in decades, so I'm like,you know, I'm basically shedding
Matt's parts to play with my oldfriend. And so that kind of got

(08:26):
me behind the kid again. Got me,um, talking to some people about
maybe building a kid because Ihadn't had a new drum set since
back when dinosaurs roamed theearth. You know what I mean?
Yeah, and
you're and you're a Dixon guynow, right? Dixon? Nice, yes.
Thanks to
Greg Bissonette. He um, we weretaught he's been an old friend
of mine for years. And he said,You know, I told him, Look, I

(08:48):
got these old, my old 60sLudwigs, you know? And he said,
man, have you heard Dixon? I'mlike, No. And he sent me some
files, but you know, he soundsgood playing opio cans. So it's
like, you know, I'm going, like,well, that doesn't really help
me, Greg, because, you know,you're a badass. He goes, No,
let me build you a kit. So hebuilt me this cool heat to his
spec, like, almost like an oldthis, I'm not, what am I saying?

(09:11):
An old thermo gloss style,almost like a Bonzo kit. Yeah.
Man and Greg designed them forme and create, you know, built,
he really built me a great drumset that got me back swinging
again, which is, which wasreally fun, got me playing with
Michael. Got me playing withJohn. You know, drums, man, it's

(09:31):
like, if you don't play them,you it's pretty daunting to sit
down behind a kid if you haven'tplayed him in a while. You know,
it's funny, scarier, yeah.
You know John, my businesspartner, yeah, he taught he sat
down at my kid. He's an olddrummer as well, and he, he kind
of experienced the same thingthat I did, you know, shaking
off the rust. He's like, I canonly play about 15% of the fills

(09:56):
I was able to play. And I'mgoing, you. Yeah, that happened
to me too, because you kind oflose your confidence after a
while. It's not really likeriding a bike, you know, two and
four and yoga, nothing. Thosekinds of things kind of come
handy. But some of the stuff Iused to do, it's like, I can't
do that anymore. It's gonna takesome practice, man.

(10:18):
Well, you know, not to, not toput too fine a point on drum
fills. But you know what?Sometimes you're more valuable
if you do leave them out, right?You know what? I mean? Yes, it's
like a valuable singer I havefound over the years. You know,
I started really wanting to makeall this racket. Then I

(10:39):
realized, like, what reallymakes hit records is the beat.
Yes, you know, it's just thebeat. Like, give me a pulse,
man. You know, Can you lay thatdown and get on that balance
beam for four minutes and justdo that job so your singer feels
like, if your singer don't feelsexy, the whole thing just falls

(10:59):
apart. The whole thing issecure. If
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(11:20):
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But you were just so good and sointuitive, so young. I mean, you
had like, you know, classic rockand Stax Records in Motown and
all that stuff in your DNA doesget as good as good at gun. Got
dudes good at those good all thestuff, all the user friendly,

(12:49):
sexy stuff that still works andcreates energy but doesn't get
you fired. You know what? Imean, you were so good at it,
because when you joined theband, you were practically a
teenager, right? Pretty
much, yeah, I was just turning20 when we were making that
first record, and it was, um,but, you know, I had, I had a
pretty good ass whipping, youknow, because I'd always played

(13:11):
with the guys that were a littleolder than me, and they, they
would pretty much tell you,like, all that stuff you're,
you're doing, isn't reallyhelping us? Yeah, we really
would like, and they would playme records, you know, the older
dudes, you know, I'm sayingolder, they were four or five
years older, which is a big dealwhen you're a kid, yeah, and,
um, they would play me records,like, you know, hockey talk,

(13:34):
woman, nice. And they'd say,like, there's Stan, there's no
crash cymbal except the very endof the song. You know what? I
mean, it's just, you just digin, you know, and a drum fill
could just be and, like, youknow, just get and they would
just say, like, give me a beat,man, yeah, you know, give me a
group. And, um, so then I, whenI went to California, I didn't

(13:58):
go with, with the guy, you know,the guys, the Heartbreakers, I
went alone, so I played in acouple bands out there, and they
were Texas boys, and they werehardcore, like, they were like,
Man, if I played a Phil they'dalmost look over and go, like,
did you make a mistake? Youknow, was that, oh,
my god, mean to do that? Wereyou guys playing, like, the
Palomino club and stuff in NorthHollywood, or, like, Yeah, we

(14:19):
actually
did play the Palme and we playedthem. God, all those clubs are
pretty well gone, like theStarwood and, you know, the
whiskey was still not a pay toplay place, you know, all these
play casaris And all those funclubs in LA and, yeah, they
were, it was fun stuff, man. Andyou play like, you know, you
just the corral, and Topanga wasa gig like all these. It was

(14:44):
just really fun to be a musicianin LA in the 70s, because there
was still a little echo of the60s still there. Like when I
drove by the whiskey, I couldn'timagine seeing the birds logo
and and the doors and, you know,like. It was all in my mind. I
was taking part of this magicalthing, you know, it was the

(15:06):
birth of and I was the secondwave. But, you know, the real
bang, the Big Bang, had alreadygone off, you know, but it was
still like, Wow. You can stillsmell it around here,
you know, oddly enough, I never,I didn't hear about Tom Petty, I
believe on MTV, because that'swhen I started really getting
into my music. My gateway drugwas Van Halen and back at 8384

(15:31):
but for some reason, I rememberTom Petty being a very frequent
guest on the Garry Shandlingshow. Do you remember that way
back in the day? It's like hewas always, it seemed like he
was always a guest.
It's, this is already now. Theband is already established at
this point, right, right? Like,you know, there was a, there

(15:53):
were some, there were three orfour, pretty lean years, you
know, that we were accepted inEngland way before the states
bit into it, you know, and wewould go over there, and we
could actually headline cooltheaters, and we were kind of a
thing in Europe, but, boy, wecouldn't, you know, we couldn't

(16:14):
get, I shoot. I didn't even havean apartment or a car in LA till
the damn near the third album,you
know, because you guys were justgone.
Well, it's also we were justbroke ass knucklehead, you know,
we were, we were struggling guysin a band, you know, we were
just like, everything we madewent back into the product. Or,

(16:35):
you know, we were just soexcited to get on the road. I
mean, hell, there's some of theguys in the crew made more than
me. That's
interesting, because in abusiness, that's what you have
to do to feed the business. Anddid you guys know that you were
doing that? Like, you know, hey,we've got a little bit of money.
We could probably pay ourselvesand take them on the majority
share of it and live, you know,maybe high on the hog. You

