August 7, 2024 • 28 mins
Ronnie Dawg Robson is a highly sought after session musician. While he is primarly known as a top shelf bassist, and is listed in "The Titans of Bass" as one of the top 130 bassists the world over, he has a much broader resume than that.
This is from his own website: To date, Ronnie's resume is outstanding for he has recorded bass tracks with current and/or ex members of; Ozzy Osbourne, Black Sabbath, Whitesnake, Hollywood Monsters, Deep Purple, Megadeth, Testament, Quiet Riot, Blue Oyster Cult, Thin Lizzy, The Band, Paul Di'Anno, Mayan, Alice Cooper, Prophecy, Firewind, Ronnie James Dio, Fludd, John Lennon, Platinum Blonde, Hand Over Fist, Sunroad, Rainbow, Jeff Beck, Hollentor, Metalium, Danko Jones, Goddo, Heaven and Hell, Jethro Tull and the Michael Schenker Group. He has been in the music business for forty-one years, studying classical piano from the age of seven with the Royal Conservatory of Music, moving on to guitar studies at the age of twelve. At the age of nineteen, he began working in multiple Toronto based recording studios as an engineer, session musician, forwarding into stage and tour managing with various acts, to opening his own production company - aligning with various artists in both concert, television and documentary productions.
We discussed all this and more during our chat. Here's where you can find his web site:
https://www.ronnierobson.com/
Here's where to find my YouTube channel for the raw video version of this episode: @tommysolo9154
And if you like this podcast & would like to help me to keep it going, why not go to this site & buy me a coffee or two? https://buymeacoffee.com/tsolobandq
Become a supporter of this podcast: https://www.spreaker.com/podcast/tommy-solo-s-famous-friends--4318572/support.
This is from his own website: To date, Ronnie's resume is outstanding for he has recorded bass tracks with current and/or ex members of; Ozzy Osbourne, Black Sabbath, Whitesnake, Hollywood Monsters, Deep Purple, Megadeth, Testament, Quiet Riot, Blue Oyster Cult, Thin Lizzy, The Band, Paul Di'Anno, Mayan, Alice Cooper, Prophecy, Firewind, Ronnie James Dio, Fludd, John Lennon, Platinum Blonde, Hand Over Fist, Sunroad, Rainbow, Jeff Beck, Hollentor, Metalium, Danko Jones, Goddo, Heaven and Hell, Jethro Tull and the Michael Schenker Group. He has been in the music business for forty-one years, studying classical piano from the age of seven with the Royal Conservatory of Music, moving on to guitar studies at the age of twelve. At the age of nineteen, he began working in multiple Toronto based recording studios as an engineer, session musician, forwarding into stage and tour managing with various acts, to opening his own production company - aligning with various artists in both concert, television and documentary productions.
We discussed all this and more during our chat. Here's where you can find his web site:
https://www.ronnierobson.com/
Here's where to find my YouTube channel for the raw video version of this episode: @tommysolo9154
And if you like this podcast & would like to help me to keep it going, why not go to this site & buy me a coffee or two? https://buymeacoffee.com/tsolobandq
Become a supporter of this podcast: https://www.spreaker.com/podcast/tommy-solo-s-famous-friends--4318572/support.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:25):
Welcome to Tommy Solo's Famous Friends. This is where I
get to chat with people I've connected with in the
entertainment industry over the years, and today I'm very pleased
to have with me Ronnie Doug Robson. Welcome to the show. Ronnie.
Speaker 2 (00:38):
Hey, thanks for having me Tommy.
Speaker 1 (00:39):
It is my pleasure. So you are professionally a session
and touring artist, primarily on bass, and you've worked with
some really top shelf players over the years. From what
I understand, you've worked with everybody from members of Ozzie
and Sabbath to White Snake God. That's interesting. I guess
(01:02):
he was part of the Hollywood Monsters, is that right?
Speaker 2 (01:05):
Yeah?
Speaker 3 (01:05):
We did drop Dead That's Who from godo w on
the last Hollywood Monsters album. Some great players on that one,
Tommy Denander as well, who's written, worked with Alice Cooper
and a bunch of other great people. And it was
fun to do that song because it was always one
of my favorite Gaddo songs. And then have Greg come
in to do it was fantastic with Steph Hand on vocals.
Speaker 1 (01:27):
Yeah, very cool. Now I want to go back to
the beginning with you. You started out on piano, taking
classical piano when you were just a kid, like seven years.
Speaker 3 (01:36):
Old, Yeah, six seven, Yeah, world conservatory music. I come
from a background where music was everything in our household,
and my mom wanted me to learn an instrument, and
piano was a big thing in our house.
Speaker 2 (01:51):
We had a piano in.
Speaker 3 (01:52):
Our house, of course, so she got me doing that
as well as my sister, and we would I be,
you know, lessons every week. She made me in practice
every day and different scales, and I learned different songs
from Bach, Beethoven, Chopin, you know, all of them. And
then theory went with that as well. Yeah, I started
(02:13):
out with piano. I still tinker every once in a while.
Speaker 1 (02:16):
So you're a prime example of what I call a
consummate musician because you moved from classical piano to guitar
a few weeks later, and now all these years later,
your rep is as a rock solid bass player. So
I was never that guy. I ended up learning keyboards
much later. But it's interesting to me that you had
(02:38):
the support at home as well.
Speaker 2 (02:40):
Yeah. When I did, yeah, I did.
Speaker 3 (02:43):
And when I wanted to switch to guitar, you know,
I was listening to Swede and Nazareth and Zeppelin and
all these great bands. Jus real tall and I wanted
to switch. And it wasn't two weeks later. Next thing,
you know, acoustic guitar in the house, and I'm going
for lessons for that as well, So just to learn
the basic fundamentals of guitar. That didn't last very long.
(03:06):
I picked things up pretty quick and I was pretty
good with my ear so as soon as I started
to learn chords like basic chords and then bar chords,
band on the ground running from there.
Speaker 2 (03:17):
Cool.
Speaker 1 (03:17):
Now you are not just a straight ahead four string bassis.
You're more versatile than that. And you're one of the
few bass players that's on record using effects as well.
So who are some of your major influences on bass?
Speaker 3 (03:34):
Major influences on bass for me, probably John Paul Jones
from Led Zeppelin as the root of everything rock blues.
You know, he got into everything. John Entwistle of course,
more of a out there in your face player. Chris
Squire from Yes loved him. Getty Lee of course. Getty's like,
(03:56):
can't touch Getty And you know there's like a few
there's down the road Flee I love. Later on it
was kind of got into what he was doing, not
so much on the slap thing, but how he would
construct the song, how he would write his notes into things.
