December 29, 2025 • 38 mins
It might rain on the Rose Parade. Andy chats with Kacey Montoya of KTLA about these crazy SoCal storms we’ve been experiencing throughout the festive season. Andy’s very special guest in the studio is music mastering engineer, New Yorker Howie Weinberg, who worked with such iconic acts as Nirvana, Red Hot Chili Peppers, the “Saturday Night Fever” soundtrack and Smashing Pumpkins. Weinberg has 40 years of experience making tunes sound like music to our ears. He’s worked on records by Run DMC, Metallica, Rush, U2, White Zombie, Jeff Buckley – phew! That’s a lot of Grammy Awards!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It's camp I Am six forty and you're listening to
the Conway Show on demand on the iHeartRadio app.
Speaker 2 (00:08):
My guest coming up in just a little bit is
Howie Weinberg, a mastering engineer who I believe has done
more than ten thousand records. I believe that that is
the case, and he's won a ton of Grammys, been
on some of the biggest hits in music since the
nineteen eighties, and he's a good bud. He's stopping by,
(00:31):
gonna spend some time with us to talk about just
the state of the music industry, how things are going,
some new music that he's working on. He did a
Sturgel Simpson record, that's cool, and we'll talk about the
good old days of Nirvana, Red Hot Chili Peppers, and more.
You don't want to miss that. It's coming up in
about fifteen minutes or so. I also want to get
to some breaking news. We have a barricaded suspect in
(00:53):
Panorama City that KTLA's Sky five is heading two. That's
kind of interesting, so we'll see if that leads to anything.
There currently on air right now and I don't see anything,
so we will give you some intel as soon as
we get it, of course, Kroje. I don't know if
you see anything else happening out there in the south Land.
It feels a little I don't want to say the
(01:13):
key word, but it feels a little quiet.
Speaker 3 (01:18):
Yeah, let's put that out there.
Speaker 2 (01:21):
You know, if you say it, does it make it? So?
Is it like that kind of thing?
Speaker 4 (01:25):
If you acknowledge that it's a bad omen to say it,
does that negate it?
Speaker 2 (01:30):
So? If we so we're in the clear, that's what
you're saying. Yeah, okay, Well I do know that a
storm is on the way, and so instead of trying
to bore you with my inability to correctly read the
National Weather Service update, I wanted to include one of
my frenemies. I guess you could call her that, my coworker,
Casey Montoya joining us now on the phone, calling from
(01:53):
the car. I believe is that correct?
Speaker 5 (01:55):
Frenemies Andy? I was so happy when I just heard.
I got in the car. I always listened to Conway
on the way home, and I was like, Wow, I
heard Krozer and I was like, is that Andy filling
in for Tim? Yeah? We have a round of applause
for the first time and half of that too loud.
Speaker 2 (02:13):
That's really quiet. It's actually really it's it's it's really nice.
Like you have gloves, yeah, are you wearing driving gloves?
Little leather letter wrapped fingers are on those steering wheel fingerless.
Speaker 5 (02:25):
And is just so soft and supple. It's just I'm
just kidding.
Speaker 2 (02:30):
Oh my god. Well, thank you for listening, and I'm
glad that I'm here. It's really cool and feel very
honored to be able to hang out with the crew.
You know. It's like it's like when you watch your
favorite show and then you're like in it, but then
you're like, oh god, Tim's not here, so I don't
know what I'm doing.
Speaker 5 (02:48):
But this is exactly how you felt when you got
to work with us on the weekend morning show, right.
Speaker 2 (02:53):
That is one hundred percent what I felt like when
I when I stepped onto that set and I saw
Casey Montoya, Pedro Rivera, Lynette Romero, and Lauren is that
her name? I couldn't. I don't remember, no, But do
(03:14):
you guys still do that show on the weekend?
Speaker 3 (03:17):
Andy, I don't know.
Speaker 2 (03:19):
I'm Monday through Friday now, I'm not really sure. I don't.
Speaker 3 (03:20):
I don't.
Speaker 2 (03:22):
I'm just kidding.
Speaker 5 (03:23):
No, I miss, did you read the email I sent you?
We get a great viewer feedback.
Speaker 2 (03:28):
Yeah, this is this is a real This is one
that you should print out and put up on the
cubicle wall because oil boy. So you got an email
from somebody about a gift that you gave to Doug. Because,
as everybody knows on the Weekend show, you guys are real,
real friendly, real familial. You like to, you know, kind
of rip each other back and forth. But also you
give gifts in the holiday season. And so what did
you give Doug?
Speaker 5 (03:50):
Well? Can you read the email first?
Speaker 2 (03:52):
Sure? Okay, dug it up to Casey Montoya. I won't
say who it's from. Doug. Chris Smith's gift is the subject.
That was a distasteful gift you gave him. You would
have done better not giving him anything. You really showed
how thoughtless you can be. I keep thinking you're going
to get but you're not. Because going to get it,
(04:14):
but you're not because you don't see anything wrong with
your actions. I honestly can say that is why you
are not married. Enjoy the rest of your year. WHOA, now,
what did you get the coke?
Speaker 6 (04:31):
Okay?
Speaker 5 (04:32):
I gave him a rotisserie chicken.
Speaker 2 (04:37):
And that was so offensive.
Speaker 5 (04:39):
Why I gave the girls these cute You know how
when you go to a stadium you have to take
a clear bag. Now, well I got the girls these
designer Hammett bags that are really cute, and I gave
him a chicken. The thing is, there's a joke. When
Doug and I were reporters, like ten years ago, we
had this afternoon meeting that started at like three in
the afternoon, and he would come in like with chicken
(05:00):
in his pockets, like he just always had at three
chicken on him for some reason. And so a few
years ago I thought it would be funny to give
him a chicken as a gift and just kind of
stuck and he thought it was funny. But apparently this
viewer did not like, not like, and that is why
I am not married.
Speaker 2 (05:16):
Well now, at least, do you have a reason why.
Speaker 5 (05:19):
I was wondering. I've been talking to my therapist for years.
Speaker 2 (05:21):
I gotta tell him, you can, hey, for real, though,
I think it's a great gift, and I really like
what you guys do there, and I think that everybody
has such a good time. And I was so thankful
to be able to have the opportunity to be on
that show. Uh, and I do miss it, and I think,
you know, sometimes if you know things, if they if
they if they get rid of the weekday show, maybe
I'll come back.
Speaker 5 (05:42):
I'll come back to Hey, I'm gonna hold my breath
waiting for that. You want me to talk about the weather, right?
Speaker 2 (05:46):
Yeah? Are we going to have rain on New Year's Eve?
Is what everybody wants to know, because I know there's
a lot of people out there who spent some serious
some bookoo bucks to have those rooftop dinners, those rooftop
of firework watching experience.
Speaker 5 (06:00):
Is yeah, I think the fireworks might get rained out.
I mean yeah, probably. So there's two storms coming in.
One is Wednesday night into Thursday morning, and then another
one's Friday night into Saturday. And we're not going to
get as much rain as we did last time.
Speaker 2 (06:16):
Can you roll your windows up, Casey?
Speaker 5 (06:20):
No, my windows are a motorcycle, are very loud cards
you're going to pass me. So two storm systems probably
going to see totals of one to three inches for
the coasts and valleys and then two to five for
the mountains and foothills, so not anywhere near what we
just had. But I mean, keep in mind, you've been
watching the news all day, I'm assuming and prep for
the show. How many down trees did we send Sky
(06:41):
five to today? So just know the ground is saturated.
We've had some gusty winds, We're not done with those.
We're going to see more rain, So down trees and
downpower lines definitely still a possibility for us. But yeah,
I mean, unfortunately, it's likely going to rain during the
Rose Parade, could be moderate at times, and it'll be cold,
So I don't want people to not go, but just know, like, look,
(07:01):
I've gone to a football game before where it's pouring rain,
and if you prepare, you know, if you wear your
rain shoes and the poncho and you just dress warm,
it's not that bad.
Speaker 2 (07:10):
No, No, we are very dramatic when it comes to
dealing with the rain. And it's funny because I have
some friends up in San Francisco where it also has
been raining like NonStop for six months, and they were like, no,
people still do things when it rains. They still go
out and do things. They don't they don't hunker down
and bundle up and say like, oh, it's gonna be
gotta go raid the costco because most people deal with rain.
(07:31):
But you know, to be fair, we don't really have
to that.
Speaker 5 (07:33):
Much here, we all, but we do this week. I
lived in Portland, Oregon for five years, so I mean
I can deal with it, but I became a baby again,
you know, being back here for ten twelve years. But
just we want people to know, like it's a night
where people like to go out. Hopefully you have a
designated driver and you're not gonna be drinking and driving.
But yeah, it's gonna be raining, and you know, it's
(07:55):
a great weekend. Stay in, watch movies, go to the movies,
but just be extra careful out there. And I don't
want to discourage people from going to the Rose Parade. Honestly,
people put in so much work all year for this,
so true. It's just it's a shame.
Speaker 2 (08:10):
You can always buy a poncho. Indeed, you can always,
as we say, stay home and watch TV because you
can see the Rose Parade on KTLA channel five.
Speaker 5 (08:18):
Well and KTLA I will tell you it's the only
commercial free Rose parade airing in town. And it just
gave me a good idea, Andy for like a side hustle.
I need to get a permit to go sell ponchos
outside the Rose Parade.
Speaker 2 (08:31):
Now that's why you're not married. I don't know, Maybe
you might. I think that these days that the local
authorities are preoccupied with more than illegal poncho sales from
a local weather person. But I don't know. That's just
my own.
Speaker 5 (08:48):
Anyone knows where I can get a quick permit for that.
Let me know.
Speaker 2 (08:51):
Yeah, give us a call. We'll open up the phone
lines and you can call and tell us. Casey, thank
you so much for joining us. Be safe out there.
I hope you have a nice evening. We'll try to
do our best honor in mister Tim Conway Junior here
on the show in his absence. I can't make any promises,
but we're doing. We're doing, okay. We've at least made
it through an hour and fifteen minutes and none of
(09:12):
us have been fired yet.