(16:57):
didn't. You had the disciplineto reinvest it into the business
that was that kind of like, wereyou cognizant of that at the
time? Are you just something youdid? No,
you're making it sound as if wehad a plan.
I think the plan was to survive,yeah, and not break up and keep

(17:18):
making music. We knew into Ithink we just knew we were
pretty good. Like, you know,when we walked we had a and we
knew we had a good singer, andwe knew we had cool songs, and
we knew that, I mean, I kneweverybody in the band was the
best guys I had ever playedwith. I mean, you know, you got
Ben montage, Mike Campbell, RonBlair, Tom Petty, playing rhythm

(17:41):
guitar, who's a great you know,and singing and writing songs. I
mean, all I had to do was countfour, and that noise came out.
You know what? I mean, it wasn'tlike. We had no the only plan
was, damn it, how long is goingto take before people realize
how good we are? You know, it'slike, so I think we were. The
backup plan was, live under abridge. You know what? I mean,

(18:03):
it was like. So we were, youknow, hell or high water. We
were gonna either go out. Wewere gonna, it was like, Go big
or go home. You know, it's like,yeah, so it was, it was a great
time, and we had nothing tolose. I mean, hell we were a
bunch of, bunch of guys fromGainesville, Florida. You know

(18:24):
what I mean, like, the worstthing that's gonna happen is
we're gonna have to go backhome. Hell no. You know what I
mean, we're gonna go, we'regonna do something, yeah, and
you
did, and yeah, you had the, youhad the eye of the tiger. I
mean, I'm, I'm looking back at,you know, 20, you know, 526,
years, you know, playing withCurt and Tully as a rhythm

(18:45):
section, we were so dead brokeand sharing a flop house, but we
always had money to go get aleather jacket and buy cocktails
and go out on the town, youknow, because that was our
priority, go out and mix andmingle and be seen and create,
you know, work for ourselves.And we were three headed Hydra,
you know. So it was like threepeople that were kind of like

(19:07):
work on each other's behalf. Itwas that same kind of spirit, oh
yeah. It's like, you've gotta,it's almost like, I feel sorry
for people when, like,somebody's dad will come up to
me and say, you know my kid,he's a drummer. He's really
good, but he's in law school,because if it doesn't work out,
I I want to make sure he hassomething to fall back on. I'm

(19:27):
like, he's gonna fall back onit. Just tell him to go ahead
and quit. Yeah, he's gonna bedon't worry
about so you're honest with thedad, like, so you just say, look
at he's gonna do the backupplan.
I it that took a long time forme to
kind of say, like I had a gagnow I have a gag reflex, like

(19:48):
when I when somebody sayssomething to me that I go that
doesn't make any sense. I mean,from you know, I have enough
ethnographic field work to sayto somebody to. Unless you,
unless you want this more thananything, don't even bother. I
mean, it's, it's so hard and sochock full of headache

(20:09):
heartbreak, you know, it'sunless you're ready for all of
it. Yeah, go home. Yeah. I mean,
but you may, you really caughtthe wave. I mean, I'm jealous of
your experience in 1970s LosAngeles, because I really feel
like some of the greatest musicthat ever was created was
between 70 and 79 I mean, thosenine years, you know, really

(20:33):
established this, just thisincredible body of work. I mean,
to think when you were recordingDamn the torpedoes. Did you
think that it would have the theimpact that it has had bus good
at gotta, boom, you're in,right? And then it's still just

(20:54):
a rock recurrent,
um, I had no clue it wasfraught. You know, that
timeframe was fraught for me. Itwasn't easy, you know, and I was
catching a lot of shit fromproducing and from producers and
drummers. You know, it's like Ididn't It's hard not to take it
personal. But back in thosedays, there were no click

(21:17):
tracks, you know, you played allthis stuff off the floor, and
you either caught magic, youcaught lightning in a bottle, or
you didn't. And, um, so if therewas a bad day, it's obviously
the drummer, you know what Imean? As I think someone was
said, another bummer, anotherdrummer. You know it's like so I
caught a lot of shit thatprobably did I need it? I don't

(21:42):
know if I earned quite thewhooping I got, but it's okay.
It all's well, that ends well, Ididn't realize that torpedoes
was a big record till I was Ihad a buddy, and we were running
down Santa Monica beach, youknow, we used to jog together,
and there were, you know, whatwe would talk about, a mile each

(22:04):
way. And I heard four differentradios, and on four different
stations, I heard four differentsongs from the record we just
put out, like a week ago, to me,and my buddy looked at me as we
were running, and he goes,Lynch, are you punking me? Did
you like, did this? Did you paythese people? You know, it's
like I was hearing like, youknow, refugee, don't do me like

(22:26):
that. Here goes my girl and eventhe losers like, as I'm running
down the beach on four and I'mgoing, What the shit is I was
literally, what is happening,you know, like, I couldn't, you
know, I'm 24 years old, and I'mgoing,
that had to feel great man. Thathad to feel like I was in a
coffee shop yesterday and Iheard my drumming. I'll be in an

(22:46):
elevator. I'll hear my drumming.I'll be in a supermarket. I'm
like, God, I wish I was makingresiduals on this. But it sure
is cool, because somehow, somesoccer mom is listening to my
spirit, my essence. It'scaptured for all time,
I could tell you guys, I will, Iwill never hear my drumming on
the radio. I have not heard mydrumming on the radio ever.

(23:08):
Probably, maybe someday, whoknows? I've heard my voice on
the radio many a time. Yeah.Well, listen to that voice.
Yeah.
Well, back then, TV wasn't ifyou were on TV, that was a, this
is before even MTV. Like,getting to do Saturday Night
Live was almost like, you know,you couldn't believe it, you

(23:29):
know. Like, then, what the nextday, you know, you're just
walking down the road, andpeople are going, you know, and
then when MTV came out, I mean,this is, I mean, this is back,
remember, this is way beforepodcasts and and everybody doing
zooms, and everybody's famous,you know, back then, it was like
it was a, really, anextraordinary time to be a kid

(23:51):
and and be thrown into that. AndTom processed it extraordinarily
well, because, you know, he wasobviously the thing you saw and
heard, and, man, he he figuredout what was going on very
quickly. I was just a, just whatyou'd expect, you know, just a
rock drummer going, Holy crap.You know, awesome. Years later,

(24:15):
I sort of started to process itall. And, um, but it was quite
a, quite a freak show there fora minute, yeah? Like, you know,
it was out of it was really anout of body kind of experience
for a few years there, you know,what
was the album or the song on theradio that made you go, Okay,
we're on to something. Thingsare going to be okay, you know,

