June 5, 2025 • 45 mins
Currently on the road with Better Than Ezra, Michael Jerome is a highly sought-after and talented drummer. We learn all about Michael, including how he hooked up with Slash for his blues "Orgy" album and SERPENT tour. Plus, we him ask YOUR questions!
More info:
https://michaeljeromeondrums.com/
https://www.instagram.com/mmjerome/
Our website: https://afdpod.com/
More info:
https://michaeljeromeondrums.com/
https://www.instagram.com/mmjerome/
Our website: https://afdpod.com/
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
You know what.
Speaker 2 (00:12):
Yes is Appetite for Distortion. Welcome to the podcast Appetite
(00:32):
for Distortion, Episode number five hundred and ten. My name
is Brando. Welcome to the podcast. Mister Michael Moore. How
are you, sir? Or Michael Jerome? I mean it's duality problem,
Like I'm Brandon Brando, Michael Jerome. I guess is how
you want to be introduced?
Speaker 3 (00:49):
I should say, well, you know it kind of that's
one of those things when we were kids, were like,
what's our stage name going to be?
Speaker 1 (00:56):
You know, and I thought it was ridiculous.
Speaker 3 (00:59):
But you know, my middle name is Jerome, so I
chose Michael Jerome when we were kids and just kind.
Speaker 1 (01:05):
Of stayed that way.
Speaker 3 (01:06):
But full name Michael Jerome Moore, and I let people
just kind of decide what they want, you.
Speaker 2 (01:13):
Know, before we get going. I haven't thought about this
in a while, and I've thought of embarrassed to say
it because I like hearing that those set of stories
of how you come up with the stage name, obviously
dealing with somebody like Slash and with the guns and Roses,
the Maxel Rose. It's come up quite often. I'm brand
oh Air quote Brandon in real life, and it just
(01:34):
started in radio. In college, I was brand of the Commando.
I don't know, it's it was a heavy metal show.
It's it was given to me. I'm like, all right,
I guess once I became are you professional? I wanted
to change it and just like you middle name okay,
so Brandon Neil okay. I looked up if there was
(01:55):
a Brandon uh Neil, like, just because I'm sure you
may have looked that out because it's a Michael Moore obviously,
but Michael Jerome, he was a a porn star, a
gay Canadian porn star that did quite a new few films,
so I figured maybe that's yeah. I mean, I'm sure
he was a lovely guy, but that's uh. I didn't
want any association. I don't know. I wanted to be
(02:15):
my own person. So Brando stuck.
Speaker 3 (02:18):
Brandos stuck, and I think it's good. That's the way
it should be, you know, you know I did kind
of did the same thing. But if you look up
Michael Jerome on the internet the first, you know, back
in the day, when I'd look it up, I was like,
let's let's see what Michael comes up with. Michael Jerome
and it would just be this tire screen would just
pop up of inmates in mugshots and I'm just like ouch.
Speaker 1 (02:45):
But of course, but of course I found out.
Speaker 3 (02:47):
There were like several Michael Jerome musicians who were happen
to be percussionist and singer songwriters and stuff.
Speaker 1 (02:53):
Too, So I was like, I I hope people put
me in that camp more than the than the inmates.
Speaker 2 (02:59):
Well, we got the right Michael Jerome here, Michael Jerome
drugs drums. You gotta even me thinking of the inmates,
I guess that's a weird wedding and slip Michael Jerome drums.
If you go to his website and you were just
on tour with that better than Ezra?
Speaker 1 (03:17):
Right?
Speaker 2 (03:17):
Is that what you guess you're coming off with.
Speaker 1 (03:19):
Just on tour better than Ezra.
Speaker 3 (03:21):
We're gonna we keep going through the air periodically, but yeah,
off and on usually with better than Ezra.
Speaker 2 (03:28):
I mean, that's so cool. And before we get to
because I'm lucky enough to have seen you last summer
with Slash, I'm currently wearing the Slashes Blues ball shirt
nice that I got at the show. I hope you
get a cut of these.
Speaker 1 (03:41):
I don't know, well, I definitely do not. I did
get a T shirt.
Speaker 2 (03:48):
I you, yeah, all right, at least to get a
T shirt out.
Speaker 1 (03:52):
I got the tea out of it.
Speaker 2 (03:54):
So I do want to get into that. The show
appear seventeen in New York City and Orgy of the
Damn to your your brilliant work on that. But you
know what, I want to sprinkle and this is a
good way to kick things off a little bit because
I have a lot of listeners from all over. They
were excited for Michael Jerome to be on the podcast,
So this is a good way. A good question from
(04:15):
Casts and Sunshine just basically, how did you get into drumming?
Like what drove you to pick up the sticks? Like
how did you just get on this path that you're
on now?
Speaker 1 (04:26):
You know.
Speaker 3 (04:28):
That is a that's always a tough one. It's tough
and easy. The easy thing is that I just was
doing it when I was like three or four years old.
It just kind of was a naturally inherent thing that
was without thought. Turning it into like becoming aware of
it and turning it into something that I would decide
(04:49):
to do with my life was the complicated bit, you know.
But naturally doing it. I think I my mother. I
tell this story. You know, my mother was a music teacher.
She was a classical pianist, and she had a thing
in the in our back room, had a piano, baby
grand piano in it, and all of the the stuff
(05:10):
she needed to teach her classes. And one of the
things back there was it was called rhythm sticks, and
just a pair of sticks that you hand out to
students and then they click.
Speaker 1 (05:20):
You teach them to keep time and different rhythms.
Speaker 3 (05:23):
And I would take those sticks and at three or
four years old, and proceed to whack on my mother's
baby grand piano keys, which were ivory at the time,
and chip them away because I enjoyed the way that
the sound would come back at me and come back
at me. I liked hearing the snap that it created.
(05:46):
I liked hearing it was like slats that would flam
and also produce a tone, a note, with the mallet
obviously hitting strings.
Speaker 1 (05:58):
And but I also knew that that.
Speaker 3 (06:01):
You know, that really freaked my mother out when she
saw me doing that. I remember hearing her scream from
the kitchen. My well, stop, but the damage was done.
But she got me a drum kit shortly thereafter, which
I promptly destroyed, and we just she just kept feeding it.
Speaker 1 (06:21):
You know.
Speaker 3 (06:21):
I was really lucky to have a mom like her
that where she was just like, well, he's clearly a drummer.
I'm just going to keep I need to keep stepping
up and hopefully he'll stick with it.
Speaker 2 (06:32):
I love hearing that again, especially because before we started recording,
I told you I had my two year old Harrison
Rex in the corner there, and he does have a
drum set, but it's like a play school one that
has sounds and stuff. But he likes picking up the
drumsticks and doing it, and I certainly am not gonna
and my wife too. We do take him to like
(06:53):
a music class where it's just you know, free play
and there's people playing guitar, singing songs, just to be
surrounded by music. And then to hear that your mom
is like that was like that as well. Uh, And
I guess she knew that there was a viable career
path because maybe some parents like, oh, I love that
for him, but maybe that's a hobby. I can't for
(07:15):
see that being, you know, doing it all these years later.
But she being a professional. I'm sure. I'm assuming she
had the confidence that you could do it professionally. You know,
maybe not four, and maybe not at four, but at
some point.
Speaker 1 (07:28):
Maybe not at four. I mean I do remember the
time that she I mean, she fed, she fed the passions.
Speaker 3 (07:33):
You know, it would be drums, and of course, like
a lot of young boys, I went into everything, you know,
I went into every sport, and she played along with that.
Speaker 1 (07:42):
But I would always come back to drums.
Speaker 3 (07:44):
And I remember, you know, she had organs in what,
you know, the garage that was kind of converted into
a room for me, and the garage was filled with
these different organs and I would play for hours doing
the different rhythms on the organ, you know, from fox trot,
you know, through the sambas, through the tangos and different
(08:06):
tempos and everything.
Speaker 1 (08:08):
And I think it was.
Speaker 3 (08:09):
At that time, I must have been about ten years
old that she thought, well maybe I can I think
there's something here that I could possibly take out with
me and we would you know, I can work with
And I think I was about, you know, between ten
or twelve years old is when she started recruiting me
(08:31):
to go play everywhere from church to country clubs to
club nightclubs, Jazz Standard, you know, doing this Jazz standard
run and of gigs with her on weekends. And I
did that until I was seventeen years old.
Speaker 2 (08:47):
That's awesome. To have that special time with your mom
and the bond over. That's that's pretty special. And I'd
be remiss because all because of mom, I guess. And
this is according to he has a I'll give him
a producer credit for this episode. Chris Mercer from Hours,
he yeah, I mean you were on my radar. It's crazy.
(09:10):
You would think with the GNR centric podcast, I'd rown
out of list of people I would want to talk to,
but I haven't, and you've been on my on my list.
But he's like, you know what, because he got me.
He's like, hit up Jimmy. Nico spoke to Jimmy and
then he's like, you know what, let's talk to the
Michael next. I think he would do it, and he said,
in my humble opinion that Michael is one of the
(09:30):
best drummers alive.
Speaker 1 (09:32):
So I.
Speaker 2 (09:36):
And Jimmy sang your praises as well. I mean it's
not just Chris. I mean do you hear that often?
Because you come off very humble. I don't know how
you view yourself as a drummer, you.
Speaker 1 (09:49):
Know what I mean.
Speaker 3 (09:51):
I've always and maybe it was because of playing with
my mom all those years. I definitely was exposed to
stuff that most young kids aren't, maybe people like Sheila
E for example, you know, so growing up in a
family like that and being on stage at a very
young age and just knowing that that was her environment
(10:11):
growing up. I was kind of lucky in that situation too,
so never reached Sheila's success. But I consider everything every
opportunity that I've received, you know, from playing with Jim
and Neko in hours back in the day that was
around two thousand and six or so, and to slash,
(10:34):
you know, these are these were wonderful opportunities, and I
just embrace it, you know when I have it, because
there are moments in time, you know, they start and
they end, and so you got to enjoy every second while.
