October 27, 2025 • 37 mins
The Dodgers are back in the game, and Halloween celebrations kick off early! Andy talks about what happened during last night’s celebratory matchup between the Dodgers and the Blue Jays, and how awesome Yoshinobu Yamamoto is. Donald Trump is tearing down the East Wing of the White House to install a new ballroom. Grammy Award-winning music producer Rob Cavallo is in the studio to chat with Andy about the biggest bands he’s worked with, including Green Day, the Goo Goo Dolls, Kid Rock, Dave Matthews and My Chemical Romance. He also talks about why artificial intelligence will never replace true human musical talent.
#Dodgers #BlueJays #YoshinobuYamamoto #Toronto #Halloween #NancyReagan #EastWing #WhiteHouse #firstladies #RobCavallo #GreenDay #KidRock #DaveMatthews#Googoodolls #MyChemicalRomance #HillaryClinton #DonaldTrump #AI #WhiteHouseballroom
#Dodgers #BlueJays #YoshinobuYamamoto #Toronto #Halloween #NancyReagan #EastWing #WhiteHouse #firstladies #RobCavallo #GreenDay #KidRock #DaveMatthews#Googoodolls #MyChemicalRomance #HillaryClinton #DonaldTrump #AI #WhiteHouseballroom
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
You're listening to KFI AM six forty on demand.
Speaker 2 (00:07):
So exciting on the Big Show today, Lots to talk about. Obviously,
the Dodgers coming back to La, a little bit of
momentum in their favor. The series tied one to one
after a brutal game on Friday night. And if you
weren't listening to the show that we were doing here
on Friday night, because maybe you were listening to the Dodgers,
I totally understand. But we'll get into what's happening there
(00:31):
in that world. Also a big show today, Like I said,
Rob Cavalla will be joining us. That's why we were
playing a little bit of that Green Day that you
heard coming in from break there. I hear, you know,
it's so funny. I hear somebody talking. I hear that
microphone again with the clicking in the background. And we
had this issue last week and it might have been
(00:51):
was it is traffic?
Speaker 3 (00:52):
I think it was traffic.
Speaker 4 (00:53):
Yeah, but we'll see if it goes away. I don't
think I hear it anymore.
Speaker 5 (00:57):
They went away, they remember that. They're like in this way,
they're like, oh snap, I would say this if you
were if you're gonna breathe and click. You're welcome to it.
Own it, you know what I'm saying, Like, make it
a bit, make it a part of the show. By
the way, speaking of bits, it's Halloween week. It's a
weird thing here because Halloween's on a Friday, so obviously
(01:20):
people are gonna probably be going out on Friday.
Speaker 4 (01:23):
I think that we have a game. There's a game
scheduled on Friday.
Speaker 2 (01:25):
Isn't there in the World series? Do you know when
the next one is? I know Monday, we have one.
I guess it kind of depends on how it goes
Friday and Saturday. Friday game six, if necessary, same thing
for Saturday, game seven.
Speaker 1 (01:36):
Got it?
Speaker 2 (01:36):
So this is all going to be wrapped up here
in the next week or so. And how you feeling?
I see you got the little la you get the
black and white Dodger's hat.
Speaker 5 (01:45):
I was wearing my shirts yesterday in the last few
couple of days, just to ring in the series. Oh
my god, but that first one hit different we can't
use but not like that.
Speaker 4 (01:54):
That's so real.
Speaker 2 (01:56):
And of course now you know yam motor last night
through what is called a complete game that hasn't happened
since I want to say, I think it's been ten
years since somebody threw a complete game in the World Series,
and essentially what that means is that it's the only
pitcher that the Dodgers had last night was Yoshinobu Yamamoto.
(02:19):
Nine innings of one run ball in front of a
sold out crowd against a devastating Blue Jays offense. He
did the same thing at the Milwaukee Brewers back in
Game two of the NLCS that was eleven days prior.
Four hits walked nobody, struck out eight, and retired each
(02:40):
of the last twenty batters he faced, becoming the first
pitcher since Kurt Shilling back in two thousand and one
to throw back to back complete games in the postseason.
The last time a pitcher retired the final twenty batters
in the playoffs, Don Larson was offering a perfect game
in the nineteen fifty six Worlds Series. Go Dodgers. A
(03:02):
lot of energy. Different situation than we had on Friday
night last night in Los Angeles.
Speaker 4 (03:08):
Take a listen.
Speaker 3 (03:10):
Tom's watch bar downtown. It was standing room only, with
the sea of.
Speaker 6 (03:15):
Dodger blue and eyes glued to every screen.
Speaker 2 (03:19):
I understand that. You know, you're a reporter, you're you know,
maybe you want to stay impartial. Can we get a
little more energy here?
Speaker 6 (03:28):
I mean this is like the sea of Dodger blue
and eyes glued to every screen.
Speaker 7 (03:35):
How much would I bet I'm betting ten thousand on
the Dodgers, just on this game, on the series.
Speaker 4 (03:42):
I betty fifty thousand. Australia.
Speaker 2 (03:44):
Wait, kid, here for the game, Nikki, don't even your people.
Speaker 3 (03:49):
I don't sound like those ones.
Speaker 4 (03:51):
Thuh yeah, not at all. Kid, here, pull the game,
Pull the game back to back.
Speaker 3 (03:57):
Fans came in hopeful, we're.
Speaker 1 (03:59):
Gonna come back. We gotta get this bug for La.
We're gonna do it, but anxious.
Speaker 3 (04:04):
It's definitely a roller bas series, knowing what was at
siege in Jam two.
Speaker 2 (04:09):
Let's get this woman a little espresso, you know, just talk.
We gotta get on the edge of your seat here
with that track. You got Dodgers, you got hopeful, you
got anticipation, you have world series.
Speaker 8 (04:22):
P'testinitely gonna have a game, says and seven.
Speaker 1 (04:24):
Now they're gonna take it back to Toronto, and I.
Speaker 8 (04:27):
Do not I want to avoid that at August.
Speaker 2 (04:29):
Yeah, I think that's really well said, because obviously we
saw we first night in Toronto was not a good night.
I don't think anybody's had that bad of a night
in Toronto ever in history. I'm talking to like regular
people just walking around, you know what I'm saying.
Speaker 4 (04:44):
They were all celebrating very on Friday night, very very quietly.
Speaker 6 (04:48):
Though they were, they were offer a little bit so hey,
you know, a little rested, little sluggish, like they're not
using the wrestlers balls series.
Speaker 4 (04:57):
Dodge it five, I said.
Speaker 6 (04:58):
Dodgers in vib woke up in the middle innings with
back to back hits that flipped the momentum.
Speaker 2 (05:08):
Listening to her track, I'm sorry, I'm sure it's a
great reporter, but listening to her report this next to
all these people cheering is just blowing my mind.
Speaker 6 (05:14):
Momentum from there, the Dodgers and never looked back, piling
on runs in, silencing Blue Jay fans out by out.
Speaker 7 (05:28):
They're gonna win.
Speaker 3 (05:29):
We love y'amamoto.
Speaker 6 (05:30):
With a five to one win, the boys in Blue
are headed home.
Speaker 8 (05:35):
I'm just gonna relish with win, and.
Speaker 4 (05:37):
Dodger Nation is ready to welcome them back.
Speaker 2 (05:40):
It's gonna go crazy, It's gonna go so crazy, we're
off upsited.
Speaker 4 (05:43):
Ah, I have to get it on Monday to Catino.
Speaker 2 (05:46):
I personally, I love these packages because I love hearing
Angelina's I love hearing people celebrating and being excited about
the Dodgers. But I will say I'm ready to retire
the Boys in Blue thing. You can say it if
you're a regular person, if you're a fan, but if
you're writing copy for television, for broadcast or whatever, we
got to stop with Boys in Blue. It's just too much.
(06:07):
It's like it's become washed out, washed up, one of
those you know.
Speaker 7 (06:16):
It was a rollercoaster of emotions as you just saw there.
It was so fun to watch because in the beginning
everyone's confident, They're like, we got this in the bag,
yesterday didn't count.
Speaker 3 (06:25):
Then in the middle, everyone's a little bit more.
Speaker 7 (06:26):
Quiet when I asked them how they felt, and then
at the end they're like, I.
Speaker 3 (06:29):
Told you we got it.
Speaker 7 (06:31):
So obviously that's what comes with watching sports and loving sports.
But all these fans here tell me they are so
excited for Monday night, for that game to return back
to LA and they again are confident that we're going
to win it all back to back.
Speaker 2 (06:45):
Baby, back to back baby. Indeed, go Dodgers. Toronto, Canada
tough place to be. It's so cold up there that
I don't know if you've seen. Of course you saw
if you've been watching. The Rogers Center was originally called
the SkyDome.
Speaker 4 (06:59):
It's got a roof on it. It's so cold there.
Speaker 2 (07:02):
I mean even in Boston, in Chicago they play outside,
but Toronto's like, no, we got to put a roof
over them.
Speaker 4 (07:09):
That's wild.
Speaker 2 (07:10):
They do that also, I believe in Arizona, I think
the Diamondbacks play in an air conditioned stadium for the
opposite reason, obviously.
Speaker 1 (07:20):
But what's cool.
Speaker 2 (07:21):
About Roger Center also is that there are hotel rooms
that are inside the SkyDome inside Roger Center, and I
guess the top does retract, which is cool. So if
it is nice there the few days that it's nice
in Toronto, they can pull the top off and then
have an actual baseball game outside. It's just weird to
play baseball inside, don't you think, I feel? Can you
(07:44):
imagine a field of dreams? If you build it a
SkyDome with a retractable roof, they will come. Here's some
more info about the hotel rooms inside Roger Center.
Speaker 1 (07:56):
Yeah, it is really cool.
Speaker 9 (07:57):
It's something that I think maybe we should see in
God your stadium on your change right.
Speaker 4 (08:01):
I don't know if that could happen.
Speaker 1 (08:02):
But we got some exciting.
Speaker 4 (08:04):
Fans out here, some young Dodgers fans. We got at five.
But these these seats are great.
Speaker 9 (08:11):
Check out the seats over in center field.
Speaker 4 (08:13):
Those are also really cool.
Speaker 9 (08:17):
An exclusive look at one of the most unusual ways
to watch the World Series Marriott Hotel rooms attached to Toronto's
Rogers Center.
Speaker 4 (08:30):
TAWI could easily hit a home run to like right
where we are. I said that when we were coming here,
as we might get a volt.
Speaker 9 (08:35):
The only place in North America with beds overlooking a
major League baseball field.