That's where he really got me, definitely. But I think
(04:18):
John Paul Jones has to be my favorite absolutely.
Speaker 1 (04:22):
Yeah, no kidding, Yeah, John Paul Jones was a major
influence on many many players, that's for sure, as were
all the other guys that you mentioned. Now, you went
to the Humber School of Business, which strikes me odd
because I know a lot of guys who went there
for the music program. But yeah, when you were still
in school, you were working part time in a recording studio.
(04:42):
Was that right?
Speaker 2 (04:43):
Oh?
Speaker 3 (04:44):
Yeah, I was working a recording studio. I was working
in two restaurants as a sous chef. So it was
all part time, but I was putting in more than
full time hours at that point. And I left the
house young. I left really young. I left at fifteen
years old.
Speaker 1 (04:58):
Yeah, much their chagrin, I'm sure.
Speaker 3 (05:01):
No, yeah, and my dad's yeah, but it's one thing
that I just you know, it's one of these things
where I had to do free spirit and bang them out,
so and you know, it's fun. I was just thinking
about this the other day, my dad had to sign
my lease for me, because you know, I was below eighteen.
Speaker 2 (05:16):
I couldn't.
Speaker 3 (05:17):
But he saw the money in the bank, he saw everything.
He saw that I was working, and I went, Okay,
you know, if this is what you want to do,
you can do it.
Speaker 2 (05:25):
So I did it.
Speaker 3 (05:26):
Yeah, but the recording studio was one of my favorite things.
Then I started working for another recording studio part time
on Sundays because they wanted to give their engineers a
day or two off per week. So I started working
on another one. With that, I met all kinds of artists,
all kinds of great artists back then, and from there
I was hooked. I knew what I wanted to do,
(05:48):
but I also wanted to further myself. So basically that's
where I got the business degree. Because my mom and
dad said, look, if you're not going to go to college,
you're not going to go to you or so you
got to do something, and my dad says, get your
business degree.
Speaker 2 (06:03):
So I went got it. So that's why I did it.
Speaker 1 (06:05):
Well, that's the one thing that a lot, I'm going
to say the majority of top shelf players are lacking
is the business acumen. So that's the difference between living
in a one bedroom apartment in somebody's basement and having,
you know, a comfortable lifestyle. I've always said that I
love the music. I never enjoyed the business part of
(06:28):
the music business.
Speaker 2 (06:29):
No, and I still don't. Yeah, I still don't, Tommy. No,
It's like I'd rather just go in do my thank
bank bank out.
Speaker 1 (06:36):
So but I think having a basic understanding of how
business works has got to be a major bonus. I
have a day business that allows me to have the
freedom to do what I want with my music. Right
as much as I'm not concerned about the business part
of the music, having another business gives me that freedom.
Speaker 2 (06:55):
Exactly, exactly.
Speaker 3 (06:56):
And you know what I think. I was twenty three
Tommy where I was having lunch over at my grandmother's
house and they had their City of Toronto councilor there,
and I think he had a kind of a thing
for my grandmother. My grandmother was a beautiful girl, and
we were talking and saying, you know, I do this,
I do this on this and this, and he said
to me, he goes, would you ever consider working for
the City of Toronto? And I said, you know what,
(07:18):
I would consider it most definitely. You know, good money,
good benefits, early retirement, this that and the other. So
I think it was less than two weeks later. I
started with the City of Toronto and I did thirty
three years of the City of Toronto. I retired when
I was fifty five, but within that time I was
always into two music projects and film projects and things
(07:40):
like that part time, so I never really left that
end of things, but I kind of moved forward with
the City of Toronto because it was the safest thing
that I can do. And a lot of these bands
that these older Canadian bands, I was talking to him
about business, talking about what they were doing, and they
would get.
Speaker 2 (07:58):
Like a salary working and that salary wasn't over the
top even back then. So I was really lucky that
I took that route.
Speaker 3 (08:08):
Going into the City of Toronto, because if not, I'd
probably still be working to this day and probably less
music and more work. But yeah, man, I'm happy, and
I'm happy now because I can do what I want,
when I want to.
Speaker 2 (08:20):
Do it, with who I want to do it.
Speaker 1 (08:22):
Right. Yeah, now, speaking of doing what you want with
who you want to do it, Hollywood monsters, that's a
pretty big deal. I mean the names of the people
that are involved with that. I mean, good grief, how
did that happen?
Speaker 2 (08:38):
It's funny, Stephan, that's his baby, Hollywood Monsters.
Speaker 3 (08:42):
And we started talking on the internet in regards to
something completely different, something else, and we did a couple
of songs together, a couple David Bowie songs and Sasa
two catch was on drums from Platinum Blonde ex Platinum
Blonde Drummer, which was great because I always wanted to
work with Sasha and I got the chance. And then
it was probably about a month or five weeks after
(09:04):
Steff said to me, he says, you know, man, I
really don't know what I want to do next. So
I said, well, why don't you do another Hollywood Monsters album,
you know.
Speaker 1 (09:13):
Like number three, and we'll be right back after this.
Speaker 3 (09:34):
So I said, you know, like you've got great people
on the first two, I can get some great people
in on the third.
Speaker 2 (09:41):
Let's do it.
Speaker 3 (09:41):
Let's do some covers, You've got some originals, let's get
it together. So he immediately said yes. So I said, okay,
let's plan for the next album. And it took probably
a little less than a year for us to get everything,
all the songs together, and get all the players together
and record and get other people pull together for production
and things like that. Set a video, you know, just
(10:05):
work on business with that and how we're going to
release it and when we're going to release it and
things like that, and it.
Speaker 2 (10:11):
Worked out really well.
Speaker 3 (10:12):
It was one of the best things that I ever
done in my life was join staff on that, because
you just open up more doors for me as well
more people.
Speaker 2 (10:20):
My backyard was like this now. It was huge after that.
Speaker 1 (10:24):
The fact that you've got people like Vinny Apassy coming
on some of this stuff, you know, and Danko Jones singing, yeah,
like this is no joke. This is a serious project.
Speaker 4 (10:35):
Man.
Speaker 2 (10:35):
Oh yeah.
Speaker 1 (10:36):
Now you've got a promo video for the latest Hollywood
Monsters release. I think what we should do is take
a minute now and press play on that and let
the people see it.
Speaker 3 (10:45):
Sure you know what, This one's called numb. It is
probably one of my favorite Hollywood Monsters tunes period and
it's great, So you roll it.
Speaker 2 (10:54):
Everyone enjoyed.
