The Gracious Two - LIVE Show 091 - Tom Lord-Alge

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And we are motherfucking live mr. Gracie show

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91 Yo, yo 91 damn getting up there fucking a

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dude. What are you doing for a hundred? Oh Who's

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on for a hundred we have a guest for a hundred?

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Uh, we can't let them know because it's a very

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special guest. And it's a day we, uh, debut the

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gracious two inches only fans. So it's coming.

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It's coming. And we will be coming on there.

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If you know what I mean, Hey now an inch each.

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Yes. Yes, baby. Uh, Chad, I got a very special,

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uh, treat for the audience today. Ooh. I'm doing

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it without your knowledge. It is unreleased live

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song that I would like to share for everybody.

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So before you can tell me no without further

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ado, folks, don't wait by lie. who breaks the

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strong down better than you fucking for dude

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this is a fucking it's like a time change it's

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like a fuck i don't know what's going on bang

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it take it to the bridge Sick, but I stopped

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sharing that. You stopped sharing that. Yes.

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Holy shit. So Chad, that was supposed to be on

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the distance to hear. Yes. That was one of the

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songs we wrote for a distance to hear. We actually

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recorded it, but didn't get on. So that way then.

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No one change, believe. Yeah, man. Yeah. That

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was the direction that the four of you in a room

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were going. Oh, one of the directions. Yeah.

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I mean, wrote all the songs and distance here

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kind of in the same period. So I was going a

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little more rocking with those songs, but now

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we do have a Tom Lord algae in the green room.

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We're going to be getting to him soon. But just

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so he's aware that wasn't a engineered or mixed

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song. So he's probably going crazy. Like I don't

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know if it's mixed or not. So I'm not sure. Well,

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don't listen to me. I have no clue what I'm talking

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about. I do talk. It might have been mixed because

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it was taken off of, taken off of the record

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during mastering. So it wasn't put on for Matt

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during mastering. I believe it's just getting

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cloudy back then. Sure. I mean, it's fucking

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a long time ago. Audience out there. If you like

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that song, please share the video. Click that

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little share button. I'm going to relate to your

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comment. Subscribe. Let's do it. Dude, I want

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to bring this up because this is crazy. It's

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like, how much can you shove our faces in killing

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people and just getting away with it and passing

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it off as a, not you personally, and passing

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off the suicide. The Epstein victim that it was

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with like fucking prints, whatever, has been

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found committed suicide. What was it? What was

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the name? You're right up. Junior Guthrie. Yes.

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She was with Prince Andrew. She's the photos

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of Bill Clinton on Epstein's Island or in planes.

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And yeah, she says she wasn't going to suicide

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herself. And guess what? She apparently committed

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suicide. Dude, so weird. as she's going, naming

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victims, really going after the people and like

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sticking to her guns and literally puts out posts

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saying, I am not suicidal. If you find me dead,

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they did this to me. And now she's dead by suicide.

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And we're just supposed to take that as fucking

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gospel. Like why? I don't understand. How do

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we should be up in arms here, bro? We should

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be left wing media is not going to cover it.

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Right. I don't give a shit. Right. And you know,

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I heard it on Fox, but yeah. And then you're

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going to be on to the next news cycle thing.

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So everyone's going to kind of forget about it.

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And that's, and the deep stages goes on and does

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whatever the fuck they want. Well, isn't it just

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telling isn't it just telling in a second Bobby,

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isn't it just telling that the people not covering

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this, like that silence should be deafening to

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people. Like why would you not cover such an

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important story like this unless you're part

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of the problem or part of the silence will be

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deaf, deafening. Like why is no, you know, Jolene,

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Jolene Maxwell got, got prosecuted and convicted

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of trafficking. Who did she traffic to? Right.

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None of those people brought to justice or even

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mentioned. So I'm a little disappointed in Trump

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administration. I'll say this and Pampani because

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there was that whole we're putting out the Epstein

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list and blah, blah, blah, blah. And they put

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out a bunch of bullshit. Everyone already saw

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and they haven't said a word about it since.

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So I'm a little pissed about that. Absolutely.

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And and who gives a fuck who's on that list like

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who like if it's like somebody too important

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We can't know no we need to know because they're

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important like this is the most heinous fucking

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list out there with the most heinous people Doing

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the worst thing to some of the most impressionable

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people we have on the planet There should be

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no Person that's too important on that list the

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fucking show. That's what you would think. Yes.

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Yeah I mean, I just don't know, like, what do

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we do as a, as a people as a society? Like we

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come on here every week. We talk about it. Where's

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the list? Where's this? Where's that? But it's

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like, what do we do as a society to really have

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them fucking answer that question? Not just like,

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what do we have? Do we write to a congressman?

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Like I just, I seriously don't know what steps

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you would take. We thought we were voting for,

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for Trump to do, to do this and has been done

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so far. So I don't know. And if he doesn't do

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it, then I don't think anyone's ever going to

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do it. Yeah. That's true. If and again, this

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should be on his priority list right up there

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with his tariffs. I mean, this is fucking peep

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kids fucking lives affected by it. Like what's

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more important than the future of humans, you

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know what I'm saying? And that's what the kids

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are. So to me, it's like one of the most important

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things he should be doing in the office, not

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just letting it go by the wayside. And like I

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said, I really don't know what more to do than

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to get on this show and talk about it weekly,

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uh, cause I know there's smarter people out there.

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So let us know audience, fucking what to do and

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I'll help you. I'll do it. Come on. Come on now.

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Come on now. Yeah. Yeah. Yeah. Um, but dude,

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that's fucking back to that song, dude. What,

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what a killer fucking song killer drums. Um,

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that was a Chad Taylor, uh, probably guitar part

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brought to, uh, yeah, that was one of his ideas.

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Yeah, they were definitely some harder, harder

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rock songs over there. What, what are there things

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that you guys recorded in, in a studio that we

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don't, that we haven't heard? Like, are there

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probably not, I mean, everything seems to be

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out there that I can even think of. So yeah,

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like there's been, unless it was like, Shit from

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like how the shit gets leaked. I have no idea.

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Thank God though And I don't know how why you

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guys didn't just do like double albums or fucking

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like a Whole b -sides thing because like your

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b -sides were just as good if not better than

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some of your album We could do a b -sides thing

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someday who maybe I don't know. Yeah depends

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on this universally even give a shit, but They

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own all the masters because it's just like you

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hear a lot of bands and you're like, all right,

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you know, this is a 12 track album six of these

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are great. Six of these are like, whatever you

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guys put, we're putting out like full albums

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that were awesome. And then you had these extra

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songs that were like, yeah, it was so hard to

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pick what was going to be on the records and

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what was going to be left off. That was very

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hard decisions. But what a great problem. You

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know, like to have problems. That's the best

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one. Like, uh, yeah, we just, this is hard to

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pick between, um, was there a re like, so I know

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if you put out a double album back in the day,

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did that count? for a studio or for the record

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company as like you putting out two albums of

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your contract or whatever. I have no idea. Cause

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I was just trying to think like why some bands

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would put out a double record or what would be

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like the reason to not put out a double record.

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You know what I'm saying? Like if you had all

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these extra songs, like why not? Why not do the

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distance to here with fucking, you know, well,

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we didn't have enough to do the whole double

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record. There was like three or two, three, four

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tracks left over. So that's not enough. So it's

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not I'm probably like an expense thing, you know

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If you don't have another 10 songs like right

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why waste the disk space and making a whole nother

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disk for 10 through 4 4 songs, right? Yeah, what

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it so you did throwing copper turn 31, man. Does

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that feel crazy that you have a fucking album?

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That's 31 years old. It's a whole 10 years older

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than somebody able to drink. Yeah, a little bit.

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You're getting your fifties. You're starting

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going, uh, wait a minute. That happened 25 years

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ago, 31 years ago. What the fuck? Like, yeah,

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I just figured out I moved to Orange County 20

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years ago. Like what the f**king insane. Is life

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getting faster as you get older as far as yeah,

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the years accelerate the days They always say

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this with kids like the days are slow, but the

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years go fast. Yeah, and it's so true. I mean

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Like the days are pretty slow. I pick them up

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from school taking all their stuff I'm sitting

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around a lot a lot a lot a lot I get spent a

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lot of time with them, which is great Yeah, but

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the years just seem to like click by like you

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know my son's 15 already. Yeah, he's gonna be

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driving next year Well, actually note this year

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towards the end of the year. Holy shit. Oh, 16

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permit. Yeah. Oh, my God. He's getting his permit

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right now. He's 15 in California. You get to

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permit a 15 and then drive a 16. Yeah. That's

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crazy, bro. Mm hmm. I don't want 17. Like I wanted

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my license so bad as a kid, but you're fucking

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young men 15 that I mean, I get you have an adult

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in the car, but dude, you are not like Yeah,

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but you got panic, you know, I gotta take him

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driving more. Well, I told you, Chad, about me

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taking my sister driving dude. It's scary. So

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fucking parking lot it up with no cars. Like,

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dude, I've been doing with him. Yeah. He hasn't

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he hasn't driven on the road yet with me. So

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yeah, good. It'll be interesting. Well, you know,

00:13:54.279 --> 00:13:56.799
honestly, probably by the time your girls are

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hitting that age, like we might be full autonomous

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autonomous driving at that point. Like he Your

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kids maybe might be the last gen to really get

00:14:05.669 --> 00:14:07.750
licenses and have to go through that. Like we

00:14:07.750 --> 00:14:10.450
might be full autonomous driving in fucking 10

00:14:10.450 --> 00:14:12.210
years. Oh, it's coming for sure. Yeah. And, um,

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Phoenix is, I don't know what would say rare,

00:14:16.169 --> 00:14:19.809
but is, uh, kind of the exception in his, in

00:14:19.809 --> 00:14:21.370
his high school class of people that want to

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drive. Like some of them do and most of them

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don't. They're like, I'll take Uber. Yeah. Well,

00:14:26.730 --> 00:14:28.549
it's not, it's not a thing anymore. Like back

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in our day, it was like, we need to get our license

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right on day one. Well, I was in Santa Barbara

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one time and I got an Uber there and the driver

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said that he had a professor, like a futurist

00:14:39.549 --> 00:14:41.669
professor in the car one time talking to him.

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And this was back in like, I don't know, shit,

00:14:44.309 --> 00:14:49.590
2005 or six. Right. And the guy was telling him

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that the futurist professor, I don't know if

00:14:52.539 --> 00:14:54.299
that's the correct term for him, but anyway,

00:14:54.919 --> 00:14:57.820
he was a professor that talks about the future,

00:14:58.139 --> 00:15:00.779
studies the future, whatever, what trends or

00:15:00.779 --> 00:15:02.539
whatever. So he was telling them, he was telling

00:15:02.539 --> 00:15:04.840
them that eventually, and we're almost there,

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that every car will be self -driving and that

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Uber will just be this service that circulates

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cars out in outside of the city. And then when

00:15:16.850 --> 00:15:18.590
someone needs it, it calls in, boom, it comes.

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It's a driverless obviously you get in, takes

00:15:20.570 --> 00:15:23.110
your destination. No, like most people won't

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even own a car. They don't need to own a car.

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Yeah. And that's, that's where it's going. A

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hundred percent. Like that robo taxi shit that

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Tesla's been talking about coming out with. I

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mean, you buy one of those, you put the car to

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work for you. Like you, you know what I'm saying?

00:15:39.049 --> 00:15:41.210
It just goes out. Yes. Entrepreneurs can put

00:15:41.210 --> 00:15:43.990
them, put the car to work for them. Yes. Yeah.

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But yeah, but chat. So we were just kind of speaking

00:15:47.559 --> 00:15:49.919
about this before the show. This is kind of deep.

00:15:50.080 --> 00:15:51.820
I'm not going to get too far into it, but I do

00:15:51.820 --> 00:15:52.980
want to bring it up because we're going to bring

00:15:52.980 --> 00:15:55.320
it up again on the show. We were talking about

00:15:55.320 --> 00:15:58.100
China's birth rate decline and how that's a serious

00:15:58.100 --> 00:16:01.879
problem. Like going into the future, if humans

00:16:01.879 --> 00:16:06.299
are needed, but AI and humanoid robots are getting

00:16:06.299 --> 00:16:09.720
to the point where the humanoid robots will be

00:16:09.720 --> 00:16:12.779
just as good at doing any human physical tasks,

00:16:12.779 --> 00:16:15.759
whether it's building, cooking, digging ditches,

00:16:15.879 --> 00:16:18.419
like anything that they would need slave labor

00:16:18.419 --> 00:16:21.000
to do, like make their iPhones and make all that.

00:16:21.200 --> 00:16:23.519
They won't need humans anymore. So they're declining

00:16:23.519 --> 00:16:26.340
population as they seem to not be caring about

00:16:26.340 --> 00:16:28.879
it. That might be a reason why they seem to not

00:16:28.879 --> 00:16:31.399
be caring about it because the human population

00:16:31.399 --> 00:16:33.509
won't be needed at some point. Well, it's hard

00:16:33.509 --> 00:16:35.870
to tell if the Chinese regime is not caring about

00:16:35.870 --> 00:16:38.169
or not admitting it because it is a problem.

00:16:38.730 --> 00:16:41.769
Yeah, that's true. Oh, that is true, right? So

00:16:41.769 --> 00:16:43.909
they don't want to admit, hey, that one fucking

00:16:43.909 --> 00:16:47.870
child in China thing was wrong. Oh, the Chinese

00:16:47.870 --> 00:16:49.690
regime will not admit it. Admit it. Anything

00:16:49.690 --> 00:16:52.330
they do is wrong. I mean, come on. Right. Xi

00:16:52.330 --> 00:16:55.649
Xi Xi Jinping won't admit anything is wrong.

00:16:55.950 --> 00:17:00.129
Yeah, anything. Yep. China is great. Great. We

00:17:00.129 --> 00:17:02.860
can withstand the tariffs. Fuck. Fuck the US

00:17:02.860 --> 00:17:05.500
blah blah blah. Even the people in his inner

00:17:05.500 --> 00:17:07.619
circle like nobody wants to give him the bad

00:17:07.619 --> 00:17:10.019
news because That's also part of Asian culture.

00:17:10.279 --> 00:17:12.420
They they safe. They have to say face like they

00:17:12.420 --> 00:17:17.539
can't seem to be weak. Ah That makes sense. No,

00:17:17.539 --> 00:17:20.019
that's why they I do like the bow thing though

00:17:20.019 --> 00:17:22.680
rather than this handshake and stuff I started

00:17:22.680 --> 00:17:24.839
to bow to people. They look at me like I'm fucking

00:17:24.839 --> 00:17:28.480
wacky Throwing my mask and dude. Yeah, I throw

00:17:28.480 --> 00:17:30.279
on a mask and I bow they're like, okay, dude

00:17:31.849 --> 00:17:34.789
Let's get into something fun. We have Mr. Tom

00:17:34.789 --> 00:17:37.569
Lord algae about to come on the show, folks.

00:17:38.089 --> 00:17:42.029
Exciting. Hey, Tom. Hey, can you hear me? Yes,

00:17:42.130 --> 00:17:46.369
sir. You got audio? Yeah, audio. Did it right?

00:17:46.589 --> 00:17:51.710
Then let me start by saying fuck. Yes. I always

00:17:51.710 --> 00:17:54.089
like to start my broadcast with a nice curse

00:17:54.089 --> 00:17:57.309
word. What are my favorite curse words? We totally

00:17:57.309 --> 00:18:01.220
are fine with that. Yes. Nice to see you, Chad.

00:18:02.039 --> 00:18:03.880
What's up, J -Row? Nice to meet you. What's going

00:18:03.880 --> 00:18:07.119
on? Same, Tom. We were just kind of going over

00:18:07.119 --> 00:18:09.380
some of your stats before the show. I'm like,

00:18:09.460 --> 00:18:12.680
we have no business having a cool dude like this

00:18:12.680 --> 00:18:15.039
coming on the show here, three -time Grammy award

00:18:15.039 --> 00:18:18.759
winner. Yeah, you know, it's a little busy, a

00:18:18.759 --> 00:18:22.559
little busy over the years. Yeah, dude. Tom,

00:18:22.799 --> 00:18:25.400
how many records have you mixed, you think, overall

00:18:25.400 --> 00:18:30.349
so far? Oh, jeez. or thousands. I, to be honest,

00:18:30.509 --> 00:18:34.430
I haven't, I haven't kept count. Yeah. I never,

00:18:34.670 --> 00:18:37.069
it's, yeah. But yeah, definitely in the thousands,

00:18:37.089 --> 00:18:42.109
um, you know, for every, let's say, you know,

00:18:42.170 --> 00:18:44.329
for every throwing copper type album, you know,

00:18:44.369 --> 00:18:46.529
successful album I have, there's a hundred that

00:18:46.529 --> 00:18:49.450
weren't. Okay. Got it. Well, at least. And there's,

00:18:49.490 --> 00:18:51.410
yeah, there's that, you know, but you look, I

00:18:51.410 --> 00:18:53.529
mean, I, I, I enjoy helping artists make their

00:18:53.529 --> 00:18:55.990
records and, uh, I do the best that I can at

00:18:55.990 --> 00:18:58.849
the time and sometimes, you know, They fall like

00:18:58.849 --> 00:19:02.190
throwing copper, which was a huge success, really

00:19:02.190 --> 00:19:04.450
spoke to the musical community. And sometimes

00:19:04.450 --> 00:19:07.650
they don't. But it doesn't stop you from helping

00:19:07.650 --> 00:19:12.630
and helping the artists, helping to get their

00:19:12.630 --> 00:19:15.549
vision to come out of the speakers. Boom. I have

00:19:15.549 --> 00:19:17.789
a cool question for you, Tom. And you don't have

00:19:17.789 --> 00:19:21.609
to give me names. But have you ever been uh mixing

00:19:21.609 --> 00:19:24.230
a record or engineering a record where you're

00:19:24.230 --> 00:19:27.029
like i'm not feeling this band i'm working with

00:19:27.029 --> 00:19:29.089
you but i gotta get my job done like have you

00:19:29.089 --> 00:19:33.710
ever been in that situation um i have early in

00:19:33.710 --> 00:19:37.650
my career um i've definitely been in that situation

00:19:37.650 --> 00:19:40.769
where oh man i'm not feeling this but yeah but

00:19:40.769 --> 00:19:42.630
i made a commitment to it and you see it through

00:19:42.630 --> 00:19:46.430
um as i got obviously you know successful in

00:19:46.430 --> 00:19:48.650
my career i've been very fortunate was able to

00:19:49.129 --> 00:19:51.309
kind of pick and choose the stuff that I want

00:19:51.309 --> 00:19:54.170
to work on. You know, it always had to meet the

00:19:54.170 --> 00:19:57.289
criteria of one, do I like it? And two, will

00:19:57.289 --> 00:20:01.369
it benefit from me touching? So I've been fortunate

00:20:01.369 --> 00:20:04.049
about that. But yeah, everyone's, you know, in

00:20:04.049 --> 00:20:07.309
my earlier, in the start of my career, yeah,

00:20:07.789 --> 00:20:11.809
I did some records that I wasn't really keen

00:20:11.809 --> 00:20:13.750
on. But I mean, to be honest, that's kind of

00:20:13.750 --> 00:20:15.869
helped make me the engineer that I am today,

00:20:16.069 --> 00:20:19.480
I guess. Sure. You learn from your mistakes or

00:20:19.480 --> 00:20:22.119
maybe their mistakes, you know, and then make,

00:20:22.200 --> 00:20:25.900
you know, like I, I, and then I, you know, I

00:20:25.900 --> 00:20:28.079
mean, I also worked on some very weird records.

00:20:28.259 --> 00:20:32.019
Like I did a, um, in the 80s, Billy Chrisley

00:20:32.019 --> 00:20:34.720
used to do this, this Fernando character on Saturday

00:20:34.720 --> 00:20:38.799
Night Live. He said, you look marvelous. Oh yeah.

00:20:39.299 --> 00:20:42.240
He actually did a fucking song. Really? And I

00:20:42.240 --> 00:20:45.019
mixed the song. You look marvelous. It's like

00:20:45.019 --> 00:20:48.130
just some weird left field. I have no idea. how

00:20:48.130 --> 00:20:51.250
i got that gig but it showed up on my my plate

00:20:51.250 --> 00:20:54.450
and i mixed it and actually this song did reasonably

00:20:54.450 --> 00:20:56.829
well but i mean it was a it was a total novelty

00:20:56.829 --> 00:21:00.390
song but yeah you know a lot of my earlier stuff

00:21:00.390 --> 00:21:02.650
you know would have been the early 80s you know

00:21:02.650 --> 00:21:05.099
we've been that kind of 80s kind of beginning

00:21:05.099 --> 00:21:08.640
of rap and hip hop, that kind of stuff. I did

00:21:08.640 --> 00:21:11.259
a handful of those records when I started and

00:21:11.259 --> 00:21:13.559
was fortunate very early on in my career that

00:21:13.559 --> 00:21:17.839
immediately shifted into rock with the Steve

00:21:17.839 --> 00:21:21.559
Wynwood project that I did in 1985, back in the

00:21:21.559 --> 00:21:25.480
High Life album. Yes. Don't gloss over that one

00:21:25.480 --> 00:21:28.900
there. That's a major album right there. Yeah.

00:21:29.000 --> 00:21:33.750
Well, there you go. I've probably been working

00:21:33.750 --> 00:21:35.450
in the studio for two or three years at that

00:21:35.450 --> 00:21:38.450
point. And that particular album was actually

00:21:38.450 --> 00:21:41.089
brought to a studio that my brother Chris and

00:21:41.089 --> 00:21:43.170
I were staff engineers. It's called Unique Recording.

00:21:43.329 --> 00:21:47.250
It was in Times Square in Manhattan. And they

00:21:47.250 --> 00:21:50.109
came up to work at our studio because we had

00:21:50.109 --> 00:21:52.329
a reputation of having hot shot engineers, which

00:21:52.329 --> 00:21:54.529
we were all hot shots and full of ourselves.

00:21:55.069 --> 00:22:00.599
And we also had... An endless supply of drugs.

00:22:01.279 --> 00:22:06.559
Yes. Finally, my rock story I've been looking

00:22:06.559 --> 00:22:11.460
for. But more importantly, I think the studio

00:22:11.460 --> 00:22:14.500
was cutting edge with the technology of the keyboards

00:22:14.500 --> 00:22:18.500
in that era. So the MIDI, which is musical instrument

00:22:18.500 --> 00:22:22.960
digital interface, had just been launched. And

00:22:22.960 --> 00:22:24.859
unique recording was kind of at the forefront

00:22:24.859 --> 00:22:27.420
of kind of getting that shit to work. Oh, wow.

00:22:27.420 --> 00:22:29.700
You just had like every keyboard under the sun.