Speaker 8 (08:40):
I've never seen anything like this before.
Speaker 2 (08:43):
I wonder if they can see in You know, you
got a guy there in his robe, sitting in the
bed watching a game.
Speaker 4 (08:50):
Can you see that.
Speaker 9 (08:52):
You w went from Saskatchewan to be here for the
Saskatchewan We came for the good luck. This room is
two stories with the bedroom up top, also with a view.
World Series prices started around two thousand dollars a night,
now climbing to almost ten thousand.
Speaker 2 (09:06):
Wow, But relatively speaking, I feel like that's probably a
pretty good deal.
Speaker 9 (09:13):
Or your closest friends wearing Dodger blue. Are you guys
just gonna stand here like.
Speaker 8 (09:16):
This all day?
Speaker 4 (09:17):
Yes we are. I think we're beat food and sure
for jails. Story into the Skybox.
Speaker 9 (09:22):
The hotel's GM giving us a tour of the skybox
big enough for twenty five people. It is unbelievable that
we're in a hotel right now.
Speaker 2 (09:30):
You are in a hotel right now, which is crazy
considering what's going on here.
Speaker 9 (09:35):
Hotel rooms that feel more like stadium seats surrounded by
fifty thousand baseball fans. So this is where people yell, well,
it's God Dodger.
Speaker 2 (09:44):
Can you imagine if you weren't anticipating this, you got
to your hotel.
Speaker 4 (09:48):
Maybe it's a business trip. All right.
Speaker 2 (09:51):
I got you with a view of third base if
you didn't want to be.
Speaker 4 (09:57):
At the baseball game. Can't be that dumb, all right?
Speaker 2 (10:00):
Coming up, lots more to talk about here on the
Andy Reestmeyer Show. We've got a look into what or
who rather are buying classic cars. Now, this is kind
of exciting as a person who likes old cars first
on purpose, or first, not on purpose. Rather, I couldn't
afford anything else except for an old beater, old hooptie.
Speaker 4 (10:21):
Now they're getting kind of valuable. It's pretty exciting.
Speaker 2 (10:23):
Plus Rob Cavallo, Grammy Award winning producer, the mega hit
man behind the Goo Goo Dolls, Green Day, Dave Matthews Band,
Alanis Morrisset, My Chemical Romance, and so many more, will
join us in about fifteen minutes to talk about his career,
and we're going to break down one of the Goo
Dolls classic songs to talk about what makes it tick.
Speaker 4 (10:46):
That's all coming up. It's I AM six forty live
everywhere on the iHeartRadio app.
Speaker 1 (10:50):
You're listening to KFI AM six forty on demand.
Speaker 2 (10:56):
Beautiful Los Angeles day, gorgeous out there, nice little breeze,
listening to some My Chemical Romance, thinking about my father
taking me into the city to see a marching band.
Just one of the many songs produced by super producer
Rob Cavalla, who will be joining us live and studio
here in just about ten fifteen minutes or so exciting,
(11:17):
very cool, very lucky to have him here. We're going
to talk about his career. I love that there's so
many cool music things that we get to talk about
on this show, but this is especially exciting. We had
John Tesh last week, but we wanted to talk to
Rob because I think that the era of music that
he was influential in producing was a very special era
(11:40):
because it was kind of the end of the major
studio system, where they were spending thousands of dollars a
day to rent out these beautiful, huge, legendary studios on
Sunset Boulevard and in Hollywood. It was right before computers
came in and made recording fortunately more accessible to a
lot of people. But un fortunately, the music industry obviously
(12:02):
changed a lot, and I think there was less emphasis
and less excitement about going into these big studios and
making these big records. So if you listen back to
those big hits from the late nineties especially, you've got
these incredible productions. So we're going to talk to him
about that and how the music industry has changed. The
man has three Grammys. He also was the chairman of
Warner Brothers Music, which of course is just across the
(12:24):
street here, so we'll talk about that too in a
little bit. If you look towards the west, actually, I
guess we got to look towards the east.
Speaker 4 (12:33):
It's not the West Wing, it's the East Wing that
has gone.
Speaker 1 (12:35):
Now.
Speaker 2 (12:37):
President Donald Trump ordered the demolition of the East Wing
as part of his still to be approved plan to
build a three hundred million dollars ballroom. This week, you
might have seen videos of wrecking cruise tearing down the
two story offices and the reception rooms. So what they're
losing was an in house movie theater didn't know they
had that, and a covered walkway to the White House,
(12:59):
which has been seen in a lot of photographs over
the years. There was also a garden dedicated to Jackie
Kennedy that has been uprooted. Like I said, it's part
of this plan to build a three hundred million dollars ballroom.
But the East Wing was mostly known as a place
where First Ladies and their teams worked. Of course, over
the years, like one hundred years of it being there,
(13:21):
they worked on everything from stopping drug abuse and boosting
literacy to beautifying and preserving the White House itself. So
a pretty interesting article today on KTLA dot com talks
about sort of the history of what was going on
in the East Wing, starting with First Lady Roslind Carter.
She was the first lady to have her own office
in the East Wing, and she said she wanted a
(13:43):
place that she could go where she didn't have to
dress up and didn't have to put on makeup. Heard
that that's how I ended up on the radio. So
she said that her favorite route to the office in
the winter times was through the basement, past the laundry
rooms and workshops under the White House, passed a bomb
shelter and the thermostats upstairs. Remember this was the Carter administration.
(14:07):
This was the seventies, early seventies. It would have been there.
There would have been a late sevent excuse me, there
would have been a lot of energy issues happening then.
So President Carter's energy conservation program made the East Wing
so cold she was forced to wear long underwear. So
that was a situation where they were practicing.
Speaker 4 (14:28):
What they preach.
Speaker 2 (14:29):
They were saying, hey, everybody, turn your heat down, and
we're actually going to do it too. Nancy Reagan also
worked there. The whole idea for just Say No, and
the campaign for Just Say No was not birthed there,
but at least was worked on there. The whole anti
drug program she made a hallmark of her White House era.
(14:53):
Hillary Clinton did not have her office in the East Wing,
but instead in the West Wing because she went to
be integrated physically with the president's team. Michelle Obama, of course,
Laura Bush, Milannia Trump, and Jill Biden all also spent
time in the East Wing. All right, so there you go.
(15:14):
We'll see that the new ballroom coming soon. I think
that'd be a good that'd be a good Halloween costume.
Speaker 4 (15:21):
Nikki, don't you think.
Speaker 3 (15:24):
I don't know that first lady.
Speaker 2 (15:26):
No, no, no, the you could go as the three
hundred million dollar ballroom.
Speaker 3 (15:29):
I don't know about that.
Speaker 4 (15:31):
Yeah.
Speaker 2 (15:31):
No, you'd get like a box and you could put
you know, you paint the windows on it, you paint
it white and draw.
Speaker 4 (15:36):
Like a dire Oh yeah, yeah, yeah, yeah yeah. I
mean it's so tough.
Speaker 2 (15:39):
I was thinking about this last night. I went to
dinner and we were all talking, what would you go
for Halloween?
Speaker 8 (15:44):
Ass?
Speaker 4 (15:45):
I feel like there's no shared things that have happened
this year that are good.
Speaker 3 (15:48):
Well.
Speaker 10 (15:48):
I mean, we've had this discussion off air about all
the famous deaths this year that would make fabulous Halloween costumes.
Speaker 2 (15:55):
That's always yeah, but like you wouldn't do that in
a place where you wanted pictures taken of yourself.
Speaker 10 (16:00):
You know, I've had some questionable costumes. So I dressed
as Joan Rivers when she died.
Speaker 2 (16:07):
That seems like a tribute, though, you know, as long
as you're doing it, I think in a tribute and
you're not like if they died some horrible way and
you're representing their death or.
Speaker 4 (16:15):
Something like that.
Speaker 10 (16:15):
She did die during throat surgery, so I kind of
had a throat with ah man.
Speaker 4 (16:20):
I knew you were going to do. I knew it.
Speaker 2 (16:22):
And then let's see, last night you went as a
share from Turnback Time.
Speaker 3 (16:26):
Yes, I did.
Speaker 10 (16:27):
It was all butts out and lots of near nudity,
but it was great.
Speaker 3 (16:31):
I'm doing it again next week.
Speaker 4 (16:33):
Jullie Night in La For that, I had somebody.
Speaker 2 (16:35):
It's so funny that you said it, because at dinner,
somebody came up to me and said, hey, there's a
party going on in the back room. It's somebody's birthday party.
But they did a costume party because they're obviously it's
so close to Halloween, and we're like, oh, cool, Yeah,
what's up? You know what what are they going as?
And the girl I would say she was probably I
thought she was my age in my mid to late thirties.
(16:56):
I thought she was around my age. She said, Oh,
she's going to share from some music video nobody's ever heard.
Speaker 3 (17:03):
Of, typical genre, some long.
Speaker 2 (17:05):
Ago music video. And I was like what music? I
was like, is she going as share from Turnback Time?
That iconic look on the on the destroyer, on the
military ship, on the aircraft carrier. That's the word I
was looking for. She was like, yes, that is who
I've never heard. And I was like, oh, man, but
you're right. Young people no culture.
Speaker 3 (17:27):
They know nothing.
Speaker 10 (17:28):
They don't even know who Will Smith and Ben Affleck is.
Speaker 4 (17:31):
That's not they got to know Will Smith at least
from the slab.
Speaker 3 (17:34):
It's true.
Speaker 10 (17:34):
No, you know, Bordop Sam's daughter doesn't know who Will
Smith is.
Speaker 3 (17:39):
And she's a teenager.
Speaker 4 (17:41):
I mean maybe that's good parenting. Though at the same.
Speaker 3 (17:43):
Time, who likes Will Smith.
Speaker 2 (17:47):
It's a six forty We're live everywhere on the Iarhet
radio app Coming up. Rob Cavallo, super producer, joining us
in studio. Cannot wait to talk to him. Plus at
three o'clock hour, we're talking about what happened this week
in Los Angeles, looking back to see if it's possible
that the state of California could have done more to
prevent the Palisades fire.
Speaker 4 (18:06):
We'll get into it. A six forty.
Speaker 1 (18:09):
You're listening to KFI AM six forty on demand.
Speaker 2 (18:14):
Three time Grammy winner, one hundred and thirty million records sold.
When that meant something, when that was when that was
a real I mean sure, sure, absolutely as far as
but when people really bought records and it meant something
to buy a record back then. You have been a
producer for some of the I think biggest songs from
(18:39):
my life Google Dolls, like I said, Green Day, Alanis
Morris said, Dave Matthews Band. The list goes on and on,
and really we were listening to Iris.