Speaker 5 (09:14):
Right, all right, there's still time.
Speaker 2 (09:16):
There's still time. Love it, Casey Montoya, appreciate you.
Speaker 5 (09:21):
Dosh you say ding dong to you?
Speaker 2 (09:24):
You can't. I don't think there's a rule, right ding
dong ding dong with her?
Speaker 5 (09:29):
It does doesn't feel right, No, it doesn't feel right.
Speaker 4 (09:32):
You gotta you didn't. Gotta put something in here by.
Speaker 2 (09:34):
Yeah, give me a give me a good ding dong,
crush ding doll.
Speaker 4 (09:38):
Yeah, just gotta put something in it.
Speaker 2 (09:40):
Man, put something in it.
Speaker 4 (09:42):
It's a holidays. Put something in it.
Speaker 2 (09:43):
That's why you are married.
Speaker 6 (09:46):
You're listening to Tim conwayjun you're on demand from KF.
I am six forty.
Speaker 2 (09:53):
Good Monday evening to you just past five nineteen on
the dot. You know you don't ever get NewSpace people
saying the specific time with a lot of the bottom
of the hour, talk a lot on top of the hour.
But you got a tune into KFI to get somebody
to shout out the actual time, the hour minute. Maybe
I'll do second. I don't know. I can't promise the
(10:13):
world to you, but we'll do our best. We were
listening to Nirvana. Little smells like teen Spirit And there's
a good reason because I'm joined in studio right now
by Howie Weinberg, who is a mastering engineer, been doing
it for thirty years. Going back to Nirvana. That song
you heard there, the Clash YouTube Soundgarden, Red Hot Chili Peppers,
(10:35):
White Stripes, Killers, Beastie Boys, Run DMC, Deftones, Black Keys,
Gary Clark, Junior Madonna, Chryl Crowe, b York, Jeff Buckley.
Did I say, Nirvana, thanks for being with me in
the studio. It's great to see you, buddy.
Speaker 3 (10:50):
Thanks Andy m appreciating inviting me out here. You know,
it's a beautiful day for an interview.
Speaker 2 (10:56):
Yeah, exactly, I know there's a.
Speaker 3 (10:57):
Cloudy, disgusting weather. It's gonna get start at five o'clock.
What better place to be than with Andy and and
the studio.
Speaker 2 (11:03):
Well, I so appreciate that, And I thought of that
when you were coming up the elevator into the iHeart
Burbank studios here into the headquarters on the on in
Los Angeles. How many of your songs are being played
at all times on iHeartRadio things all across the country.
I mean it's thousands.
Speaker 3 (11:19):
Of them, maybe maybe millions, maybe millions. And actually I
did there is one of a very famous sight out
there called LUSO, and they got me for one hundred
and ninety billions uh streams stream that's crazy, over eight thousand,
almost nine thousand recording credits, which I think about it,
nine thousand credits.
Speaker 2 (11:39):
That is crazy. So nine thousand over thirty years. How
many is that per day years? Forty years? Okay, I
didn't want to You don't seem to be old enough
to have been a.
Speaker 3 (11:49):
Start really really young, but you know, yeah, and you
know it was. It was a whole different world in
those days.
Speaker 2 (11:56):
Right, So this you take it back nineteen seventies, New
York City. How how Wineberg's just roaming around getting into
the music business. How do you become a mastering engineer?
And also how do you become like the guy who
does basically everything?
Speaker 3 (12:11):
It was the timing was really important. A good friend
of mine, I just kind of gott got involved with
this studio that my my mentor Bob Ludwig, who was
the god of mastering, started working at. And I had
no I had no skills. I thought I could be
(12:31):
really good at it. I had absolutely no background in
music or recording or anything. But I played around with
little tape machines as a kid, and I had absolutely nothing.
And they said, okay, well you could, we could use
a messenger boy. So I got my foot in the door,
Like all.
Speaker 2 (12:48):
Right, so you did? You would have been at like
Sterling Sound and Okay.
Speaker 3 (12:53):
Yeah, it was, and it was it was I think
it was nineteen eighty and I did. I did one
year where we had a we had a contract with
Polydor Records, which is also a phonogram. They had, so
any any projects that were done domestically for Polydor in America,
(13:16):
we'd have to make all you know, there was no
digital at that time, all tape machines, analog tape, fifteen nips,
you know, little tape and all that, and we had
to make copies of all of the projects. So my
first job was to make copies of whatever domestic records
were done internationally, like send out, make ten different copies
(13:39):
of just a real, real funny thing.
Speaker 2 (13:42):
You got it, you got it. Oh damn, no worry,
We're live. We found it, we got we can cut
it out. So we just jumped ahead.
Speaker 3 (13:49):
But oh shucks. They hit me four meals and it
was Saturday Night Fever Real one, two, three, four Wow
double records set of Saturday Night Fever. It just they
just finished recording and they mastered it somewhere else. I
think it was Capitol Records in New York in La here.
They handed me the tapes like there was a courier
(14:11):
that came in. We need twenty copies immediately. So I
was probably one of the probably was one of the
only people outside of the studio to hear that record
and hear those songs immediately.
Speaker 2 (14:23):
And let's go back to then jumping ahead.
Speaker 3 (14:26):
Because you have braging rights on that time.
Speaker 2 (14:28):
Well, I know it's pretty cool, but what you definitely
have bragging rights for is what we started. The segment
with which I want to I want to go back
to is Nirvana's never Mind. You mastered that song. This
was obviously a very important moment in music. Did you
know nobody really knew that. Well, I was gonna ask, like,
when you were sitting there, take me back to the
(14:51):
time that you first heard that song.
Speaker 3 (14:55):
This is a this is I guess what. I don't
know what year it was, but the day was they
booked the session and then usually what happens is everything
in those days was a half inch reel to real tape.
There's no digital. Then there was digital, but it sounds
(15:15):
like crop, so half inch real real tape. They sent
me the tapes, they sent the studio the tapes ahead
of time, and then you know, I get it. I'm
I can try to get everything ready, to get the
tones up, get everything all sounding, you know, so when
they come in, I can just play it and we
can do our thing, you know, go through the songs.
Speaker 2 (15:33):
So the band was coming in, so Curtsey.
Speaker 3 (15:35):
Everybody had curt and everybody was booked to come in
at like one o'clock, twelve thirty one o'clock. So two
o'clock comes, around, three o'clock comes, nobody shows up. Wow,
I'm just playing around. I'm like, well, this is good.
I got some good sounds here, and I go, wow,
this is not bad. And I'm thinking this is for
an alternative record. This, you know, there's something good here.
(15:57):
I didn't know what the hell I was talking about.
But then so then I just got into the record.
And by the time they showed up, like I don't know,
five thirty six, it was like four or five hours
after the scheduled. The scheduled.
Speaker 2 (16:12):
Yeah, the session was going to start.
Speaker 3 (16:14):
Yeah, I had everything finished.
Speaker 2 (16:16):
Wow.
Speaker 3 (16:16):
The guys walk in and they go, this is this
is great. Everything is done. I got it on, I
got it, I got all my settings, I got everything
ready to go. Just sit down. Okay. So Kurt was there,
probably Dave was there. I don't know if the Basebak
Kurt Chris was there, but Andy Wallace was there, butch
Big was there, their men, everybody showed up. They all
(16:39):
sat down. I have the big as speakers and everything.
So we just played Saturday and side B and it's
like just one and everybody walked out, like at the
end of the set, you know, at the end of
the playback, WHOA, what's.
Speaker 6 (16:53):
Going on here?
Speaker 7 (16:53):
Wow?
Speaker 2 (16:54):
And you kind of everybody sort of had a sense
this is gonna be something.
Speaker 3 (16:58):
At the moment. At that moment, yeah, And when they
walk in and they were a little embarrassed because you know,
this was a very very it was polished. It didn't
sound like any of their other projects. There are the
records which I didn't work on, were grunge records, and they,
you know, and they were almost a little embarrassed by
this because they hired the big pop producer, uh, a
(17:19):
big pop mixer. Butch Vig was the producer. But he
wasn't the pop Yeah he was. He was a Smashing
Pumpkins guy and uh, you know, a punk rock kid.
Speaker 2 (17:29):
Yeah.
Speaker 3 (17:30):
They hired the famous Andy Wallace to mix in and
so they got a very polished sound that they were
almost embarrassed by.
Speaker 2 (17:36):
That's so wild because now I think about it and
I don't feel that it's amateur at all. But it
doesn't sound like slick to me. It sounds still like
guys playing in a garage with really loud amplifiers, really
loud drums, a really loud kid. I'm assuming that you
know you'd already been working a lot by that point,
because you had done a lot of the eighties New
York scene of hip hop, and that was also a moment,
(18:00):
and I imagine that probably opened up other opportunities for
you as well.
Speaker 7 (18:04):
Well.
Speaker 3 (18:04):
The hip hop actually opened up all the opportunities because
I was also like the first first first six months
on the on the job where what happened was I
was doing the tape copies and the engineer, it was
an older guy, had his studio there and somehow it
didn't work out. So the owner of the studio says, tomorrow,
(18:25):
that's your studio, and I go, okay, I still don't
know what I'm doing. Amazing, I have no idea. I
can know how to push play and I can.
Speaker 2 (18:33):
So you were just like a warm body who they
were like this guy is sure, let's try him out,
and let's see.
Speaker 3 (18:38):
I figured it out like a for a week or
two or three. I figured I wasn't that hard.
Speaker 2 (18:42):
But that's not true though, because if it was really,
I made.
Speaker 3 (18:47):
A thousand mistakes immediately. But I did have an open mind.
So what I did is I practiced a bit and
then when the first break came where this record label
came up to me and we were doing all the
Mercury Records, Polydor Records, and they had a hip hop band.
(19:09):
It was cold rap band called Curtis Blow. It's called
Christmas Rappin' and next thing I know, I put it on.