00:22:29.980 --> 00:22:32.140
And I guess that that that was something that

00:22:32.140 --> 00:22:34.500
Wynwood was interested in. So they came over

00:22:34.500 --> 00:22:37.519
and actually they hired Chris, my older brother,

00:22:37.680 --> 00:22:39.180
Chris. I don't know if any of you are familiar

00:22:39.180 --> 00:22:41.519
with my brother, Chris Lord Algae. He's done

00:22:41.519 --> 00:22:45.859
a few records in his day. Oh, yeah. But he was

00:22:45.859 --> 00:22:50.579
actually hired to do that album. And. He passed

00:22:50.579 --> 00:22:53.240
it on to me and the agreement was that I would

00:22:53.240 --> 00:22:56.259
do the recording portion Because he Chris wanted

00:22:56.259 --> 00:22:58.640
to focus his energies on mixing I would do the

00:22:58.640 --> 00:23:01.019
recording portion and then and then when the

00:23:01.019 --> 00:23:03.160
recording was done I would hand it off to Chris

00:23:03.160 --> 00:23:07.319
and I was totally cool with that and I ended

00:23:07.319 --> 00:23:09.460
up spending eight months, you know, recording

00:23:09.460 --> 00:23:12.240
that album and working with Steve and Russ Titleman,

00:23:12.339 --> 00:23:14.980
the producer and had just had a great time. And

00:23:14.980 --> 00:23:17.160
we're getting near the finishing stages where

00:23:17.160 --> 00:23:20.019
we're about to hand it off to Kristen Mix. And

00:23:20.019 --> 00:23:21.960
Steve came up to me and said, you know, I really

00:23:21.960 --> 00:23:24.980
like what you're doing. And I would like you

00:23:24.980 --> 00:23:28.019
to mix the album. And I said, well, that's thank

00:23:28.019 --> 00:23:30.460
you. I said, thank you, but I have to run that

00:23:30.460 --> 00:23:33.200
by my brother. And he just fucking lost it and

00:23:33.200 --> 00:23:37.089
started laughing his ass off. And He says, oh,

00:23:37.230 --> 00:23:40.069
no, no. He says, you're mixing the album. You

00:23:40.069 --> 00:23:42.690
know, I still ran it by my brother. And of course,

00:23:42.829 --> 00:23:45.849
it blurted out the immortal words. It doesn't

00:23:45.849 --> 00:23:48.069
matter which Lord algae mixes it as long as it's

00:23:48.069 --> 00:23:51.869
Lord algae. And I'm certain that that a year

00:23:51.869 --> 00:23:54.970
later, he probably choked on those words when

00:23:54.970 --> 00:23:57.970
I was on stage receiving a Grammy for best engineered

00:23:57.970 --> 00:24:01.559
recording. Yeah. But my my brother's awesome.

00:24:01.660 --> 00:24:03.420
And he was very proud of me. Very, you know,

00:24:03.539 --> 00:24:06.460
obviously, you know, happy for me. Sure. And

00:24:06.460 --> 00:24:09.200
to this day, you know, he still, you know, is

00:24:09.200 --> 00:24:11.660
like that man, that record sounds so good. But

00:24:11.660 --> 00:24:14.319
I felt really bad because it was his it was his

00:24:14.319 --> 00:24:17.079
record. Yeah. And he could have done it. And

00:24:17.079 --> 00:24:21.000
it took me it's a slightly long story. It took

00:24:21.000 --> 00:24:24.700
me 20 years 25 years to be able to repay that

00:24:24.700 --> 00:24:29.180
favor. Oh, let me hear this. So I'm living in

00:24:29.180 --> 00:24:32.720
Miami Beach at the time. I lived in Miami Beach

00:24:32.720 --> 00:24:35.940
for 20, God, I don't wanna say 27 years. It was

00:24:35.940 --> 00:24:39.559
a long time. I live in Austin, Texas now. I raised

00:24:39.559 --> 00:24:44.119
my standards and married a Texas girl. And she's

00:24:44.119 --> 00:24:46.400
amazing. And we live in Austin, Texas, which

00:24:46.400 --> 00:24:48.059
is a great town. But getting back to the story,

00:24:48.480 --> 00:24:51.099
so I was living in Miami Beach. And it was at

00:24:51.099 --> 00:24:53.140
a time I was just swamped with work. You know,

00:24:53.200 --> 00:24:55.240
I'm booked seven, eight, nine months in advance.

00:24:55.500 --> 00:24:57.880
And I had a booking from the California band,

00:24:58.140 --> 00:25:00.420
you know, to come down and mix the album for

00:25:00.420 --> 00:25:02.880
two weeks. No problem. So two weeks or a week

00:25:02.880 --> 00:25:06.119
before the project was to start, you know, I

00:25:06.119 --> 00:25:09.339
got a phone call from the producer and he's like,

00:25:09.859 --> 00:25:13.220
Hey, change of plans. We need you to come out

00:25:13.220 --> 00:25:15.220
to California and mix it in Los Angeles. And

00:25:15.220 --> 00:25:17.390
I'm like, And I just told him, I'm like, look,

00:25:17.549 --> 00:25:19.430
you want my best mixes? And he's like, of course,

00:25:19.509 --> 00:25:21.509
we want your best mixes. And I said, we need

00:25:21.509 --> 00:25:23.769
to mix it in Miami Beach. And he's, well, we

00:25:23.769 --> 00:25:25.829
can't come to Miami Beach. We need to do it in

00:25:25.829 --> 00:25:30.950
Los Angeles. And I go, I know a guy. I know a

00:25:30.950 --> 00:25:35.710
guy. And I recommended that my brother Chris

00:25:35.710 --> 00:25:39.549
do the record. And he did. And they loved it.

00:25:40.250 --> 00:25:44.579
And he killed it. And You probably want to know

00:25:44.579 --> 00:25:49.039
what the record is. Yeah. Yeah. Any guess? No,

00:25:50.319 --> 00:25:57.599
it was American Idiot. Yeah. So it was American

00:25:57.599 --> 00:26:00.880
Idiot Green Day and Chris won his first Grammy

00:26:00.880 --> 00:26:05.339
for American Idiot Green Day. And I finally felt

00:26:05.339 --> 00:26:08.000
that everything was right in the world. Yeah.

00:26:08.299 --> 00:26:11.880
I was able to, you know, help Chris. achieved

00:26:11.880 --> 00:26:15.880
that goal that he had helped me, you know, 20

00:26:15.880 --> 00:26:19.339
something years earlier. That's cool. I got to

00:26:19.339 --> 00:26:21.400
give props to your brother on that album because

00:26:21.400 --> 00:26:24.519
it was like, um, I feel it was some of Green

00:26:24.519 --> 00:26:26.940
Day's best work. Like it showed their kind of

00:26:26.940 --> 00:26:28.539
musicianship. Like you thought they were kind

00:26:28.539 --> 00:26:31.019
of a three piece power cord band. And this kind

00:26:31.019 --> 00:26:33.960
of showed their ballad side. This, this, uh,

00:26:34.220 --> 00:26:37.420
yeah, that was, and he killed it. He killed it

00:26:37.420 --> 00:26:40.880
now. Obviously, if I had mixed it, it would be

00:26:40.880 --> 00:26:45.519
so much fucking better. Yeah. Of course. But

00:26:45.519 --> 00:26:48.460
no, I mean, honestly, like, I never, I never

00:26:48.460 --> 00:26:50.720
gave it any thought. I was happy that it was

00:26:50.720 --> 00:26:53.640
successful for Chris. I was happy that he wanted

00:26:53.640 --> 00:26:56.400
Grammy, you know, and to be honest with me, that

00:26:56.400 --> 00:26:59.039
record, I mean, Chris was already very successful

00:26:59.039 --> 00:27:01.539
as a mixing engineer, but that record just took

00:27:01.539 --> 00:27:04.819
it took it over the top. Yeah. For him, you know.

00:27:05.079 --> 00:27:06.980
And, uh, and I was very happy and there was,

00:27:07.000 --> 00:27:09.039
you know, it was during a period of time when

00:27:09.039 --> 00:27:11.200
there was, you know what, there's so much fucking

00:27:11.200 --> 00:27:14.000
work for all of us. Right. And, uh, so, so I

00:27:14.000 --> 00:27:16.359
was really pleased about it. And again, I, it

00:27:16.359 --> 00:27:18.480
was, it was quite a while ago that American and

00:27:18.480 --> 00:27:21.319
I think it was American is getting a 20 years

00:27:21.319 --> 00:27:25.420
old. Yeah. Not more than that. But, um, I remember

00:27:25.420 --> 00:27:29.279
I was in, I was in Tokyo a couple of years ago

00:27:29.279 --> 00:27:31.299
with my wife. We were, I was doing a gig over

00:27:31.299 --> 00:27:35.269
there and the producer of that album. was there

00:27:35.269 --> 00:27:37.950
as well. And we went out to dinner. And I made

00:27:37.950 --> 00:27:40.569
sure that my memory was correct. I go, you know,

00:27:40.670 --> 00:27:44.470
Rob is Rob Cavallo who produced it. I go, Rob,

00:27:44.849 --> 00:27:46.609
I just want to run this by you. And I want you

00:27:46.609 --> 00:27:48.529
to tell me if this is my memory is correct on

00:27:48.529 --> 00:27:49.750
it. And I told him the story. And he's like,

00:27:50.089 --> 00:27:52.869
that's exactly how it happened. Well, because

00:27:52.869 --> 00:27:55.309
sometimes, you know, over the 20 years and, you

00:27:55.309 --> 00:27:58.230
know, all the fucking drugs and the alcohol,

00:27:59.009 --> 00:28:01.130
you know, sometimes the stories can get slightly

00:28:01.130 --> 00:28:08.569
watered down or watered up or coked up. What's

00:28:08.569 --> 00:28:11.190
it's a that's cool to hear that you guys the

00:28:11.190 --> 00:28:13.029
brothers have that kind of relationship or you're

00:28:13.029 --> 00:28:15.049
not jealous of each other and you're just pushing

00:28:15.049 --> 00:28:18.190
for each other success. That's the absolute absolute.

00:28:18.450 --> 00:28:21.190
I mean, again, it doesn't matter which Lord out

00:28:21.190 --> 00:28:23.549
he mixes as long as it's the Lord out. Yeah.

00:28:23.930 --> 00:28:26.730
Yeah. So cool. Did you and your brother ever

00:28:26.730 --> 00:28:29.670
take like an album that you know, you didn't

00:28:29.670 --> 00:28:31.710
give to the artist yet, but like you did a mix

00:28:31.710 --> 00:28:34.269
of it and he did a mix of it. And you guys tried

00:28:34.269 --> 00:28:36.710
to compete that way. Like, let's see who does

00:28:36.710 --> 00:28:40.930
the better mix here. Well, so yes. Well, we've

00:28:40.930 --> 00:28:42.829
never done it in the manner in which you have

00:28:42.829 --> 00:28:45.150
stated where it was a competition for both of

00:28:45.150 --> 00:28:48.269
us. But there are there are more than a handful

00:28:48.269 --> 00:28:52.210
of of things that we've done that we both mix

00:28:52.210 --> 00:28:57.680
the same song. Ah. You know, so there's, there's,

00:28:57.680 --> 00:29:01.079
um, I can't, I mean, I can think of like whole

00:29:01.079 --> 00:29:04.920
would be an album that I know that we both worked

00:29:04.920 --> 00:29:07.799
on, you know, we both mixed that album. I know

00:29:07.799 --> 00:29:10.259
that we both did versions of some of the songs,

00:29:10.539 --> 00:29:12.480
you know, like, cool. I know that we both mix

00:29:12.480 --> 00:29:14.480
the same songs. Yeah. You know what I mean? So

00:29:14.480 --> 00:29:16.599
whether my version, like, I know there's one

00:29:16.599 --> 00:29:19.380
song in particular on, on, on that whole album

00:29:19.380 --> 00:29:22.500
that I did or that Chris and I did. There was

00:29:22.500 --> 00:29:24.859
one that I mixed, but his version made the album,

00:29:25.480 --> 00:29:30.660
which is, again, no, no, no worries. But yeah,

00:29:31.400 --> 00:29:33.220
throughout our career, there's been a lot of

00:29:33.220 --> 00:29:35.420
records that we've worked on, maybe Chris mixed

00:29:35.420 --> 00:29:38.500
three songs and I mixed three songs. You know,

00:29:38.539 --> 00:29:40.819
it goes down to the relationship with the producer.

00:29:41.299 --> 00:29:43.960
Sure. You know, so, you know, usually there's,

00:29:43.960 --> 00:29:46.579
you know, a half a dozen or a dozen producers

00:29:46.579 --> 00:29:48.980
who are the, you know, the flavor of the month

00:29:48.980 --> 00:29:52.480
or that era. you know, so you have a relationship

00:29:52.480 --> 00:29:55.059
with them. And if they produce three songs for

00:29:55.059 --> 00:29:57.160
that album, you would mix them. And then if the

00:29:57.160 --> 00:29:59.019
other guy, like Rob Cavallo, you know, Chris

00:29:59.019 --> 00:30:00.839
did a lot of work with Rob Cavallo. So if Rob

00:30:00.839 --> 00:30:03.380
did it, you know, then Chris would mix it. And

00:30:03.380 --> 00:30:06.079
that's just kind of how it worked. Sure. Is Chris

00:30:06.079 --> 00:30:07.779
based in LA? You're very similar with life. Like

00:30:07.779 --> 00:30:12.160
I was, I was doing, when I met Chad and the live

00:30:12.160 --> 00:30:14.940
guys, you know, I was doing work with Jerry Harrison.

00:30:15.779 --> 00:30:17.619
Right. I had met Jerry in New York City at the

00:30:17.619 --> 00:30:21.529
hit factory. I forgot how we met, but we met

00:30:21.529 --> 00:30:24.450
at the studio and, uh, you know, we've kind of

00:30:24.450 --> 00:30:26.390
just hit it off and he's like, Hey, I'm doing

00:30:26.390 --> 00:30:28.049
a solo album. Would you be interested in doing

00:30:28.049 --> 00:30:30.750
some mixes? And that's kind of how our relationship

00:30:30.750 --> 00:30:32.970
started. And then from there, whatever Jerry

00:30:32.970 --> 00:30:35.650
was producing, you know, he would call me up.

00:30:35.750 --> 00:30:38.650
And that's kind of how the, uh, the, the live

00:30:38.650 --> 00:30:40.329
thing popped up over the years. Yeah. And we

00:30:40.329 --> 00:30:42.250
brought you into mix pain lies and Riverside

00:30:42.250 --> 00:30:44.309
first on mental jewelry, right? Yeah. That's

00:30:44.309 --> 00:30:47.970
right. So he did, uh, two songs. And I think

00:30:47.970 --> 00:30:50.849
he was still called it. You recall something

00:30:50.849 --> 00:30:53.190
else. Oh, we were public affection for a bit.

00:30:53.230 --> 00:30:55.490
That's right. Wow. Remember when the tape came

00:30:55.490 --> 00:30:57.650
in, it was it said public affection. So you're

00:30:57.650 --> 00:30:59.789
like, what the fuck is this? Yeah. And I mixed

00:30:59.789 --> 00:31:04.210
those at the Hit Factory Times Square in Manhattan.

00:31:04.470 --> 00:31:06.250
So they had they had a bunch of studios and they

00:31:06.250 --> 00:31:09.849
had a Times Square studio at 42nd Street. And

00:31:09.849 --> 00:31:11.990
I love that studio. I mixed I mixed that there

00:31:11.990 --> 00:31:14.170
and I mixed the Billy Joel. We didn't start fire

00:31:14.170 --> 00:31:16.690
there. And what I love about that's what I didn't

00:31:16.690 --> 00:31:19.349
what I loved about that studio is Just off the

00:31:19.349 --> 00:31:21.869
lounge of the of the studio I was working at,

00:31:21.950 --> 00:31:25.470
there was an outdoor balcony. And, you know,

00:31:25.569 --> 00:31:27.650
so like I would camp out in that room for a month

00:31:27.650 --> 00:31:30.130
and I bought like a barbecue. You know what I

00:31:30.130 --> 00:31:32.710
mean? And we would fucking barbecue. Yeah, balcony.

00:31:33.009 --> 00:31:36.059
Totally fucking forbidden. But fuck it. Yeah,

00:31:36.099 --> 00:31:38.160
we would barbecue out in the balcony and just

00:31:38.160 --> 00:31:40.099
have a good old fucking time like anytime. There's

00:31:40.099 --> 00:31:42.759
any outdoor space in the studio. I was all about

00:31:42.759 --> 00:31:45.880
that and I loved that. So but yeah, I enjoyed

00:31:45.880 --> 00:31:48.400
that studio. But yes, it was two songs. That

00:31:48.400 --> 00:31:50.799
was the introduction to the band for public affection.

00:31:51.359 --> 00:31:54.339
It makes it the hit factory in Times Square.

00:31:55.059 --> 00:31:56.940
And then, yeah, I mean, so I could tell the story

00:31:56.940 --> 00:32:00.119
and then, you know. I guess those didn't, I guess

00:32:00.119 --> 00:32:03.480
they liked them. They liked them enough where

00:32:03.480 --> 00:32:07.720
I got a phone call from Jerry and he was like,

00:32:08.160 --> 00:32:10.220
you know, now this is going into the throwing

00:32:10.220 --> 00:32:14.059
copper era, throwing copper era. Did I say throwing

00:32:14.059 --> 00:32:17.619
copper? Throwing copper feel, motherfucker. Yeah,

00:32:17.839 --> 00:32:21.319
New York came out. Throwing copper, throwing

00:32:21.319 --> 00:32:24.900
copper era. I remember being home one night and

00:32:24.900 --> 00:32:27.240
then getting a phone call from Jerry and he's

00:32:27.240 --> 00:32:30.670
like, I think you guys either were about to mix

00:32:30.670 --> 00:32:33.890
or had started mixing. And it was like, if you

00:32:33.890 --> 00:32:36.150
can get out to Lake Geneva, Wisconsin in the

00:32:36.150 --> 00:32:38.490
next couple of days, these guys are willing to

00:32:38.490 --> 00:32:40.710
give you a chance, you know, like to offer you

00:32:40.710 --> 00:32:43.029
an opportunity to mix this record, you know,

00:32:43.170 --> 00:32:46.609
you bang one out and we'll go from there. So

00:32:46.609 --> 00:32:49.309
I'm like, yeah, Jerry, I'm on it. I jumped in

00:32:49.309 --> 00:32:51.349
my, I was living in New Jersey at the time. I

00:32:51.349 --> 00:32:55.690
jumped in my 1966 Ford Mustang Fastback and I

00:32:55.690 --> 00:32:58.750
drove from New York to Lake Geneva, Wisconsin,

00:32:58.990 --> 00:33:02.529
you know, showed up at the studio and, you know,

00:33:02.769 --> 00:33:04.329
met metal guys, I don't think, because we hadn't

00:33:04.329 --> 00:33:06.650
met, I don't think. No, we didn't meet you when

00:33:06.650 --> 00:33:09.589
you did the other side. But I remember we met.

00:33:10.089 --> 00:33:12.349
I think I mixed, I think the first song I mixed

00:33:12.349 --> 00:33:19.220
was the, um, uh, I liked the way the. Iris. No,

00:33:19.319 --> 00:33:22.599
no, not iris. It's fucking that was iris. You

00:33:22.599 --> 00:33:27.019
say no. Okay. Sorry. It was selling maybe selling

00:33:27.019 --> 00:33:29.200
the drama selling drama. Yeah, because we thought

00:33:29.200 --> 00:33:30.720
that was going to be the first single. So yeah,

00:33:30.759 --> 00:33:32.319
I think that was the first song I mixed with

00:33:32.319 --> 00:33:35.500
selling drama. And I guess I did a pretty good

00:33:35.500 --> 00:33:39.759
job. Yeah, because I think we did the first mix

00:33:39.759 --> 00:33:42.299
and I have a memory of us all going out to dinner

00:33:42.299 --> 00:33:46.460
and then some really nasty strip club in Lake

00:33:46.460 --> 00:33:51.900
Geneva. It was nice. The bartender is the stripper

00:33:51.900 --> 00:33:56.400
also. It's one of those places where the bartender

00:33:56.400 --> 00:33:59.059
is also the stripper. Exactly. And the bouncers

00:33:59.059 --> 00:34:02.480
were the strippers as well. Yeah. Great. It was

00:34:02.480 --> 00:34:04.839
really nasty. But yeah, we had a meal and then

00:34:04.839 --> 00:34:08.179
we went and had some drinks. But yeah, I remember

00:34:08.179 --> 00:34:10.940
the whole experience was being a cool experience.

00:34:11.519 --> 00:34:14.050
And then It's funny because you know we all kind

00:34:14.050 --> 00:34:16.469
of showed up in our regular like my 66 Mustang

00:34:16.469 --> 00:34:18.789
was literally kind of kind of like my daily driver

00:34:18.789 --> 00:34:20.909
I love that car, you know, and we all showed

00:34:20.909 --> 00:34:23.949
up with just regular cars You know, I remember

00:34:23.949 --> 00:34:25.929
like I think like Ed might have had like some

00:34:25.929 --> 00:34:28.889
like Mitsubishi like you know a little two -seater

00:34:28.889 --> 00:34:30.849
But it was nothing fancy. We all just had kind

00:34:30.849 --> 00:34:33.570
of regular beater cars, but then when we showed

00:34:33.570 --> 00:34:40.159
up to mix Secret Samadi. He showed up in porches.

00:34:41.280 --> 00:34:44.679
We all had really nice cars. That was the, you

00:34:44.679 --> 00:34:47.320
know, the transition. Good days. Trajectory,

00:34:47.380 --> 00:34:50.539
baby. Yeah. Tom, I got a question for you. As

00:34:50.539 --> 00:34:53.860
you're mixing throwing copper, did you realize

00:34:53.860 --> 00:34:56.320
what you were mixing right there and how special

00:34:56.320 --> 00:34:58.159
this album was going to be for the people that

00:34:58.159 --> 00:35:01.699
heard it? No, you don't think about it. The music

00:35:01.699 --> 00:35:05.699
just flows through you. I'm just gonna say it.

00:35:05.860 --> 00:35:08.699
The album, the recording of the album, look,

00:35:08.800 --> 00:35:11.539
I'm an engineer. The recording of the album was

00:35:11.539 --> 00:35:15.480
challenging. Let's just use those words. It was

00:35:15.480 --> 00:35:21.059
challenging. So I was really just focused on

00:35:21.059 --> 00:35:24.059
trying to get these songs to explode and get

00:35:24.059 --> 00:35:27.440
them sonically to sound kind of like how I wanted

00:35:27.440 --> 00:35:30.880
them to sound, which was difficult, but I was

00:35:30.880 --> 00:35:33.789
able to achieve it thanks in... In large part

00:35:33.789 --> 00:35:37.849
to the studio that we were working in, I'd set

00:35:37.849 --> 00:35:42.210
up some speakers in this recording room and some

00:35:42.210 --> 00:35:45.489
microphones. And because they had a killer recording

00:35:45.489 --> 00:35:48.110
room. And what I would do is I would send out

00:35:48.110 --> 00:35:51.610
the drum sounds back out to the room to capture

00:35:51.610 --> 00:35:55.190
that room sound. And that really helps me to

00:35:55.190 --> 00:35:57.469
define that drum sound in that album, like that

00:35:57.469 --> 00:36:01.030
ambience of that room sound. really defined the

00:36:01.030 --> 00:36:03.650
drum sound on that record because again the drums

00:36:03.650 --> 00:36:06.110
were it was a challenging recording but I was

00:36:06.110 --> 00:36:08.510
you know again when I when uh when we finished

00:36:08.510 --> 00:36:10.829
the record I was very pleased that I had gotten

00:36:10.829 --> 00:36:14.250
it to sound that way. I have a question about

00:36:14.250 --> 00:36:17.769
it was a it was a fun process and we we had this

00:36:17.769 --> 00:36:22.250
resort to ourselves. It was like old Playboy

00:36:22.250 --> 00:36:25.300
Resort in Lake Geneva Wisconsin. I don't know

00:36:25.300 --> 00:36:26.880
what they were going to do to it, but the hotel

00:36:26.880 --> 00:36:29.559
portion was closed and it's it's immense. It's

00:36:29.559 --> 00:36:32.340
huge. It's like the fucking shining. Wow. OK.

00:36:32.699 --> 00:36:34.159
And then there's this other building with the

00:36:34.159 --> 00:36:36.079
studio attached to it. So we had the run of this

00:36:36.079 --> 00:36:40.079
hotel and we just had a blast. So you can just

00:36:40.079 --> 00:36:43.039
imagine six of us or maybe seven of us there,

00:36:43.420 --> 00:36:45.659
right? Because your brother was probably there.

00:36:46.099 --> 00:36:48.280
Matt, my cousin. Yeah. Yeah, your cousin. I'm

00:36:48.280 --> 00:36:50.280
sorry. Your cousin was probably there because

00:36:50.280 --> 00:36:52.590
he was dealing with the band's equipment. Yeah.

00:36:52.929 --> 00:36:54.989
And so probably, yeah, maybe seven of us or eight

00:36:54.989 --> 00:36:57.389
of us, you know, just having the run of the place.

