on DRUMS, with John Simeone
This is a local Long Island Podcast given by a veteran drummer on the Long Island music scene. We have a variety of local professional musicians as participants. We joke, give insights and share stories about our over 4 decades of experience in the music profession.
on DRUMS, with John Simeone
Harmonizing Decades: Ken Talve’s Guitar Journey and Family's Musical Triumphs
Join us for a nostalgic journey through the decades with Ken Talve, a gifted guitarist and my bandmate in the Ken Talve Trio. Ken opens up about his musical evolution, starting from his high school days when he was mesmerized by the blues and iconic bands like the Allman Brothers. Together, we reminisce about our days in the city lofts, endless rehearsals, and unforgettable club gigs that shaped our vibrant musical careers. With candid tales and a shared love for creating original music, we reflect on past collaborations and our continued passion for music in the Ken Talve Trio.
Have you ever wondered how a seasoned musician can gauge a band's quality without even hearing them play? We explore this intriguing skill and celebrate the impressive journey of my daughter, Kara, a Berklee graduate who has made waves in the industry with her award-winning compositions for projects like The Simpsons. From working with renowned drummer Chad Wackerman to Kara’s blossoming career, the episode highlights the joys and challenges of nurturing talent in the music world, emphasizing creativity that flourishes without undue pressure.
As we traverse through the phases of a musician’s life, we share humorous anecdotes about gear talk, elusive stage setups, and the rise of tribute bands. With reflections on the changing landscape of live music from past to present, there’s a bittersweet nostalgia for the camaraderie of earlier gigging days. We wrap up with thoughts on recent performances, the struggles of self-criticism, and a personal decision to step back from the stage, all shared with humor and a heartfelt farewell. Join us as we celebrate the journey, the passion, and the ever-evolving tapestry of a musician's life.
so this is episode. I think this is 22, episode 22 of on drones, and that's the name of my podcast okay and today I have ken talvey say hi, ken hello ken. Is it talvey or tal?
Speaker 3:I should know this right I think talvey has a better flow. What do?
Speaker 1:you? What do you, uh, what's your thing? What do you um? How do you say it talvey?
Speaker 3:talvey, it's easy because you're italian. I'm half italian, half ital.
Speaker 1:Yeah, so you say Talvi, talvi.
Speaker 2:Yeah, okay, now the whole world knows Now the whole world knows that yeah.
Speaker 1:I think you're my first guitar player on here, uh-oh.
Speaker 3:Yeah, okay.
Speaker 1:You're the first guy with like six strings. Wow.
Speaker 3:I think yeah.
Speaker 1:Mostly drums are there mash of, uh, you know whomever will come over, right, right, but but people would like. You know you did a lot of stuff, so you people would. Everybody who comes has got a background like a serious I don't really have much.
Speaker 3:You do you? Yeah, not really not really I don't, I don't even know what I'm doing here, but I have no background, nothing really.
Speaker 1:I just did it. I invited you because I felt bad for you. That's what it is right, right.
Speaker 3:Well, thank you.
Speaker 1:No, no. So give me your. And just so people know, Ken and I are working on a band together. What's the name of the band? What do we call it? What did you call it?
Speaker 3:Ken Talvey Trio.
Speaker 1:Ken Talvey Trio that's what I call it. That's right, yeah, yeah, right, okay, right like jason um, and it's like, uh, we would call that a fusion thing yeah, yes, and it's an original all original yeah all kenny's originals right. So and uh, we get sam powell on bass yes, it's a power trio. Yes, um, and before that, the only other time when you and I worked together was laurence helder right that's right.
Speaker 3:That was like was like a little over 10 years ago now.
Speaker 1:No that was now 16 years ago. No way, yes, wow, yes, because the funny story about that is on the way to the gig in the city. If you remember, you and I drove together.
Speaker 2:Yes, yes, yeah.
Speaker 1:And on the way there, my wife called me to tell me she was pregnant. I remember, and my son now is 16 years old, so that's 17 years. Can't be. Yes, 17 years Wow.
Speaker 3:Yeah, unbelievable. Wow, time flies.
Speaker 1:Getting old man. So that's kind of the extent of our playing together. Right, right, yeah, but what's your thing? How did this all happen for you? As far as like, you know, how did you get in this business?
Speaker 3:did this all happen for you as far as like, uh, you know, how'd you get in this business? Um well, I still I guess it all started when I was in high school. Yeah, I mean oh high school is late yeah well, it was kind of before, but I really it was maybe junior high, high school I started playing in, you know allman brothers, but guitar you'd play, always play guitar, always play guitar.
Speaker 3:allman brothers and um and mostly blues stuff. Oh, blues, yeah, mostly blues stuff. Growing up with that, listening to Eric Clapton, I loved Eric Clapton and Dwayne Allman, the Allman Brothers and all that. And then from there did I graduate high school?
Speaker 2:I don't even know, I'm not sure that was an absolute disaster. What high school.
Speaker 3:High school't even know. I'm not sure that was an absolute disaster.
Speaker 2:What high school.
Speaker 3:High school was a disaster, Well it wasn't a total disaster, but it was. You know, I didn't get along with my teachers. I think, high school's a disaster for everybody, but I have fond memories of high school because of the music. It was a lot of fun in that respect, but everything else was not fun respect, but everything else was was not fun you know, really not really.
Speaker 3:And usually guitar players are popular in high school, not me. I wasn't, I wasn't popular at all. You know, didn't really hit it off with the women at all. You know it's like some some weirdo walking around with with wild hair, and who the hell's that guy?
Speaker 3:you know, but uh, yeah, you know and uh, one thing led to another and, um, oh, I, I think, uh, I think I must have been the late 70s. I was in this band called Legend, which was like a progressive rock band, and we were together like two, three years and we rehearsed every day.
Speaker 2:Wow Every day.
Speaker 3:It was at least three, four times a week in the city right on Canal and Greenwich Street in the loft and it was a good band. We did Great Gilded Sleeves. I mean it was pretty cool. The band was really good and that was that. And then, before you know it, that ended and the next thing you know I was actually playing. I played with Mike Frost for a while. I guess that was maybe.
Speaker 1:Mike was a Mike's bass player, great bass player, but original stuff for Mike.
Speaker 3:Mike's original stuff.
Speaker 1:Yeah, and that last we had a it was it was pretty cool it
Speaker 3:was called Mike Frost Inner Voice Band. So I did that for a while. Oh, inner Voice, yeah, and that was. That was pretty cool and you know, like everything, things, nothing lasts forever, so that that kind of fizzled out and and next you know I'm doing uh, I guess I'm doing started doing club dates, oh yeah what do you mean by that?
Speaker 1:oh because that's like a, that's like the end of the road it's a red flag.