(24:39):
we're starting to make some goodmoney, you know what? What was
the time frame that you kind ofrealized that what we're doing
is going to work? And what wasthe album?
Oddly enough, it was really whenI was out of the band, I was no
longer in the band, I'mproducing and I'm writing, and
we did a greatest hits record.And the last thing I did with

(25:01):
the band was a song called LastDance with Mary Jane, and it was
that, oddly enough, was thefirst time, because I wasn't in
the band anymore. When I heardthat on the radio, I went, Holy
crap. This stuff's pretty good.I could hear it out sort of like

(25:23):
I wasn't in the cult anymore. Iwasn't in the if that makes any
sense. I was seeing it as anoutsider, yeah, and and then I
started hearing it. Finally I itreally wasn't until,
historically, rather recently,that I got it like I heard, I
think I heard, here comes mygirl, you know, a couple years

(25:43):
ago, and I wasn't listening tothe drums. I was listening to
Ben montage, and I was going, Ohmy God, and the guitar, I
started, you know, becauseusually what happens is, the
first time you hear yourself,you hear every bass drum you
should have played, or the thingyou could have done, or, you
know, you're, you're analyzingand over analyzing. Now, when I
hear it, I hear the other guys,and I just am blown away at the

(26:07):
how good they are, and blownaway at Tom like, I didn't you
know, I was probably so up myown butt trying to make the
records that I wasn't reallyexperiencing it as a whole until
much later. I don't think
it's possible to do both. Youknow what I mean? I don't think
it's possible to, you know, Jimand I were talking yesterday

(26:29):
about being present and because,you know, we're kind of looking
back at our lives, kind of midlife, and going, Wow, we did
this and we did that, but at thetime, you're not really totally
taking it in and appreciatingit, because you're always
looking to the future, you know,well,
and you're busting the balls,yeah, you know, really, you're,

(26:51):
you're throwing down everythingyou got. You know, it's not like
you go home full of thought. Youjust go home exhausted having
spent, you know, you just did 70takes a refugee. I, you know,
I'm losing my mind like I hopeyou know so you it, you're so
immersed in the life and, youknow, and I won't lie, I mean,

(27:14):
there were a lot of things goingon in that time, extracurricular
madness that probably didn'thelp, you know, took some focus
away. And, and, uh, it's quitea, quite a whirlwind when you
know, you it's, it's eightseconds in the rodeo there, you
know what I mean, eight

(27:35):
second ride, man, well, youknow, that is kind of like an
urban legend. The number oftakes on refugee. Was it 70, or
was it 150 what? Which was thekeeper?
I think, take 11. Take 11
out of 70. That's a lot. That'sa lot of tape. Man. Well,
you know, in my mind, yeah, Ithink, I think it would, oh,

(27:57):
yeah, because you could only dothree takes per reel. Yeah. And
I remember there were, there'sprobably still somewhere.
There's a warehouse full of twoinch tape that says refugee on
it somewhere. And, um, but yeah,I think that one of the earlier
takes actually is the record.And we didn't even know you
could edit, yeah, you know, wedidn't really. And Tom saying

(28:20):
every track, saying every take.So basically, a lot of the takes
were the best vocal, you know,like, because Tom was about five
feet from me when we wererecording that stuff, wow. And
um, you know, he's, like, rightin my face, and um, and his

(28:41):
vocal mic is part of my drumsound. You know, like, if
there's a little bit of delay onhis vocal, there's a little
delay on my drums,
everybody had to get it.Everybody had to get it. Like
Motown
it was, there was um, the onlyoverdubs until probably the

(29:02):
fifth album, were maybe a guitarsolo, tambourine, background
vocals, um, maybe Ben Mott wouldadd another keyboard layer, but
usually he'd play it all, youknow, the guy was, is a genius,
and he could play piano andorgan or piano. He all that went
down, you know, he when youbasically, when you walked in to

(29:25):
hear the take, you know, afteryou play three, you go and take
a break, you know, you go andlisten. And the take sort of
sounded like the record. Yeah,it was like, there's not much,
you know, you're not going tomassage it or move this around.
I mean, maybe you fix a basemistake, but back in the old
days, those were destructiveedits. I mean, if you punched in

(29:47):
the bass, you couldn't retrieveit. You know what? I mean, it's
not you can Apple Z and go backand go, Oh shoot. It was better
before you know. So if you ifyou burned a solo, you better. I
beat it. I don't know, you wantto keep that one. Like, yeah,
it's pretty good. Like, okay,you know, I kind
of like that because theybecause it really informs your

(30:09):
musicianship. Because theexpectation was to be, get to be
able to get through a track allthe way, and it's like high art,
and then we can, we could do itagain. We could do it 70 times.
And now with the technology is acrutch, you know, the you know,
I don't want to sound like Getoff my lawn, but the kids know
that they can fix anything atany time.
Oh, man, I I've been inproducing sessions for younger

(30:32):
drummers. Literally, the kidwill walk in and play it four
times, and walk in and then lookme in the eye and say, You got
enough there to work with. And Ilook at him, and I say, you
don't have enough money to payme to edit. You know what? I
mean? You don't have you don'thave eggs. Now I'll listen to
you play, because I like you,and I will listen to you learn

(30:53):
how to be better and become abetter drummer. But no, I'm not
going to sit here for three daysand turn this thing into a silk
purse. You know? I'm not goingto do it for you. That's not my
job. Your job is to play drums.You know, my job is to tell you
when I think you're gettingbetter, and it's like, and to
help you get better. But the thelike you said, the expectation
now is like, Oh yeah, man, thatwas a good first verse. You

(31:15):
know, looping. It's like, andthat's cool. I get it. And look,
music has become more in tuneand in time. Nothing wrong with
that. But I still think there'ssomething holy and sacrosanct
about four or five guys that canstill make that noise off the
floor, and it's going to makethem a hell of a lot better live

(31:35):
band. Yeah, ultimately, yeah,that's what. And you guys, yeah.
I mean, you guys are great. Youguys are very like, you guys are
a great live band because youplayed together now for decades.
You can, you can look at eachother and you know what's going
to happen. You almost can.You're looking into the future
the whole time you're playing.You can see around corners. You
know it's like, you know, youknow when Jason's going to step

(31:57):
away and miss the queue, andit's going to be funny. And you
know how to back that up andsay, you know, if it goes to 13
bar blues for one minute, youknow how to handle that? It's
like, it's like, it's cool, orJack makes a funny noise, or
it's got to go around again.It's like, that's where the fun
is. But, I mean, that's, youknow, that's the high wire act.