00:36:57.869 --> 00:37:01.849
Yep. You know, and it was a trip. Yeah. It was

00:37:01.849 --> 00:37:03.590
a trip. We had a good time. And again, yeah,

00:37:03.670 --> 00:37:06.210
we got great work done. I remember you making

00:37:06.210 --> 00:37:09.929
dinners for us. Some Italian dinners. Yeah. I

00:37:09.929 --> 00:37:12.730
mean, it all sounds about right. It all sounds

00:37:12.730 --> 00:37:15.539
about right. You know, again, I mean, my memories

00:37:15.539 --> 00:37:17.619
of the project was, I mean, one that we had a

00:37:17.619 --> 00:37:19.639
great time. We got our work done, but that it

00:37:19.639 --> 00:37:21.699
was just such a, it was, it was like the fucking

00:37:21.699 --> 00:37:25.239
shining. Yeah, it totally was. I, you know what,

00:37:25.360 --> 00:37:27.840
you know, memories get cloudy. I forgot that

00:37:27.840 --> 00:37:31.440
you didn't start with us to mix that record.

00:37:31.800 --> 00:37:34.940
You came in. Yeah. And I don't know who started

00:37:34.940 --> 00:37:36.659
mixing it. And I don't even know how it could

00:37:36.659 --> 00:37:39.639
have been Lou. It could have been Lou. Right.

00:37:39.980 --> 00:37:41.440
Yeah. Yeah, it could have been loose. I mean,

00:37:41.460 --> 00:37:43.980
again, I remember the phone call. It was like

00:37:43.980 --> 00:37:45.800
Jerry Harrison, you know, because I don't know

00:37:45.800 --> 00:37:48.139
if Jerry had pitched me on the album and you

00:37:48.139 --> 00:37:50.500
guys just weren't interested, you know, but it

00:37:50.500 --> 00:37:52.280
was one of those things of Jerry saying, hey,

00:37:52.400 --> 00:37:55.360
if you get your ass out here, you know, I mean,

00:37:55.420 --> 00:37:57.260
like this could be something this could show

00:37:57.260 --> 00:38:01.860
him what you do. Yeah. And I'm glad I did. Yeah,

00:38:02.039 --> 00:38:04.940
absolutely. I'm glad I did. The world might be

00:38:04.940 --> 00:38:08.719
glad. As you say, buddy. Yeah, man. I fucking

00:38:08.719 --> 00:38:13.179
spanked it. No. And look, throwing copper, that

00:38:13.179 --> 00:38:16.579
album, one, it's an amazing record. I'm very

00:38:16.579 --> 00:38:19.239
proud of the work that I did and the guys did.

00:38:19.780 --> 00:38:23.960
But that album resonated amongst the musical

00:38:23.960 --> 00:38:27.820
community, you know, amongst, you know, Grace's

00:38:27.820 --> 00:38:32.000
peers. It resonated for some reason. Yeah. And

00:38:32.000 --> 00:38:35.139
when I tell you, I got 20 years of work from

00:38:35.139 --> 00:38:38.349
that record. So. Without throwing copper, I wouldn't

00:38:38.349 --> 00:38:40.329
have gotten weezer without throwing copper. I

00:38:40.329 --> 00:38:43.130
wouldn't have gotten, you know, collect some

00:38:43.130 --> 00:38:46.170
41 some 40. I mean, the list goes on. I mean,

00:38:46.170 --> 00:38:49.349
these are all records that were directly related

00:38:49.349 --> 00:38:52.289
to what the work that we had done on throwing

00:38:52.289 --> 00:38:56.369
copper. So I'm very grateful for that. Tom grateful

00:38:56.369 --> 00:38:59.449
as well. Yeah, for real. Just the fans are grateful

00:38:59.449 --> 00:39:01.429
for sure. And I'm sure Chad with the band is,

00:39:01.429 --> 00:39:06.329
but I got a question. When you first were working

00:39:06.329 --> 00:39:08.409
with Steve Winwood back in the day, was that

00:39:08.409 --> 00:39:10.710
like a daunting task for you? Like, were you

00:39:10.710 --> 00:39:13.050
like, oh shit, I'm like working with Steve Winwood

00:39:13.050 --> 00:39:15.250
here. Were you just kind of cool nonchalant about

00:39:15.250 --> 00:39:18.289
it and like doing your thing? Yeah. You don't

00:39:18.289 --> 00:39:20.030
even think about it. You just, you just do your

00:39:20.030 --> 00:39:22.230
thing. You're there to do a job. And I got to

00:39:22.230 --> 00:39:24.769
be honest with me. And I was like, that, that,

00:39:24.769 --> 00:39:28.550
that whole, um, that project, the back in the

00:39:28.550 --> 00:39:33.769
high life project, um, there was a lot of, There

00:39:33.769 --> 00:39:36.449
was a lot of shit going on. I mean, one, Steve,

00:39:36.670 --> 00:39:39.050
we would go out to dinner and, you know, cause

00:39:39.050 --> 00:39:41.869
he's English, so he's got this whole pub thing,

00:39:41.989 --> 00:39:44.510
you know, so they go out, they have a meal, they

00:39:44.510 --> 00:39:47.309
have some, some beers or some drinks. So every

00:39:47.309 --> 00:39:50.030
night we were out, you know, eating and drinking,

00:39:50.050 --> 00:39:52.170
which was great. And then I would leave and go

00:39:52.170 --> 00:39:54.369
home and then proceed to do like an eight bowl

00:39:54.369 --> 00:39:58.630
of fucking cocoa. You know, and hope that I could

00:39:58.630 --> 00:40:00.469
get two hours of sleep before I had to show up

00:40:00.469 --> 00:40:03.099
for the session the next day. And somehow I survived

00:40:03.099 --> 00:40:05.239
through it and made, you know, helped them make

00:40:05.239 --> 00:40:10.800
this wonderful piece of music. But yeah, it's

00:40:10.800 --> 00:40:14.460
a little cloudy. But no, you just go and, you

00:40:14.460 --> 00:40:18.670
know, you try not to think about that. You know,

00:40:18.670 --> 00:40:20.730
what are we doing today? Oh today we have shock

00:40:20.730 --> 00:40:24.130
a con coming in Okay, you know, you don't think

00:40:24.130 --> 00:40:26.630
about it. It's just like okay shock a con. What

00:40:26.630 --> 00:40:28.090
does she need? You know, you set up the microphone

00:40:28.090 --> 00:40:31.269
you set up her chair and some Headphones and

00:40:31.269 --> 00:40:33.630
a little music stand, you know, and then later

00:40:33.630 --> 00:40:36.909
I realized that she needs an ashtray No problem,

00:40:36.909 --> 00:40:42.570
you know, I mean I'm I'm I'm You know, but she

00:40:42.570 --> 00:40:45.630
comes in and you know, we're so she comes in

00:40:45.630 --> 00:40:48.699
to do her thing and You know, I got the tape

00:40:48.699 --> 00:40:50.500
rolling and she's out there and I'm in record.

00:40:51.260 --> 00:40:53.239
She's smoking a cigarette. The song is playing.

00:40:53.519 --> 00:40:55.880
Second chorus comes around. She's still smoking

00:40:55.880 --> 00:40:57.940
a cigarette. Now we're getting into the out course.

00:40:58.820 --> 00:41:00.559
And Steve and I are looking at each other like,

00:41:00.659 --> 00:41:02.940
when is this woman going to sing? And she takes

00:41:02.940 --> 00:41:05.539
a puff off a cigarette and it starts to blurt

00:41:05.539 --> 00:41:08.079
out the most beautiful ad lips you've ever heard

00:41:08.079 --> 00:41:11.239
that probably still made the record. Smoke coming

00:41:11.239 --> 00:41:13.630
out of her mouth. And Steve and I are on the

00:41:13.630 --> 00:41:15.690
floor laughing. It was so funny that it was so

00:41:15.690 --> 00:41:18.949
glorious sounding, but so nonchalant. Like she

00:41:18.949 --> 00:41:21.150
took a drag of a cigarette and then just blurted

00:41:21.150 --> 00:41:24.989
out these ad libs that were just like, holy shit.

00:41:26.329 --> 00:41:31.010
Have you ever been having a magical moment like

00:41:31.010 --> 00:41:34.449
that and you magically didn't hit the record

00:41:34.449 --> 00:41:36.690
button and had to have the artist like do another

00:41:36.690 --> 00:41:42.260
take on on that? No, sir. No, sir. No, sir. My

00:41:42.260 --> 00:41:45.079
brother, first thing he, one of the first things

00:41:45.079 --> 00:41:47.139
that he taught me. So he brought me into the

00:41:47.139 --> 00:41:50.139
studio. I assisted him for like two weeks. I

00:41:50.139 --> 00:41:52.659
was, I was a concert. I did concert sound. I

00:41:52.659 --> 00:41:55.679
was front of house engineer. So I came in from

00:41:55.679 --> 00:41:57.900
working off the, I came off the road from, you

00:41:57.900 --> 00:42:01.380
know, into the studio. So I just did two weeks

00:42:01.380 --> 00:42:04.280
shadowing Chris and literally the first things

00:42:04.280 --> 00:42:06.980
that he, the first, one of the first things he

00:42:06.980 --> 00:42:09.469
told me is. if there's an artist in the room

00:42:09.469 --> 00:42:14.650
and you're playing music have it in record always

00:42:14.650 --> 00:42:17.429
you can always go back and erase it right so

00:42:17.429 --> 00:42:22.329
and that's that is actually how the intro to

00:42:22.329 --> 00:42:28.289
higher love was was born so higher love the song

00:42:28.289 --> 00:42:30.989
higher love for the people that don't know it

00:42:30.989 --> 00:42:34.250
it starts off with this kind of offbeat timbali

00:42:34.250 --> 00:42:38.670
stick thing that the drummer did and That originally

00:42:38.670 --> 00:42:42.030
was played at the end of the song. So how we

00:42:42.030 --> 00:42:43.969
recorded back then is we took six minutes of

00:42:43.969 --> 00:42:47.849
tape, right? And you put the empty timecode on

00:42:47.849 --> 00:42:50.170
it so that you could synchronize another tape

00:42:50.170 --> 00:42:52.289
machine and also any sequences or anything like

00:42:52.289 --> 00:42:55.590
that. And higher love isn't six minutes long.

00:42:56.070 --> 00:42:58.989
So at five minutes or five minutes and 20 seconds

00:42:58.989 --> 00:43:01.730
when the song is over, there's still 40 seconds

00:43:01.730 --> 00:43:05.309
of tape going. And if a musician is playing,

00:43:05.449 --> 00:43:08.050
so basically when the song falls apart, because

00:43:08.050 --> 00:43:10.750
higher love is a fade out song. It's not a hard

00:43:10.750 --> 00:43:13.869
ending. Right. So once you know you got past

00:43:13.869 --> 00:43:16.550
the end of the song, all the musicians, they

00:43:16.550 --> 00:43:19.610
start to whip their dicks out. Show off. Right.

00:43:19.710 --> 00:43:21.969
They just start playing like stupid shit. And

00:43:21.969 --> 00:43:25.429
that's where you get the magic. So the song fell

00:43:25.429 --> 00:43:29.190
apart. And John Robinson, who was doing the drums

00:43:29.190 --> 00:43:32.250
on higher love, he just started fucking around.

00:43:33.050 --> 00:43:36.110
you know, and I had the machine in record. That's

00:43:36.110 --> 00:43:38.429
good. Wow. And we didn't think too much about

00:43:38.429 --> 00:43:40.630
it. It was just this kind of cool offbeat rhythm

00:43:40.630 --> 00:43:42.889
thing. And we didn't think too much about it

00:43:42.889 --> 00:43:45.630
at the time. And then months later, when we were

00:43:45.630 --> 00:43:47.269
nearing the end of the project and beginning

00:43:47.269 --> 00:43:50.630
to, you know, getting to the mixing, you know,

00:43:50.849 --> 00:43:53.829
Russ Titleman, the producer, you know, said,

00:43:54.510 --> 00:43:56.289
he said, higher love is perfect, except that

00:43:56.289 --> 00:43:59.530
we need an intro for the song. I don't like the

00:43:59.530 --> 00:44:04.409
intro. And it was, boom, like a light bulb on

00:44:04.409 --> 00:44:07.170
my head. Boom. Russ, I have an idea. Give me

00:44:07.170 --> 00:44:09.889
10 minutes. You know, and I boom, boom, boom.

00:44:10.190 --> 00:44:12.670
I did a quick calculation and offset the two

00:44:12.670 --> 00:44:15.849
tape machines so that, you know, basically what

00:44:15.849 --> 00:44:17.869
you hear now is what the intro is. And I go,

00:44:18.429 --> 00:44:20.530
Hey Russ, how about this? And I played him the

00:44:20.530 --> 00:44:23.989
intro and Steve and they were both like, Yes.

00:44:24.369 --> 00:44:28.530
Yeah. And there you go. So something, you know,

00:44:28.710 --> 00:44:31.530
going back to your original question. Yep. No.

00:44:31.849 --> 00:44:34.809
I was always taught musician in the room always

00:44:34.809 --> 00:44:38.050
have it in record smart man and even then when

00:44:38.050 --> 00:44:39.849
you know you weren't they weren't planning on

00:44:39.849 --> 00:44:41.389
doing something you were going to have recorded

00:44:41.389 --> 00:44:43.750
you had it recorded and ready to go once they

00:44:43.750 --> 00:44:45.309
were looking for that intro that's that's awesome

00:44:45.309 --> 00:44:48.210
correct um I want to bring you back to throne

00:44:48.210 --> 00:44:49.929
copper because I meant to ask you this when you

00:44:49.929 --> 00:44:52.849
were talking about it um you said it was a hard

00:44:52.849 --> 00:44:55.690
album to mix and I was wondering because chat

00:44:55.690 --> 00:44:57.909
has talked about it a couple times that they

00:44:57.909 --> 00:45:00.130
recorded that album without it being on a click

00:45:00.130 --> 00:45:02.860
track So with that, I'm thinking, is that where

00:45:02.860 --> 00:45:05.300
the mixing and editing becomes hard when it's

00:45:05.300 --> 00:45:08.260
not on a click track type deal? No, that, that,

00:45:08.260 --> 00:45:12.079
that, that I didn't, that wasn't the issue. The

00:45:12.079 --> 00:45:15.340
issue was, I mean, the issue was just the quality

00:45:15.340 --> 00:45:18.960
of the recording. Ah, it's as simple as that.

00:45:19.260 --> 00:45:21.760
You know, and look, I call Gracie out on this,

00:45:21.880 --> 00:45:23.940
you know, I think at one point I might have said,

00:45:24.079 --> 00:45:26.119
I said, are you a lefty or a righty? And you're

00:45:26.119 --> 00:45:28.619
a righty, aren't you? Yeah. Right, so I said

00:45:28.619 --> 00:45:30.119
give me your right hand and I'm like smacking

00:45:30.119 --> 00:45:32.460
it. You're hitting a fucking hi -hat too hard

00:45:32.460 --> 00:45:37.159
I'm known for that. Yes. Yeah, man, you know

00:45:37.159 --> 00:45:40.179
Gracie look guilty. It's what makes it look I'm

00:45:40.179 --> 00:45:43.800
Gracie's killer fucking drummer just a fucking

00:45:43.800 --> 00:45:49.139
killer drummer and He plays heavy. He plays hard.

00:45:49.300 --> 00:45:54.340
He hits hard and that Sonically that's not it's

00:45:54.340 --> 00:45:57.860
difficult I'm only speaking of hi -hats and cymbals.

00:45:58.420 --> 00:46:00.219
So what happens is, you know, a lot of those

00:46:00.219 --> 00:46:03.159
songs, the choruses are cymbal crashes, you know,

00:46:03.239 --> 00:46:06.099
running through the chorus. So now you have to

00:46:06.099 --> 00:46:10.599
deal with this sound, you know, and then you

00:46:10.599 --> 00:46:13.659
have to deal with the sound of the guitar distortion.

00:46:13.940 --> 00:46:16.599
You're trying to get them to be separate. Otherwise,

00:46:16.760 --> 00:46:18.820
the song just sounds like, you know, a massive

00:46:18.820 --> 00:46:22.940
noise. So it was difficult. But yeah, I mean,

00:46:22.980 --> 00:46:26.230
I was I was able to pull it off. You know, and

00:46:26.230 --> 00:46:28.949
I was able to figure out it's almost like figuring

00:46:28.949 --> 00:46:32.550
out the code to Gracie, you know, like, okay,

00:46:32.670 --> 00:46:34.590
here's how you get a killer Gracie jump sound.

00:46:34.909 --> 00:46:36.070
You know what I mean? Like in other words, because

00:46:36.070 --> 00:46:37.949
I, you know, I brought up the fact that you're

00:46:37.949 --> 00:46:40.010
hitting the cymbals too hard and I can only bring

00:46:40.010 --> 00:46:41.889
that up once before, you know, I'm not going

00:46:41.889 --> 00:46:44.289
to, I don't want to stymie him on how he performs.

00:46:44.510 --> 00:46:47.309
I want him to perform. Right. Without even thinking.

00:46:47.769 --> 00:46:49.869
Yeah. You want him comfortable. To me, it was

00:46:49.869 --> 00:46:53.110
more about, okay, I got to work with this guys

00:46:53.110 --> 00:46:57.170
for more. I have to decode how to manipulate

00:46:57.170 --> 00:47:01.630
his sound for me to deal with this abundance

00:47:01.630 --> 00:47:04.050
of symbols. And I did. I was able to figure out

00:47:04.050 --> 00:47:06.889
methods that work for me that still kept the

00:47:06.889 --> 00:47:08.630
integrity of his drum performance, but just made

00:47:08.630 --> 00:47:11.329
it sound better. Yeah. It's also comes down to

00:47:11.329 --> 00:47:14.389
how I set up to, I mean, you know, I mean, I

00:47:14.389 --> 00:47:16.150
don't know if you remember, but my hi hat is

00:47:16.150 --> 00:47:19.349
really close to my, my rack Tom and we got to

00:47:19.349 --> 00:47:21.610
sneak in the mic right between the. high hat

00:47:21.610 --> 00:47:24.309
in the rack time for the snare. And so that picks

00:47:24.309 --> 00:47:26.369
up all the high hat from the snare. And then

00:47:26.369 --> 00:47:28.809
my symbols were really low too. So they would

00:47:28.809 --> 00:47:32.329
get picked up in the Tom mics. And yeah, I know.

00:47:32.690 --> 00:47:35.510
Oh, I was bringing back all those painful memories.

00:47:36.750 --> 00:47:39.489
I was just going to say, Tom, are you hearing

00:47:39.489 --> 00:47:42.369
anything there but excuses for why he wasn't

00:47:42.369 --> 00:47:45.989
playing how you wanted? That's all I heard. I

00:47:45.989 --> 00:47:48.250
mean, look, let's call it what it is. I mean,

00:47:48.920 --> 00:47:51.340
I'm a mixing engineer. It's not my place to tell

00:47:51.340 --> 00:47:55.480
him how to perform. I only raised the concern

00:47:55.480 --> 00:47:57.719
of like, you know, maybe you can hit the cymbals

00:47:57.719 --> 00:48:00.420
a little less hard, you know, and again, I think

00:48:00.420 --> 00:48:03.579
I probably only said it to you once and then

00:48:03.579 --> 00:48:05.400
I let it be. I just planted that seed and then

00:48:05.400 --> 00:48:09.280
it was his to go with. It's my job to deal with

00:48:09.280 --> 00:48:12.699
what has been given to me. Well, I like how you

00:48:12.699 --> 00:48:15.019
took, you know, something that was originally

00:48:15.019 --> 00:48:17.539
recorded and it wasn't the sound you were looking

00:48:17.539 --> 00:48:19.699
for. And then you re -recorded it in the room

00:48:19.699 --> 00:48:21.820
you wanted to, like with this microphone to get

00:48:21.820 --> 00:48:23.619
the sound you're looking for. That's huge, man.

00:48:23.800 --> 00:48:26.099
That's really cool. Yeah. Well, we did whatever

00:48:26.099 --> 00:48:28.619
we needed. I mean, I did whatever I had to do

00:48:28.619 --> 00:48:30.960
to get it to get the sound in my head to come

00:48:30.960 --> 00:48:33.360
out of the speakers. Yeah. So, but yeah, no throwing

00:48:33.360 --> 00:48:36.380
cop again. It was a great record. You know, I

00:48:36.380 --> 00:48:38.800
really enjoyed mixing it. I think the moments

00:48:38.800 --> 00:48:41.679
on those. You know, Dammit Otter Creek, what

00:48:41.679 --> 00:48:44.519
a killer opening. Boom. What a killer fucking

00:48:44.519 --> 00:48:47.500
opening song. Yeah. You know, so happy that that

00:48:47.500 --> 00:48:50.719
was the opener and then white discussion again,

00:48:50.960 --> 00:48:54.880
just in the just just so fucking awesome. You

00:48:54.880 --> 00:48:56.699
know, and again, just a lot of happy accidents.

00:48:56.900 --> 00:48:59.440
All those weird noises and talking shit on that

00:48:59.440 --> 00:49:03.659
was just like, I think Ed had some. Tape of yeah,

00:49:03.659 --> 00:49:09.579
yeah, he's like my ham radio fucking He goes

00:49:09.579 --> 00:49:12.400
yeah, we want to fly this into the to this outro

00:49:12.400 --> 00:49:16.360
section of the song right, okay He gave it to

00:49:16.360 --> 00:49:20.900
me and I'm like I just played the end of white

00:49:20.900 --> 00:49:24.440
discussion. I hit play on his tape And that's

00:49:24.440 --> 00:49:27.679
how it landed Wow, that's that literally is how

00:49:27.679 --> 00:49:31.719
it landed and right up to the end The last thing

00:49:31.719 --> 00:49:33.920
the guy said, it was literally, I just hit play

00:49:33.920 --> 00:49:36.400
and there you go. And it just landed like that.

00:49:36.699 --> 00:49:39.079
It just landed like that. I'm pretty sure it

00:49:39.079 --> 00:49:41.420
was the first time we did it that I just flew

00:49:41.420 --> 00:49:43.619
it in. And again, luckily I had the machine and

00:49:43.619 --> 00:49:46.920
record, so it recorded it. And that's just how

00:49:46.920 --> 00:49:50.219
it landed. Wow. It's just one of the, again,

00:49:50.280 --> 00:49:52.840
sometimes you get it, sometimes you don't. I

00:49:52.840 --> 00:49:55.550
don't remember us doing like. I don't remember

00:49:55.550 --> 00:49:58.090
us agonizing over that. I literally remember

00:49:58.090 --> 00:50:00.050
it just being, oh, you want to fight it? Sure.

00:50:00.250 --> 00:50:02.050
Boom. And then it was like, yeah, that works.

00:50:02.570 --> 00:50:05.690
Wow. That's it. Yeah. It's pretty awesome. You

00:50:05.690 --> 00:50:07.610
know, but yeah, but you were talking earlier

00:50:07.610 --> 00:50:10.630
about the unreleased stuff. So they're that they

00:50:10.630 --> 00:50:13.849
did release the three, I think it was three other

00:50:13.849 --> 00:50:15.730
songs from throwing copper sessions, which is,

00:50:15.889 --> 00:50:20.409
uh, oh, yeah. We deal in dreams. Yep. Hold me

00:50:20.409 --> 00:50:24.969
up. Yeah. Hold me up. And maybe horse. the unreleased

00:50:24.969 --> 00:50:27.449
horse. Yeah, I was gonna say horse, but I think

00:50:27.449 --> 00:50:30.949
horse was the was the was the hidden track. Oh,

00:50:31.210 --> 00:50:34.449
cheetah. What's up, y 'all cheetah. But yeah,

00:50:34.929 --> 00:50:37.909
cheetah. I don't know if you ever released cheat

00:50:37.909 --> 00:50:40.909
on anything. Oh, I don't know. I don't. So that's

00:50:40.909 --> 00:50:44.389
long. I don't remember. But it could have been

00:50:44.389 --> 00:50:47.650
the drugs. But Tom, what you said was so spot

00:50:47.650 --> 00:50:51.829
on about throwing copper the intro with the Damonauter

00:50:51.829 --> 00:50:54.400
Creek. And then, you know, with the album ending

00:50:54.400 --> 00:50:57.400
at White Discussion, just the sonic sound of

00:50:57.400 --> 00:51:00.199
Daemonada Creek starting and then the closing

00:51:00.199 --> 00:51:02.719
of White Discussion and then everything in between.