Speaker 2:Yeah, right he goes. He was doing really well.
Speaker 1:What was I, and now we're doing club dates oh. Yeah right.
Speaker 3:So I got involved in that and you know, like anything else, any musical experience, no matter what you're doing, unless it's completely horrible, you know, it's a club dates. Was that like the 80s or something? Yeah, I think that all started. I kind of. I I think I think actually mike frost came after that. I don't know, I'm losing track, yeah, but um, yeah, I think I started doing.
Speaker 1:I started doing the whole club thing, probably the mid 80s I think right so, but that's back when club day bands had great could get great players, right.
Speaker 3:Everybody who played really played yeah, it was, it was, it was good and know it was a lot of work.
Speaker 1:Yeah, back then it was a ton of work. Back then it was a lot of work.
Speaker 3:And then you know, and all along, I've always written my own stuff. I've always done that, Even throughout. You know this and that and this, and that I've always been composing, and that's kind of been something I've always done and which leads me to pretty much what I'm doing now.
Speaker 1:Which is your own original stuff. So you're full-time always. You've always been like.
Speaker 2:Yeah, yeah.
Speaker 1:Because I've had people here who I thought were full-time all the time and they're like no, I worked in a 9-to-5, like stuff. I didn't know.
Speaker 3:Yeah, it was always, always, always, you know um so and um, and here we are now, and and uh, and that's that's it, that's the end and that's, that's over. Okay, I told you there's really not much going on here, no, so, so um the club.
Speaker 1:Didn't you tell me the story?
Speaker 3:what's that?
Speaker 1:the club they banned um the one about I got, I got a bunch of them. Yeah, like you know, hey, guys, we're going to meet at the mall to buy shirts. Oh, yeah, yeah, yeah.
Speaker 3:I guess, yeah, that didn't. I wasn't really involved in it, I heard about it.
Speaker 1:I mean.
Speaker 3:I was at meet with the boy. I never made it to the mall that day, right.
Speaker 1:But those I mean, I remember the 80s 80 man, I was doing them in the 80s too and I'm, yeah, and you used to get on a club. I remember getting on club dates, weddings, yeah, and and it was fun, people could play, yeah, you know, and and now you know, I mean I guess, but I mean I don't, I think it's, I think it's, I think it's. It's like there's this whole other brand of musician now who's like I don't want to say subpar, but like not interested in being really great and just looking to make money and they do club dates.
Speaker 3:Yeah, are there still club dates? Oh yeah, it's not like it was. No, no, it's not like it was.
Speaker 1:Because the bands outpriced themselves. Oh I see, you know, it's like $15,000 for an eight-piece band, that's ridiculous, you know. Right, right, right. But back in. You know, man, I want to say even in the 90s there was a lot of work, there was a lot of work.
Speaker 3:And now not so much I know, and now I made much more money when I was in junior high.
Speaker 2:Yeah, and you know early high school. It's not funny.
Speaker 3:People used to come out. I mean, they used to come out to hear the bands. I mean bands that I played in, Whether it was at, you know, in high school auditorium or gymnasium it was like whoa great you know now you know if, if three people show up, I'm like wow, you know, it's like woodstock, you know I know it's really it's.
Speaker 3:It's tough man, it's really tough you know the kind of music and that you know that we're we're playing now and it's, uh, you know, it's kind of, it's kind of geared for musicians, I would think it really is for music.
Speaker 1:It really is For musicians, it really is.
Speaker 3:Or people into you know, jazz, progressive jazz, rock or whatever Right you know, and there's not that many places to play on Long Island.
Speaker 1:No, there's a few. Well, I mean, again, you've got to have a certain clientele. I mean it's yeah, you're still dealing with like with the general public in most cases, and they really don't get it. I think I know they don't. There's a lot to it man.
Speaker 3:Yeah, I mean, I remember I was. This is kind of crazy. I sat in. It was this club in Huntington called XO. This was many years ago and I sat in with a bunch of players, you know, nice, nice guys and everything, and they were playing and my wife was in the audience and some of her friends, you know. And so I get up there and they were playing Wonderful Tonight.
Speaker 3:So I said all right, so I guess I can get through this. Maybe you know so anyway. So I played the melody. You know the whole.
Speaker 1:Thing.
Speaker 3:And after it was all over, you know, my wife came over to me. She goes. I had no idea you could play that.
Speaker 2:And I was like oh, jesus, you know.
Speaker 3:And then a few of her friends came in, she goes. So what happened, you know.
Speaker 1:I didn't know you could do that, wow. So what happened? You know, I didn't know you could do that.
Speaker 3:Wow, and they're talking about the music.
Speaker 1:It's beautiful that's what I'm saying.
Speaker 3:Like you know it's just like it's you know anything. That's not that, or it's kind of related to jazz. It's a language. It's like they're listening to Japanese. They don't.
Speaker 1:They don't quite get it, they have no idea when we played the last gig we just played, my wife said to me maybe I'll come down. She said what kind of music is it? I said, well, it's fusion. It's a little complicated. So she says, is there a singer?
Speaker 2:Yeah, right, I was like no, I don't think there's going to be any singers on this one?
Speaker 1:No, right.
Speaker 3:Yeah.
Speaker 1:So I mean it is what it is.
Speaker 3:It's like that's why those bands are popular, right, the uh, the bands that do all the cover tunes yeah, yeah, I mean, people come down and they these are tunes that they know and uh, wow, and that's, that's what it is. But uh, you know, you'd be surprised sometimes if, if people are I always love people are exposed to a lot. They're just not exposed to it. But if they, if they are, and it's good, then chances and chances are they're gonna like it and go, wow, that was pretty good, even if they don't. If, if it's melodic and it's it's right two out there, you know and it has melodies and form, then chances are they're gonna they'll, they'll kind of maybe gravitate towards or understand it yeah, well, I mean, most people like that.
Speaker 1:I don't recognize that. I don't know that song, you know so well, that's what they never heard of it.
Speaker 3:Tap their feet. I don't recognize that, I don't know that song.
Speaker 1:Well, that's something they've never heard of it. They can't tap their feet to it. I don't know, I don't know. I always get caught in this thing with, like you know, most of the people I know are non-musicians, right, you know, because my wife's not a musician and whatever. But every time we and there's a band playing and somebody in the place knows the band, ultimately somebody comes up to me that's friends and says what do you think of these?
Speaker 2:guys, aren't they great?
Speaker 3:Because I'm somehow the oh God, that really happens to me too, and it's usually so. What do you think? Yeah, right. What do you think? They always ask me if I'm a guest at a wedding, at someone's wedding, they'll come over and she'll so. What do you think of the band? Always, Always.
