Andy Frasco's World Saving Podcast - EP 133: Jerry Harrison, Adrian Belew (Talking Heads) & Dave Brandwein

Episode Date: July 20, 2021

Andy opens the show from the quietude of post-tour life in the fashion he knows best: by disregarding sage advice from his manager! Clandestinely, he premieres a brand new song off the upcoming album, and in my humble opinion: it RULES. On the Interview Hour we have an absolute legendary conversation with members of Talking Heads, King Crimson, and Turquaz: Jerry Harrison, Adrian Belew & Dave Brandwein! Do not miss this convo. Nick Gerlach puts out a call for local talent. This is EP 133.   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  Keep up with our musical forefathers: adrianbelew.net & Jerry Harrison catch our dear friends, Turquaz on the road soon! Produced by Andy Frasco Joe Angelhow Chris Lorentz Audio mix by Chris Lorentz Featuring: Brian Schwartz Shawn Eckels Andee "Beats" Avila Nick Gerlach Arno Bakker

Hey Schwartz Great to see you on Friday The show with Dylan at the Amphitheater Was really really really good What a beautiful night What a beautiful venue Dancing around my grave Comes out on Wednesday

It sounded amazing Up there And people were certainly Reacting really well to it which is great for a new song. So I'm feeling pretty excited about this. Listen, Andy, song comes out Wednesday. I know you. I know you probably already have that thing programmed in your podcast for tomorrow.

Please leave it off the podcast. Let's do this right. Let's honor our DSP partners, and let's let everyone have it at the same time. Please. Song comes out Wednesday. Don't put it in the cast on Tuesday. All right.

You know? Um, yeah, I feel like this is the kiss of death. Cause you're just going to do it. Don't fucking do it. Please don't do it. Bye.

Nah, X, fuck that. Uh, we are actually going to premiere it on the world. Same podcast, ladies and gentlemen, really proud of this song. Um, X, fuck that We are actually going to premiere it On the World Saving Podcast Ladies and gentlemen, really proud of this song Yeah, short, sorry buddy I run the show here

If my podcast fans are special to me So they get it a day before I hope you enjoy it The song's called Dancing Around My Grave I wrote it with Ryan Stasek and Ross Bogan Of Doom Flamingo And my buddy Susto, Justin Osborne, I met from the podcast. And we wrote this great song in Charleston

when I was out there for a couple weeks. And it was the first song I wrote for this whole record that I actually just finished. So, ladies and gentlemen, please enjoy world premiere on the World Saving Podcast. My band, actually, Andy Frask from the UN. The song's called Dancing Around My Grave. I hope you like it. 90 miles an hour No brakes, all gas If I die tomorrow

Don't be dressed in black Need a couple favors Instead of feeling sad Tell my mom I loved her Yeah, my daddy too And to all my lovers My words were true Hey, everybody on the floor

Two step and say no more Oh, everybody on the floor Two-step and say no more Oh, everybody in the back Jump up and clap your hands Celebrate what we had Celebrate what we had I want pyrotechnics Hell of a big parade Dressed up and going nowhere, dancing around my grave.

No surprise I'm leaving, we all gotta go. Might make it to 100, but then I'm ready for sure. Tell my kids I love them, and my grandkids too. All my great-grandchildren love what you do. Hey, everybody on the floor, two-step and stay no more. Thank you. Oh, if there's a heaven, baby Then I, I'll see you there Boy, if this is all I got That's okay too Our love was real Our love was real

Hey, everybody on the floor Two step and say no more Oh, everybody on the floor, just step and say no more Oh, everybody in the back, jump up and clap your hands Hey, everybody on the floor, just step and say no more Oh, everybody in the back, jump up and clap your hands Celebrate what we have Celebrate what we have Celebrate what we had Celebrate what we had

Celebrate what we had Celebrate what we had No brakes, all gas! No brakes, all gas! the last one, the last installment of the Peach Fest. Great time at Peach Fest. I had a blast. Keep thinking about it. But do you hear that? Let me just silence.

Do you hear that? Yes, I'm at my house. No one is here. I am solo. And this is the first time I've had no one around me. It's been crazy You know I keep thinking about You know

You gotta take care of your mentals You know You gotta get there You gotta take care of yourself When your mind's telling you You need to chill the fuck out You gotta chill the fuck out Because that's your gut telling you that

Anxiety's on the way So it's been good I'm in my house I'm in Denver I got three days off Until the Peach Fest Or no not Peach Peach Fest, until Floyd Fest. That's this weekend. It's going to be fun in Virginia. Can't wait to see all my homies out there. So get some tickets out there, but you got to take care of your mentals. So your body's going to tell you when you're

feeling it and you got to listen to it. I've been working my ass off. Made a new record. Went on this Denver run last weekend, which was fucking killer. Ridgeway, Colorado was amazing. The mayor likes me, y'all. He's happy with me. I told you, we got him back. He's back in the Frasco gang. For people who don't know, I had to write an apology letter to this mayor of Ridgeway, Colorado. And I haven't been able to play in Ridgeway in like, I don't know, eight years, something like that. They said I was too rowdy. I was cussing and I think I tried to do an exorcism on.

This is when the coke years or the wild years, ecstasy and one night stands and shit. And I was just wild as shit. I probably didn't sleep and shit. So I was just acting kooky. But we did really well. I thought we did. And we toned it down. The mayor was fucking, he was like,

I'm proud of you, man. Everyone grows up. Let's go. I'm maturing, y'all. Hell yeah. Hell fuck yeah. But it's true, y'all. You gotta just, it's okay to change.