(32:17):
That's when you don't have a netand you really see what you're
made of. And that's a gig, man,when you come off the stage on
that one, you go, man, didn'twe? We'll never do that again.
Yeah, that was fantastic. You
know, well, it's, it's prettymuch a really cool kind of a
thrill of a lifetime thing tohave had you at the sound board
at several of our shows. Youknow, when our buddy Jack size

(32:39):
was like, Stan's gonna be at theboard tonight? And I know that
there's a there's a piece ofrock and roll history at the
board watching our show, andthen you come back for the and
we're like, how do we do islike, yeah, good, pretty, good
buddy. Not bad, not bad, notbad. Yo, you
were good. You guys might have afuture at this
the years are running by. Man, Ican't believe I've been
Nashville 28 years. Been playingwith Jason for 26

(33:04):
Wow, wow. You know, it's funny.You mentioned, you know, forming
that bond on the floor, on astudio floor, you guys do it.
That's how you record, yeah, andthe way you guys have been
recording hasn't changed in 20years, I guess, right? Same
place, same studio, same coffeecup, same seats that you said,
same chicken, same chicken. It'sfunny. I go back to 91 when

(33:28):
Metallica put out the BlackAlbum, they had an accompanying
two video box set of therecording of that album, as well
as the subsequent World Tour andit they spent nine months or 10
months in the studio, writingand creating the music and
recording, I think Enter Sandmanprobably took a month, and it's

(33:48):
like, oh my, that does nothappen anymore, because you
guys didn't write in the studio,right? You, you, you knew the
arrangements, and then went togo record little bit of both.
Well, early, early, early on,we, we probably, well, lot of
the songs came in, Tom wouldcome in with an idea, you know,

(34:10):
pretty I mean, he he busted hisbutt. I mean, as a writer, he
would have his story, and hebasically knew how his song
could be played acoustically,and it was really what the band
would do on the floor, wasarrange, like instantaneously,

(34:30):
like we would all meanliterally. My first question
would be, is this one going tohave drums? Because they were
all pretty much presentedacoustically, yeah. And Tom
would go, Yeah, let's find out.Well, why don't you try it? You
know? Because in his mind and inmy mind, it's like, if we don't
need drums, I'm not gonna, youknow, I'm gonna try because I

(34:51):
love the drums, but I don't wantto just screw up a good song.
But most of the time it wouldwork. Where we go, oh, yeah,
that adds value, you know? Like,it's kind of nice to, let's hear
it rock, or how, what's thescale of the song? Like, that
was the term we would use. Like,is this one on the mountaintop?
Is this one in the kitchen? Isthis one in the bedroom? You

(35:12):
know? Like, what's the scale?And if somebody would tell me,
like, hey, Lynch, you know,you're off the chain, it'd be
like, Well, hell yeah, you know,that's, that's all I needed to
hear, you know, I'm gonna, I'mgonna, I'm gonna fire on every
cylinder I got, you know, butsome songs would work better.
And, you know, sometimes we justget lucky, and that was a good
take, we'll know. And we justknew it. We'll never do that

(35:33):
again. Like, there's yourrecord, you know, like, Yeah,
but yeah, we would learn. Welearned in the studio. Um,
probably three, three albums wewould we were getting very
experimental. We were trying tofigure out how to make records.
But sometimes we would rehearse,especially if we were on the
road. We sometimes, you know,you'd learn a song and sound

(35:53):
check or start dabbling with anew song, and you don't get an
idea, but a lot of the stuff,man, it was pretty much early,
early takes. I mean, stopdragging my heart, wow. Probably
like, the only, like, the secondtime I've ever played the song
that's awesome. Did did you guysfeel like you arrived when Weird

(36:15):
Al covered that song?
I never heard it really, youknow, I mean, I'm, I'm, you
know, that I'm, like, a Ludditeman. I still carry a flip phone,
even back then I'd be, like,somebody would say, like, oh
yeah, Alvin, the chipmunks gotrefugee. And I'm like, great,
you know, like, cool. You know,I don't like,

(36:35):
I love that you use a flipphone, buddy. I think that's
amazing. Because, you knowwhat's great about it, when you
close it, you know the call hasended this, yeah, sometimes
people are like, you hear himtalking about you afterwards.
You know, they never, they neverclicked end, and you're
listening to this like, Man,this is awkward now for our
friendship,

(36:56):
Stan, Stan is complete. Is offthe grid when it comes to cell
phones, dude, I love it.
It's like, I don't I mean, Iguess I'm doing social media,
but I have no, I have no desireto be known anymore. I mean,
obviously it's great becauseit's you and I know you and I
have a bond about drumming andand all the goofy stuff, and we

(37:18):
have friends in common. Butreally, I probably live a full
life. You know, I already wentoff into the sunset years ago.
Well,
what's a day look like thesedays? What do you get up and do?
And you know, tell us about
I have a feeling that Stan islike he looks out his bedroom

(37:41):
window in the and the thePacific, not the Pacific, but
the Atlantic Ocean. Is there.You know, I
have a, I have I've been, I havebeen provided a, really, a life
well beyond my wildestimagination. And, um, it's, it's
been extraordinary. And I havea, physically, I have a lot of
room, which I'd never thoughtI'd ever have, but I have space.

(38:05):
I have friends that I've hadsince junior high school and
even before and my life has beenvery consistent, the same things
I loved when I was 13, cars,girls, music, I love it, really.
No. The only thing that'schanged is the man in the
mirror, who is this old bastardlike but he still loves the same

(38:26):
stuff. I love to, I love to usethe grill. I love I love a
tractor. I love it. I love mytruck. I love, you know, I I
love the drums. I love, yeah,just looking at them, cleaning
them. I love reheading them. Ilove the guitars. I love
restringing them. You know, it'samazing. I think, okay, I want

(38:49):
what I have. That's the truth. Ilove how it all worked out. I
just, I What can I just have alittle more? Can I just have a
couple, a few more, more yearsof this would be fantastic. Oh,
I think you're gonna, man,
you're you're fine. And you knowhow they always say, Never mix
business and pleasure. Youtotally have a PhD in mixing

(39:11):
business and pleasure, becauseyou're still, I don't know a lot
of people that keep in touchwith friends from, you know,
seventh grade, and you continueto work with your friends,
mixing business and pleasure,and that's that's the sign of a
great life. Man, you know when
everybody I've made music with,and all the successful stuff,