00:51:02.719 --> 00:51:05.440
It just blows like a book and the whole album.

00:51:05.639 --> 00:51:07.960
Yeah. The opening was again, the opening of that

00:51:07.960 --> 00:51:11.400
album is I just was brilliant. I'm glad. Again,

00:51:11.480 --> 00:51:12.980
I'm glad they use that as the opener because

00:51:12.980 --> 00:51:15.679
it starts off. It really sets the tone for the

00:51:15.679 --> 00:51:19.420
record. Yeah. Yeah, I think we knew as soon as

00:51:19.420 --> 00:51:21.920
you wrote. Damn it out of Creek and white discussion

00:51:21.920 --> 00:51:23.820
that we had the front and the back of the record.

00:51:23.920 --> 00:51:27.440
So oh, yeah, pretty sure about that bone bomb

00:51:27.440 --> 00:51:29.920
Can you tell me or talk to me about your time

00:51:29.920 --> 00:51:32.340
with Dave Matthews been they one of my favorite

00:51:32.340 --> 00:51:34.519
bands? What did you end up doing with them? I

00:51:34.519 --> 00:51:36.360
see them in your yeah, well mixed under the table

00:51:36.360 --> 00:51:40.039
and dreaming Wow, I mixed that the power station

00:51:40.039 --> 00:51:44.400
in New York City, and then I mixed Let's say

00:51:44.400 --> 00:51:48.389
four or five maybe six songs for for crash Wow.

00:51:48.809 --> 00:51:53.869
You know, by crash, I felt the the the the ousting

00:51:53.869 --> 00:51:58.510
elbow of Steve Lilly White. Yeah. Because we

00:51:58.510 --> 00:52:01.389
they allowed him to come in when the mixing of

00:52:01.389 --> 00:52:04.590
crash. So and he fancied himself a mixer as well.

00:52:04.610 --> 00:52:07.349
So I kind of felt his elbow being pushing me

00:52:07.349 --> 00:52:10.070
out the door. But they still use the, you know,

00:52:10.150 --> 00:52:12.949
six five or six of my mixes. So here's the story

00:52:12.949 --> 00:52:18.699
on DM on Dave Matthews. So I used to do a lot

00:52:18.699 --> 00:52:23.840
of work for RCA records in that timeframe and

00:52:23.840 --> 00:52:27.119
that era. And I worked with this cat, Bruce Floor,

00:52:27.320 --> 00:52:29.559
and Peter Robinson, who were the A &R guys at

00:52:29.559 --> 00:52:31.860
the record company. And they would send me projects

00:52:31.860 --> 00:52:34.599
and I would do it. And I get a call from the

00:52:34.599 --> 00:52:37.300
two of them. We do a conference call and they're

00:52:37.300 --> 00:52:41.539
like, you got to help us out. We have this new

00:52:41.539 --> 00:52:44.820
artist, and there's a lot of promise in this

00:52:44.820 --> 00:52:47.679
new artist. and we delivered the record like

00:52:47.679 --> 00:52:50.820
they had recorded and mixed the record. And the

00:52:50.820 --> 00:52:55.460
record company, their bosses didn't accept it.

00:52:55.599 --> 00:52:58.000
So in other words, they said, no, you have to

00:52:58.000 --> 00:53:00.519
remix this album. So they were in a real way.

00:53:00.960 --> 00:53:03.280
They're A &R guys and their bosses were like,

00:53:03.519 --> 00:53:05.880
oh no, this will not do. Because it's such a

00:53:05.880 --> 00:53:07.860
different sound for the time of music, right?

00:53:08.000 --> 00:53:10.940
I mean, they got violin and horn. Correct, correct.

00:53:12.059 --> 00:53:16.250
So they reached out to me. Can you come in? Again,

00:53:16.730 --> 00:53:19.309
I think Lily White mixed the album and the record

00:53:19.309 --> 00:53:21.849
company didn't accept it. They didn't like the

00:53:21.849 --> 00:53:24.909
mixes and they wanted to be redone. So they called

00:53:24.909 --> 00:53:30.309
me up and the three of us, myself, Bruce Floor

00:53:30.309 --> 00:53:34.110
and Peter Robbins, we mixed it at the power station

00:53:34.110 --> 00:53:37.269
with no input from Lily White, no input from

00:53:37.269 --> 00:53:41.860
the band. Now they may have sent you know, mixes

00:53:41.860 --> 00:53:44.400
out to the band as we were doing it, but I don't

00:53:44.400 --> 00:53:47.480
have memory of that. Gotcha. But yeah, we mixed

00:53:47.480 --> 00:53:50.280
that album. Everybody loved it. And here we are,

00:53:50.960 --> 00:53:55.659
you know, again, that particular record, I'd

00:53:55.659 --> 00:54:00.239
like to have that one back, please. Well, Tom,

00:54:00.380 --> 00:54:02.320
you mentioned that they were like Steve Lilly

00:54:02.320 --> 00:54:04.519
White was nudging you out of that second I'm

00:54:04.519 --> 00:54:07.139
crash. But then I believe in the third album

00:54:07.139 --> 00:54:10.190
that Dave put out, he got nudged out. because

00:54:10.190 --> 00:54:12.130
I think the album leaked and then they went with

00:54:12.130 --> 00:54:14.429
like this guy Glenn Ballard to produce the album.

00:54:14.949 --> 00:54:17.269
Yeah. And I think, I think my brother Chris mixed

00:54:17.269 --> 00:54:21.050
that. Oh, wow. I'm, I'm pretty sure. Like I said,

00:54:21.130 --> 00:54:22.670
I did worked on the first two. And then I think

00:54:22.670 --> 00:54:24.730
Chris worked on the, I think he worked on the

00:54:24.730 --> 00:54:28.190
third one. I'm going to give this compliment

00:54:28.190 --> 00:54:29.710
to your brother. Hold on. I'm sorry. I didn't

00:54:29.710 --> 00:54:31.369
mean to cut you off. But I want that was the

00:54:31.369 --> 00:54:35.230
first Dave album where I said they actually got

00:54:35.230 --> 00:54:38.409
Dave's like live sound because His concerts always

00:54:38.409 --> 00:54:41.269
kind of sounded different than the albums. And

00:54:41.269 --> 00:54:43.210
I felt the third album on the third album. I

00:54:43.210 --> 00:54:45.070
felt that that that's where they actually captured

00:54:45.070 --> 00:54:47.550
their sound that they get so good in concerts.

00:54:48.769 --> 00:54:51.210
Yeah, no, that it's quite possible. So I can

00:54:51.210 --> 00:54:55.909
tell you. So the one thing I remember about one

00:54:55.909 --> 00:55:01.570
thing I remember about under the table is Peter

00:55:01.570 --> 00:55:05.920
and Bruce telling me. Telling me about I forget

00:55:05.920 --> 00:55:07.260
what the drummer's name. What's the drummer's

00:55:07.260 --> 00:55:10.440
name? Carter Bolford. Okay. They're telling me

00:55:10.440 --> 00:55:14.480
about Carter and how he plays. And they said

00:55:14.480 --> 00:55:17.460
on Under the Table and Dreaming, they specifically

00:55:17.460 --> 00:55:21.139
asked Carter to dial it back. Oh, wow. So that

00:55:21.139 --> 00:55:23.619
his performance was, you know, and if you listen

00:55:23.619 --> 00:55:26.719
to Under the Table versus Crash, you can definitely

00:55:26.719 --> 00:55:29.880
hear he's playing a lot less on Under the Table.

00:55:31.119 --> 00:55:34.639
So. Um, that was one thing that I think was probably

00:55:34.639 --> 00:55:37.320
a mistake. Sure. Um, the other thing, like I

00:55:37.320 --> 00:55:38.760
said, well, so when I said it, I'd like to have

00:55:38.760 --> 00:55:43.639
that one back, you know, like anybody else, you

00:55:43.639 --> 00:55:45.119
know, I have good days and bad days. And I'm

00:55:45.119 --> 00:55:47.460
not saying I had a bad day when I mixed or bad

00:55:47.460 --> 00:55:49.079
days when I mixed under the table and drinking,

00:55:49.400 --> 00:55:51.980
but we kind of started with the sound and we

00:55:51.980 --> 00:55:54.500
all really liked it and stuck with it, you know,

00:55:54.780 --> 00:55:57.360
I would probably, you know, mixing it with today's

00:55:57.360 --> 00:55:59.840
air definitely would have treated it differently.

00:56:00.400 --> 00:56:02.119
And definitely would think that under the table

00:56:02.119 --> 00:56:04.199
and dreaming would benefit from a, you know,

00:56:04.320 --> 00:56:06.800
from a modern version of it. You know, it's I've

00:56:06.800 --> 00:56:09.059
asked them on multiple occasions. Hey, can you

00:56:09.059 --> 00:56:11.519
send me the the multis of under the table? I'll

00:56:11.519 --> 00:56:14.159
do a remix on the album for free. Oh, wow. Just

00:56:14.159 --> 00:56:16.800
well, just because I'd like to, you know, I mean,

00:56:16.860 --> 00:56:19.079
like I said, I stand behind the mixes that I

00:56:19.079 --> 00:56:22.360
did to work, you know, but I think they could

00:56:22.360 --> 00:56:24.730
have been better. Yeah, I mean they were both

00:56:24.730 --> 00:56:26.789
both legendary albums, so I mean you can't be

00:56:26.789 --> 00:56:30.469
too hard on yourself Taking you up on that offer

00:56:30.469 --> 00:56:34.030
yet. No crazy. No, I don't yeah, I don't get

00:56:34.030 --> 00:56:36.969
it But yeah, but now having said that then we

00:56:36.969 --> 00:56:40.489
come to crash so I Noticed it right away when

00:56:40.489 --> 00:56:42.769
I started mixing the songs on crash so like so

00:56:42.769 --> 00:56:48.070
much to say You know For example, I could tell

00:56:48.070 --> 00:56:50.170
right away that the drum performance was so much

00:56:50.170 --> 00:56:53.400
better. Yeah, you know that it was OK, this I

00:56:53.400 --> 00:56:56.360
could hear the guy's personality now. You know

00:56:56.360 --> 00:57:00.480
what I mean? So and and the crash album, the

00:57:00.480 --> 00:57:04.099
recording of that album was a much better recording

00:57:04.099 --> 00:57:07.340
than under the table. Yeah, it was just a better

00:57:07.340 --> 00:57:10.420
quality of recording. So it allowed me to get

00:57:10.420 --> 00:57:12.719
the mixes to an even better place. So, you know,

00:57:13.380 --> 00:57:16.880
I was very, very pleased, very pleased with the

00:57:16.880 --> 00:57:20.159
stuff that I did on them. On crash we mixed crash

00:57:20.159 --> 00:57:22.619
at a studio in Manhattan called rumored a view

00:57:22.619 --> 00:57:25.519
and it was it's a midtown and I think it was

00:57:25.519 --> 00:57:28.300
in the 30s something like that and it was in

00:57:28.300 --> 00:57:30.519
a residential apartment building and it's just

00:57:30.519 --> 00:57:33.300
this guy who had bought a whole floor in a residential

00:57:33.300 --> 00:57:35.739
apartment building and on one side of the of

00:57:35.739 --> 00:57:39.079
the south side of that building. He took two

00:57:39.079 --> 00:57:41.000
apartments put it made it one and made a recording

00:57:41.000 --> 00:57:44.199
studio mixing studio. And it was all windows.

00:57:44.820 --> 00:57:47.239
So the windows look that's down at the Statue

00:57:47.239 --> 00:57:49.300
of Liberty and it was beautiful. And again, I

00:57:49.300 --> 00:57:51.719
just loved the place and had an SSL like the

00:57:51.719 --> 00:57:54.730
one I'm sitting in front of. And I have this

00:57:54.730 --> 00:57:58.170
great picture. I took the couch and like because

00:57:58.170 --> 00:58:00.050
like fucking it feels like I'm at home. So I

00:58:00.050 --> 00:58:01.469
just brought the couch and put it in the mixing

00:58:01.469 --> 00:58:03.829
position and I have a picture of me mixing that

00:58:03.829 --> 00:58:06.090
album with Steve Lily what looking at me like

00:58:06.090 --> 00:58:09.989
what the fuck is this guy doing? But during the

00:58:09.989 --> 00:58:12.070
mixing of that that project and specifically

00:58:12.070 --> 00:58:16.250
this won't crash, you know, I felt that elbow.

00:58:17.119 --> 00:58:20.280
I felt Steve making suggestions to me because

00:58:20.280 --> 00:58:22.099
he was there during the mixing and Dave came

00:58:22.099 --> 00:58:24.139
in as well and Dave was super easy to work with.

00:58:25.079 --> 00:58:28.739
But Steve was there and I could tell by the comments

00:58:28.739 --> 00:58:31.239
he was making to me that he would be steering

00:58:31.239 --> 00:58:35.159
me in the wrong direction intentionally. So it,

00:58:35.739 --> 00:58:38.940
no problem man, no problem. I did what I needed

00:58:38.940 --> 00:58:42.039
to to make him happy. And then once he left the

00:58:42.039 --> 00:58:43.639
room I put the mix back in and I played that

00:58:43.639 --> 00:58:46.519
to the artist. Goods for you to stand by your

00:58:46.519 --> 00:58:49.039
convictions to and be like, I see what this dude

00:58:49.039 --> 00:58:51.239
is doing and then going with your original plan.

00:58:51.380 --> 00:58:54.360
I like that. But then I would also say, now this

00:58:54.360 --> 00:58:56.800
is how I hear it. And then here's how Steve's

00:58:56.800 --> 00:58:59.780
here. Yes. I give them both versions and then

00:58:59.780 --> 00:59:01.940
let them decide because at the end of the day,

00:59:02.000 --> 00:59:05.500
it's not my record. Right. But, you know, I want

00:59:05.500 --> 00:59:09.179
to make sure that that they're getting the best

00:59:09.179 --> 00:59:11.420
of me. Yeah. So in other words, like, you know,

00:59:11.460 --> 00:59:12.539
how are you going to get the best of me if you

00:59:12.539 --> 00:59:15.280
don't let me do my fucking thing? Yeah, you know,

00:59:15.320 --> 00:59:17.219
like I always tell the artist, you know, I can't

00:59:17.219 --> 00:59:20.420
give you, I can't give you your mix until I give

00:59:20.420 --> 00:59:24.940
you my mix. Right. You know, yeah. And speaking

00:59:24.940 --> 00:59:28.039
of like some of that, like, we could talk a little

00:59:28.039 --> 00:59:32.079
bit about Likini's juice. Yeah, you can get into

00:59:32.079 --> 00:59:34.739
that. We're gonna ask you, where do we, where

00:59:34.739 --> 00:59:37.059
do we, did you mix out at the hit factory? We

00:59:37.059 --> 00:59:40.619
didn't mix that Miami, right? One of my favorite

00:59:40.619 --> 00:59:44.599
mix rooms of all times, that was at the new hit

00:59:44.599 --> 00:59:48.980
factor, new at that time. It was on the West

00:59:48.980 --> 00:59:51.380
54th. They had two studios of 54th, but this

00:59:51.380 --> 00:59:54.099
was where they had that entire building. And

00:59:54.099 --> 00:59:56.840
they built these just ludicrously over the top

00:59:56.840 --> 01:00:01.579
studios. And we had the mixing room, which had

01:00:01.579 --> 01:00:04.420
the most beautiful console I've ever seen. It

01:00:04.420 --> 01:00:09.000
was a 96 channel SSL 4000. And it was semi -circular.

01:00:09.159 --> 01:00:11.219
It was a wrap around. Oh, that's right. Oh, wow.

01:00:11.280 --> 01:00:14.559
And it was just magnificent. I have a picture

01:00:14.559 --> 01:00:17.420
of it, and it's just beautiful. We mixed that

01:00:17.420 --> 01:00:21.519
album there. We had two Sony 3348 tape machines,

01:00:22.039 --> 01:00:24.800
you know, like, you know, because, yeah, because

01:00:24.800 --> 01:00:27.039
throwing copper was hugely successful. So you

01:00:27.039 --> 01:00:31.139
guys were spending money. Yeah. And yes, so we

01:00:31.139 --> 01:00:35.599
did some mixing and. I was fucking around, we

01:00:35.599 --> 01:00:37.579
were working on the song, Likini's Juice. Now,

01:00:38.159 --> 01:00:40.280
everybody knows, I like to think that everybody

01:00:40.280 --> 01:00:42.840
knows Likini's Juice, and it has that killer

01:00:42.840 --> 01:00:45.159
fucking guitar intro. Well, that's not how it

01:00:45.159 --> 01:00:48.179
was recorded. It was actually the way that song

01:00:48.179 --> 01:00:50.860
originally was on the tape was, it was a count

01:00:50.860 --> 01:00:52.579
off, you know, one, two, three, four, and then,

01:00:52.880 --> 01:00:56.039
boom, the band came in, everybody, you know.

01:00:56.760 --> 01:01:01.159
And I don't know what inspired me to change that

01:01:01.159 --> 01:01:04.079
intro. I think what inspired me to change the

01:01:04.079 --> 01:01:06.719
well, I'm speculating what inspired me to change

01:01:06.719 --> 01:01:11.039
the intro is what I did to Taylor's guitar. Here

01:01:11.039 --> 01:01:15.179
I go. I thought this is a really cool sounding

01:01:15.179 --> 01:01:18.820
guitar. It's not a standard sounding distorted

01:01:18.820 --> 01:01:21.440
guitar. It was a unique sound that I never heard.

01:01:21.500 --> 01:01:24.179
And I manipulated it in such a manner that it

01:01:24.179 --> 01:01:27.059
created this really just it was just really cool

01:01:27.059 --> 01:01:29.639
sounding. And I go, it's a shame that it gets

01:01:29.639 --> 01:01:32.909
lost. It means not lost in with the band, but

01:01:32.909 --> 01:01:35.829
that it doesn't have a moment was a prominent.

01:01:36.210 --> 01:01:38.710
And again, I was probably doing something and

01:01:38.710 --> 01:01:41.110
I had soloed the guitar to hear it by itself.

01:01:41.809 --> 01:01:44.309
And I just thought, wait a minute, I must have

01:01:44.309 --> 01:01:45.789
done it right at the moment where it started

01:01:45.789 --> 01:01:49.829
its riff. And I let it play, you know, the one

01:01:49.829 --> 01:01:52.130
round of it. And then I turned on Ed's vocal

01:01:52.130 --> 01:01:55.809
and I go, oh, yeah, OK. So I created this intro.

01:01:56.130 --> 01:02:01.449
Wow. The band comes in. I play it for him. And

01:02:01.449 --> 01:02:05.030
they're not fucking having it. Not one of them.

01:02:05.510 --> 01:02:07.750
Not one of them. Not fucking Gracie, not Koalchik,

01:02:08.190 --> 01:02:11.469
not fucking Dolheimer, not fucking Taylor. I

01:02:11.469 --> 01:02:13.610
figured Taylor would be like, fuck yeah, that's

01:02:13.610 --> 01:02:18.090
me starting this off, let's go. None of them

01:02:18.090 --> 01:02:22.150
are having it. Like, oh, you fucking guys. You

01:02:22.150 --> 01:02:24.449
know, and I'm just going, I go, dudes, I go,

01:02:24.889 --> 01:02:27.449
you know, this was probably the one time. that

01:02:27.449 --> 01:02:29.769
that I was well I'm sure I've done it more than

01:02:29.769 --> 01:02:32.289
once but this was one time where I was like okay

01:02:32.289 --> 01:02:35.409
you guys are too close to this I need to step

01:02:35.409 --> 01:02:39.869
away so I here's what I'm gonna do here's as

01:02:39.869 --> 01:02:42.170
recorded you know I printed the mixes here's

01:02:42.170 --> 01:02:45.909
the original version as recorded here's the TLA

01:02:45.909 --> 01:02:49.730
intro I go all that I ask you guys to do is live

01:02:49.730 --> 01:02:53.690
with it walk away come back to it in a week five

01:02:53.690 --> 01:02:56.449
days whatever live with it and then make your

01:02:56.449 --> 01:02:58.909
decision, you know, listen to it in the scheme

01:02:58.909 --> 01:03:02.070
of things. And I guess they finally, you know,

01:03:02.849 --> 01:03:04.769
they probably walked away from it and then came

01:03:04.769 --> 01:03:07.550
back and said, yeah, this is the way to go. So

01:03:07.550 --> 01:03:10.809
one of my more proud moments in my political

01:03:10.809 --> 01:03:13.730
career was the intro of Likini's juice. You know,

01:03:13.789 --> 01:03:18.869
now I love Likini's juice and I. I really wish.

01:03:19.340 --> 01:03:21.739
that I just convinced the guys to shut the fucking

01:03:21.739 --> 01:03:28.619
strings off. There's a live version that I mixed

01:03:28.619 --> 01:03:31.880
for you guys of Likini's Juice. I don't know

01:03:31.880 --> 01:03:34.280
where we recorded or where it was recorded, but

01:03:34.280 --> 01:03:36.980
I have this live version that's just the band

01:03:36.980 --> 01:03:40.039
playing Likini's Juice. No fucking strings. And

01:03:40.039 --> 01:03:42.139
it is the baddest ass version of that song I've

01:03:42.139 --> 01:03:45.940
ever heard. OK, so as a fan, so I've never heard

01:03:45.940 --> 01:03:47.440
without the strings. I thought the strings were

01:03:47.440 --> 01:03:49.340
cool, but you're saying that might ruin it. It

01:03:49.340 --> 01:03:52.519
might be better without the strings. I understand

01:03:52.519 --> 01:03:55.210
why the strings. I mean. Look, they paid a lot

01:03:55.210 --> 01:03:59.469
of money for that string of rain. Yes, we did.

01:03:59.530 --> 01:04:03.590
Dike or something that that's. Park Van Dyke

01:04:03.590 --> 01:04:05.809
or something? Yeah, Chad was telling me the guy's

01:04:05.809 --> 01:04:08.210
name the other day. I can't remember now, but

01:04:08.210 --> 01:04:10.690
he he remembers the guy. Yeah, like it was the

01:04:10.690 --> 01:04:13.050
guy that did the string. It was a big deal. And

01:04:13.050 --> 01:04:15.190
look, yeah, the string arrangement is great.

01:04:16.269 --> 01:04:19.530
You know, and obviously I made them prominent,

01:04:19.670 --> 01:04:25.460
but, you know, hindsight is 2020 and going, you

01:04:25.460 --> 01:04:26.900
know, listening to that song, I'm like, fuck,

01:04:27.039 --> 01:04:28.760
it would be so much better without the strings.

01:04:30.119 --> 01:04:34.500
It would be darker. Yeah. So whatever, you know,

01:04:34.500 --> 01:04:37.800
it is what it is, you know, you know, maybe I

01:04:37.800 --> 01:04:39.559
don't know where those tapes are either. You

01:04:39.559 --> 01:04:43.420
know, I'm sure they're somewhere, but I know

01:04:43.420 --> 01:04:46.980
throwing copper tapes are lost. Oh, yeah. Yeah.

01:04:47.280 --> 01:04:49.599
I know those lost because we've tried to find

01:04:49.599 --> 01:04:52.199
them. Nobody can find a throwing copper multi

01:04:52.199 --> 01:04:54.599
tracks. Well universal had a huge fire and one

01:04:54.599 --> 01:04:59.239
of their Yeah, yeah, so I mean cuz yeah, I would

01:04:59.239 --> 01:05:00.960
love to remix throwing copper Well, actually,

01:05:00.980 --> 01:05:02.539
you know what? I wouldn't love to remix throwing

01:05:02.539 --> 01:05:04.739
copper because I don't think I would improve

01:05:04.739 --> 01:05:08.480
upon it. Hmm, but I would love to remix the Leukini

01:05:08.480 --> 01:05:11.380
juice just that one drinks and take drinks out

01:05:11.380 --> 01:05:13.820
You gave me my favorite snare sound ever in the

01:05:13.820 --> 01:05:16.460
key issues. It was a good one. Well, it was also

01:05:16.460 --> 01:05:19.500
combination So it was a combination of your snare.