Speaker 1 (10:48):
You got it.
Speaker 2 (10:49):
Yeah, I certainly every one thing they say about becoming
a dad, I'm seeing that all now, just every every moment.
I don't mean to digress and do that for a second,
Yeah I will. It gives me a good opportunity to
go back to the questions you mentioned Sheila E, who
I don't know how one of those people I pinched
myself that actually got some time with her on the podcast.
(11:10):
She has like a weird six degrees of what I
call guns and Roses Bacon to Hollywood Rose. If you
want people want to check out my back catalog, it's
it's But this is a question from Alex who is
your favorite Motown drummer and that you specifically killed it
on Papa Uh was a rolling stone on an Orgy
of the Damned and just killing it live. So do
(11:32):
you have a favorite Motown drummer?
Speaker 1 (11:36):
You know, I don't.
Speaker 4 (11:37):
They're all I mean, no, okay away because to me
that growing up, they were like, you know, very distinct,
but there was Motown was a sound, you know, and
every one of those drummers brought, you know, what was
necessary and the vibe and the sound they projected, the
(11:59):
sound they are.
Speaker 1 (12:00):
Like, they're my top They're like I always put.
Speaker 3 (12:03):
Drummers like them in the same category of my favorites.
And why it is because they cater to the songs
we know about them being the powerhouses that they are
because of what they did to support the song.
Speaker 1 (12:18):
Yeah, because of the songs.
Speaker 2 (12:22):
Yeah, yeah, yeah, that's that's what makes for a good drummer.
And you know, you got me thinking about parents. You know,
shot up to my dad. It's actually coming up on
the anniversary twelve years since his passing. But he's the
one that got me into Motown and Stacks Records, And
you know, I don't now. I want to can't wait
to pass that down because that's not in the culture
(12:46):
as much as I believe that it should be. You know,
the the old days. I'm coming off like the Abraham
Simpson Grandpa Simpson meme too often shaking at the cloud.
Music wasn't like it used to be. And I'm talking
about music even before my my time. That actually another
good in the question. I want to go back to Facebook.
This is from Satya. He saw you twice in the
(13:08):
past year, first with Slash's Blues Ball last August and
then in February but with Better than Ezra, both in Atlanta.
So as a drummer, he would like to know how
you prepared for both tours and if there were any
differences in your drum setup.
Speaker 1 (13:24):
Okay, good question. Well, they're both very different approaches.
Speaker 3 (13:31):
With a as it pertains to rehearsal and setups are
a bit similar. I have a bit more nuanced noisemakers
with Slash, and I kind of just took the full Monty.
Speaker 1 (13:47):
Out with Slash, with my old gretch kit that I had,
just because.
Speaker 3 (13:53):
You know, there was more room to play and you know,
a pretty diverse catalog to try to reinvent, you know,
and to represent on the stage with all the different tracks,
and you know, I was able to have fun in
the studio with Wood Slash creating that stuff, so I
decided to just move all of that stuff to the
(14:15):
live stage as well. So that's kind of how that worked.
And it was just a full what was it, a
six piece? I think I took out two snares, racked
two floors, twenty six inch I'm sorry, twenty four inch
kick she kind of shallow twenty four by sixteen, And
(14:39):
whereas with BTE it's slightly less, you know, less on
the noise makers. With the symbols like Wood Slash, I
would stack symbols, you know, to the far right. I
tend to put most of my symbols to the far right,
but with Slash, I actually had some balance with symbols.
Speaker 1 (14:59):
Stacks right and left.
Speaker 3 (15:02):
With BTE, it's just kind of a little bit more
standard with RACK two floors rack. And actually I adopted
that setup from Travis McNabb, who when he left BTE
and went and joined Sugarland in Nashville.
Speaker 1 (15:19):
I just adopted his setup.
Speaker 3 (15:21):
With that, so that normally wouldn't be my setup or
hadn't been. But I wanted to make this transition, and
I always appreciate the challenge of playing a setup that
I don't normally play, and so I kind of went
with Travis McNab nabs set up with BTE and kept it.
Speaker 2 (15:43):
Since you're so versatile in different setups and different styles
of music, that's I guess it lends itself to Slash
because even though he's known for blues rock, he's he's
collaborated with them all. So I'm just curious how that
lent itself. How did you first meet Slash? I guess
how did that's that story start the being becoming part
(16:06):
of Slashes the Blues Ball, which I really hope continues
for summers to come for Serpent Festival.
Speaker 1 (16:14):
I do too.
Speaker 3 (16:14):
I'm with you, you know, we all do something where
our collective field of interest is aware of us, like
doing podcasts and people you know of other people doing
the same thing, and they know about you, they know
about your show. We just keep doing what we're doing
(16:38):
and we do the best we can when we get
the opportunity to do it, and hopefully it gets somebody's attention.
You know, that's happened. I've been lucky enough to have
that happen throughout my life. And people will go, hey,
we'll call Michael Cheron. And so I got a call.
I happen to be working on Iran, working on a
(17:00):
blues record with a woman named Irene Locke over in
Sardinia and killer blues singer songwriter, and I was working
on that and Mike Clink, producer, gives me a call
and I see this text on my phone. And you know,
(17:23):
I was getting a lot of spam text at the time,
and so yeah, I was. I kind of thought it
was spam at first.
Speaker 2 (17:34):
I've been there. I'm telling you, I feel like I've
offended some people. I'm like, who are you? What is this?
Speaker 3 (17:39):
I mean, it was like that, and then I finally
was like, you know, I looked at it again. It
was like a day later, and I looked at it
again and I was like, oh, this is this person
knows a little bit.
Speaker 1 (17:52):
It's kind of personal.
Speaker 3 (17:54):
I should at least call back and find out who
this is in case somebody's got my information all that stuff.
And Mike picks up and I say, Hi, I'm calling
for Mike Clink and he's like, oh, Michael, thanks for
calling me back. You know, he's super kind, and I
was like, uh oh, I probably should have responded this.
Speaker 1 (18:11):
To this a little sooner.
Speaker 3 (18:15):
But basically, to make a long story longer, he filled
me in on what was going on, and eventually when
he said, would you be able to start tomorrow? And
this was a call we spoke on a Saturday, and
he asked me, he said, you know, what's your schedule
like over the next two weeks And I said, this
(18:38):
is perfect timing. I do have a couple of commitments
I have to stick with and he said, Okay, I'll
need to check with the guys on this and i'll
call you right back.
Speaker 1 (18:47):
At this point, I don't know who the guys are.
Speaker 3 (18:49):
I'm not even quite sure what is happening and what
it's about, but I knew I needed to get back
to work. So I went in and I thought, well,
whoever that was, that sounded like an nice opportunity, like
something cool. You know, that's probably it. I probably won't
hear from that again. And then he called back like
thirty minutes later and said, the guys are cool with it,
(19:11):
We're going to be okay.
Speaker 1 (19:12):
Could you start tomorrow? And I still don't know who
these guys.
Speaker 3 (19:15):
Are, and he's like, I'm like, sure, I can come by.
I was figuring out in my head. I gotta go
get a kit out of storage. I got to figure
out where I'm going. I got to get some songs.
I said, probably should send me a few songs. He goes, yeah,
(19:36):
and I should probably tell you who this is for.
Speaker 2 (19:39):
You're just going on like a winging a prayer because
it was Mike Clink and you just were being trusting.
Speaker 3 (19:46):
It was part part of that, partly that, because you know,
it was partly that, but it was also because he
said that a friend had referred me, so that I
had come highly recommended.
Speaker 1 (20:01):
By this person.
Speaker 3 (20:02):
So normally when I hear things like that, I'm I'm
compelled to just say yes, because whoever it was, I
don't want.
Speaker 2 (20:10):
To let them down did you know who that friend was?
Speaker 1 (20:13):
No?
Speaker 3 (20:15):
And it wasn't until I got to rehearsal the next
day and we got through about two bars and I
saw a Slash smile and I saw the bass players smile,
and I thought, okay, maybe this is going to you know,
maybe maybe I'm doing okay. And we finished the song
and Slash went, well, that happened, not on his head,
(20:35):
and it felt pretty good. But I'd been in that
position before, so you know where it's working for the day,
but you know, and we'll have fun jamming that day.
And they've they've made their choice already and they just
wanted to check check their options and see what they
wanted to go with. But by the end of the day,
(20:58):
the five tunes that I got soon became ten and
we ended up working on everything. And then three days
later we ended up in this at East West recording
orgy with cameras everywhere, and you know, I was just
I had cameras up my butt. I was like, oh, okay,
so I don't get to like fuck up here. I
(21:21):
don't get to like, you know, half asset, not that
I ever do, but I just you know, when you
when you got a camera in your face. There's a
little less it's harder unless you're really super comfortable, it's
harder to just continue.
Speaker 1 (21:40):
To just be yourself.
Speaker 3 (21:43):
Because you know, you know, I had to scratch my
butt a little less.
Speaker 2 (21:48):
I understand all those things.
Speaker 3 (21:51):
I had to like suck in my belly a lot
more all the but I finally did ask Slash.
Speaker 1 (21:58):
You know, I think on this second day, like, who
did refer me, by the way, and he said, Jimmy Vivino.
Speaker 3 (22:05):
Oh with when I was touring with Richard Thompson, we
did a Connin O'Brien show and he was a fan
and we spoke then. And then we got the chance
to play together again down in Anaheim for a fundraiser.
Speaker 1 (22:22):
For crew and tech during the pandemic.
Speaker 3 (22:26):
And it was called the First In Last Out Festival
PHILO or Filo Festival for you know, to help raise
money for crew crew people who.
Speaker 1 (22:36):
Were out of work like the rest of us.