I look at myself when I was playing those shows eight years ago, I'm like, damn, I was a wild dog just running around. You know, now I'm older now and that doesn't please me as much. When you go back to things that you used to do and you have this like new mind state or, you know, just getting older and you're just done with that shit and doing that stuff. And you go back to that same situation and realize yeah yeah i am growing up and uh so take some time and be proud of of uh you know growing and you know changing if you feel like you need to change if you're a fucking wild dog and your body's telling you to slow that shit down and slow down, listen to the beat of the present moment, you know, because we could always be thinking about the future, always be thinking about the past, but where does that get

us? Stuck in our heads, stuck in our anxiety, stuck in our things we wish we did and wish we didn't, we wish we did and wish we didn't. But if we take a step back, listen to the quietness, hmm, yeah. Listen to the present moment, and we'll get there. And we'll get through these depressions

and these anxieties, because we're working on them right now. We're not working on the past, we're not working on the future, we're working on who we want to be right fucking now. So let's do it. We got to play the goddamn music. You're powerful, strong, focused, determined.

You can be where the fuck you want to be. You want to rage like I did all for that a four day fucking bender. Did cocaine. I did cocaine. I was my guy. I'll tell you about that too. I did cocaine on the'all. I was like, I'll tell you about that, too. I did cocaine, ooh, on the last day of the tour.

And I was just getting excited. The show was killer, and Dylan, everyone was singing along. I'm like, fuck it, I'll party one night. And I did a little, and then, you know, like I did, fucking had the Sundays, the scary Saturdays. It was Friday, so scary Saturdays all day.

I'm like, fuck, I knew I shouldn't have done this. And then I'm like, nope, never again. So now I'm back on that ice water and salad diet, a couple cigarettes and some weed. And I'm getting through that inside. Man, I don't know how people do cocaine all the time now. It's insane. Like, I remember I was like that.

It was like, the anxiety as you get older, the day after is fucking horrible. And then I had to do a dance party and like be happy. And I'm like having anxiety. Like, by the way, the dance party was fun, y'all. Shout out to the dance party. The people, 200,000 people showed up to the dance party and y'all woke me up because I was getting, and I haven't seen Sleepy, Scotty Morrow, our DJ for a minute. And he knew I was a train wreck, but I got present. And it's amazing if you just stay present, the universe will take care of you.

And it's amazing if you just stay present. The universe will take care of you. My homie Merlin, fantastic chef, one of the best in Denver, was randomly doing a dinner party at the neighbor's house. Our homie's Chrissy and Jeremy. Shout out to Chrissy and Jeremy. That was when we first used to do a dance party. Love you. Yeah, yeah, organics.

But he was doing A dinner party for them And he's like Frasco I heard you're Doing dance party next week Come next door Come over Let me feed you

He took care of me I was eating Fucking artichokes Shit And I was like Yeah I'm getting healthy He fed me some fish

I'm like fuck yeah Okay So I stayed present And I got through the hangover And I learned That Yeah Repercussions If you're gonna do some shit In your body Just know there's gonna be pain And anxiety and I got through the hangover and I learned that, yeah, repercussions.

If you're going to do some shit in your body, just know there's going to be pain and anxiety and don't let that get to you. You put yourself in this fucking danger frasco. So I'm back now. I feel good in my house. This is the day off. I'm going to watch movies all fucking day

when I'm done with this podcast and whatnot. But we also have a single coming out. You guys just heard it. I hope you liked it. Dancing Around My Grave. It was when I was on that Charleston bender. I was just drinking my ass off for two weeks and I was taking a vacation with my boy, Chatty. Shout out to Chatty. Chatty, let's fucking go. What a time we had. Charleston, red and golf cart, just fucking doing it up out there. And then I felt bad that I wasn't being productive. So I went and called Ryan Stasek and I called Ross Bogan and the Doom Flamingo guys. I saw them play and I'm like, let's just write a song

tomorrow. So I rolled over to Stasek's house and we wrote this great song about living presently. The thing I want to talk about now. Celebrate what we had. You'll see the music video tomorrow. I won't blow that cover. I know I already blowed the single cover. Blew all the load out.

The song is about if someone dies, instead of being sad and being worried about the things you guys didn't do together, let's celebrate the things we did together. Let's celebrate death. Let's celebrate life. Let's not take life for granted. So we wrote this song called Dancing Around My Grave. And then we had a great verse i thought we

had a good strong day um stasek had to be a dad or what you know be a dad and he had you know take care of the children so i went to i called justin osborne uh from seuston i'm like he lives in charleston too i'm like hey man you want to help me finish this tune and justin is like the word smith he's he's one of my favorite songwriters right now, and he's just so opening, and I've only met him once at the podcast, and we kind of kept in touch, and I'm like such a fucking fanboy to him,

and I text him like, oh, maybe, I don't know, maybe he's too popular. I don't know. And he texts me right away. He's like, let's go. Come on. Come over here tomorrow.

So we finished the song in two days. We recorded it the next day in Charleston, and then, yeah, I'm really proud of it. It was just like, it just, sometimes when you just go with the flow and just let the creativity and the vessel open up and just listen to people, you know, and do something collaborative with someone, it works out. So stay present, stay focused, and I hope you like it. And it's going to be on Spotify and all that shit tomorrow on Wednesday and whatnot. What else do we have?

Summer dates. Summer dates. Yeah, we have summer dates as well. Shit. Damn. I'm on tour forever, y'all. That's why I'm trying to enjoy these quiet moments because it's been awesome.

Peach Fest was fucking insane. People were just giving me love everywhere I go. You know me. I don't like fucking around just hanging out in a fucking room and you know i'm going in the i'm going in the concrete jungle i'm going out there with the people to watch this festival and get going on the festival scene and like slam beers and that's why i'm in the music scene to have fun with the fans and y'all been fucking crazy and fun and i've been walking around denver and you guys are just everywhere i go you guys are just asking me for photos and shit i fucking love it i and y'all been fucking crazy and fun and i've been walking around denver and you guys are just everywhere i go you guys are just asking me for photos and shit i fucking love it

i love y'all and it means so you guys mean so much to me and to hear how much i mean y'all it i just love y'all so shout out to you i don't know why i went on that ramp but the fans have been amazing and so it's been nice to have because i'm about to go on tour forever, we're playing July 30th at the Steamboat Springs, hell yeah, Colorado, one more date, let's go, then I'm doing a wedding in Park City, I can't tell you about that, but I'll tell you later, it's gonna be sick as fuck, then FroFest, all my people in Salt Lake City, August 1st, free show, wear an afro, you get into the cons for free, Utah, come on, baby. Let's do it. Fro Fest with my buddy Chris Lager, who I interviewed. It's going to be dope. Then Victor Idaho on the 4th.