(39:33):
whatever you metric you use forthat, it has always been with
people that I love. I really,truly love them. And if we get
together, you know, the people Imake music with today, even if
we don't get a song, or we don'tget a track, or we if we get
scumped, I wouldn't care if wejust went out and got a

(39:54):
cheeseburger man and took a ridearound town. It's like just the
chance to hang out with myfriends. Because the bonuses,
occasionally, we turn around andgo, Wow, did we do that? That's
pretty good, you know, that'spretty good. Like, so I, I have
always sort of friendship has,you know, that's been the first

(40:16):
thing, like kids in the sandbox,you know, when you're a kid, you
meet a guy and you go, like,Hey, man, is that your talk a
toy? You know? It's like, Oh, Ilike that, you know? It's like,
Can I play with that? It's like,yeah. Or the guy where you go,
Oh, man, he's kind of a dick. II'm not gonna be friends. You
keep moving on. But it's beenwonderful, man. Yeah, it does.

(40:38):
Music is passed from my sociallife, you know, I guess it's
kind of sad. But this is, thisis what I got, man, you know,
it's like, I got music. I gotpals
now, in in your in your smalltown in Florida that you're
living in, when you get out, andare you kind of like the mayor,
the people that just, they'rejust like, tip the hat, you

(41:01):
know.
Now everybody's over it, yeah? Imean that maybe for about it
seemed like that lasted about aweek, you know, like, everybody
got a little excited, you know,had to talk about it. Now
everybody's like, yeah,
so they let you do your thing.You can walk about and not, oh,
yeah,
let me do my thing.
I'm almost like, you know, oh,are you ever gonna get a job?

(41:24):
Man? They're almost, I get norespect. It's fine. You know,
it's really fine. Now,
when your buddies do gettogether and, you know, there's
nothing really to write, ormaybe nobody's inspired, what's,
what are the bands that you jamto? What you know? What are that
you cover and stuff? What arethe go tos if you're playing
with them?
I can honestly tell you, I wasnever, I mean, it's been

(41:46):
probably I was, I haven't thatthat's not a thing for me. What
I usually will do is just talkthrough it, like until somebody
gets a hot hand, like until Ifeel a pair of, pair of queens
coming in the room, like, it'slike, it's sort of like, Oh,

(42:07):
somebody's, you know, you'resad, yeah, I think musicians are
divided into two groups, youknow, we're, we're
transmitters and receivers, youknow, and like.
And I think you can't really bein a room full of transmitters
all the time, because it's justtoo much. It's like everybody's

(42:28):
just yelling. But if, some daysI'm a really good receiver and I
can listen, because, you know,some guy will walk in and he's
kind of half lit, or he'sexcited and he's got a million
things on his mind, that's theday I've learned to just go grab
my legal pad and just go, Uhhuh,
tell me more,

(42:49):
yeah, and see if there'sanything coming out of it. Then
other days, somebody will belooking at me going, like, What
the hell did you just say? AndI'm like, I don't know. You're
supposed to have a legal padtoday. It's like, so it's fun,
and I feel that way when I sitdown to play with people. I
really hate it when they don'tlisten, or they think I'm
supposed to be doing more, likeif I'm just playing a beat. You

(43:11):
know what? That's probablyenough to get us. I shouldn't
have to blow a bunch of fire outof my butt to make a song, you
know, it's like, if I most ofthe hit records that I liked as
a kid, like, Hold on, I'mcoming. Or, you know, it's or
respect by Aretha, it's like thebeat, you know, we should be

(43:32):
able to say something to a beat.Yeah, it's like,
So, James Brown said a lot, man.James Brown said a lot to a
beat. I mean, you know, oh mygosh, yeah. But you, you know,
you've got many you got chaptersto your career. I mean, you were
always a songwriter. You Therewas always a producer inside of

(43:55):
you. But that chapter two kindof came along when, you know
your friend Don Henley kind ofsaid, Hey kid, it's like he had
a cigar. And he's like, Hey,come with me, you know. And
like, you know, hey, watch, comeon in, you know. So that's,
that's cool, man, you know,very, very cool.
Well, that's an invitation onlyroom, you know. You don't, you

(44:16):
don't knock on Don Henley's doorand say, Hey, man, I want to
write songs. You know, you'resecure. You'll have you out on
your ass in about a minute. Soit's like, but Don and I were
friends. Once again, I come backto friends. I well, he,
fortunately, he liked me. Youknow, it wasn't hard for me to
like Don. You know, he's reallybrilliant, he's gregarious, he's

(44:40):
to me, he's he's insightful,he's poetic, he's well read.
He's like your big brother. Youknow, it's like, you want to
know this guy, you know, whenyou're in his orbit, you're
like, Hey, can I you know? So hesomehow, he said he must have
seen something in me that hethought, Well, why? Don't you
step in here and let me. Let me,let you audit my process. Let

(45:04):
me, let you watch how we do it.And so I did. I spent about a
year in the back of the room, inthe studio, just watching, you
know, like I was just allowed tobe there, you know, I didn't
really have a job. I wasn'thired to do anything I was just
I got to be Don's friend andwatch his process, which was

(45:27):
unbelievably disciplined andmeticulous. Oh my gosh, you
know, that's but, but at thesame time, it's very, very
experimental and open minded,Don doesn't hate a guy with a
good idea. If somebody comes inthe room and they're brilliant,
he's the first one to go, hey.But if

(45:48):
they're not,
oh, he just doesn't suffer. Hedoesn't suffer anybody. He
doesn't suffer fools, anddoesn't suffer himself like he's
very can be very hard onhimself, and, that's why I
believe he feels in his mind,hey, if I'm hard on you, it's
good enough for me. Like, if Ican take it, you should be able

(46:11):
to take it. And that was a reallesson that realizing that if
you are feeling somehow likeyou're getting quote picked on,
or you're it's like, all he'ssaying is, is it personally to
me, it'd be like, Lynch, you gotbetter. You can do better. You
know, I expect more from you,you you can do better. And some

(46:31):
people would sort of crumbleunder that and go like, man,
you, you're being hard on me. Isee it as like, challenge
accepted. Yeah,
and you're writing songstogether, right? First of all,
you're writing songs together,but then you earn his trust.
Trust so much that you startproducing his records.
Well, he that's a with Don. It'sa very unique situation, because