It was the biggest rap hit. It was the first
big rap hit.
Speaker 5 (19:18):
Wow.
Speaker 3 (19:19):
And then like a few months later they came out
with a song called The Breaks, which was one of
the most nominal hip hop records of all time, crazy
the first gold or platinum twelve inch single, and from
there it was all you know that A client was
Russell Simmons, and then it became Rick Rubin and def
Sham Records, and there was like a couple of years
before def Shams started, and Russell Simmons had every rap
(19:42):
artist he had, Joey Simmons was his brother, Run Run DMC,
and they had a whole slew of artists. So then
I was just the guy. Yeah, I was the guy.
They go, yeah, he he's the guy who makes the plates.
Speaker 2 (19:54):
And now nine thousand, at least thine thousand credits later,
we are going to take a break. When we come back,
we'll they'll have more with Howie Weinberg. We're going to
talk about.
Speaker 6 (20:03):
You're listening to Tim Conway Junior on demand from KFI
AM six forty.
Speaker 2 (20:09):
The Monday, in the middle of dead week, but I'm
feeling alive. Join in studio with my guest, Howie Weinberg,
a mastering engineer responsible for so many of the biggest
hits of the last Now I understand forty years.
Speaker 3 (20:21):
Forty years I started when I was nineteen, And how
many are you doing a day?
Speaker 2 (20:25):
These days?
Speaker 3 (20:25):
I usually can do I don't want to. I usually
do two hundred and fifty to three hundred projects a year,
whether it's EP singles or albums.
Speaker 2 (20:33):
And I feel like mastering is one of those things
that there's very few people who do it because I
think there's very few people who understand how it works. Essentially,
what happens is the band or the artist will record
the song. They'll do it in the studio, record it,
then they'll mix it. That's a different person. Generally they'll
mix it and then the last person is you. It's
a maxim mastering engineer, and a lot of what you
(20:55):
do is balance the song in relation to the other
songs on the album, but also make it loud, make
it stand up to all the other mixes on the radio,
make the eq perfect, kind of put that last glossy
machine on it.
Speaker 3 (21:07):
It's a juju thing, right, Well, that's the thing, and
you know what it is. It's you can't really you know,
you could buy a plug in, you could buy an
app that might might kind of say, oh, we'll give
you this sound and that sound. But when you when
I get hired, and I'm not, I'm not out here
for an advertisement. You're getting forty years of experience. I
could put a song on it and instantly know it
(21:28):
needs more bottom, needs more top. It's perfect, Wow you
need a new mix or yeah, But I you know,
I'm generally pretty humble about this stuff, so it's not
you know, it's not my piece of work. I'm just
taking somebody else's work, and what you try to do
is just take it to another level.
Speaker 2 (21:45):
Yeah, And I think what's cool is that through the
process you can discover things and and learn things about
the song and you impart something to it that is
an unknowable thing. It's like you said, it's a juju thing.
It's like unquantifiable.
Speaker 3 (21:58):
And what I like to call it is just the
I'm basically the last creative guy and the first manufacturing guy,
the first guy that the public hears. Yeah, so I
have to be. I'm the guy who I'm the goaltender basically.
Speaker 2 (22:12):
Yeah. And so you do a lot of stuff here
in LA because you moved out to Los Angeles in
twenty ten, is that right?
Speaker 5 (22:17):
Ten?
Speaker 2 (22:18):
That's the same year I moved here.
Speaker 3 (22:19):
And I was in New York. I was in New
York for it was thirty years and less than thirty years.
And I had this massive to studio and I did
and Bob Laduga is my was my mentor at New
York and we just did so many records. And now
those are the record the vinyl days where you know,
(22:39):
all the projects were all put together and everything was
real to real tape and so discuding.
Speaker 2 (22:45):
When you think back to nine thousand, more than nine
thousand releases, do any of them stick out in your mind?
I mean, obviously we're playing the Nirvana song, But do
any of them stick out and and make you that
you think are like that was a really amazing sounding song.
Speaker 3 (22:59):
Oh, I could go on and on and on. I
really liked when I first got started, the run DMC stuff,
the Beastie Boys stuff. I did, all the Metallica records,
that Deaf def Leppard stuff, the I did a Rush
album I did, I did two U two albums. I
did White Zombie album, I did Buckley record I did.
Speaker 2 (23:19):
And I know it's different, but in situations like.
Speaker 3 (23:21):
Chilli Peppers, right Chili Peppers record?
Speaker 2 (23:23):
Right with with with the Chili Peppers or with you two?
Like does Bono come into the studio and sit there
with you?
Speaker 3 (23:28):
Absolutely? In those days he was there for We did it.
We did one project. I thought it was one of
the best albums. It was called Pop And they had
worked on this record for over like a year, more
than a year, and they had a tour plan, so
they they came into the studio and they were not
quite finished with everything, but they had to get it
mastered and finished so the band could go on tour wow.
(23:50):
And so they had all these tour dates planned exactly
after the mastering was done. So they we spent two
weeks together almost every day. We went out, we had
we went out, had drinks, we partied a bit.
Speaker 2 (24:01):
Were you were you thinking it all starstruck that this
is Bono or did you just say, like, this is
a normal guy.
Speaker 3 (24:06):
You know, at the end, I just it's a normal guy.
I mean, after the after the the gloss of wow,
he's pretty famous, goes away and you've been spending all
the time just regular old people, you know, they're not
more than regular people.
Speaker 2 (24:18):
And yeah, we we.
Speaker 3 (24:19):
It was in New York and they had they rented
out a big hotel downtown and they would have dinners
and parties and stuff where everybody was invited. The whole
crew was there. Producer named Flood was doing it, and
a bunch of the big Mixture, Spike Stanton and all
those guys were all showed up and and it was
it was so much fun, cool, And at the end
of the week we finished the record, and then a
(24:40):
week later they were on tour.
Speaker 2 (24:42):
That's unreal World Tour, and then the record is, you know,
going up the charts, the one you just still did,
Sergel Simpson, Right.
Speaker 3 (24:49):
I just finished the Surgel Simpson album. Wow. And I didn't.
I don't even like I didn't. I had no idea
what it was. I do a lot of work for
the band Black Keys, so they had they had I
don't know if they cold produce it or they did
it at their studio. So they called me and said,
I got something for you, but we're going to send
you a bunch of stuff and see if we like it.
Speaker 2 (25:08):
So the process just so that we will wrap this
up here because I know we got to get to
a commercial break in a little bit. But you know,
the morning looks like for Howie, you pop downstairs because
you work from home. Right, you got a studio and the.
Speaker 3 (25:18):
Yeah, I mean I I got it made.
Speaker 2 (25:21):
Yeah, it's a cool it's a cool compound. But you
put on some tea. Then you go upstairs to the
studio express man or have some coffee and you get
sort of in the zone. You put the song up
on the computer and then you run it through all
your your vintage gear and your computer, all the things.
You try this, you try that, and then you kind
of get it to a point where it starts to
(25:43):
feel good exactly, and only you know that, only your
your ears are able to identify when that is to
your level.
Speaker 3 (25:51):
Absolutely hit it on the nose, and it's all some
of the some of the projects really fast. Some you
have to really have to tune in on some of them.
Play it right away. Wow, this sounds great. I know
exactly what knob here this took. I got have five hundred.
I gotta have a thousand knobs on the desk, but
only fifty are good. Oh yeah, man, fifty are good
(26:13):
for the project.
Speaker 2 (26:14):
Exactly because it's all. And then the fact that you've
done this for so long and you've done so many
maybe one.
Speaker 3 (26:18):
Hundred work after that, So it's it's a it's really
I guess it's experience counts.
Speaker 2 (26:27):
Now for people who are making music, maybe more at
my level, and people who are recording in their houses. Well,
thank you, but people are recording in their homes.
Speaker 3 (26:33):
Uh.
Speaker 2 (26:34):
There's always the fun of digital plugins, things that you
can use in your in your recording software, some of
which now are emulating your process absolutely.
Speaker 3 (26:45):
And I'm glad you said that because at this day
and age, we're different right now, we're in twenty would
be twenty twenty six tomorrow. Yeah, unbelievable. I mean, we
have gone so far in the world of digital. It's
you know, it's I could when I thought about it,
when digitally finally really showed up, like twenty five thirty
years ago, to be where we are today, I'm amazed,
(27:08):
you could. You know, the analog stuff is really good,
but the digital stuff emulates all the analog stuff, the
isotope stuff, all the all the slate plug ins, all
the plug in alliance. You the plug ins are so
good now that now that basically anybody it's now it's
it's a term. It's we've gotten down to skill a
(27:30):
skill set, right.
Speaker 2 (27:31):
It's taste. Everyone has the ability to have the the
the equipment right or a version of it on the computer.
Now it's like how good are your ears? How well
do you know how to use it?
Speaker 3 (27:41):
Also, had had to make a hit song and how
to make it sound like a hit and how to
you know, because budgets are not what they used to be,
and they're really you know a lot of them are
really small. So a lot of people are making records
at home. They're recording them at home, mixing it at home,
and they're fantastic. Yeah, and I get it, and they
they they like to hire me at the end because
I'm I'm the last guy. I'm not crazy expensive. I mean,
(28:03):
I'm not cheap, but they can harm me. And they
know after I'm finished mastering that record, that's going to
be a competitive sounding record.
Speaker 2 (28:12):
Well said, Howie, Thank you for being here. The website
is Howie Weinberg Mastering dot com. You can find him
on Instagram, Howie the Master. H O W I E
Howie H O W I E W E I N
B E r G mastering dot com. You're the best.
Thank you so much for being here and and congratulations
on all the all the cool stuff that you've been
(28:32):
able to do.
Speaker 3 (28:33):
More to come.
Speaker 2 (28:34):
I love love to.
Speaker 3 (28:34):
Hear it back again. Part one.
Speaker 6 (28:37):
All right, you're listening to Tim Conway Junior on demand
from kf I A M six forty.