Speaker 1 (10:56):
Editor's note, Obviously we can't watch a video while we're
listening to this podcast, asked, but you can watch the
video on my YouTube channel, and don't you worry, I
will put that channel in the show notes. Now back
to the show where the feeling is going from delusion,
(11:25):
search and nice face to be.
Speaker 5 (11:29):
Where nothing is feel and nothing reading matters.
Speaker 4 (11:34):
CONNECTI suit me you so ready? Then twenty flowers and concrete.
Speaker 1 (11:48):
Let me play with my soul? Say we missavy, free.
Speaker 4 (11:53):
Grow, he says, shoe shot, Sir said Hamer, he find
(12:26):
and if he lap took, I can get Betsy. Here's
cat fucking nuts would.
Speaker 2 (12:39):
Choose to fall.
Speaker 5 (12:46):
Shot'll playing towers in concrete, wing playing my soul?
Speaker 1 (12:57):
Say remain so S S S S S.
Speaker 5 (13:51):
S.
Speaker 4 (13:54):
Stuff.
Speaker 1 (14:40):
Wow, that's great man, this is what the business is
all about. There's some really good stuff. And are there
hard copies available of the latest project?
Speaker 3 (14:49):
Yeah, there's Japanese import for Thriving on Chaos. That album
I can't remember off the top of my head. But
if you go to Ronnie Robinson dot com and hit
the mod there's link it shows where you can get
them from there and samples and you can get them
online on my website as well.
Speaker 2 (15:08):
Cool.
Speaker 1 (15:08):
Now in my notes, I've got that you've played with?
Was it Michael Shanker or somebody from his band that you've.
Speaker 2 (15:14):
I think it was Don Airy that I referred to
for Michael Shanker.
Speaker 1 (15:18):
Okay, and he was also with Deep Purple for a while.
Speaker 3 (15:21):
Yeah.
Speaker 2 (15:22):
He was great player, great player, ADUs guy too.
Speaker 1 (15:25):
And he gets around. I know other artists that he's
worked with as well.
Speaker 2 (15:29):
Oh he does.
Speaker 3 (15:30):
And it was funny because there was a guitar solo
and I thought, you know, a little segue into the
guitar solo, and I thought, you know what, I'm not
just going to hold a bassline, So I hooked up
my wah wah pedal and I held the note but
let it face through the wah wah, and then the.
Speaker 2 (15:47):
Guitar solo started. So I said to Staff, I go,
how do you like that? That's good?
Speaker 3 (15:51):
He goes, yeah, I like it, man, that's really really good.
So about I don't know, four or five days later,
I get the tune back and it was down Airy
on D three, you know, Hammond with a wah wah pedal.
So my wah wah went in and he carried it
on and I was just like beside myself. I was like, wow, Yeah,
(16:14):
it was the surprise to me. And I loved having
it on the album, and there was a lot of
other surprises too. We would surprise each other stuff and
I but the musicianship on that album was amazing and
I'm very proud of it.
Speaker 1 (16:25):
Yeah, and you should be. You know, it's funny the
little tricks that happened in the studio. I was just
thinking when you mentioned wah wah. I recorded a song
a few years ago in the studio and the engineer
was there with me, and little did I know, he
had me plugged into a Morley wah. So I'm playing
the solo and he's operating it with his hands.
Speaker 2 (16:45):
And you didn't even know.
Speaker 1 (16:46):
Well, I knew when he was doing it, but I
didn't know that it was going to happen. So it
inspired a totally different take on the solo. Ye. Yeah.
Speaker 3 (16:55):
Sometimes it takes outside influence to say, hey, either just
do it or make him of it. Hey, maybe we
should do this, Maybe we should do this. Yeah, And
that's one thing about remote recording. Communication is key. I
can play a bass track and send it off, but
I always say, you know, if you're not happy with us,
I always record in sections, you know, like or record versus.
I'll record courses will record bridges or whatever separately, so
(17:18):
if they want something change, I can change it like that.
But just because you've done it once doesn't mean you're
going to be not doing it again. And that's the
way it should be.
Speaker 1 (17:27):
Definitely, yeah, absolutely, and we can strive for perfection. But
what is perfection?
Speaker 2 (17:32):
Right exactly?
Speaker 3 (17:33):
And you know, it's really funny because people send me
stuff and stuff that they've done and they ask me,
you know, what would you do differently?
Speaker 2 (17:42):
I say, don't make it sound so perfect.
Speaker 3 (17:44):
It sounds inhuman, especially these metal in thrash guys. Now,
it's just like bank bank bank bank, bank, bank bank.
Speaker 2 (17:53):
And that's it.
Speaker 3 (17:54):
There's no deviation, there's no there's no anything, you know,
there's no holding and no, there's no you know what
I mean.
Speaker 2 (18:01):
It's like too mechanical for me, and that drives me crazy.
I get it, you know.
Speaker 1 (18:06):
And it's it's a style. You know, there's definitely there
are people that appreciate that. But I've had this conversation
with a lot of legacy artists. You know, there's a
lot of people who you know, you see these memes.
I might be old, but I grew up with all
the best music. Well, it was the best music for us,
you know. And there's a whole new generation and there's
(18:27):
another one coming after that, you know, there is. And
so music is the doctor. It's a matter of what
doctor you choose and how often you visit for checkup.
Speaker 3 (18:38):
Right, Yeah, no, exactly exactly. But you know what I
always say, play it like you would live, like as
you walk out on the stage, and you would you know,
just want to treat far. That's the way to do it, man,
because it shows life, it shows personality, and that's the
only thing that I'm saying with it is sometimes it
lacks that that personality. It's just as I said, it's
(18:59):
too much mechanical. Yeah, crazy, I understand, you know. Like
rhythm section, yeah, put it tighter than an otter's butt. Great,
But rest of it, no, man, Even vocals are like
like flatlining. You know.
Speaker 1 (19:12):
The last single I recorded while I was in the
vocal booth, I on the spur of the moment, decided
to sing this song differently than I had over the
course of two years that I was preparing to record it, right,
And so I listened to the vocal in my truck
later and I went, oh my god, I actually sang sharp. Yeah,
So I said to the engineer, we're gonna have to
(19:34):
fix this.
Speaker 2 (19:35):
Yeah.
Speaker 1 (19:36):
My first and hopefully maybe the only experience I've had
with auto tune. But you know, sometimes in the heated moment,
things happen and it's going to affect it positively or negatively,
and we'll be right back after this. Now, not only
(20:07):
are you a successful player, but you're branching out into
culinary arts on a more professional level.