(46:57):
what you do is, you, you helpfacilitate, really, you know,
what you do is, Don's verydirected. He doesn't need anyone
to come over and say, Hey, todaywe should use tubas, you know,
like, or like, Don's going to bethe guy going, Look, it's going
to feel something like this.It's going to work something
like this, help me get there,you know, like, just help me get

(47:20):
and part of the he's a unique,very unique situation. And
there's really, that's why he's,yeah, he's very, you know, look,
and plus, he said, like I'vealways said, if he didn't sing
so good, write so good, andproduce so good, you'd only know
him. Only know him as the guywho played drums on every Eagles
hit record, which would be,that's a hell of a trick too,

(47:44):
that that that's a legacy. And,you know, it's really funny is,
I tell all my students, I say,why is Don Henley one of the
greatest drummers in the world?Because he doesn't play when he
is sick. He doesn't do a fillwhen he's singing. So pretend
that that your lead singer iswhat do they want from you? They

(48:07):
want you to stay out of the way.What would Stan Lynch do? He
would play the perfect fill atthe right moment, and he would
stay out of the way. So you twoguys are like holy grails of how
to be craft musical drummers asstudents, because I do a lot of
teaching and and the kids areworking on their rada mccues,
and they want to do that thingright. And you say, like, You

(48:29):
got to have it in your bag, butyou got to have the discipline
to not do it
well. The other thing is, I'vesaid before is, like, there's
you can be a drummer or you canbe the best drummer in your
band, yes, for your and that'sthere's a distinction with a

(48:50):
difference. It's like, look agreat drummer. It's almost like
Stupid Pet Tricks. You knowwhat? I mean. I can see a guy
who could do a triple RadaMcCue, well, barbecue and a
shrimp and playing a, you know,triple strokes with his feet.
And it's like, but the but thekey is, will he, will that guy,

(49:10):
ever play on a hit record? Idon't know, right? So I prefer
to be part of something biggerthan myself. I would prefer it.
And, um, but I grew up as a bandguy I always love. I mean,
shoot, I watched The Ed SullivanShow, watch the Beatles, The
Stones, The Kinks, all thesegreat bands. And everybody would

(49:31):
tell me how great the front manwere. But for four minutes, all
man was, I'm just staring at thedrummer, going, oh, man, look at
that. That's so cool. And then Irealized what the what Charlie
Watts was doing was making MickJagger look good. You know what
I mean. What Ringo was doing wasplaying the perfect part for a
John Lennon Paul McCartney song,you know, like just looking good

(49:54):
doing it looking like he wasn'tstressing. You know what I mean.
So it's um, to me that's. Youwant? If I could teach that or
tell a kid anything today, I go,first off, what's your goal? Do
you want to be the best drummerin the world that you've already
bitten off a careful you knowthat's you're chasing a 700

(50:15):
horsepower Ferrari, and even ifyou catch it, I don't even know
what you got. But if you'd liketo be the best drummer in your
band, I can probably help you. Ican help you get your head
dialed in. And you should startlooking at the lyrics that you
know and start reading the song.Don't worry about the chart,
just listen to the song. Listento your singer's intensity. If

(50:38):
he's talking, your scale isdown, you know. And if he's, if
he's, he's telling you what therhythm should be. He's, if he's
a good singer, he's like WilsonPickett. It's like, you know, it
goes Mustang salad, you know.You know. Like, you know exactly
what you're going to play, butyou know. So try to try to be

(50:59):
something bigger than just yourdrum your drum parts, you know.
And your sound is so important.And I think drummers have
forgotten because of samples andsound replacement libraries, you
know, you got to get a goodsound, you know. And you got to
make it feel good, you know, shefeel luscious. You know, for
playing to a clock, be able tomake it feel pretty sexy, you

(51:23):
know, feel swanky. Yeah, there'snothing wrong with that, but I
think it's I, but also I realizeI'm, I'm a, I'm a dinosaur, I'm
a, I'm a living, breathingdinosaur. I
know it you say that, but you'realso a part of a lot of
standards that came out of thatera that will that have multi
generational endurance. Youknow, I've always been saying,

(51:44):
in the last 20 years, I can'treally tell you what song has
resonated. And again, I'm not ofcreating life moments and
associating music with thoselife moments and stuff like
that. But once I got intocountry music in 2005 that kind
of took its place. Oddly enough,one of the songs you were a part
of back when was a big part ofour coming to Nashville with Tim

(52:08):
McGraw's back when Stan helpedwrite the song, yeah, and it's,
what do you are there any bandsout there now and or even the
last 1015, years that you'regonna say, oh, yeah, that's,
that's the next, don't stopbelieve in, you know, Africa,
you know, Tom Petty hit that wehad back in the day. Is there

(52:28):
anybody that comes to mind thatyou that makes you go, yeah,
that's, that's gonna lastanother 40 years and be a
classic, a standard, anythingcome to mind today.
I think bands have sort ofbecome almost like commoditized.
Well, they're almost like,they're not, they're not as
valued, right? Like you use whenwe were kids, we knew who was in

(52:50):
the band, right? You know, weknew. And now to nowadays, you
know, it's a lot of it's track,and a lot of it is so focused on
the guy or the girl
or the first three seconds?
Yeah, I don't know. And I reallydon't know I, and honestly, what
contemporary music and being,being contemporary, or even

(53:14):
being I put no stock in it. I'mnot saying it as a as a jerk.
I'm just saying it's ameaningless currency to me right
now, right? Um, what's importantto me is joy, creativity, love
doing the best I can today.Because, hey, man, for all I
know the thing I'm recordingtoday could be the last thing I

(53:36):
get to record. I'm going outdoing my best. Yeah. Know what I
mean, yeah. Like, so, you know,the clock is ticking, and I know
that, and I'm and I'm not afraidof it, but at the same time, I
don't want to waste timeworrying about that stuff,
right? You know, it's like, Iwant to waste, what I want to
waste my time on is being aroundcool cats. You want to make cool

(53:58):
music that's that's got you havemy attention. Everything else is
like, okay, great.
It's funny. Take a walk in thelast, I don't know, three years
Billy Joel put out another song.That's right. And it's really
funny when you've got just amaster of their craft that has

(54:19):
one more in them that thatpierces into the vernacular of
the of society, and has there itis. You have that moment where
it's like, that's how it's doneguys, you know what I mean?
Because that's such a great songhe put out. It's one of my faves
these days.
Did I wait too long? Was thatit?