Speaker 2 (28:45):
Andy Reesmeyer here in for Tim Conway Junior on The
Conway Show alongside FOOJ, Croche, Angel the whole crew except
for Conway and Bellia. So like a lot of the
crew is that's a pretty signal part of the crew,
you know, what I mean.
Speaker 7 (29:03):
Yeah, well, Tim is, let's not get carried away.
Speaker 2 (29:09):
Oh my god, this is fighting words. Angel. You don't
saying something in such a nice way doesn't make it
any less mean.
Speaker 7 (29:18):
Oh, come on, that smiles didn't knock some of that town.
Speaker 2 (29:21):
It did. Actually, I'm like, I can't, I no, don't
know how it is. Hey, how are the roads going
out on tonight for people who are maybe traveling coming
home for the Christmas holiday? Or are they done? Is
it over?
Speaker 7 (29:32):
You know, it's it's kind of it's a little lighter today.
It's not your usual you know, drive home at night.
But things are pretty crowded out there. I'm surprised at
how busy the CA Home Pass has been over this
past week, like both directions heading into the high Desert
and coming down from the desert. Guess a lot of
people probably you know, heading out to Vegas and coming
(29:53):
back from Vegas.
Speaker 2 (29:54):
I would, ama, Oh, that's a good point. Do you
think also that there's because there was a lot of
weather up there, people got out maybe beforehand.
Speaker 7 (30:02):
Or well I would, yeah, I.
Speaker 2 (30:06):
Would, yeah, of course.
Speaker 7 (30:08):
Hey, Anty, I wanted to ask you something.
Speaker 2 (30:09):
What's up?
Speaker 7 (30:11):
Howie mentioned that you make music.
Speaker 2 (30:13):
I do. Let's hear some I do, I I will,
we'll have we'll have to pull it up. Maybe. I
was in a band for many years called the Working Hour,
and then that that didn't work out. I moved to
La to be in to do music. And my fallback
career was a couple of hits on television and then
filling in for radio, and so you know, it worked
out for me in that way. But I'm in it.
(30:35):
I do. I do a group called Andy in the
Valley and we have a couple of songs out and
and it's fun. It's sort of like for people who
like Tom Petty's eighties stuff, but it's just not as
good obviously. But I will pull them up and we'll
play a little bit later.
Speaker 6 (30:49):
Maybe.
Speaker 7 (30:49):
Yeah, I'd love to hear it.
Speaker 2 (30:50):
Thank you. Wow, that's nice. I have to venmo Angel
now twenty five dollars for the that's right. Well for them,
we could no tax, just straight, no tex, just straight okay.
But because you can't report it's six hundred dollars is
the limit before you have to report it?
Speaker 6 (31:02):
Right?
Speaker 7 (31:04):
I think so, Well, you can just hit six hundred
couple of times.
Speaker 2 (31:08):
Oh, just do it separately. Well, also, I could do
one now and then I have to do it again
at the beginning of the year, because I think that
that's those are taxed different different years. Okay, gotcha, Welcome
back to tax Talk on kfive AM six forty. Usually
I saved this kind of stuff for the weekend show,
but no, we're getting into ten ninety nine W Two's
that's it. I don't know any more than that I
(31:29):
have not made enough money to have taxes beyond the
regular world W two. I have a response from Michael Angaro,
the owner of the San Pedro Fish Market. Remember our question,
do fish have a smell when they are alive? He
says not really. The smell is typically because they're no
longer fresh to eat because they dead too long exclamation point,
(31:51):
exclamation point. They smell more, right, they smell more like
the ocean when they're alive. Sorry for the later response
was driving Michael and Gara San Pedro Fish Market. That's
close to you, Angel.
Speaker 7 (32:05):
Kind kind of yeah, yeah, close to the Long Beach
studios for sure.
Speaker 2 (32:09):
Yeah. Closer to you than me than we are, which
I think is important to say because this whole, this
whole map here is a is a big distance That
place is amazing though. I mean they still have two
hour lines there on the weekend to get a big
old plate of fish at San Pedro Fish Market. Good
good stuff.
Speaker 3 (32:31):
It's so much fun there, it is.
Speaker 2 (32:33):
It is really cool. And I I think that that
even if you get the seasoning, you know they sell
it now, you can get like the fish rub. Oh wow,
you got fish smell and fish rub on this show.
Speaker 7 (32:46):
Nice.
Speaker 2 (32:46):
Let me tell you. It is the end of an
era in New York City. The metro card is done.
And the reason I wanted to talk about this is
because obviously it affects us not at all, but I
think that they have this weird sense of pride in
New York about their metro cards. There's that Metro Card
Conversation show on Instagram where this unfortunate comedian, unfortunate looking
(33:10):
comedian is talking to attractive women on the subway and
the microphones that they're holding are the little metro cards.
Do you know what I'm talking about? Have you seen this? Yes,
it's pretty funny, but they're getting rid of it.
Speaker 4 (33:26):
What the ones I've seen, I think, I like, mostly
out of New York, but yeah, yeah, no, they're all
New York ethan Hawk is is it a big one?
I talks about like the Beatles and the ads. Oh
that's cool, yeah, yeah, philosophical, awesome stuff.
Speaker 2 (33:37):
It's interviews with people on the subway and they're they're
talking into the metro cards and it's like metro Card.
I don't know what the show is called. It's like
Metro Card Conversations or something like that. Listen. I can't
know everything. And you know they're going they're going away
with these cards because obviously the cards degrade over time.
(33:57):
They have that little metal strip in the back, but
it doesn't work a lot.
Speaker 3 (34:00):
Subway takes.
Speaker 2 (34:02):
Subway takes. Is that what it's called it? Apparently that's
a pretty good name. So they're okay, they're in the
clear because if the metro card goes away, they still
they don't have to change their branding now.
Speaker 4 (34:09):
At least it's one guy who's who's most famously doing it.
Speaker 2 (34:12):
I think that's the guy that sounds right, and he's
pretty good. He's got some smart some smart tape. It's
just a very New York show. And every time I
see it and everyone, the way they talk and they're
povs on things, they're just very New York. It's very
not Los Angeles. You couldn't do that show in LA, yeah,
because it would be like a zombie apocalypse show. You know.
You'd have two influencers sitting there on the on the
on the subway and the Metro, the Red line going
(34:34):
up through downtown towards the Universal City, and then some
guy would be coming over who was just like like
walking and peeing at the same time.
Speaker 4 (34:42):
Yeah, you can't have that that that same social interaction
here in LA that you can have in New York.
Speaker 2 (34:46):
No, not at all.
Speaker 4 (34:47):
The people on the on the public transit systems here
in LA, they won't have it.
Speaker 2 (34:52):
No, And there was a lot of time, I think
in my early LA days. I moved here when I
was like twenty two, so I know, I know most
people think I'm only seventeen, but I've been here for
about fifteen years, and I was thinking about moving to
New York because things just weren't happening with the band.
Music wasn't working, and I was feeling good about going there.
So I went and visited, and I kind of got
(35:14):
some ideas in my head that I was going to
be that guy who like moved to New York and
rode the subway. And so I'm on the train and
I'm riding up because I want to go to some
museum or something, and I don't know anything about New York.
And quickly I realized that I'm maybe in an area
where I shouldn't have been, because a guy, a fella
to the next seat over next to me just told me,
in no uncertain terms, straight to my face that he
(35:36):
planned on killing me right there to just was gonna
kill me. And I was like, oh crazy that. Well,
I was not planning on that for today. And I'm okay,
I'm all right on the killing for today. So I
got off at the next stop. I stepped up, got
off of the next stop, I went out of the
train station, and I came back in. But I realized
(35:59):
that everything he's very confusing there, right, especially if you're
not a local. I came back in and I was
going the wrong direction, so I was like, oh, I
got to go back out. So I went scanned back out,
and I tried to come back in. But the way
that they have the system, it's like the parking garage here,
where you can't scan in and out because they know
that you're trying to basically get back in too quickly
from when you've scanned out. They think that you're you
(36:21):
gave it to somebody else, you know, your card to
somebody else, so they won't let you in. So what
did I do? I just hopped the turnstyle right. Almost
immediately a guy in a like a beanie. He looked
like he was like a a like how on Law
and Order when someone, uh is dressed up as a
homeless person, the undercover you know, yeah, he was undercover.
(36:43):
He's like dressed up like a homeless person. He had
like fingerless gloves, a beanie. Uh, it's I don't know
what it was. It was just like it was so silly.
And he came up to me and he shoved me
up against the great No and he's like where you going?
Speaker 5 (36:58):
You know?
Speaker 2 (36:58):
It was like like I felt like I was into
Billy Joel's or something and it was so New York
and he yelled at.
Speaker 3 (37:03):
Me Billy Joel song.
Speaker 2 (37:05):
Mostly, yeah, everybody knows those Billy Joel songs where all
those guys are getting shaken down by undercover cops. Listen,
if you go on the deep cuts, if you go
glasshouses like the Deluxe Edition Tex song. For some reason,
That's what I was thinking of. Yeah, the moving Out
(37:26):
Anthony's song. And and this guy just I mean he
had to be five five feet tall at five feet
probably two fifty. He was a big little boy. And
he had me up against the wall and I was
like a cartoon where my arms, you know, I was,
I was up, My feet were like dangling down below him.
He's like shaking me down for my lunch money. I'm exactly.
(37:47):
And I was like, he was like, what are you
doing trying to get I was like, I truly just
said to him, I don't know what I'm doing. I
live in Los Angeles, Oh all right? And he let
me go. It was like get out of here. And
and I remember getting back to I think the Grand
Central is that what it's called Grand Central Station? Unions,
(38:11):
no Penstation, whatever it is, I know, I got it, uh,
And and just sitting there and just like drinking just
beer after beer, being like I.
Speaker 3 (38:20):
Can't do it.
Speaker 2 (38:21):
I gotta go back to LA I can't be here.
And that was the end of my trip to New York.
It's like a Billy Joel, We've got more hot takes
like that coming up here on the Conway Show. Any
Reason My're in for Tim Conway Junior. It's k if
I AM six forty Live everywhere on the iHeartRadio app.
