Andy Frasco's World Saving Podcast - EP 130: Stewart Copeland (The Police, Oysterhead)
Episode Date: June 29, 2021The band is back on the road & crowds are HORNY for live music. Can Andy reign in the waves of desire & brave the seas of discarded bras? On the Interview Hour, we welcome an absolute gentleman & musi...c scholar, Stewart Copeland! Andy keeps up with this powerhouse muso academic as Stewart talks about narrating emotions thru composition, dishes on Oysterhead with Trey & Les, & his time with Sting. Also his dad was a spy?! Shawn shares a song. Andy closes us out with talks of Peach Fest. This is ep 130 Follow us on Instagram @worldsavingpodcast For more information on Andy Frasco, the band and/or the blog, go to: AndyFrasco.com Check out Andy's new song, "Love Hard" on iTunes, Spotify Follow the legend: stewartcopeland.net Shawn covers an incredible Michael Kiwanuka song, "I'm Getting Ready" Produced by Andy Frasco Joe Angelhow Chris Lorentz Audio mix by Chris Lorentz Featuring: Nick Gerlach Shawn Eckels Jon Hampton Geoff Gordon Arno Bakker
Transcript
Discussion (0)
Andy, Nick here.
Calling about the talent show that you told me I'm going to be doing,
and I haven't talked to you once since.
I don't know what you're doing.
I guess you're on tour yelling the name of whatever city you're in over and over
as if these people don't know.
People have been hitting me up about doing this talent show.
Like I said, I'm not going to help you organize this at all.
You're not paying me enough to do all this work.
You're barely paying me enough to get on stage.
So I'm sending each of them your way.
I gave them your personal phone number, no email or social media.
I know how you hate that.
It says, call him.
He will talk to you.
So start getting to work on this.
Cause like I said, we got three months and I'm not doing anything.
Hi, Andy.
My name is Montgomery Jenkins. I was giving you contact info so that I can submit for the talent show.
And I don't want to reveal everything, but my talent,
I like to put ping pong balls in my you-know-what
and I shoot them out for target practice.
I can hit from about 10, 15, I think 20 feet away is my max, but I'd love to show my talents off to the world.
So if you want to see a nice hot stud shooting ping pong balls out of his butthole. Please give me a call back.
I really love the showcase.
All right.
Thanks.
Talk to you soon.
Andy, it's Steven.
I got your number from Nick.
I don't have any talents, but what I do have is your phone number.
But what I do have is your phone number.
And I'm going to call you in the morning and at night to tuck you in.
On your birthday and on Christmas and on July 4th and Martin Luther King Day.
Every day because I love you so much. I want to wear your skin.
And we're back. Andy
Frasco's World Saving Podcast.
I'm Andy Frasco. How's everyone
doing? How's our heads?
How's our minds? Are we
trying our hardest not to black
out every single day? My God, Jesus Christ. Back on the road, y'all. It's heavy. Everyone's
raging, ready to have a good time, and I'm there with them. Maybe for a little too long
at the bars, Jesus Christ. We're back. Hi, I'm Andy. How's everything
going out there? I'm on the road
right now. I'm getting
ready for Peach Fest, actually.
Next week, we got Peach Fest
July 1, July
2, July 3, and July 4.
Another installment of the
Peach Fest episodes of the World Saving Podcast.
We got a great one. We got
Stuart fucking Copeland on the show.
Police.
Oysterhead.
It's a crazy episode.
And we got the dudes from Live Nation
who actually brought,
who are building out the festival
and building out the lineup.
They're going to close out the show with us.
But it's going to be fucking fun.
And thank you so much for tuning in to another week.
This week has been fucking insane, dude.
We've sold out all
our shows. People are
ready to rock. Indianapolis was insane.
Columbus, Ohio was insane.
St. Louis was fucking nutty
butters. Aurora
too. What the fuck? Suburbs. Shout out
to the suburbs. Let's go.
Suburbs were lit.
Dude, the suburbs
were lit Of Chicago
Aurora
I got
Like four or five bras
Thrown on the stage
People were throwing
Fucking mushrooms
I felt like
The reverse of Oprah
Where the fans were like
You get some bras
And you get some mushrooms
It was good
So shout out one more time
To Illinois
That was dope
The whole tour was dope
Omaha was dope Lyle Davinsky was dope. Omaha was dope.
Lyle Davinsky on tour with us was dope.
We got to play some songs.
We got to back up Lyle.
It's so inspiring.
Lyle, it's scary to start something new.
He had a good thing going with the motet.
To put your dick out there by yourself
when you've been throwing fucking massive
parties with the motet is um is honorable so shout out to Lyle um we've had a great time with you
buddy this whole tour has been amazing it's been overwhelmingly incredible the responses and you
guys are singing along and it's just you know all that hard work is uh paying off and uh it makes me
feel happy that you see me as a songwriter too you know i know i get crazy i've been crowd surfing
lately been fucking spilling jameson everywhere and uh sticky i swear to god i've done my laundry
now um three times because I get so excited.
I'm like,
we did a club show last night because it rained out
so they put us inside
in Indianapolis
and dude,
it was just
fucking
the heat of the moment.
It felt like an old show.
It felt like 2019
all over again.
I was crowd surfing.
We were doing the horror.
I was just,
I wanted to get back
to the roots
of just connecting
and so shout out
to the Vax.
They're working
and shout out to everyone Vax. They're working.
And shout out to everyone just giving me a shot.
Fuck yeah.
I know it's weird.
We've been in fucking pods.
We've been in fucking pods and whatever, baseball fields and separated. And it must feel good to be with your brothers and sisters again on that dance floor just fucking sweating your
ass off. Shout out to y'all. We made it through. But it's been so, dude, this life is crazy right
now because it's the ups and downs of the whole thing, you know, and you got to learn like I'm a
year and a half out of shape of going on tour. You know, I've been chilling in my house, you know,
drinking some whiskey and then
passing out on the couch to fucking Netflix. Now it's like, oh, you don't have to stop. You don't
have to go to your bed. You have to actually, you can rage if you want. So it's learning about
self-control and I'm learning it because, um, it's important. Self-control is important. Whatever you
do in life, um, you could over things, and then you start getting burnt out.
And then all of a sudden the anxiety hits and the fucking depression.
We don't want to burn ourselves out.
We learned.
Let's learn from before the quarantine.
Remember when we were just working, working, and fucking poosh?
Take a step back.
Stay in line with what you want, with what your needs are.
And then you come back there.
And when you rage, you're raging more mature.
Let's go.
That's what I'm doing now.
I'm a mature rager now.
A fucking mature rager now.
Because I'm about to walk into Peach.
I'm doing the correspondence in Peach.
So I'm going to be in the crowd.
Just interviewing people.
Hanging out in their tents and shit.
And letting people know the inside grit of the Peach Fest.
I'll be interviewing some bands too,
but I'm going to be in that crowd,
and I need to learn self-control.
So if you see my eyes start crossing,
because I'm only playing one show,
so I am just commentating.
So just keep an eye on me.
You know I'm a yes man,
so just make sure I get water in me
because all my friends are going to be there
and I'm probably going to drink.
Just keep an eye on me.
If you see me out there,
if you see me just confused
or my brain scrambled
from just running around,
I want to go on the water slides.
Honestly, I am so excited for Peach Fest.
We fucking had such a homecoming show there at the pool last time. Crowd surfed into the wave pool. It was fucking tight. We're going to bring some heavy shit. We got
some special guests for our Peach set. And we're just going to fucking celebrate because
that's what life's all about. We're back with the homies. We're back with our friends. We're just going to fucking celebrate because that's what life's all about. We're back with the homies. We're back with our friends.
We're back with all you weirdos out there.
What's up?
I see y'all.
All those weirdos.
I love it.
Keep being weird because that's what it's about.
Showing your freak flag.
Letting anyone know that if they want to fuck with this,
do I have to play the goddamn music?
Festival season's coming, people.
It's time to take off the
PJs, turn off
the Netflix,
and get ready to fucking show
for all the musicians who couldn't
fucking play for a year and a half, because it's going to be dope.
So I'll be there all weekend.
Come say hello to me. I'll be running around.
But we got Stuart Coppola
on the show. It's going to be tight.
And also, speaking of shows
Repsy, our main presenter
Repsy.com, bands
You wanna get some songs
I'm telling you, like, I'm looking at my calendar
For the last, you know
I'm pretty booked up until
I don't know, January, February
But, you know, when we're booking the shows
There are 13 holds
If you don't know what a hold is,
it's basically,
you're waiting in line
to get that date in the venue.
Everyone is going to be
torn their ass off.
Might as well
get another situation in
and put your band on Repsy.com
because,
first off,
if you have an agent,
if you have an agent
working his ass off,
shout out to all the agents out there
just fucking working hard.
I see y'all.
Josh Knight, Bongiorno, the crew, they're working their dicks off Agent if you have an agent working his ass off shout out to all the agents out there just fucking working hard. I see y'all Josh night
Bongiorno The crew they're working their dicks off all their bands are like we're hungry. We need to work
So they're working their ass off for him. So might as well gives it some little extra help if you have an agent
They don't take the percentage
But if you do have an agent they'll give you it they'll take a small cut and also you're in control
So if you don't want that show that they get you and fucking, I don't know, wherever it is, Poughkeepsie, maybe,
or maybe you want, maybe the show that they got you in Philadelphia is a little too far,
you're in control, if you don't want to do the show, don't do the show, but at least you get
another guy in your ring fucking fighting for you, it's a win-win situation for your band so go sign up repsy.com
yo it's going down it's going down it's festival season i feel it in the air everyone is excited
shout out to everyone who sold out all who came out and sold out all these shows and buying merch
and fucking making us feel fucking tight and getting us goodies you know i get you know i i
get all your packages you give me before the shows.