Speaker 3 (22:38):
Sure, And we jammed with a buddy of mine named
Tree Adams and in our band here's a mouthful Diagnastropus,
a wonderful music composer and we all just played together
that day and so that's what made it so cool.
So I guess Jimmy had we had already met, but
(22:59):
that we had actually had a chance to play together,
and I guess he felt confident enough to.
Speaker 1 (23:04):
Hand over my name. So that's kind of how it
happens in the business.
Speaker 3 (23:08):
You know, you you go do you and people decide
whether they remember or if it's cool or whatever, and
they go, I think this would work perfectly. And Slash
told me, he said, you know, I've had been trying
to get you the summer before. And I was like, what,
(23:28):
he goes in. Apparently you didn't get the memo.
Speaker 2 (23:31):
Oh man, you're just playing a cool Michael. You're just
playing cool, playing hard to get.
Speaker 1 (23:36):
No, they were all so super cool. You know. I
love Teddy, I love Johnny, love Tash. We had a
good we I think we have we have we had
a good band. We have a good band, and and.
Speaker 3 (23:50):
I know that Slash is excited to do more things
in the future.
Speaker 1 (23:54):
But you have to take those things.
Speaker 3 (23:56):
As they come, when when they come, and as they come,
and hopefully we will.
Speaker 1 (24:01):
You know, he's a busy man.
Speaker 2 (24:02):
Dude, he he is so busy. You know, that's why
they have that South Park episode. You know, his Slash
real because he's everywhere at once. That that's that's brilliant
in Jimmy Vevino. I mean, I know him and Slash
or friends, and because he's been done conoring a bunch
of times, and that's so cool to get a recommendation
(24:23):
from such a top tier musician like him, and then
just how it's having its snowball like that. So when
you walked into was it a studio where the songs
you played what ended up being on Orgy of the Damns?
What was like? I guess that first like whoa, Okay,
the guys became slash, Like when did do you remember
(24:44):
that first?
Speaker 1 (24:46):
You know?
Speaker 2 (24:46):
Oh, the guys became slash like that? That that moment
you know, I'm.
Speaker 3 (24:50):
Gonna cheat here again and just try to look at
you know that original. Uh, those first five tunes that
I got. I'm kind of curious myself what we actually
started with. It was because our first songs were Key
(25:13):
to the Highway, Born under a Bad Sign, Stormy Monday,
and oh well, and I think we either I don't
know if we started with Key or Bad I think
I want to say Born under a Bad Sign we
started with right freaking love that song you know, that's like,
it's such a heavyweight tune, and you know, Albert King
(25:37):
is just probably now all the three Kings we like
to say, you know BB Albert, you know, but we
just love him. And I think we hit that song
and it really was the first song after that at
that at the end of that first song that I
(25:58):
was just like, man, this feels good. And they had
been practicing at a much lower volume than when I
came in. I was just kind of and I didn't
really think I was. I just chose a velocity that
I thought fit the tune and my surroundings. But afterwards
(26:21):
they hadn't been playing at that that that volume, and
I was like, they were like WHOA. I wasn't so,
you know, and because I just came in and she
got you know, and Slash was like WHOA.
Speaker 1 (26:35):
I was like, was that? I was like, was I
too loud? He goes, no, no, no, no no, I'm
going to turn up.
Speaker 3 (26:41):
And you know, because you don't want to come in
so loud that there's no room for dynamic.
Speaker 1 (26:45):
There's nowhere to go, right, and you want a groove
in this. You know, your job is to groove keep
some time.
Speaker 3 (26:56):
You know, you know best of your ability, but drive,
you know, drive and let the band know where they
need to land sit feel you know, because you're you're
paying attention to everything everybody. You know, sometimes it's it's Slash,
(27:16):
That's that's who's driving the ship, you know. Other times
it's Teddy. Other times you know, you find where it
needs to sit. But it's my job to make the
bridge the gap and hope, be the glued to all
of it and support it and be the foundation so
that when people if some stuff takes off, like Mo
Tucker used to say, he's after all that craziness would happen.
(27:41):
She needed to be solid so that there was a
solid place to land when it comes back. And so
I think we all just knew after that first song
that you know, this could definitely work. You know, Let's
do some more songs, let's see what we got to
(28:02):
get dynamically, what we need to go for. But it
felt like in their minds that they had made a choice,
they had already made their their choice, and that I
was going to work for the live, for the live show,
for the recording and the live show, and whether I
believed it myself or not, because I don't think I did.
Speaker 1 (28:25):
You know at the time.
Speaker 3 (28:26):
Another buddy of my name, Matt Chamberlain, is also on
the album. He's on the original song that that's on
the record. All the covers I'm on, but he's on.
Speaker 2 (28:38):
The one and I think it was Metal Chestnut.
Speaker 3 (28:41):
He's on Metal Chestnut because that was one of the
gigs that I had was committed to and so working,
you know, and I when I found out that Matt
Chamberlain was on and I was like, oh, well, well.
Speaker 1 (28:54):
You've got your drummer because of Matt Chamberlin.
Speaker 2 (28:58):
Hello, that's so cool. And you're mentioning so many names
and one of them, Teddy andreadis of course zig Zag
and as a he's been on the podcast a couple
of times. Super nice guy and it was my first
time able to see him live, which was so special
because I'm too young to have gone to the Illusion shows,
so that was so special. I saw Tash years ago
(29:22):
for the London Souls, I think at the at Brooklyn
Bowl somewhere and Johnny g I mean, hopefully I get
they interview him one day, but it's you went into
a situation that was so unique and it's more than
just Slash Okay, you're going into where you have to
(29:43):
be a studio musician, and I guess correct me if
I'm wrong. It was also presented you were going to
do this stuff live, so you had to be do
both because I could be wrong, because I'm not a musician.
There might be something that can only do one or
the other, or better in one era than the other.
Is that something fair to say? So that's you had
to be well rounded. So that's that's pretty special. But
(30:06):
like Born under a Bad Sign who ended up singing
on that finally in the Rock and Roll Hall of Fame.
Paul Rodgers also on this podcast. Him and his wife
Cynthia were guests. I mean, and you, Brian Johnson, I mean,
you guys got all these A list people that are
coming in. Dorothy is so badass, Chris Robinson. So I mean,
(30:27):
do you have any highlight stories of like the guests
that came in, because we could be here all day
if we went and through all the guests, which maybe
part two, but just some highlights for you You're like, wow,
I get to work with Slash and so and so.
Speaker 3 (30:41):
That's right, that's right, my you know, like you say,
that's that's its own other show.
Speaker 2 (30:47):
Well, give me like what what was like? Well, maybe
like Brian Johnson, like what was or some studio give
me a good studio story with another one of the
guests that he had on there, whether it's Chris Robinson
or what's so what some of the sticks out to you, Well,
Beth Heart's Heart, Yeah, I.
Speaker 1 (31:05):
Believe my favorite.
Speaker 3 (31:08):
You know, it's it's the most dynamic, it's the most unique,
it's the most emotional to me. You know, they all
bring a level, like you say, blood, sweat and tears, passion, maturity,
(31:30):
and you can tell they've all you know, you're you're
listening to iconic voices that have been.
Speaker 1 (31:36):
Doing this a really long time and they just know how.
Speaker 3 (31:40):
To do where they want to put their voice in
when what they want to evoke when they do it.
But the performance I had, I had the opportunity to
record live with Beth Heart, Gary Clark Junior and Iggy
Pop Wow. When we did Iggy Iggy came over and
(32:02):
it was just me, Slash and Iggy and so we
were a three piece when we recorded that, but the
other we were full band, you know with Beth and
she came in and she'd been through a lot.
Speaker 1 (32:16):
I think she was traveling that day and wasn't.
Speaker 3 (32:20):
Feeling all that great, but came in and she put
down this track that was just so even playing him live,
I playing it live, even though she wasn't there, I just.
Speaker 1 (32:33):
Would hear her sing it and feel her singing it, and.
Speaker 3 (32:40):
It was It's such a journey, that particular song that
she's singing. So she delivers it in such a storytelling way.
It puts you in the place of the characters of
the of the subjects subject matter. And she also puts
(33:01):
down one of the best screams in blues rock I've
ever heard on that record, which I was just praying
to God we didn't remove for any reason.
Speaker 1 (33:14):
I was just hoping that a state stayed in there. Yeah.
So yeah, that was one of my favorites.
Speaker 3 (33:23):
But like you say, you know, when you have to
pick one off that record, that's it's almost impossible. She
just had a little bit, She's got that little bit
of edge, and you know, Iggy chose the tune he.
Speaker 1 (33:34):
Wanted to do and deliver, and who else could deliver
it that way?
Speaker 3 (33:41):
I mean, my God and everybody just was able to
do this very special thing. And then when we went
and did the one off in London for the British.
Speaker 1 (33:51):
Awards over in London.
Speaker 3 (33:54):
That was with Brian Johnson, and you know, you realize
that you're on stage with somebody that's been there, done that,
and was you know, loving and caring and giving you.
You know, it was full of stories and you know,
just the best energy in the world and he just wanted.
Speaker 1 (34:15):
To hang out with him all day. And then we
stepped out there and we had we had a good time.
Speaker 3 (34:21):
I probably got felt the crash of jet lag a
bit too early, but we had a good time and
it was great, too great to do it, and I
thought we killed it on the show.
Speaker 2 (34:33):
So uh yeah, I know that that performance with Brian Johnson.
I didn't expect that because he was all around singer
he is, and he's known for of course the A C,
D C voice, but he is just so talented. And
I love Slashes. You know, I paraphrasing something about like
an interview, why didn't you do it in Brian's voice?
(34:53):
Then it becomes like an AC DC song. It's just
something else. So uh right, Slash is a producer. It
must have been something to watch, right, and that must
have been pretty. Oh and before I lose it, did
Iggy Pop wear a shirt?