(54:41):
Yeah, yeah. I think it's whatit's called. Now I gotta make me
look it up.
I think it was, or turn thelights back on. That's what it's
called, excuse me, yeah, ohyeah. But it's all about waiting
too long. And you know he was,he was on the Stern show talk at
Stern. Asked him directly. Who'sthat song about? He's like, I'm
not gonna tell. So, yeah, youare. You're gonna tell me, No,

(55:01):
I'm not. Yeah, you are. Andeventually admitted that it's
about music, his relationshipwith music, wow. So,
wow, I think that. I think he'san artist, yeah, and I think
that get a certain I allow them.It's like, you know, Picasso?
It's like, if Picasso wants topaint an ants, but that's what

(55:23):
he's gonna paint, because that'swhat he was into. It's like,
Cool, man, I You don't owe menothing, you know? I mean, he
Billy Joel doesn't owe the worldanything. No, you know, it's
like, it's, it's, he's doneeverything he should have done.
And then, then some
so many hits.

(55:43):
Oh my gosh. So if you write asong or not write a song, man, I
applaud him. He's an artist.There really are in my world,
there's that you're either anartist or a criminal, and it's
like, or you're somewhere inbetween. But it's like, if
you're an artist, you suffer it,and you you have some good

(56:07):
times. You have some hard times.If you're a criminal, you can
usually figure out a way tosteal what you need and keep,
you know, right? You can keepand keep up pretty fat and
happy, you know? Yeah,
what was just a change, just 180what is the snare drum that you
used? You know how Ringo had onesnare drum his entire career,

(56:29):
pretty much. He flew iteverywhere. Was it the Ludwig
superphonic to six and a half?
It was, it was probably an olivebadge six and a half. And then I
used a acrolyte, occasionally,an old Keystone badge acrolyte.
And then I also had a superphonic Keystone badge, five,
five. And then on the lastrecord I did with Tom, I

(56:55):
actually used a noble and cooliePiccolo. On last
day, Mary Jane was a noble andcoolie Piccolo. Yeah,
I kind of tuned it down byaccident because I got kind of
tired of that. It was like, youknow, the drums were like, it
was like, hitting a ball ofmolasses for a while there, you
know, and, um, but, you know,once I decided that it was going

(57:16):
to be more fun, you know, I justwant to have some fun. And now
I'm enjoying, I do enjoy, like,I still love the Ludwigs. I've
got a couple Jazz Fest that areold 60s that I think are great
drums, wooden Drum Band. Thoseare cool. But, yeah, I keep, you
know, I kept, like, I didn'tkeep a lot of drums, but I kept

(57:37):
a pretty good locker of snaresthat are kind of fun. You know,
they're all set up the same way,so they kind of sound the same
but, but they're kind of, youknow, snare drums are kind of
sexy to look at. It's like, theyall look great when they're
together. Yeah, they do. I stillget a kick out open the fly case
and seeing 10 snare drums. I go,Yeah, that looks cool. It's
like, I still get kind of like,tools,

(58:00):
Tool Time. Tim Taylor, rightthere. Look at my tools. Yeah,
no. Drummer can resist a snaredrum collection,
you know, oh my God. Say, Well,drummers, you heard it here. You
only need like, three Ludwigsnare drums. Three
of I have two. Both are notLudwig. At some point I need to
get one. Yeah, I'm
just saying they're reallypretty good. I mean, they're

(58:23):
very versatile drum. They makea, you know, that you can go,
you can go tight and ring andhonk your brains out and and
have a ball and rim shot it. Oryou can, you know, put a CS spot
and back it down and turn into abig thud. And it is still, they
still project. And the oddly, Imean, I'm not going to do a plug

(58:44):
for it, but, well, maybe I will.The Bissonette designed a snare.
It's a hammered snare that, um,for the for Dixon, that's a,
that's a pretty good snare drum.I mean, it's, it's very got a
similar quality of the Ludwigsmight be a little louder, which
is good and bad. You know,sometimes, you know, can the
snare drum be too loud? I don'tknow.

(59:08):
So are the speaker wars gonna goon tour? It's a kind of a big
band. You got like, six or sevenguys, right? Got
six guys mostly because, um,well, they all do. They're very
good, but they sing great. I'vegot, fortunately, I've got three
to four singers that can reallysing, almost like gospel. These

(59:29):
guys can sing, I mean, so it'sreally fun. And, you know, I'm
kind of a song guy, vocaldriven. I love it when guys can,
you know, when the Harveys comein and it's like, it's not a
joke, you know, it's like, it'snot just, I hope it works. It's
like, nah. So we sit down and wereally do shed harmonies for

(59:49):
days on end. So it would be aball to go on the road. As you
know, it's extremely expensive,yep, and hard, and we need to
get a leg up and. Um, but, yeah,we can play. We've actually
played a couple gigs, and it wasfun and it was easy and it was
joyful, and everybody getsalong, and they're goofy guys,

(01:00:10):
so you know what that's worth.
Yeah. So is Chris responde inthe band? No,
Chris is not in the band, but hedid. Did a lot of the work on
the record, nice, a lot of theengineers did some guitar
playing and, uh, but yeah,great, cat. So we've got access
to a lot of when we were makingthe record, we were using a lot
of friends and people, and thenwe settled on the guys we found

(01:00:33):
when we went into rehearse, webooked a rehearsal place and set
up shop for about three weeks,and tried to find combinations
of people that felt right. Andit's mostly about people that
can play with me, because I'm aweird I got a weird lane. You
know what? I mean, everydrummer's got a lane I gotta
it's like, if you can't find mygroove, I

(01:00:54):
don't know how people couldn'tfind your groove. Stan, I mean,
I mean, come on, boom, smackingdown the highway, just all the
right things at the right time.I mean, you know, many times
someone has asked for a StanLynch vibe on a recording
session in Nashville, Tennessee,if I had a peso for every time,

(01:01:15):
I'd be living in the governor'sclub. Oh, man,
that's really hard for me toprocess. I don't really even
know where to put it, because alot of my playing, you know, was
was pretty it was, it was hardfought, you know, wasn't like,
it wasn't like, the easiestthing in the world to make some

(01:01:36):
of those records. So I still,I'm just now getting the point
where I can hear some of thoserecords and not hear the pain,
or not hear the, you know, thenot feel that, the nervousness
or but, yeah, that's very kindof you to say, Oh,
God, amazing, man. And hey, soas have people approached you
about a a book, anautobiography, you're in that

(01:02:01):
season of your life that there'sa book inside of you, man.
Well, I think Mike just, I thinkMike just nailed it. I think
Mike did a really good job. Imean, I've read his It was
great. He's, um, I think he kindof, he spoke a little bit for
all of us, yeah, which was fine.I'm really, I'm so proud of