And then Salmon Idaho on the 5th. And then Catch Em On Em two nights. I think a lot of these shows are almost sold out. So grab them while you can. And then Summer Camp is August 21st. We got a great show. I got a fucking crazy lineup of sit-ins and then I'm doing like a VIP podcast. I don't know who I'm going to get on that, but I'll get someone.

We'll do a live interview and talk some shit for the VIPers. All right, guys. So we're going to have a great one. This is a great episode. Um, dude, Adrian Ballou, Jerry Harrison, fucking talking heads, Dave Brandwine. They all do to get, they do this collab together and they're doing remain in light, the talking heads and a turquoise is backing up these dudes with the talking heads. And I'm so fucking proud of them. Shout out to turquoise. You guys killed it at beach. You guys fucking slayed it at Peach, actually. And I'm proud of you, Dave. And we talked about all this stuff.

Talked about working with, you know, Dave Byrne and working. I mean, Adrian's been in King Crimson and Frank Zappa. Dude, Harrison's just like produced No Doubt and like was the number one producer. I mean, it's a great interview. And normally I get anxiety

when I have to interview three people all together, but I really think I nailed this one. But let me know what you think of it. But before we do that, y'all, our team, Repsy, yes. All the bands out there. I've been seeing a lot of bands at the Peach Fest, all the up-and-coming bands and stuff

and all the festivals we've been doing and all the shows and, um, coming up to me. And, uh, you know, it's like, I want to be like big bro to these dudes. Like I want to help them out. And I think one of these things that I love, I love talking about it because I wish I had this shit. I wish I had this shit for, um, when I was like 19, 20, 21, 22 hustling, you know, Craigslist and musicians and Craigslist and opening bands and bullshitting my way through fucking venues, calling venues, saying, I'm representing Andy Frasco. Hi, I'm Drew Mitchell. I represent Andy Frasco. And get this man. This guy's great. Well,

I'm like, I've never even played fucking music yet. I was like, wow. I keep thinking about those times. I was just like so confident I was going to learn an instrument and I never knew how to play an instrument until I was like 18 so I'm like two years into playing music and like and I had to survive on the road so like my animal instinct was

this like alter ego booking agent named Drew Mitchell I'm like yeah Frasco's great I'm like oh my god Frasco's great. I'm like, oh my God, what am I, I'm pumping myself up. I better fucking, I better fucking bring it. And it just taught me how to, you know, I got to go balls to the wall every night and learn and learn and go crazy. 15 years later, I wish I had Repsy.com. It is not another booking agency. It's different. I mean, even if you have a booking agent,

some of these bands who listen to our podcast, you got a booking agent? Fuck yeah. These guys will take, will wash the percentage if they get you shows. So sign your band up. I'm telling you, it's a win-win. You know?

You set up at Repsy.com and you can put your band profile on there and they got different genres and these bookers and these buyers. They all look at the website and say got different genres, and these bookers, and these buyers. They all look at the website and say, oh, I like this band, I like this band. So they'll send offers. I'm telling you, just you got to do it.

You got to try. You know, you might be in a rut. It's been a weird year for bands, year and a half later. You know, maybe the camaraderie of your band is not as great as it used to. Let's spark that engine, y'all. Get that Repsy.com or just get this.

I want all the bands to succeed. I want you guys to kick ass out there because this is the time. People need music right now. We're sad. People were sad for a year and a half. Now they're back and they're fucking rejuvenated and they want to hear music. They want to hear people. Have them feel.

They want to feel again. So get out there, guys. Pump up your bands and get this shit out there. So sign up hear people have them feel. They want to feel again. So get out there, guys. Pump up your bands and get this shit out there. So sign up for Repsy.com and it's a win-win situation. All right, guys, that's it. Let's have a great week. Let's have a great fucking week. I'm going to chill out. I'm going to chill on this couch for three fucking days. I have no interviews I have to do this week. I'm going to binge watch some romantic comedies. I love watching 90s. I'm obsessed with 90s movies right now, y'all. I'm just obsessed with these heartfelt, like, yeah, go get it. And you already know what's going to happen. You already know they're going to make up or the guy's going to get the job or fucking, you know, whatever it is. But I still watch it. We're like, I love those sports movies.

All right. I'm just ranting right now. Sorry. I'm just very excited to sit on the couch and just chill the fuck out for a couple of days and let's have a great week. So listen to your body, um, listen to this interview and listen to the advice these guys give about overworking. I mean, Listen to this interview and listen to the advice these guys give about overworking. I mean, my boy Dave is going through something right now. And, you know, we're all in this thing together. So hearing those guys give me and Dave the Young Bucks advice about staying together, staying rocking, not burning the can on both ends,

I am going to listen to that full-heartedly, and I'm going to do that right now. All right, guys. Enjoy the interview. Enjoy the podcast. And I'll catch you on the tail end. All right. And next up on the interview hour, we have Jerry Harrison, Adrian Ballou, and Dave Brandwein. Talking heads. Fuck yeah. King Crimson. Yo yo turquoise it they're all together doing remain in light yo chris play something from remain in light uh talking heads it was a great interview got to get inside the inside details of you know what it was like to record remain in light and just being in the talking heads. And, you know, Jerry Harrison, he's produced, no doubt,

he's produced, like, he was one of the top producers in the world earlier in his career, and he's just kicking ass. And to see my boy Dave and my Turquoise family play with them, playing some talking heads at peace,

that was the shit. So, ladies and gentlemen, please enjoy this trifecta interview um with jerry adrian and dave wow a trio dave jerry and adrian how's it going guys good good great this is crazy yeah um i got to watch your peach Fest show. Holy shit. Dave, you're in good company, buddy. I am indeed. Well said. You guys, so I kind of got the background story. Like, how many days did it take you to rehearse?