Speaker 1 (35:08):
Yes? Or no?
Speaker 2 (35:09):
Was he wearing a shirt?
Speaker 1 (35:10):
Okay?
Speaker 2 (35:11):
Oh, all right, well he saw a rare sighting then.
Speaker 3 (35:15):
Okay, whether I was disappointed or not was a fair
fair fair?
Speaker 2 (35:22):
Oh I do want to say. Yeah, Beth Hart, who's
been on the show, like what, she is a special person.
She's an inspiration, uh, special person. But it's it is
so cool because it's such a cool record and all
these different songs and different voices from you know, Iggy
and so when it became like a live thing, and again,
(35:42):
I'm I don't know if you have any specific memories
from I think it was my second time at Peer
seventeen in New York City. My wife and I we saw
Ringo's All Star band there and it was going to
be my son's first like rock show. He's been to
Dave Matthews, but I don't really count that. I'm sorry.
My wife is she's going to her seventy sixth show
(36:04):
next week. I think Dave Matthew's I know. So there's
a picture of my son when he's like less than
a year with giant headphones on at a Dave Matthew show. Anyway,
I wanted to bring up the slash, but we were
really really up close. Probably a bad idea. I'll save it.
But I have my own memories. What do you have
any memories of the New York City show? On a rooftop?
(36:25):
You know, that's a pretty cool venue.
Speaker 3 (36:27):
Well it's beautiful. I know, I'd never played there before.
And I love the bridge right behind us. You know, Yeah,
what a setting. What a beautiful setting for any show.
And yeah, that's where I met Dorothy because we didn't
it was most of those, like I said, most of
the musicians I wasn't able to track with that came
(36:49):
in as they were available and did it. However, they
needed to get it done. So I got to meet her.
Speaker 1 (36:55):
There, okay, and she was on promotional tour and yeah,
another powerhouse voice.
Speaker 3 (37:02):
So it's a it's a wonderful voice, and and she
brought just fantastic energy and it was just good to
realize the tunes with the actual singer when we had
the opportunity to do that on the road, because you know,
not taken away from Teddy or Tash at all, because man,
(37:23):
Teddy drove that train, you know, you know, they were
the original Slashes Blues.
Speaker 1 (37:30):
Ball, you know, yeah, Teddy and Johnny, you know, and.
Speaker 3 (37:34):
Whenever Tash was able to you know, sing and spoke
to the audience, people.
Speaker 1 (37:40):
Just lit up, you know.
Speaker 3 (37:42):
But yeah, when you had the original singers who recorded it,
it was always it was even that much more special.
So it was great to have her there, and I
just so the memory would just be that setting, you know,
of being able to actually realize the tune one of
the songs we'd recorded with the actual singer in that setting,
(38:05):
with Brooklyn Bridge right behind me.
Speaker 2 (38:08):
That was pretty special.
Speaker 1 (38:10):
You know.
Speaker 2 (38:10):
When she came out, I was like, oh, Dorothy and
another I don't know why, I'm guess naming dropping all
the I guess because I don't know, you know a
lot of people that have been on the show. I
asked her about that. She's like, yeah, guess happened to
be in the city, you know. And I was like,
it was just so cool. But you are right, Tash
or you know Teddy whoever handled vocals. Just what a
(38:31):
full show, what a great time I saw kem Mo
open zz ward. So it's probably too soon and again
Slashes on such an interesting schedule. Now, of course, Guns
and Roses are on tour.
Speaker 1 (38:47):
But he will probably they will probably resume in twenty
twenty six.
Speaker 2 (38:51):
So yeah, so I mean, was there any sort of album.
I mean, but was there any sort of hey, well
we'll pick this up at some point, or just like, hey,
great summer, I'll see around, or was there any sort
of a uh you know, dot dot dot.
Speaker 3 (39:07):
He's positive, you know, he's he's really positive about it.
I think he's super sincere when he says he wants
to do more. We just have to see when the
window allows for it, and uh, you know, we'll all
be ready.
Speaker 2 (39:23):
I'll be ready. I sang the praises of the festival.
I even wrote up I don't do it too often
because it just takes so much energy to write a review.
It's one thing to do with the podcast, but with
this guy, it's like, I can't, I can't sit in type.
But I wrote an entire review of the of the
show and also of Orgy of the Damn, both glowing.
They're up on aftpod dot com, and I hope it continues,
(39:46):
and I hope not just for just blue standards or
great songs, some original stuff in there too. They're you know,
metal Chestnut. I know, but it just seems like another
awesome slash project with legs and I'm really happy we're
a part of it.
Speaker 1 (40:01):
Thank you, man, I appreciate it. Yeah.
Speaker 3 (40:04):
Like I said, I'm we were all overjoyed that, you know,
I know the guys were with that the window opened
up again or to be able to do it at all.
Speaker 1 (40:13):
So yeah, man, if we can do it again, all
the better.
Speaker 2 (40:17):
Yeah, no, right on, and I will. This was a
good question. I don't know what I'll get from it
because Jimmy Necho I said, Nico, I'm terrible with names.
Speaker 1 (40:29):
I knew what you meant.
Speaker 3 (40:30):
Yeah.
Speaker 2 (40:30):
Yeah.
Speaker 3 (40:32):
Incidentally, that was one that was also a wonderful project
to work on. And I love that record Mercy we
did and uh that was Peter Katis who did the
you know, the Interpol records back in the day.
Speaker 1 (40:45):
Wonderful engineer.
Speaker 3 (40:46):
I mean just it was a great experience working on
that record with those guys back in the day and
still one of my favorite recordings too. That just that
just often gets missed, you know.
Speaker 2 (40:58):
Well, I hope people you know, obviously, because the guns
of Roses a centered if they're coming here for gn R,
they explore more of your discography and all these albums
that you're you're a part of. But the I'd be
remiss if I didn't mention because Jimmy, you know, he
told his Velvet Revolver, you know, audition story, and he
wanted in his vision, either Isaac Carpenter or you to
(41:20):
be the drummer. I guess there was some him and
Matt didn't see eyed eye. Were you aware of that?
For one?
Speaker 1 (41:28):
You know?
Speaker 3 (41:28):
We yeah, I mean we used to talk all the time,
and he and he was you know, I think Jimmy
is fantastic. You know, we met because I was with
a band called Pleasure Club with a singer named James Hall,
who was a wonderful singer songwriter at the time out
of New Orleans who's influenced just about every everybody out
there and inspired more. But Jimmy was also a fan
(41:54):
of James's and we all got to to come together
because of James Hall Pleasure Club. But we did talk
about it, and Jimmy tried, you know, we it's not
you know, it wasn't without trying. I think both of
us tried to find a good window to make this work,
(42:15):
to make it work realistically, so that we could realize
at least once, what it would you know, what it
might sound like if I was actually drumming with a
record that I was on with the band that I
recorded with, and we just couldn't couldn't make it work
at the time. So it wasn't without Jimmy trying, you
(42:36):
know for sure.
Speaker 2 (42:38):
But I guess that lends itself because he was talking
about praising phrases both you and Isaac Carpenter. One final question,
this comes from Missy just curious. Did you try out
at all for Guns of Roses a drummer. I'm not
sure if they had a tryout there or you know,
because Isaac seems to be dop sky with slash your
(43:00):
slash this guy, you know, for lack of a better phrase,
that happened? Did that happen?
Speaker 1 (43:05):
That never did happen. I think it was just sorted.
Speaker 3 (43:07):
I think there was probably a relationship that may have
been longer with them.
Speaker 1 (43:11):
It was an easy transition. Maybe Isaac just was.
Speaker 3 (43:15):
Just perfect for it, you know, and you know, from
what I've seen, he is perfect for it.
Speaker 1 (43:21):
He was a perfect move for that. And but no,
I didn't. I didn't get a call. I remember texting
slash even before all of that happened, and he said
he sent me.
Speaker 3 (43:32):
His response was, yeah, you know, we talked about something
else and then he said I'll talk to you soon
like that.
Speaker 1 (43:39):
And then I saw the report about what was happening.
I was like, oh, is that what he meant?
Speaker 3 (43:45):
But to be honest, I I'm pretty happy where I'm
at right now, and I you know, look, you get
a call. If you get a call, you cross that
bridge when you get there and you can think about it.
Then if I don't get the call, I don't think
about it. And I'm pretty content where I'm at. And
(44:06):
I'm always constantly busy with music that I'm producing. Music
that I that is I call unlistenable, but it makes
me really happy.
Speaker 2 (44:18):
As long as it makes you happy, that's the most
important thing. And the best way for people to get
up to date with you is Michael Jerome drums dot.
Speaker 1 (44:27):
Com, Michael Jerome on drums.
Speaker 2 (44:29):
On drums, I can't say names, I can't read. How
have they been a professional for like twenty plus years?
I don't know. I can blame it on daddy brain, but.
Speaker 3 (44:39):
Oh man, if you're a bother, nobody needs to know
about I got. Well.
Speaker 2 (44:46):
You can also follow Michael on on Instagram and then
when I post this, I'll have all the links in
the summary and tag you and all the social media
platforms and all that fun stuff. But Michael, this was
really a pleasure to talk to you. And also so Pep,
we don't think I'm even crazier because I'm gonna edit
this afterwards. He just says, Michael. For your zoom name,
(45:06):
it does say Michael Moore when you sign on. So
when I saw that, it threw me for a loop.
So people are like, why did you even say that.
I'm telling you I over explained things, Michael, I don't know.
It's you'll come back, we bond. This is how it happens.
Speaker 1 (45:23):
Michel more too, I'm proud of my name.
Speaker 2 (45:25):
I'm proud of my name as you should be. Well,
Michael Jerome, thank you so much for your time, and
I hope we get to do this again.
Speaker 1 (45:34):
Thank you so much, Brandon, I really appreciate it. You
got it.