It's awesome.
Thanks for the mushrooms.
God, I've been getting so many fucking mushrooms.
Shout out.
Shout out to y'all.
You know what I like.
You know what I like.
My people out there taking care of my mind.
Because you know it's hard on these streets.
You know, when you're entertaining every day,
and you're moving and you're grooving and fucking killing it,
and then you wake up and you go grooving and fucking killing it. And then
you wake up and you're like, oh fuck, I gotta drive eight hours. Okay, cool. Drive eight hours.
Then do the same thing. And then you go out and drinks, maybe, you know, fucking get fucked up
until about 4am, 3am, whatever. Brian's listening to this. Fuck it. And you have fun because we
miss this. This is what we do. This is our life.
And I'm just so happy that we're coming back.
I know how much these bands miss being on the road and playing every fucking show
and giving it all you can, sweating out your fucking emotions
and fucking jamming and fucking hanging out with the bartenders
and trying to get laid, whatever you're trying to do.
It's fucking awesome.
And I'm so stoked that everyone is slowly coming back and I can't wait to see everyone at Peach Fest, so are
you ready, you're gonna have a good day, oh shit, I gotta announce some shows before I pump y'all
up a little more, um, July 14th, Avon, Colorado, um, July 15th, Ridgeway, Colorado, we're playing,
we're doing a Colorado run, uh, July 16th is Dillon, Colorado.
These amphitheaters are sick in the mountains. If you guys
want to take a little road trip up to the
mountains, go see us in the mountains.
We get
extra mountain high.
Stupid. That was stupid.
Then we're playing
Relics. I'm doing the Relics dance
party. After the
String Cheese incident plays Red Rocks.
We are going to do a live stream, so it's going to be
a later one, but come out to that
on the 17th. That is Floyd Fest.
I'm pumped up. Where are my Virginia people
at? I'm fucking ready for this.
Last time we played a baseball field.
Now we're doing Floyd Fest. I've always wanted to do it.
And I can't wait to see all my homies
out there. It's going to be a great
time. And then the week after that, we're on a little run, actually.
We're doing July.
We're doing Steamboat Springs, Colorado.
Doing a wedding in Park City.
That's going to be sick.
I can't tell you it, but once it's done and this thing happens,
I'm going to tell you about it.
We're backing up this.
I'm not going to tell you.
I'll tell you later.
August 1st, Huntsville, Utah.
Yeah.
Going back to Salt Lake City.
We're doing our Fro Fest again.
You know, for all my Mormon people out there.
If you wear an afro, you get in for free.
That's what's up.
You know what time it is.
Then it goes August 4th, we're in Victor, Idaho.
August 5th, we're in Salmon, Idaho.
Playing with Chris Lagerband.
I just interviewed Chris.
We're going to get him on the podcast
Chris Logger is the guy
He helps me
In the beginning of my career
He helped me write all my music
And he's a fucking badass
Catch em Idaho
July 6th and 7th
And then there was something else
That just announced
Oh, Dewey Beach
All my people
Let's do it
We're playing the Starboard
August 29th
And all my people in Charleston,
I know you're like, fuck, where is
the Charleston date on the fall show?
It's actually
on the 31st of August. We're playing Isle of Palms
right next to Stasek's house. Let's go.
I better see your ass there, Stasek.
It's during the week. I know Umphreys doesn't
tour during the week. You better come
to that fucking show. So we're playing the Windjammer.
And then, yeah, we got the fall tour. So sign up for the talent show if you
have a weird trait, if you got a weird thing that you want to show, you know, 300 to 1,000
people every night. You got juggling skills. If you learned how to eat fast or fucking
learned how to like air fry, bring your air fryer up there on stage. Well, let's fuck.
I'll test out your food.
Fuck it.
Let's ride.
But get your tickets.
Presale's been going crazy.
We've already had a few sold out shows
and it's four months away.
So fuck.
Yeah.
Thank you guys.
What the fuck?
We're moving up.
Never pre-sold a goddamn ticket in my life.
That's a lie.
But then the Ogden's selling pretty good in October.
But it's a big venue for me.
I know we just did Red Rocks, but it's a big indoor venue for me.
So come on out, all my Denver people.
I know that Denver fucking listens to this podcast.
Shout out to Denver.
I'm coming home soon, guys.
I'm coming home soon.
All right.
Guys, have a great day.
Be safe out there.
Enjoy Stuart Copeland.
Fucking what the fuck?
This podcast, three years.
This is what I'll tell you.
If you got a dream, fucking stay with it.
I had this crazy idea three years ago to do this podcast,
just interview my friends to help me figure out myself.
And from there, I became a better listener.
And from there, I feel like I've become a better interviewer.
And I think it's showing.
I mean, at least the publicists think I'm a good interviewer
because they're giving me their talent, which is tight.
So shout out to the publicists out there.
Thank you, Mara.
Killing it.
Our new show host, Booker, talent Booker.
Mara just killing it.
And Brian, too.
So I'm stoked for you to listen to this Stuart Copeland interview.
We talk about everything.
Talk about the police.
Talk about Oysterhead first time and playing together.
It's a big one.
All right, guys.
Be safe.
I love you.
And don't take no shit from nobody.
Wave your freak flag down.
And let's fuck shit up this summer.
I'll see you.
All right. Next up on the interview hour, we have Stuart motherfucking Copeland. Chris, play any song that he's on that's not going to get a sued
from the record. Man, what can I say? Drummer, extraordinary. Police, Oysterhead Oysterhead's back at Peach Fest
This weekend
I mean, what the fuck
This is amazing, you're gonna love it
We talk mental health, we talk about being in a band
For so long, we talk about Oysterhead
And coming back
And how Peach Fest is one of the first OGs to do it
Let's ride, let's go Peach Fest
My people
So go check them out
July 1, 2, 3, and 4
That's this weekend y'all
Alright
Enjoy Stewart Cove Wow. Stuart Copeland. How you doing?
Good, good. I say that to myself every morning. I look in the mirror and go, wow.
Jeez. Oh, my God.
What's quarantine like for Stuart Copeland?
I am reminded of so many of my brothers and sisters who've been through so much.
And then I go back to my own predicament, which is extremely fortunate and for which I am extremely grateful that I live in an ivory tower, which is three miles tall with a great sound system.
And the suffering and the pain and the anguish far below
really doesn't permeate.
But it does.
I mean, I'm aware that some of us got away with this apocalypse.
Scott Free and others paid a huge price.
It's a beautiful thing to take a step back. I mean, you're a guy
who always works and stuff, it feels
like. So when you take a
step back from working and seeing what
you are thinking about in your
head through this quarantine, it must have been
a nice relief that
you didn't have to work so much or did you work more?
What's your brain like? Well, next
week I'm going back to work. I know.
I'll be there with you. I'm a little scared. But actually, I'm going back to work. I know. I'll be there with you.
But actually, I'm looking forward to going in front of
an audience again and blast away with my
two good buddies.
I'm looking forward to that. Last week,
I went to Germany because, don't
tell your listeners this, but
actually, my day job is get
this opera composer.
Really?
I know that's a conversation stopper,
and I'm sorry.
I'm supposed to be the drummer in a rock band,
and that is my weird.
That is my fate.
That is my destiny.
That is what I owe the cosmos to bang shit, okay?
But I also have a soul and a heart
and sensitive feelings,
which can only be expressed by a large soprano lady going,
Roar! And so during the apocalypse, feelings which can only be expressed by a large soprano letting go.
And so during the apocalypse I wrote
I finished one opera and completed
another. And I was in Germany
the one that I wrote last year
at the
Deutsche National Theater which is the
it's like the Met of Germany. It's the national
opera company of Germany.
And living the dream of Germany. It's the National Opera Company of Germany. And living the dream of, you know, okay, I'm a rock drummer.
Okay.
Occasionally dreams weird stuff about being a composer like Mozart or something.
Well, I lived that dream in Weimar, deepest Thuringia, Germany, with the cobblestone streets and the statues of Goethe and Schiller and Liszt and everything.
I, you know, there's a psychiatric ward in the Jerusalem hospital, which is devoted entirely
to people who go to that incredibly historic city and are infused with the history of the
place and discover an epiphany.
I am John the Baptist.
You know, happens all the time uh you know and so weimar this this
city of the arts of germany it's like the cultural capital of germany like the seattle of germany or
something you know um uh you know philosophically speaking yeah totally that i believe I am spontaneity. What did you learn about music, writing, and opera?
Well, it's the other way around.
I learned how to write opera by being a film composer.
20 years before the mass as a hired gun.
Flinty, you pay me money.
What do you want?
Happy, sad.
I can do happy, sad.
I can do sad, happy.
What do you want?
You want to trust this guy, or do you want to know that he's a lying scumbag?
I will tell your audience not to believe their eyes, but to believe the music.
And in film, they do.
They don't believe their eyes.
That's Tom Cruise on the screen.
The composer tells the audience, he's handsome, but he's lying.
And so music can do that.
Music can tell you not to believe your eyes.
And that's what i did for a
job for 20 years okay now i get to not have to do that anymore um and so i can go to where the
composer is god king and that's opera okay you have to get over the sound of that singing style
but that's easy just drink the kool-aid pretty soon you'll be in there yodeling with all the rest of them.
Because what it does, it's an art form, like a movie,
where music is the locomotive force.
The whole purpose of it is the music,
which, of course, is dope for a composer.
Yeah, and I've been to Germany and seen the operas there.