Speaker 4 (18:48):
I think that.
Speaker 2 (18:49):
Is it true that was like the most played song
of all time or something like that on terrestrial radio?
Speaker 8 (18:54):
Pretty true.
Speaker 11 (18:54):
Yeah, there was an interesting statistic where you know, it
did a million spins. That's just insane when you think
of radio station can only really play a record sixty
seventy times a week at most.
Speaker 4 (19:06):
Yeah, yeah, that's incredible.
Speaker 11 (19:08):
It was because it was a multi format hit we
had pop hot a see, alternative rock, every kind of rock.
Speaker 4 (19:19):
Yeah, everybody loved that.
Speaker 8 (19:20):
Every style of could play it.
Speaker 4 (19:22):
Yet I've always loved the Goo Goo Dolls.
Speaker 2 (19:23):
And I mean, I think that and Back to the
Future are the reason that I learned how to play guitar.
That I wanted to be a guy in a band
because I remember seeing like Johnny in the Iris video
and being like, what is that?
Speaker 4 (19:34):
You know?
Speaker 2 (19:34):
And I would liken it too, the same way like
when I when I first saw James Dean or I
heard Nirvana, where like something happened in my brain that
was like, oh, this is you should pay attention to this.
And I wonder, you know, when you think about all
these bands like like like goog Doles, like Green Day,
like like the Black Parades, my Chemical Romance rather, is
there anything that sort of I mean, you've met probably
(19:56):
everybody in the industry. Is there anything that you kind
of think ties everybody together?
Speaker 4 (20:00):
They all do? They all share something?
Speaker 11 (20:03):
Yeah, there's a couple of things. I mean, besides the
obvious lots of talent they share kind of usually a
pretty rough childhood really yeah, and very but also the
idea that they were on stage usually early in their life,
and they got positive feedback forming in front of people,
and that becomes a feeling that they're almost addicted to
and they want Yeah, so they want to create that
(20:25):
in their life.
Speaker 4 (20:26):
I think that another.
Speaker 11 (20:26):
Oh, and the other thing is this is that they
love songs, they love songwriting, and they love the idea that,
oh I could make a song like that, but it
could be mine.
Speaker 2 (20:36):
So how did you get involved? I mean, it was
was Green Day the start of it for you? That
opened all the doors I think to the other things.
Speaker 11 (20:43):
Yes, because I was I was flailing around at the
Warner Brothers A and R department inside some things that
definitely didn't work.
Speaker 8 (20:52):
And then I changed my tune.
Speaker 11 (20:53):
I had this moment where it was like, wait a minute,
don't sign things that you think are going to be successful.
Sign things that you love, that you feel that you
want to listen to. And that changed everything really.
Speaker 4 (21:05):
So that was kind of and and Green Day San Diego?
Right or were they were?
Speaker 1 (21:09):
They La?
Speaker 8 (21:10):
They're from They're they're from like Oakland?
Speaker 4 (21:12):
Oh that's right.
Speaker 2 (21:13):
Sorry, I was thinking Blake Twinity two, same era, completely
different concept. So they're they're playing music that at that time,
I think was like what the ephemeral youth sounded like.
And I think to get that to get on board
with that in the early nineties, I mean, did you
know that when that happened, that was going to be
something that was going to explode like that.
Speaker 11 (21:32):
Everybody wishes they have a crystal ball. Yeah, I can't
say that I had a crystal ball. What I can
say was is when I heard it, I felt like,
oh my god, this is me. I would play this
in my car over and over and over again. And
that's what spoke to you, and you just followed that,
and I just did it. I didn't care because at
that time everything was grunge. It was no pop punk
at that point. And one of those that's why Green
Day signed with me was because I had signed this
(21:53):
little group called The Muffs, which were from Orange County.
Two girls, two guys, and they were playing pop punk too.
But I did that two years earlier in ninety one.
Speaker 4 (22:02):
Wow.
Speaker 11 (22:03):
And then when Billy Joe and the guys met me,
they were like, wait, so you signed the Muffs and
then you.
Speaker 4 (22:08):
Produced it, which was like street cred for you.
Speaker 8 (22:10):
Yes, and you did that at.
Speaker 11 (22:12):
A major label and they were like, we don't know
any other major label guy that's done that.
Speaker 2 (22:17):
When you think about that era and your identity then
as a producer, because some guys start as musicians, you
were coming from the label side of it. What kind
of producer do you think you are in terms of
are you like the tour? Are are you the guy
who's like, don't talk to me for five minutes when
(22:37):
I come into the room.
Speaker 4 (22:38):
I'm just stating here, Oh like, how is it that
you know?
Speaker 2 (22:42):
Because I imagine that wouldn't have worked with the pop punk kids.
Speaker 11 (22:44):
Oh no, I first of all, I would say that
if there was maybe maybe I'm the invisible man. I'd
like to I'd like not to have a sound, even
though some people have accused me of having a sound.
Speaker 4 (22:55):
Ooh.
Speaker 11 (22:56):
And the reason why this is because I'll produce uh,
because I in bands, and I played every instrument in
bands for the lead singer, and I was an engineer.
I create a new way of doing the record based
on what the band's needs are. So that's why Dave
Matthews will sound like Dave Matthews, hid Rock will sound
like kid rock. I'm not going to do the same
(23:16):
for as I would do for Green Day.
Speaker 2 (23:19):
You're unlocking the I think we got another we got
another clicker.
Speaker 4 (23:25):
On the line here.
Speaker 2 (23:26):
I think somebody else's microphone is up in the studio.
No I swear I hear it. I don't, do you
hear it? Okay, maybe it's in my head and I'm
going crazy. I have been hearing it out of door. Yeah,
it's not who does anyway? Well, so I think about
that era too, and then you've got good dolls, and
then these hits just start happening, and you get to
a point where you are like at the top of
the big studio era of music, where it was before
(23:51):
both technology created a monster that would disassemble the record
the record industry, or at least turn it on its head. Yes,
but in o I would also create new opportunities for
people to make stuff in their homes. But I want
to go back to nineteen ninety six, seven eight. There's
these records that sound this way, and I think it's
(24:11):
obviously because there's a lot of great I mean the
great songs, great singing. This is before the widely adopted
sort of computerization of everything. It was like we didn't
quantize everything. There wasn't auto tune on everything. The big
studio was a moment. And I think about records like
Dizzy Up the Girl, like Gutterflower, that you can hear
the sound of the room, you can hear the orchestras,
(24:33):
these rock bands, these huge productions, and I think that
something changed.
Speaker 4 (24:38):
We got away from that.
Speaker 2 (24:39):
Yeah, do you think it's time we go back to
having some I would love to hear that sonic quality again.
Speaker 11 (24:44):
Well, here's the wild thing is that I love that sound. Yeah,
And so I actually built my own place so I
can have that sound and I don't have to pay
three thousand dollars a day.
Speaker 4 (24:53):
Right, because that's what it used to be.
Speaker 11 (24:54):
Yeah, and I'm an engineer, plus the musician. I mean,
it was insanely expensive.
Speaker 2 (24:58):
It was insanely expensive, the food, I know. I mean,
and you had these budgets for these labels that were
giving these money to these bands to make these music
videos that cost a million.
Speaker 8 (25:07):
Dollars apiece, yeah, or an average of two hundred thousand.
Speaker 4 (25:09):
That's crazy.
Speaker 2 (25:10):
And that the songs themselves, I mean, they would just
lock out somewhere like on Sunset for what six months?
Speaker 8 (25:16):
Oh hell yeah, that's out of control.
Speaker 11 (25:18):
That's outrageous, Actually locked into like a big room with
Fleetwood mac once for nine months, so fun all of them, uh,
most of them?
Speaker 4 (25:27):
Wow?
Speaker 8 (25:27):
Yeah?
Speaker 4 (25:28):
How many times did the band break up and get
back together during that time?
Speaker 8 (25:30):
Oh? Just three of you?
Speaker 2 (25:34):
When you think about that era too, you know, Steve
Lelly White was also a big producer. And I think
it's beautiful to listen to those records because you have
a lot of real instruments that sound the best they
ever would sound. Yeah, because it's still have a lot
of tape, still a lot of transformers and tubes and
great microphones, super clarity.
Speaker 11 (25:51):
Really talented engineers, because you had to hire a great
engineer who knew what he was doing, because otherwise, you know,
it was there was actually a risk said that, which
was you could actually end up with a record that
didn't sound good and wouldn't work because actually a big
risk it was too clean or unwieldy. No, the idea
of a studio sound from scratch. It's not like just oh,
(26:12):
let's just take this sample, it's already perfect. Yeah, you
actually had to place mics and make sure they're in
phase and do all this little boar of the audience
with that. Well, I mean I'm hanging on every work,
but that sound is I'll tell you what was great
about the studio because you started with the Black Parade, right,
So I heard that as I was.
Speaker 8 (26:26):
Coming in, and so the Black Parade.
Speaker 11 (26:31):
I got to the studio early one day, and this
is the kind of thing that only happens if you're
at a studio.
Speaker 8 (26:34):
Yeah, for the most part of some kind.
Speaker 11 (26:38):
And who came early, Gerard, So it's just me and him,
and he was saying, you know, we should have this
idea of the Black Parade.
Speaker 8 (26:44):
It's like a parade.
Speaker 11 (26:45):
It starts from very far away, and it gets closer
and closer, it gets louder and louder and louder and
big and huge, and then it gets farther and farther away.
As it goes past you. He goes, I have this idea.
Why don't you take like, uh, you know, the like
the graduation theme of March. Oh yeah, He's like, can
(27:06):
you do one of those?
Speaker 8 (27:07):
Like he's he's.
Speaker 11 (27:08):
Sort of leaning against the piano playing. He goes, do
one of those that's sort of like starts small, but
instead of that melody, but like that melody, just make
it go down. So I had one of those moments
where I was like, you know what, don't think yep,
just play, and I just literally came out of my hand.
Speaker 4 (27:26):
Ding ding ding, Dean oh Man.
Speaker 8 (27:29):
Ding ding. And then he went when it was oh.
Speaker 4 (27:33):
That's okay. Here we keep going. We're on a delay so.
Speaker 11 (27:36):
They can iPhone or something we had, and and then
I made it sound bigger. I started playing with both
big and fat, and then we made it and were
rampty back.
Speaker 4 (27:45):
That is so cool.