Speaker 2 (45:36):
So that does it for this episode of Appetite for Distortion.
When will we see the next one? In the words
of Axl Rose concerning Chinese democracy, I don't know as
soon as the word, but you'll see it thanks to
the lame ass security.
Speaker 1 (45:55):
I'm going home.
You know what.
Speaker 2 (00:12):
Yes is Appetite for Distortion. Welcome to the podcast Appetite
(00:32):
for Distortion, Episode number five hundred and ten. My name
is Brando. Welcome to the podcast. Mister Michael Moore. How
are you, sir? Or Michael Jerome? I mean it's duality problem,
Like I'm Brandon Brando, Michael Jerome. I guess is how
you want to be introduced?
Speaker 3 (00:49):
I should say, well, you know it kind of that's
one of those things when we were kids, were like,
what's our stage name going to be?
Speaker 1 (00:56):
You know, and I thought it was ridiculous.
Speaker 3 (00:59):
But you know, my middle name is Jerome, so I
chose Michael Jerome when we were kids and just kind.
Speaker 1 (01:05):
Of stayed that way.
Speaker 3 (01:06):
But full name Michael Jerome Moore, and I let people
just kind of decide what they want, you.
Speaker 2 (01:13):
Know, before we get going. I haven't thought about this
in a while, and I've thought of embarrassed to say
it because I like hearing that those set of stories
of how you come up with the stage name, obviously
dealing with somebody like Slash and with the guns and Roses,
the Maxel Rose. It's come up quite often. I'm brand
oh Air quote Brandon in real life, and it just
(01:34):
started in radio. In college, I was brand of the Commando.
I don't know, it's it was a heavy metal show.
It's it was given to me. I'm like, all right,
I guess once I became are you professional? I wanted
to change it and just like you middle name okay,
so Brandon Neil okay. I looked up if there was
(01:55):
a Brandon uh Neil, like, just because I'm sure you
may have looked that out because it's a Michael Moore obviously,
but Michael Jerome, he was a a porn star, a
gay Canadian porn star that did quite a new few films,
so I figured maybe that's yeah. I mean, I'm sure
he was a lovely guy, but that's uh. I didn't
want any association. I don't know. I wanted to be
(02:15):
my own person. So Brando stuck.
Speaker 3 (02:18):
Brandos stuck, and I think it's good. That's the way
it should be, you know, you know I did kind
of did the same thing. But if you look up
Michael Jerome on the internet the first, you know, back
in the day, when I'd look it up, I was like,
let's let's see what Michael comes up with. Michael Jerome
and it would just be this tire screen would just
pop up of inmates in mugshots and I'm just like ouch.
Speaker 1 (02:45):
But of course, but of course I found out.
Speaker 3 (02:47):
There were like several Michael Jerome musicians who were happen
to be percussionist and singer songwriters and stuff.
Speaker 1 (02:53):
Too, So I was like, I I hope people put
me in that camp more than the than the inmates.
Speaker 2 (02:59):
Well, we got the right Michael Jerome here, Michael Jerome
drugs drums. You gotta even me thinking of the inmates,
I guess that's a weird wedding and slip Michael Jerome drums.
If you go to his website and you were just
on tour with that better than Ezra?
Speaker 1 (03:17):
Right?
Speaker 2 (03:17):
Is that what you guess you're coming off with.
Speaker 1 (03:19):
Just on tour better than Ezra.
Speaker 3 (03:21):
We're gonna we keep going through the air periodically, but yeah,
off and on usually with better than Ezra.
Speaker 2 (03:28):
I mean, that's so cool. And before we get to
because I'm lucky enough to have seen you last summer
with Slash, I'm currently wearing the Slashes Blues ball shirt
nice that I got at the show. I hope you
get a cut of these.
Speaker 1 (03:41):
I don't know, well, I definitely do not. I did
get a T shirt.
Speaker 2 (03:48):
I you, yeah, all right, at least to get a
T shirt out.
Speaker 1 (03:52):
I got the tea out of it.
Speaker 2 (03:54):
So I do want to get into that. The show
appear seventeen in New York City and Orgy of the
Damn to your your brilliant work on that. But you
know what, I want to sprinkle and this is a
good way to kick things off a little bit because
I have a lot of listeners from all over. They
were excited for Michael Jerome to be on the podcast,
So this is a good way. A good question from
(04:15):
Casts and Sunshine just basically, how did you get into drumming?
Like what drove you to pick up the sticks? Like
how did you just get on this path that you're
on now?
Speaker 1 (04:26):
You know.
Speaker 3 (04:28):
That is a that's always a tough one. It's tough
and easy. The easy thing is that I just was
doing it when I was like three or four years old.
It just kind of was a naturally inherent thing that
was without thought. Turning it into like becoming aware of
it and turning it into something that I would decide
(04:49):
to do with my life was the complicated bit, you know.
But naturally doing it. I think I my mother. I
tell this story. You know, my mother was a music teacher.
She was a classical pianist, and she had a thing
in the in our back room, had a piano, baby
grand piano in it, and all of the the stuff
(05:10):
she needed to teach her classes. And one of the
things back there was it was called rhythm sticks, and
just a pair of sticks that you hand out to
students and then they click.
Speaker 1 (05:20):
You teach them to keep time and different rhythms.
Speaker 3 (05:23):
And I would take those sticks and at three or
four years old, and proceed to whack on my mother's
baby grand piano keys, which were ivory at the time,
and chip them away because I enjoyed the way that
the sound would come back at me and come back
at me. I liked hearing the snap that it created.
(05:46):
I liked hearing it was like slats that would flam
and also produce a tone, a note, with the mallet
obviously hitting strings.
Speaker 1 (05:58):
And but I also knew that that.
Speaker 3 (06:01):
You know, that really freaked my mother out when she
saw me doing that. I remember hearing her scream from
the kitchen. My well, stop, but the damage was done.
But she got me a drum kit shortly thereafter, which
I promptly destroyed, and we just she just kept feeding it.
Speaker 1 (06:21):
You know.
Speaker 3 (06:21):
I was really lucky to have a mom like her
that where she was just like, well, he's clearly a drummer.
I'm just going to keep I need to keep stepping
up and hopefully he'll stick with it.
Speaker 2 (06:32):
I love hearing that again, especially because before we started recording,
I told you I had my two year old Harrison
Rex in the corner there, and he does have a
drum set, but it's like a play school one that
has sounds and stuff. But he likes picking up the
drumsticks and doing it, and I certainly am not gonna
and my wife too. We do take him to like
(06:53):
a music class where it's just you know, free play
and there's people playing guitar, singing songs, just to be
surrounded by music. And then to hear that your mom
is like that was like that as well. Uh, And
I guess she knew that there was a viable career
path because maybe some parents like, oh, I love that
for him, but maybe that's a hobby. I can't for
(07:15):
see that being, you know, doing it all these years later.
But she being a professional. I'm sure. I'm assuming she
had the confidence that you could do it professionally. You know,
maybe not four, and maybe not at four, but at
some point.
Speaker 1 (07:28):
Maybe not at four. I mean I do remember the
time that she I mean, she fed, she fed the passions.
Speaker 3 (07:33):
You know, it would be drums, and of course, like
a lot of young boys, I went into everything, you know,
I went into every sport, and she played along with that.
Speaker 1 (07:42):
But I would always come back to drums.
Speaker 3 (07:44):
And I remember, you know, she had organs in what,
you know, the garage that was kind of converted into
a room for me, and the garage was filled with
these different organs and I would play for hours doing
the different rhythms on the organ, you know, from fox trot,
you know, through the sambas, through the tangos and different
(08:06):
tempos and everything.
Speaker 1 (08:08):
And I think it was.
Speaker 3 (08:09):
At that time, I must have been about ten years
old that she thought, well maybe I can I think
there's something here that I could possibly take out with
me and we would you know, I can work with
And I think I was about, you know, between ten
or twelve years old is when she started recruiting me
(08:31):
to go play everywhere from church to country clubs to
club nightclubs, Jazz Standard, you know, doing this Jazz standard
run and of gigs with her on weekends. And I
did that until I was seventeen years old.
Speaker 2 (08:47):
That's awesome. To have that special time with your mom
and the bond over. That's that's pretty special. And I'd
be remiss because all because of mom, I guess. And
this is according to he has a I'll give him
a producer credit for this episode. Chris Mercer from Hours,
he yeah, I mean you were on my radar. It's crazy.
(09:10):
You would think with the GNR centric podcast, I'd rown
out of list of people I would want to talk to,
but I haven't, and you've been on my on my list.
But he's like, you know what, because he got me.
He's like, hit up Jimmy. Nico spoke to Jimmy and
then he's like, you know what, let's talk to the
Michael next. I think he would do it, and he said,
in my humble opinion that Michael is one of the
(09:30):
best drummers alive.
Speaker 1 (09:32):
So I.
Speaker 2 (09:36):
And Jimmy sang your praises as well. I mean it's
not just Chris. I mean do you hear that often?
Because you come off very humble. I don't know how
you view yourself as a drummer, you.
Speaker 1 (09:49):
Know what I mean.
Speaker 3 (09:51):
I've always and maybe it was because of playing with
my mom all those years. I definitely was exposed to
stuff that most young kids aren't, maybe people like Sheila
E for example, you know, so growing up in a
family like that and being on stage at a very
young age and just knowing that that was her environment
(10:11):
growing up. I was kind of lucky in that situation too,
so never reached Sheila's success. But I consider everything every
opportunity that I've received, you know, from playing with Jim
and Neko in hours back in the day that was
around two thousand and six or so, and to slash,
(10:34):
you know, these are these were wonderful opportunities, and I
just embrace it, you know when I have it, because
there are moments in time, you know, they start and
they end, and so you got to enjoy every second while.
Speaker 1 (10:48):
You got it.