I didn't understand them because I didn't speak German, but
the beautiful part about it is the stories. There's no difference between the stories you talk
in your rock and roll world versus the stories you talk with what you're doing, composing,
and what you're doing with your operas, right? Well, it's the human condition.
Human beings, whether with long hair or short hair or piercings,
living life.
That's what opera is.
Movies, they're all about that.
Storytelling is universal.
But the cool thing about opera is that the composer gets to be the boss man.
In TV, the writer is the boss. He says what goes.
In film, movies, the director is the boss. He says what goes. In film,
movies, the director is the boss.
It's his vision. Everyone else,
including the hired composer,
is not an artist. We're craftsmen serving his art.
Well, opera,
the composer gets to be the boss man.
Do you feel like that as a drummer?
The drummer
guy is a different guy in a weird way drumming is
a physical activity something that you do not something that one thinks about that much i mean
i don't know what's going on i never play the same thing twice yeah when i do shows with orchestras
too yeah um and i've got some shows with the san diego symphony cleveland orchestra and various
others coming up where I'm playing actual
police songs, which I deranged for full orchestra.
And I've got three soul sisters on the mic to sing the songs.
And in that case, I know exactly every noodle, not just every note, but every noodle, every
inflection.
It's not da-da-da-da-da, it's da-da-da-da-da.
I know all that because I put it there on the page,
and I know that those players will obey with absolute precision
and loyalty to the page because that's their entire ethos,
unlike that lead guitarist guy who just makes stuff up,
and that's why you work with him because he makes up cool stuff.
With an orchestra, you put it on the page, and that's what they play.
While they're busy doing exactly that i can do god knows what on the drums and god only does know what because i don't i just follow my instincts sometimes i take a left sometimes a right
i'm just banging stuff here chopping wood uh and i can make it up this way or that way because i know
that orchestra is gonna be there do you feel like you need that in your life?
You need structure so you could be chaotic?
Yeah, everybody's strapped down so I can rock.
No, but it's true.
I mean, like, I don't know.
Actually, no, that's not true.
I'm just saying stuff because it's fun to say.
No, really, the opposite of that experience.
Last week, I was there with the charts and I'm there with the orchestra and the singers scrutinizing the notes does the hairpin begin here so that
builds up to there or does the hairpin been here so that builds up you know yeah all these minutia
that are really worthy of obsession with oyster head uh-uh we just go out there and i don't know
what trey's gonna do i don't know what less is particularly don't know what Trey's going to do. I don't know what Les is going to do. Particularly, I don't know what Les is going to do.
But I'm going to probably like it because I have so far.
And that's an entirely different experience.
There, I'm banging drums.
And I'm making stuff up.
They're making stuff up.
We're all just kind of in the most blessed feature of this entire exercise is the audience.
The jam audience is maybe second only.
No,
maybe even Stevens with the jazz audience for being extremely indulgent.
They will just sit there and take it.
And they like it.
Yeah.
I was going to ask you,
like what's the difference?
The most fun people to play for on the planet.
Yes, please, I will play for these people.
I will even go so far as to play jazz to a jazz audience.
That's what I was going to ask you.
What's the difference between playing in a band like Police
versus playing in a band like Oysterhead?
Pretty simple, really.
The formula for achieving audience ecstasy is sort of the same but quite different.
For the police, they're songs that you know.
You know the verse and you know that's coming up to the chorus
and it comes up to the chorus and it goes,
don't stand so close to me.
You know what's coming, you get it, and you lift off.
And I've seen that a million times on the stage.
We come to that big
hook that big chorus and the audience lifts up because they're expecting it and they get it
with oyster head nobody knows what's coming yeah and there are times when we're dead in the water
because we are really genuinely just making it up and really genuinely sometimes you're dead in the
water yeah we've already played this riff for too long.
Anybody got an idea?
Well, give me a second.
You know, we're there in front of an audience, dead in the water.
But Les comes in with some baseline out of nowhere from the cosmos.
You know, he gets something.
He picks, Trey picks up and we got some guns.
I pick up on the, bam, we're right.
And that same surge that we got with a police
concert with the expectation they know it's coming and the verse just kind of teases them and then
you hit the hook with oyster head the tease is us looking for something and when we land on it
man that rush that the audience gets infused gets us all excited yeah then lifts us up and so we
achieve kind of the same result which is like those moments of intense payoff, you know, when the music, it just all hits and just perfect.
But there's an extra X factor when it's achieved randomly.
When you don't know where it's going to be or when it's going to be or what it's going to be, that's what jam band audiences are kind of all about.
They like those dead spots. It seems to me when I'm dying on stage, I just like against all the craft
that I've learned as a professional performing artist. I look down and I'm thinking, we're dead,
we're dead. And I look at the front rows and they're super engaged because this proves to
them that this is not some rehearsed baloney we really are
making and that's that's what they're here for and so when we that's kind of an inspiration so
when we do connect and lift off it's kind of an extra thrill what do you like better this is
spontaneity or knowing that you're going to kill well uh they both kill. Yeah. I know that.
Yeah, you know what I'm saying.
Well, they're good for different reasons.
With a known song, you can pace yourself.
And so the light and shade are more known.
You can work it and pace yourself so that you're really there when you need to be and
you can take a little break during the verse.
Yeah.
When you don't know what's happening and when sometimes Trey can play a real Voyage of the
Cosmos on that guitar.
Yeah, he can.
When he takes it higher, you always know that no matter what butt gut you're busting he could
probably take it higher yeah and he's probably gonna take it higher and so there's the excitement
of that but also the challenge of that what's the difference between sting and tre? They are both completely besotted with music. It's why
and who they are.
They both
have intellectual
pursuits that have nothing to do with music.
I would say they're both
actually, in quite different ways,
very spiritual.
But the main thing that
I would say they both have in common
is that they are
100%
music. That's why and who
they are. In both cases,
with Sting, sure he's got lots of
money, he's got palaces, his wife
makes great wine,
he's got all kinds of cool shit going on.
It's about the music.
If you just knock on Sting's door, hey, what shit going on. It's about the music. Yeah. He, you know, you will,
if you,
if he,
if he just knock on Sting's door,
Hey,
what's going on?
You'll probably find him with an instrument in his hand making music.
That's what he does all day,
every day.
And the same with Trey.
Trey has got a guitar in his hand or he's thinking about music or he's doing
music.
These two guys,
like I say,
a little specter me there but that's what
makes them so cool that's what makes their gift so vibrant what what do you like about guys like
that who surround yourself who surround themselves with nothing but music is it distraction or do you
love that that they have well i'm working with that that. I don't know that I'm quite that spiritual myself.
I mean, you're doing a lot of projects.
Yeah, yeah, yeah, and it's all music.
I'm not quite so immersed, I think.
Maybe because composing is intellectual.
I'm staring at a screen and I've got it going on in my head.
And also I'm dealing with a screen and I've got it going on in my head.
And also I'm dealing with other issues like the drama.
The love interest comes on stage here.
What do I do with her?
What's her attitude?
What's the music that goes with her?
And I'm sort of thinking there's a lot of technique involved.
When I get on the drums, I'm just banging.
I don't know.
I'm just banging stuff. I got a groove. I don't know. I'm just banging stuff.
I got a groove.
I don't know.
I'm just banging shit.
Entirely different part of the brain.
Yeah.
You know, it's fascinating because having a bandmate, you know,
I don't know your relationship with Sting.
I don't know your relationship with Trey.
But just being with someone for that long,
it's got to be fucking hard to keep the love around.
No, no, no.
It gets deeper. You know, famously, Stingo and I fight all the time,
only when we're talking about music, which is weird.
Really?
Go figure.
I mean, we came together for a while there where we were simpatico
and we needed each other, codependency.
And then we achieved a lot of
stuff and then we parted company and 30 years have gone by and i've kind of gotten used to not
having the bass player come over to me with an opinion yeah yeah unless it's less and if he comes
over to me with something going on i'm all ears what do you got less because i know i'm gonna like it yeah um and it's just you
know people grow up they grow apart and when we came back to do the police reunion tour that was
an eye-opener i thought we would all just fit right back together again like before but no guess what
we'd all been doing some growing and we're not the same shape as we were before. Yeah. Now, in the case of Sting and myself, we each have a different idea of what music is
and what it's for and how to make it.
And I have enormous respect for his concept
of what music is for and how to make it
because I'm a big fan of his.
I buy all of his solo albums.
I got them all.
Yeah.
I'm still very susceptible to his lyric sense,
his melodic sense, his bass lines. He still kicks ass, in my opinion. But to work with him,
we haven't got patience for each other. And it just doesn't fit that well anymore. And
the stuff that I think is a brilliant idea
is like a sacrilege upon his beautiful piece of music
that he wrote.
And I totally understand him.
I mean, when I write work for orchestra,
I don't want the bass player making stuff up.
Well, actually, in the case of Der Angelus,
I got a bass player who's going to be making some stuff up.
Armand Sabaleco makes stuff up because he knows the music.
So there's, you know,
nothing is 100% true, folks.
A lot of what I'm saying is kind of
self-contradictory. Music
is like that. But when did you realize that?
Was it earlier in the
police or later in your life that
you guys worked together? Well, we were very lucky
that Sting, actually one strain
of his character is extreme loyalty.
And long after the point where he had written hit after hit after hit, and a guy might start to get a notion in his head after that, that, well, I do know something about music.
And if I think it ought to go like this, my ideas are not idiotic.
I might know what I'm talking about.
And the frustrating thing about Stingo is that he's right.