01:05:19.719 --> 01:05:21.300
You're using that piccolo snare, which is fucking

01:05:21.300 --> 01:05:23.480
just killer cuts through everything. Yeah, love

01:05:23.480 --> 01:05:26.619
that thing. And there was some metallic sample.

01:05:26.860 --> 01:05:29.900
Yes, that metallic. Yeah, gave it that real industrial.

01:05:30.400 --> 01:05:32.860
I always love that. I don't know if that was

01:05:32.860 --> 01:05:38.280
a if that was a Jay Healy thing. Yeah. What the

01:05:38.280 --> 01:05:41.940
fuck? What the hell with Jay Healy? What do you

01:05:41.940 --> 01:05:47.099
mean? Why? Why we use them? Yeah, I don't. Remember,

01:05:47.099 --> 01:05:50.860
it was because of his REM connection. Maybe.

01:05:51.199 --> 01:05:53.780
Yeah. We, you know, we had used Jerry for mental

01:05:53.780 --> 01:05:56.599
jewelry and throwing copper and just, I don't

01:05:56.599 --> 01:05:59.800
know, you wanted to change. Yeah. I don't know.

01:05:59.860 --> 01:06:02.119
And I forget exactly how we settled on Jay, but

01:06:02.119 --> 01:06:05.679
that's who we used. It was great to work with.

01:06:05.820 --> 01:06:08.159
I mean, don't get me wrong. He's a good guy.

01:06:08.679 --> 01:06:11.139
I like him. I was just like, why the hell? What

01:06:11.139 --> 01:06:14.079
the hell? Yeah. You know, and, and, you know,

01:06:14.280 --> 01:06:16.920
look, Jay's also fancies himself a mixer, you

01:06:16.920 --> 01:06:18.300
know, and there was a little tension there between

01:06:18.300 --> 01:06:21.199
him and I because, you know, I'm the guy coming

01:06:21.199 --> 01:06:23.079
in and taking a shit. Yeah. You know, they're

01:06:23.079 --> 01:06:25.519
coming in and like, hey, you know, he probably

01:06:25.519 --> 01:06:27.019
thought, well, this is my album, the mix. I'm

01:06:27.019 --> 01:06:28.920
like, I know it's not motherfucker. That's right.

01:06:29.320 --> 01:06:31.820
No, I was happy to be there. But no, but Samadi

01:06:31.820 --> 01:06:34.280
was a good record. You know, had some solid moments.

01:06:34.420 --> 01:06:36.460
Again, look, he needs just being that the foreign

01:06:36.460 --> 01:06:38.869
away to stand out. You know, but Freaks, I always

01:06:38.869 --> 01:06:41.309
thought was a good one. You know, the turn my

01:06:41.309 --> 01:06:43.210
head was a great ballad. You know, I'd really

01:06:43.210 --> 01:06:47.150
killed that one. Yeah. Gashead. We was, uh, the

01:06:47.150 --> 01:06:49.070
distance here, was that the first record we mixed

01:06:49.070 --> 01:06:51.289
in Miami with you? That was the first one we

01:06:51.289 --> 01:06:54.750
did in Miami. Yeah. The, uh, the sheep will eat

01:06:54.750 --> 01:06:57.530
us. The low leaders, the sheep will eat us. The

01:06:57.530 --> 01:07:00.570
dolphins cry. Love will lead us. Yeah, that's

01:07:00.570 --> 01:07:03.250
actually what Ed says. You know, lowly the sheep

01:07:03.250 --> 01:07:08.269
will eat us. You heard it here, folks. We never

01:07:08.269 --> 01:07:11.570
knew that. Ed's original vocals. Then we all

01:07:11.570 --> 01:07:13.630
looked forward to going to Miami to mix records

01:07:13.630 --> 01:07:16.489
because, you know, it's Miami. So yeah, we always

01:07:16.489 --> 01:07:19.309
had a good time. None of us ever ended up in

01:07:19.309 --> 01:07:22.670
jail. Although that's us. Taylor and I almost

01:07:22.670 --> 01:07:28.489
burnt the bridge down. Yes. Taylor and I. Like

01:07:28.489 --> 01:07:31.449
I forgot what we were doing. So I had this sick

01:07:31.449 --> 01:07:34.789
house on the water, you know, I had two boats

01:07:34.789 --> 01:07:38.030
in my backyard and Taylor and I were out, I don't

01:07:38.030 --> 01:07:39.989
know, one night after work, you know, we're out

01:07:39.989 --> 01:07:41.429
doing whatever the fuck we were doing, drinking.

01:07:42.690 --> 01:07:44.889
I don't remember if these were friends of his

01:07:44.889 --> 01:07:48.150
or just two fucking birds that we picked up.

01:07:49.349 --> 01:07:51.489
But they ended up coming back, you know, Taylor,

01:07:51.769 --> 01:07:54.449
myself and these two birds came back to my house.

01:07:55.639 --> 01:07:57.360
And the girls were like, yeah, we're staying

01:07:57.360 --> 01:07:59.159
up at the fountain blue. Can you give us a ride

01:07:59.159 --> 01:08:01.639
up there? And I'm like, sure, we'll take the

01:08:01.639 --> 01:08:05.019
boat. You know, because fuck it just, you know,

01:08:05.079 --> 01:08:07.000
and it's like one in the morning, just take the

01:08:07.000 --> 01:08:09.260
boat out. And I'm like, not only would we take

01:08:09.260 --> 01:08:11.260
the boat out, but I have all these fireworks.

01:08:11.920 --> 01:08:13.760
Oh boy. So we're going to take some fireworks

01:08:13.760 --> 01:08:16.420
with us as well. And we did. So Taylor and I

01:08:16.420 --> 01:08:19.079
and these two birds, you know, we get in the

01:08:19.079 --> 01:08:21.159
boat, load it with fireworks, you know, and obviously,

01:08:21.439 --> 01:08:23.560
you know, load up with a cooler, full of fucking

01:08:23.560 --> 01:08:28.079
alcohol. Woohoo! And, you know, we drop it in

01:08:28.079 --> 01:08:30.079
the bay. It's like, you know, seven or eight

01:08:30.079 --> 01:08:32.020
miles. It took about 30 minutes to get up there.

01:08:32.579 --> 01:08:35.659
And on the way up, we go under the, it's called

01:08:35.659 --> 01:08:37.739
the Tuttle Cosway, which is the North Cosway

01:08:37.739 --> 01:08:40.600
that leads from Miami Beach to Miami. And when

01:08:40.600 --> 01:08:42.399
you go into this huge bridge, you know, there's

01:08:42.399 --> 01:08:45.810
these piers that protect the... the concrete

01:08:45.810 --> 01:08:48.090
pillars, you know, wooden piers. Right. You know,

01:08:48.130 --> 01:08:50.630
so I pulled up to the piers. I dropped like four

01:08:50.630 --> 01:08:53.949
or five boxes of these 500 gram fireworks. You

01:08:53.949 --> 01:08:56.689
know, they're like, you know, 10 shots, you know,

01:08:56.789 --> 01:08:58.930
and you light them and they, they're fucking

01:08:58.930 --> 01:09:01.189
awesome. Yeah. Yeah. They're awesome. So, you

01:09:01.189 --> 01:09:04.029
know, we lit them off and, you know, fucking

01:09:04.029 --> 01:09:06.310
one in the morning killer fireworks. I didn't

01:09:06.310 --> 01:09:07.989
think anything about it. You know, just left

01:09:07.989 --> 01:09:10.229
the boxes there after they had exploded and,

01:09:10.289 --> 01:09:13.770
you know, continued to drop these girls off at

01:09:13.770 --> 01:09:16.840
the. at the fountain blue, we drop them off and

01:09:16.840 --> 01:09:19.060
then Gracie and I, I mean, Taylor and I are coming

01:09:19.060 --> 01:09:21.319
back on the boat. Oh, shit. And as soon as I

01:09:21.319 --> 01:09:23.960
come at the view of the bridge, I see a little

01:09:23.960 --> 01:09:27.199
glowing, you know, and I'm like, what the fuck

01:09:27.199 --> 01:09:29.180
is that? And as I'm getting closer, I'm like,

01:09:29.359 --> 01:09:33.039
holy shit, the, the, the pilings around the bridge

01:09:33.039 --> 01:09:36.800
had caught fire from the boxes of fireworks.

01:09:37.439 --> 01:09:40.100
Oh, shit. I fucking floor the boat, get there

01:09:40.100 --> 01:09:45.239
and the fucking it's burning. I go to Taylor

01:09:45.239 --> 01:09:49.340
and Taylor, if we don't put this fire out, they're

01:09:49.340 --> 01:09:53.600
gonna find us. This is not just gonna go away.

01:09:54.960 --> 01:09:58.279
So for the next 30 minutes, we're using anything

01:09:58.279 --> 01:10:00.800
that we can in a boat to douse water on this

01:10:00.800 --> 01:10:06.079
pier, this burning. And we were able to put it

01:10:06.079 --> 01:10:08.340
out. And we went back a couple of days later

01:10:08.340 --> 01:10:11.590
and it was a significant fire. You know, we put

01:10:11.590 --> 01:10:14.689
it out, but I was like, if we hadn't put it out,

01:10:14.789 --> 01:10:17.689
God only knows. Yeah. What would have happened?

01:10:17.810 --> 01:10:20.609
Yeah. They got even good on it. It sounds like

01:10:20.609 --> 01:10:22.909
your, uh, your blood alcohol level level might

01:10:22.909 --> 01:10:24.930
have lit it back on fire. If you want the P on

01:10:24.930 --> 01:10:27.630
it to put it out exactly, right? We just breathed

01:10:27.630 --> 01:10:29.909
on the fucking flared up again. I have a funny

01:10:29.909 --> 01:10:32.930
story that I tell about you. We were mixing throwing

01:10:32.930 --> 01:10:35.430
a copper and we were, it was you. I was driving

01:10:35.430 --> 01:10:37.630
in this piece of shit rental that we had. You

01:10:37.630 --> 01:10:39.939
were in the passenger seat. And someone was in

01:10:39.939 --> 01:10:41.819
the back. We could have been Taylor, but we were

01:10:41.819 --> 01:10:43.460
just driving down this country road. I think

01:10:43.460 --> 01:10:46.560
to that crazy strip club we would go to. And

01:10:46.560 --> 01:10:48.020
we, I was just driving. And all of a sudden you're

01:10:48.020 --> 01:10:49.819
like, never do this. And you just put it right

01:10:49.819 --> 01:10:58.380
in the park. And it was like, yeah. I was notorious

01:10:58.380 --> 01:11:02.239
for doing that. If I knew that the people I was

01:11:02.239 --> 01:11:04.000
with were in a rental car, you know, and we'd

01:11:04.000 --> 01:11:05.420
been out and had a couple of drinks or something

01:11:05.420 --> 01:11:08.039
like that. Oh yeah. You know, if they're driving

01:11:08.039 --> 01:11:09.949
it's like. Yeah, you never want to do this in

01:11:09.949 --> 01:11:13.890
a rental car. I just throw it in the park. Dude,

01:11:13.930 --> 01:11:16.090
it sounds like you brought the fun everywhere

01:11:16.090 --> 01:11:19.569
you went there, Tom. Yeah. Well, you know, you

01:11:19.569 --> 01:11:22.010
got, you know, making records sometimes could

01:11:22.010 --> 01:11:24.350
be boring. You got to break it up. Yeah. You

01:11:24.350 --> 01:11:25.869
know what I mean? You got to you got to break

01:11:25.869 --> 01:11:29.029
it up. We worked hard and we played harder. That's

01:11:29.029 --> 01:11:31.770
the way. Let me ask you this. What is your feeling

01:11:31.770 --> 01:11:35.460
on? the like moving into this digital world.

01:11:35.640 --> 01:11:39.020
Is this good for music or is this bad for music?

01:11:40.119 --> 01:11:42.760
It's good for music. I mean, more people are

01:11:42.760 --> 01:11:46.079
able to create music with it. Look, I've always

01:11:46.079 --> 01:11:50.979
encouraged artists, songwriters, artists to embrace

01:11:50.979 --> 01:11:54.060
the technology, to be able to use the technology

01:11:54.060 --> 01:11:56.779
without having anybody else around. So in other

01:11:56.779 --> 01:11:59.760
words, if, you know, if you're a singer, you

01:11:59.760 --> 01:12:02.640
need to know how to record your demos yourself.

01:12:03.079 --> 01:12:06.300
Yeah. You know, by having that education and

01:12:06.300 --> 01:12:08.920
knowledge, it allows you to write the songs exactly

01:12:08.920 --> 01:12:11.020
the way and produce things exactly the way you

01:12:11.020 --> 01:12:14.880
want it without the influence of a recording

01:12:14.880 --> 01:12:18.180
engineer or producer. And then you bring in,

01:12:18.340 --> 01:12:20.439
you know, when it comes time to when you're finished,

01:12:20.520 --> 01:12:23.640
then you bring in somebody who's objective in

01:12:23.640 --> 01:12:27.619
the end to help you. You know, but by giving

01:12:27.619 --> 01:12:30.340
the artist the opportunity to at least get out

01:12:30.340 --> 01:12:33.439
what's inside of them without being colored by

01:12:33.439 --> 01:12:36.020
somebody else's thoughts. I think it's hugely

01:12:36.020 --> 01:12:38.300
important. So I'm all for the modern technology.

01:12:38.479 --> 01:12:40.880
I utilize it. Look, I still mix on an annual

01:12:40.880 --> 01:12:44.500
console, but I use it in conjunction with the

01:12:44.500 --> 01:12:47.880
modern digital DAWs, you know, so it's the best

01:12:47.880 --> 01:12:52.680
of both worlds. Yeah. Do you actually know what

01:12:52.680 --> 01:12:55.359
every knob on that board does? Like it looks

01:12:55.359 --> 01:12:58.859
so daunting and intimidating to somebody who,

01:12:58.960 --> 01:13:04.380
you know, has very little about audio. I've had

01:13:04.380 --> 01:13:06.500
this, I've worked on this brand of console and

01:13:06.500 --> 01:13:09.039
this layout of console my entire career. So over

01:13:09.039 --> 01:13:11.960
40 years. And the answer to that question is

01:13:11.960 --> 01:13:15.939
a resounding no. Good. Good. I'm glad. It's a

01:13:15.939 --> 01:13:17.979
resounding no. I have no fucking idea. I just,

01:13:18.340 --> 01:13:20.979
I know that if I turn this knob, it does something

01:13:20.979 --> 01:13:25.420
cool. Obviously I know what everything does on

01:13:25.420 --> 01:13:29.060
it and it's really simple. I don't know if the

01:13:29.060 --> 01:13:31.659
people that listen to the show, they're also

01:13:31.659 --> 01:13:34.920
watching an image as well. Yeah. Yeah. Oh, okay.

01:13:35.199 --> 01:13:39.439
So. Oh, well, if they're watching the show. Yeah,

01:13:39.640 --> 01:13:43.039
baby. The machine. There you go. At least, you

01:13:43.039 --> 01:13:46.159
know, flash my boobs. You gave him some value.

01:13:46.939 --> 01:13:50.380
Right. So if you look at the console as one channel,

01:13:50.800 --> 01:13:54.460
you know, there's 64 channels in that console.

01:13:54.760 --> 01:13:57.109
So you and there. Identical they just represent

01:13:57.109 --> 01:14:00.270
different instruments, right? So the controls

01:14:00.270 --> 01:14:02.170
are identical. So all you have to do is figure

01:14:02.170 --> 01:14:05.090
out the controls on one channel And then the

01:14:05.090 --> 01:14:08.050
rest of the exactly the same so it's even though,

01:14:08.130 --> 01:14:11.670
you know, yes when you look at it It looks overwhelming,

01:14:11.670 --> 01:14:14.489
but it's once you break it. I didn't graduate

01:14:14.489 --> 01:14:19.770
high school So how hard can it fucking be? Well,

01:14:19.770 --> 01:14:23.149
I don't think Einstein did either. I don't know

01:14:23.149 --> 01:14:27.569
that but No, but Tom so so 64 of those things

01:14:27.569 --> 01:14:29.109
and you just kind of got to know what the one

01:14:29.109 --> 01:14:31.630
row does and then they all will kind of follow

01:14:31.630 --> 01:14:34.689
that. It just the controls are the same. It just

01:14:34.689 --> 01:14:36.710
represented represents a different instrument.

01:14:36.810 --> 01:14:39.770
Gotcha. And when you're mixing songs, what do

01:14:39.770 --> 01:14:41.670
you do? Take tape so you kind of know what's

01:14:41.670 --> 01:14:44.270
on each individual one. Like how would you know

01:14:44.270 --> 01:14:47.250
like where the drum is on one track as opposed

01:14:47.250 --> 01:14:50.819
to Right. So, so, well, we don't use tape anymore.

01:14:51.060 --> 01:14:52.979
We use a, I use a computer. It's a digital audio

01:14:52.979 --> 01:14:55.319
workstation. I use a program called pro tools.

01:14:55.520 --> 01:14:58.279
So you get what's called files, you know, and

01:14:58.279 --> 01:15:00.260
it's the raw data that makes up the song. You

01:15:00.260 --> 01:15:03.479
know, so like, example, the Chad's drum set would

01:15:03.479 --> 01:15:07.380
be roughly 16 to 18 channels of audio or maybe

01:15:07.380 --> 01:15:09.659
20 channels of audio. You know, you have a bass

01:15:09.659 --> 01:15:12.560
drum, you know, a snare top and bottom, the Tom

01:15:12.560 --> 01:15:15.420
Tom mics overhead cymbals, mics in the room.

01:15:16.119 --> 01:15:21.000
Right. So you, you tell the DAW where, you know,

01:15:21.119 --> 01:15:24.619
I can set the output. So they show up on my console,

01:15:24.699 --> 01:15:27.340
specific channels in my console. So basically

01:15:27.340 --> 01:15:29.439
every mix I do, the channels show up the same

01:15:29.439 --> 01:15:32.000
on every mix because, you know, this is where

01:15:32.000 --> 01:15:34.060
I like my drums. This is where I like my guitars.

01:15:34.739 --> 01:15:38.140
Sure. So it's dictated by how you just tell it

01:15:38.140 --> 01:15:40.779
what outputs you want it to go to. Wow. So you

01:15:40.779 --> 01:15:44.239
don't realize actually how much the mixer like.

01:15:44.439 --> 01:15:47.380
really is part of the album because I mean, to

01:15:47.380 --> 01:15:50.300
have all those, uh, you know, mics on the drums,

01:15:50.399 --> 01:15:53.079
like you're really controlling what we're hearing,

01:15:53.220 --> 01:15:55.479
like the loudness of his symbol or the loudness

01:15:55.479 --> 01:15:57.699
of the snare. Like that's a huge portion of the

01:15:57.699 --> 01:16:00.779
song that, you know, most people, fans aren't

01:16:00.779 --> 01:16:03.880
even thinking about, uh, on that level. Crazy.

01:16:04.060 --> 01:16:10.119
Yeah. Yeah. I mean, yeah. And the way in which

01:16:10.119 --> 01:16:12.539
you can manipulate all this audio, you know,

01:16:12.880 --> 01:16:15.819
your imagination is your brick wall. So, I mean,

01:16:15.840 --> 01:16:20.260
you'd be shocked at, you know, how I can manipulate

01:16:20.260 --> 01:16:23.460
the stuff. I got, I have a thought here, Tom.

01:16:23.600 --> 01:16:25.640
So check this out because every album that goes

01:16:25.640 --> 01:16:27.579
into it, there's so much that goes into mixing

01:16:27.579 --> 01:16:31.659
that I think it will be impossible for an AI

01:16:31.659 --> 01:16:34.680
to ever do what what an actual final mixer does,

01:16:34.800 --> 01:16:37.460
like to hear those little intricacies and know

01:16:37.460 --> 01:16:40.119
kind of what makes the song the song. But I do

01:16:40.119 --> 01:16:44.630
think, however, if you where to feed AI all the,

01:16:44.630 --> 01:16:48.090
you know, unmixed tracks from throwing copper

01:16:48.090 --> 01:16:50.649
and say, take these and make them exactly what

01:16:50.649 --> 01:16:53.069
Tom did. It could probably recreate that mix

01:16:53.069 --> 01:16:55.850
relatively quick, but that's like, it's just

01:16:55.850 --> 01:16:57.149
recreating stuff. Like I don't think it could

01:16:57.149 --> 01:17:00.829
actually do what a final mix engineer does and

01:17:00.829 --> 01:17:04.069
like get it to where, you know, the sound comes

01:17:04.069 --> 01:17:08.430
alive or the music comes alive. I mean, I have

01:17:08.430 --> 01:17:10.270
no idea. I mean, to be honest, I mean, I haven't,

01:17:10.270 --> 01:17:13.359
I haven't looked in to see how it how the AI

01:17:13.359 --> 01:17:15.819
stuff, you know, works in regards to mixing.

01:17:17.399 --> 01:17:20.399
I guess I should. Well, I just don't think you'll

01:17:20.399 --> 01:17:22.779
ever be able to touch what you do. I think maybe

01:17:22.779 --> 01:17:26.020
you may be able to tell to mix in this Tom Lord

01:17:26.020 --> 01:17:28.479
algae style. I mean, I don't know if anyone has

01:17:28.479 --> 01:17:31.640
applied AI to mixing. Probably someone to be

01:17:31.640 --> 01:17:34.460
honest, I don't know. Yeah, I don't know. I mean,

01:17:35.060 --> 01:17:41.399
look, it's it's it's really like it's such a

01:17:41.970 --> 01:17:46.630
art form, you know, like, I can mix the same

01:17:46.630 --> 01:17:48.670
song on two different days and get two different

01:17:48.670 --> 01:17:51.729
mixes, depending on how I feel. You know, but

01:17:51.729 --> 01:17:53.189
to be quite honest, most of the time, it's going

01:17:53.189 --> 01:17:55.649
to be exactly the same because, you know, generally

01:17:55.649 --> 01:17:57.909
speaking, the song has its identity and it speaks

01:17:57.909 --> 01:18:00.510
to me. But, you know, again, there's there's

01:18:00.510 --> 01:18:04.010
certain things that like, like a little stupid

01:18:04.010 --> 01:18:06.800
shit, like AI is not going to know to run. Taylor's

01:18:06.800 --> 01:18:08.760
Tom Tom's through this stupid fucking mini disc

01:18:08.760 --> 01:18:11.340
recorder with the bass boost turned on. Right.

01:18:11.640 --> 01:18:13.340
Remember, I had this little trick I used to do.

01:18:13.479 --> 01:18:15.859
Yeah. The Sony mini disc recorder had this killer

01:18:15.859 --> 01:18:18.199
compressor in it. And then when you came out

01:18:18.199 --> 01:18:20.619
the headphone output had what was called mega

01:18:20.619 --> 01:18:25.649
bass. And I used to take Gracie's Tom Tom's and

01:18:25.649 --> 01:18:27.390
I would run it through them. It would compress

01:18:27.390 --> 01:18:29.489
them. And then when it came out, it would add

01:18:29.489 --> 01:18:31.850
this nice round bottom end. And that's the, those

01:18:31.850 --> 01:18:35.390
are the Tom Tom's that we used. Yeah. Yep. Yep.