Speaker 3 (20:14):
Tell me about Yeah, I'm watching all these online cooking
shows and all these culinary based shows where guys are
doing reviews at restaurants and this, that and the other,
and they're using other people's music all the time.
Speaker 2 (20:27):
They're using Like how they're getting away with that, I
don't know. And I thought to myself.
Speaker 3 (20:32):
My wife said to me, you know you should do one,
and a few other friends is you know you should
do one too, And I thought, you know what, I
could play all the instruments, write the songs for it,
whether it be thirty five, forty forty five fifty seconds long.
But I can do that all day and every day
and film.
Speaker 2 (20:49):
You know.
Speaker 3 (20:50):
I just redid my kitchen and not because of that,
because we wanted to redo our kitchen, but it's still
in development. It's called Sioux Rock City and Food Music Life.
So I'll be doing everything from in the kitchen little
tips tricks, sausage full course meals, to going out to
different restaurants, getting in their kitchen, doing all kinds of things.
(21:11):
So it's going to be a little more interesting, Like
it's not going to be one trick pony where I'm
sitting in my kitchen doing recipes for everyone, just set
little tips and tricks, little tips and tricks for restaurant owners,
front of house staff, things like that. It's going to
be a little more, a little more broad, very cool
with a great soundtrack.
Speaker 1 (21:29):
Yeah, So back to the music for a minute. What's
next for you all?
Speaker 3 (21:34):
Right now, I'm working on a project starting up. I've
been sitting on a few tunes for the last say year,
year and a half. I got some great players and
I'm going to do basically what I did with the
Hollywood Monsters. But it's all going to be this guy.
I have a guitar player and a great drummer going
(21:56):
to be joining me on this. I can't mention any
and as right now, and same thing I have guest
musicians and guest artists to do. It will release something
like maybe one per month and then the album after
a year or something like that. So between the Cooking
Show and this, that's what I'm gonna be doing.
Speaker 2 (22:11):
I'm gonna be.
Speaker 3 (22:11):
Happy doing it, definitely, because I've got some great people
already into it, and I'm going to get some great
people into it as well farther down the road, and
not only that great musicians, but great production people as well.
So and I've got a phone call actually this afternoon.
I have to do one of the best mixing engineers
that I know. Because sometimes I want to just drop
(22:31):
things off to other people. I want to say, look,
I've got emotional attachment to this one.
Speaker 2 (22:36):
You take over.
Speaker 1 (22:37):
It's nice to have that objective ear And yeah, I
know that as musicians, we'd all love to think that
everything we do is golden. But I said to my
wife the other day after my candidate day show, you know, yes,
am I really a good front man? Or am I
just goofy up there? You know it says no, No,
You're really a good friend. But we don't always have
(22:59):
absolute confidence until somebody is on the outside looking in
and says you know what, Ronnie, You're right, that bass
line is really solid. Why don't we try this, you know,
and see how that works with it, or maybe add
a second bassline or whatever, or maybe list.
Speaker 3 (23:15):
Guitar notes with the bass line. I've done that before too,
and it just man made things jump. And I can't
remember who used to do that with violin and cello.
I think it was Henry Mann Senior.
Speaker 2 (23:25):
I'm not sure, but.
Speaker 3 (23:27):
He used to double up on his bottom end, okay,
And I kind of caught that a few years ago,
and I did it on a few songs. The next thing,
you know, like I'm playing six string guitar on it,
but I'm playing just notes and bang. It just lifted
it right up. So there's always little tips and tricks
that we do. But it's nice to have other ears
as well.
Speaker 2 (23:46):
Absolutely say yes and no.
Speaker 1 (23:49):
Yeah, absolutely. I think of George Martin and the opening
chord to Hard Day's Night, right, you know. Yeah, And
the guitar solo is not just a guitar solo because
George just playing piano right along with it, right, And
that's why so many guitar players are just strangling themselves
trying to figure out how do I get that sound.
Well you can't, Yeah, you can't.
Speaker 2 (24:09):
You can't unless you know, and then you know, you.
Speaker 1 (24:11):
Have your piano player play it with you.
Speaker 3 (24:13):
Yeah yeah, and if not, then you guess what your
vocalist has learned how to play piano?
Speaker 2 (24:17):
Yeah, exactly, yeah, yeah, not that noe this note middle.
Speaker 1 (24:22):
See back to the bass guitar for a minute. Sure,
lot wound or round wound on all of.
Speaker 3 (24:28):
My basses except for my fret list is round wound.
And I can't remember the gauge off the top of
my head. Forty usually forty five to I say ninety
five or one oh five. I can't remember. Okay, you know,
I get packages of strings into the same ones from
the Dario and I just rip them open and change.
(24:49):
You know, I'm not really looking at things, but I
think it's forty five to ninety yeah, one hundred and five,
forty five to one hundred and five, and then on
five string, I think I go up to one fifteen
or one t keep that a little bit lighter on
my fifth on my B string or whatever I d
or whatever I turned to.
Speaker 1 (25:07):
You can see some of the guitars behind me here.
As of well last week, I had all my three
main electric guitars, I had three different gages of strings.
I had turned my Ibanez into somewhat of a bar
tone guitar, right yeah, and my low E was a
fifty six, I believe. And it's funny because I actually
(25:28):
thought I had broken one of the locking tuner adjustice
and it turns out when I went back to the
medium gauge that the tuner wasn't broken. It was just
the For people that don't know, locking tuners usually have
like a an enclosure that tightens when you turn the dial,
and so that string was too big, so it wouldn't
(25:50):
lot because just close on it. Wow, that's you know what.
Speaker 3 (25:54):
I got experiment with strings too. On my sixth I
got a Fender Acoustic Sonic, which is an electric guitar
acoustic guitar.
Speaker 2 (26:02):
Hybrid kind of deal. And I want the more so.
Speaker 3 (26:06):
For the acoustic tones. But if I want to go
and play a David Gilmore solo, I need a lighter gauge.
So I'm still experimenting. I changed my strings twice. Hopefully
I think I got it figured out now where I'm
going to go. But I wanted that guitar for the
studio just for hybrid. So I'm not buying like I
don't have guitars six strings like you. I do right
(26:28):
now because I've already got a lot of basses.
Speaker 2 (26:30):
Yeah.
Speaker 1 (26:31):
Yeah, we could get in a lot of trouble if
we talked about all the guitars we have and all
the ones that we want. Yeah, listen, Ronnie, I don't
want to take up your whole day. I know you've
got lots of stuff on the go. I do want
to thank you so much for taking the time to
do this with me today and until next time.