Speaker 2 (10:49):
Yeah, I certainly every one thing they say about becoming
a dad, I'm seeing that all now, just every every moment.
I don't mean to digress and do that for a second,
Yeah I will. It gives me a good opportunity to
go back to the questions you mentioned Sheila E, who
I don't know how one of those people I pinched
myself that actually got some time with her on the podcast.
(11:10):
She has like a weird six degrees of what I
call guns and Roses Bacon to Hollywood Rose. If you
want people want to check out my back catalog, it's
it's But this is a question from Alex who is
your favorite Motown drummer and that you specifically killed it
on Papa Uh was a rolling stone on an Orgy
of the Damned and just killing it live. So do
(11:32):
you have a favorite Motown drummer?
Speaker 1 (11:36):
You know, I don't.
Speaker 4 (11:37):
They're all I mean, no, okay away because to me
that growing up, they were like, you know, very distinct,
but there was Motown was a sound, you know, and
every one of those drummers brought, you know, what was
necessary and the vibe and the sound they projected, the
(11:59):
sound they are.
Speaker 1 (12:00):
Like, they're my top They're like I always put.
Speaker 3 (12:03):
Drummers like them in the same category of my favorites.
And why it is because they cater to the songs
we know about them being the powerhouses that they are
because of what they did to support the song.
Speaker 1 (12:18):
Yeah, because of the songs.
Speaker 2 (12:22):
Yeah, yeah, yeah, that's that's what makes for a good drummer.
And you know, you got me thinking about parents. You know,
shot up to my dad. It's actually coming up on
the anniversary twelve years since his passing. But he's the
one that got me into Motown and Stacks Records, And
you know, I don't now. I want to can't wait
to pass that down because that's not in the culture
(12:46):
as much as I believe that it should be. You know,
the the old days. I'm coming off like the Abraham
Simpson Grandpa Simpson meme too often shaking at the cloud.
Music wasn't like it used to be. And I'm talking
about music even before my my time. That actually another
good in the question. I want to go back to Facebook.
This is from Satya. He saw you twice in the
(13:08):
past year, first with Slash's Blues Ball last August and
then in February but with Better than Ezra, both in Atlanta.
So as a drummer, he would like to know how
you prepared for both tours and if there were any
differences in your drum setup.
Speaker 1 (13:24):
Okay, good question. Well, they're both very different approaches.
Speaker 3 (13:31):
With a as it pertains to rehearsal and setups are
a bit similar. I have a bit more nuanced noisemakers
with Slash, and I kind of just took the full Monty.
Speaker 1 (13:47):
Out with Slash, with my old gretch kit that I had,
just because.
Speaker 3 (13:53):
You know, there was more room to play and you know,
a pretty diverse catalog to try to reinvent, you know,
and to represent on the stage with all the different tracks,
and you know, I was able to have fun in
the studio with Wood Slash creating that stuff, so I
decided to just move all of that stuff to the
(14:15):
live stage as well. So that's kind of how that worked.
And it was just a full what was it, a
six piece? I think I took out two snares, racked
two floors, twenty six inch I'm sorry, twenty four inch
kick she kind of shallow twenty four by sixteen, And
(14:39):
whereas with BTE it's slightly less, you know, less on
the noise makers. With the symbols like Wood Slash, I
would stack symbols, you know, to the far right. I
tend to put most of my symbols to the far right,
but with Slash, I actually had some balance with symbols.
Speaker 1 (14:59):
Stacks right and left.
Speaker 3 (15:02):
With BTE, it's just kind of a little bit more
standard with RACK two floors rack. And actually I adopted
that setup from Travis McNabb, who when he left BTE
and went and joined Sugarland in Nashville.
Speaker 1 (15:19):
I just adopted his setup.
Speaker 3 (15:21):
With that, so that normally wouldn't be my setup or
hadn't been. But I wanted to make this transition, and
I always appreciate the challenge of playing a setup that
I don't normally play, and so I kind of went
with Travis McNab nabs set up with BTE and kept it.
Speaker 2 (15:43):
Since you're so versatile in different setups and different styles
of music, that's I guess it lends itself to Slash
because even though he's known for blues rock, he's he's
collaborated with them all. So I'm just curious how that
lent itself. How did you first meet Slash? I guess
how did that's that story start the being becoming part
(16:06):
of Slashes the Blues Ball, which I really hope continues
for summers to come for Serpent Festival.
Speaker 1 (16:14):
I do too.
Speaker 3 (16:14):
I'm with you, you know, we all do something where
our collective field of interest is aware of us, like
doing podcasts and people you know of other people doing
the same thing, and they know about you, they know
about your show. We just keep doing what we're doing
(16:38):
and we do the best we can when we get
the opportunity to do it, and hopefully it gets somebody's attention.
You know, that's happened. I've been lucky enough to have
that happen throughout my life. And people will go, hey,
we'll call Michael Cheron. And so I got a call.
I happen to be working on Iran, working on a
(17:00):
blues record with a woman named Irene Locke over in
Sardinia and killer blues singer songwriter, and I was working
on that and Mike Clink, producer, gives me a call
and I see this text on my phone. And you know,
(17:23):
I was getting a lot of spam text at the time,
and so yeah, I was. I kind of thought it
was spam at first.
Speaker 2 (17:34):
I've been there. I'm telling you, I feel like I've
offended some people. I'm like, who are you? What is this?
Speaker 3 (17:39):
I mean, it was like that, and then I finally
was like, you know, I looked at it again. It
was like a day later, and I looked at it
again and I was like, oh, this is this person
knows a little bit.
Speaker 1 (17:52):
It's kind of personal.
Speaker 3 (17:54):
I should at least call back and find out who
this is in case somebody's got my information all that stuff.
And Mike picks up and I say, Hi, I'm calling
for Mike Clink and he's like, oh, Michael, thanks for
calling me back. You know, he's super kind, and I
was like, uh oh, I probably should have responded this.
Speaker 1 (18:11):
To this a little sooner.
Speaker 3 (18:15):
But basically, to make a long story longer, he filled
me in on what was going on, and eventually when
he said, would you be able to start tomorrow? And
this was a call we spoke on a Saturday, and
he asked me, he said, you know, what's your schedule
like over the next two weeks And I said, this
(18:38):
is perfect timing. I do have a couple of commitments
I have to stick with and he said, Okay, I'll
need to check with the guys on this and i'll
call you right back.
Speaker 1 (18:47):
At this point, I don't know who the guys are.
Speaker 3 (18:49):
I'm not even quite sure what is happening and what
it's about, but I knew I needed to get back
to work. So I went in and I thought, well,
whoever that was, that sounded like an nice opportunity, like
something cool. You know, that's probably it. I probably won't
hear from that again. And then he called back like
thirty minutes later and said, the guys are cool with it,
(19:11):
We're going to be okay.
Speaker 1 (19:12):
Could you start tomorrow? And I still don't know who
these guys.
Speaker 3 (19:15):
Are, and he's like, I'm like, sure, I can come by.
I was figuring out in my head. I gotta go
get a kit out of storage. I got to figure
out where I'm going. I got to get some songs.
I said, probably should send me a few songs. He goes, yeah,
(19:36):
and I should probably tell you who this is for.
Speaker 2 (19:39):
You're just going on like a winging a prayer because
it was Mike Clink and you just were being trusting.
Speaker 3 (19:46):
It was part part of that, partly that, because you know,
it was partly that, but it was also because he
said that a friend had referred me, so that I
had come highly recommended.
Speaker 1 (20:01):
By this person.
Speaker 3 (20:02):
So normally when I hear things like that, I'm I'm
compelled to just say yes, because whoever it was, I
don't want.
Speaker 2 (20:10):
To let them down did you know who that friend was?
Speaker 1 (20:13):
No?
Speaker 3 (20:15):
And it wasn't until I got to rehearsal the next
day and we got through about two bars and I
saw a Slash smile and I saw the bass players smile,
and I thought, okay, maybe this is going to you know,
maybe maybe I'm doing okay. And we finished the song
and Slash went, well, that happened, not on his head,
(20:35):
and it felt pretty good. But I'd been in that
position before, so you know where it's working for the day,
but you know, and we'll have fun jamming that day.
And they've they've made their choice already and they just
wanted to check check their options and see what they
wanted to go with. But by the end of the day,
(20:58):
the five tunes that I got soon became ten and
we ended up working on everything. And then three days
later we ended up in this at East West recording
orgy with cameras everywhere, and you know, I was just
I had cameras up my butt. I was like, oh, okay,
so I don't get to like fuck up here. I
(21:21):
don't get to like, you know, half asset, not that
I ever do, but I just you know, when you
when you got a camera in your face. There's a
little less it's harder unless you're really super comfortable, it's
harder to just continue.
Speaker 1 (21:40):
To just be yourself.
Speaker 3 (21:43):
Because you know, you know, I had to scratch my
butt a little less.
Speaker 2 (21:48):
I understand all those things.
Speaker 3 (21:51):
I had to like suck in my belly a lot
more all the but I finally did ask Slash.
Speaker 1 (21:58):
You know, I think on this second day, like, who
did refer me, by the way, and he said, Jimmy Vivino.
Speaker 3 (22:05):
Oh with when I was touring with Richard Thompson, we
did a Connin O'Brien show and he was a fan
and we spoke then. And then we got the chance
to play together again down in Anaheim for a fundraiser.
Speaker 1 (22:22):
For crew and tech during the pandemic.
Speaker 3 (22:26):
And it was called the First In Last Out Festival
PHILO or Filo Festival for you know, to help raise
money for crew crew people who.
Speaker 1 (22:36):
Were out of work like the rest of us.
Speaker 3 (22:38):
Sure, And we jammed with a buddy of mine named
Tree Adams and in our band here's a mouthful Diagnastropus,
a wonderful music composer and we all just played together
that day and so that's what made it so cool.