Because I saw you guys in the studio for like six or seven days, like rehearsing this thing. That's about right. Five or six, I think. Yeah. Yeah, a lot of that was set up time to set up time uh we had a lot of stuff and then also we did some uh we recorded a little bit but yeah we did a lot of rehearsing and uh it uh yeah the last the last day was spent doing a lot of video stuff

and then uh the breakdown so that day doesn't count as much as the others but we jumped right on well you know the thing is these guys know the music and they've been playing together so long that they they already sound like a great tight band so it's just me and jerry adjusting to them yeah what's it like playing with the young bucks again oh i love it i love it i love it yeah what was it. I love it. Yeah. What was the hardest part of adjusting to a different band playing the music you guys used to play? You know, in this case, it's like, it's so long ago.

It's like, I think, I haven't played all of these songs, but some of them I've played with all sorts of groups of people, you know, so it was just an extension of that. But, you know, I was, I was, I really had this experience the first, when I walked on stage and we started Psycho Killer, I was like, I went up to the microphone and I started like, you know, when you get choked up your throat, your larynx sort of rises in your throat. Yeah. I went up to the microphone and it was sort of like,

and I'm going, calm down, Gary. You got to sing lead in two songs. You need to get your heartbeat down. Is your blood pressure down? Are you working back? I'll be able to sing it. So I was like, all right, it's okay. Everything's sounding good.

Take some deep breaths and stuff like that. And it was thrilling. And I was thinking, you know, well, I haven't played the song Drugs since with Adrian in 1980. I haven't played any of those songs since 1980. Yeah, yeah. But the thing for me was, you know, I've been nervous as can be, which is kind of strange for me since I've played so many shows. But it's because of the COVID thing, you know, 20 months off. Yeah.

And I was really nervous, even though I knew we were sounding great. I was nervous for myself. And then I walked up on the side of the stage when Oysterhead was playing. They were the band before us and i was thinking oh gosh oh my gosh what am i gonna do and then all of a sudden i was like dancing around you know and then pretty soon i was like what am i doing i know how to do this yeah exactly i felt really not nervous by the time we went on stage you know i was ready to go and that's the thing you know and i i'm really close with Turquoise and I know how much of a perfectionist Dave is so like

you were you had a guy running the ship that was you know the perfect candidate for your tunes I thought because Turquoise is the closest thing the funkiest thing to what what that record and what that that music meant did you guys feel the same way about Turquoise? Well, we felt they were an ideal partners. And not only their love of the music, but even just the instrumentation. You know, no, we didn't have to hire background singers, for instance. The only addition was a percussion player. And so therefore, it was much easier for Adrian and i to just sort of step in and go

and feel the confidence that it wasn't um building it from closer to scratch we'll say uh and you know and it was also just a very constructive group of people i mean adrian and i went out to dinner one night after after like one of the first rehearsals, and he goes, you know what's so great about this, and I'm going to include Adrian and me in this, is that there's no divas. There's no personality that everybody's tiptoeing around. It's not like there's not people that don't have egos or self-confidence, and everybody has self-confidence, egos or self-confidence and everybody has self-confidence but as everyone here has has learned to be a a team you know a teammate and a and and to go for the best show and not only be thinking about themselves and so that was just such a constructive atmosphere that I think everyone

from the first rehearsal on but really back in Nashville in 2019, said, this is going to work. This is going to be really good. And we just had to like bear down. You know, I probably had to do the most practicing because I really am out of practice. Yeah, you're producing a lot. Even as we show this week, I got busy with some other stuff last week.

And it's sort of like, well, I was busy doing a record with Jonathan Richmond. And so it was like, okay, Jerry, start your vocal lessons again. And you got to run through the show. And,

you know, it's like, oh my God, he's embrace that fast. I was playing it on my own. I thought I was playing it really fast, but it's not quite fast. Oh,

yeah. Yeah. Turquoise. I was thinking that too. Cause it's like, I like i loved i loved the the pace of this show like dave you must have been shitting yourself dude play with jerry and adrian dude what tell me about this dave i wasn't shitting myself during the set luckily but um but yeah no i mean this is crazy for us i know you know this is the music that like Taylor and I were listening to when we started this band and Jerry I think

I told you that after the show was over I waited until the show was over and you know so it's just it's surreal for us and Adrian we've been fans of both Adrian and Jerry for such a long time so you know I think we all kind of just go into this trying not to think about that

too much because we have a job to do. So we just try to go in and know the music and play it well. And it's really easy to do and it feels different. Certainly, obviously, it feels different than ever before we're playing with these guys. And like, I've never felt an energy like that on stage that we felt at Pete's.

That was incredible. You know, I'm going to clap it up for Turquoise because my boys, they're Pete's. That was incredible. You know, I'm going to clap it up for Turquoise because my boys, they're in this. I love it. You know, it's just, it's exciting for you, Dave. And like, I know how much this music means to you. And for you to sit in with Jerry and Adrian, I'm just, I'm really proud of you, bro.

And I just, you guys killed it. What was the hardest, what was the hardest song or like the perfect? Did you feel like you needed the most rehearsal on? It's a tough one. I don't know. There were challenges in different ones. For me, certain songs have lots of keyboard changes and things like that, different sound changes.

So it was making sure it was programmed right and making sure that I pushed the right button. I had one time in a rehearsal. We did this rehearsal the last day where they filmed it and they turned all the lights off and i'm looking at a bunch of like red dots and i push one and it goes into the global settings and completely starts changing everything in the keyboard instead of instead of program eight I'm going, I've either got to put something that blocks me from like a little plastic thing over it that I can't push that button.