Speaker 1:Yeah, god, who I mean, and usually they're in my mind terrible.
Speaker 2:Yeah, you know, it's like.
Speaker 1:I'm so fucked up that way Like I get yeah, I get insulted by bad playing.
Speaker 2:Yeah.
Speaker 1:You know, like more so when it's bad playing not mistakes, but bad playing, where they're just playing and they don't know they're bad.
Speaker 3:You know what I mean. That's right, and the thing is that the people don't know they're bad.
Speaker 1:The people don't know and you see they're reacting to the hacking.
Speaker 3:Perhaps the hacking that's going on in the handstand and they think it's great because they don't know any better. They just don't know.
Speaker 1:I mean it's and it's man, they're working. Yeah, those guys are all working. Yeah, you know what I mean? I see it on Facebook all the time. And what's great about Facebook? I always say this is like what I love about. I hate Facebook, but what I love about Facebook is these guys always put like an entire set video on Facebook, right, right, and I leave the volume off and I can watch like 10 seconds of it and know if it sucks or not.
Speaker 2:Just by the way, the band is just by the way the drummer sets up his drums. You just kind of I can see, yeah, and I'm always right, right always right when I put the volume up.
Speaker 1:Yep, yeah, they suck too, right, yeah, and that's that. That's the thing that really, really bothers me, man, and those guys are working steady. You know, who knows? Ten dollars a night? I don, I don't know.
Speaker 3:It's brutal.
Speaker 1:It is brutal, yeah, it's brutal.
Speaker 3:It's tough.
Speaker 1:So, but talk about your CDs, because you had you know Chad Wackerman. And yeah, How'd you get Chad Wackerman?
Speaker 3:I paid him. No, it's kind of my daughter. We can talk about my daughter a little bit too. She, she, uh. She studied with steve hunt in at berkeley. So wait, steve was the. Uh was the keyboard player that played with chad wackham, with alan oldsworth oh, I didn't know that, yeah she studied with steve hunt and they became.
Speaker 3:They became really good to actually face. I think they still talk from now. They hit it off really well and my daughter I didn't even know carrie. Carrie went to Berklee. She went to Berklee, yeah, wow, and she did really well. She won the BMI Award for composing there. And Thomas Newman, you know Thomas Newman, doug.
Speaker 3:Shawshank presented it to her and she's you know. I mean she loves Thomas Newman and Shawshank and the music in Shawshack is one of the reasons why she became a composer and what she's doing today. Right, but anyway. So she played some stuff for Steve Hunt that I did and he said well, you know whatever. So one thing led to another and Steve got involved with the record.
Speaker 3:Well, this is the first record no, no, this is Bad, marisa. The third one, third one, okay Right. First record. This is the uh, no, no, bad, this is bad, barista. The third, third one, okay, right. And then, um, a friend of mine said why don't you, why don't you know, why don't you call chad wackman to do this is what he, you know. So I sent him one of the tunes and he got back to me. He said sure, I would, I'd be happy to do it, you know. And wow, and that's, and one thing led to another, and they end up both doing the whole record and, uh, that was, that was pretty cool it was a great experience, you know dealing.
Speaker 3:What's really cool is like being in a band with somebody like you who sends me a tune to learn, with chad wackerman playing yeah yeah, I remember the, the first tune I sent to him and I I didn't know, and I when I got it back it was, I think it was just guitar, bass and and just like a drum, some kind of drum. It was a drum machine or just a click track. I don't remember exactly what it was, but when I got back blew me I almost fell off my chair.
Speaker 3:I mean, I was like I can't believe that he did this.
Speaker 1:Probably one pass too.
Speaker 3:He does it, and when you get it back from him, there's, it's flawless.
Speaker 1:Right, it's pretty flawless.
Speaker 3:I mean I've never said could you do this Right, could you go to the ride? So anyway. But you know it was a great experience dealing with these guys because they get great sounds and they just intuitively he's a killer yeah intuitively know what to do. They just fucking know, you know.
Speaker 1:I remember he was on the road to Barbra Streisand for a while when he was really young road to Barbra Streisand for a while when he was really young, yeah and there's a weird connection there, too, with that right. So, okay, let's just talk about Cara for a second. Oh, sure. I didn't invite you to talk to you. I want to talk about.
Speaker 3:Cara. That's why I'm here. She's more interesting. She's a hell of a lot more interesting than I am so Cara explain it.
Speaker 1:What's the thing? She just Well go ahead, Give me Cara's resume, because she did a lot of stuff. Well, because she went to.
Speaker 3:Berkeley. She went to Berkeley, but not just she went to Berkeley.
Speaker 1:She's got an outstanding weird innate talent.
Speaker 3:Yes, she does yes, and I knew it from when she was really little and I knew it and uh, but I never really pushed me, I never pushed music on it because I knew, if I did she, maybe she would pull away from it right, it's just kind of the nature of the way things work with kids. I mean not that I'm an expert, but I agree with that you know.
Speaker 3:So I never did anything and I never did anything and I never did. And you know she took piano lessons and she became a pretty good classical piano player. I mean, she would, she played, you know she did recitals. She played, you know, debussy, claire de Lune.
Speaker 3:I mean that piece is one of my, it was just a beautiful, beautiful piece and she nailed it at the. It was pretty amazing, you know, watching her grow musically. And then she graduated high school, blah, blah, blah. And then she went to Berkeley and she graduated and she was home for two weeks and she went out to California.
Speaker 3:She was home after graduation Two weeks and then she left and went to California to pursue oh I'm sorry After she graduated from Berkeley. She was home for just a couple of weeks and she went out. She oh, I'm sorry After she graduated from Berkeley, she was home for just a couple of weeks and she went out. She went out.
Speaker 1:She just said I'm going to California because she knew what she wanted to do.
Speaker 3:She knew what she wanted to do and before you know it she's working for Bleeding Fingers Music, and one thing led to another and she was an assistant, and then they knew that she had something and before you know it she does the Simpsons also.
Speaker 1:The Simpsons right and what else. There was a couple of movies too. She did Nicole Kidman.
Speaker 3:Well, she did. Oh my God, what was the name of that? It was a remake of what was it called.
Speaker 1:Was it a movie or a series?
Speaker 3:It was a movie and then it became a series. I can't remember, but I will remember.
Speaker 2:Maybe I won't.
Speaker 3:You won't, and she's going to listen to this and she's going to go.
Speaker 2:You idiot. Daddy's so old.
Speaker 1:He's, so I can't believe that you screwed that up, but anyway, yeah, she did that series with Nicole Kidman and it's so, while you're thinking of that, I was yeah, so well, is the latest thing the she did the Tattooist of Auschwitz, the Tattooist of Auschwitz right, which was absolutely amazing, Right, and she's doing other things now too.