So I guess Jimmy had we had already met, but
(22:59):
that we had actually had a chance to play together,
and I guess he felt confident enough to.
Speaker 1 (23:04):
Hand over my name. So that's kind of how it
happens in the business.
Speaker 3 (23:08):
You know, you you go do you and people decide
whether they remember or if it's cool or whatever, and
they go, I think this would work perfectly. And Slash
told me, he said, you know, I've had been trying
to get you the summer before. And I was like, what,
(23:28):
he goes in. Apparently you didn't get the memo.
Speaker 2 (23:31):
Oh man, you're just playing a cool Michael. You're just
playing cool, playing hard to get.
Speaker 1 (23:36):
No, they were all so super cool. You know. I
love Teddy, I love Johnny, love Tash. We had a
good we I think we have we have we had
a good band. We have a good band, and and.
Speaker 3 (23:50):
I know that Slash is excited to do more things
in the future.
Speaker 1 (23:54):
But you have to take those things.
Speaker 3 (23:56):
As they come, when when they come, and as they come,
and hopefully we will.
Speaker 1 (24:01):
You know, he's a busy man.
Speaker 2 (24:02):
Dude, he he is so busy. You know, that's why
they have that South Park episode. You know, his Slash
real because he's everywhere at once. That that's that's brilliant
in Jimmy Vevino. I mean, I know him and Slash
or friends, and because he's been done conoring a bunch
of times, and that's so cool to get a recommendation
(24:23):
from such a top tier musician like him, and then
just how it's having its snowball like that. So when
you walked into was it a studio where the songs
you played what ended up being on Orgy of the Damns?
What was like? I guess that first like whoa, Okay,
the guys became slash, Like when did do you remember
(24:44):
that first?
Speaker 1 (24:46):
You know?
Speaker 2 (24:46):
Oh, the guys became slash like that? That that moment
you know, I'm.
Speaker 3 (24:50):
Gonna cheat here again and just try to look at
you know that original. Uh, those first five tunes that
I got. I'm kind of curious myself what we actually
started with. It was because our first songs were Key
(25:13):
to the Highway, Born under a Bad Sign, Stormy Monday,
and oh well, and I think we either I don't
know if we started with Key or Bad I think
I want to say Born under a Bad Sign we
started with right freaking love that song you know, that's like,
it's such a heavyweight tune, and you know, Albert King
(25:37):
is just probably now all the three Kings we like
to say, you know BB Albert, you know, but we
just love him. And I think we hit that song
and it really was the first song after that at
that at the end of that first song that I
(25:58):
was just like, man, this feels good. And they had
been practicing at a much lower volume than when I
came in. I was just kind of and I didn't
really think I was. I just chose a velocity that
I thought fit the tune and my surroundings. But afterwards
(26:21):
they hadn't been playing at that that that volume, and
I was like, they were like WHOA. I wasn't so,
you know, and because I just came in and she
got you know, and Slash was like WHOA.
Speaker 1 (26:35):
I was like, was that? I was like, was I
too loud? He goes, no, no, no, no no, I'm
going to turn up.
Speaker 3 (26:41):
And you know, because you don't want to come in
so loud that there's no room for dynamic.
Speaker 1 (26:45):
There's nowhere to go, right, and you want a groove
in this. You know, your job is to groove keep
some time.
Speaker 3 (26:56):
You know, you know best of your ability, but drive,
you know, drive and let the band know where they
need to land sit feel you know, because you're you're
paying attention to everything everybody. You know, sometimes it's it's Slash,
(27:16):
That's that's who's driving the ship, you know. Other times
it's Teddy. Other times you know, you find where it
needs to sit. But it's my job to make the
bridge the gap and hope, be the glued to all
of it and support it and be the foundation so
that when people if some stuff takes off, like Mo
Tucker used to say, he's after all that craziness would happen.
(27:41):
She needed to be solid so that there was a
solid place to land when it comes back. And so
I think we all just knew after that first song
that you know, this could definitely work. You know, Let's
do some more songs, let's see what we got to
(28:02):
get dynamically, what we need to go for. But it
felt like in their minds that they had made a choice,
they had already made their their choice, and that I
was going to work for the live, for the live show,
for the recording and the live show, and whether I
believed it myself or not, because I don't think I did.
Speaker 1 (28:25):
You know at the time.
Speaker 3 (28:26):
Another buddy of my name, Matt Chamberlain, is also on
the album. He's on the original song that that's on
the record. All the covers I'm on, but he's on.
Speaker 2 (28:38):
The one and I think it was Metal Chestnut.
Speaker 3 (28:41):
He's on Metal Chestnut because that was one of the
gigs that I had was committed to and so working,
you know, and I when I found out that Matt
Chamberlain was on and I was like, oh, well, well.
Speaker 1 (28:54):
You've got your drummer because of Matt Chamberlin.
Speaker 2 (28:58):
Hello, that's so cool. And you're mentioning so many names
and one of them, Teddy andreadis of course zig Zag
and as a he's been on the podcast a couple
of times. Super nice guy and it was my first
time able to see him live, which was so special
because I'm too young to have gone to the Illusion shows,
so that was so special. I saw Tash years ago
(29:22):
for the London Souls, I think at the at Brooklyn
Bowl somewhere and Johnny g I mean, hopefully I get
they interview him one day, but it's you went into
a situation that was so unique and it's more than
just Slash Okay, you're going into where you have to
(29:43):
be a studio musician, and I guess correct me if
I'm wrong. It was also presented you were going to
do this stuff live, so you had to be do
both because I could be wrong, because I'm not a musician.
There might be something that can only do one or
the other, or better in one era than the other.
Is that something fair to say? So that's you had
to be well rounded. So that's that's pretty special. But
(30:06):
like Born under a Bad Sign who ended up singing
on that finally in the Rock and Roll Hall of Fame.
Paul Rodgers also on this podcast. Him and his wife
Cynthia were guests. I mean, and you, Brian Johnson, I mean,
you guys got all these A list people that are
coming in. Dorothy is so badass, Chris Robinson. So I mean,
(30:27):
do you have any highlight stories of like the guests
that came in, because we could be here all day
if we went and through all the guests, which maybe
part two, but just some highlights for you You're like, wow,
I get to work with Slash and so and so.
Speaker 3 (30:41):
That's right, that's right, my you know, like you say,
that's that's its own other show.
Speaker 2 (30:47):
Well, give me like what what was like? Well, maybe
like Brian Johnson, like what was or some studio give
me a good studio story with another one of the
guests that he had on there, whether it's Chris Robinson
or what's so what some of the sticks out to you, Well,
Beth Heart's Heart, Yeah, I.
Speaker 1 (31:05):
Believe my favorite.
Speaker 3 (31:08):
You know, it's it's the most dynamic, it's the most unique,
it's the most emotional to me. You know, they all
bring a level, like you say, blood, sweat and tears, passion, maturity,
(31:30):
and you can tell they've all you know, you're you're
listening to iconic voices that have been.
Speaker 1 (31:36):
Doing this a really long time and they just know how.
Speaker 3 (31:40):
To do where they want to put their voice in
when what they want to evoke when they do it.
But the performance I had, I had the opportunity to
record live with Beth Heart, Gary Clark Junior and Iggy
Pop Wow. When we did Iggy Iggy came over and
(32:02):
it was just me, Slash and Iggy and so we
were a three piece when we recorded that, but the
other we were full band, you know with Beth and
she came in and she'd been through a lot.
Speaker 1 (32:16):
I think she was traveling that day and wasn't.
Speaker 3 (32:20):
Feeling all that great, but came in and she put
down this track that was just so even playing him live,
I playing it live, even though she wasn't there, I just.
Speaker 1 (32:33):
Would hear her sing it and feel her singing it, and.
Speaker 3 (32:40):
It was It's such a journey, that particular song that
she's singing. So she delivers it in such a storytelling way.
It puts you in the place of the characters of
the of the subjects subject matter. And she also puts
(33:01):
down one of the best screams in blues rock I've
ever heard on that record, which I was just praying
to God we didn't remove for any reason.
Speaker 1 (33:14):
I was just hoping that a state stayed in there. Yeah.
So yeah, that was one of my favorites.
Speaker 3 (33:23):
But like you say, you know, when you have to
pick one off that record, that's it's almost impossible. She
just had a little bit, She's got that little bit
of edge, and you know, Iggy chose the tune he.
Speaker 1 (33:34):
Wanted to do and deliver, and who else could deliver
it that way?
Speaker 3 (33:41):
I mean, my God and everybody just was able to
do this very special thing. And then when we went
and did the one off in London for the British.
Speaker 1 (33:51):
Awards over in London.
Speaker 3 (33:54):
That was with Brian Johnson, and you know, you realize
that you're on stage with somebody that's been there, done that,
and was you know, loving and caring and giving you.
You know, it was full of stories and you know,
just the best energy in the world and he just wanted.
Speaker 1 (34:15):
To hang out with him all day. And then we
stepped out there and we had we had a good time.
Speaker 3 (34:21):
I probably got felt the crash of jet lag a
bit too early, but we had a good time and
it was great, too great to do it, and I
thought we killed it on the show.
Speaker 2 (34:33):
So uh yeah, I know that that performance with Brian Johnson.
I didn't expect that because he was all around singer
he is, and he's known for of course the A C,
D C voice, but he is just so talented. And
I love Slashes. You know, I paraphrasing something about like
an interview, why didn't you do it in Brian's voice?
(34:53):
Then it becomes like an AC DC song. It's just
something else. So uh right, Slash is a producer. It
must have been something to watch, right, and that must
have been pretty. Oh and before I lose it, did
Iggy Pop wear a shirt?
Speaker 1 (35:08):
Yes? Or no?
Speaker 2 (35:09):
Was he wearing a shirt?
Speaker 1 (35:10):
Okay?
Speaker 2 (35:11):
Oh, all right, well he saw a rare sighting then.