Speaker 1 (38:38):
Conway Show on demand on the iHeart Radio app. Now
you can always hear us live on k if I
AM six forty four to seven pm Monday through Friday,
and anytime on demand on the iHeart Radio app
It's camp I Am six forty and you're listening to
the Conway Show on demand on the iHeartRadio app.
Speaker 2 (00:08):
My guest coming up in just a little bit is
Howie Weinberg, a mastering engineer who I believe has done
more than ten thousand records. I believe that that is
the case, and he's won a ton of Grammys, been
on some of the biggest hits in music since the
nineteen eighties, and he's a good bud. He's stopping by,
(00:31):
gonna spend some time with us to talk about just
the state of the music industry, how things are going,
some new music that he's working on. He did a
Sturgel Simpson record, that's cool, and we'll talk about the
good old days of Nirvana, Red Hot Chili Peppers, and more.
You don't want to miss that. It's coming up in
about fifteen minutes or so. I also want to get
to some breaking news. We have a barricaded suspect in
(00:53):
Panorama City that KTLA's Sky five is heading two. That's
kind of interesting, so we'll see if that leads to anything.
There currently on air right now and I don't see anything,
so we will give you some intel as soon as
we get it, of course, Kroje. I don't know if
you see anything else happening out there in the south Land.
It feels a little I don't want to say the
(01:13):
key word, but it feels a little quiet.
Speaker 3 (01:18):
Yeah, let's put that out there.
Speaker 2 (01:21):
You know, if you say it, does it make it? So?
Is it like that kind of thing?
Speaker 4 (01:25):
If you acknowledge that it's a bad omen to say it,
does that negate it?
Speaker 2 (01:30):
So? If we so we're in the clear, that's what
you're saying. Yeah, okay, Well I do know that a
storm is on the way, and so instead of trying
to bore you with my inability to correctly read the
National Weather Service update, I wanted to include one of
my frenemies. I guess you could call her that, my coworker,
Casey Montoya joining us now on the phone, calling from
(01:53):
the car. I believe is that correct?
Speaker 5 (01:55):
Frenemies Andy? I was so happy when I just heard.
I got in the car. I always listened to Conway
on the way home, and I was like, Wow, I
heard Krozer and I was like, is that Andy filling
in for Tim? Yeah? We have a round of applause
for the first time and half of that too loud.
Speaker 2 (02:13):
That's really quiet. It's actually really it's it's it's really nice.
Like you have gloves, yeah, are you wearing driving gloves?
Little leather letter wrapped fingers are on those steering wheel fingerless.
Speaker 5 (02:25):
And is just so soft and supple. It's just I'm
just kidding.
Speaker 2 (02:30):
Oh my god. Well, thank you for listening, and I'm
glad that I'm here. It's really cool and feel very
honored to be able to hang out with the crew.
You know. It's like it's like when you watch your
favorite show and then you're like in it, but then
you're like, oh god, Tim's not here, so I don't
know what I'm doing.
Speaker 5 (02:48):
But this is exactly how you felt when you got
to work with us on the weekend morning show, right.
Speaker 2 (02:53):
That is one hundred percent what I felt like when
I when I stepped onto that set and I saw
Casey Montoya, Pedro Rivera, Lynette Romero, and Lauren is that
her name? I couldn't. I don't remember, no, But do
(03:14):
you guys still do that show on the weekend?
Speaker 3 (03:17):
Andy, I don't know.
Speaker 2 (03:19):
I'm Monday through Friday now, I'm not really sure. I don't.
Speaker 3 (03:20):
I don't.
Speaker 2 (03:22):
I'm just kidding.
Speaker 5 (03:23):
No, I miss, did you read the email I sent you?
We get a great viewer feedback.
Speaker 2 (03:28):
Yeah, this is this is a real This is one
that you should print out and put up on the
cubicle wall because oil boy. So you got an email
from somebody about a gift that you gave to Doug. Because,
as everybody knows on the Weekend show, you guys are real,
real friendly, real familial. You like to, you know, kind
of rip each other back and forth. But also you
give gifts in the holiday season. And so what did
you give Doug?
Speaker 5 (03:50):
Well? Can you read the email first?
Speaker 2 (03:52):
Sure? Okay, dug it up to Casey Montoya. I won't
say who it's from. Doug. Chris Smith's gift is the subject.
That was a distasteful gift you gave him. You would
have done better not giving him anything. You really showed
how thoughtless you can be. I keep thinking you're going
to get but you're not. Because going to get it,
(04:14):
but you're not because you don't see anything wrong with
your actions. I honestly can say that is why you
are not married. Enjoy the rest of your year. WHOA, now,
what did you get the coke?
Speaker 6 (04:31):
Okay?
Speaker 5 (04:32):
I gave him a rotisserie chicken.
Speaker 2 (04:37):
And that was so offensive.
Speaker 5 (04:39):
Why I gave the girls these cute You know how
when you go to a stadium you have to take
a clear bag. Now, well I got the girls these
designer Hammett bags that are really cute, and I gave
him a chicken. The thing is, there's a joke. When
Doug and I were reporters, like ten years ago, we
had this afternoon meeting that started at like three in
the afternoon, and he would come in like with chicken
(05:00):
in his pockets, like he just always had at three
chicken on him for some reason. And so a few
years ago I thought it would be funny to give
him a chicken as a gift and just kind of
stuck and he thought it was funny. But apparently this
viewer did not like, not like, and that is why
I am not married.
Speaker 2 (05:16):
Well now, at least, do you have a reason why.
Speaker 5 (05:19):
I was wondering. I've been talking to my therapist for years.
Speaker 2 (05:21):
I gotta tell him, you can, hey, for real, though,
I think it's a great gift, and I really like
what you guys do there, and I think that everybody
has such a good time. And I was so thankful
to be able to have the opportunity to be on
that show. Uh, and I do miss it, and I think,
you know, sometimes if you know things, if they if
they if they get rid of the weekday show, maybe
I'll come back.
Speaker 5 (05:42):
I'll come back to Hey, I'm gonna hold my breath
waiting for that. You want me to talk about the weather, right?
Speaker 2 (05:46):
Yeah? Are we going to have rain on New Year's Eve?
Is what everybody wants to know, because I know there's
a lot of people out there who spent some serious
some bookoo bucks to have those rooftop dinners, those rooftop
of firework watching experience.
Speaker 5 (06:00):
Is yeah, I think the fireworks might get rained out.
I mean yeah, probably. So there's two storms coming in.
One is Wednesday night into Thursday morning, and then another
one's Friday night into Saturday. And we're not going to
get as much rain as we did last time.
Speaker 2 (06:16):
Can you roll your windows up, Casey?
Speaker 5 (06:20):
No, my windows are a motorcycle, are very loud cards
you're going to pass me. So two storm systems probably
going to see totals of one to three inches for
the coasts and valleys and then two to five for
the mountains and foothills, so not anywhere near what we
just had. But I mean, keep in mind, you've been
watching the news all day, I'm assuming and prep for
the show. How many down trees did we send Sky
(06:41):
five to today? So just know the ground is saturated.
We've had some gusty winds, We're not done with those.
We're going to see more rain, So down trees and
downpower lines definitely still a possibility for us. But yeah,
I mean, unfortunately, it's likely going to rain during the
Rose Parade, could be moderate at times, and it'll be cold,
So I don't want people to not go, but just know, like, look,
(07:01):
I've gone to a football game before where it's pouring rain,
and if you prepare, you know, if you wear your
rain shoes and the poncho and you just dress warm,
it's not that bad.
Speaker 2 (07:10):
No, No, we are very dramatic when it comes to
dealing with the rain. And it's funny because I have
some friends up in San Francisco where it also has
been raining like NonStop for six months, and they were like, no,
people still do things when it rains. They still go
out and do things. They don't they don't hunker down
and bundle up and say like, oh, it's gonna be
gotta go raid the costco because most people deal with rain.
(07:31):
But you know, to be fair, we don't really have
to that.
Speaker 5 (07:33):
Much here, we all, but we do this week. I
lived in Portland, Oregon for five years, so I mean
I can deal with it, but I became a baby again,
you know, being back here for ten twelve years. But
just we want people to know, like it's a night
where people like to go out. Hopefully you have a
designated driver and you're not gonna be drinking and driving.
But yeah, it's gonna be raining, and you know, it's
(07:55):
a great weekend. Stay in, watch movies, go to the movies,
but just be extra careful out there. And I don't
want to discourage people from going to the Rose Parade. Honestly,
people put in so much work all year for this,
so true. It's just it's a shame.
Speaker 2 (08:10):
You can always buy a poncho. Indeed, you can always,
as we say, stay home and watch TV because you
can see the Rose Parade on KTLA channel five.
Speaker 5 (08:18):
Well and KTLA I will tell you it's the only
commercial free Rose parade airing in town. And it just
gave me a good idea, Andy for like a side hustle.
I need to get a permit to go sell ponchos
outside the Rose Parade.
Speaker 2 (08:31):
Now that's why you're not married. I don't know, Maybe
you might. I think that these days that the local
authorities are preoccupied with more than illegal poncho sales from
a local weather person. But I don't know. That's just
my own.
Speaker 5 (08:48):
Anyone knows where I can get a quick permit for that.
Let me know.
Speaker 2 (08:51):
Yeah, give us a call. We'll open up the phone
lines and you can call and tell us. Casey, thank
you so much for joining us. Be safe out there.
I hope you have a nice evening. We'll try to
do our best honor in mister Tim Conway Junior here
on the show in his absence. I can't make any promises,
but we're doing. We're doing, okay. We've at least made
it through an hour and fifteen minutes and none of
(09:12):
us have been fired yet.
Speaker 5 (09:14):
Right, all right, there's still time.
Speaker 2 (09:16):
There's still time. Love it, Casey Montoya, appreciate you.
Speaker 5 (09:21):
Dosh you say ding dong to you?