01:18:35.850 --> 01:18:38.350
Wow. You're like, look at this thing. He's got

01:18:38.350 --> 01:18:41.869
setup. Dude, I had one of those, bro. Those little

01:18:41.869 --> 01:18:44.670
fucking, they took like the, uh, these kind of

01:18:44.670 --> 01:18:47.949
discs that went in. Yeah. Yeah. It was like a

01:18:47.949 --> 01:18:50.390
little portable mini disc recorder. Yeah. And

01:18:50.390 --> 01:18:53.039
again, it was like. I, I don't know how I figured

01:18:53.039 --> 01:18:55.100
it out, but I was like, when, when you record

01:18:55.100 --> 01:18:56.840
it, you could turn this compressor on in it,

01:18:56.859 --> 01:18:58.920
you know, so that we keep the levels at a certain

01:18:58.920 --> 01:19:01.560
spot. And it just seems to work really well on

01:19:01.560 --> 01:19:06.359
Tom Thomas. So cool. Yeah. And some like, yeah,

01:19:06.479 --> 01:19:08.520
some like that completely changes the sound and

01:19:08.520 --> 01:19:10.979
whatnot. But yeah, AI is not going to, you know,

01:19:11.439 --> 01:19:13.720
not going to figure that out. Yeah. I think.

01:19:14.300 --> 01:19:16.579
I think there's a bunch of, like I think live

01:19:16.579 --> 01:19:18.979
performances will always be, you know, human

01:19:18.979 --> 01:19:21.119
done by human. I think, you know, the recording

01:19:21.119 --> 01:19:23.180
of the music and stuff will be done by humans.

01:19:23.340 --> 01:19:25.439
The mixing, I think where it might come into

01:19:25.439 --> 01:19:27.520
play is like maybe coming up with some ideas

01:19:27.520 --> 01:19:31.220
or some lyrics or, you know, maybe help me with,

01:19:31.460 --> 01:19:35.439
you know, I got this four chord chorus, give

01:19:35.439 --> 01:19:37.359
me chords that would be good for, you know, the

01:19:37.359 --> 01:19:39.340
verse or something. I don't know, but I don't

01:19:39.340 --> 01:19:42.060
think it'll ever do like these intricate of jobs.

01:19:42.569 --> 01:19:45.649
the human aspect of things like an entertainment.

01:19:46.189 --> 01:19:48.649
Yeah, we'll probably rise up and kill us before

01:19:48.649 --> 01:19:51.689
it does. Yeah, right. Exactly. Exactly. No, I

01:19:51.689 --> 01:19:54.609
mean, I think the AI, which is AI is great and

01:19:54.609 --> 01:19:59.069
porn. Oh, yeah. Agreed. Agreed. The only way

01:19:59.069 --> 01:20:02.289
I watch porn now. Give me Pamela Anderson's head

01:20:02.289 --> 01:20:07.920
on some other hot chicks body. And yeah. I can't

01:20:07.920 --> 01:20:09.760
wait for those days, by the way. But Tom, the

01:20:09.760 --> 01:20:13.060
way we do it on this show is we always just introduce

01:20:13.060 --> 01:20:16.140
the guests to the audience and leave the audience

01:20:16.140 --> 01:20:18.979
wanting more. And I know for sure with you, they

01:20:18.979 --> 01:20:21.720
absolutely want more. So if you could direct

01:20:21.720 --> 01:20:24.279
them where they could find TLA online, if you

01:20:24.279 --> 01:20:27.560
if you want to, you know, you go up on, I mean,

01:20:28.319 --> 01:20:30.800
so I'm to be quite honest, I mean, thank you

01:20:30.800 --> 01:20:33.199
for that, for allowing me to plug myself on anti

01:20:33.199 --> 01:20:36.270
social media. So I don't I'm not Instagram. I

01:20:36.270 --> 01:20:38.789
have no Facebook and none of that fucking crap.

01:20:38.930 --> 01:20:41.989
Snap Jet fucking. You're better off without it.

01:20:42.069 --> 01:20:43.810
I don't do any of that. I mean, I have a modest

01:20:43.810 --> 01:20:47.090
websites and to be quite honest, like I can't

01:20:47.090 --> 01:20:48.989
remember if it's Lord algae .com or Lord algae

01:20:48.989 --> 01:20:54.149
.net. You know, it's one of those and the spank

01:20:54.149 --> 01:20:57.029
studios .com, you know, but they're just, you

01:20:57.029 --> 01:20:58.729
know, they're just besides that kind of give

01:20:58.729 --> 01:21:00.970
you kind of like show you my studio and give

01:21:00.970 --> 01:21:03.770
you a brief history history on me and basically.

01:21:04.250 --> 01:21:07.409
You know, contact you with my manager. Yeah.

01:21:08.109 --> 01:21:09.729
You know, basically I've been very fortunate

01:21:09.729 --> 01:21:14.430
that, um, that, um, I've been very fortunate

01:21:14.430 --> 01:21:17.189
that, uh, people have known how to get a hold

01:21:17.189 --> 01:21:19.989
of me. I was just going to say most of your businesses,

01:21:20.289 --> 01:21:21.630
I mean, all your business is probably just word

01:21:21.630 --> 01:21:24.069
of mouth, right? People just contact you. Yeah.

01:21:24.109 --> 01:21:26.470
Well, I mean, the records did the talking, right?

01:21:26.930 --> 01:21:30.970
Sure. Word of mouth, you know. I was gonna say

01:21:30.970 --> 01:21:34.130
have not having social media is is like great

01:21:34.130 --> 01:21:37.149
for the for for like what it's become. But so

01:21:37.149 --> 01:21:39.750
do you have any people that maybe you could also

01:21:39.750 --> 01:21:46.350
email my wife? I saw a text come through from

01:21:46.350 --> 01:21:48.250
my wife while we were talking about that because

01:21:48.250 --> 01:21:50.750
she's watching upstairs. She reminded you email

01:21:50.750 --> 01:21:54.149
Catherine Catherine. I'm sorry. I just don't

01:21:54.149 --> 01:21:56.050
feel comfortable giving your email out. I was

01:21:56.050 --> 01:21:59.140
just gonna say don't do that. Yeah. You know,

01:21:59.239 --> 01:22:02.300
but again, you know, it's, if they go on to,

01:22:02.600 --> 01:22:04.380
you know, I mean, for God's sake, just Google

01:22:04.380 --> 01:22:08.880
me. Yeah. Tom Lord dash algae .com to get to

01:22:08.880 --> 01:22:10.979
the website. That's, that's the site. Um, but

01:22:10.979 --> 01:22:12.380
yeah, if you go up there, there's a link that

01:22:12.380 --> 01:22:15.920
says contact, you know, uh, and, and, and I get

01:22:15.920 --> 01:22:19.579
those emails. Okay. Um, there you go. But Tom,

01:22:19.659 --> 01:22:20.960
I did want to ask you this cause like I said,

01:22:21.079 --> 01:22:23.659
the not being on social media is good for your

01:22:23.659 --> 01:22:26.000
mental state, all that stuff, but, uh, There's

01:22:26.000 --> 01:22:28.119
not, you haven't been curious like to go on and

01:22:28.119 --> 01:22:30.199
see maybe somebody you went to grade school with.

01:22:30.300 --> 01:22:32.380
You haven't talked to him forever or that's so

01:22:32.380 --> 01:22:35.819
when I was curious, those are the first people

01:22:35.819 --> 01:22:39.079
that jumped on my be my friend. Yeah. And that

01:22:39.079 --> 01:22:41.560
was the main reason I said, I'm not having any

01:22:41.560 --> 01:22:46.920
of this. So let me, I can tell you why. So I've

01:22:46.920 --> 01:22:49.800
had a target on my back my entire career. Okay.

01:22:49.939 --> 01:22:55.109
So, you know, no matter what, Everybody wants

01:22:55.109 --> 01:22:57.029
to tear you down because you're successful. So,

01:22:57.090 --> 01:22:59.130
you know, when you're mixing throwing copper

01:22:59.130 --> 01:23:00.869
and you're mixing the green now when you're mixing

01:23:00.869 --> 01:23:03.090
Dave Matthews been, you know, all these other

01:23:03.090 --> 01:23:05.329
cats, they just wanted to talk shit about you.

01:23:05.810 --> 01:23:09.670
So I just chose to, you know, not let them by

01:23:09.670 --> 01:23:12.930
not giving them ammunition. You want to talk

01:23:12.930 --> 01:23:15.010
shit about me? My mixes will do the talking.

01:23:15.720 --> 01:23:17.779
You know, but what I found is like, if I went

01:23:17.779 --> 01:23:19.439
up there and said, you know, especially the years

01:23:19.439 --> 01:23:22.260
when I was living in Miami Beach, you know, nobody

01:23:22.260 --> 01:23:25.039
needed that pushed in their face. You know, how

01:23:25.039 --> 01:23:27.439
fucking awesome my life was in Miami Beach and

01:23:27.439 --> 01:23:30.479
all the fucking debauchery that we fucking dealt

01:23:30.479 --> 01:23:33.140
with in my fucking the blue house in Miami Beach

01:23:33.140 --> 01:23:36.010
and the shit that we did. You know, yeah, we

01:23:36.010 --> 01:23:38.930
share the stories, but you know, if that didn't

01:23:38.930 --> 01:23:41.550
need to be pushed in anybody's face, you know,

01:23:41.670 --> 01:23:43.569
because it just gives them another reason to

01:23:43.569 --> 01:23:48.729
fucking hate you. And I've been a really firm

01:23:48.729 --> 01:23:53.350
believer in mystery is good. Yes. But Tommy,

01:23:53.449 --> 01:23:56.430
you know why they hate because they can't participate

01:23:56.430 --> 01:23:58.890
as well as you do, dude. That's exactly what

01:23:58.890 --> 01:24:02.710
it is. So but yeah, the mystery portion, like

01:24:02.710 --> 01:24:05.720
always keep them guessing. You know, I mean,

01:24:05.819 --> 01:24:09.180
like mystery is good for sure. 100 percent. Chad,

01:24:09.260 --> 01:24:12.199
has Tom been to the studio in York? Yes. Yeah.

01:24:12.479 --> 01:24:15.039
I was the first one. He was the first one. And

01:24:15.039 --> 01:24:18.060
he he bought a lot of the breakfast appliances

01:24:18.060 --> 01:24:21.619
and like utensils. Oh, dude, I fucking I had

01:24:21.619 --> 01:24:24.520
my fucking way with that place. I love it with

01:24:24.520 --> 01:24:26.880
fucking. I mean, I remember Bill giving me shit

01:24:26.880 --> 01:24:29.260
about it. I'm like, I forgot what he said, but

01:24:29.260 --> 01:24:31.180
I'm like, Bill, I've had my way with every one

01:24:31.180 --> 01:24:34.420
of your fucking appliances. Yeah, I heard you

01:24:34.420 --> 01:24:36.960
weren't, you needed to like some plate set. Like

01:24:36.960 --> 01:24:38.739
you weren't happy with the plates and shit. So

01:24:38.739 --> 01:24:41.300
you went out and bought all new eatery. Yeah.

01:24:41.539 --> 01:24:43.819
Dude, I did whatever we had to do. I love it.

01:24:44.359 --> 01:24:46.300
Cause we were, you know, my assistant at the

01:24:46.300 --> 01:24:48.600
time, Eddie Randini, who unfortunately passed

01:24:48.600 --> 01:24:53.000
away a decade ago, but, but, um, sorry to hear

01:24:53.000 --> 01:24:55.180
that. We were there for like three weeks. You

01:24:55.180 --> 01:24:58.329
know, we spent like the first week. or 10 days,

01:24:58.590 --> 01:25:00.149
you know, kind of getting the control room ready

01:25:00.149 --> 01:25:03.510
to mix. It wasn't really ready. But the guys

01:25:03.510 --> 01:25:05.670
were awesome. And during that time, like we got

01:25:05.670 --> 01:25:08.390
hit with a couple of snow storms where, you know,

01:25:08.930 --> 01:25:10.510
we were the only ones in the place for like two

01:25:10.510 --> 01:25:13.149
or three days. You know, so we had it set up

01:25:13.149 --> 01:25:16.140
so that, you know. We could survive. And yeah,

01:25:16.180 --> 01:25:18.220
you know, yeah, it was, it was, you know, we

01:25:18.220 --> 01:25:20.359
had a really, it was tough at times, you know,

01:25:20.380 --> 01:25:22.600
because sometimes we got close to running out

01:25:22.600 --> 01:25:25.659
of beer on draft. That's right. You know, and

01:25:25.659 --> 01:25:29.020
the bar that was downstairs. And that would have

01:25:29.020 --> 01:25:31.020
become a real catastrophe. I was just saying

01:25:31.020 --> 01:25:33.279
you need like nothing good. You need like a state

01:25:33.279 --> 01:25:35.680
store or something in PA to get liquor. It's

01:25:35.680 --> 01:25:37.920
not like you can go to some or it's something

01:25:37.920 --> 01:25:41.220
weird. I forget. No, well, they had a stocked

01:25:41.220 --> 01:25:44.539
bar. at two 10. Yes. You know, I drank it all.

01:25:44.699 --> 01:25:47.460
Now, Tom, we got to restock that. I put my dental

01:25:47.460 --> 01:25:49.920
house been helping us with some new stuff too.

01:25:50.319 --> 01:25:53.619
Bill and I rock on. Yeah, we started awesome.

01:25:53.800 --> 01:25:56.659
I have great memories of being there, you know,

01:25:56.939 --> 01:25:59.880
and again, it was just, uh, you know, yeah, I

01:25:59.880 --> 01:26:02.439
really enjoyed my time there. And yeah, Eddie

01:26:02.439 --> 01:26:05.260
and I had had a fantastic time and it was you

01:26:05.260 --> 01:26:06.979
know i mean to be quite honest i mean i i felt

01:26:06.979 --> 01:26:09.359
that that record that you did with chris the

01:26:09.359 --> 01:26:12.800
turn yeah yeah i mean it had that song siren

01:26:12.800 --> 01:26:17.239
siren's call siren call yeah which is fucking

01:26:17.239 --> 01:26:22.279
sick killer yeah it's sick and siren's call for

01:26:22.279 --> 01:26:25.640
i recommend all your listeners or and viewers

01:26:25.640 --> 01:26:29.859
go check that out And tell me that that does

01:26:29.859 --> 01:26:32.579
not have the feel of Likini's juice without the

01:26:32.579 --> 01:26:37.500
strings. It has a similar kind of really dark

01:26:37.500 --> 01:26:42.340
guitar lick. And the band sounds fucking great

01:26:42.340 --> 01:26:46.279
on it. Shin kicked ass on it. And that particular

01:26:46.279 --> 01:26:49.420
song on that album was fucking killer. And I

01:26:49.420 --> 01:26:52.380
actually listened to that recently and I'm like,

01:26:52.560 --> 01:26:54.970
God, that's a good song. Yeah, I just, uh, I've

01:26:54.970 --> 01:26:57.109
been making drum videos on my YouTube channel.

01:26:57.270 --> 01:27:00.090
I just recorded a six to three 10 Roger 10. So

01:27:00.090 --> 01:27:02.449
I'm about to put that out. That's right. Cool

01:27:02.449 --> 01:27:04.630
songs on there too. Yeah. I wanted to do sirens

01:27:04.630 --> 01:27:07.189
call at some point, but I'm getting a rocker.

01:27:07.869 --> 01:27:10.069
Yeah. That was what I was saying earlier is that

01:27:10.069 --> 01:27:12.430
Bill and I started this agency on Tik Tok and

01:27:12.430 --> 01:27:15.250
we're signing here and there. We've, we've signed

01:27:15.250 --> 01:27:17.750
in a music artist and we just had Tom mix one

01:27:17.750 --> 01:27:21.569
of the music artists named Tori B. Tori B. Tori

01:27:21.569 --> 01:27:24.720
B. She's interested in a white girl doing hip

01:27:24.720 --> 01:27:28.020
hop. That's right. I was curious if, you know,

01:27:28.060 --> 01:27:30.380
when Bill brought up like, should we have Tom

01:27:30.380 --> 01:27:32.920
mix this? I'm like, well, if he likes it, yeah.

01:27:33.960 --> 01:27:36.420
And, you know, and I was like, send it to him.

01:27:36.500 --> 01:27:37.800
See if he likes it. If he likes it, he'll do

01:27:37.800 --> 01:27:39.800
it. If not, I was just like, nah, I was just

01:27:39.800 --> 01:27:42.319
saying, we already learned Tom will mix it even

01:27:42.319 --> 01:27:44.420
if he doesn't like it. He'll just make it the

01:27:44.420 --> 01:27:47.319
TLA mix, but he still will put his hands on it.

01:27:47.380 --> 01:27:50.750
If he's. No, I mean they play it for me. I listen

01:27:50.750 --> 01:27:52.770
to it. I'm like, okay, I can do something with

01:27:52.770 --> 01:27:55.770
this. Yeah, you know, I mean, it's not it's not

01:27:55.770 --> 01:27:58.869
in the normal genre of music that I do But I

01:27:58.869 --> 01:28:01.710
enjoyed it had a good time doing it and to be

01:28:01.710 --> 01:28:03.649
quite honest like I feel very satisfied because

01:28:03.649 --> 01:28:07.109
they were happy and the artist happy Yep, you

01:28:07.109 --> 01:28:10.770
know and you know after hearing so they sent

01:28:10.770 --> 01:28:13.170
me what's called a rough mix You know, which

01:28:13.170 --> 01:28:15.449
is just kind of a work in progress and it was

01:28:15.449 --> 01:28:18.529
so fucking dreadful sounding I said, Oh no, no,

01:28:18.609 --> 01:28:20.829
this, this, you know, we I can make this sound

01:28:20.829 --> 01:28:23.970
better, you know, and, uh, and again, yeah, I

01:28:23.970 --> 01:28:27.510
was very pleased with it. The girl, I mean, I,

01:28:27.529 --> 01:28:29.310
I, I don't know where I've never met her, you

01:28:29.310 --> 01:28:31.529
know, Bill shared with me a couple of videos

01:28:31.529 --> 01:28:34.109
that she puts up on TikTok. You know, she's just

01:28:34.109 --> 01:28:38.329
very pleasing to the eyes. I can say, but she's

01:28:38.329 --> 01:28:41.949
this cute girl, white girl that does hip hop.

01:28:41.989 --> 01:28:44.329
And then she does in this particular song that

01:28:44.329 --> 01:28:47.920
we did called big bed wolf. She also has these

01:28:47.920 --> 01:28:51.399
these voices which I call or they're called inside

01:28:51.399 --> 01:28:54.680
my head which are kind of like these alter egos

01:28:54.680 --> 01:29:01.140
of her It's kind of like a big bad wolf that

01:29:01.140 --> 01:29:03.840
think of like Friday the 13th kind of thing You

01:29:03.840 --> 01:29:06.500
know with the big bad wolf and and she's you

01:29:06.500 --> 01:29:13.479
know bitch. I'm the big bad wolf. She's These

01:29:13.479 --> 01:29:16.060
other voices that pop out of the left and right

01:29:16.060 --> 01:29:19.020
speaker, which are just these like screwy, almost

01:29:19.020 --> 01:29:23.300
comedic kind of things. And I just thought, yeah,

01:29:23.319 --> 01:29:27.300
I could get this to work. Right. And so it was

01:29:27.300 --> 01:29:29.300
fun. You know, I mean, again, as I sat down,

01:29:29.560 --> 01:29:32.739
you know, they sent me the song and I said, OK,

01:29:32.800 --> 01:29:35.779
let me see what I can do. And as I sat down and

01:29:35.779 --> 01:29:38.779
started to just kind of ascertain what is what.

01:29:39.399 --> 01:29:42.020
Next thing I know, it's like it's like midnight.

01:29:42.430 --> 01:29:44.590
And I'm almost completely done with the mix and

01:29:44.590 --> 01:29:46.390
I hadn't planned on starting it for two more

01:29:46.390 --> 01:29:49.890
days. But I just like as I was kind of just because

01:29:49.890 --> 01:29:52.409
they sent it to me and she was having an issue

01:29:52.409 --> 01:29:55.229
with the files and how they were labeled. So

01:29:55.229 --> 01:29:59.010
basically what I got was, you know, like 40 or

01:29:59.010 --> 01:30:02.930
50 tracks of audio. Mishmash labeled like audio.

01:30:03.430 --> 01:30:05.710
You know, they weren't called audio, but they

01:30:05.710 --> 01:30:08.319
were like. It wasn't clear. Like this is the

01:30:08.319 --> 01:30:10.300
vocal. Yeah. This is, you know, I had to listen

01:30:10.300 --> 01:30:12.199
to every part and figure out what the fuck it

01:30:12.199 --> 01:30:16.279
was. Wow. And once I got through, you know, doing

01:30:16.279 --> 01:30:19.159
that and labeling it all. Next thing I because

01:30:19.159 --> 01:30:21.420
as I was listening to it, I'm making, you know,

01:30:21.460 --> 01:30:24.180
I'm manipulating it and bouncing it. Next thing

01:30:24.180 --> 01:30:26.159
I know, I'm like, it's midnight. Oh, fuck, I'm

01:30:26.159 --> 01:30:28.119
almost done with this. You know, and then I woke

01:30:28.119 --> 01:30:30.399
up the next morning and I spent two or three

01:30:30.399 --> 01:30:32.319
hours on it and finished it off, sent it out.

01:30:32.779 --> 01:30:34.359
You know, when she came back, she had a couple

01:30:34.359 --> 01:30:37.680
of comments, you know, no problem. And, uh, and

01:30:37.680 --> 01:30:40.380
yeah, you know, again, I would work with her

01:30:40.380 --> 01:30:42.739
and again in a heartbeat. I really, I enjoyed

01:30:42.739 --> 01:30:46.199
the situation. I, I, I, except for the labeling

01:30:46.199 --> 01:30:49.800
part, the whole thing worked out. And Chad, do

01:30:49.800 --> 01:30:51.979
you like the mix? I do. I love it. I think it

01:30:51.979 --> 01:30:54.560
sounds amazing. There you go. And so that, that

01:30:54.560 --> 01:30:57.140
to me is, is my goal, you know, that the artist

01:30:57.140 --> 01:30:59.560
or the people involved that they, they, they

01:30:59.560 --> 01:31:01.579
love the mix. That's, that's my goal in mixing.

01:31:01.920 --> 01:31:04.779
I was I was I was impressed that you get because

01:31:04.779 --> 01:31:08.159
I told Bill is like sometimes with certain mixes

01:31:08.159 --> 01:31:10.180
like he'll he'll just say this is the mix he

01:31:10.180 --> 01:31:12.680
doesn't want any any more input but he took a

01:31:12.680 --> 01:31:15.060
little little some notes from the artist. Yeah

01:31:15.060 --> 01:31:20.020
well because her comments were although she had

01:31:20.020 --> 01:31:22.000
me remove some of the stuff that I thought was

01:31:22.000 --> 01:31:27.439
cool it didn't change how effective yeah it didn't

01:31:27.439 --> 01:31:30.810
like in other words they were like on that particular

01:31:30.810 --> 01:31:34.050
song like I took her there's a vocal in the bridge

01:31:34.050 --> 01:31:37.310
you know and I had kind of you know telephoned

01:31:37.310 --> 01:31:40.810
it you know to give it a different dynamic and

01:31:40.810 --> 01:31:44.939
you know she didn't she didn't like that so it

01:31:44.939 --> 01:31:47.680
wasn't like that particular treatment that I

01:31:47.680 --> 01:31:50.020
did didn't make or break that part of the song.

01:31:50.479 --> 01:31:52.420
So when I took it off, I was like, yeah, this

01:31:52.420 --> 01:31:55.260
is fine. It still is as effective as it was before.

01:31:55.500 --> 01:31:58.279
You weren't going to die on that hill. No, no,

01:31:58.279 --> 01:32:01.479
exactly. It was just a piece of ear candy because

01:32:01.479 --> 01:32:07.479
the song is really, it's a beat. It has a couple

01:32:07.479 --> 01:32:09.159
of musical parts that just go through the whole

01:32:09.159 --> 01:32:11.640
song, but the main thing of the song is her vocal.

01:32:12.729 --> 01:32:14.829
You know, it's it's it's really what carries

01:32:14.829 --> 01:32:16.810
the whole song. It's about the story that she's

01:32:16.810 --> 01:32:18.810
telling and how she's telling it and all these

01:32:18.810 --> 01:32:20.949
other characters that bounce back and forth in

01:32:20.949 --> 01:32:24.510
the left and right. So again, it didn't change.