Speaker 3:And you know, she and was nominated for For an Emmy. It was nominated for an Emmy, yeah.
Speaker 1:And I was talking to your wife about this on the gig yeah, she, you know. I was, of course, singing her praises again and she said well, you know, when Ken was, when she was little, ken was working with her and I was like, yeah, okay, that's cool, but I don't. It's like in her DNA, I think.
Speaker 2:Yeah, yeah, the way that comes out comes across.
Speaker 1:I mean that, that music, besides the content, which is very heavy, yeah, that music made that thing happen it did oh it did. I really think that that. I mean that captured, that the Holocaust couldn't have been any better.
Speaker 3:yeah, and you know I listen to what she sometimes I say I can't believe that she's doing this. It really is unbelievable, it's amazing, it really is amazing.
Speaker 1:I mean it's like you know it's moving shit and the correlation Barbra Streisand, chad Walkerman.
Speaker 3:Barbra.
Speaker 1:Streisand sang.
Speaker 3:She sang well, she co-wrote a tune and you know, barbra Streisand heard her melody. Yeah, and from what I understand she turns down everything, but she heard this melody and it was, you know, from the movie Right.
Speaker 1:It happens very early on.
Speaker 3:Yes, it does, yeah, and she heard the melody and she was really taken. I mean, she loved it, which doesn't happen that often with her. And one thing led to another and she called up one of her writers and co-wrote the song with not with Garrett, but he expanded on the melody and built this whole tune around her melody and other things throughout the film. I forgot his name too. I think his name was Charles Midnight. I think his name was I don't. Yeah, man, I don't man I don't I?
Speaker 3:these are people I've never heard of, you know. But uh, he did an outstanding job, just incredible, incredible song. It's unbelievable and she and they got the london philharmonic orchestra to record right the entire the arrangement and uh and yeah, it couldn't. It couldn't have been better, it couldn't be more appropriate for that yeah, it was, it was great, and you know she's, she's soaring out there yeah, really she's really soaring out there.
Speaker 1:So she takes after her mother absolutely so that's it.
Speaker 2:So there's really not much.
Speaker 1:I don't give a shit about you but so, um, um, what was I going to say now? Um, uh, when you? So now let's go back a little bit like um, caris, uh, 28, 28, she's 28, yeah, yeah, I have. You don't have socks at a 28, just so you know she's 28. I mean, how does it, how does that come out of a 28 year old? I don't get it like I say man you know.
Speaker 1:I mean, you would think that that wasn't like an old jewish guy writing that stuff. You know what do you mean by that.
Speaker 2:Uh, I don't know, my friend joel, yeah, I again I don't.
Speaker 3:I listened, I listened to the stuff that she does, even the stuff that she does in the simpsons, sometimes, you know yeah, that's really really cool, you know, and right, it's not like she's stuck in like this, that one genre she can write appropriately.
Speaker 1:She can write yeah, she does and she she does, and she can sing too.
Speaker 3:She sings too she sings also and I didn't really know that, but she can sing pretty well. Wow, she's an old woman.
Speaker 1:Yeah, you know, she's like good for her man. Yeah, but see now, if that was my kid, I would have a shirt with a picture on it that says Ask me about Kara. Yeah, picture on it that says ask me about Kara. Yeah, I mean, it really is. It's got to be a thrill. Oh yeah, it's got to be.
Speaker 3:She's the tip of the iceberg for her too, I think. I think she's really going to. Things are really going to start happening.
Speaker 2:Not that they already are?
Speaker 3:Yeah, they are she's 28.
Speaker 1:I mean, she's in there, hans Zimmer.
Speaker 3:Yeah, exactly when do you go from there? Hans Zimmer loves her.
Speaker 1:Yeah, where do you go from there? I mean, it's like that's it, you're there, I don't know Right.
Speaker 3:She's also a very good baker, she bakes. She bakes.
Speaker 2:She bakes, so that might be ultimately this anymore.
Speaker 1:I'm going to bake for this new series that's coming out.
Speaker 3:She sends me brownies on my birthday and stuff, and they're the best.
Speaker 1:Is that true Really? She does, she sends them yeah.
Speaker 3:Other than that, I really don't have much. You know not much going on. I speak to her once in a while you know she goes, I go what's this? She goes. You just wanted to visit her. You guys went out there, yes, and it was in July. Yeah, yeah, so she's got a house out there she has they're renting. You know she's almost married a year now.
Speaker 3:Yeah, they rent a house in Pacific Palisades and yeah you know, it's a, and she has a really nice studio out there that they put together in the house, right?
Speaker 1:No, no, she has to go out to the studio.
Speaker 3:It's close by within 15 minutes or so and, yeah, it's a beautiful studio. She has everything there, and you know.
Speaker 1:It's great, yeah, it's great.
Speaker 3:So it's like for me it's like the name of the series is Far Away Downs.
Speaker 1:Far Away Downs.
Speaker 3:That's it, that's it, that's the one, yeah, and Hugh Jackman.
Speaker 1:Hugh Jackman.
Speaker 3:Hugh Jackman and Nicole Kidman. Yeah, and she worked with Baz Luhrmann as well. I don't know who that is. Baz Luhrmann is the one that did Far Away Downs. He did that Elvis movie. That was a couple of years ago. He directed and written it oh, okay. Yeah, oh cool. A lot of people don't know him.
Speaker 1:he's uh know of him, but you know, yeah, that bothers me that like it's like these people really making it happen, you don't really know who they are.
Speaker 3:A lot of people, but if you, you know, if anyone knows, who Steven Spielberg is, this guy he's pretty well known, but uh, not, maybe he isn't. But you know again, if it wasn't for Kara, I never would have known who he was, but he's a pretty, really talented guy. You know, so she worked with him too.
Speaker 1:Spielberg, Not with Spielberg. Oh, who oh the other guy.
Speaker 3:The other guy, baz Luhrmann. Right, yeah, she hasn't worked with Steven Spielberg yet but that'd be kind of cool.
Speaker 1:It's coming Right. You know, I think it's coming. Anyway so when she was growing up you were out there on gigs, so she was aware of that. Oh yeah, that seemed normal to her. You just go out there on gigs Because you were full-time, like I guess you were home during the day, correct, right, and then you'd go out to gigs.
Speaker 3:That's pretty much, yeah. You know, I remember I said to her once I was taking her piano lesson and we were driving in the LA and taking her to her piano lesson and she really didn't want to do it. She wanted to hang out with her friends.
Speaker 1:Yeah, well, she must have. How old was she? She was probably about 13, right?
Speaker 3:Maybe 13, maybe something like that.
Speaker 1:Because I have a 12-year-old girl.