Speaker 2 (09:24):
You can't. I don't think there's a rule, right ding
dong ding dong with her?
Speaker 5 (09:29):
It does doesn't feel right, No, it doesn't feel right.
Speaker 4 (09:32):
You gotta you didn't. Gotta put something in here by.
Speaker 2 (09:34):
Yeah, give me a give me a good ding dong,
crush ding doll.
Speaker 4 (09:38):
Yeah, just gotta put something in it.
Speaker 2 (09:40):
Man, put something in it.
Speaker 4 (09:42):
It's a holidays. Put something in it.
Speaker 2 (09:43):
That's why you are married.
Speaker 6 (09:46):
You're listening to Tim conwayjun you're on demand from KF.
I am six forty.
Speaker 2 (09:53):
Good Monday evening to you just past five nineteen on
the dot. You know you don't ever get NewSpace people
saying the specific time with a lot of the bottom
of the hour, talk a lot on top of the hour.
But you got a tune into KFI to get somebody
to shout out the actual time, the hour minute. Maybe
I'll do second. I don't know. I can't promise the
(10:13):
world to you, but we'll do our best. We were
listening to Nirvana. Little smells like teen Spirit And there's
a good reason because I'm joined in studio right now
by Howie Weinberg, who is a mastering engineer, been doing
it for thirty years. Going back to Nirvana. That song
you heard there, the Clash YouTube Soundgarden, Red Hot Chili Peppers,
(10:35):
White Stripes, Killers, Beastie Boys, Run DMC, Deftones, Black Keys,
Gary Clark, Junior Madonna, Chryl Crowe, b York, Jeff Buckley.
Did I say, Nirvana, thanks for being with me in
the studio. It's great to see you, buddy.
Speaker 3 (10:50):
Thanks Andy m appreciating inviting me out here. You know,
it's a beautiful day for an interview.
Speaker 2 (10:56):
Yeah, exactly, I know there's a.
Speaker 3 (10:57):
Cloudy, disgusting weather. It's gonna get start at five o'clock.
What better place to be than with Andy and and
the studio.
Speaker 2 (11:03):
Well, I so appreciate that, And I thought of that
when you were coming up the elevator into the iHeart
Burbank studios here into the headquarters on the on in
Los Angeles. How many of your songs are being played
at all times on iHeartRadio things all across the country.
I mean it's thousands.
Speaker 3 (11:19):
Of them, maybe maybe millions, maybe millions. And actually I
did there is one of a very famous sight out
there called LUSO, and they got me for one hundred
and ninety billions uh streams stream that's crazy, over eight thousand,
almost nine thousand recording credits, which I think about it,
nine thousand credits.
Speaker 2 (11:39):
That is crazy. So nine thousand over thirty years. How
many is that per day years? Forty years? Okay, I
didn't want to You don't seem to be old enough
to have been a.
Speaker 3 (11:49):
Start really really young, but you know, yeah, and you
know it was. It was a whole different world in
those days.
Speaker 2 (11:56):
Right, So this you take it back nineteen seventies, New
York City. How how Wineberg's just roaming around getting into
the music business. How do you become a mastering engineer?
And also how do you become like the guy who
does basically everything?
Speaker 3 (12:11):
It was the timing was really important. A good friend
of mine, I just kind of gott got involved with
this studio that my my mentor Bob Ludwig, who was
the god of mastering, started working at. And I had
no I had no skills. I thought I could be
(12:31):
really good at it. I had absolutely no background in
music or recording or anything. But I played around with
little tape machines as a kid, and I had absolutely nothing.
And they said, okay, well you could, we could use
a messenger boy. So I got my foot in the door,
Like all.
Speaker 2 (12:48):
Right, so you did? You would have been at like
Sterling Sound and Okay.
Speaker 3 (12:53):
Yeah, it was, and it was it was I think
it was nineteen eighty and I did. I did one
year where we had a we had a contract with
Polydor Records, which is also a phonogram. They had, so
any any projects that were done domestically for Polydor in America,
(13:16):
we'd have to make all you know, there was no
digital at that time, all tape machines, analog tape, fifteen nips,
you know, little tape and all that, and we had
to make copies of all of the projects. So my
first job was to make copies of whatever domestic records
were done internationally, like send out, make ten different copies
(13:39):
of just a real, real funny thing.
Speaker 2 (13:42):
You got it, you got it. Oh damn, no worry,
We're live. We found it, we got we can cut
it out. So we just jumped ahead.
Speaker 3 (13:49):
But oh shucks. They hit me four meals and it
was Saturday Night Fever Real one, two, three, four Wow
double records set of Saturday Night Fever. It just they
just finished recording and they mastered it somewhere else. I
think it was Capitol Records in New York in La here.
They handed me the tapes like there was a courier
(14:11):
that came in. We need twenty copies immediately. So I
was probably one of the probably was one of the
only people outside of the studio to hear that record
and hear those songs immediately.
Speaker 2 (14:23):
And let's go back to then jumping ahead.
Speaker 3 (14:26):
Because you have braging rights on that time.
Speaker 2 (14:28):
Well, I know it's pretty cool, but what you definitely
have bragging rights for is what we started. The segment
with which I want to I want to go back
to is Nirvana's never Mind. You mastered that song. This
was obviously a very important moment in music. Did you
know nobody really knew that. Well, I was gonna ask, like,
when you were sitting there, take me back to the
(14:51):
time that you first heard that song.
Speaker 3 (14:55):
This is a this is I guess what. I don't
know what year it was, but the day was they
booked the session and then usually what happens is everything
in those days was a half inch reel to real tape.
There's no digital. Then there was digital, but it sounds
(15:15):
like crop, so half inch real real tape. They sent
me the tapes, they sent the studio the tapes ahead
of time, and then you know, I get it. I'm
I can try to get everything ready, to get the
tones up, get everything all sounding, you know, so when
they come in, I can just play it and we
can do our thing, you know, go through the songs.
Speaker 2 (15:33):
So the band was coming in, so Curtsey.
Speaker 3 (15:35):
Everybody had curt and everybody was booked to come in
at like one o'clock, twelve thirty one o'clock. So two
o'clock comes, around, three o'clock comes, nobody shows up. Wow,
I'm just playing around. I'm like, well, this is good.
I got some good sounds here, and I go, wow,
this is not bad. And I'm thinking this is for
an alternative record. This, you know, there's something good here.
(15:57):
I didn't know what the hell I was talking about.
But then so then I just got into the record.
And by the time they showed up, like I don't know,
five thirty six, it was like four or five hours
after the scheduled. The scheduled.
Speaker 2 (16:12):
Yeah, the session was going to start.
Speaker 3 (16:14):
Yeah, I had everything finished.
Speaker 2 (16:16):
Wow.
Speaker 3 (16:16):
The guys walk in and they go, this is this
is great. Everything is done. I got it on, I
got it, I got all my settings, I got everything
ready to go. Just sit down. Okay. So Kurt was there,
probably Dave was there. I don't know if the Basebak
Kurt Chris was there, but Andy Wallace was there, butch
Big was there, their men, everybody showed up. They all
(16:39):
sat down. I have the big as speakers and everything.
So we just played Saturday and side B and it's
like just one and everybody walked out, like at the
end of the set, you know, at the end of
the playback, WHOA, what's.
Speaker 6 (16:53):
Going on here?
Speaker 7 (16:53):
Wow?
Speaker 2 (16:54):
And you kind of everybody sort of had a sense
this is gonna be something.
Speaker 3 (16:58):
At the moment. At that moment, yeah, And when they
walk in and they were a little embarrassed because you know,
this was a very very it was polished. It didn't
sound like any of their other projects. There are the
records which I didn't work on, were grunge records, and they,
you know, and they were almost a little embarrassed by
this because they hired the big pop producer, uh, a
(17:19):
big pop mixer. Butch Vig was the producer. But he
wasn't the pop Yeah he was. He was a Smashing
Pumpkins guy and uh, you know, a punk rock kid.
Speaker 2 (17:29):
Yeah.
Speaker 3 (17:30):
They hired the famous Andy Wallace to mix in and
so they got a very polished sound that they were
almost embarrassed by.
Speaker 2 (17:36):
That's so wild because now I think about it and
I don't feel that it's amateur at all. But it
doesn't sound like slick to me. It sounds still like
guys playing in a garage with really loud amplifiers, really
loud drums, a really loud kid. I'm assuming that you
know you'd already been working a lot by that point,
because you had done a lot of the eighties New
York scene of hip hop, and that was also a moment,
(18:00):
and I imagine that probably opened up other opportunities for
you as well.
Speaker 7 (18:04):
Well.
Speaker 3 (18:04):
The hip hop actually opened up all the opportunities because
I was also like the first first first six months
on the on the job where what happened was I
was doing the tape copies and the engineer, it was
an older guy, had his studio there and somehow it
didn't work out. So the owner of the studio says, tomorrow,
(18:25):
that's your studio, and I go, okay, I still don't
know what I'm doing. Amazing, I have no idea. I
can know how to push play and I can.
Speaker 2 (18:33):
So you were just like a warm body who they
were like this guy is sure, let's try him out,
and let's see.
Speaker 3 (18:38):
I figured it out like a for a week or
two or three. I figured I wasn't that hard.
Speaker 2 (18:42):
But that's not true though, because if it was really,
I made.
Speaker 3 (18:47):
A thousand mistakes immediately. But I did have an open mind.
So what I did is I practiced a bit and
then when the first break came where this record label
came up to me and we were doing all the
Mercury Records, Polydor Records, and they had a hip hop band.
(19:09):
It was cold rap band called Curtis Blow. It's called
Christmas Rappin' and next thing I know, I put it on.
It was the biggest rap hit. It was the first
big rap hit.
Speaker 5 (19:18):
Wow.