01:32:24.689 --> 01:32:26.949
It didn't make it, you know, it just got rid

01:32:26.949 --> 01:32:29.689
of what could have been distracting. Maybe to

01:32:29.689 --> 01:32:32.710
her was it was audio ear candy. Right. You know,

01:32:32.930 --> 01:32:35.069
what do you do? I got over it real quick. You

01:32:35.069 --> 01:32:37.069
know, there you go. Do we have a release date

01:32:37.069 --> 01:32:40.770
on this yet or no? I got a, I'm not sure what

01:32:40.770 --> 01:32:43.050
she's doing with it yet. Gotcha. All right. Well,

01:32:43.149 --> 01:32:45.930
we will certainly let the audience know cause

01:32:45.930 --> 01:32:48.770
I'm excited to hear after hearing you guys describe

01:32:48.770 --> 01:32:50.949
it and all that jazz. I'm got a little excitement

01:32:50.949 --> 01:32:54.869
going. And I heard she's a looker too. So I don't

01:32:54.869 --> 01:32:59.989
mind. Go check her out on. Tom, don't you think

01:32:59.989 --> 01:33:02.350
as the mixer, maybe I should be in the video

01:33:02.350 --> 01:33:04.489
as like the love interest and like we should

01:33:04.489 --> 01:33:06.470
have a nude scene together. I think that would

01:33:06.470 --> 01:33:12.689
really add to the song. Just, just that. Yeah.

01:33:12.789 --> 01:33:14.630
Well, she's the big bad wolf, bitch. She's going

01:33:14.630 --> 01:33:17.090
to fucking rip your fucking head off. Yeah, that's

01:33:17.090 --> 01:33:19.710
right. Fucking lay those fangs right in your

01:33:19.710 --> 01:33:23.069
neck. Grandma, I'm what big teeth you have. That's

01:33:23.069 --> 01:33:26.430
exactly right. What's up? Are you are you wrapping

01:33:26.430 --> 01:33:29.529
it up here? Tom, we could do whatever you want.

01:33:29.590 --> 01:33:31.270
We usually cut it around this time, but we're

01:33:31.270 --> 01:33:34.109
good. Have you got some? Okay. So, you know,

01:33:34.329 --> 01:33:36.949
I'm going to put Gracie on the spot. Oh, boy.

01:33:37.289 --> 01:33:41.329
Yes. So let's you know, cuz I haven't talked

01:33:41.329 --> 01:33:44.390
to Gracie. Well, we talked last week. Yeah, we're

01:33:44.390 --> 01:33:46.909
talking about it been too long. Yes. Yeah. Yeah,

01:33:46.930 --> 01:33:48.649
it's been quite a time. I mean, I don't think

01:33:48.649 --> 01:33:51.489
we've spoken since we did that. The two 10 York

01:33:51.489 --> 01:33:55.289
album. Yeah, since turn. Yeah. So that's that's

01:33:55.289 --> 01:33:57.829
been quite it. It's almost a decade ago. Too

01:33:57.829 --> 01:34:01.850
long. Crazy. So I just I'm just gonna ask the

01:34:01.850 --> 01:34:07.189
question. What the fuck? I know. A lot of shit

01:34:07.189 --> 01:34:09.970
because I reached out to Ed. Yeah. You know,

01:34:10.069 --> 01:34:11.729
and he is like, I'm at a wedding. I call you

01:34:11.729 --> 01:34:14.649
back. And, you know, this is like two or three

01:34:14.649 --> 01:34:19.310
years ago. And I never heard back from, you know,

01:34:19.550 --> 01:34:21.289
Taylor reached out to me a couple of times. But

01:34:21.289 --> 01:34:24.630
again, I look, I love all you guys. Love all

01:34:24.630 --> 01:34:30.930
you guys. You know, Taylor, you know, he with

01:34:30.930 --> 01:34:33.869
all love and respect, he just has verbal diarrhea.

01:34:34.390 --> 01:34:37.250
So, you know, he would, he would benefit from

01:34:37.250 --> 01:34:41.609
using less words, you know, some of the things

01:34:41.609 --> 01:34:44.189
that he says with a grain of salt. Right. Yes.

01:34:44.710 --> 01:34:48.829
So, well, I mean, just for me, like, yeah, what,

01:34:48.909 --> 01:34:51.550
what, what happened? Just a short version. Um,

01:34:51.770 --> 01:34:54.069
you know, Taylor and I had had some beef because

01:34:54.069 --> 01:34:56.130
we had a company together called think about

01:34:56.130 --> 01:34:58.810
holdings that, um, when I was getting divorced,

01:34:59.449 --> 01:35:03.760
um, he refused to provide financials for. To

01:35:03.760 --> 01:35:06.159
the point where I was like asking him as a friend

01:35:06.159 --> 01:35:09.020
as a person that I've known for years and years

01:35:09.020 --> 01:35:10.899
and years like please give me these financials

01:35:10.899 --> 01:35:13.619
and he just wouldn't produce them and so Without

01:35:13.619 --> 01:35:17.340
any other recourse I sued him for that We're

01:35:17.340 --> 01:35:19.539
now talking again. We're getting shit worked

01:35:19.539 --> 01:35:25.460
out, which is great on the ed side Ed came to

01:35:25.460 --> 01:35:28.659
me in 22 summer of 22 and said hey, I want to

01:35:28.659 --> 01:35:32.159
vote out Chad as a guitar player and and you

01:35:32.159 --> 01:35:34.109
know come on, you know, we can go on tour. And

01:35:34.109 --> 01:35:36.390
I'm like, okay, well, let's get Patrick involved

01:35:36.390 --> 01:35:38.789
in this too. The three of us better than two

01:35:38.789 --> 01:35:42.350
of us. And, and like I said, I was not happy

01:35:42.350 --> 01:35:44.390
with chat at the time. So we voted them out.

01:35:45.350 --> 01:35:48.729
Um, and so there was a lot of reasons to that

01:35:48.729 --> 01:35:51.170
too. But that's, you know, but so, but the whole

01:35:51.170 --> 01:35:53.569
gist of the, of Ed and I's understanding was

01:35:53.569 --> 01:35:56.390
that I'm voting with you to get chat out. I'm

01:35:56.390 --> 01:35:58.810
coming on tour with you. Great. Let's go. And

01:35:58.810 --> 01:36:01.890
so it comes time to do, we get shows booked.

01:36:04.109 --> 01:36:06.409
There's, I mean, I got an itinerary, there's

01:36:06.409 --> 01:36:09.970
money coming in. And he comes to me and says,

01:36:10.130 --> 01:36:12.810
you know, I don't, at that point I had not Suchab,

01:36:12.810 --> 01:36:14.850
but I was going to. And he's like, I just don't

01:36:14.850 --> 01:36:17.289
want drama on the stage. I don't want any drama.

01:36:17.430 --> 01:36:18.810
I don't have anything to do with your drama.

01:36:18.930 --> 01:36:21.029
And I'm like, I'm not going to talk about it

01:36:21.029 --> 01:36:23.380
like. Yeah, what's going on here? So basically,

01:36:24.000 --> 01:36:27.359
I mean, basically he induced me into giving his

01:36:27.359 --> 01:36:29.800
vote so he could take over the band is what it

01:36:29.800 --> 01:36:31.680
basically came down to. And that's what he's

01:36:31.680 --> 01:36:33.960
doing right now. So he's touring without. Yeah,

01:36:34.000 --> 01:36:36.739
you know, I see I have my friend of mine is this

01:36:36.739 --> 01:36:39.220
tour manager. I haven't gone to see them yet

01:36:39.220 --> 01:36:42.060
only because I've been busy every time they're

01:36:42.060 --> 01:36:48.199
around. But yeah, I had noticed that Ed's got

01:36:48.199 --> 01:36:52.300
the name and it's Ed. And there was a lot of

01:36:52.300 --> 01:36:55.840
like, uh, like no communication between the guys

01:36:55.840 --> 01:36:57.659
at some parts. So they were getting parts of

01:36:57.659 --> 01:36:59.500
the story from all different angles and stuff.

01:36:59.579 --> 01:37:02.199
So now a lot of the story is starting to come

01:37:02.199 --> 01:37:06.319
to light and relationships are being talked to

01:37:06.319 --> 01:37:09.199
and mended a little bit. And, uh, you know, it's

01:37:09.199 --> 01:37:12.899
nice to know that, that, you know, you're, you're

01:37:12.899 --> 01:37:15.579
in communication with Taylor, right? Yes. Yeah.

01:37:15.739 --> 01:37:18.770
And what about Patrick? Right now Patrick is

01:37:18.770 --> 01:37:21.789
not talking to me because he was kind of on the

01:37:21.789 --> 01:37:24.329
other side of that business with Chad and I was,

01:37:24.489 --> 01:37:29.069
so I had to sue the company. Right. And so, you

01:37:29.069 --> 01:37:31.550
know, he's not happy with me because I had to

01:37:31.550 --> 01:37:34.229
basically sue him and that's fine. He'll get

01:37:34.229 --> 01:37:36.210
over it at some point, I think. Well, I mean,

01:37:36.710 --> 01:37:41.470
I get the asking for financials and the frustration

01:37:41.470 --> 01:37:46.470
of not getting them. I understand that and I

01:37:46.470 --> 01:37:48.779
would If I was in your shoes, I would have done

01:37:48.779 --> 01:37:51.020
exactly the same thing. It's like, you know,

01:37:51.079 --> 01:37:52.619
the only reason I believe that you're not giving

01:37:52.619 --> 01:37:54.760
my financials, the financials that I'm asking

01:37:54.760 --> 01:37:56.779
for is because you're trying to hide something.

01:37:57.159 --> 01:37:58.960
Right. You know, I mean, it's as simple as that.

01:37:59.060 --> 01:38:00.300
If you're not trying to hide anything, then give

01:38:00.300 --> 01:38:03.680
them over because legally you're entitled to

01:38:03.680 --> 01:38:06.460
them, correct? Right. Yeah. Oh, yeah. But yeah.

01:38:06.659 --> 01:38:09.619
So the reason I bring it up is I wanted to just

01:38:09.619 --> 01:38:13.920
then go back and go, I spent, put so much effort

01:38:13.920 --> 01:38:18.029
into. trying to get Ed back into the band. So,

01:38:18.069 --> 01:38:20.869
you know, during the time, the gracious few years,

01:38:21.550 --> 01:38:24.789
you know, I also, as you guys are probably well

01:38:24.789 --> 01:38:28.029
aware, I mixed Koalchik solo albums, you know,

01:38:28.109 --> 01:38:31.750
and there was a time that he was down in Miami

01:38:31.750 --> 01:38:34.750
mixing a solo album when I think you guys were,

01:38:35.069 --> 01:38:37.869
I think it was doing a gracious few show in Fort

01:38:37.869 --> 01:38:42.250
Lauderdale. Oh, wow. And, you know, I had arranged

01:38:42.250 --> 01:38:47.260
to, you know, You know, I, um, you know, sneakily

01:38:47.260 --> 01:38:51.460
arranged to get Ed up to that gig. Cause I figured,

01:38:51.899 --> 01:38:54.739
let's, let's get the guys face to face. Oh wow.

01:38:55.180 --> 01:38:58.720
You know, cause that was, that, that was my goal

01:38:58.720 --> 01:39:02.600
because I was hearing what live was doing or

01:39:02.600 --> 01:39:06.340
what the grace's view, you know, those cats were

01:39:06.340 --> 01:39:09.239
doing. And I was hearing what Ed was doing and,

01:39:09.279 --> 01:39:12.840
and no disrespect. But why aren't they doing

01:39:12.840 --> 01:39:16.720
it together? I just felt that that I just felt

01:39:16.720 --> 01:39:19.399
that, you know, there's no reason, you know,

01:39:19.539 --> 01:39:21.640
that these guys should should not be making music

01:39:21.640 --> 01:39:25.060
again together. So I was very pleased when it

01:39:25.060 --> 01:39:27.239
did come together. And you guys kind of went

01:39:27.239 --> 01:39:29.939
out and you did the tour. But, you know, but,

01:39:30.060 --> 01:39:32.479
you know, true to true to form it spontaneously

01:39:32.479 --> 01:39:34.420
combusted. And that's what happens. And this

01:39:34.420 --> 01:39:37.579
one, when it when it came back together, not

01:39:37.579 --> 01:39:39.380
the first thing I said to everybody was, Hey,

01:39:39.960 --> 01:40:09.880
band therapy. that's Sounds like tragedy ready

01:40:09.880 --> 01:40:14.819
to go. Yeah. Yeah. That's a sound idea. Yeah.

01:40:15.539 --> 01:40:19.300
So, but no, I mean, you know, again, I, I, I,

01:40:19.420 --> 01:40:23.060
I, I, I was felt very fondly. Oh, I do feel very

01:40:23.060 --> 01:40:26.079
fondly for the, for the guys. And again, you

01:40:26.079 --> 01:40:29.279
know, it was, it was my mission, you know, I

01:40:29.279 --> 01:40:31.720
made it my personal mission to kind of at least

01:40:31.720 --> 01:40:34.140
try to get Ed back in the good graces of the

01:40:34.140 --> 01:40:38.010
other three cats. Um, you know, So what happened

01:40:38.010 --> 01:40:40.689
there, Tom? How were you trying to work out for

01:40:40.689 --> 01:40:42.270
me? Well, I'm just saying, how were you trying

01:40:42.270 --> 01:40:44.229
to get Ed to the show without him knowing kind

01:40:44.229 --> 01:40:47.310
of where he was going? Oh, I was just saying,

01:40:47.390 --> 01:40:48.770
oh, we're going to some show. You know, I mean,

01:40:48.869 --> 01:40:51.449
I don't forget. I forgot how I did it. But what

01:40:51.449 --> 01:40:54.770
happened is he got wind of it. Yeah, either either

01:40:54.770 --> 01:40:57.329
either you guys got wind of it or he got wind

01:40:57.329 --> 01:41:00.130
of it. I can't remember if we ended up going

01:41:00.130 --> 01:41:03.170
through with it. But I remember in the 11th hour

01:41:03.170 --> 01:41:05.409
that there was, again, a little bit of drama.

01:41:06.430 --> 01:41:08.609
You know, I don't remember exactly how I handled

01:41:08.609 --> 01:41:10.670
it. You know, but knowing me, I was probably

01:41:10.670 --> 01:41:13.189
just been like, just fuck it up and go see the

01:41:13.189 --> 01:41:16.130
fuckers. Yeah. I mean, I probably would have

01:41:16.130 --> 01:41:17.569
just been, you know, that kind of tough love.

01:41:17.729 --> 01:41:21.210
Like really, stop being a fucking baby. Right.

01:41:21.470 --> 01:41:23.329
You guys just get together and say hello. You

01:41:23.329 --> 01:41:25.189
all fucking grew up together. You made these

01:41:25.189 --> 01:41:27.329
killer fucking records. So, you know, just go,

01:41:27.449 --> 01:41:29.859
you're just going to see a fucking show. You

01:41:29.859 --> 01:41:32.039
know, come on. Peter Gabriel went and saw Genesis

01:41:32.039 --> 01:41:34.720
a couple of times. You know, come on. You know

01:41:34.720 --> 01:41:36.920
what, Tom? So I always said, like, you know,

01:41:37.239 --> 01:41:39.220
life's a great band. They're four friends. They'll

01:41:39.220 --> 01:41:41.600
never break up. Oh, they grew up together. But

01:41:41.600 --> 01:41:44.739
when you think about it, like some people do,

01:41:44.800 --> 01:41:47.279
but not many people are hanging out with people

01:41:47.279 --> 01:41:49.060
they went to eighth grade with and still like

01:41:49.060 --> 01:41:51.220
so kumbaya on friends, like they were together

01:41:51.220 --> 01:41:54.199
so long. They were dealing with each other, you

01:41:54.199 --> 01:41:57.020
know, basically as eighth graders, even as they

01:41:57.020 --> 01:41:59.739
got this fame, like they never. I guess really

01:41:59.739 --> 01:42:02.720
treated themselves differently than when they

01:42:02.720 --> 01:42:04.939
were younger. And that relationship goes so long,

01:42:05.020 --> 01:42:07.699
like, so you kind of see where it could fall

01:42:07.699 --> 01:42:09.819
apart even though they have all that history

01:42:09.819 --> 01:42:12.439
together. The history could kind of be what makes

01:42:12.439 --> 01:42:16.279
it fall apart. No. And again, look, resentments

01:42:16.279 --> 01:42:19.920
ran deep. You know, and again, you know, what

01:42:19.920 --> 01:42:23.680
Chad Gracie just said about, you know, Taylor

01:42:23.680 --> 01:42:26.520
refusing to give the financials. I mean, that

01:42:26.520 --> 01:42:29.119
just doesn't go away. You know, that resentment

01:42:29.119 --> 01:42:31.800
just doesn't go away. You know, and in the way

01:42:31.800 --> 01:42:38.060
that, you know, Taylor literally led Gracie to

01:42:38.060 --> 01:42:40.520
this path that Gracie reluctantly had to walk

01:42:40.520 --> 01:42:44.840
down because like, this is fucking, I'm entitled

01:42:44.840 --> 01:42:48.659
to this shit. You know, so anyway. I just, you

01:42:48.659 --> 01:42:52.359
know, I wanted to at least discuss it, you know,

01:42:52.760 --> 01:42:54.800
while Gracie on the blower here, just to get

01:42:54.800 --> 01:42:57.260
his. You know, because again, I mean, Taylor

01:42:57.260 --> 01:43:00.020
Taylor said what Taylor had to say. And again,

01:43:00.079 --> 01:43:03.000
I haven't talked to Dahlheimer or Ed about it.

01:43:03.600 --> 01:43:06.819
You know, so it shows. Now I have two parts of

01:43:06.819 --> 01:43:09.220
the puzzle. Yeah. And I look forward to look,

01:43:09.399 --> 01:43:11.520
Patrick, I love Patrick the pieces and hopefully

01:43:11.520 --> 01:43:14.220
awesome. I'll have a conversation with him, you

01:43:14.220 --> 01:43:15.899
know, because I love that guy. He lived in Miami

01:43:15.899 --> 01:43:17.960
Beach for a while and he's just a good fucking

01:43:17.960 --> 01:43:20.619
guy and just a ridiculous bass player. A sweet

01:43:20.619 --> 01:43:22.729
heart. You know, yeah. All right. Yep. Yeah.

01:43:22.829 --> 01:43:25.130
And just, he's just a great guy. You know, he's

01:43:25.130 --> 01:43:26.989
like, he's the guy you want to hang out and have

01:43:26.989 --> 01:43:29.409
some beers with, you know, he's just, he's my

01:43:29.409 --> 01:43:33.069
mother, uh, chat. I'm not going to bring it up.

01:43:33.109 --> 01:43:35.149
Well, my mother smoked weed with him in a closet

01:43:35.149 --> 01:43:38.069
way back in the day, Patrick Delheimer. So she

01:43:38.069 --> 01:43:41.010
knows he's a guy that you want to hang out with.

01:43:41.149 --> 01:43:44.850
I'll put it that way. So yeah, but that's it

01:43:44.850 --> 01:43:47.090
for the, you know, for talking about, thanks

01:43:47.090 --> 01:43:48.989
for talking about that chat. Absolutely man.

01:43:49.350 --> 01:43:52.319
I got no problem. Yeah, no problem. You deserve

01:43:52.319 --> 01:43:54.880
to know you're, you know, a big part of our history.

01:43:54.880 --> 01:43:57.739
So I'm happy to talk about it. Yeah. Again, happy,

01:43:57.899 --> 01:44:00.899
happy to have been there. I don't. I can't tell

01:44:00.899 --> 01:44:02.800
you how many albums I mixed for you guys. I noticed

01:44:02.800 --> 01:44:07.979
at least three. No, maybe four. Yeah. Well, if

01:44:07.979 --> 01:44:10.460
you started with if you started and did the song

01:44:10.460 --> 01:44:12.800
off mental jewelry and then all that wasn't the

01:44:12.800 --> 01:44:14.819
whole album. So I don't really count that. So

01:44:14.819 --> 01:44:17.460
we got throwing copper secrets money. This is

01:44:17.460 --> 01:44:20.329
here. You didn't do five. I don't think you did

01:44:20.329 --> 01:44:22.789
five. But you did birds of prey, didn't you?

01:44:23.130 --> 01:44:25.529
Yeah, birds of prey. Did you do songs from Black

01:44:25.529 --> 01:44:28.510
Mountain? No. No, yeah, I didn't do that. And

01:44:28.510 --> 01:44:31.289
then with the turn, obviously. And then the Gracious

01:44:31.289 --> 01:44:33.229
View, we didn't talk about. Yeah, yeah, yeah.

01:44:33.689 --> 01:44:35.609
That was the Gracious View. No, that was a fun

01:44:35.609 --> 01:44:38.090
record. Yeah. Yeah, he did. Yeah, yeah. Those

01:44:38.090 --> 01:44:40.789
guys, they came down to Miami Beach and we had

01:44:40.789 --> 01:44:43.189
Phoenix down there. He was six months old. Wow.

01:44:43.670 --> 01:44:45.770
That's right. That's fucking. Yeah, Phoenix is

01:44:45.770 --> 01:44:50.170
a six three now. Fuck yeah, he's just tall as

01:44:50.170 --> 01:44:52.630
me that congratulations. I'm looking up at him

01:44:52.630 --> 01:44:58.710
like hey, uh Yeah Yeah, that means he's gonna

01:44:58.710 --> 01:45:01.489
have some growing to do as well. I mean he's

01:45:01.489 --> 01:45:06.329
not done yet 15. Yeah It was a good time. I remember

01:45:06.329 --> 01:45:08.770
that I remember that project we ate and drank

01:45:08.770 --> 01:45:11.350
very well Yes, we did. I think Jerry came down

01:45:11.350 --> 01:45:13.609
right Jerry produced that album. Yeah, Jerry.

01:45:13.689 --> 01:45:15.430
Yeah, we put the band back together. It was good

01:45:15.430 --> 01:45:18.380
times. Mm -hmm It was good fun. Kevin's a great,

01:45:18.539 --> 01:45:20.560
you know, Kevin Martin's awesome and Sean Hannes.

01:45:20.579 --> 01:45:23.420
Kevin was great. Yeah. I think Carol Harrison

01:45:23.420 --> 01:45:28.060
was down as well. Carol provided the drama. That's

01:45:28.060 --> 01:45:30.319
right. I remember that's what I think what I

01:45:30.319 --> 01:45:32.079
remember. There was something going on with Carol

01:45:32.079 --> 01:45:35.159
Harrison during that record because I remember

01:45:35.159 --> 01:45:38.460
there was a little drama with her. Drama was

01:45:38.460 --> 01:45:40.899
almost fun. But yeah, she's Carol. Carol was

01:45:40.899 --> 01:45:44.470
a good, a good woman. I always like her. She

01:45:44.470 --> 01:45:46.210
was always fun to have around and she was great,

01:45:46.369 --> 01:45:49.130
you know again for you know late night activities

01:45:49.130 --> 01:45:51.850
She always had you know some some fun stuff.