So we were like hunting around. Adrian and I, again, we were on our way to dinner and we're going, where would they have a book light? We, you know, everyone goes, I'll just go on Amazon. Amazon says it'll be delivered in 10 days. So we're driving around and I'm going, Barnes & Noble, books. They ought to have a book light there. And they did.

And that worked. But, you know, there were like little challenges like that, you know? Yeah. I mean, it's a, we have a lot of musicians on stage for almost, so if you hesitate for a second someone else is there filling in there's a lot of music going on simultaneously and and so there's a safety in numbers a little bit but it's just it's it's a and i just i also just want to you know i want to give props to everybody that the difference between our rehearsals and the show is everybody stepped up to the plate during the show and brought it up several notches.

Although everyone was much more commanding the stage and whatever they were doing. It was exciting to see everybody basically come to the moment and deliver. Yeah, and it's also, because I was there on side stage, because Turquoise, all those guys are like my best friends, and to see everyone just simpatico and looking at each other and seeing how they could help with each other and kind of just balancing, and it really felt like you all were a band together. It wasn't just you two and Turquoise.

It felt like you guys were all breathing together and how how important is that for this type of music essential that's absolutely because that's what it is it's a this is music that is a a conglomeration of a lot of parts together melded in a very particular way. And so everyone has to listen and be aware not to be too loud, to be the right place, to be in the right groove, to be in the right thing for that to happen. Do you think David Byrne would be proud of this performance? I think he probably would have enjoyed it. I think one of the things that David, of course, just did American Utopia, which included many

of these songs. I feel that David in American Utopia, I found one of the most interesting things about it was David's conversations with the audience. Of course, he was very shy and reticent to talk in the early days of Talking Heads, and it was wonderful to see him become so comfortable and able to do that. But the show is very much a conceptual piece. It's very much of an art piece, so to speak.

A little closer, really, to the early days of Talking Heads, where we were very much of an art piece so to speak a little closer really to the early days of talking heads where we were very much an art band and very much um and whereas i think that adrian and i saw in the 1980s show something quite special that that we were trying to uh to uh bring forward again or duplicate in some way, which is just pure joy in playing the music and just the groove and the energy and the happiness. And so I think that we went in the direction of just joy and excitement and happiness in the music. And we're not trying to be,

I'm not saying it's not artistic, but we were not trying to be, I'm not saying it's not artistic, but we were not trying to be abstract at all. We were trying, and the audience was invited to be every bit a part of that moment with the band on stage. Yeah, and like, you know, seeing Stuart Copeland, Adrian, weren't you in a band with Stuart Copeland? Yes, I guess I still am. Maybe he'll come back in five years and ask me again to be back in it.

I don't know. It's like most bands I have. They play together, get really great, and then they stop for a long time. I don't know if that's my influence or not. I like to keep going. Yeah, it was great to see Stuart. And also, of course, I had Les Claypool and Danny Carey play on two of my records. So I know Les for a long time, too. And Jerry and I went backstage before they went on and they were kind of tugging on me to go on stage with him right then. Oh, did you do it?

how unfair that would be to, you know, to what we were doing for me to go out ahead of time. Looked kind of silly, wouldn't it? But yeah, you know, I have to say all the things that everything you've been talking about so far. First of all, I'd like to say, you know, it is such a pleasure to play with a band like Turquoise, who really are a team they work together like jerry said they're they're they're egoless about it um and it just made it so easy for for me the hard work for me really was coming before we got there because it's kind of difficult for me to learn these songs and do what i do without a band you know what you Stand in your studio and play solos by yourself? Kind of goofy feeling, you know. So I really had to wait until there was the whole thing to see just how far along I was. And there was a lot of problems with getting sounds that I hadn't

used for years and making sure I was ready to play festivals. It's a different thing with festivals than what I do. Normally what I do, you have all day to get ready for the show, and you can do a sound check if something's not working. You can have it fixed, replaced, or whatever. But the immediacy of a festival scared me a little bit because plop down your gear, plug in, and play. That's it. You don't get a sound check, and you don't get a second chance. So all that went so well and i was really

pleased about all of that the last thing i'd like to add to what you're already saying is jerry said to me well you need to check out turquoise so he flew to nashville and we went to exit in in nashville which is a place that every one of us plays the first place i ever saw talking heads play in 1977. at the exit inn and turququoise was playing. We were standing up in the balcony, and they played three songs, and I looked at him, and I said, you're exactly right. This is the perfect band for this. I was so happy because, you know, Jerry had been telling me, I think I found the right thing, and he sure did.

So who, was it like John Bongiorno who put in your ear that Turquoise, because he's my agent as well. No, it really was me. Oh, nice. And then Adrian, and then me talking. I had produced turquoise, so I knew them. Oh. And I have sat in with them and played a Talking Heads song.

So I knew there was that love and that understanding of Talking Heads music. But Adrian and I, it may even go back before i can't before i produced turquoise for one reason or another i was in nashville a number of times i had a film take me to the river about memphis music they're at the memphis at the nash Film Festival. I was there for to show it to the Grammy chapter in Nashville and a couple of other reasons I was in Nashville. And so we I'd always call up Adrian, go like, let's have dinner. And we talked about how much that show in Rome just stuck in our minds, you know, watching it on YouTube. And I know that Adrian said that his fans bring him and just go like, that's one of the most joyful shows they've ever seen. And I said, we should try to find a way to do that. And we started discussing other ways. And so it sort of, sort of, I felt that I've been wanting to, you know, I mean, I've been missing playing these

songs and missing doing this. And so it was like, what's the best way and how can we make this happen? And so we so Adrian and I sort of said, like, let's find a way to do it. And we discussed a number of ways. And, you know, when I got to know Turquoise, I said, I think I found the right way. And I, I wanted to find people who had their had an audience themselves as well, because, uh, you know, I know that John Barnjorner, but any agent would go, I have no idea how many people are going to show up to this. And so that's why festivals were a perfect thing because there was no question that people are going to go, God, that sounds interesting.