Speaker 3:I know exactly and I said to her I was driving. I said look, I only asked you to do one thing. I don't care what the hell you I mean you know I'm not going to push you to do this, push you to do that, but just take one piano lesson a week.
Speaker 1:That's all I ask and she was reluctant.
Speaker 3:Not all the time, yeah, but still that age 13, 12, 13, 14,.
Speaker 1:In that area they get very, you know especially the girls. They have other things to do you know my daughter's so unimpressed with me at this point.
Speaker 3:She's 12, and she's like ugh, you know.
Speaker 1:So I'm a non-entity anyway. So, getting getting back to you, okay, um, so you did how many? Uh, three, three, three records, yeah, um, and did you use pretty much the same people on the let me I think um the first.
Speaker 3:The first record was across the board and uh, did I hear that which?
Speaker 1:do we do tunes from that one? I don't think so. No, okay, there's some.
Speaker 3:there's some pretty good tunes on the album. Yeah, so I had Brian Dunn on drums.
Speaker 1:Brian was here. Oh, he was. Yeah, he was here, oh yeah.
Speaker 3:He's great, Great drummer man, Great guy. He's one of my favorites, Brian. Yeah he's, you want to hear a funny?
Speaker 1:just a quick Kevin Dunn's Wedding. I played Kevin Dunn's Wedding and you know you set up this stuff and you go eat the cocktail there. And my friend John was there who was in the bridal party for.
Speaker 2:Kevin.
Speaker 1:And he introduced me to Kevin. I met Kevin at his wedding. He said this is Kevin Dunn, he's a great drummer. And Brian happened to be standing next to Kevin. He was like a little kid. He said but this guy is a great drummer. And he was like a little 12-year-old Like oh, ok. And then he sat in yes, and I was like holy shit.
Speaker 3:Holy shit. And I remember he played in Mike Frost's band, the Inner Voice Band. Brian did, yeah, brian did. And and we auditioned, we had drummers come down and play and they learned three, four tunes. They played all the tunes. And Brian came down and he really didn't know the tunes but he did. But his feel it didn't matter, right, his feel was like it was ridiculous. And of course he ends up playing with us for a short time and it was great playing with him.
Speaker 3:I mean, it's like you said it's like you said it's, it's not. It's, it's just about like that maturity that we are. It's it was. I couldn't believe it, you know, and uh, yeah, so so he he did, he played drums and I think um tim raguse is on piano and keys on on that on this is across the board the first record, the first record, and and mike frost on bass, oh and date, and david man oh, david man and on, yeah, so yeah.
Speaker 1:So that was the first one, and then and after that was Out of the Blue.
Speaker 3:Oh, out of the Blue was second. I didn't know that Second, yeah, and that was just Trita, that was just.
Speaker 2:Anthony.
Speaker 3:Anthony Cherubino, yep, and Chris Elsner, mm-hmm. And then the more recent one was a few years ago and already time flies. Bad Barista, yeah, which, with Chad Wackerman Right and Chris Elzner, played based on that, Chris, Chris yeah based on that as well. Yeah, and Steve Hunt on keyboards.
Speaker 1:Yeah, chris, everybody's on yeah he did a great job. Where'd you record that stuff?
Speaker 3:oh, at my friend Tiki Tiki Record, my friend Fred Guarino oh, I know Fred, I know that name yeah, he has a studio in Glen Cove, and so I've done mostly all my stuff there great studio and you know Fred's super talented guy. You know he's really, really wonderful. I've known Fred since I was in 10th grade.
Speaker 2:Yeah.
Speaker 3:You know we used to play all those big gigs in the gymnasiums, you know.
Speaker 2:Yeah.
Speaker 3:And people used to come out Back in the day Back in the day. Wow, look at all these people, like 300 people in there. Whoa, you know Jesus?
Speaker 1:Oh, man so I want to ask you this yeah, how did so like? I'm not very friendly with I guess I am, I don't know I'm not really friendly with a lot of drummers, Right? Drummers annoy me, Right, Pretty much.
Speaker 2:Oh, me too.
Speaker 1:Yeah, yeah, they do, they are annoying man, but how'd you become friends with Chris Carberry?
Speaker 3:Oh, oh, Chris. I met Chris 1985, at a showcase. He was playing this band called Naked Truth, oh. 1985, at a showcase, he was playing this band called Naked Truth, oh yeah.
Speaker 1:And I walked. He's still. I mean, up until recently he was playing you know, subbing with them.
Speaker 3:Yeah, yeah, and I met Chris at the Bermuda Lodge on Deerport Avenue, so I walked in. He knows the name. And this is when I first started playing and I was really green. I didn't know what, what the hell I was doing I was just like what's? I've never heard half this stuff because I I just came from from playing progressive progressive rock, right and it, it.
Speaker 3:This is like just like another chapter, so I went from that to this so I walked into the music and I saw chris and he was doing a sound check with naked truth and I said wow, this guy's really great, great guitar player. Who's this guy, you know, anyway. So one thing led to another, so we ended up talking and, uh, we hit it off right away, you know, and I remember I asked him uh, what pick what? What humbucker, what humbucker? Using this up because you know, guitar players just talk, right, what pickup, what am?
Speaker 1:what this and that you know what kind of picks do you use. You know so I use it.
Speaker 3:So I'm in the bathroom and chris says he says to me he goes well, it's a 59 double screw or something like that. He goes, he goes, he goes what are you using? I says I think it's like an over. Just I didn't even back then it was what that was. I playing like a super distortion pickup and the crit goes get rid of it, get rid. You should get what I got.
Speaker 3:Get what I got. And I said, well, what do you? And he told me he had something. And he was right. I went out and I got I think it was a 59 double screw or something like Seymour Duncan and I actually liked it better, so you know.
Speaker 1:So yeah, Chris just says what comes into his mind.
Speaker 3:Yeah, yeah. So it was great for almost over 30 years ever since that day, you know.
Speaker 1:The night I met Chris. He was playing at the Sheraton. Okay, where's the Sheraton? Whatever out here somewhere.
Speaker 3:Yeah.
Speaker 1:And after my gig I did a club date or something. I went into the bar at the Sheraton. He was playing with Naked Truth and I don't know if you know. I mean it was like stage right, right, and Chris and the guitar was making it happen, right, and I could not see the guitar. I couldn't see Chris. The whole band was in front of me, lit up, and Chris was standing in the only part of the stage that was not lit. It took me 20 minutes to see where is the guitar. Is it like? Are they playing with a recording? What's going on? He was just sitting there and on the very side, like almost off the stage, playing guitar, and that's where I met Chris. Oh, okay, I actually went to his wedding too.
Speaker 3:I was there too.