01:45:52.210 --> 01:45:55.250
Yeah, some fun stuff set up But yeah, well now

01:45:55.250 --> 01:45:57.189
I know who I'm hanging out with next time I go

01:45:57.189 --> 01:45:59.069
to Florida. I'll be giving you a call Tom. You

01:45:59.069 --> 01:46:06.369
sound like the I'm out there, you know, look,

01:46:06.449 --> 01:46:10.029
I'm not gonna lie. I miss Miami we were just

01:46:10.029 --> 01:46:13.409
down there a couple of weeks ago and and It's

01:46:13.409 --> 01:46:15.649
you know, I missed it, but I had to get out I

01:46:15.649 --> 01:46:17.789
had to get out. So how'd you meet your nice Texas

01:46:17.789 --> 01:46:22.789
girl then and she Miami or? No, I met her Yeah

01:46:22.789 --> 01:46:25.050
interesting story with my my my brother Chris

01:46:25.050 --> 01:46:28.189
and I and and Phil Wagner who works for solid

01:46:28.189 --> 01:46:31.449
state logic we were flying from from New York

01:46:31.449 --> 01:46:36.430
to Paris to go see the Rolling Stones I'm gonna

01:46:36.430 --> 01:46:42.890
say 2018 maybe something like that and Phil Wagner

01:46:42.890 --> 01:46:46.470
caught glimpse of this cute little blonde in

01:46:46.470 --> 01:46:50.050
the in the in the in the animals club You know

01:46:50.050 --> 01:46:52.130
when he started chatting her up so we all kind

01:46:52.130 --> 01:46:54.149
of went over and we're hanging out and having

01:46:54.149 --> 01:46:57.329
cocktails and Yes, it turns out that she's is

01:46:57.329 --> 01:46:59.390
also flying over to Paris to see the Rolling

01:46:59.390 --> 01:47:02.489
Stones Wow, you know and of course, you know

01:47:02.489 --> 01:47:05.489
I'm like you kind of want to hang out with us

01:47:05.489 --> 01:47:09.720
and she's like Oh, no, I don't. And it turns

01:47:09.720 --> 01:47:12.199
out she was staying at the hotel literally right

01:47:12.199 --> 01:47:14.819
next to us. She was staying at the George Sank,

01:47:14.920 --> 01:47:16.560
which is the Four Seasons where the band was

01:47:16.560 --> 01:47:19.699
staying. We were staying at the LaSire, which

01:47:19.699 --> 01:47:23.520
is right next door to the George Sank. And again,

01:47:23.600 --> 01:47:27.180
we just kind of became, you know, chummy. And

01:47:27.180 --> 01:47:30.899
so after the show, you know, we all went to the

01:47:30.899 --> 01:47:32.640
show. We all went together to the show. And then

01:47:32.640 --> 01:47:34.500
I'm like, you really kind of want to come and

01:47:34.500 --> 01:47:36.079
hang out with us. And she's like, no, I don't.

01:47:36.199 --> 01:47:38.720
She went down and stood in the pit. And we stood

01:47:38.720 --> 01:47:41.680
with Dave in the front of house, which is fucking

01:47:41.680 --> 01:47:46.180
awesome. But yeah, so that's how we met. And

01:47:46.180 --> 01:47:50.180
after the show, I'm kind of texting her, you

01:47:50.180 --> 01:47:53.680
know, I'm trying to weasel my way in. I like

01:47:53.680 --> 01:47:55.979
how you got the number. You preemptive, you were

01:47:55.979 --> 01:47:59.880
ready. Yes, yes. So I'm trying to weasel my way

01:47:59.880 --> 01:48:03.659
in. And she responds with the, well, I don't

01:48:03.659 --> 01:48:05.899
sleep with strangers. And I'm like, Who plans

01:48:05.899 --> 01:48:08.659
on sleeping? Oh, by the way, my name is Tom Lord

01:48:08.659 --> 01:48:15.239
Algiers. Nice to meet you. And the other funny

01:48:15.239 --> 01:48:16.979
thing is she sat in the seat in front of me on

01:48:16.979 --> 01:48:20.680
the plane on the flight to Paris. So anyway,

01:48:21.079 --> 01:48:24.699
you know, we became friends. We obviously traded

01:48:24.699 --> 01:48:28.939
contact information and she went off to Greece

01:48:28.939 --> 01:48:33.939
to see her family. Chris Phil and I went to to

01:48:33.939 --> 01:48:37.439
to to Poland to Warsaw to see another stone show.

01:48:38.140 --> 01:48:41.659
And, you know, I didn't hear from her. It was

01:48:41.659 --> 01:48:46.239
wasn't until maybe a year later. I got a phone

01:48:46.239 --> 01:48:48.279
call or a text message from her. Hey, I'm I'm

01:48:48.279 --> 01:48:54.020
in I'm in Miami Beach for a a I'm in Miami Beach

01:48:54.020 --> 01:48:57.619
for a bachelorette party. And I'd like to give

01:48:57.619 --> 01:48:59.859
you what I should have given you in Paris. Yeah,

01:48:59.899 --> 01:49:02.960
baby. Hey. And I knew what that means. I'm like,

01:49:03.039 --> 01:49:08.000
come on over. And I think that she told me that

01:49:08.000 --> 01:49:11.539
the Uber driver was was telling her, you know,

01:49:11.539 --> 01:49:13.619
because she shows up in this oeuvre -le -gère

01:49:13.619 --> 01:49:15.739
dress, just dressed to the nines. And when I

01:49:15.739 --> 01:49:17.960
opened the door, I was like, hey, now, shit,

01:49:18.079 --> 01:49:19.460
this girl is more beautiful than I remember.

01:49:19.760 --> 01:49:22.539
She was stunning. And she is stunning. She still

01:49:22.539 --> 01:49:25.100
is stunning. And she was telling me the Uber

01:49:25.100 --> 01:49:28.020
driver was kind of, do you know what you're getting

01:49:28.020 --> 01:49:30.479
into going to this house? Cause my house is infamous.

01:49:31.600 --> 01:49:34.699
Oh shit. Reputation. He's blowing up your spot

01:49:34.699 --> 01:49:38.000
like that. How rude. Yeah. Um, but yeah, she

01:49:38.000 --> 01:49:40.619
came over and, uh, and there you go. There you

01:49:40.619 --> 01:49:43.739
go. And so, yeah. So we started dating. And then,

01:49:43.859 --> 01:49:46.399
um, the next time that we got back to us during

01:49:46.399 --> 01:49:49.100
the pandemic, the next time that we got back

01:49:49.100 --> 01:49:52.199
to the place where we met at the admals club,

01:49:52.340 --> 01:49:55.939
JFK, the next time we got back there, I proposed

01:49:55.939 --> 01:50:00.279
to her. Wow. Cool. So the exact spot that we

01:50:00.279 --> 01:50:03.239
met, I proposed to her. We were flying to Milan

01:50:03.239 --> 01:50:10.380
and then we got married here in Austin at the

01:50:10.380 --> 01:50:13.060
Rolling Stones concert. Wow. At front of house

01:50:13.060 --> 01:50:15.880
position. No, between the set and the encore.

01:50:16.500 --> 01:50:19.039
Get the hell out of here. Yeah. We got married

01:50:19.039 --> 01:50:22.699
in between the set and the encore. And again,

01:50:22.840 --> 01:50:26.140
thank you to Dave Nuttel for allowing Catherine

01:50:26.140 --> 01:50:28.579
and I and our families, which is her parents

01:50:28.579 --> 01:50:30.960
and her brother and his girlfriend. And then

01:50:30.960 --> 01:50:33.479
my brothers were there and my sister, no, my

01:50:33.479 --> 01:50:35.579
sister wasn't there. My brothers were there,

01:50:35.920 --> 01:50:39.039
allowing us to kind of take over his front of

01:50:39.039 --> 01:50:41.960
house position. Was that band sanctioned as well?

01:50:41.960 --> 01:50:44.079
Of course, the stones went on late that night

01:50:44.079 --> 01:50:46.119
because the traffic's getting out to that venue

01:50:46.119 --> 01:50:49.449
was horrendous. So we thought we'd have enough

01:50:49.449 --> 01:50:52.050
time in between the set for Phil. We had Phil

01:50:52.050 --> 01:50:54.729
Wagner ordained who introduced us. We had him

01:50:54.729 --> 01:50:56.449
ordained, so he was going to do the ceremony.

01:50:57.090 --> 01:51:00.850
And because the stones went on late, the time

01:51:00.850 --> 01:51:03.510
in between the set and the encore, they shortened,

01:51:03.970 --> 01:51:06.250
but we thought there'd be enough time. So Phil

01:51:06.250 --> 01:51:09.340
is going through, he's reciting the vows. You

01:51:09.340 --> 01:51:11.140
know, and all of a sudden, give me shelter starts.

01:51:11.420 --> 01:51:14.739
Oh, no way. I feel like you better speed it up.

01:51:14.859 --> 01:51:17.560
Now we can't fucking hear him. Wow. I'm like,

01:51:17.640 --> 01:51:20.100
Phil, just cut to the end. So he did blah, blah,

01:51:20.100 --> 01:51:22.439
blah. And we all, you know, yeah. And then Chris

01:51:22.439 --> 01:51:24.420
brought over a wedding cake, which was a platter

01:51:24.420 --> 01:51:30.520
of venue pretzels. Yummy. Perfect. Great. That's

01:51:30.520 --> 01:51:33.439
awesome. I thought it was great. And then, oh

01:51:33.439 --> 01:51:37.199
my God, I'm just remembering that. So. It's that

01:51:37.199 --> 01:51:38.640
circuit of the Americas where they have the Formula

01:51:38.640 --> 01:51:42.180
One race and there's really only like one main

01:51:42.180 --> 01:51:46.119
way out. But Chris had asked an usher, is there

01:51:46.119 --> 01:51:48.800
a quicker way to get out off the track from where

01:51:48.800 --> 01:51:51.279
the stage is to get to the parking lot? And the

01:51:51.279 --> 01:51:54.859
person was like, yeah, go to the left. So we

01:51:54.859 --> 01:51:58.439
went out, we took that as the way to go and it

01:51:58.439 --> 01:52:01.840
was a big mistake. So I'm there with all of a

01:52:01.840 --> 01:52:05.210
party, her parents. And we have to walk like

01:52:05.210 --> 01:52:09.090
a mile to this exit, where I can see through

01:52:09.090 --> 01:52:13.069
the fence, our car is right there, like literally

01:52:13.069 --> 01:52:16.109
right there. And what we proceeded to do was

01:52:16.109 --> 01:52:19.010
tear down these fences. Oh, I'm doing this on

01:52:19.010 --> 01:52:21.970
my wedding day, right? With my in -laws there.

01:52:22.750 --> 01:52:25.329
Catherine and Catherine's brother, we're kicking

01:52:25.329 --> 01:52:28.590
down these fucking fences, right? To get to the

01:52:28.590 --> 01:52:31.949
car. We get to the last fence that leads us to

01:52:31.949 --> 01:52:35.560
the car. It's next to this bathroom, right? And

01:52:35.560 --> 01:52:37.420
of course, all the women have to take a piss.

01:52:37.640 --> 01:52:40.859
And I'm like, don't do it. Just come now. So

01:52:40.859 --> 01:52:42.899
we knocked down this fence and we're waiting

01:52:42.899 --> 01:52:44.699
for them to come out of the bathroom. And before

01:52:44.699 --> 01:52:46.500
they could get out of the bathroom security showed

01:52:46.500 --> 01:52:48.819
up and ushered them all out and they had to walk

01:52:48.819 --> 01:52:52.479
out the other exit. Oh, man. And me and her brother

01:52:52.479 --> 01:52:55.399
had, you know, come out right where the car was.

01:52:55.779 --> 01:52:57.180
And we had to wait there for like 30 minutes

01:52:57.180 --> 01:53:00.399
for them to walk around. I'm like, welcome to

01:53:00.399 --> 01:53:03.880
the family. Yeah. Well, Tom, I was going to say,

01:53:04.060 --> 01:53:07.680
that was a great story. Wow. I was going to say

01:53:07.680 --> 01:53:09.899
the way you met your wife, like it's so romantic.

01:53:10.100 --> 01:53:12.220
You're on a plane from New York to Paris to go

01:53:12.220 --> 01:53:14.199
see the Stones. Like, how do you kind of recreate

01:53:14.199 --> 01:53:17.260
these times? But you ended up doing it with Milan

01:53:17.260 --> 01:53:20.140
and the wedding at this at the show. That's freaking

01:53:20.140 --> 01:53:22.300
awesome. Yeah. Now we, you know, when the Stones

01:53:22.300 --> 01:53:24.760
tour, you know, we'll go to we'll go to a couple

01:53:24.760 --> 01:53:28.199
of shows and our gag is now what we always try

01:53:28.199 --> 01:53:30.640
to include is to get the last show of the tour.

01:53:31.079 --> 01:53:33.300
So example, like we went to the last show that

01:53:33.300 --> 01:53:34.840
Charlie Watts played out, which happened just

01:53:34.840 --> 01:53:37.319
happened to be in Miami, you know, because you

01:53:37.319 --> 01:53:39.380
never know when when the last Rolling Stones

01:53:39.380 --> 01:53:42.840
show is going to. Oh, it's right. So we did not

01:53:42.840 --> 01:53:45.079
this last tour because they added one one of

01:53:45.079 --> 01:53:47.199
the show and I didn't feel like going up to Michigan

01:53:47.199 --> 01:53:49.640
or wherever the fuck it was. We did do what was

01:53:49.640 --> 01:53:51.800
scheduled to be the last show. It was in just

01:53:51.800 --> 01:53:54.399
outside of San Francisco last or two a year or

01:53:54.399 --> 01:53:58.960
so ago. And I took Derek Wibbley from some 41.

01:53:59.850 --> 01:54:03.789
He and his wife joined us and Derek had had bought

01:54:03.789 --> 01:54:05.770
seats on the floor. You know, Derek is like four

01:54:05.770 --> 01:54:07.989
foot 11. I'm like, Derek, where are your seats?

01:54:08.109 --> 01:54:11.029
And he's like, last last row on the floor. I'm

01:54:11.029 --> 01:54:14.149
like, Derek, come and hang out with us. He's

01:54:14.149 --> 01:54:15.970
like, oh, no, I really like my seats. I'm like,

01:54:15.989 --> 01:54:18.689
Derek, come and hang out with us. And he came

01:54:18.689 --> 01:54:22.310
and we stood up in front of the house. And after

01:54:22.310 --> 01:54:24.630
the show, he goes, that was the most amazing

01:54:24.630 --> 01:54:27.439
experience I've ever had. I love it. You know,

01:54:27.720 --> 01:54:29.779
one, you have a clear view of the stage, but

01:54:29.779 --> 01:54:32.920
two, watching Dave Nattel mix the band and he

01:54:32.920 --> 01:54:36.340
mixes on an old Yamaha analog console. Such a

01:54:36.340 --> 01:54:39.520
fucking treat to watch him mix the stones. Yeah,

01:54:39.640 --> 01:54:41.640
it was amazing. And Derek was like, he goes,

01:54:41.720 --> 01:54:44.859
that was so awesome. And it inspired me. I went

01:54:44.859 --> 01:54:48.600
home and I took his song Fat Lip and I pulled

01:54:48.600 --> 01:54:51.119
the vocals out. I did a remix of Fat Lip and

01:54:51.119 --> 01:54:54.920
I threw in Rolling Stones lyrics. So I was able

01:54:54.920 --> 01:55:00.989
to strip the lyrics from Oh, fuck. Oh, shit.

01:55:01.090 --> 01:55:03.449
I can't remember the stone salt. But there were

01:55:03.449 --> 01:55:06.649
songs from, I think, from tattoo you. I would

01:55:06.649 --> 01:55:09.109
start throwing stuff out. Beasts of burden. Yeah.

01:55:09.569 --> 01:55:12.149
Oh, shit. Beasts of burden. I took Beasts of

01:55:12.149 --> 01:55:15.229
burden as the verse. Wow. And I forgot what the

01:55:15.229 --> 01:55:18.649
and then the bridge I used parts from Gimme Shelter.

01:55:19.489 --> 01:55:21.409
But yeah. And I said that there can he because

01:55:21.409 --> 01:55:23.829
you're fucking out of your mind. And it worked

01:55:23.829 --> 01:55:26.729
perfectly. It works absolutely perfectly to fat

01:55:26.729 --> 01:55:29.909
lip, beast of burden. Same key and everything.

01:55:30.170 --> 01:55:33.510
Can we hear that somewhere, Tom? Like, is that

01:55:33.510 --> 01:55:37.750
out? Damn it, dude. How are you? No, it's not

01:55:37.750 --> 01:55:40.210
my song. So I wish that I could say, you know,

01:55:40.270 --> 01:55:42.390
I mean, yeah, I could ask Derek, but, you know,

01:55:42.470 --> 01:55:45.130
I gave it to Derek as a as a as a gift. I'm like,

01:55:45.289 --> 01:55:47.649
here's something for, you know, just because

01:55:47.649 --> 01:55:49.170
I know you like the stones so much. Here's what

01:55:49.170 --> 01:55:51.569
it sounds like if the stones singing out behind

01:55:51.569 --> 01:55:54.670
your music. So cool, man. So yeah, maybe I'll

01:55:54.670 --> 01:55:57.189
ask him if he doesn't mind if I release it or

01:55:57.189 --> 01:56:00.229
do something with it, but it's not mine to release.

01:56:00.550 --> 01:56:03.510
Sure. If you want somebody to leak it for you,

01:56:03.590 --> 01:56:05.550
you know, and it just arrives in my email, I

01:56:05.550 --> 01:56:09.689
won't know anything. If it gets leaked, he knows

01:56:09.689 --> 01:56:12.590
where the source is. Exactly. Exactly. Only one

01:56:12.590 --> 01:56:16.989
source. Yeah. Unfortunately, I have to be professional.

01:56:17.489 --> 01:56:22.550
No, I get it. Unfortunately. We had a blast with

01:56:22.550 --> 01:56:24.149
you, dude. I hope, I hope you'll come on again

01:56:24.149 --> 01:56:26.189
in the future. Cause we're definitely going to

01:56:26.189 --> 01:56:28.930
have you back on. If you would, um, you were

01:56:28.930 --> 01:56:30.649
just a blast. Did you really give us some insight

01:56:30.649 --> 01:56:33.409
into some cool ass shit you did from mid eighties

01:56:33.409 --> 01:56:36.050
to, to now, uh, with this new thing coming out

01:56:36.050 --> 01:56:37.489
with a tick talker. Do you ever think you'd be

01:56:37.489 --> 01:56:42.010
working with tick talkers Tom? Hell no. Hell

01:56:42.010 --> 01:56:45.989
no. Hey, you know, I mean, that's the great thing

01:56:45.989 --> 01:56:48.369
about music. It's, you know, it's, it's different

01:56:48.369 --> 01:56:51.479
every day. Yeah, you know, and it's again, you're

01:56:51.479 --> 01:56:54.340
always learning. So there you go. Cool. Well,

01:56:54.380 --> 01:56:56.020
thank you for coming on again. She'll make it

01:56:56.020 --> 01:56:59.479
happen for her. Yes. Yeah. She's got a good team.

01:57:01.279 --> 01:57:04.500
Yeah, she does. Mm hmm. And we're going to get

01:57:04.500 --> 01:57:06.699
you to learn a tick tock dance for your next

01:57:06.699 --> 01:57:08.619
appearance, Tom. So we'll send you the moves

01:57:08.619 --> 01:57:10.619
so you can start learning them now. Yeah, good

01:57:10.619 --> 01:57:12.920
luck with that. Thank you for coming on, dude.

01:57:13.340 --> 01:57:18.880
Thank you. Stay in touch. The one and only Tom

01:57:18.880 --> 01:57:23.039
Lord algae folks. How awesome was that? It was

01:57:23.039 --> 01:57:26.159
great. That was awesome. I knew it would be good,

01:57:26.600 --> 01:57:28.100
but I was better than I thought it would be.

01:57:28.300 --> 01:57:31.140
So it's awesome. Nailed it. It would be great.

01:57:31.399 --> 01:57:33.060
Actually, he's he's he said, you know, he's a

01:57:33.060 --> 01:57:35.920
great human being. His great stories. He's, you

01:57:35.920 --> 01:57:38.500
know, hit great delivery of the stories. Yeah,

01:57:38.579 --> 01:57:41.880
great personality. So awesome. Securing his own

01:57:41.880 --> 01:57:44.979
skin. Mm hmm. Not afraid to tell the story like

01:57:44.979 --> 01:57:47.600
it is perfect, perfect, perfect for, uh, for

01:57:47.600 --> 01:57:49.720
the podcast. That was, that was fun treat for

01:57:49.720 --> 01:57:51.779
me for sure. And I'm sure for the audience. Yeah.

01:57:51.819 --> 01:57:54.720
Well, you got to ask them about DMB and, you

01:57:54.720 --> 01:57:57.359
know, I was, I was going to ask him, but if he

01:57:57.359 --> 01:57:59.859
knew about the beef between us and live in DMB,

01:58:00.060 --> 01:58:01.899
but I didn't get a chance to next time. I know.

01:58:02.220 --> 01:58:04.779
Uh, and then you, you know, he got into, uh,

01:58:04.779 --> 01:58:06.239
what was going on with you in live too. I think

01:58:06.239 --> 01:58:08.560
he got in, uh, some stuff too. That was, uh,

01:58:08.920 --> 01:58:12.510
maybe we didn't touch on the show here. Let the

01:58:12.510 --> 01:58:14.090
audience in on a little stuff. So that was kind

01:58:14.090 --> 01:58:17.189
of cool to him. Yeah. Birds have you, baby, baby.

01:58:17.569 --> 01:58:19.909
Hell yeah. Let's, I want to let the audience

01:58:19.909 --> 01:58:24.369
know that our young Bobby is going through some

01:58:24.369 --> 01:58:27.109
stuff. He was at the doctors last week. That's

01:58:27.109 --> 01:58:29.270
why he couldn't make it to the Friday show with

01:58:29.270 --> 01:58:33.250
our lady piece drummer, Jason Pierce, not the

01:58:33.250 --> 01:58:35.890
other Jason Pierce who I found on Wikipedia.

01:58:36.590 --> 01:58:39.840
Anyway, I suppose he had pneumonia. Yeah. Then

01:58:39.840 --> 01:58:41.960
2005, I'm like, Jason, I got to ask you about

01:58:41.960 --> 01:58:44.699
this really shitty part of 2005. But anyway,

01:58:45.020 --> 01:58:46.720
I don't know if you want to go into anything,

01:58:46.819 --> 01:58:49.079
Bobby, but if or if you just want to ask for

01:58:49.079 --> 01:58:51.399
some good vibes and whatever, but floor is yours,

01:58:51.560 --> 01:58:54.819
man. Yeah. I just, I just want to tell everybody

01:58:54.819 --> 01:58:58.399
thank you. I mean, I've been getting blasted

01:58:58.399 --> 01:59:02.180
on my Facebook, my, my socials, everybody's been

01:59:02.180 --> 01:59:05.859
sending good vibes my way. And I appreciate it.

01:59:05.960 --> 01:59:08.199
I really do. Well, I'm going to ask the audience

01:59:08.199 --> 01:59:11.279
to stop sending those good vibes and to start

01:59:11.279 --> 01:59:14.659
sharing. That's more important. Share this broadcast.

01:59:15.180 --> 01:59:17.779
Forget Bobby's and his good vibes. Just share.

01:59:18.000 --> 01:59:21.760
Right, Chad? That's right. Exactly. We don't

01:59:21.760 --> 01:59:23.640
care if Bobby gets better audience. We just want

01:59:23.640 --> 01:59:26.380
you to share this broadcast. That's all. Fuck

01:59:26.380 --> 01:59:30.720
the prayers. Fuck the vibe. But yeah, dude. So

01:59:30.720 --> 01:59:33.159
there's that. So hopefully he's got a checkup

01:59:33.159 --> 01:59:37.039
coming up soon. So hopefully all goes well. Worse

01:59:37.039 --> 01:59:39.640
comes the worst. They said the oxygen from his

01:59:39.640 --> 01:59:41.659
brain is getting cut off. That's why he thinks

01:59:41.659 --> 01:59:43.819
the earth is flat. They might need to reroute

01:59:43.819 --> 01:59:48.619
some tubes and yeah. So there is that. But we

01:59:48.619 --> 01:59:50.300
want to thank you folks for coming on this journey

01:59:50.300 --> 01:59:54.079
with us. We are the gracious two inches. I mean

01:59:54.079 --> 01:59:57.239
the gracious two podcast gracious two inches

01:59:57.239 --> 02:00:00.079
will be on only fans coming soon. Only only friends.

02:00:00.279 --> 02:00:03.920
That's right. But thank you. Peace everybody.

02:00:07.020 --> 02:00:08.000
you