That would be really cool. And it, but it, you know, it's, it's safer for someone to say, let's put it in the middle of a festival than it is to say we're booking. We'll see how it does now on its own, because the next show we have is just on our own in a theater. It's not a festival. I think it's going to do great. And why do I think that because everyone is now seeing it on the internet you can't hide you can't hide and i'm telling you everyone is telling me

man wow that's great i gotta see that so i i have faith that from here on out we're we're gonna do great and uh yeah i don't see any reason why it wouldn't be that way i hope even they add some some more shows it's not that long. It's not that many dates to have put in this much work. We need to take this thing further, you know. I remember, Jerry, the last time you and I talked about this idea, you were backstage at my show. Where was that? In California.

Sweetwater. Sweetwater. Yeah. Yeah. And we were backstage and we started talking about this again, you know. where was that in California? Sweetwater. Sweetwater. Yeah, yeah. And we were backstage, and we started talking about this again, you know, and I said to you, you know, it's just that this time in the world, where it is right now, it's a difficult time for so many people. This was before COVID, of course, and I was already thinking, wouldn't it be great to bring back some sort of an upbeat, kind of happy, groovy thing that a lot of people can feel good about, leave the show feeling joyful about and happy?

And that's what this is for, and that's why we're doing it, I think. I'm going to clap to that, too, dude. Friends reuniting, baby. I love it. I love it. Look how big my hands are. I know. You got some big old hands, Adrian.

Bigger than my face. I got a question. Did you and Jerry ever have a falling out, or have you always been friends? Oh, we've never had a falling out. No way. That's beautiful to have that much friendship through music and through partnership.

I mean, you've been in so many bands, too. I'm curious about the story adrian of how you went from zappa who discovered you to david bowie oh you want to hear that one huh i'd love to hear that that's insane am i allowed to curse am i yeah whatever the fuck you want adrian do it okay well and here we go so i was playing with Frank in Germany, and I didn't know it, but Brian Eno was in the audience. And he called David Bowie because he knew that David Bowie needed a guitar player for his upcoming tour. So two nights later, we were playing in Berlin, and there was a part of the show where Frank would always take a long solo with just a drummer and bass player and everyone else would leave the stage so as I was leaving the stage I looked over at the monitor

mixer and there was David Bowie and Iggy Popstand in there blew my mind I'm like oh my gosh so I walked over just bold as heck and said shook David's hand and said I just want to say how much I love all the work you've done thank you for everything and he said great how'd you like to be in my band and what it was frank pissed or something or what happened so i said well what i said is i looked at frank and pointed at him i said well i'm kind of playing with that guy you know dumb guy joke he said yeah i know but uh your tour start stops on this date and my rehearsal start two weeks later uh how about i come to your hotel and meet you there we'll go have dinner and talk about it can you imagine that okay so i come back to the hotel over in the corner there's a there's like little sofa

with a you know like a plant in front of it and there's david and his assistant kind of hulking behind it like they didn't want to be seen or anything. I walk over and they go, shh, shh, shh. Don't say anything. Go up to your room and come back down in five minutes. And there's a limousine waiting outside. So I said, wow, this is like a spy thing, you know. Do-do-do-do-do-do-do-do-do-do-do. You know, and so I go downstairs and go outside.

The limousine driver opens the door. I get in the back. David launches into all the, oh, I can't wait. We're going to do this song, this song. You're going to be so great on this one, blah, blah, blah. And he said, I'm going to take you to one of my favorite restaurants. And I'm thinking, gosh, okay, how many restaurants are in Berlin? 50,000?

I don't know. So anyway, we pull up to this restaurant, get out, we walk up the stairs, we walk in the front door, and who's sitting there? In the first table, Frank Zappa and the rest of the band. Oh my God! Totally busted.

Like, oh boy, I feel about this big, you know. What happened? So David sits down, we sit down, and David's looking at at Frank and Frank's looking at him. And David says, quite a guitar player you have here, David. I mean, Frank. And Frank goes, fuck you, Captain Tom. And I just couldn't believe it because knowing Frank, I thought,

that's so brilliant. He demoted him from captain to, I mean, from Major Tom to Captain Tom. Oh, my God. He just did that. In one stroke, you just already stripped him down. So David says, okay, well, oh, come on. You know, let's just be men about this. Can we talk about this?

Fuck you, Captain Tom. Said it again and david said really is just nothing you you want to say or anything fuck you captain tom so we get out we get up and we leave and we walk down the stairs to get in the limo and david says i thought that went rather well. Did you have a relationship with Zappa ever since, or was he pissed that you left? Oh, yeah. What happened after that, a couple days went by, and everybody was kind of jiving me and stuff.

And there was one show we did where Frank, one of Frank's songs is Maybe You Should Stay With Your Mommy, Mama. Yeah. And he was singing it, and he started singing, Maybe you should stay with your mommy mama yeah and he he was singing it and he started singing maybe you should stay with your david he can do your laundry and cook for you so you know i was getting all that for a couple of days and then my manager called and said well it's truly an offer and here's what's gonna go they want you to play for four months on tour and da da da da here's everything about it so i went to the back of the bus one day about three or four days later and frank was sitting on the back of the bus and i

said frank i know you told me that after this tour we were all going to be on retainer for three months and we could do whatever we want and we would get money from you for just doing nothing right and um and i said or you know david bowie has asked me to to tour with him for four months so i could just do that instead and um and then come back to you after that was over what do you think i should do and he said yeah that's what you should do he put his hand up shook my hand and said congratulations you know kind of thing and he wasn't pissed oh that's his uh his wife gail was pissed at me for 10 years wouldn't speak to me for 10 years but eventually but every time i would go back to la i would always go up to to frank's house to visit you