He does know what he's talking about,
which doesn't make my interaction with that any easier because I got whatever
cockamamie idea I've got going on,
which to my esteemed colleague is an intrusion.
And to me, it's just obvious.
It's no fun.
I'm not a session guy.
I'm really the world's most crap session player.
I can't remember.
I don't bother with the arrangement.
Take two is not going to be the same.
They say, OK, really like that.
Could you keep the verse part there?
But then when you go into the car, sorry, what?
I don't know.
Let's roll tape again.
You'll get something different.
I hope you like it.
That is not compatible.
Do you think if...
Sorry.
Sorry to interrupt you.
Do you think if Sting was a guitar player,
you guys would have a better relationship?
Sting is a guitar player.
He's a heck of a guitar player.
But in your band.
Not bad on that lute either, by the way.
You know what I'm saying, though?
I feel like the bass and the drums need to be simpatico
for a band to really vibe.
And if one person...
I don't know your guys' relationship.
I'm just saying the bass player,
his bass lines completely work for me.
As long as he plays those bass lines,
I'm a happy guy.
Yeah.
And that's sort of where we leave it.
You know, there's enormous love and enormous respect.
You know, that guy brought so much beauty into my life.
You'll never hear anything other than a slight occasional, you know, loving dig.
But that guy changed my life for good.
And we were very lucky that we were able to hold on to him.
You know, it was the third album when he started to think, do i need to compromise why do i need to debate why do i need to have the other guys in
the band seek to impose their vision upon what is already perfect yeah and he's totally validated
in that point of view but nevertheless he stuck it out for two more albums, two more albums than we deserved,
until finally none of us could stand it anymore.
Yeah, I get that.
I mean, it's got to be hard.
If you love somebody, set them free.
Yeah, and it's got to be hard.
Didn't your brothers manage and book you guys?
Yeah.
Those are my brothers.
Yeah, how hard was that?
Not hard at all.
Really?
When you guys were going through...
No, because by that time, we had parted company,
and I was enjoying a great career as a film composer by then.
I was scoring the Equalizer in movies with Oliver Stone,
Francis Coppola, and others.
I had a whole new world which didn't involve snakeskin pants,
and I could go home at night to my kids.
Yeah.
I loved it.
I became a happy suburban dad.
Wonderful.
And so Sting was still out there on the road with, you know,
good luck to him.
When did you have kids?
Well, I got my first son when I was... I didn't get him.
I adopted him.
Okay.
He came with the first wife, but I adopted him.
And he is now 50.
Really?
He was four when we first met.
And then my first child of my loins,
I think was around...
Might have been 30-ish.
And then I got seven kids.
Then, I don't know, every time I ate spinach,
another one would pop out to shoot.
You got that power sperm, Stuart.
I don't know.
How do you learn how to shut up and just work?
I am agony ant
to many of my brothers of the stick
who play with big bands and they
complain about the band leader.
I tell them, see that big house you're
living in?
That car you're driving?
Pretty fancy motor, that car.
You know many guys who are just as good as you
who don't have a big, nice house like
that and a nice, fancy car like that?
Yeah.
Suck it up, dude.
Yeah, be fortunate for the gig.
Beg your pardon?
Be fortunate for the gig, is what you're saying?
Yeah, yeah.
I mean, be thankful for what you get.
Yeah. And if you, a lot of players that I know who play in such bands, in such positions, they have side groups.
And that's where they get their rocks off.
And that's a good thing to do.
But in the band, what got them there, you know, you got to dance with the one who brung you.
Yeah.
Yeah, it's beautiful, man.
I mean, your story is so fascinating.
Do you mind if we go a little further back in your life?
I want to know,
when did you find out
that your dad was a spy?
Did he tell you that?
Like, how'd you find out?
He wrote a book.
And it was there on the line.
That's how you found out?
What?
So tell me about that.
Did you have any ideas
that he was a spy?
Like, was he a mystery man?
Was he in your life?
I grew up in Beirut, Lebanon,
which was sort of the espionage capital
of the Middle East. And everybody's
dad was a spy. To Lamont
was a spy. And out
in the play field, you know, your dad's a spy.
Well, your dad's a spy. And one
day, our family joke is that
my brother Miles comes home from school and says,
Dad, are you a spy?
To which our father responds,
Who wants to know?
Really?
I love it.
Who cares?
But did he have a personality?
Oh, yeah.
My father was the life of the party.
That was his job.
Yeah.
He was the, you know, in Syria.
You know, when I was born in Alexandria, Virginia, which is a suburb of the CIA,
my daddy was away on business. He was busy
installing a dictator in Egypt, name of Gamal
Abdel Nasser. He was actually a very good dictator for his people and
became a big leader of the non-aligned movement, all while
actually being a CIA client.
Very, very useful.
And so, but in Syria, his official title at the embassy was cultural attaché.
And so his job was to throw soirees where all the poets and writers and and artsy people of uh in this case
syria uh damascus and syria yeah but how come there are so many kernels at those
arty soirees well because they were being groomed tested and uh bought oh my god bought
well yeah yeah you know in those days there was a cold war going on yeah and it was the our
industries our entire way of life depended at that point and still well less now it depended on that
oil let's be frank uh iraq saudi arabia uh iran in those days as well, all the Gulf states, that oil had to get to our factories,
no messing around. We needed that. That was our jugular vein passed through the deserts of Saudi
Arabia. And my father's job, well, the Ruskies' job was to disrupt that. They didn't have to
build anything. They just had to mess things up. And so my father's job was to prop up
all of these regimes, whether they were monarchies, dictatorships, elected presidents.
His job was to keep that oil flowing. He was amoral. As far as considering the wishes of the people of these countries, the rightful owners of these resources, he felt great sympathy, a cultural empathy.
My mother was an archaeologist out there as well.
He spoke three kinds of Arabic, classical.
He spoke Maghrebi Arabic as well as Egyptian Lebanese type.
He was just fluent in the culture and steeped in it.
In fact, he was guilty, some say, of going native, which happens when operatives.
But primarily, he was working for America, for Uncle Sam to make sure that things, the winds blow our way by whatever means.
The things, the winds blow our way by whatever means.
And sometimes the means were ugly as his,
he was not involved in Nicaragua or Salvador or Latin America in any way.
But some of the stuff that they got up into in the Middle East was pretty shady as well.
But it was all in the interest of America.
And the wishes of the native, you know, we were coming out, the world was culturally coming out of a colonial era.
And America was a knight in shining armor because we didn't just claim these countries and say, okay, Iran, you belong to us.
That's what Queen Victoria would have done.
And with empires up until the Second World War, that was kind of the way empires rolled.
America had a new empire, an insidious empire, an empire of influence and skullduggery.
And my father was one of the agents of that skullduggery.
Did you, was your philosophy in life different than that philosophy?
Or did you start adapting those things that your dad taught you?
The amorality stuck with me.
Dealing in the music industry, I'm very proud as my father would have been very proud of me
that the first time I got my name in print was by writing to all the music
papers using different handwriting on different stationaries uh and different grammatic styles
you know when I was playing with curved air we'd play Sheffield well on our way out of Sheffield
after the show I'd drop a letter into the mailbox I just witnessed curved air who had the most
excellent drummer uh and then next time we play Huddersfield,
and they, oh, I saw a curve there.
That was great, especially the drummer.
And so Melody Maker, getting all these letters,
said, well, who is this guy?
And they did a story about your humble servant.
And I was so proud to achieve this, my gosh darn self.
Who taught you?
Who taught you about, this is basically self. Who taught you? Who taught you about,
this is basically marketing.
Who taught you this?
Well, University of California at Berkeley taught me all this.
I majored in music
when I was in my first couple of years in college.
Then when I went to,
transferred over to UC,
University of California at Berkeley,
not Berkeley School of Music,
I couldn't get into the music department
because my sight reading wasn't good enough
my ear training wasn't up to scratch
I wasn't like all these other kids who've been studying
the piano since you know seven
I've been banging drums and playing a little bit
of guitar and had a head full of music
but I wouldn't
have been able to keep up with the courses there
so I didn't get into the music department
I will go back there one day and teach I wouldn't have been able to keep up with the courses there, so I didn't get into the music department.
I will go back there one day and teach.
That's a fucking good.
Okay, so what I did get into was mass communication and public policy, which is basically how media works. It's an interdepartmental major, or was in those days, involving sociology, anthropology, journalism, political systems.
Then basically all the other people in that major
were either going into politics or advertising.
But it's how the media work, how decisions of what news is news,
how these decisions are made, what the mechanics are of the zeitgeist.
Yeah.
decisions are made what the mechanics are of the zeitgeist yeah so what what made you what clicked in your head that the things you're studying relates so much to the music industry
because it's basically you're feeding art to the to the society you know well i knew that because
by the time i got to berkeley i'd taken some time out and i'd been a tour manager
i tour man and joan armor trading i'd rodeed for wishbone ash and all these other groups By the time I got to Berkeley, I had taken some time out and I'd been a tour manager. I tour managed Joan Armour Trading.
I'd rodeoed for Wishbone Ash and all these other groups, kind of learning the nuts and bolts of how bands work.
Yeah.
And I tour managed Joan Armour Trading, dealing with the record company, local radio stations, her gigs, you know, playing clubs across America.
And I kind of had an idea of what was going on. So when I got
to classes about this kind of stuff,
it all kind of fell into place.
And I said, I see that.
I was like a mouse
trying to figure out the landscape. But now these
courses in college taught
me the big picture.
And it came in very handy.
My story is pretty similar.
I didn't start playing music until I was 18, but I worked at record labels.
I grew up in L.A., so I worked at record labels at 14
and learned the industry through marketing versus music.