Speaker 2 (27:46):
That is so exciting, I mean, and and so that's
is that you playing on the on the record too.
Speaker 4 (27:50):
Yeah, get out of that. Sure amazing.
Speaker 11 (27:53):
Although I will tell you I had to smoke cigarettes.
I couldn't. When it came time to actually cut the thing.
I was nervous, for some reasoned about the performance, even
because it's there's more to it than notes in the beginning,
and I wanted to make it sound kind of spooky
and kind of the thing, and I felt like I
wasn't getting the vibe. So I kept smoking cigarettes. And
(28:14):
I was the only guy in that band that didn't smoke.
Everybody smoked, but me, I was the non smoker.
Speaker 12 (28:18):
Oh no, no, there's a funny picture of us where
everybody is not smoking except for me, because that's our
inside joke, right, because I was like, I was turning
green in the middle of the man.
Speaker 4 (28:32):
Well, it's a great song.
Speaker 8 (28:34):
We got the vibe. I got the vibe of that thing,
you know.
Speaker 2 (28:36):
For sure, the feel on that piano figure at the
beginning of that.
Speaker 11 (28:40):
And I think that there's another part of the story
which is really amazing, which is that we had this
other song called carry On that wasn't really quite working
on its own.
Speaker 8 (28:49):
We couldn't figure it out. And then we were like,
wait a minute, what if we.
Speaker 11 (28:52):
Take the first half of the Black Parade where it
goes from small to big and stick it onto.
Speaker 8 (29:00):
The you know, the carry On song? Youah, turn that
into one big thing.
Speaker 4 (29:04):
Wow.
Speaker 11 (29:04):
And that happened because we were in a big studio
and that we were able to throw on the marching band.
Speaker 2 (29:08):
Yeah yeah, right, and that's when you have that huge sound.
So we got to take a quick break. When we
come back, though, I want to talk about what I think.
You know, I'm not an expert at all, but what
I think the Rob Cavallo signature is, which I think
is somewhere in ear candy land. Okay, I'll and I'll
support this with a few a few thoughts coming up
more with Rob Cavallo, one of my favorites producer here
(29:30):
in studio on KFI AM six forty.
Speaker 4 (29:32):
We're live everywhere on the iHeartRadio app.
Speaker 1 (29:35):
You're listening to KFI AM six forty on demand.
Speaker 2 (29:43):
In studio right now with Rob Cavallo, music producer of
that song and so many others. Black Blin, of course,
was from the goog Dolls record Dizzy Up the Girl
back in nineteen ninety eight is when that came out. Wow,
and we're going to get into I want to go
like sort of listen to a couple of moments and
then as a producer, tell me what you know, if
(30:05):
you remember anything about it specifically, if there's anything interesting
that you can share some stories from recording it. Before
we get into that, though, take me back to nineteen
ninety seven nineteen eighty eight of making this record and
sort of you had done some stuff with the goo
Dolls beforehand, right, and then when it came time now
to do this record that ended up being a smash hit. Right,
(30:25):
name had been on the radio, I think the guy
at k Rock spun name and then they became a band,
A band band, right, and they were a really cool,
like punk band before.
Speaker 8 (30:34):
Right.
Speaker 11 (30:35):
I actually signed them originally thinking they were going to
be like Green Day because that's what they kind of sounded. Yeah,
and then Johnny came in and started writing acoustic ballads.
And the next thing, you know, Kevin Wetherly a K
Rock is saying, I'm not playing your single, I'm playing
this one called.
Speaker 4 (30:47):
Name Get out of Town.
Speaker 8 (30:48):
And then we were like, no, don't do it. And
then oh my god, he was so right.
Speaker 4 (30:52):
Yeah.
Speaker 2 (30:52):
I mean I think that because you know, I know
that Johnny Resnik loves Paul Westerberg. Yes, and so you
see that parallel. I think in their later work of
the late nineties a lot but you know come through
also even though that, I think that there's a lot
of you know, you go back to the sort of
Alex Chilton influence. I mean everything, you know, everything goes
back to Alex Chilton. Late nineties. What's happening in the
(31:15):
music industry?
Speaker 8 (31:16):
Well, oh boy, a lot. Well it was.
Speaker 11 (31:18):
It was kind of the kind of the good old
days really in the sense you could sell a lot
of CDs and you could it was very very cash rich,
and it was also still the time of the soundtrack.
And I say that because that's really important because what
happened was is they finished that one record that had
name on it, but they were short a few B sides,
so they asked me to come in and I recorded
like four or five B sides for them. Some of
(31:40):
them went into movies, like one of them went into
Tommy Boy. Oh cool example, and every B side that
I did with them kind of did something kind of large,
even though I can't remember, but yeah, yea, all went
into movies and they did stuff, and it was kind
of like amazing going into Tommy Boy and seeing them
hit the road on it. And then you hear the
goog Dolls track, right, Oh I did that, you know.
And then and then what happened is, well, my dad
(32:02):
was a movie producer, so he was and this guy
Chuck Roven who was uh and Don Steele. They were
producing this movie City of Angels, and they were like,
we think this should have music in it, and they
were like, can you take some of your friends down
to see this movie, maybe they'll write some songs. So
I ended up taking the Goo Dolls and I ended
up taking Alanis Morissett and your.
Speaker 2 (32:24):
Friends, by the way, just your friends. Like if someone
was like, hey, Andy, take your friends down. Here's my
buddy from Tamas. We we used to we used to
get drunk together down on the bars on Sunset and
you've got You've got Johnny Resink, you got Alanis Moore
set and they're watching the.
Speaker 11 (32:37):
Movie and then and then then, and then we were like, wow,
this is a cool movie. It's it's actually it's pretty emotional.
And I said, so, if you guys want to, you know,
try and maybe something will hit you and you'll write something.
And the next day I literally got to call it
twelve o'clock from Johnny and one o'clock from Alantis, and
they both said exactly the same thing.
Speaker 8 (32:54):
I just recorded this song. I just wrote this song.
You know, do you want to produce it?
Speaker 11 (32:58):
And I was like sure, and they, you know, because
they sent it over and I was like, you know,
one song, of course, was Iris and the next song
was Uninvited and those two songs, oh my god, they
just exploded.
Speaker 2 (33:11):
And City of Angels, Meg Ryan Nick Cage, great movie.
The songs though, I mean that is that's that's the
Goo Goo dolls. I had a signature song.
Speaker 11 (33:20):
I had a running joke with Nicholas Cage that that
was pretty funny because he used to say, you know,
the soundtrack did did that? You know it did eighteen
million at ten dollars a CD. It means it gross
one hundred and eighty million dollars.
Speaker 4 (33:31):
Whow the soundtrack did it make more money than the movie?
Speaker 8 (33:34):
The movie gross ninety million to Get Out of Town?
Speaker 4 (33:37):
This is such a different world that we live in.
Speaker 8 (33:38):
So he used to joke with me about that. He's like,
you kicked my ass on the movie.
Speaker 4 (33:42):
That's so great, it's wild. I mean, you look ahead
towards than your career. You do more, more and more
and more.
Speaker 2 (33:48):
We have obviously a title shift in the music business,
tastes change. But then you become the chairman of Warner
Brothers Music for a decade and change.
Speaker 8 (33:59):
Yeah.
Speaker 11 (34:00):
I was like ten years later, well, twenty ten, I
became the Well two thousand and seven, I became a
Chief creative officer of Warner Music Group.
Speaker 8 (34:08):
That was an amazing job.
Speaker 11 (34:09):
I was kind of like up in corporate and basically
I was just a glorified producer and the guys that
were running the labels could call me and say, you know,
fix this or do that?
Speaker 1 (34:19):
Cool?
Speaker 8 (34:20):
And I work with everybody.
Speaker 11 (34:21):
Yeah, I mean, you wouldn't believe that behind the scenes
stuff that was that I was I'm sure around doing.
I mean, you know everybody from Bruno Mars to I
don't know you name it.
Speaker 2 (34:31):
Yeah, I mean I know you've worked with everybody and
then move on to management as well and still creating.
Essentially when you think about now what is happening with
I guess ai. You know, as a musician myself, I
kind of a little discouraged when people can just poop
out a whatever thing and some of it sounds convincing.
Speaker 4 (34:53):
I don't know if it's good. I don't know if
it has any soul to it, but.
Speaker 2 (34:56):
At least is convincing enough to or I worry that
it will get to the point where it's convincing enough
that people like you, people like musicians who are who
are studio musicians who do that and they and they
that's their living, won't get the call anymore.
Speaker 11 (35:12):
I'll tell you this that, well, there are some things
that it might people not get the call. You know,
the computer will do that. But there's one thing for
sure I think is that when you look at how
music moves forward and how AI works. Right, AI it
digests all the music that was, just as a human
we digest what we like, and then it'll analyze the
(35:35):
AI will analyze the genre, and then you give it
a prompt and it will sort of create something based
on the rules that were, where the really great humans
don't create something on the rules that were, They make
new rules. So in other words, like if you say Jimmy,
how I defy a computer to come up with Jimi
Hendrix where they completely obliterate the guitar or Van Hale
(36:00):
now or a Beatles for that matter, because like you know,
the Beatles, for example, in my history learning of it
is that they took skiffle of music from the north
of England, they took big band swing, and they combined
that with American rock and roll because that's the stuff
they grew up with, right, They grew up at Chuck
Berry right, and the Everly Brothers and what have you,
right and Buddy Holly, and they took all of those
(36:23):
forms and stuck it together. Now, maybe you could say
to a computer, why don't you take these four disparate
elements and stick it together, and maybe it.
Speaker 8 (36:31):
Would do it.
Speaker 11 (36:31):
I that would be something. Yeah, then the computer could
beat us.
Speaker 8 (36:35):
But I don't. I don't know.
Speaker 11 (36:36):
Maybe I'm giving the the I guys that like the
real trick of what they should be going out.
Speaker 2 (36:40):
Well they all listen. Yeah, we just completely gave it up. Well,
I'll tell you what I can you stick around for?
Can we do the breakdown in the next next block?
Speaker 4 (36:48):
Are you busy?
Speaker 8 (36:48):
You got no? I?
Speaker 4 (36:49):
Okay?
Speaker 2 (36:49):
All right, So last thing we'll talk about before we
go to break You know, who are you excited about
music wise that you want people to listen to?
Speaker 4 (36:58):
Like what is Rob Cavalla listening to?
Speaker 8 (36:59):
Now? I should? Should I plug on my own artists?
Speaker 4 (37:01):
I'm me sure you can do whatever you like.