Speaker 3 (19:19):
And then like a few months later they came out
with a song called The Breaks, which was one of
the most nominal hip hop records of all time, crazy
the first gold or platinum twelve inch single, and from
there it was all you know that A client was
Russell Simmons, and then it became Rick Rubin and def
Sham Records, and there was like a couple of years
before def Shams started, and Russell Simmons had every rap
(19:42):
artist he had, Joey Simmons was his brother, Run Run DMC,
and they had a whole slew of artists. So then
I was just the guy. Yeah, I was the guy.
They go, yeah, he he's the guy who makes the plates.
Speaker 2 (19:54):
And now nine thousand, at least thine thousand credits later,
we are going to take a break. When we come back,
we'll they'll have more with Howie Weinberg. We're going to
talk about.
Speaker 6 (20:03):
You're listening to Tim Conway Junior on demand from KFI
AM six forty.
Speaker 2 (20:09):
The Monday, in the middle of dead week, but I'm
feeling alive. Join in studio with my guest, Howie Weinberg,
a mastering engineer responsible for so many of the biggest
hits of the last Now I understand forty years.
Speaker 3 (20:21):
Forty years I started when I was nineteen, And how
many are you doing a day?
Speaker 2 (20:25):
These days?
Speaker 3 (20:25):
I usually can do I don't want to. I usually
do two hundred and fifty to three hundred projects a year,
whether it's EP singles or albums.
Speaker 2 (20:33):
And I feel like mastering is one of those things
that there's very few people who do it because I
think there's very few people who understand how it works. Essentially,
what happens is the band or the artist will record
the song. They'll do it in the studio, record it,
then they'll mix it. That's a different person. Generally they'll
mix it and then the last person is you. It's
a maxim mastering engineer, and a lot of what you
(20:55):
do is balance the song in relation to the other
songs on the album, but also make it loud, make
it stand up to all the other mixes on the radio,
make the eq perfect, kind of put that last glossy
machine on it.
Speaker 3 (21:07):
It's a juju thing, right, Well, that's the thing, and
you know what it is. It's you can't really you know,
you could buy a plug in, you could buy an
app that might might kind of say, oh, we'll give
you this sound and that sound. But when you when
I get hired, and I'm not, I'm not out here
for an advertisement. You're getting forty years of experience. I
could put a song on it and instantly know it
(21:28):
needs more bottom, needs more top. It's perfect, Wow you
need a new mix or yeah, But I you know,
I'm generally pretty humble about this stuff, so it's not
you know, it's not my piece of work. I'm just
taking somebody else's work, and what you try to do
is just take it to another level.
Speaker 2 (21:45):
Yeah, And I think what's cool is that through the
process you can discover things and and learn things about
the song and you impart something to it that is
an unknowable thing. It's like you said, it's a juju thing.
It's like unquantifiable.
Speaker 3 (21:58):
And what I like to call it is just the
I'm basically the last creative guy and the first manufacturing guy,
the first guy that the public hears. Yeah, so I
have to be. I'm the guy who I'm the goaltender basically.
Speaker 2 (22:12):
Yeah. And so you do a lot of stuff here
in LA because you moved out to Los Angeles in
twenty ten, is that right?
Speaker 5 (22:17):
Ten?
Speaker 2 (22:18):
That's the same year I moved here.
Speaker 3 (22:19):
And I was in New York. I was in New
York for it was thirty years and less than thirty years.
And I had this massive to studio and I did
and Bob Laduga is my was my mentor at New
York and we just did so many records. And now
those are the record the vinyl days where you know,
(22:39):
all the projects were all put together and everything was
real to real tape and so discuding.
Speaker 2 (22:45):
When you think back to nine thousand, more than nine
thousand releases, do any of them stick out in your mind?
I mean, obviously we're playing the Nirvana song, But do
any of them stick out and and make you that
you think are like that was a really amazing sounding song.
Speaker 3 (22:59):
Oh, I could go on and on and on. I
really liked when I first got started, the run DMC stuff,
the Beastie Boys stuff. I did, all the Metallica records,
that Deaf def Leppard stuff, the I did a Rush
album I did, I did two U two albums. I
did White Zombie album, I did Buckley record I did.
Speaker 2 (23:19):
And I know it's different, but in situations like.
Speaker 3 (23:21):
Chilli Peppers, right Chili Peppers record?
Speaker 2 (23:23):
Right with with with the Chili Peppers or with you two?
Like does Bono come into the studio and sit there
with you?
Speaker 3 (23:28):
Absolutely? In those days he was there for We did it.
We did one project. I thought it was one of
the best albums. It was called Pop And they had
worked on this record for over like a year, more
than a year, and they had a tour plan, so
they they came into the studio and they were not
quite finished with everything, but they had to get it
mastered and finished so the band could go on tour wow.
(23:50):
And so they had all these tour dates planned exactly
after the mastering was done. So they we spent two
weeks together almost every day. We went out, we had
we went out, had drinks, we partied a bit.
Speaker 2 (24:01):
Were you were you thinking it all starstruck that this
is Bono or did you just say, like, this is
a normal guy.
Speaker 3 (24:06):
You know, at the end, I just it's a normal guy.
I mean, after the after the the gloss of wow,
he's pretty famous, goes away and you've been spending all
the time just regular old people, you know, they're not
more than regular people.
Speaker 2 (24:18):
And yeah, we we.
Speaker 3 (24:19):
It was in New York and they had they rented
out a big hotel downtown and they would have dinners
and parties and stuff where everybody was invited. The whole
crew was there. Producer named Flood was doing it, and
a bunch of the big Mixture, Spike Stanton and all
those guys were all showed up and and it was
it was so much fun, cool, And at the end
of the week we finished the record, and then a
(24:40):
week later they were on tour.
Speaker 2 (24:42):
That's unreal World Tour, and then the record is, you know,
going up the charts, the one you just still did,
Sergel Simpson, Right.
Speaker 3 (24:49):
I just finished the Surgel Simpson album. Wow. And I didn't.
I don't even like I didn't. I had no idea
what it was. I do a lot of work for
the band Black Keys, so they had they had I
don't know if they cold produce it or they did
it at their studio. So they called me and said,
I got something for you, but we're going to send
you a bunch of stuff and see if we like it.
Speaker 2 (25:08):
So the process just so that we will wrap this
up here because I know we got to get to
a commercial break in a little bit. But you know,
the morning looks like for Howie, you pop downstairs because
you work from home. Right, you got a studio and the.
Speaker 3 (25:18):
Yeah, I mean I I got it made.
Speaker 2 (25:21):
Yeah, it's a cool it's a cool compound. But you
put on some tea. Then you go upstairs to the
studio express man or have some coffee and you get
sort of in the zone. You put the song up
on the computer and then you run it through all
your your vintage gear and your computer, all the things.
You try this, you try that, and then you kind
of get it to a point where it starts to
(25:43):
feel good exactly, and only you know that, only your
your ears are able to identify when that is to
your level.
Speaker 3 (25:51):
Absolutely hit it on the nose, and it's all some
of the some of the projects really fast. Some you
have to really have to tune in on some of them.
Play it right away. Wow, this sounds great. I know
exactly what knob here this took. I got have five hundred.
I gotta have a thousand knobs on the desk, but
only fifty are good. Oh yeah, man, fifty are good
(26:13):
for the project.
Speaker 2 (26:14):
Exactly because it's all. And then the fact that you've
done this for so long and you've done so many
maybe one.
Speaker 3 (26:18):
Hundred work after that, So it's it's a it's really
I guess it's experience counts.
Speaker 2 (26:27):
Now for people who are making music, maybe more at
my level, and people who are recording in their houses. Well,
thank you, but people are recording in their homes.
Speaker 3 (26:33):
Uh.
Speaker 2 (26:34):
There's always the fun of digital plugins, things that you
can use in your in your recording software, some of
which now are emulating your process absolutely.
Speaker 3 (26:45):
And I'm glad you said that because at this day
and age, we're different right now, we're in twenty would
be twenty twenty six tomorrow. Yeah, unbelievable. I mean, we
have gone so far in the world of digital. It's
you know, it's I could when I thought about it,
when digitally finally really showed up, like twenty five thirty
years ago, to be where we are today, I'm amazed,
(27:08):
you could. You know, the analog stuff is really good,
but the digital stuff emulates all the analog stuff, the
isotope stuff, all the all the slate plug ins, all
the plug in alliance. You the plug ins are so
good now that now that basically anybody it's now it's
it's a term. It's we've gotten down to skill a
(27:30):
skill set, right.
Speaker 2 (27:31):
It's taste. Everyone has the ability to have the the
the equipment right or a version of it on the computer.
Now it's like how good are your ears? How well
do you know how to use it?
Speaker 3 (27:41):
Also, had had to make a hit song and how
to make it sound like a hit and how to
you know, because budgets are not what they used to be,
and they're really you know a lot of them are
really small. So a lot of people are making records
at home. They're recording them at home, mixing it at home,
and they're fantastic. Yeah, and I get it, and they
they they like to hire me at the end because
I'm I'm the last guy. I'm not crazy expensive. I mean,
(28:03):
I'm not cheap, but they can harm me. And they
know after I'm finished mastering that record, that's going to
be a competitive sounding record.
Speaker 2 (28:12):
Well said, Howie, Thank you for being here. The website
is Howie Weinberg Mastering dot com. You can find him
on Instagram, Howie the Master. H O W I E
Howie H O W I E W E I N
B E r G mastering dot com. You're the best.
Thank you so much for being here and and congratulations
on all the all the cool stuff that you've been
(28:32):
able to do.
Speaker 3 (28:33):
More to come.
Speaker 2 (28:34):
I love love to.
Speaker 3 (28:34):
Hear it back again. Part one.
Speaker 6 (28:37):
All right, you're listening to Tim Conway Junior on demand
from kf I A M six forty.
Speaker 2 (28:45):
Andy Reesmeyer here in for Tim Conway Junior on The
Conway Show alongside FOOJ, Croche, Angel the whole crew except
for Conway and Bellia. So like a lot of the
crew is that's a pretty signal part of the crew,
you know, what I mean.
Speaker 7 (29:03):
Yeah, well, Tim is, let's not get carried away.