Do you feel like that helped you become a successful musician
because you learned how to market a band, how to manage a band
before you played music?
Yes and no.
Because all of my clever ideas about marketing wouldn't mean dick
if Sting hadn't written Roxanne.
You're fucking right, though.
But that's so fascinating.
So it is about the song.
So at the end of the day, you could fucking put it.
No, okay, you got the song, but now you got to sell it.
So there's two sides to that equation.
They got the song, but now you got to sell it.
So there's two sides to that equation.
So you need, it's a 50-50 partnership.
If you have the song, you need to learn how to deal with the business as well.
Yeah.
Well, you can get lucky.
That was an age when people were getting lucky because the punk revolution,
suddenly long hair was out, short hair was in.
And I was selling records before Sting, you know, police records,
before he started writing those songs. That didn't start really until Andy Summers joined
because he had such a wide music vocabulary
that inspired Sting to start writing great songs.
Up until that point, we had crap three-chord tricks.
But I'd be on the phone selling records to the store in liverpool um box of 25 singles has it got a picture sleeve
yes does the band look hostile yes uh is it punk yes uh send a box and i was selling records to
and i knew what they wanted and it was all business and you know
I designed the single sleeve
with Letra set
I don't even know if your listeners have any idea
unless they're like really old like me
and it was kind of a do it yourself operation
then strangely
I had some songs that I had
written which were too dumb even
for the police.
In fact, they weren't hostile, so they weren't punk.
They were songs I wrote in college about I got a new apartment, you know, pure old shit.
And so I recorded them myself.
And by some fluke, Radio 1, BBC Radio 1, which is the national station, the national pop station, picked it up.
I got airplay.
I got having a hit.
And I went on Top of the Pops, which is the television station.
You play Top of the Pops, you go up 10 points.
It's the national station, national show.
But I didn't want to be a solo act because I played all the instruments myself, drums, guitar, bass, even sang the thing.
Go figure. But I didn't want to appear a solo act because I'd played all the instruments myself, drums, guitar, bass, even sang the thing, go figure.
But I didn't want to appear as one guy on the stage.
I'm a band guy.
So I got Andy and Sting and my predecessor on Curved Air on drums for in Pilkington Mixer.
And we, you know, we all,
because the thing about Clark Kent was that it was a mask.
Nobody knew who it was.
And it was the masked man. I who it was and it was the masked man i wasn't anybody i was starving
but the police was going but we were dead in the water broke nobody you know we were we were a fake
punk band and everybody knew it um and this is before things started really writing yeah um and
so we had this mini mini hit which got us in touch with a real record company um and they that was fine and then they
heard Roxanne and the rest is history do you do you regret not pursuing that solo hit or did no
no no because I pursued it 10 different ways ever since you're right you're right you're right
it's it's It's very fascinating.
By the way, I like being in a band.
I prefer, you know,
I do shows with the Buffalo Philharmonic
or the Denver Symphony.
Then I show up in Denver and I'm alone
in my hotel room weeping bitter
tears of loneliness.
And I go and I rehearse
with a 45-piece orchestra.
Okay. But then I go, it it's like I'd rather be down
at the bar with my band buddies yeah I like being in the band I like being you know I'm a youngest
sibling I feel happiest as part of a team yeah that's what I want to talk about too like being
the youngest sibling do you feel like you always had to prove yourself
no in fact I got away with all kinds of stuff. I looked like I didn't have to
prove myself. What did your sister or your brothers do? Your brother was a manager but before he was
managing you, what was he doing? One brother was a business monster, the other brother was the coolest
kid on campus and my sister was the debutante of the family, the vassal girl of the family.
But two of my brothers were in the music business. My brother Ian went to Vietnam,
came back, became an agent, and was the coolest agent. He was my closest relative. And my
brother Miles has always, since the age of nine, been a super businessman, empire builder.
What did they teach you about building a band well i rode for a lot of bands miles managed really let me in booked what what'd you learn
in those years uh how to plug in an amp how to pack how to how to pack you know how to pack a van uh how to get paid why who who does the paying and why the the the
economics okay we get you know curved air would get like 600 pounds or something and we've got
to pay for the pa we had a crew we had you know it was an actual going concern in the police days
we get paid 20 quid and i'd hire the PA for seven and the truck
from Zen
and I'd fight to get
to the truck before Squeeze got there
because their manager, John Lay,
we were in the same stable
and I'd get a gig at Rebecca's
in Birmingham. Okay, I'll get the
truck. Fuck, John Lay got to
the truck first and now I've got to go to
that other guy with a truck.
But it's a crap truck.
But at least it's cheaper.
It's only a fiver.
And we'd play our show for 20 quid or whatever.
And we'd usually put two or three quid in each of our three pockets at the end of the day.
Was money important to you when you were younger?
Yeah.
Not lots of it.
Enough of it. Yeah.
yeah not lots of it enough of it yeah what it what it's like uh did you like my parents is they're they're always worried about money you know so it was like if i wasn't they didn't
matter what you did as long as you made money was your family like that not so much my father
was not a great businessman And I got the impression
That there was a lot of family anxiety
About money
Even as they sent me to the most fancy schools
Yeah
And
Which is probably why he was anxious about money
Yeah, I bet
I mean, it's not cheap to
Raise
Kids who want, like my sisters went to Michigan and shit.
And I saw it firsthand because I'm eight years younger, how much stress it is to give your kids the life that you want to give them.
Do you have that philosophy with your seven kids?
Yes, they've all gone to pretty good schools.
Yeah.
And they're mostly grown up
My youngest child is 21
Holy shit
Man, you look good, Stuart
How old are you?
I am 60
Well, shout out to that
Rock and roll keeps you young, man
I'm telling you
I've been so fascinated with people.
It's like the founding youth.
When you do music for so long, a lot of these guys just stay young.
What do you think that is?
Well, I think drummers actually have an advantage
because we actually work for a living, ladies and gentlemen.
That guitarist, they wiggle their fingers.
They sing a bit.
I tried that after all my years chopping wood.
One summer in Italy, I'm big in Italy because I go there because I like it.
I like the past.
I go there a lot.
Where do you go?
Lake Como?
I was able to pull together a band where I get to be the guitarist.
Okay, the real guitarist was Adrian Ballou, but i got to play the power chords and do the singing
and we had mark king on bass we had an incredible band actually but i got to be not the drummer we
had some young kid mark king's uh drummer from level 42 uh pete ray biggin on drums man that
little sucker can smack him you know yeah and it made me feel watching that kid go just made me
feel like the old lion real happy there's a young lion around the house to take care of him.
With him slamming on the drums, I'm me just doing the power chords and I'm singing, front man guy.
And we come to the end of a day's rehearsal and I haven't even changed my t-shirt once.
Young Pete is into his third t-shirt.
It's pretty...
The drums physically... Keep you healthy. Young Pete is into his third t-shirt. It's pretty...
The drugs physically...
Keep you healthy.
Keep you involuntarily healthy.
I'm not a guy for exercise or working out or anything like that.
But my job kept me healthy.
What about your job when you were younger?
Were you guys degenerates?
Were you guys just doing drugs and fucking chicks in the younger years?
No, yeah, we did some, but we were not degenerates? Were you guys just doing drugs and fucking chicks in the younger years? Yeah, we did some, but we were not
degenerates. We were actually on a
mission and we partook of whatever
recreation was there
to ameliorate the
pain.
Sure, but no hard
drugs.
We were pretty lightweight.
After I read Keith
Richard's book, I realized that we were pretty lightweight. After I read Keith Richards' book,
I realized that we were Girl Scouts.
So I'd like to know about,
I'm really into mental health
and an advocate of losing the stigma
of mental health with musicians.
What were you going through
through those years of developing?
Have you ever dealt with depression in your life?
Not. I've been anxious, upset, but not clinically depressed, which I think is when you can't move.
And I have one of my kids suffers from depression. I know what that looks like.
I never had a problem being motivated, but I was very anxious. And I think the anxiety drove me to make stuff happen.
I couldn't go to bed at night unless I'd moved the ball down the field.
And so all day I'd be moving the ball down the field one way or the other,
but it's kind of anxiety driven.
You know, I know what different spectrum-y things look like.
And obviously it's all spectrum.
There's no core definition.
There are no real definitions of conditions of this or of that
or of the other.
They're all kind of a little bit of this, a little bit of that.
And it's a complicated world these days.
What would keep you up at night when you're developing police?
Well, funny you should ask i i'm working on a book which is basically
my diaries from 1976 the starving years and i've got it all what do you got tell me where
woke up this morning i you know that my pocket's empty the refrigerator's empty. Nothing's happening.
We're dead in the water.
At one point, I've got seven quid to last me till my next lucky break.
And that was the same week that we played Top of the Pops.
It was on British national TV with a hit.
The royalties hadn't come in, but it was like this up and down.
We'd get good news today, bad news tomorrow, good news the next day.
And I look at the activity, woke up, picked up the truck, drove over to Sting's place,
got his gear, drove over to Andy's place, picked up his gear, rehearsed all day, then
dropped the gear off, then dropped the truck off, then went over and partied at so-and-so's house till three in the morning, then went over somewhere else to a club
to see the vibrators, then went to another club to see the specials, woke up next morning,
went to pick up the truck. I mean, just the daily grind of trying to blow wind into the sails.
I look back on it now and I go, Jesus Christ.
You know, that was a lot of drive.
What made you want to write all that stuff when you were young?
Like for yourself.
To keep score.
To keep score.
Today was not wasted.
And so that today existed, I'm going to make note of what happened.
I took note of all the gigs
we played, how much we got paid, how many
were in attendance.