Speaker 1:Yeah, I didn't know you, I didn't know you back then.
Speaker 3:Why don't we do some club days together with that guy, john Anderson? Oh, bob Anderson, bob Anderson. I think I did some gigs with you.
Speaker 1:Oh, I didn't.
Speaker 3:Yeah, yeah, I think so that was.
Speaker 1:Seabreeze, seabreeze, seabreeze. They used to open up every gig with hey, we're Seabreeze and we're going to knock your socks off. He said that Every gig.
Speaker 3:I guess that I blocked that out. I don't remember that.
Speaker 1:Yeah, I mean that's a whole. I was before I got the Gus Coletti gig, oh, and I didn't like Seabreeze, it wasn't happening for me.
Speaker 1:Back then and even now I can't hide how I feel about musicians or whatever and I told Bob look, I'm leaving. I got the gig with Gus in two weeks and he got so offended by it, man, really, he called me up, left a message on my machine. It was like hey, john, you know, don't wait. By this weekend I got a cupboard. You know, go with Gus, have a good time. It's a. You know, it was very like he just was upset. Yeah.
Speaker 1:You know, and pissed at me. You know, so it's. It's the only band I wasn't fired from, but then fired from anyway, you know. Yeah, that's right. Bob Anderson, yeah, you're right. I think we did a couple of gigs together.
Speaker 3:A couple of gigs, yeah.
Speaker 1:It's all. But there's so many gigs, so many people I play with, it's like a million years, you know.
Speaker 2:Yeah.
Speaker 1:And now it's like you know, I don't know why I told you the thing that Terry Negrelli told me when he was here, right? Maybe I say it every podcast. So, terry Negrelli, you know he's a trombone player. So I used to play an uppercut with Terry and he told me there's four distinct phases of a musician's life. I think you told me this yeah.
Speaker 1:So, the first phase is, if you use my name, who the fuck is John Simeone? And then the second phase is we got to get John Simeone. And then the third phase is we need a young John Simeone. And the fourth phase is who the fuck is John Simeone? I think I'm in the fourth phase right now. Oh my God, but it's true. I mean, it's like now I see these bands. I don't know anybody, you know yeah, and you drive through Huntington.
Speaker 3:You know the Paramount Theater used to be used to be IMAX yep and there's bands playing there that I've never, I've never heard of well, I, I mean. I used to be able to. It's a whole. It's a whole other world right.
Speaker 1:I used to be able to go anywhere where live music was and know somebody in the band yeah you know, and doesn't happen anymore, because I'm like these guys are like you know.
Speaker 2:20 or whatever, I don't even know what they are, you know.
Speaker 1:Now I look and my students are doing gigs yeah you know, and it's, it's weird too. Yeah, you know, I mean kids. They were kids as far as I'm concerned. Now they're. Now they're taking my work away yeah there was one band at the at the marina this summer um where I keep the boat, and, uh, I did know one of the musicians in there from from club dates right, you know, but that's a that's a rare thing.
Speaker 1:Normally I could, I could, you know, go anywhere and you know, know, a bunch of people right but now that either my fans are, you know, either they're dead or they're dying, or or they don't do club date, they don't do gigs anymore right everybody's like you know it's. It's a different world now. That's what I used to love about the 80s, even though the Huntington Townhouse sucked.
Speaker 3:I took pictures. I live right over there.
Speaker 1:By the townhouse Right by the townhouse.
Speaker 3:I remember they went there with a wrecking ball. I watched that all the time.
Speaker 1:I would have filmed it if I was there. I took some pictures you know but, but I'm saying you could go on a friday night, saturday night, whatever we do five gigs there in a weekend and on your break you go room to room talk to your friends.
Speaker 3:Yeah, everybody was different, you know in those freight elevators and you know, yeah, yeah, that's how I that's how I.
Speaker 1:I always mentioned that too. Like you, I was like. I went to college for music. I graduated.
Speaker 2:I was great guys.
Speaker 1:And there I am in the townhouse elevator next to an open vat of sauce with my drums in a tuxedo.
Speaker 3:I was like okay, well, here we go. This is what I wanted. You couldn't do it now? No, there's no way.
Speaker 1:No.
Speaker 3:I speak to a, I said there's no way I can do it now.
Speaker 1:Well, I mean unless they were paying like crazy money but moving drums around.
Speaker 3:That's what I'm saying.
Speaker 1:I mean, the thing is that the last band I was in they moved the stuff around for me.
Speaker 3:Oh, you had the truck Code Blue moved the drums around and even Uppercut. That's great.
Speaker 1:You know, but when it's not happening, that's the whole gig is like yeah, I mean you know the load in and all that stuff. You're going from the back door and you're pushing through the.
Speaker 2:You know the kitchens.
Speaker 1:And oh god, right, you know, but that's the way it was, man. You know, I would be pushing my drums to the kitchen through spaghetti and stuff and then next to me would be the guy coming the other way with his drum set. Hey, what's going?
Speaker 2:on man. How's it going?
Speaker 1:what room you in, what room you in. I'm in ecuador, oh, ecuador, we're in the uh equifax or whatever you know, whatever it was. So, um, um, what was I going to ask you? Um, what's that? I think that's what I was going to ask you what's your opinion on, like, like, the state of music. Man, it's, it was weird, right, and was it just me, or is it?
Speaker 3:weird. I think it kind of is Not that there's anything wrong, but there's just so. There's some things wrong with it, yeah no, I don't want to say this and that, but there's so many. In Long Island especially, there's so many tribute bands.
Speaker 2:That's the thing.
Speaker 3:And I get calls. You know I have friends that are non-musicians and, of course and you know they would call me she goes. Hey, there's like a Stevie Nicks tribute band playing at so-and-so. Do you want to go? I go, I don't know man.
Speaker 1:I mean not that there's anything wrong with that. I wouldn't even want to go see Stevie Nicks, the actual Stevie Nicks.
Speaker 3:And he goes. Yeah, she sounds just like Stevie Nicks. And I was like, oh Jesus, and I go through that all the time. Oh, there's a band they're playing, they do all this and that, but it's just. But see, that's what I'm talking about.
Speaker 1:That's the thing it's. Yeah, I don't know. I can't describe how I feel about this stuff.
Speaker 3:It. I can't describe how I feel about this stuff.
Speaker 1:It's tough, man. I can't even like describe To a non-musician. I mean, it's like when I was in college. This is like I went to college in 1979, right, I had a professor. The computers were not even like.
Speaker 2:They were like punch cards, right.