Speaker 11 (37:04):
I love Death by Romy I love Henry Morris, I
love the Van Riffwood. The sixteen year old kids from
Utah there are kind of like the Beatles, Meat Green Day,
I love one Okay Rock they're Japanese rock band. Want
to be the first guy to really break a Japanese band?
Speaker 4 (37:19):
Oh yeah, awesome?
Speaker 2 (37:21):
Okay, still with Rob Cavallo here, We've got lots more
coming up on The Andy Reestmeyer Show Quick Break. We'll
be right back with more Right after this, it's KFI
AM six forty. We're live everywhere on the iHeartRadio
Speaker 1 (37:30):
App, KFI AM six forty on demand
You're listening to KFI AM six forty on demand.
Speaker 2 (00:07):
So exciting on the Big Show today, Lots to talk about. Obviously,
the Dodgers coming back to La, a little bit of
momentum in their favor. The series tied one to one
after a brutal game on Friday night. And if you
weren't listening to the show that we were doing here
on Friday night, because maybe you were listening to the Dodgers,
I totally understand. But we'll get into what's happening there
(00:31):
in that world. Also a big show today, Like I said,
Rob Cavalla will be joining us. That's why we were
playing a little bit of that Green Day that you
heard coming in from break there. I hear, you know,
it's so funny. I hear somebody talking. I hear that
microphone again with the clicking in the background. And we
had this issue last week and it might have been
(00:51):
was it is traffic?
Speaker 3 (00:52):
I think it was traffic.
Speaker 4 (00:53):
Yeah, but we'll see if it goes away. I don't
think I hear it anymore.
Speaker 5 (00:57):
They went away, they remember that. They're like in this way,
they're like, oh snap, I would say this if you
were if you're gonna breathe and click. You're welcome to it.
Own it, you know what I'm saying, Like, make it
a bit, make it a part of the show. By
the way, speaking of bits, it's Halloween week. It's a
weird thing here because Halloween's on a Friday, so obviously
(01:20):
people are gonna probably be going out on Friday.
Speaker 4 (01:23):
I think that we have a game. There's a game
scheduled on Friday.
Speaker 2 (01:25):
Isn't there in the World series? Do you know when
the next one is? I know Monday, we have one.
I guess it kind of depends on how it goes
Friday and Saturday. Friday game six, if necessary, same thing
for Saturday, game seven.
Speaker 1 (01:36):
Got it?
Speaker 2 (01:36):
So this is all going to be wrapped up here
in the next week or so. And how you feeling?
I see you got the little la you get the
black and white Dodger's hat.
Speaker 5 (01:45):
I was wearing my shirts yesterday in the last few
couple of days, just to ring in the series. Oh
my god, but that first one hit different we can't
use but not like that.
Speaker 4 (01:54):
That's so real.
Speaker 2 (01:56):
And of course now you know yam motor last night
through what is called a complete game that hasn't happened
since I want to say, I think it's been ten
years since somebody threw a complete game in the World Series,
and essentially what that means is that it's the only
pitcher that the Dodgers had last night was Yoshinobu Yamamoto.
(02:19):
Nine innings of one run ball in front of a
sold out crowd against a devastating Blue Jays offense. He
did the same thing at the Milwaukee Brewers back in
Game two of the NLCS that was eleven days prior.
Four hits walked nobody, struck out eight, and retired each
(02:40):
of the last twenty batters he faced, becoming the first
pitcher since Kurt Shilling back in two thousand and one
to throw back to back complete games in the postseason.
The last time a pitcher retired the final twenty batters
in the playoffs, Don Larson was offering a perfect game
in the nineteen fifty six Worlds Series. Go Dodgers. A
(03:02):
lot of energy. Different situation than we had on Friday
night last night in Los Angeles.
Speaker 4 (03:08):
Take a listen.
Speaker 3 (03:10):
Tom's watch bar downtown. It was standing room only, with
the sea of.
Speaker 6 (03:15):
Dodger blue and eyes glued to every screen.
Speaker 2 (03:19):
I understand that. You know, you're a reporter, you're you know,
maybe you want to stay impartial. Can we get a
little more energy here?
Speaker 6 (03:28):
I mean this is like the sea of Dodger blue
and eyes glued to every screen.
Speaker 7 (03:35):
How much would I bet I'm betting ten thousand on
the Dodgers, just on this game, on the series.
Speaker 4 (03:42):
I betty fifty thousand. Australia.
Speaker 2 (03:44):
Wait, kid, here for the game, Nikki, don't even your people.
Speaker 3 (03:49):
I don't sound like those ones.
Speaker 4 (03:51):
Thuh yeah, not at all. Kid, here, pull the game,
Pull the game back to back.
Speaker 3 (03:57):
Fans came in hopeful, we're.
Speaker 1 (03:59):
Gonna come back. We gotta get this bug for La.
We're gonna do it, but anxious.
Speaker 3 (04:04):
It's definitely a roller bas series, knowing what was at
siege in Jam two.
Speaker 2 (04:09):
Let's get this woman a little espresso, you know, just talk.
We gotta get on the edge of your seat here
with that track. You got Dodgers, you got hopeful, you
got anticipation, you have world series.
Speaker 8 (04:22):
P'testinitely gonna have a game, says and seven.
Speaker 1 (04:24):
Now they're gonna take it back to Toronto, and I.
Speaker 8 (04:27):
Do not I want to avoid that at August.
Speaker 2 (04:29):
Yeah, I think that's really well said, because obviously we
saw we first night in Toronto was not a good night.
I don't think anybody's had that bad of a night
in Toronto ever in history. I'm talking to like regular
people just walking around, you know what I'm saying.
Speaker 4 (04:44):
They were all celebrating very on Friday night, very very quietly.
Speaker 6 (04:48):
Though they were, they were offer a little bit so hey,
you know, a little rested, little sluggish, like they're not
using the wrestlers balls series.
Speaker 4 (04:57):
Dodge it five, I said.
Speaker 6 (04:58):
Dodgers in vib woke up in the middle innings with
back to back hits that flipped the momentum.
Speaker 2 (05:08):
Listening to her track, I'm sorry, I'm sure it's a
great reporter, but listening to her report this next to
all these people cheering is just blowing my mind.
Speaker 6 (05:14):
Momentum from there, the Dodgers and never looked back, piling
on runs in, silencing Blue Jay fans out by out.
Speaker 7 (05:28):
They're gonna win.
Speaker 3 (05:29):
We love y'amamoto.
Speaker 6 (05:30):
With a five to one win, the boys in Blue
are headed home.
Speaker 8 (05:35):
I'm just gonna relish with win, and.
Speaker 4 (05:37):
Dodger Nation is ready to welcome them back.
Speaker 2 (05:40):
It's gonna go crazy, It's gonna go so crazy, we're
off upsited.
Speaker 4 (05:43):
Ah, I have to get it on Monday to Catino.
Speaker 2 (05:46):
I personally, I love these packages because I love hearing
Angelina's I love hearing people celebrating and being excited about
the Dodgers. But I will say I'm ready to retire
the Boys in Blue thing. You can say it if
you're a regular person, if you're a fan, but if
you're writing copy for television, for broadcast or whatever, we
got to stop with Boys in Blue. It's just too much.
(06:07):
It's like it's become washed out, washed up, one of
those you know.
Speaker 7 (06:16):
It was a rollercoaster of emotions as you just saw there.
It was so fun to watch because in the beginning
everyone's confident, They're like, we got this in the bag,
yesterday didn't count.
Speaker 3 (06:25):
Then in the middle, everyone's a little bit more.
Speaker 7 (06:26):
Quiet when I asked them how they felt, and then
at the end they're like, I.
Speaker 3 (06:29):
Told you we got it.
Speaker 7 (06:31):
So obviously that's what comes with watching sports and loving sports.
But all these fans here tell me they are so
excited for Monday night, for that game to return back
to LA and they again are confident that we're going
to win it all back to back.
Speaker 2 (06:45):
Baby, back to back baby. Indeed, go Dodgers. Toronto, Canada
tough place to be. It's so cold up there that
I don't know if you've seen. Of course you saw
if you've been watching. The Rogers Center was originally called
the SkyDome.
Speaker 4 (06:59):
It's got a roof on it. It's so cold there.
Speaker 2 (07:02):
I mean even in Boston, in Chicago they play outside,
but Toronto's like, no, we got to put a roof
over them.
Speaker 4 (07:09):
That's wild.
Speaker 2 (07:10):
They do that also, I believe in Arizona, I think
the Diamondbacks play in an air conditioned stadium for the
opposite reason, obviously.
Speaker 1 (07:20):
But what's cool.
Speaker 2 (07:21):
About Roger Center also is that there are hotel rooms
that are inside the SkyDome inside Roger Center, and I
guess the top does retract, which is cool. So if
it is nice there the few days that it's nice
in Toronto, they can pull the top off and then
have an actual baseball game outside. It's just weird to
play baseball inside, don't you think, I feel? Can you
(07:44):
imagine a field of dreams? If you build it a
SkyDome with a retractable roof, they will come. Here's some
more info about the hotel rooms inside Roger Center.
Speaker 1 (07:56):
Yeah, it is really cool.
Speaker 9 (07:57):
It's something that I think maybe we should see in
God your stadium on your change right.
Speaker 4 (08:01):
I don't know if that could happen.
Speaker 1 (08:02):
But we got some exciting.
Speaker 4 (08:04):
Fans out here, some young Dodgers fans. We got at five.
But these these seats are great.
Speaker 9 (08:11):
Check out the seats over in center field.
Speaker 4 (08:13):
Those are also really cool.
Speaker 9 (08:17):
An exclusive look at one of the most unusual ways
to watch the World Series Marriott Hotel rooms attached to Toronto's
Rogers Center.
Speaker 4 (08:30):
TAWI could easily hit a home run to like right
where we are. I said that when we were coming here,
as we might get a volt.
Speaker 9 (08:35):
The only place in North America with beds overlooking a
major League baseball field.
Speaker 8 (08:40):
I've never seen anything like this before.
Speaker 2 (08:43):
I wonder if they can see in You know, you
got a guy there in his robe, sitting in the
bed watching a game.
Speaker 4 (08:50):
Can you see that.
Speaker 9 (08:52):
You w went from Saskatchewan to be here for the
Saskatchewan We came for the good luck. This room is
two stories with the bedroom up top, also with a view.
World Series prices started around two thousand dollars a night,
now climbing to almost ten thousand.
Speaker 2 (09:06):
Wow, But relatively speaking, I feel like that's probably a
pretty good deal.