I got all my accounts from that period.
Holy
shit. Really?
I guess it's going to
be a coffee table book where you see my
crap handwriting, my doodles all over the place.
And then I explain who these various
people are and what was going on. Do you have
notes like, Sting was a fucking asshole today?
Or just like...
There are notes like that in there.
I had
the day that I first saw him in Newcastle
light off. Saw a great bass player.
Andy can sing.
So were you like this
your whole life?
Is legacy important
to you?
I don't know that it was legacy
because I never knew I was ever going to amount to,
I assumed I would amount to something.
Everyone does, I guess.
But, um.
Was writing like a taking a picture for you?
Well, no.
Yeah, I guess it was the same instinct.
At a certain point I stopped writing
and I got a movie camera instead.
So that I could slice it off, put it in my suitcase
and take it home.
The whole experience.
But the writing, I don't know.
I found that as an anxious
teenager, writing anything,
in fact, when I was in boarding school in England,
I would just write. Didn't make
any sense at all. But the pen would
be moving on the page and words would be in the English language or going down on the page. God knows what they meant or anything. But just the act of writing, just getting it, just was very soothing.
drums, rarely.
My guitar, I can play that, but I wasn't very good at it.
I got to
make something. I got to build something.
I got to make something.
Writing was the only creative
exercise that would
devolve to let off steam,
I guess. Were you a rebel
at boarding school? Did they think
you were a good kid?
I was a nice kid, I'm sorry to say.
That's okay.
I was a good kid.
I'm still degenerate.
I was a late developer, for one thing.
I was kind of a scrawny kid,
which is one of the reasons, maybe,
that I gravitated to drums.
Because I just bang on the drums
and the little scrawny kid becomes a serious
400-pound silverback.
Was it hard for you to be vulnerable?
But check this out, motherfucker.
Was it hard for you to be vulnerable as a kid or were you,
were you an open book?
I guess I was an open book.
You know,
the school that I went to was very progressive and very,
you know, not compared to today
but it was
the most
horrible confession of all, I liked it
I enjoyed it, I was surrounded by my friends all the time
a million adventures
I kind of enjoyed it
you know it's like
my dad, not my dad, my guitar player, his dad, he worked in.
That was a Freudian slip.
Yeah, exactly.
It was definitely a Freudian slip.
Who's your daddy?
Who's your daddy?
My guitar player.
Pardon?
What instrument do you play?
I play piano.
And I'm a songwriter.
An actual musician.
It's funny, though, because did you ever have resentment that you always had to move?
Like move towns with your dad being a spy?
No, no.
We didn't that much.
I mean, when we moved from Cairo to Beirut, I was too young to know the difference.
But eventually when it got hot for my father in the Middle East and he had to ship his family out,
I'd been in Beirut for 10 years and I got sent over to boarding school in England.
And then eventually my family
moved to London. And
we didn't move around that much, not compared
to army people,
military people. They move around a lot. Every
two years they get taken from
Reimagen, Germany and sent
over to
a suburb of Tokyo
to God knows where.
Because what I'm fascinated with is like,
how does one fall in love with being on the road all the time?
I don't know.
I don't know.
I do know musicians who their life is on the road.
And the reason their home life is so good is because they get
some yin with their yang.
I know people whose life is a hotel
room and are very
happy in that condition. Are you happy in that
condition? No.
Did you know that? When did you realize
that?
When I started to go out and play
with orchestras and do shows on my own
without a band.
Yeah.
And,
uh,
that's when I,
you know,
I'm sitting here in whatever city this is and I'd rather be home.
Yeah.
I enjoy the rehearsal,
but unlike a band,
you know,
the bands rehearse all day,
every day for weeks,
uh,
orchestra,
they rehearse for two and a half hours.
Yeah.
That's it.
Because it's on the page.
All they got to do is read the page,
run it down a couple times, and they've got it.
So in whatever city
it is, in Pittsburgh
or whatever,
we have a two and a half hour rehearsal.
Now I'm walking around Pittsburgh
for the rest of the day.
Which actually
is a pretty cool city.
I don't mind Pittsburgh at all.
Man, it's so funny how we end up where we end up.
When was the first time you realized you fell in love with scoring?
Do you remember the moment?
Yeah, as you can imagine, it's become kind of material at this point.
But my first film was an incoming call from Francis Coppola. Yeah, as you can imagine, it's become kind of material at this point. Yeah.
But my first film was an incoming call from Francis Coppola.
Sick.
And I didn't know anything about how to score a film or even what the idea is.
But I pretty soon learned. He said, this scene here, I need to feel time.
He told me what he needed emotionally.
Yeah.
I understood that.
And so I went over with my limited keyboard chops and
guitar and whatever and i made music that attempted to create that emotion and i i got lucky i guess
i kind of achieved that and he was very happy uh but at one point he turned around says this is all
really interesting you've got these rhythm loops you got uh these percussion elements there but we
need some emotion here we We need some strings.
I need some strings on this movie.
And at first I was going, well, you know, actually,
you know, the concept here is, and then Francis turns to the producer
and said, Doug, tell Stuart we need strings.
And okay, I am a professional.
This is my first gig.
How old are you francis when
you're right you're right you know we need strings uh-huh i'm gonna get you some strings
so i call up the contractor you know the guy you need i need saxophone he's got a rolodex with all
the saxophone players or whatever the contractor yeah and i said i need strings. Okay. How many strings?
I don't know.
Strings.
More than one.
Plural.
Strings.
Send me some strings.
So he did.
And I didn't know how to write for strings or which strings were which.
What did you learn? But I had these chords that I was doing.
So because of the few years that I did have, I could write down the chords, which were all just footballs.
You know, just footballs.
A bar of this, a bar of that, a bar of that.
Just chord movement.
Okay, let's have the strings play that.
And so the string guys come in the session, maybe 14, 16 guys, something like that.
And I do what I would normally do with a guitarist.
The guitarist comes
in he's got his six guitars and a couple amps on his pedal boards and and you have a great afternoon
with the guy he said hey hope you're any kind of a rock riff that kind of a bluesy feel try that
strat no not the strat les paul cool les paul great cool and you kind of work it out with them
and you have a very creative wonderful day working with a guitarist. Okay, so the string guys come in, and I do what I do,
and I'm trying to bond with 16 players who are looking a little bit stony-faced.
Not stoned.
Okay, guys, so we got this scene here,
and when she looks over her shoulders at Rusty James,
I need to kind of feel, and then just kind of keep the groove going there,
and kind of keep a fine, you know, and they're not,
instead of looking enthusiastic the way a guitarist would,
they're looking more and more anxious until finally one of them puts a
maestro, maestro,
do you want us to pay what play what's on the page here or whatever the
fuck you're talking about? And I go, okay, play the page,
which was a row of whole notes, footballs.
And so a couple of things.
First of all, instead of a whole afternoon,
they were done in 20 minutes.
Second of all, wow, that sounds really pretty.
Whoa, that's beautiful. You mean i just put it on the page
and i don't have to give them any schmooze they just play whatever i put on the page
okay 20 years go by of that and i figure out and more and more involved detailed instructions on
that page and for a while uh for most of it, I had arrangers.
I'd write it and hand it off, and they'd give me the chart back,
and the orchestra date comes along, and it doesn't sound like John Williams.
Yeah.
It just goes da-da-da-da-da.
I was imagining it would sound like da-da-da-da-da.
And he said, well, you've got to put Italian on the page. You've got to put hairpins. You've got to put dynamics. You you got to put Italian on the page.
You got to put hairpins.
You got to put dynamics.
You got to put the accents.
You got to put the articulations.
You got to shape it.
And so over the time, learning how to shape it,
learning where to put the symbols so that they know where to find them,
the players, and how to communicate with the different sections.
And I just gradually, by osmosis,
involuntarily, had an
education in orchestration forced
upon me. So with that,
when you finally did
all the strings and stuff, and you brought it back to
Francis Coppola, what was the reaction?
He promoted me to
sergeant. Let's fucking go. Let's go.
That's what I'm talking about.
But it's so funny
how that... No, but him and all
of his old geezers, who are
his crew that he's always worked, probably still does.
They all were shaking their heads
like, I've never heard anything like this before,
which is music. That's
what they're all really...
That's what they're all looking for.
Francis has really... The people he
has around him,
he gives them free reign, but he chooses them wisely.
Yeah.
So, and then it's the same thing with you, Stuart.
I mean, he gave you the shot.
I mean, you've never done anything like that before, have you? No, no.
He gave me plenty of rope.
What do you see in you looking back now?
I don't know.
He only confessed
recently because he denied
it for years. It was his
son Roman
who said, you know,
it's like high noon.
I want to hear it. It's teleological.
I want to hear the clock ticking.
They said, well, you got to talk to this guy
in the police, the drummer. He's really
cool.
Roman said that?
Roman.
Yeah, Roman.
Roman Coppola.
Yeah, yeah.
He said that?
He told his boss?
Him or Carmine.
That's amazing.
No, no, no, no.
This is terrible.
It's terrible.
What was his other son's name?
Oh, my God.
Gianni.
Oh, that's terrible
because he died tragically
but the two sons said dad you gotta get this guy
and what did
what did Coppola
I know you gotta go soon
I got two more questions
what did Coppola teach you about art
to follow your instincts
and to let it flow
and sometimes dig a little deeper but mainly to follow your instincts and to let it flow. Yeah.
And sometimes dig a little deeper,
but mainly to trust yourself and just give me something,
try it.
Not,
you know,
that lesson was,
was drilled in more when I went,
one of my subsequent gigs was episodic TV.