Speaker 2 (26:46):
Cheers.
Speaker 3 (26:47):
Yeah, thanks Tommy, and thank you for having me enjoy
everyone my pleasure.
Speaker 1 (26:53):
Tommy Solo's Famous Friends is a one man production, meaning
that I've done all the work, including recording, editing, guest acquisition, etc.
And hey, here's some news. We've just recently joined forces
with five to one nine magazine, so you can check
out my interviews there as well. The theme song for
Tommy Solo's Famous Friends is a clip from my original
(27:16):
composition The Burn. All rights reserved. If you enjoy the
show and you'd like to help us keep it going,
why don't you click on the buy me a Coffee
link in the show notes, hit the like button, subscribe
all that stuff. We really appreciate it. You can find
me on Facebook and Instagram, and until next time, cheers,
Welcome to Tommy Solo's Famous Friends. This is where I
get to chat with people I've connected with in the
entertainment industry over the years, and today I'm very pleased
to have with me Ronnie Doug Robson. Welcome to the show. Ronnie.
Speaker 2 (00:38):
Hey, thanks for having me Tommy.
Speaker 1 (00:39):
It is my pleasure. So you are professionally a session
and touring artist, primarily on bass, and you've worked with
some really top shelf players over the years. From what
I understand, you've worked with everybody from members of Ozzie
and Sabbath to White Snake God. That's interesting. I guess
(01:02):
he was part of the Hollywood Monsters, is that right?
Speaker 2 (01:05):
Yeah?
Speaker 3 (01:05):
We did drop Dead That's Who from godo w on
the last Hollywood Monsters album. Some great players on that one,
Tommy Denander as well, who's written, worked with Alice Cooper
and a bunch of other great people. And it was
fun to do that song because it was always one
of my favorite Gaddo songs. And then have Greg come
in to do it was fantastic with Steph Hand on vocals.
Speaker 1 (01:27):
Yeah, very cool. Now I want to go back to
the beginning with you. You started out on piano, taking
classical piano when you were just a kid, like seven years.
Speaker 3 (01:36):
Old, Yeah, six seven, Yeah, world conservatory music. I come
from a background where music was everything in our household,
and my mom wanted me to learn an instrument, and
piano was a big thing in our house.
Speaker 2 (01:51):
We had a piano in.
Speaker 3 (01:52):
Our house, of course, so she got me doing that
as well as my sister, and we would I be,
you know, lessons every week. She made me in practice
every day and different scales, and I learned different songs
from Bach, Beethoven, Chopin, you know, all of them. And
then theory went with that as well. Yeah, I started
(02:13):
out with piano. I still tinker every once in a while.
Speaker 1 (02:16):
So you're a prime example of what I call a
consummate musician because you moved from classical piano to guitar
a few weeks later, and now all these years later,
your rep is as a rock solid bass player. So
I was never that guy. I ended up learning keyboards
much later. But it's interesting to me that you had
(02:38):
the support at home as well.
Speaker 2 (02:40):
Yeah. When I did, yeah, I did.
Speaker 3 (02:43):
And when I wanted to switch to guitar, you know,
I was listening to Swede and Nazareth and Zeppelin and
all these great bands. Jus real tall and I wanted
to switch. And it wasn't two weeks later. Next thing,
you know, acoustic guitar in the house, and I'm going
for lessons for that as well, So just to learn
the basic fundamentals of guitar. That didn't last very long.
(03:06):
I picked things up pretty quick and I was pretty
good with my ear so as soon as I started
to learn chords like basic chords and then bar chords,
band on the ground running from there.
Speaker 2 (03:17):
Cool.
Speaker 1 (03:17):
Now you are not just a straight ahead four string bassis.
You're more versatile than that. And you're one of the
few bass players that's on record using effects as well.
So who are some of your major influences on bass?
Speaker 3 (03:34):
Major influences on bass for me, probably John Paul Jones
from Led Zeppelin as the root of everything rock blues.
You know, he got into everything. John Entwistle of course,
more of a out there in your face player. Chris
Squire from Yes loved him. Getty Lee of course. Getty's like,
(03:56):
can't touch Getty And you know there's like a few
there's down the road Flee I love. Later on it
was kind of got into what he was doing, not
so much on the slap thing, but how he would
construct the song, how he would write his notes into things.
That's where he really got me, definitely. But I think
(04:18):
John Paul Jones has to be my favorite absolutely.
Speaker 1 (04:22):
Yeah, no kidding, Yeah, John Paul Jones was a major
influence on many many players, that's for sure, as were
all the other guys that you mentioned. Now, you went
to the Humber School of Business, which strikes me odd
because I know a lot of guys who went there
for the music program. But yeah, when you were still
in school, you were working part time in a recording studio.
(04:42):
Was that right?
Speaker 2 (04:43):
Oh?
Speaker 3 (04:44):
Yeah, I was working a recording studio. I was working
in two restaurants as a sous chef. So it was
all part time, but I was putting in more than
full time hours at that point. And I left the
house young. I left really young. I left at fifteen
years old.
Speaker 1 (04:58):
Yeah, much their chagrin, I'm sure.
Speaker 3 (05:01):
No, yeah, and my dad's yeah, but it's one thing
that I just you know, it's one of these things
where I had to do free spirit and bang them out,
so and you know, it's fun. I was just thinking
about this the other day, my dad had to sign
my lease for me, because you know, I was below eighteen.
Speaker 2 (05:16):
I couldn't.
Speaker 3 (05:17):
But he saw the money in the bank, he saw everything.
He saw that I was working, and I went, Okay,
you know, if this is what you want to do,
you can do it.
Speaker 2 (05:25):
So I did it.
Speaker 3 (05:26):
Yeah, but the recording studio was one of my favorite things.
Then I started working for another recording studio part time
on Sundays because they wanted to give their engineers a
day or two off per week. So I started working
on another one. With that, I met all kinds of artists,
all kinds of great artists back then, and from there
I was hooked. I knew what I wanted to do,
(05:48):
but I also wanted to further myself. So basically that's
where I got the business degree. Because my mom and
dad said, look, if you're not going to go to college,
you're not going to go to you or so you
got to do something, and my dad says, get your
business degree.
Speaker 2 (06:03):
So I went got it. So that's why I did it.
Speaker 1 (06:05):
Well, that's the one thing that a lot, I'm going
to say the majority of top shelf players are lacking
is the business acumen. So that's the difference between living
in a one bedroom apartment in somebody's basement and having,
you know, a comfortable lifestyle. I've always said that I
love the music. I never enjoyed the business part of
(06:28):
the music business.