Speaker 9 (09:13):
Or your closest friends wearing Dodger blue. Are you guys
just gonna stand here like.
Speaker 8 (09:16):
This all day?
Speaker 4 (09:17):
Yes we are. I think we're beat food and sure
for jails. Story into the Skybox.
Speaker 9 (09:22):
The hotel's GM giving us a tour of the skybox
big enough for twenty five people. It is unbelievable that
we're in a hotel right now.
Speaker 2 (09:30):
You are in a hotel right now, which is crazy
considering what's going on here.
Speaker 9 (09:35):
Hotel rooms that feel more like stadium seats surrounded by
fifty thousand baseball fans. So this is where people yell, well,
it's God Dodger.
Speaker 2 (09:44):
Can you imagine if you weren't anticipating this, you got
to your hotel.
Speaker 4 (09:48):
Maybe it's a business trip. All right.
Speaker 2 (09:51):
I got you with a view of third base if
you didn't want to be.
Speaker 4 (09:57):
At the baseball game. Can't be that dumb, all right?
Speaker 2 (10:00):
Coming up, lots more to talk about here on the
Andy Reestmeyer Show. We've got a look into what or
who rather are buying classic cars. Now, this is kind
of exciting as a person who likes old cars first
on purpose, or first, not on purpose. Rather, I couldn't
afford anything else except for an old beater, old hooptie.
Speaker 4 (10:21):
Now they're getting kind of valuable. It's pretty exciting.
Speaker 2 (10:23):
Plus Rob Cavallo, Grammy Award winning producer, the mega hit
man behind the Goo Goo Dolls, Green Day, Dave Matthews Band,
Alanis Morrisset, My Chemical Romance, and so many more, will
join us in about fifteen minutes to talk about his career,
and we're going to break down one of the Goo
Dolls classic songs to talk about what makes it tick.
Speaker 4 (10:46):
That's all coming up. It's I AM six forty live
everywhere on the iHeartRadio app.
Speaker 1 (10:50):
You're listening to KFI AM six forty on demand.
Speaker 2 (10:56):
Beautiful Los Angeles day, gorgeous out there, nice little breeze,
listening to some My Chemical Romance, thinking about my father
taking me into the city to see a marching band.
Just one of the many songs produced by super producer
Rob Cavalla, who will be joining us live and studio
here in just about ten fifteen minutes or so exciting,
(11:17):
very cool, very lucky to have him here. We're going
to talk about his career. I love that there's so
many cool music things that we get to talk about
on this show, but this is especially exciting. We had
John Tesh last week, but we wanted to talk to
Rob because I think that the era of music that
he was influential in producing was a very special era
(11:40):
because it was kind of the end of the major
studio system, where they were spending thousands of dollars a
day to rent out these beautiful, huge, legendary studios on
Sunset Boulevard and in Hollywood. It was right before computers
came in and made recording fortunately more accessible to a
lot of people. But un fortunately, the music industry obviously
(12:02):
changed a lot, and I think there was less emphasis
and less excitement about going into these big studios and
making these big records. So if you listen back to
those big hits from the late nineties especially, you've got
these incredible productions. So we're going to talk to him
about that and how the music industry has changed. The
man has three Grammys. He also was the chairman of
Warner Brothers Music, which of course is just across the
(12:24):
street here, so we'll talk about that too in a
little bit. If you look towards the west, actually, I
guess we got to look towards the east.
Speaker 4 (12:33):
It's not the West Wing, it's the East Wing that
has gone.
Speaker 1 (12:35):
Now.
Speaker 2 (12:37):
President Donald Trump ordered the demolition of the East Wing
as part of his still to be approved plan to
build a three hundred million dollars ballroom. This week, you
might have seen videos of wrecking cruise tearing down the
two story offices and the reception rooms. So what they're
losing was an in house movie theater didn't know they
had that, and a covered walkway to the White House,
(12:59):
which has been seen in a lot of photographs over
the years. There was also a garden dedicated to Jackie
Kennedy that has been uprooted. Like I said, it's part
of this plan to build a three hundred million dollars ballroom.
But the East Wing was mostly known as a place
where First Ladies and their teams worked. Of course, over
the years, like one hundred years of it being there,
(13:21):
they worked on everything from stopping drug abuse and boosting
literacy to beautifying and preserving the White House itself. So
a pretty interesting article today on KTLA dot com talks
about sort of the history of what was going on
in the East Wing, starting with First Lady Roslind Carter.
She was the first lady to have her own office
in the East Wing, and she said she wanted a
(13:43):
place that she could go where she didn't have to
dress up and didn't have to put on makeup. Heard
that that's how I ended up on the radio. So
she said that her favorite route to the office in
the winter times was through the basement, past the laundry
rooms and workshops under the White House, passed a bomb
shelter and the thermostats upstairs. Remember this was the Carter administration.
(14:07):
This was the seventies, early seventies. It would have been there.
There would have been a late sevent excuse me, there
would have been a lot of energy issues happening then.
So President Carter's energy conservation program made the East Wing
so cold she was forced to wear long underwear. So
that was a situation where they were practicing.
Speaker 4 (14:28):
What they preach.
Speaker 2 (14:29):
They were saying, hey, everybody, turn your heat down, and
we're actually going to do it too. Nancy Reagan also
worked there. The whole idea for just Say No, and
the campaign for Just Say No was not birthed there,
but at least was worked on there. The whole anti
drug program she made a hallmark of her White House era.
(14:53):
Hillary Clinton did not have her office in the East Wing,
but instead in the West Wing because she went to
be integrated physically with the president's team. Michelle Obama, of course,
Laura Bush, Milannia Trump, and Jill Biden all also spent
time in the East Wing. All right, so there you go.
(15:14):
We'll see that the new ballroom coming soon. I think
that'd be a good that'd be a good Halloween costume.
Speaker 4 (15:21):
Nikki, don't you think.
Speaker 3 (15:24):
I don't know that first lady.
Speaker 2 (15:26):
No, no, no, the you could go as the three
hundred million dollar ballroom.
Speaker 3 (15:29):
I don't know about that.
Speaker 4 (15:31):
Yeah.
Speaker 2 (15:31):
No, you'd get like a box and you could put
you know, you paint the windows on it, you paint
it white and draw.
Speaker 4 (15:36):
Like a dire Oh yeah, yeah, yeah, yeah yeah. I
mean it's so tough.
Speaker 2 (15:39):
I was thinking about this last night. I went to
dinner and we were all talking, what would you go
for Halloween?
Speaker 8 (15:44):
Ass?
Speaker 4 (15:45):
I feel like there's no shared things that have happened
this year that are good.
Speaker 3 (15:48):
Well.
Speaker 10 (15:48):
I mean, we've had this discussion off air about all
the famous deaths this year that would make fabulous Halloween costumes.
Speaker 2 (15:55):
That's always yeah, but like you wouldn't do that in
a place where you wanted pictures taken of yourself.
Speaker 10 (16:00):
You know, I've had some questionable costumes. So I dressed
as Joan Rivers when she died.
Speaker 2 (16:07):
That seems like a tribute, though, you know, as long
as you're doing it, I think in a tribute and
you're not like if they died some horrible way and
you're representing their death or.
Speaker 4 (16:15):
Something like that.
Speaker 10 (16:15):
She did die during throat surgery, so I kind of
had a throat with ah man.
Speaker 4 (16:20):
I knew you were going to do. I knew it.
Speaker 2 (16:22):
And then let's see, last night you went as a
share from Turnback Time.
Speaker 3 (16:26):
Yes, I did.
Speaker 10 (16:27):
It was all butts out and lots of near nudity,
but it was great.
Speaker 3 (16:31):
I'm doing it again next week.
Speaker 4 (16:33):
Jullie Night in La For that, I had somebody.
Speaker 2 (16:35):
It's so funny that you said it, because at dinner,
somebody came up to me and said, hey, there's a
party going on in the back room. It's somebody's birthday party.
But they did a costume party because they're obviously it's
so close to Halloween, and we're like, oh, cool, Yeah,
what's up? You know what what are they going as?
And the girl I would say she was probably I
thought she was my age in my mid to late thirties.
(16:56):
I thought she was around my age. She said, Oh,
she's going to share from some music video nobody's ever heard.
Speaker 3 (17:03):
Of, typical genre, some long.
Speaker 2 (17:05):
Ago music video. And I was like what music? I
was like, is she going as share from Turnback Time?
That iconic look on the on the destroyer, on the
military ship, on the aircraft carrier. That's the word I
was looking for. She was like, yes, that is who
I've never heard. And I was like, oh, man, but
you're right. Young people no culture.
Speaker 3 (17:27):
They know nothing.
Speaker 10 (17:28):
They don't even know who Will Smith and Ben Affleck is.
Speaker 4 (17:31):
That's not they got to know Will Smith at least
from the slab.
Speaker 3 (17:34):
It's true.
Speaker 10 (17:34):
No, you know, Bordop Sam's daughter doesn't know who Will
Smith is.
Speaker 3 (17:39):
And she's a teenager.
Speaker 4 (17:41):
I mean maybe that's good parenting. Though at the same.
Speaker 3 (17:43):
Time, who likes Will Smith.
Speaker 2 (17:47):
It's a six forty We're live everywhere on the Iarhet
radio app Coming up. Rob Cavallo, super producer, joining us
in studio. Cannot wait to talk to him. Plus at
three o'clock hour, we're talking about what happened this week
in Los Angeles, looking back to see if it's possible
that the state of California could have done more to
prevent the Palisades fire.
Speaker 4 (18:06):
We'll get into it. A six forty.
Speaker 1 (18:09):
You're listening to KFI AM six forty on demand.
Speaker 2 (18:14):
Three time Grammy winner, one hundred and thirty million records sold.
When that meant something, when that was when that was
a real I mean sure, sure, absolutely as far as
but when people really bought records and it meant something
to buy a record back then. You have been a
producer for some of the I think biggest songs from
(18:39):
my life Google Dolls, like I said, Green Day, Alanis
Morris said, Dave Matthews Band. The list goes on and on,
and really we were listening to Iris.
Speaker 4 (18:48):
I think that.
Speaker 2 (18:49):
Is it true that was like the most played song
of all time or something like that on terrestrial radio?
Speaker 8 (18:54):
Pretty true.
Speaker 11 (18:54):
Yeah, there was an interesting statistic where you know, it
did a million spins. That's just insane when you think
of radio station can only really play a record sixty
seventy times a week at most.
Speaker 4 (19:06):
Yeah, yeah, that's incredible.