Speaker 1:And I had a college professor who told me about a computer program. Now, this is back when they would feed the computer a punch card. He said he heard about this or he saw he had witnessed to this computer thing. You had a punch card right and on the punch card you'd put all your data your date of birth, where you were born, time of birth, all this stuff about you. You put it in the card. Birth, where you were born, time of birth, all this stuff about you. Yeah, you put it in the card. The card would go into the computer and it would spit out notes and those were your notes and there was a whole reasoning behind that. So that's why there are certain songs you hear and immediately you like the song, and the opposite you hear a song and you immediately hate the song. Right, right.
Speaker 1:It's the you know or you like the bridge of the song but you hate the verse, or vice versa. Right, you know what I mean, because it's got your notes and that made sense to me. You know, like, and there's stuff like that that I hear that like immediately I'm like I gotta stop and I gotta listen to that again and again and again. You know and it's I can't really describe that to anybody who's not in the same boat as me. You know what I mean Like.
Speaker 2:I can't.
Speaker 1:Like my son, john is autistic and I think he's got that. I think he's got when he was small. He would, if you put on certain types of music like you know moving music orchestra, whatever. He would cry yeah, wow, yeah, I mean. So it's right, so it gets in you somehow. Yes, you know, I it's. I think that's. What bothers me is like I feel like there are people who are playing who don't have that Right.
Speaker 3:They. You know what I mean.
Speaker 1:Yeah, yeah.
Speaker 3:Nothing against Bruce Springsteen, no, no, I get that so that's kind of the reason why I'm doing this podcast.
Speaker 1:I'm talking too much here. This is supposed to be the Ken Talvey show.
Speaker 3:Okay, well, as I said, Sing something, want me to sing something, want me to do an impression.
Speaker 1:Yeah, yeah, do an impression, do Chris Carberry?
Speaker 3:Hey, I had a great gig. I parked close. No, I was watching the Godfather the other night.
Speaker 1:You were.
Speaker 3:Yeah, and there's this one scene when Al Pacino is sitting. This is before he shoots.
Speaker 1:You've seen the movie right, Of course.
Speaker 3:He goes, he goes, he goes. All I want Wait, actually I forgot what he said oh, it's just. He said oh is this? Oh, he goes, oh, yeah, he goes. All I want is a guarantee no more attempts on my father's life. This is what he said, but I'm not here to get to do impressions, you know?
Speaker 1:no, you're here to talk about guitar. Yeah right, but why'd you choose guitar? You know, you're just like oh, you know how did I choose, I guess, the you know? No, you're here to talk about guitar. Yeah right, but anyway why'd you choose guitar?
Speaker 3:you know, you're just like oh, you know how did I choose? I guess it all started with the Beatles. You know, oh man, everybody says that it's what is true.
Speaker 3:Everybody says that that's yeah, Well, I mean, it's funny because my friend Al Quinn I mean, that's what started it all. One thing led to the other and it was clearly the wrong choice. But yeah, you know it's crazy. As you get older, you know it's really weird. I think we've spoken about this. You go out to dinner with friends and stuff like that, and there's always people ask you questions about music because they find that you're a musician.
Speaker 3:And one thing that really bothers me, and I think I've said this she goes like someone will say you know, he asks you a question and he goes oh, are you still playing? And that ruins the whole night for me. Because, I know if the food comes and I don't even want to freaking eat it. Because it's like what the what? That's like saying you know, do you still drive your car? This is what I'm saying. This is what I'm saying.
Speaker 1:It's like people feel like they can comment on music. If you sat down with a brain surgeon, you wouldn't be able to comment on that. Right, right but for some reason people think who are non-musicians think so they must know something. They hear music and and they think that they can comment on it. Right, you know, but do you tell me the story about the? Uh, some guy said what are you doing? He said I'm a guitar player and he said what a lead or rhythm oh yeah, right, right, right.
Speaker 3:That's another thing that really, when someone says that, it's immediately like it's, it's the conversation if he goes, oh are you a rhythm guitar player or lead player? You know and know, and I said oh God, I don't know that's like what you said. No they say rhythm or lead.
Speaker 1:Rhythm or lead. Right, that's what they say. That's like something you would say, like you know, 10th grade or something In 10th grade.
Speaker 3:That's what you say in like 7th, 8th grade. I know you say 6th.
Speaker 2:so right, yeah, so, but that's still like garage band it's the garage.
Speaker 3:But yeah, and that's that's how they kind of relate to. They look back and relate to that. I don't know so that's where that's coming from. A non-musician who remembers there's a lead guitarist and the rhythm guitarist, you know so, but little things like that.
Speaker 1:It was just like oh I mean, how many times you hear this like it's you know, you start to talk somebody who's not you, your accountant's, or your lawyer, or somebody who's you're there, you're there as a customer, whatever right and and it comes up and they always somebody says something like oh I, you know, I play a little guitar too oh my god, you know I I, yeah, for example, like one of my neighbors, I, greg, like played my kids when they were young.
Speaker 1:I had them sing a cappella, twinkle, twinkle Little Star, and you know, by themselves. I just said sing. And I recorded it and I sent it to Greg and I said, could you do something with this? And Greg played this phenomenally orchestrated, with an orchestra, a literal orchestra around. I mean it was unbelievable. And I don't really play that for people, but it was unbelievable.
Speaker 1:I don't really play that for people, but I happened to play it for my neighbor it was far beyond. It was just great, because I have kind of a heart standard right, they listen to it and they go. This was a woman, she goes. Oh, my husband plays just like that. I'm like no, he doesn't.
Speaker 2:I can tell you he doesn't play like that because I would have called him to do it.
Speaker 1:He doesn't play, you know, and it's like that's a huge gap right it's somebody who's like phenomenal and somebody who's like, and they think that they're right up there you know right right, right, you know, I don't know.
Speaker 3:See, I got a bad attitude I think as you, as you move forward and get you become jaded you get jaded.
Speaker 1:Yeah, I mean, it's like you said I get questions all the time, you know, oh, so you get a gig, you know, yeah, but nothing stupid.
Speaker 3:Yeah, and it, it's, it's. It happens some I could be in a small italian restaurant somewhere and out with friends and the guy and a friend of my old friend, he goes. You know, kenny, you really should. Why don't you try getting a gig here you? Know, I'm saying to myself you've heard the record, you know that it's not going to go over.
Speaker 1:Right.
Speaker 3:People are trying to eat. The last thing they want to hear is jazz fusion.
Speaker 1:Yeah, you know what I mean, yeah.
Speaker 3:And it's you kind of get used to it Because it's it's ignorance. They just don't know. You know what I mean, I know.
Speaker 1:And it's upsetting to me Because there's no other. What other occupation has that problem?
Speaker 2:Yeah.
Speaker 1:You know where you have people trying to hone in on what you do.
Speaker 2:Yeah.
Speaker 1:You know what I mean. Like really think about it and it bothers me because it's such a creative thing.