(01:02:21):
those guys. I can't tell youlike, you know, I'm so proud of
Mike, and he's getting hisacknowledgement for all the
great writing he did and and thegreat guitar playing. You know,
those guys stood in the shadowof Tom for a long time, and, um,
rightfully so. I mean, you know,it's kind of hard to, you know,

(01:02:44):
he was quite a beacon, and, um,but you know, Ben Mont is making
great music. He's a reallybeautiful guy, same with Mike,
and I'm just so happy, and I'mreally proud that they're my
friends. And, man, I long maythey run? Man, yeah.
Man, what a fun conversation. Weso appreciate you spending this

(01:03:06):
time with us. Speaker wars. Howcan people support the speaker
wars? They records droppinglater the month, late May.
Correct,
I think there's a I think youcan go, you can check out the
videos. If you, I think if youGoogle speaker Ward's vids,
you'll get, you know, a songcalled it ain't easy. You'll get
a song called forgiveness tree,and you'll get it you make every
lie come true. And those are youcan give you, give you a taste.

(01:03:30):
You can kind of go like, okay,that's my thing, or ain't my
thing. And, but if it's yourthing, I think you there's,
you've got speaker wars. We'vegot a website. You can pre order
the record. If you're soinclined, I would certainly
appreciate that. Yeah, I got abirthday coming up. Want to give
me a birthday present? Order therecord.
When's that, my friend? When'sthat?
May 21

(01:03:51):
may 21 is that, is that the bigone? The big God, you're gonna
make me say it. I know you don'thave to say it, but we can go,
wink, wink. Yeah,
I'm afraid so it's it definitelyhappened. The odometer rolled
over.
I mean, that is incredible. Hey,man, you know, I always was the
youngest guy in every band youknow, 25 years old, and I'm
about to be 55 years old. Man, Idon't know how it happened.

(01:04:17):
When, Hey, man, 15 years gonnago by real fast, man.
You know, geometrically it does.I can honestly tell you, you,
you will look up and go, wasthat five years? Or was that
last year? You know what? Imean, it starts like you, and
I'll drop a decade now, I'll golike, Oh yeah, that was 2000 you
go, no, no, dude, that was 94Yeah.

(01:04:43):
Where was I? You know, 90 Ithought it was 2004
here's a here's a fun thought isthat life is like a roll of
toilet paper. The more you getto the end, the faster it goes.
Yeah, time seems like it's slow.It's life speeds up. Get out of
me. Yeah, my
dad's gonna be 80 in June. 80 inJune. So I'll be flying to

(01:05:06):
Florida to celebrate. He goes, Idon't want a party. I'm like,
Dad, you're getting a party.You're only 81 time. They live
in Port Charlotte. So I'll beflying in and of course, our
friend Jack Sizemore is alwaysinviting me to crash at his his
house. And maybe when I crash athis house, I'll come sneak I
want to play a groove on thatset of drums behind you. Man,
Hey, man,
if you end up anywhere near me,just tell Jack, like, yeah,

(01:05:28):
we're, you're, you're comingover. Awesome. That'd be great.
I would love to see you here.Nice. You know, that would be
what as the Redneck say, I'llsee you here, or I'll see you
here. Stan,
thanks so much, man. We reallyappreciate it. Jim wasn't Jim.
Wasn't this
fun. It was great conversation.Great conversation to meet
you. Great to meet you guys andlook, thanks a lot for helping

(01:05:51):
get the word out on the band.Anything you can do, it's I
don't I don't take it lightly. Idon't take it for granted, and I
thank you.
Well, we tagged the heck
out of Speaker One. Reach outwhen you come through Nashville,
if that happens. Yeah, love tocome see you
an agent. I last time I wasthere and even recognize the
place. I literally didn't knowwhere I was. Yeah, I was like,
walking around going, like, whathappened to Nashville? Yeah,

(01:06:13):
it's like, yeah,
we got, we got Martini bars andvalet parking now, and
everything
taverns. And that's funny. WhenI moved here 20 years ago, they
called it Nash Vegas, and I hadmoved from Las Vegas, I was in
radio for a majority of myprofessional life, and they
called it Nash Vegas when wemoved here, and I was like, No,

(01:06:33):
it's not Las Vegas.
New, new, new, new so I mean,
the last time I remember havinga really easy time there. You
could still go to the cooker andget a meeting three and you
could, like, you know, therewas, like, you know, Nashville
was still in the little areadown in there before all that
became 50 stories tall. And,yeah, it was, it was actually

(01:06:54):
easy. I mean, the town was easyto move around in, yeah. Now
it's like, man, it's like, LA,you need the 40 minutes to go
anywhere. 40
minutes wrong? Because la movedhere, yeah, LA is moving here.
Yeah,
you're right. You're right.Well, I moved 662, miles away.
You know, I know exactly how farit is. I've driven it a million

(01:07:16):
times and, uh, but it I'm sureyou guys are having a lot of fun
and making a lot of music, andthat's, that's all that matters.
It's the last place for themusic business. And I just, I'm
happy that I've been here for 28years, because, you know, at
least I'm in line. I went at theback of the line, man, you know,
you
guys know the Kings, man, youguys are you're doing, it seems

(01:07:38):
like you're doing Everybody'scool records. I mean, it seems
like it know that the doors arereally big, and you guys have
been been a train for a longtime. I'm really proud of you
for staying together and stayingat it. Thanks, badass. That's,
that's, that's a, that's a toughthing to do, man, it's hard,
yeah, well,
I really appreciate it. Means somuch coming to you, from you and

(01:08:01):
you know, thank you for makingthe soundtrack of our lives.
Brother. Appreciate it.
Yeah. Well, give Telly my best.Totally my best too. Okay, I
will.
Hey, they'll probably, they'vegot a podcast too. They'll
probably be reaching out to youto come on that show. Yeah, you
know, Jim produces theirpodcast, so, so, yeah, expect
that phone call. But thank youso much for coming on and
everybody out there support thespeaker wars records dropping

(01:08:24):
later this month. And to all thelisteners, thank you so much for
tuning in. Be sure to subscribe,share, rate and review. It helps
people find the show. Thanks.Stan, really appreciate it, man.
Thanks, Jim, thank you, sir.Thanks Rich. Talk to you soon,
buddy.
Thanks. Bye. This has been therich Redmond show. Subscribe,
rate and follow along at richredmond.com, forward, slash

(01:08:46):
podcasts you.