know and we had a great time every time you show me what he's got in the studio, show me his new synclature stuff, play me some new music. You know, Frank had, I guess it happened to him enough times that people went on for him as a platform to step into something else. I always have felt a little funny about it. But what can you do? David's tour went for another year and a half instead of four months. And Frank started a new band instead of doing uh the editing of the film so there you go so that's wow that's insane so you stayed with bowie for a year and a half or how long did you stay with bowie for yeah a year and a half i toured the world with him so i did the two the

the tour wasn't a world tour with frank but it was two months in the united states two months in europe turned right around did that exact tour, plus South America, Japan, Australia, everything with David Bowie. When I came back, I didn't know who was president. Jesus. Who's gone so long? You know, that's amazing. You've been in different bands as well throughout your career

before you really started taking a dive into producing what is what is the difference between let's say making you know a living off touring versus making a living off of being a producer well i would say that there's being in a band that has momentum you know know, I mean, obviously enough success that you're paying your bills. And as long as you feel that you love the music you're creating, it's just absolutely wonderful. You know, I've also made solo records, but there's some, you know, which is very gratifying.

But God, being part of a group where you support each other and you just know you can count on all these other people, it's just wonderful. I had started producing when Talking Heads was, I was still working with Talking Heads. when Talking Heads was, you know, I was still working with Talking Heads. But it became, when Talking Heads obviously stopped touring, but we were still making records, I started doing it more. And then I did Casual Gods and did a tour of it. But I ended up like plowing a bunch of my own money into making the tour happen and things like that and i think my wife was very influential she goes you know you're really good at producing you and

now i have children to be nice if you were home and i don't want you to keep losing money when you go out on tour and so and then of course i had the year of my, you know, the producing year of my career is I did crash test dummies and lives throwing copper in the same year. Oh my God. So one year I sold 13 million records, which I believe is more than all of the Talking Heads records combined. Yeah. Well, that was going to be my question.

What did you off more, Talking Heads or No Doubt? And so I love the idea, first of all, as a producer, you get to, so to speak, roll the dice more than once every year or two. The most disappointing thing for every musician is to make a record that they're very proud of, and then for one reason or another, it doesn't connect to an audience. Very often because the record company messed it up. And they never take the blame.

It's always somehow your fault. I mean, I had a record come out, and the head of radio promotion for Warner Brothers, whose name I will not say, said, I love this record. I'm going to do what I did with Jane Childs. I'm going to go to every alternative program director in the country with you, and we're going to break this record. And I show up at the first radio station, and he's not there, and somebody else is there. And I go, where's George? He goes, didn't you hear? I said, no. He said he said well I can't tell you well he had gone into cocaine rehab and so he didn't show up on this and so therefore his whole plan was just

given to someone who didn't buy into it because it wasn't his plan and then the record you know they had pushed me to work with co-writers to have a record that was which which basically lost a bunch of the momentum i had with casual gods and but i had what they considered more of a hit record it was a hit on the radio but they had so few records in the record stores it wasn't a hit in sales and then they pulled back there and it was just like this is my fault you know this is the fault you know of this is the fault of the company yeah and it's always it's always the musician's fault so one of the nice things about producing is that you have the ability to maybe have one work and if they mess up two you still had one work yeah on top of which you

still get the money with the artist hell yeah adrian i've had nothing but those kind of experiences through my solo career and uh i'll tell you one little story you know the biggest uh label i was ever with was atlantic and they signed me on the basis that this guy who came into Royal Recorders actually heard me recording the song Oh Daddy with my daughter. Right. And he thought that was the greatest little song. I didn't even want to put it on the record because I thought it was just. And this three record deal with them and, you know, we make a video and the video does really well you know especially for kids shows and stuff it's it's a good video but it's you know it wasn't a hit song really barely got

on the charts and then everybody all the new hits came out and pushed it down so i never really had a real hit record record but three records later i brought this record called inner revolution to them and i played it for the main guy there his name was tunge a turkish guy and tunge was famous for being the one who made up the phrase uh long story short so i come and we sit down my manager and i and he's looking at me he's looking at the record said i listened to the record yeah adrian i listened to, Daddy. Now that was a record. That's what he said to me. Oh, my God.

What? What? That's all you have to say? Are these guys like just pieces of shit or what? Yeah, man. He said, go make another record. But I didn't for Atlantic. But that was his only remark was what a great record Oh, Daddy was.

The one that they didn't make into a hit either. So it's got to be insane, especially now when budgets are smaller. Like how how do you like cope with record labels when they're giving you? I don't have a record label. Or like as a producer, if you're doing like maybe this is a question for Jerry. Like nowadays when you're producing like what these budgets are becoming so small like how do you like like affect the art of the the project when you really want to do it like i'm not exactly sure what record companies do anymore to tell you the truth i mean i'm and i mean part of this is my fault is that i got it just i did a whole bunch of stuff outside of me in the last, really the last 15 years. And I started

companies and I'm doing various other things. So I've been producing artists when they come to me and I just deal with whatever it is. I always thought that my job as a producer was to help the artist realize their vision but also be the person who made sure that the record company had something that they could work with. Because I mean I kind of understood where in the universe of what kind of radio station this would be likely to pick up a particular kind of artist or things like that, and to give them a record and to talk to them about it, and then hold them off so they didn't interfere with the recording process as long as I could, but also then try to sort of subtly

push the band to give them something that they felt they could sink their teeth into, find a way to promote, feel excited about promoting it. Because I knew that if they didn't feel that, that they could kill it from the second it was there. making records, you know, a fraction of what they were back when I was largely producing. But also, record companies now, Daniel Glass, who I did a record with Josh Joplin for, he was working with Danny Goldberg, now he has Glass Note Records. And I think the, I can't remember, I think they have Mumford & Sons was their biggest signing. And he's a very good radio promotion man. And he always speaks his mind to me. And he goes, Jerry, we're not in the business now of taking artists and getting them a single to first base.