Speaker 11 (19:08):
It was because it was a multi format hit we
had pop hot a see, alternative rock, every kind of rock.
Speaker 4 (19:19):
Yeah, everybody loved that.
Speaker 8 (19:20):
Every style of could play it.
Speaker 4 (19:22):
Yet I've always loved the Goo Goo Dolls.
Speaker 2 (19:23):
And I mean, I think that and Back to the
Future are the reason that I learned how to play guitar.
That I wanted to be a guy in a band
because I remember seeing like Johnny in the Iris video
and being like, what is that?
Speaker 4 (19:34):
You know?
Speaker 2 (19:34):
And I would liken it too, the same way like
when I when I first saw James Dean or I
heard Nirvana, where like something happened in my brain that
was like, oh, this is you should pay attention to this.
And I wonder, you know, when you think about all
these bands like like like goog Doles, like Green Day,
like like the Black Parades, my Chemical Romance rather, is
there anything that sort of I mean, you've met probably
(19:56):
everybody in the industry. Is there anything that you kind
of think ties everybody together?
Speaker 4 (20:00):
They all do? They all share something?
Speaker 11 (20:03):
Yeah, there's a couple of things. I mean, besides the
obvious lots of talent they share kind of usually a
pretty rough childhood really yeah, and very but also the
idea that they were on stage usually early in their life,
and they got positive feedback forming in front of people,
and that becomes a feeling that they're almost addicted to
and they want Yeah, so they want to create that
(20:25):
in their life.
Speaker 4 (20:26):
I think that another.
Speaker 11 (20:26):
Oh, and the other thing is this is that they
love songs, they love songwriting, and they love the idea that,
oh I could make a song like that, but it
could be mine.
Speaker 2 (20:36):
So how did you get involved? I mean, it was
was Green Day the start of it for you? That
opened all the doors I think to the other things.
Speaker 11 (20:43):
Yes, because I was I was flailing around at the
Warner Brothers A and R department inside some things that
definitely didn't work.
Speaker 8 (20:52):
And then I changed my tune.
Speaker 11 (20:53):
I had this moment where it was like, wait a minute,
don't sign things that you think are going to be successful.
Sign things that you love, that you feel that you
want to listen to. And that changed everything really.
Speaker 4 (21:05):
So that was kind of and and Green Day San Diego?
Right or were they were?
Speaker 1 (21:09):
They La?
Speaker 8 (21:10):
They're from They're they're from like Oakland?
Speaker 4 (21:12):
Oh that's right.
Speaker 2 (21:13):
Sorry, I was thinking Blake Twinity two, same era, completely
different concept. So they're they're playing music that at that time,
I think was like what the ephemeral youth sounded like.
And I think to get that to get on board
with that in the early nineties, I mean, did you
know that when that happened, that was going to be
something that was going to explode like that.
Speaker 11 (21:32):
Everybody wishes they have a crystal ball. Yeah, I can't
say that I had a crystal ball. What I can
say was is when I heard it, I felt like,
oh my god, this is me. I would play this
in my car over and over and over again. And
that's what spoke to you, and you just followed that,
and I just did it. I didn't care because at
that time everything was grunge. It was no pop punk
at that point. And one of those that's why Green
Day signed with me was because I had signed this
(21:53):
little group called The Muffs, which were from Orange County.
Two girls, two guys, and they were playing pop punk too.
But I did that two years earlier in ninety one.
Speaker 4 (22:02):
Wow.
Speaker 11 (22:03):
And then when Billy Joe and the guys met me,
they were like, wait, so you signed the Muffs and
then you.
Speaker 4 (22:08):
Produced it, which was like street cred for you.
Speaker 8 (22:10):
Yes, and you did that at.
Speaker 11 (22:12):
A major label and they were like, we don't know
any other major label guy that's done that.
Speaker 2 (22:17):
When you think about that era and your identity then
as a producer, because some guys start as musicians, you
were coming from the label side of it. What kind
of producer do you think you are in terms of
are you like the tour? Are are you the guy
who's like, don't talk to me for five minutes when
(22:37):
I come into the room.
Speaker 4 (22:38):
I'm just stating here, Oh like, how is it that
you know?
Speaker 2 (22:42):
Because I imagine that wouldn't have worked with the pop punk kids.
Speaker 11 (22:44):
Oh no, I first of all, I would say that
if there was maybe maybe I'm the invisible man. I'd
like to I'd like not to have a sound, even
though some people have accused me of having a sound.
Speaker 4 (22:55):
Ooh.
Speaker 11 (22:56):
And the reason why this is because I'll produce uh,
because I in bands, and I played every instrument in
bands for the lead singer, and I was an engineer.
I create a new way of doing the record based
on what the band's needs are. So that's why Dave
Matthews will sound like Dave Matthews, hid Rock will sound
like kid rock. I'm not going to do the same
(23:16):
for as I would do for Green Day.
Speaker 2 (23:19):
You're unlocking the I think we got another we got
another clicker.
Speaker 4 (23:25):
On the line here.
Speaker 2 (23:26):
I think somebody else's microphone is up in the studio.
No I swear I hear it. I don't, do you
hear it? Okay, maybe it's in my head and I'm
going crazy. I have been hearing it out of door. Yeah,
it's not who does anyway? Well, so I think about
that era too, and then you've got good dolls, and
then these hits just start happening, and you get to
a point where you are like at the top of
the big studio era of music, where it was before
(23:51):
both technology created a monster that would disassemble the record
the record industry, or at least turn it on its head. Yes,
but in o I would also create new opportunities for
people to make stuff in their homes. But I want
to go back to nineteen ninety six, seven eight. There's
these records that sound this way, and I think it's
(24:11):
obviously because there's a lot of great I mean the
great songs, great singing. This is before the widely adopted
sort of computerization of everything. It was like we didn't
quantize everything. There wasn't auto tune on everything. The big
studio was a moment. And I think about records like
Dizzy Up the Girl, like Gutterflower, that you can hear
the sound of the room, you can hear the orchestras,
(24:33):
these rock bands, these huge productions, and I think that
something changed.
Speaker 4 (24:38):
We got away from that.
Speaker 2 (24:39):
Yeah, do you think it's time we go back to
having some I would love to hear that sonic quality again.
Speaker 11 (24:44):
Well, here's the wild thing is that I love that sound. Yeah,
And so I actually built my own place so I
can have that sound and I don't have to pay
three thousand dollars a day.
Speaker 4 (24:53):
Right, because that's what it used to be.
Speaker 11 (24:54):
Yeah, and I'm an engineer, plus the musician. I mean,
it was insanely expensive.
Speaker 2 (24:58):
It was insanely expensive, the food, I know. I mean,
and you had these budgets for these labels that were
giving these money to these bands to make these music
videos that cost a million.
Speaker 8 (25:07):
Dollars apiece, yeah, or an average of two hundred thousand.
Speaker 4 (25:09):
That's crazy.
Speaker 2 (25:10):
And that the songs themselves, I mean, they would just
lock out somewhere like on Sunset for what six months?
Speaker 8 (25:16):
Oh hell yeah, that's out of control.
Speaker 11 (25:18):
That's outrageous, Actually locked into like a big room with
Fleetwood mac once for nine months, so fun all of them, uh,
most of them?
Speaker 4 (25:27):
Wow?
Speaker 8 (25:27):
Yeah?
Speaker 4 (25:28):
How many times did the band break up and get
back together during that time?
Speaker 8 (25:30):
Oh? Just three of you?
Speaker 2 (25:34):
When you think about that era too, you know, Steve
Lelly White was also a big producer. And I think
it's beautiful to listen to those records because you have
a lot of real instruments that sound the best they
ever would sound. Yeah, because it's still have a lot
of tape, still a lot of transformers and tubes and
great microphones, super clarity.
Speaker 11 (25:51):
Really talented engineers, because you had to hire a great
engineer who knew what he was doing, because otherwise, you know,
it was there was actually a risk said that, which
was you could actually end up with a record that
didn't sound good and wouldn't work because actually a big
risk it was too clean or unwieldy. No, the idea
of a studio sound from scratch. It's not like just oh,
(26:12):
let's just take this sample, it's already perfect. Yeah, you
actually had to place mics and make sure they're in
phase and do all this little boar of the audience
with that. Well, I mean I'm hanging on every work,
but that sound is I'll tell you what was great
about the studio because you started with the Black Parade, right,
So I heard that as I was.
Speaker 8 (26:26):
Coming in, and so the Black Parade.
Speaker 11 (26:31):
I got to the studio early one day, and this
is the kind of thing that only happens if you're
at a studio.
Speaker 8 (26:34):
Yeah, for the most part of some kind.
Speaker 11 (26:38):
And who came early, Gerard, So it's just me and him,
and he was saying, you know, we should have this
idea of the Black Parade.
Speaker 8 (26:44):
It's like a parade.
Speaker 11 (26:45):
It starts from very far away, and it gets closer
and closer, it gets louder and louder and louder and
big and huge, and then it gets farther and farther away.
As it goes past you. He goes, I have this idea.
Why don't you take like, uh, you know, the like
the graduation theme of March. Oh yeah, He's like, can
(27:06):
you do one of those?
Speaker 8 (27:07):
Like he's he's.
Speaker 11 (27:08):
Sort of leaning against the piano playing. He goes, do
one of those that's sort of like starts small, but
instead of that melody, but like that melody, just make
it go down. So I had one of those moments
where I was like, you know what, don't think yep,
just play, and I just literally came out of my hand.
Speaker 4 (27:26):
Ding ding ding, Dean oh Man.
Speaker 8 (27:29):
Ding ding. And then he went when it was oh.
Speaker 4 (27:33):
That's okay. Here we keep going. We're on a delay so.
Speaker 11 (27:36):
They can iPhone or something we had, and and then
I made it sound bigger. I started playing with both
big and fat, and then we made it and were
rampty back.
Speaker 4 (27:45):
That is so cool.
Speaker 2 (27:46):
That is so exciting, I mean, and and so that's
is that you playing on the on the record too.
Speaker 4 (27:50):
Yeah, get out of that. Sure amazing.
Speaker 11 (27:53):
Although I will tell you I had to smoke cigarettes.
I couldn't. When it came time to actually cut the thing.
I was nervous, for some reasoned about the performance, even
because it's there's more to it than notes in the beginning,
and I wanted to make it sound kind of spooky
and kind of the thing, and I felt like I
wasn't getting the vibe. So I kept smoking cigarettes. And
(28:14):
I was the only guy in that band that didn't smoke.
Everybody smoked, but me, I was the non smoker.