I did a show called the equalizer,
which was bootcamp of composing.
Show comes in Tuesday,
I score it and I ship it Friday.
It doesn't matter if the quality,
doesn't matter if it's my finest hour,
nevermind.
There is music on the tape
and it ships Friday.
And then I recuperate for a couple of days
and then the next show comes in Tuesday
and I score like the wind
and ship Friday.
And pretty soon you run through everything you've got in your cookie jar,
and you just got to come up with something.
And I've learned since that the music that I wrote under that kind of pressure,
similarly when I did Spyro, the video game, just the volume,
just like churn them and burn them and churn them and burn them,
best quality music I ever wrote.
Those three-note inventions were the most hooky, the most memorable.
And I go back, you know, if I'm stuck for an idea,
I go back to what I wrote when I was really under the gun.
My theory is that when you're under the gun like that,
you haven't got time to judge yourself.
And judging yourself, which is what I learned from Francis, don't.
Just do it.
Just do it and don't judge if it's good or bad. Judge tomorrow.
You can throw it away. Don't throw it away today.
You know, just
trust yourself and go with it and let it flow.
And when you're
up against it, you got no choice.
You just, whatever comes out of your brain,
you print it. You ship it.
You build it. Do you have that same
philosophy in life, not overthinking
life?
Technically, yeah.
But I do a lot of thinking.
About what?
I'm somebody who
I'm real happy to not be staring at my unit.
I can stare out the window.
The Instagram in my mind.
Oh, man.
I enjoy concocting schemes
and dreaming up stuff.
I don't need to be entertained all the time.
Yeah, and the good lesson of
what you did on Equalizer is
not overthinking your work
and trusting yourself
that you're a fucking badass, right?
Whether or not.
I mean, the result was pretty good.
Yeah.
But you said that's like the best music.
You said that was like the best music you wrote because you didn't overthink it.
Yeah, yeah.
I didn't have time to.
Yeah.
Just do it.
Just do it.
Don't, you know, get your hand away from that undo button.
And that's kind of basically the philosophy of Oysterhead, right?
Yeah, absolutely.
You know, we got some scraps of songs.
We got some cool lyrics.
We got some moments there where it comes together.
But mainly, the cool stuff is what I haven't heard before.
Yeah.
And that's what gets you high.
That's what keeps you doing Oysterhead, right?
Yeah, absolutely.
Yeah, that's beautiful, man. Stuart, thank you so much for being on the show, man. I could what keeps you doing Oysterhead, right? Yeah, absolutely. Yeah, that's beautiful, man.
Stuart, thank you so much for being on
the show, man. I could talk to you for hours.
I'm at Peach Fest. My band's
playing Peach Fest same night as you.
Oh, really? What's it called? Andy
Frasco in the UN. Yeah.
Are you Andy? I'm Andy, yeah.
Andy Frasco in the UN.
That's me, buddy.
All right, I'll see you there.
Maybe we'll salute each other.
But I got one last question.
I'll let you go do the wonderful things you do in your life.
Stuart, what do you want to be remembered by?
My children.
Yeah?
Well, I mean, everything else,
everyone does their best at what they do.
But your children,
that,
you know,
like I got Grammys over there.
Who cares?
I don't even see them anymore.
My children and my grandchildren.
Yeah.
That's pretty much the meaning of life.
That's beautiful,
man. Well,
thank you for being such an influence To everyone around us
I mean my band's punk rock
Because you guys are punk rock
And that's what I fucking loved about it
And we I just
It's an honor to talk to you
And thank you for spending your Saturday with me man
I appreciate it
Well thank you very much
Have a great show and I'll see you at Peach
Yeah oh fuck we gotta talk about that
Peach Fest.
Have you ever done it?
No.
So what's your take on jam band festivals?
And then I'll let you go.
Well, we did Bonnaroo, which that day was a jam band festival.
And I myself am a jam band fan.
I used to listen to Jam On on Sirius XM.
Oh, yeah.
Ari Fink.
Yeah.
And then it became Phish all the time.
And now I kind of like Phish.
In fact, one of my buddies plays in Phish.
In fact, all four guys in Phish are my buddies.
I can listen to Phish all day.
But I like some of the other bands, too.
And I kind of like it.
Yeah.
I mean, yeah, it's the idea that we're free.
It's free music.
It's not all about the hook song coming in.
It's just rambling on.
And my brain is kind of rambling on, so it's a good match.
Well, keep rambling, buddy.
And I'll see you on the weekend. Have a great one, man. thank you so much for being on the show bro appreciate it thank you buddy see
you later later wow stewart fucking copeland holy shit i am i stayed up till like 6 00 a.m last night
uh and then i had to do this uh four later, and I thought we did a good job.
Shout out to Nick. Shout out to Joe. Shout out to Bongiorno for helping me with that,
because that guy is really smart and really intellectual, and I think we got some good
stuff out there. All right, guys. I'll catch you on the tail end. Now, a message from the UN.
Thank you, man.
Oh, man.
I didn't know what it means to be me.
Oh, man. Believe Oh my
I didn't know what it means to believe
But if I hold on tight
Is it true
Would you take care of all that I do
Oh Lord I'm getting ready Would you take care of all that I do?
Oh Lord, I'm getting ready to believe.
Oh my, I didn't know how hard it would be Oh my
I didn't know
how hard
it would be
But if I
hold on tight
is it true
Would you take care of
all that I do
Oh Lord I'm getting ready Would you take care of all that I do?
Oh, Lord, I'm getting ready.
Oh, Lord, I'm getting ready.
Oh, Lord, I'm getting ready to leave. And there you have it.
What a great interview.
Thank you, Stuart.
Like a pimp.
Let's go.
My man.
Just killing it.
Giving us all the information.
Oh my God.
We got a very special guest.
We're talking Peach Fest with John Hampton and Jeff Gordon.
How you guys doing?
Doing great.
How are we doing?
We're happy to be back.
That's how we're doing.
That's how you do it. Yeah. How can you talk doing? We're doing great. How are we doing? We're happy to be back. That's how we're doing. That's awesome.
Yeah, how, can you talk to me about that?
It's got to be feel great to have a festival back, you know?
Oh, you know what?
Many thought that would not happen.
Sure.
And you know what?
We weren't totally sure either, quite frankly.
But, you know, you got to have faith, as George Michael would say.
And I mean that sincerely because we felt strongly about not moving this or canceling it.
And whether that was dumb or we got lucky, I don't really care.
We have a beautiful festival coming next weekend and we're excited about it. A bunch of great bands and it's important to get music back in people's
lives.
Yeah, it's like when you finally pull the trigger and say, we're going through with
this stuff, it's got to feel good because through a year and a half. I mean, you guys are fucking big deals. You guys are, this is crazy.
The Philly, dog.
This is Philly in the building.
And to just make,
to see that festivals are coming back
and you to be one of the first ones,
I'm just going to applaud you all.
So fuck yeah, let's go.
Thank you.
We appreciate it.
We were getting a lot of boos about months ago.
It's nice to get a pause right now.
People thought we were crazy.
That's for sure. Most of the conversations we had were like, you guys areos about months ago. It's nice to get a pause right now. People thought we were crazy. That's for sure.
Most of the conversations we had were like,
you guys are out of your minds.
Yes.
Which they're kind of right, but we still did it anyway.
No, but it makes sense for this to be July 1st
because isn't it the 50th anniversary of Live at Filmer East as well?
Absolutely.
Yeah.
So it works out perfectly.
Do you want to talk a little bit about what you're bringing on
for that part of the festival?
Yeah, it's a special set. It's going to be live from the Phil Maurice in its entirety, which we're excited about.
And you know, this festival was, you know, obviously, somewhat obviously, the Peach Festival came out of conversations with the Allman Brothers and Bert Holman and back then Johnny Boudel and CJ Strach. So it's such a music festival. I mean, they're all music festivals,
so don't get me wrong, but it's truly, you know,
people want to call it jam band, but I, what's a jam band.
Somebody plays a song longer than three and a half or four minutes, I guess.
Sure. Somebody who improvises. Sure. I mean,
that would make Pearl Jam in a jam band or Led Zeppelin in a jam band.
So sure. But it's just so musical and
it's, I don't know, I'm just, I'm really excited. John and I both,
I don't want to speak for John, but John and I both come from a fan's perspective, you know.
We're probably sort of maybe first
or second generation promoters that came from a fan's perspective.
So we're just geek
we're gonna geek out and watch some music you know live music so we're that's our motivator
it's just smiles on people's faces to be honest with you do you ever get to like sit back and
like realize what you're doing for the community um are you always thinking about the next gig
well you know what we i how do i say this good waiters don't work for tips they work
because they want to make sure the food's hot and serve it to them so yeah we don't work for tips
you know what i mean so yes we absolutely constantly remind ourselves how blessed we are
we are but in the same breath we're like okay let's keep going yeah when i just when i hope
so that we'll have be able to have that moment god willing to sit back because it was such a struggle and you know just just as
simply pull this off means a lot and you know and to our partners the agents and the managers
that stuck with us through it because you know it was daunting you know yeah and there and pull
this off it's you should have a moment where you're like okay this is great and you bro i mean
that's me it's testament to to you, too. That's why
we, I mean, I'm not saying
that, not pandering because we're having it on your
podcast, but I mean that
sincerely. It's like, you bring
such a great, the great word of music
to people, and it's
all part of that fabric.
You know what I mean? And it's a beautiful, beautiful
quilt we all knit. You know what I'm saying?
Yeah, and we're all in this thing together.
And I want to talk about Oysterhead fucking tight, dude.
Who picked that for coming back to Peachy?
It's crazy, right?