Speaker 2 (29:09):
Oh my god, this is fighting words. Angel. You don't
saying something in such a nice way doesn't make it
any less mean.
Speaker 7 (29:18):
Oh, come on, that smiles didn't knock some of that town.
Speaker 2 (29:21):
It did. Actually, I'm like, I can't, I no, don't
know how it is. Hey, how are the roads going
out on tonight for people who are maybe traveling coming
home for the Christmas holiday? Or are they done? Is
it over?
Speaker 7 (29:32):
You know, it's it's kind of it's a little lighter today.
It's not your usual you know, drive home at night.
But things are pretty crowded out there. I'm surprised at
how busy the CA Home Pass has been over this
past week, like both directions heading into the high Desert
and coming down from the desert. Guess a lot of
people probably you know, heading out to Vegas and coming
(29:53):
back from Vegas.
Speaker 2 (29:54):
I would, ama, Oh, that's a good point. Do you
think also that there's because there was a lot of
weather up there, people got out maybe beforehand.
Speaker 7 (30:02):
Or well I would, yeah, I.
Speaker 2 (30:06):
Would, yeah, of course.
Speaker 7 (30:08):
Hey, Anty, I wanted to ask you something.
Speaker 2 (30:09):
What's up?
Speaker 7 (30:11):
Howie mentioned that you make music.
Speaker 2 (30:13):
I do. Let's hear some I do, I I will,
we'll have we'll have to pull it up. Maybe. I
was in a band for many years called the Working Hour,
and then that that didn't work out. I moved to
La to be in to do music. And my fallback
career was a couple of hits on television and then
filling in for radio, and so you know, it worked
out for me in that way. But I'm in it.
(30:35):
I do. I do a group called Andy in the
Valley and we have a couple of songs out and
and it's fun. It's sort of like for people who
like Tom Petty's eighties stuff, but it's just not as
good obviously. But I will pull them up and we'll
play a little bit later.
Speaker 6 (30:49):
Maybe.
Speaker 7 (30:49):
Yeah, I'd love to hear it.
Speaker 2 (30:50):
Thank you. Wow, that's nice. I have to venmo Angel
now twenty five dollars for the that's right. Well for them,
we could no tax, just straight, no tex, just straight okay.
But because you can't report it's six hundred dollars is
the limit before you have to report it?
Speaker 6 (31:02):
Right?
Speaker 7 (31:04):
I think so, Well, you can just hit six hundred
couple of times.
Speaker 2 (31:08):
Oh, just do it separately. Well, also, I could do
one now and then I have to do it again
at the beginning of the year, because I think that
that's those are taxed different different years. Okay, gotcha, Welcome
back to tax Talk on kfive AM six forty. Usually
I saved this kind of stuff for the weekend show,
but no, we're getting into ten ninety nine W Two's
that's it. I don't know any more than that I
(31:29):
have not made enough money to have taxes beyond the
regular world W two. I have a response from Michael Angaro,
the owner of the San Pedro Fish Market. Remember our question,
do fish have a smell when they are alive? He
says not really. The smell is typically because they're no
longer fresh to eat because they dead too long exclamation point,
(31:51):
exclamation point. They smell more, right, they smell more like
the ocean when they're alive. Sorry for the later response
was driving Michael and Gara San Pedro Fish Market. That's
close to you, Angel.
Speaker 7 (32:05):
Kind kind of yeah, yeah, close to the Long Beach
studios for sure.
Speaker 2 (32:09):
Yeah. Closer to you than me than we are, which
I think is important to say because this whole, this
whole map here is a is a big distance That
place is amazing though. I mean they still have two
hour lines there on the weekend to get a big
old plate of fish at San Pedro Fish Market. Good
good stuff.
Speaker 3 (32:31):
It's so much fun there, it is.
Speaker 2 (32:33):
It is really cool. And I I think that that
even if you get the seasoning, you know they sell
it now, you can get like the fish rub. Oh wow,
you got fish smell and fish rub on this show.
Speaker 7 (32:46):
Nice.
Speaker 2 (32:46):
Let me tell you. It is the end of an
era in New York City. The metro card is done.
And the reason I wanted to talk about this is
because obviously it affects us not at all, but I
think that they have this weird sense of pride in
New York about their metro cards. There's that Metro Card
Conversation show on Instagram where this unfortunate comedian, unfortunate looking
(33:10):
comedian is talking to attractive women on the subway and
the microphones that they're holding are the little metro cards.
Do you know what I'm talking about? Have you seen this? Yes,
it's pretty funny, but they're getting rid of it.
Speaker 4 (33:26):
What the ones I've seen, I think, I like, mostly
out of New York, but yeah, yeah, no, they're all
New York ethan Hawk is is it a big one?
I talks about like the Beatles and the ads. Oh
that's cool, yeah, yeah, philosophical, awesome stuff.
Speaker 2 (33:37):
It's interviews with people on the subway and they're they're
talking into the metro cards and it's like metro Card.
I don't know what the show is called. It's like
Metro Card Conversations or something like that. Listen. I can't
know everything. And you know they're going they're going away
with these cards because obviously the cards degrade over time.
(33:57):
They have that little metal strip in the back, but
it doesn't work a lot.
Speaker 3 (34:00):
Subway takes.
Speaker 2 (34:02):
Subway takes. Is that what it's called it? Apparently that's
a pretty good name. So they're okay, they're in the
clear because if the metro card goes away, they still
they don't have to change their branding now.
Speaker 4 (34:09):
At least it's one guy who's who's most famously doing it.
Speaker 2 (34:12):
I think that's the guy that sounds right, and he's
pretty good. He's got some smart some smart tape. It's
just a very New York show. And every time I
see it and everyone, the way they talk and they're
povs on things, they're just very New York. It's very
not Los Angeles. You couldn't do that show in LA, yeah,
because it would be like a zombie apocalypse show. You know.
You'd have two influencers sitting there on the on the
on the subway and the Metro, the Red line going
(34:34):
up through downtown towards the Universal City, and then some
guy would be coming over who was just like like
walking and peeing at the same time.
Speaker 4 (34:42):
Yeah, you can't have that that that same social interaction
here in LA that you can have in New York.
Speaker 2 (34:46):
No, not at all.
Speaker 4 (34:47):
The people on the on the public transit systems here
in LA, they won't have it.
Speaker 2 (34:52):
No, And there was a lot of time, I think
in my early LA days. I moved here when I
was like twenty two, so I know, I know most
people think I'm only seventeen, but I've been here for
about fifteen years, and I was thinking about moving to
New York because things just weren't happening with the band.
Music wasn't working, and I was feeling good about going there.
So I went and visited, and I kind of got
(35:14):
some ideas in my head that I was going to
be that guy who like moved to New York and
rode the subway. And so I'm on the train and
I'm riding up because I want to go to some
museum or something, and I don't know anything about New York.
And quickly I realized that I'm maybe in an area
where I shouldn't have been, because a guy, a fella
to the next seat over next to me just told me,
in no uncertain terms, straight to my face that he
(35:36):
planned on killing me right there to just was gonna
kill me. And I was like, oh crazy that. Well,
I was not planning on that for today. And I'm okay,
I'm all right on the killing for today. So I
got off at the next stop. I stepped up, got
off of the next stop, I went out of the
train station, and I came back in. But I realized
(35:59):
that everything he's very confusing there, right, especially if you're
not a local. I came back in and I was
going the wrong direction, so I was like, oh, I
got to go back out. So I went scanned back out,
and I tried to come back in. But the way
that they have the system, it's like the parking garage here,
where you can't scan in and out because they know
that you're trying to basically get back in too quickly
from when you've scanned out. They think that you're you
(36:21):
gave it to somebody else, you know, your card to
somebody else, so they won't let you in. So what
did I do? I just hopped the turnstyle right. Almost
immediately a guy in a like a beanie. He looked
like he was like a a like how on Law
and Order when someone, uh is dressed up as a
homeless person, the undercover you know, yeah, he was undercover.
(36:43):
He's like dressed up like a homeless person. He had
like fingerless gloves, a beanie. Uh, it's I don't know
what it was. It was just like it was so silly.
And he came up to me and he shoved me
up against the great No and he's like where you going?
Speaker 5 (36:58):
You know?
Speaker 2 (36:58):
It was like like I felt like I was into
Billy Joel's or something and it was so New York
and he yelled at.
Speaker 3 (37:03):
Me Billy Joel song.
Speaker 2 (37:05):
Mostly, yeah, everybody knows those Billy Joel songs where all
those guys are getting shaken down by undercover cops. Listen,
if you go on the deep cuts, if you go
glasshouses like the Deluxe Edition Tex song. For some reason,
That's what I was thinking of. Yeah, the moving Out
(37:26):
Anthony's song. And and this guy just I mean he
had to be five five feet tall at five feet
probably two fifty. He was a big little boy. And
he had me up against the wall and I was
like a cartoon where my arms, you know, I was,
I was up, My feet were like dangling down below him.
He's like shaking me down for my lunch money. I'm exactly.
(37:47):
And I was like, he was like, what are you
doing trying to get I was like, I truly just
said to him, I don't know what I'm doing. I
live in Los Angeles, Oh all right? And he let
me go. It was like get out of here. And
and I remember getting back to I think the Grand
Central is that what it's called Grand Central Station? Unions,
(38:11):
no Penstation, whatever it is, I know, I got it, uh,
And and just sitting there and just like drinking just
beer after beer, being like I.
Speaker 3 (38:20):
Can't do it.
Speaker 2 (38:21):
I gotta go back to LA I can't be here.
And that was the end of my trip to New York.
It's like a Billy Joel, We've got more hot takes
like that coming up here on the Conway Show. Any
Reason My're in for Tim Conway Junior. It's k if
I AM six forty Live everywhere on the iHeartRadio app.
Speaker 1 (38:38):
Conway Show on demand on the iHeart Radio app. Now
you can always hear us live on k if I
AM six forty four to seven pm Monday through Friday,
and anytime on demand on the iHeart Radio app
Tim Conway Jr. on Demand News
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