Speaker 12 (28:18):
Oh no, no, there's a funny picture of us where
everybody is not smoking except for me, because that's our
inside joke, right, because I was like, I was turning
green in the middle of the man.
Speaker 4 (28:32):
Well, it's a great song.
Speaker 8 (28:34):
We got the vibe. I got the vibe of that thing,
you know.
Speaker 2 (28:36):
For sure, the feel on that piano figure at the
beginning of that.
Speaker 11 (28:40):
And I think that there's another part of the story
which is really amazing, which is that we had this
other song called carry On that wasn't really quite working
on its own.
Speaker 8 (28:49):
We couldn't figure it out. And then we were like,
wait a minute, what if we.
Speaker 11 (28:52):
Take the first half of the Black Parade where it
goes from small to big and stick it onto.
Speaker 8 (29:00):
The you know, the carry On song? Youah, turn that
into one big thing.
Speaker 4 (29:04):
Wow.
Speaker 11 (29:04):
And that happened because we were in a big studio
and that we were able to throw on the marching band.
Speaker 2 (29:08):
Yeah yeah, right, and that's when you have that huge sound.
So we got to take a quick break. When we
come back, though, I want to talk about what I think.
You know, I'm not an expert at all, but what
I think the Rob Cavallo signature is, which I think
is somewhere in ear candy land. Okay, I'll and I'll
support this with a few a few thoughts coming up
more with Rob Cavallo, one of my favorites producer here
(29:30):
in studio on KFI AM six forty.
Speaker 4 (29:32):
We're live everywhere on the iHeartRadio app.
Speaker 1 (29:35):
You're listening to KFI AM six forty on demand.
Speaker 2 (29:43):
In studio right now with Rob Cavallo, music producer of
that song and so many others. Black Blin, of course,
was from the goog Dolls record Dizzy Up the Girl
back in nineteen ninety eight is when that came out. Wow,
and we're going to get into I want to go
like sort of listen to a couple of moments and
then as a producer, tell me what you know, if
(30:05):
you remember anything about it specifically, if there's anything interesting
that you can share some stories from recording it. Before
we get into that, though, take me back to nineteen
ninety seven nineteen eighty eight of making this record and
sort of you had done some stuff with the goo
Dolls beforehand, right, and then when it came time now
to do this record that ended up being a smash hit. Right,
(30:25):
name had been on the radio, I think the guy
at k Rock spun name and then they became a band,
A band band, right, and they were a really cool,
like punk band before.
Speaker 8 (30:34):
Right.
Speaker 11 (30:35):
I actually signed them originally thinking they were going to
be like Green Day because that's what they kind of sounded. Yeah,
and then Johnny came in and started writing acoustic ballads.
And the next thing, you know, Kevin Wetherly a K
Rock is saying, I'm not playing your single, I'm playing
this one called.
Speaker 4 (30:47):
Name Get out of Town.
Speaker 8 (30:48):
And then we were like, no, don't do it. And
then oh my god, he was so right.
Speaker 4 (30:52):
Yeah.
Speaker 2 (30:52):
I mean I think that because you know, I know
that Johnny Resnik loves Paul Westerberg. Yes, and so you
see that parallel. I think in their later work of
the late nineties a lot but you know come through
also even though that, I think that there's a lot
of you know, you go back to the sort of
Alex Chilton influence. I mean everything, you know, everything goes
back to Alex Chilton. Late nineties. What's happening in the
(31:15):
music industry?
Speaker 8 (31:16):
Well, oh boy, a lot. Well it was.
Speaker 11 (31:18):
It was kind of the kind of the good old
days really in the sense you could sell a lot
of CDs and you could it was very very cash rich,
and it was also still the time of the soundtrack.
And I say that because that's really important because what
happened was is they finished that one record that had
name on it, but they were short a few B sides,
so they asked me to come in and I recorded
like four or five B sides for them. Some of
(31:40):
them went into movies, like one of them went into
Tommy Boy. Oh cool example, and every B side that
I did with them kind of did something kind of large,
even though I can't remember, but yeah, yea, all went
into movies and they did stuff, and it was kind
of like amazing going into Tommy Boy and seeing them
hit the road on it. And then you hear the
goog Dolls track, right, Oh I did that, you know.
And then and then what happened is, well, my dad
(32:02):
was a movie producer, so he was and this guy
Chuck Roven who was uh and Don Steele. They were
producing this movie City of Angels, and they were like,
we think this should have music in it, and they
were like, can you take some of your friends down
to see this movie, maybe they'll write some songs. So
I ended up taking the Goo Dolls and I ended
up taking Alanis Morissett and your.
Speaker 2 (32:24):
Friends, by the way, just your friends. Like if someone
was like, hey, Andy, take your friends down. Here's my
buddy from Tamas. We we used to we used to
get drunk together down on the bars on Sunset and
you've got You've got Johnny Resink, you got Alanis Moore
set and they're watching the.
Speaker 11 (32:37):
Movie and then and then then, and then we were like, wow,
this is a cool movie. It's it's actually it's pretty emotional.
And I said, so, if you guys want to, you know,
try and maybe something will hit you and you'll write something.
And the next day I literally got to call it
twelve o'clock from Johnny and one o'clock from Alantis, and
they both said exactly the same thing.
Speaker 8 (32:54):
I just recorded this song. I just wrote this song.
You know, do you want to produce it?
Speaker 11 (32:58):
And I was like sure, and they, you know, because
they sent it over and I was like, you know,
one song, of course, was Iris and the next song
was Uninvited and those two songs, oh my god, they
just exploded.
Speaker 2 (33:11):
And City of Angels, Meg Ryan Nick Cage, great movie.
The songs though, I mean that is that's that's the
Goo Goo dolls. I had a signature song.
Speaker 11 (33:20):
I had a running joke with Nicholas Cage that that
was pretty funny because he used to say, you know,
the soundtrack did did that? You know it did eighteen
million at ten dollars a CD. It means it gross
one hundred and eighty million dollars.
Speaker 4 (33:31):
Whow the soundtrack did it make more money than the movie?
Speaker 8 (33:34):
The movie gross ninety million to Get Out of Town?
Speaker 4 (33:37):
This is such a different world that we live in.
Speaker 8 (33:38):
So he used to joke with me about that. He's like,
you kicked my ass on the movie.
Speaker 4 (33:42):
That's so great, it's wild. I mean, you look ahead
towards than your career. You do more, more and more
and more.
Speaker 2 (33:48):
We have obviously a title shift in the music business,
tastes change. But then you become the chairman of Warner
Brothers Music for a decade and change.
Speaker 8 (33:59):
Yeah.
Speaker 11 (34:00):
I was like ten years later, well, twenty ten, I
became the Well two thousand and seven, I became a
Chief creative officer of Warner Music Group.
Speaker 8 (34:08):
That was an amazing job.
Speaker 11 (34:09):
I was kind of like up in corporate and basically
I was just a glorified producer and the guys that
were running the labels could call me and say, you know,
fix this or do that?
Speaker 1 (34:19):
Cool?
Speaker 8 (34:20):
And I work with everybody.
Speaker 11 (34:21):
Yeah, I mean, you wouldn't believe that behind the scenes
stuff that was that I was I'm sure around doing.
I mean, you know everybody from Bruno Mars to I
don't know you name it.
Speaker 2 (34:31):
Yeah, I mean I know you've worked with everybody and
then move on to management as well and still creating.
Essentially when you think about now what is happening with
I guess ai. You know, as a musician myself, I
kind of a little discouraged when people can just poop
out a whatever thing and some of it sounds convincing.
Speaker 4 (34:53):
I don't know if it's good. I don't know if
it has any soul to it, but.
Speaker 2 (34:56):
At least is convincing enough to or I worry that
it will get to the point where it's convincing enough
that people like you, people like musicians who are who
are studio musicians who do that and they and they
that's their living, won't get the call anymore.
Speaker 11 (35:12):
I'll tell you this that, well, there are some things
that it might people not get the call. You know,
the computer will do that. But there's one thing for
sure I think is that when you look at how
music moves forward and how AI works. Right, AI it
digests all the music that was, just as a human
we digest what we like, and then it'll analyze the
(35:35):
AI will analyze the genre, and then you give it
a prompt and it will sort of create something based
on the rules that were, where the really great humans
don't create something on the rules that were, They make
new rules. So in other words, like if you say Jimmy,
how I defy a computer to come up with Jimi
Hendrix where they completely obliterate the guitar or Van Hale
(36:00):
now or a Beatles for that matter, because like you know,
the Beatles, for example, in my history learning of it
is that they took skiffle of music from the north
of England, they took big band swing, and they combined
that with American rock and roll because that's the stuff
they grew up with, right, They grew up at Chuck
Berry right, and the Everly Brothers and what have you,
right and Buddy Holly, and they took all of those
(36:23):
forms and stuck it together. Now, maybe you could say
to a computer, why don't you take these four disparate
elements and stick it together, and maybe it.
Speaker 8 (36:31):
Would do it.
Speaker 11 (36:31):
I that would be something. Yeah, then the computer could
beat us.
Speaker 8 (36:35):
But I don't. I don't know.
Speaker 11 (36:36):
Maybe I'm giving the the I guys that like the
real trick of what they should be going out.
Speaker 2 (36:40):
Well they all listen. Yeah, we just completely gave it up. Well,
I'll tell you what I can you stick around for?
Can we do the breakdown in the next next block?
Speaker 4 (36:48):
Are you busy?
Speaker 8 (36:48):
You got no? I?
Speaker 4 (36:49):
Okay?
Speaker 2 (36:49):
All right, So last thing we'll talk about before we
go to break You know, who are you excited about
music wise that you want people to listen to?
Speaker 4 (36:58):
Like what is Rob Cavalla listening to?
Speaker 8 (36:59):
Now? I should? Should I plug on my own artists?
Speaker 4 (37:01):
I'm me sure you can do whatever you like.
Speaker 11 (37:04):
I love Death by Romy I love Henry Morris, I
love the Van Riffwood. The sixteen year old kids from
Utah there are kind of like the Beatles, Meat Green Day,
I love one Okay Rock they're Japanese rock band. Want
to be the first guy to really break a Japanese band?
Speaker 4 (37:19):
Oh yeah, awesome?
Speaker 2 (37:21):
Okay, still with Rob Cavallo here, We've got lots more
coming up on The Andy Reestmeyer Show Quick Break. We'll
be right back with more Right after this, it's KFI
AM six forty. We're live everywhere on the iHeartRadio
Speaker 1 (37:30):
App, KFI AM six forty on demand
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