Speaker 3 (35:15):
Okay, whether I was disappointed or not was a fair
fair fair?
Speaker 2 (35:22):
Oh I do want to say. Yeah, Beth Hart, who's
been on the show, like what, she is a special person.
She's an inspiration, uh, special person. But it's it is
so cool because it's such a cool record and all
these different songs and different voices from you know, Iggy
and so when it became like a live thing, and again,
(35:42):
I'm I don't know if you have any specific memories
from I think it was my second time at Peer
seventeen in New York City. My wife and I we saw
Ringo's All Star band there and it was going to
be my son's first like rock show. He's been to
Dave Matthews, but I don't really count that. I'm sorry.
My wife is she's going to her seventy sixth show
(36:04):
next week. I think Dave Matthew's I know. So there's
a picture of my son when he's like less than
a year with giant headphones on at a Dave Matthew show. Anyway,
I wanted to bring up the slash, but we were
really really up close. Probably a bad idea. I'll save it.
But I have my own memories. What do you have
any memories of the New York City show? On a rooftop?
(36:25):
You know, that's a pretty cool venue.
Speaker 3 (36:27):
Well it's beautiful. I know, I'd never played there before.
And I love the bridge right behind us. You know, Yeah,
what a setting. What a beautiful setting for any show.
And yeah, that's where I met Dorothy because we didn't
it was most of those, like I said, most of
the musicians I wasn't able to track with that came
(36:49):
in as they were available and did it. However, they
needed to get it done. So I got to meet her.
Speaker 1 (36:55):
There, okay, and she was on promotional tour and yeah,
another powerhouse voice.
Speaker 3 (37:02):
So it's a it's a wonderful voice, and and she
brought just fantastic energy and it was just good to
realize the tunes with the actual singer when we had
the opportunity to do that on the road, because you know,
not taken away from Teddy or Tash at all, because man,
(37:23):
Teddy drove that train, you know, you know, they were
the original Slashes Blues.
Speaker 1 (37:30):
Ball, you know, yeah, Teddy and Johnny, you know, and.
Speaker 3 (37:34):
Whenever Tash was able to you know, sing and spoke
to the audience, people.
Speaker 1 (37:40):
Just lit up, you know.
Speaker 3 (37:42):
But yeah, when you had the original singers who recorded it,
it was always it was even that much more special.
So it was great to have her there, and I
just so the memory would just be that setting, you know,
of being able to actually realize the tune one of
the songs we'd recorded with the actual singer in that setting,
(38:05):
with Brooklyn Bridge right behind me.
Speaker 2 (38:08):
That was pretty special.
Speaker 1 (38:10):
You know.
Speaker 2 (38:10):
When she came out, I was like, oh, Dorothy and
another I don't know why, I'm guess naming dropping all
the I guess because I don't know, you know a
lot of people that have been on the show. I
asked her about that. She's like, yeah, guess happened to
be in the city, you know. And I was like,
it was just so cool. But you are right, Tash
or you know Teddy whoever handled vocals. Just what a
(38:31):
full show, what a great time I saw kem Mo
open zz ward. So it's probably too soon and again
Slashes on such an interesting schedule. Now, of course, Guns
and Roses are on tour.
Speaker 1 (38:47):
But he will probably they will probably resume in twenty
twenty six.
Speaker 2 (38:51):
So yeah, so I mean, was there any sort of album.
I mean, but was there any sort of hey, well
we'll pick this up at some point, or just like, hey,
great summer, I'll see around, or was there any sort
of a uh you know, dot dot dot.
Speaker 3 (39:07):
He's positive, you know, he's he's really positive about it.
I think he's super sincere when he says he wants
to do more. We just have to see when the
window allows for it, and uh, you know, we'll all
be ready.
Speaker 2 (39:23):
I'll be ready. I sang the praises of the festival.
I even wrote up I don't do it too often
because it just takes so much energy to write a review.
It's one thing to do with the podcast, but with
this guy, it's like, I can't, I can't sit in type.
But I wrote an entire review of the of the
show and also of Orgy of the Damn, both glowing.
They're up on aftpod dot com, and I hope it continues,
(39:46):
and I hope not just for just blue standards or
great songs, some original stuff in there too. They're you know,
metal Chestnut. I know, but it just seems like another
awesome slash project with legs and I'm really happy we're
a part of it.
Speaker 1 (40:01):
Thank you, man, I appreciate it. Yeah.
Speaker 3 (40:04):
Like I said, I'm we were all overjoyed that, you know,
I know the guys were with that the window opened
up again or to be able to do it at all.
Speaker 1 (40:13):
So yeah, man, if we can do it again, all
the better.
Speaker 2 (40:17):
Yeah, no, right on, and I will. This was a
good question. I don't know what I'll get from it
because Jimmy Necho I said, Nico, I'm terrible with names.
Speaker 1 (40:29):
I knew what you meant.
Speaker 3 (40:30):
Yeah.
Speaker 2 (40:30):
Yeah.
Speaker 3 (40:32):
Incidentally, that was one that was also a wonderful project
to work on. And I love that record Mercy we
did and uh that was Peter Katis who did the
you know, the Interpol records back in the day.
Speaker 1 (40:45):
Wonderful engineer.
Speaker 3 (40:46):
I mean just it was a great experience working on
that record with those guys back in the day and
still one of my favorite recordings too. That just that
just often gets missed, you know.
Speaker 2 (40:58):
Well, I hope people you know, obviously, because the guns
of Roses a centered if they're coming here for gn R,
they explore more of your discography and all these albums
that you're you're a part of. But the I'd be
remiss if I didn't mention because Jimmy, you know, he
told his Velvet Revolver, you know, audition story, and he
wanted in his vision, either Isaac Carpenter or you to
(41:20):
be the drummer. I guess there was some him and
Matt didn't see eyed eye. Were you aware of that?
For one?
Speaker 1 (41:28):
You know?
Speaker 3 (41:28):
We yeah, I mean we used to talk all the time,
and he and he was you know, I think Jimmy
is fantastic. You know, we met because I was with
a band called Pleasure Club with a singer named James Hall,
who was a wonderful singer songwriter at the time out
of New Orleans who's influenced just about every everybody out
there and inspired more. But Jimmy was also a fan
(41:54):
of James's and we all got to to come together
because of James Hall Pleasure Club. But we did talk
about it, and Jimmy tried, you know, we it's not
you know, it wasn't without trying. I think both of
us tried to find a good window to make this work,
(42:15):
to make it work realistically, so that we could realize
at least once, what it would you know, what it
might sound like if I was actually drumming with a
record that I was on with the band that I
recorded with, and we just couldn't couldn't make it work
at the time. So it wasn't without Jimmy trying, you
(42:36):
know for sure.
Speaker 2 (42:38):
But I guess that lends itself because he was talking
about praising phrases both you and Isaac Carpenter. One final question,
this comes from Missy just curious. Did you try out
at all for Guns of Roses a drummer. I'm not
sure if they had a tryout there or you know,
because Isaac seems to be dop sky with slash your
(43:00):
slash this guy, you know, for lack of a better phrase,
that happened? Did that happen?
Speaker 1 (43:05):
That never did happen. I think it was just sorted.
Speaker 3 (43:07):
I think there was probably a relationship that may have
been longer with them.
Speaker 1 (43:11):
It was an easy transition. Maybe Isaac just was.
Speaker 3 (43:15):
Just perfect for it, you know, and you know, from
what I've seen, he is perfect for it.
Speaker 1 (43:21):
He was a perfect move for that. And but no,
I didn't. I didn't get a call. I remember texting
slash even before all of that happened, and he said
he sent me.
Speaker 3 (43:32):
His response was, yeah, you know, we talked about something
else and then he said I'll talk to you soon
like that.
Speaker 1 (43:39):
And then I saw the report about what was happening.
I was like, oh, is that what he meant?
Speaker 3 (43:45):
But to be honest, I I'm pretty happy where I'm
at right now, and I you know, look, you get
a call. If you get a call, you cross that
bridge when you get there and you can think about it.
Then if I don't get the call, I don't think
about it. And I'm pretty content where I'm at. And
(44:06):
I'm always constantly busy with music that I'm producing. Music
that I that is I call unlistenable, but it makes
me really happy.
Speaker 2 (44:18):
As long as it makes you happy, that's the most
important thing. And the best way for people to get
up to date with you is Michael Jerome drums dot.
Speaker 1 (44:27):
Com, Michael Jerome on drums.
Speaker 2 (44:29):
On drums, I can't say names, I can't read. How
have they been a professional for like twenty plus years?
I don't know. I can blame it on daddy brain, but.
Speaker 3 (44:39):
Oh man, if you're a bother, nobody needs to know
about I got. Well.
Speaker 2 (44:46):
You can also follow Michael on on Instagram and then
when I post this, I'll have all the links in
the summary and tag you and all the social media
platforms and all that fun stuff. But Michael, this was
really a pleasure to talk to you. And also so Pep,
we don't think I'm even crazier because I'm gonna edit
this afterwards. He just says, Michael. For your zoom name,
(45:06):
it does say Michael Moore when you sign on. So
when I saw that, it threw me for a loop.
So people are like, why did you even say that.
I'm telling you I over explained things, Michael, I don't know.
It's you'll come back, we bond. This is how it happens.
Speaker 1 (45:23):
Michel more too, I'm proud of my name.
Speaker 2 (45:25):
I'm proud of my name as you should be. Well,
Michael Jerome, thank you so much for your time, and
I hope we get to do this again.
Speaker 1 (45:34):
Thank you so much, Brandon, I really appreciate it. You
got it.
Speaker 2 (45:36):
So that does it for this episode of Appetite for Distortion.
When will we see the next one? In the words
of Axl Rose concerning Chinese democracy, I don't know as
soon as the word, but you'll see it thanks to
the lame ass security.
Speaker 1 (45:55):
I'm going home.
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