Speaker 2 (06:29):
No, and I still don't. Yeah, I still don't, Tommy. No,
It's like I'd rather just go in do my thank
bank bank out.
Speaker 1 (06:36):
So but I think having a basic understanding of how
business works has got to be a major bonus. I
have a day business that allows me to have the
freedom to do what I want with my music. Right
as much as I'm not concerned about the business part
of the music, having another business gives me that freedom.
Speaker 2 (06:55):
Exactly, exactly.
Speaker 3 (06:56):
And you know what I think. I was twenty three
Tommy where I was having lunch over at my grandmother's
house and they had their City of Toronto councilor there,
and I think he had a kind of a thing
for my grandmother. My grandmother was a beautiful girl, and
we were talking and saying, you know, I do this,
I do this on this and this, and he said
to me, he goes, would you ever consider working for
the City of Toronto? And I said, you know what,
(07:18):
I would consider it most definitely. You know, good money,
good benefits, early retirement, this that and the other. So
I think it was less than two weeks later. I
started with the City of Toronto and I did thirty
three years of the City of Toronto. I retired when
I was fifty five, but within that time I was
always into two music projects and film projects and things
(07:40):
like that part time, so I never really left that
end of things, but I kind of moved forward with
the City of Toronto because it was the safest thing
that I can do. And a lot of these bands
that these older Canadian bands, I was talking to him
about business, talking about what they were doing, and they
would get.
Speaker 2 (07:58):
Like a salary working and that salary wasn't over the
top even back then. So I was really lucky that
I took that route.
Speaker 3 (08:08):
Going into the City of Toronto, because if not, I'd
probably still be working to this day and probably less
music and more work. But yeah, man, I'm happy, and
I'm happy now because I can do what I want,
when I want to.
Speaker 2 (08:20):
Do it, with who I want to do it.
Speaker 1 (08:22):
Right. Yeah, now, speaking of doing what you want with
who you want to do it, Hollywood monsters, that's a
pretty big deal. I mean the names of the people
that are involved with that. I mean, good grief, how
did that happen?
Speaker 2 (08:38):
It's funny, Stephan, that's his baby, Hollywood Monsters.
Speaker 3 (08:42):
And we started talking on the internet in regards to
something completely different, something else, and we did a couple
of songs together, a couple David Bowie songs and Sasa
two catch was on drums from Platinum Blonde ex Platinum
Blonde Drummer, which was great because I always wanted to
work with Sasha and I got the chance. And then
it was probably about a month or five weeks after
(09:04):
Steff said to me, he says, you know, man, I
really don't know what I want to do next. So
I said, well, why don't you do another Hollywood Monsters album,
you know.
Speaker 1 (09:13):
Like number three, and we'll be right back after this.
Speaker 3 (09:34):
So I said, you know, like you've got great people
on the first two, I can get some great people
in on the third.
Speaker 2 (09:41):
Let's do it.
Speaker 3 (09:41):
Let's do some covers, You've got some originals, let's get
it together. So he immediately said yes. So I said, okay,
let's plan for the next album. And it took probably
a little less than a year for us to get everything,
all the songs together, and get all the players together
and record and get other people pull together for production
and things like that. Set a video, you know, just
(10:05):
work on business with that and how we're going to
release it and when we're going to release it and
things like that, and it.
Speaker 2 (10:11):
Worked out really well.
Speaker 3 (10:12):
It was one of the best things that I ever
done in my life was join staff on that, because
you just open up more doors for me as well
more people.
Speaker 2 (10:20):
My backyard was like this now. It was huge after that.
Speaker 1 (10:24):
The fact that you've got people like Vinny Apassy coming
on some of this stuff, you know, and Danko Jones singing, yeah,
like this is no joke. This is a serious project.
Speaker 4 (10:35):
Man.
Speaker 2 (10:35):
Oh yeah.
Speaker 1 (10:36):
Now you've got a promo video for the latest Hollywood
Monsters release. I think what we should do is take
a minute now and press play on that and let
the people see it.
Speaker 3 (10:45):
Sure you know what, This one's called numb. It is
probably one of my favorite Hollywood Monsters tunes period and
it's great, So you roll it.
Speaker 2 (10:54):
Everyone enjoyed.
Speaker 1 (10:56):
Editor's note, Obviously we can't watch a video while we're
listening to this podcast, asked, but you can watch the
video on my YouTube channel, and don't you worry, I
will put that channel in the show notes. Now back
to the show where the feeling is going from delusion,
(11:25):
search and nice face to be.
Speaker 5 (11:29):
Where nothing is feel and nothing reading matters.
Speaker 4 (11:34):
CONNECTI suit me you so ready? Then twenty flowers and concrete.
Speaker 1 (11:48):
Let me play with my soul? Say we missavy, free.
Speaker 4 (11:53):
Grow, he says, shoe shot, Sir said Hamer, he find
(12:26):
and if he lap took, I can get Betsy. Here's
cat fucking nuts would.
Speaker 2 (12:39):
Choose to fall.
Speaker 5 (12:46):
Shot'll playing towers in concrete, wing playing my soul?
Speaker 1 (12:57):
Say remain so S S S S S.
Speaker 5 (13:51):
S.
Speaker 4 (13:54):
Stuff.
Speaker 1 (14:40):
Wow, that's great man, this is what the business is
all about. There's some really good stuff. And are there
hard copies available of the latest project?
Speaker 3 (14:49):
Yeah, there's Japanese import for Thriving on Chaos. That album
I can't remember off the top of my head. But
if you go to Ronnie Robinson dot com and hit
the mod there's link it shows where you can get
them from there and samples and you can get them
online on my website as well.
Speaker 2 (15:08):
Cool.
Speaker 1 (15:08):
Now in my notes, I've got that you've played with?
Was it Michael Shanker or somebody from his band that you've.
Speaker 2 (15:14):
I think it was Don Airy that I referred to
for Michael Shanker.
Speaker 1 (15:18):
Okay, and he was also with Deep Purple for a while.
Speaker 3 (15:21):
Yeah.
Speaker 2 (15:22):
He was great player, great player, ADUs guy too.
Speaker 1 (15:25):
And he gets around. I know other artists that he's
worked with as well.
Speaker 2 (15:29):
Oh he does.
Speaker 3 (15:30):
And it was funny because there was a guitar solo
and I thought, you know, a little segue into the
guitar solo, and I thought, you know what, I'm not
just going to hold a bassline, So I hooked up
my wah wah pedal and I held the note but
let it face through the wah wah, and then the.