Speaker 2:Really.
Speaker 1:Right, it's not like just learning how to be an accountant or whatever it's exactly.
Speaker 3:It's creative.
Speaker 1:I mean, I watched an interview. Oh, you should talk about this too. I went to school with Dave Weckl and he did an interview. The one thing he said that sticks with me is he said to it was Dom Famularo who was interviewing him. He said I didn't choose drums, drums chose me. That's true.
Speaker 3:Yeah.
Speaker 1:It's not like you go. Hey, you know, I think I'll be a drummer. It doesn't work that way for those guys right. It's just something you've got to do. It You've got to do it.
Speaker 2:Yeah.
Speaker 1:Yeah.
Speaker 3:Yeah, it's something that you just that's like a sideline. You think it's like a sideline, so you did it years ago when you were younger.
Speaker 1:Right, what did you do for money? So all of a sudden, yeah, it's like.
Speaker 3:What's your real job, I don't do it anymore.
Speaker 2:Yeah, yeah.
Speaker 3:It's really annoying. It is annoying, you know it is. There's tons of other stories too.
Speaker 2:What else?
Speaker 1:you got.
Speaker 3:You. Well, there's all kinds of things, man, I mean things that really get under my skin. Give me some, oh I think I told you the story about. I was talking to this guy and he said I really didn't like the band. I didn't like the drumming and the guitaring wasn't good either the guitaring he goes. I didn't like the guitaring. And I'm saying I don't think that's a word.
Speaker 1:I never heard that one.
Speaker 3:You know what I mean you know what. I mean yeah. It's great, I love that I love that you know, and I don't know, man, you know, but what else you got?
Speaker 1:Give me more Another story. Yeah, that's great.
Speaker 3:The guitar, the guitar thing. Yeah, should I have said that's, that's not a word. Maybe that would have bothered. That's not the word you used. You could say the guitar player, the guitarist.
Speaker 1:I didn't like that. You mean say it to that guy.
Speaker 3:Forget it. He'd never get that. You didn't like the guitar playing. He didn't like his playing, but to say the guitaring because he's a drummer. So I think that's what he.
Speaker 1:Right, wait, he's a drummer and he said guitaring. Yes, oh my God. I had a parent one time, when I was teaching middle school, who said oh yeah, you're a drummer, my buddy's a drummer.
Speaker 2:I work with this guy down the shop.
Speaker 1:He's a drummer also. Yeah, I said, oh, yeah, that's great he goes. You might know him. You may know him.
Speaker 3:It's Joe McLaughlin. Oh, Sticks McLaughlin, you know him. Yeah, of course he's great. He must be really great with a name like Sticks. Oh my God.
Speaker 1:Well, if his parents named him Sticks, it's got to be phenomenal. Yeah, I know, I know. Oh God, Crazy man.
Speaker 2:It really is.
Speaker 1:It's disturbing to me Like people will be like people will ask me questions about a gig. Like oh oh, you guys played at the whatever. That's cool. How's that you know? And then I say something like hey, you know I'm working with this guy now, ken and his daughter this phenomenal you know thing, for she works for Hans Zimmer. Who's Hans Zimmer? Oh, you know, he's like this. Oh yo, oh, oh, you know, schlesinger, he's like this. Oh yo, oh, people don't, they don't get it.
Speaker 1:They don't realize how important a soundtrack is to a film. They don't get it Without it.
Speaker 3:There's not. There's. Well, there are films that don't have soundtracks, you know, but most of the time without it, it's nothing. Yeah, imagine the work that goes into it. Right, they just don't. They just don't get it. You know, of course, not so. So what else you got, um, anything? Well, let me ask you a question how do you do you?
Speaker 1:enjoy playing um uh in in my band. No, I hate it it's terrible.
Speaker 2:Now the truth comes out. It is terrible. That's why this is why I invited you to tell you I quit, I goes.
Speaker 3:I just can't take it anymore.
Speaker 1:No, I love it because it's unfortunately for me. I think a great drummer is a guy who can play with. Let me just get this whole thing out before you assume something here. Okay, I think a great drummer can play with a real shit band and still be a great drummer, still sound like a great drummer. I don't have that. I can't. I think when I play with guys who can't play, I don't play well, right, I sound terrible and I hate myself Like I'm playing going. What is going on here?
Speaker 2:I cannot get this happening.
Speaker 1:Yeah, and then with you guys, it just it brings out the best in me. I feel like that's why I do it, man. It's like you know, we had a couple gigs that things were going on. You know we were doing problems and we figured out why. Right, and it makes me play the way I think I should play.
Speaker 3:That's cool Okay.
Speaker 1:You know, I'm my own worst critic also.
Speaker 3:I think we all are.
Speaker 1:Yeah, I hear stuff I play back and I'm like, oh man, that's just terrible, you know, like some of the stuff even the last gig, dave sent me clips of it and I'm like some of the stuff's way on top, I'm like, ugh, sounds like I had too much caffeine or something, you know.
Speaker 3:And what stuff was that?
Speaker 1:Well, our stuff the last gig?
Speaker 3:Oh, he had. Yeah, he gave me some snippets. Oh, okay, and it just Because there was something I saw on, I think it was Facebook.
Speaker 1:That was probably John taped it.
Speaker 3:John Claude Troche. He did that, but it wasn't John's, because John's I have. Oh, this was something else. The sound was different. It wasn't, but it sounded good. No, I mean, I think the band sounds good but me personally, I sound like I'm on speed.
Speaker 1:Really, I feel like I'm playing ahead, oh wow.
Speaker 3:So, whatever, I think overall it was really good, because one gig is worth ten rehearsals.
Speaker 1:Right, oh yeah, so it was good.
Speaker 3:Now, as you know, that was an experiment over there at that place which failed.
Speaker 2:It's a failed experiment.
Speaker 3:The guy that runs the place didn't do any promotion at all and he expects us to do everything. You know what I mean.
Speaker 1:It was fun.
Speaker 3:It was actually. I enjoyed it. It was a lot of fun.
Speaker 1:It was our first gig with Sam. With Sam.
Speaker 3:I think he's doing a great job, right? Yes?
Speaker 1:Yeah, okay, so I think, uh, I think that's it. I think we're out of time here, man. Oh, because uh podcasts have a length, yep out of time. So thanks for coming man, I appreciate those good, those good stuff man yeah, and, and I quit also, and what I quit?
Speaker 3:oh, so you weren't kidding about that. So this is. That's the real reason why I'm here, right? No, I wanted to humiliate you on my podcast.
Speaker 1:You've done a good job.
Speaker 3:Thanks, John All right Ken.
Speaker 1:Thanks man, later man Pleasure.