What the fuck?
We're lucky to enjoy some very good relationships with all the members
and all the management and all the agents that are involved with Oysterhead.
And we've been talking about it for a while and, you know,
they decided to come and play some shows and one of our first picks,
of course.
Yeah. And this is like the first time in the Northeast and I don't know,
decades.
Yeah. So we're, we're, like I said, we,
we come from a fan perspective and we thought we,
it was going to be special prior to the pandemic.
Now it's unbelievably special.
And I cannot, and I know you just talked to Stuart,
I cannot thank all of the members and the agents and the managers and the crew
and everybody to stick with us and still keep what I would call, you know,
quote unquote super group together because they are a super group.
There's not a lot
of super groups around you know when i grew up listening to you know i'm not they weren't brand
new records for me but my older brother and my uncles would turn me on to cream and stuff like
that or derrick and the dominoes you know that were the souls were super groups or crosby stills
and nash and young or whatever you know whatever the case is yeah whatever great bands were um
and i was always enamored by how other artists would play in these other bands
and be that popular.
You know what I'm saying?
It was just great.
And Oysterhead's a true superhero.
It is.
It's truly insane because it's all three of the guys,
and everyone in their own respective bands have played with y'all
and done the thing.
So it's just nice to see
a different form of the people
we all fucking grew up
admiring. I don't know about you,
but I've always wanted to be a promoter.
I admire people like you
and Strasberg and people who are just
out there fucking taking one for
us. I appreciate you for taking
one for the chin. We're going to be Andy Frasco.
That's how we ended up being promoters.
Yeah, that's right.
Yo, we'll get you on stage.
We'll crowd surf you.
Two choices.
Yeah.
Although I will say something that we haven't really talked about too much is that John and I did get a band together during the pandemic.
No way.
You never know what could happen next week.
You never know what might be up there.
Are you given a world-saving exclusive right now?
We did start a basement jam band.
Firstly, it was online
so we could get together
and then we actually started
a band.
We may not be festival ready.
No, we're not quite ready yet.
Jazz Odyssey.
Jazz Odyssey.
No, fuck that.
You're sitting in on the frasco set.
It's a done deal.
Hey, guys, give me one of your
favorite memories
of Peach Fest.
First one that pops up.
I mean,
Jeff's the creator.
I mean,
God,
there's so many.
I mean,
that sounds so stock.
There's so many,
but for some reason
what comes right to mind
is Lotus Late Night
because it was just such a mind blower, you know? Yeah. but for some reason what comes right to mind is Lotus late night. Uh,
because it was just as a mind blower,
you know? Yeah.
And then we had Aussie Floyd,
which was amazing.
I mean,
the consistency of Warren being a part all the time has been amazing,
of course,
because we're huge Warren fans.
And really harken back to the first couple of years in the Allman brothers.
You know, I grew up, my aunt brought me to the Enlightened Rogues tour
and brought me to Greg Allman's solo shows at clubs I should have never been at,
been in at 14 or 15 years old.
So I was always such a huge Greg fan.
I mean, it was all my brother's time, but such a huge Greg fan.
I thought he was amazing in the movie Rush.
That's how much I was a huge greg fan i thought it was amazing in the in the movie rush that's how much i was hot take okay okay that was a greg allman fan i was i
thought it was the coolest shit motherfucker you know what i mean excuse my language oh god
no worries yeah of course okay but i mean dating share you know what i mean i thought that stuff
was rock star fucking rock star shit right there dude yeah so so being able to to talk and talk
about music with Greg Allman,
I mean, I kept pinching myself the entire time.
It's Greg fucking Allman.
Yeah.
That's probably, if I had to say something,
it was being able to be around and being creative with Greg Allman
certainly was a highlight of my life, not even Peach Fest.
I mean, a highlight of my life.
How hard was it?
Top ten of my life.
I bet.
How hard was it when he passed?
It was brutal.
Brutal.
Yeah.
Really brutal.
You know, he had health issues back and forth and looked like he was on a road to being great.
Tough, man.
That's a tough one.
I mean, they're all tough.
Don't get me wrong.
Yeah.
Greg, again, the Allman brothers and. I mean, they're all tough. Don't get me wrong. Greg, again,
the Allman Brothers
and Greg Allman
meant so much to me.
It was a heartbreaker.
But you know what was really cool
is that
in honor of Greg
and the Allman Brothers,
wherever they are,
which is hopefully above
watching the Peach Festival
and smiling,
Hell yeah, they are.
the legacy item
and legacy festival
that really incorporates what I think that band was about.
Like Blackberry Smoke's a great example.
When they were in year one or year two,
as soon as they knew the Allman Brothers were on,
they drove like half across the country
before they were as big as they are now
because they just wanted to be on it.
You know what I mean?
Yeah.
So we get a lot of that, which is so great. You know what I mean? It's so great.
A lot of bands that we just try to scrounge together a couple of hotel rooms
for and 500 bucks that are coming from like Mississippi.
Cause they want to be part of the show. Yeah.
Cause they want to be part of the experience. You guys built an experience.
Me, that's the highlight of it. When we get a call from a, you know,
a band that's trying to grow or whatever it's
growing and building
and they're like, we got to play
The Peach. Well, okay, where are you guys? We're in
Wyoming. Two days before, I'm like,
okay. I go, we got a spot
for you. Any way we
can get one room, it's six of us. I'm like,
you know what, I'll probably try and get you two rooms. Is that okay?
Probably better.
You know what the beautiful thing,
that's what I want to do when I'm doing the corresponding get two rooms. Is that okay? Probably better. You know what the beautiful thing, that's what I wanted to do
when I'm doing,
because I'm doing the corresponding
for the weekend.
I want to interview the band
that's the last band on the poster.
Where do you live?
What band?
Oh, no.
There's been a bunch
that I've added on
that just wanted to be there
for coming out
like exactly what you just said.
Yeah.
But that's the beauty of the page,
is the spirit that we created,
that people would come out of their way
no matter what the way that.
Yeah.
I'm super excited that you are the correspondent.
I'm getting in there.
We'll have to find your version of Triumph the Dog
or something like that.
Maybe it'll be an actual dog that we'll be talking.
Are you a Stern fan?
You love Stern?
Oh, yeah, massive, yeah.
Yeah, me too, man.
I've been on the wrap-up show a bunch,
and I wish I was there during...
I mean, like, East Coast,
that's radio.
That's what I looked up to,
so I'm looking forward to do that
and do my best
to get the people involved,
and we're going to get a lot of stuff
corresponding and stuff,
so thanks for having me on that thing.
Just one last thing before we go.
Talking about Greg's death
and stuff, this is why we're doing Peach.
To live in the moment, to enjoy the
weekend, and to enjoy
finally just being together.
And that's the most important thing.
I just want to thank you guys for
putting your dicks out there.
I really appreciate it. You know what? We almost got our balls chopped out so you're welcome well when i see you
i can't wait to hug you guys thank you so much for your service brother we are looking forward
it smiling ear to ear grinning ear to ear we're so excited we can't we hope to see everybody out
at the beach it's truly a special time and it's really rejoicing in the fact that we're back.
We're alive.
We got a lot of music rocking like nobody's business.
Let's fucking go, boys.
We're going to fuck shit up out there.
We're going to fuck shit up.
Jeff, John, thank you so much for being on the show.
And I'll see you in a couple days, buddy.
All right, brother.
See you soon, man.
Have a good one, guys.
Later.
There you have it.
The creators of Peach Fest
Pumped up
You know
It's stressful
Getting out
You know
It's stressful times
And for them to fucking say
We're throwing it
We're rocking
We're gonna have
We're gonna celebrate life
Is so honorable
So I love those guys
I'll see you guys at the Peach Fest
July 1 through 4
I'll be around
So come out
If you haven't gotten tickets yet
Come out
It's fun
Philly
Scranton
Pennsylvania The whole East Coast crew,
all my favorite friends are playing.
You might as well come out.
All right, guys.
That's it for you.
I'm going to interview like three people from Peach Fest too.
I want to interview Jake from Umphrey,
so I think that's going to be my next one.
We've got some bangers coming up,
and then I've got a bunch of interviews as well.
So you've got a lot of great interviews coming up. So I love you. Be safe. Don't take no shit from
nobody. Like I said in the beginning, life is short. If you're feeling stressed out,
excuse me, just burped. If you're feeling stressed out, take a deep breath and say,
you only live once. and do you want to remember
the times
in your life
where you were more stressed out
or do you want to remember
the times
when we tried to figure out
our anxieties
and tried to make the best of it
alright
I love you
and I'll see you next week
or I'll see you in a couple days
at Peach Fest
let's fucking go
bye
you tuned in to the
World Cypher Podcast
with Andy Fresco
now in it's fourth season thank you for listening World Saving Podcast with Andy Fresco, now in its fourth season.
Thank you for listening to this episode, produced by Andy Fresco, Joe Angelo and Chris Lawrence.
We need you to help us save the world and spread the word.
Please subscribe, rate the show, give us those crazy stars, iTunes, Spotify, wherever you're picking this shit up.
Follow us on Instagram at World S saving podcast for more info and updates.
Prescott's blogs and tour dates you find at andyfrescott.com.
And check our socials to see what's up next.
Might be a video dance party, a showcase concert, that crazy shit show,
or whatever springs to Andy's wicked brain.
And after a year of keeping clean and playing safe,
the band is back on tour.
We thank our brand new talent
booker, Mara Davis. We thank
this week's guest, our co-host, and
all the fringy frenzies that help make
this show great. Thank you all.
And thank you for listening. Be your
best, be safe, and we will
be back next week.