Speaker 2 (15:47):
Guitar solo started. So I said to Staff, I go,
how do you like that? That's good?
Speaker 3 (15:51):
He goes, yeah, I like it, man, that's really really good.
So about I don't know, four or five days later,
I get the tune back and it was down Airy
on D three, you know, Hammond with a wah wah pedal.
So my wah wah went in and he carried it
on and I was just like beside myself. I was like, wow, Yeah,
(16:14):
it was the surprise to me. And I loved having
it on the album, and there was a lot of
other surprises too. We would surprise each other stuff and
I but the musicianship on that album was amazing and
I'm very proud of it.
Speaker 1 (16:25):
Yeah, and you should be. You know, it's funny the
little tricks that happened in the studio. I was just
thinking when you mentioned wah wah. I recorded a song
a few years ago in the studio and the engineer
was there with me, and little did I know, he
had me plugged into a Morley wah. So I'm playing
the solo and he's operating it with his hands.
Speaker 2 (16:45):
And you didn't even know.
Speaker 1 (16:46):
Well, I knew when he was doing it, but I
didn't know that it was going to happen. So it
inspired a totally different take on the solo. Ye. Yeah.
Speaker 3 (16:55):
Sometimes it takes outside influence to say, hey, either just
do it or make him of it. Hey, maybe we
should do this, Maybe we should do this. Yeah, And
that's one thing about remote recording. Communication is key. I
can play a bass track and send it off, but
I always say, you know, if you're not happy with us,
I always record in sections, you know, like or record versus.
I'll record courses will record bridges or whatever separately, so
(17:18):
if they want something change, I can change it like that.
But just because you've done it once doesn't mean you're
going to be not doing it again. And that's the
way it should be.
Speaker 1 (17:27):
Definitely, yeah, absolutely, and we can strive for perfection. But
what is perfection?
Speaker 2 (17:32):
Right exactly?
Speaker 3 (17:33):
And you know, it's really funny because people send me
stuff and stuff that they've done and they ask me,
you know, what would you do differently?
Speaker 2 (17:42):
I say, don't make it sound so perfect.
Speaker 3 (17:44):
It sounds inhuman, especially these metal in thrash guys. Now,
it's just like bank bank bank bank, bank, bank bank.
Speaker 2 (17:53):
And that's it.
Speaker 3 (17:54):
There's no deviation, there's no there's no anything, you know,
there's no holding and no, there's no you know what
I mean.
Speaker 2 (18:01):
It's like too mechanical for me, and that drives me crazy.
I get it, you know.
Speaker 1 (18:06):
And it's it's a style. You know, there's definitely there
are people that appreciate that. But I've had this conversation
with a lot of legacy artists. You know, there's a
lot of people who you know, you see these memes.
I might be old, but I grew up with all
the best music. Well, it was the best music for us,
you know. And there's a whole new generation and there's
(18:27):
another one coming after that, you know, there is. And
so music is the doctor. It's a matter of what
doctor you choose and how often you visit for checkup.
Speaker 3 (18:38):
Right, Yeah, no, exactly exactly. But you know what I
always say, play it like you would live, like as
you walk out on the stage, and you would you know,
just want to treat far. That's the way to do it, man,
because it shows life, it shows personality, and that's the
only thing that I'm saying with it is sometimes it
lacks that that personality. It's just as I said, it's
(18:59):
too much mechanical. Yeah, crazy, I understand, you know. Like
rhythm section, yeah, put it tighter than an otter's butt. Great,
But rest of it, no, man, Even vocals are like
like flatlining. You know.
Speaker 1 (19:12):
The last single I recorded while I was in the
vocal booth, I on the spur of the moment, decided
to sing this song differently than I had over the
course of two years that I was preparing to record it, right,
And so I listened to the vocal in my truck
later and I went, oh my god, I actually sang sharp. Yeah,
So I said to the engineer, we're gonna have to
(19:34):
fix this.
Speaker 2 (19:35):
Yeah.
Speaker 1 (19:36):
My first and hopefully maybe the only experience I've had
with auto tune. But you know, sometimes in the heated moment,
things happen and it's going to affect it positively or negatively,
and we'll be right back after this. Now, not only
(20:07):
are you a successful player, but you're branching out into
culinary arts on a more professional level.
Speaker 3 (20:14):
Tell me about Yeah, I'm watching all these online cooking
shows and all these culinary based shows where guys are
doing reviews at restaurants and this, that and the other,
and they're using other people's music all the time.
Speaker 2 (20:27):
They're using Like how they're getting away with that, I
don't know. And I thought to myself.
Speaker 3 (20:32):
My wife said to me, you know you should do one,
and a few other friends is you know you should
do one too, And I thought, you know what, I
could play all the instruments, write the songs for it,
whether it be thirty five, forty forty five fifty seconds long.
But I can do that all day and every day
and film.
Speaker 2 (20:49):
You know.
Speaker 3 (20:50):
I just redid my kitchen and not because of that,
because we wanted to redo our kitchen, but it's still
in development. It's called Sioux Rock City and Food Music Life.
So I'll be doing everything from in the kitchen little
tips tricks, sausage full course meals, to going out to
different restaurants, getting in their kitchen, doing all kinds of things.
(21:11):
So it's going to be a little more interesting, Like
it's not going to be one trick pony where I'm
sitting in my kitchen doing recipes for everyone, just set
little tips and tricks, little tips and tricks for restaurant owners,
front of house staff, things like that. It's going to
be a little more, a little more broad, very cool
with a great soundtrack.
Speaker 1 (21:29):
Yeah, So back to the music for a minute. What's
next for you all?
Speaker 3 (21:34):
Right now, I'm working on a project starting up. I've
been sitting on a few tunes for the last say year,
year and a half. I got some great players and
I'm going to do basically what I did with the
Hollywood Monsters. But it's all going to be this guy.
I have a guitar player and a great drummer going
(21:56):
to be joining me on this. I can't mention any
and as right now, and same thing I have guest
musicians and guest artists to do. It will release something
like maybe one per month and then the album after
a year or something like that. So between the Cooking
Show and this, that's what I'm gonna be doing.
Speaker 2 (22:11):
I'm gonna be.
Speaker 3 (22:11):
Happy doing it, definitely, because I've got some great people
already into it, and I'm going to get some great
people into it as well farther down the road, and
not only that great musicians, but great production people as well.
So and I've got a phone call actually this afternoon.
I have to do one of the best mixing engineers
that I know. Because sometimes I want to just drop
(22:31):
things off to other people. I want to say, look,
I've got emotional attachment to this one.
Speaker 2 (22:36):
You take over.
Speaker 1 (22:37):
It's nice to have that objective ear And yeah, I
know that as musicians, we'd all love to think that
everything we do is golden. But I said to my
wife the other day after my candidate day show, you know, yes,
am I really a good front man? Or am I
just goofy up there? You know it says no, No,
You're really a good friend. But we don't always have
(22:59):
absolute confidence until somebody is on the outside looking in
and says you know what, Ronnie, You're right, that bass
line is really solid. Why don't we try this, you know,
and see how that works with it, or maybe add
a second bassline or whatever, or maybe list.
Speaker 3 (23:15):
Guitar notes with the bass line. I've done that before too,
and it just man made things jump. And I can't
remember who used to do that with violin and cello.
I think it was Henry Mann Senior.
Speaker 2 (23:25):
I'm not sure, but.
Speaker 3 (23:27):
He used to double up on his bottom end, okay,
And I kind of caught that a few years ago,
and I did it on a few songs. The next thing,
you know, like I'm playing six string guitar on it,
but I'm playing just notes and bang. It just lifted
it right up. So there's always little tips and tricks
that we do. But it's nice to have other ears
as well.
Speaker 2 (23:46):
Absolutely say yes and no.
Speaker 1 (23:49):
Yeah, absolutely. I think of George Martin and the opening
chord to Hard Day's Night, right, you know. Yeah, And
the guitar solo is not just a guitar solo because
George just playing piano right along with it, right, And
that's why so many guitar players are just strangling themselves
trying to figure out how do I get that sound.
Well you can't, Yeah, you can't.
Speaker 2 (24:09):
You can't unless you know, and then you know, you.
Speaker 1 (24:11):
Have your piano player play it with you.
Speaker 3 (24:13):
Yeah yeah, and if not, then you guess what your
vocalist has learned how to play piano?
Speaker 2 (24:17):
Yeah, exactly, yeah, yeah, not that noe this note middle.
Speaker 1 (24:22):
See back to the bass guitar for a minute. Sure,
lot wound or round wound on all of.
Speaker 3 (24:28):
My basses except for my fret list is round wound.
And I can't remember the gauge off the top of
my head. Forty usually forty five to I say ninety
five or one oh five. I can't remember. Okay, you know,
I get packages of strings into the same ones from
the Dario and I just rip them open and change.
(24:49):
You know, I'm not really looking at things, but I
think it's forty five to ninety yeah, one hundred and five,
forty five to one hundred and five, and then on
five string, I think I go up to one fifteen
or one t keep that a little bit lighter on
my fifth on my B string or whatever I d
or whatever I turned to.
Speaker 1 (25:07):
You can see some of the guitars behind me here.
As of well last week, I had all my three
main electric guitars, I had three different gages of strings.
I had turned my Ibanez into somewhat of a bar
tone guitar, right yeah, and my low E was a
fifty six, I believe. And it's funny because I actually
(25:28):
thought I had broken one of the locking tuner adjustice
and it turns out when I went back to the
medium gauge that the tuner wasn't broken. It was just
the For people that don't know, locking tuners usually have
like a an enclosure that tightens when you turn the dial,
and so that string was too big, so it wouldn't
(25:50):
lot because just close on it. Wow, that's you know what.
Speaker 3 (25:54):
I got experiment with strings too. On my sixth I
got a Fender Acoustic Sonic, which is an electric guitar
acoustic guitar.
Speaker 2 (26:02):
Hybrid kind of deal. And I want the more so.
Speaker 3 (26:06):
For the acoustic tones. But if I want to go
and play a David Gilmore solo, I need a lighter gauge.
So I'm still experimenting. I changed my strings twice. Hopefully
I think I got it figured out now where I'm
going to go. But I wanted that guitar for the
studio just for hybrid. So I'm not buying like I
don't have guitars six strings like you. I do right
(26:28):
now because I've already got a lot of basses.
Speaker 2 (26:30):
Yeah.
Speaker 1 (26:31):
Yeah, we could get in a lot of trouble if
we talked about all the guitars we have and all
the ones that we want. Yeah, listen, Ronnie, I don't
want to take up your whole day. I know you've
got lots of stuff on the go. I do want
to thank you so much for taking the time to
do this with me today and until next time.
Speaker 2 (26:46):
Cheers.
Speaker 3 (26:47):
Yeah, thanks Tommy, and thank you for having me enjoy
everyone my pleasure.
Speaker 1 (26:53):
Tommy Solo's Famous Friends is a one man production, meaning
that I've done all the work, including recording, editing, guest acquisition, etc.
And hey, here's some news. We've just recently joined forces
with five to one nine magazine, so you can check
out my interviews there as well. The theme song for
Tommy Solo's Famous Friends is a clip from my original
(27:16):
composition The Burn. All rights reserved. If you enjoy the
show and you'd like to help us keep it going,
why don't you click on the buy me a Coffee
link in the show notes, hit the like button, subscribe
all that stuff. We really appreciate it. You can find
me on Facebook and Instagram, and until next time, cheers,
Popular Podcasts
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
Ruthie's Table 4
For more than 30 years The River Cafe in London, has been the home-from-home of artists, architects, designers, actors, collectors, writers, activists, and politicians. Michael Caine, Glenn Close, JJ Abrams, Steve McQueen, Victoria and David Beckham, and Lily Allen, are just some of the people who love to call The River Cafe home. On River Cafe Table 4, Rogers sits down with her customers—who have become friends—to talk about food memories. Table 4 explores how food impacts every aspect of our lives. “Foods is politics, food is cultural, food is how you express love, food is about your heritage, it defines who you and who you want to be,” says Rogers. Each week, Rogers invites her guest to reminisce about family suppers and first dates, what they cook, how they eat when performing, the restaurants they choose, and what food they seek when they need comfort. And to punctuate each episode of Table 4, guests such as Ralph Fiennes, Emily Blunt, and Alfonso Cuarón, read their favourite recipe from one of the best-selling River Cafe cookbooks. Table 4 itself, is situated near The River Cafe’s open kitchen, close to the bright pink wood-fired oven and next to the glossy yellow pass, where Ruthie oversees the restaurant. You are invited to take a seat at this intimate table and join the conversation. For more information, recipes, and ingredients, go to https://shoptherivercafe.co.uk/ Web: https://rivercafe.co.uk/ Instagram: www.instagram.com/therivercafelondon/ Facebook: https://en-gb.facebook.com/therivercafelondon/ For more podcasts from iHeartRadio, visit the iheartradio app, apple podcasts, or wherever you listen to your favorite shows. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.