We're taking artists who through their own use of social media have gotten themselves to second base and our job is now to try and take them home. And so basically, we don't sign unknown artists. We don't sign, we sign things that have already developed their own momentum that we feel that we can amplify. And I thought that was a very, you know, it was sad but it was like, okay, that's the state of the music business right now. Do you think that's the death of development? Yes. I think development is up to the artists themselves now. And so, you know, just as people had to sort of become video artists when MTV came along and, you know, also once again, the looks of the band suddenly became much more essential than it had been for the previous, you know, 20 years. the previous you know 20 years uh now you know it's like i i don't like spending my time on social media self-promoting myself or promoting something i just hey i'm i don't know i'm

i don't know i i feel like it's unseemly to be talking about yourself too much yeah and um seemly to be talking about yourself too much yeah and um you know maybe i'm just you know too old old-fashioned for that we'll say but uh you know it's not like i'm not someone who's not pretty up to date on technology and aware or something like that but i just find it boring and you know so anyway i i think that record companies and i also think that right now we are now wreck the record companies have followed the movies what kind of movies get made today by major by major things marvel action films yeah they make super expensive action films that they that have to be blockbusters and if they don't succeed with a blockbuster the company may go out of business yeah and they you know and i actually say that i think modern music

is like action films it's a loose action films now have a loosely constructed plot that is segues between spectacular special effects that are basically what people remember from the movie nobody remembers the plot to any of these movies there is no plot to speak of you know and so actually i think a lot of really of a lot of music i hear today they don't have verse chorus they don't have bridges they don't have verse, chorus, they don't have bridges, they don't have all the things that I think are essential to songwriting. They have a series of interesting sounds, interesting sort of events that succeed. You know, you see this in hip-hop music. It's like a changing cool beat, a guest rapper comes in, this happens, another guest rapper, another thing like this, and it's out. And hopefully something that you can sing along to in the process.

That's the one thing that is the same, that you need to have something that the audience can totally relate to. But it's not a song. And you can't remember very well. and you can't remember very well you know unless you unless you study them and you've got the whole you know you're really good at remembering every lyric of one of those songs they're just sort of there what you do remember is the hook because they still have some kind of hook it's not yeah they have a hook but there's not the kind of hook that we used to have it could just be some hey hey hey you know what i'm saying it doesn't even have to have words yeah it's just something that you walk away remembering enough and there you are

you know it's it's for for songwriters which i consider myself to be it's it's like i'm i'm right now just finishing up another great record i believe one of my best it's going to have absolute zero it's going to go... I'm plummeting to success as we sit here talking. It is halftime at the Andy Fresco interview hour. Andy, Nick here, hitting you up.

I saw your home from tour back in Denver, so I'm just going to preemptively contact you. Because that's usually when you need me the most, is when no one else is around. One thing I do want to bring up before I get into the talent show is, I noticed you've been having other co-hosts on your podcast while you're on the road, which is fine. They've all been great. The fans don't like it. I've gotten three, probably 400 messages saying that they want me back on at the top of the podcast and you're funnier when I'm around and you're just more interesting in general when I'm around. You know, not that the other guys weren't fine. It's just we all know I'm better.

But the real reason I'm contacting you today is the submissions are rolling in for the talent show for our tour this fall. But I want to make sure that people know that there's nothing too weird out there to get up there. I got some great musicians, comedians, some wrestlers, some other really weird stuff, people that can lick parts of their body that you shouldn't be able to lick. Stuff like that. So I want you guys to know there's nothing too weird to get up on stage in front of hundreds of people

and do something you think no one else can do. Or if they can maybe they can't do it as good as you. So if you want to get on stage and maybe win some stuff, worldsavingtalentshowatgmail.com Email me right now. stuff. WorldSavingTalentShow at gmail.com. Email me right now.

I do hear you out that this ADD culture of social media always having to be that just like every 20 seconds need to put out something new. I mean, Dave, you're in this generation where people are doing this like this like what have you learned because you're a producer as well i've actually got a couple questions for david i wanted to wait i wanted to give my stuff with jerry first but

oh good i'm having a great time what is uh what have you learned from being you know you're a producer you're a songwriter you're a musician what have you learned just being in the room with these two about the art of song the art art of ups and downs in a set? Tell me what you've learned from Jerry and Adrian just being in their presence. Well, I've learned from Jerry and Adrian long before I met them. And I honestly feel like both in the way I treat my own band and the way I treat producing other artists, I belong more in the era that we're referring to right now back when there was development and when labels would invest money in new artists and um you know i this this

whole modern version of the industry feels kind of foreign to me to be totally honest with you like i'm not personally very into social media um i don't you know we don't know i'll speak for myself i suppose but people just get youtube famous and then you know the building up it's it's all for me it's like songs bands records you know and and full records at that um that have concepts and things like that to them um you know so i feel a little bit like a foreigner in my own generation to some degree. And yeah, I mean, listening to all the bands we talked about talking heads, modern lovers, King Crimson, you know, you name it. It's, it's like,

music was so much more interesting back then. And so I hope when i'm working on something that things click and something can have commercial success but i kind of refuse to make it like the one thing that i that i focus on because that's what i think we're hearing and that what you guys are referring to in some of this modern music just kind of bells and whistles um and so i think like you know the the real um meaning in songs and really like the the the art in making them is is getting a little bit lost and i try to preserve that in every project i work on dave i got another question for you man now go you know going through hard times you know and having one of the biggest monumental things in your career

happen to you how are you dealing with all this stuff um man i'm i'm dealing with it really well like i i am in a transitional phase with a number of things uh in my life right now and you know in in a weird way this comes at a good time because i think when this tour was originally about to start i was insanely burnt out um we've been on the road non-stop for so many years um which is why i've had issues with too much partying too much drinking which is why i've had issues with just stress anxiety depression things like that like it's you know how non-stop we were yeah i know we all were and so it kind of came to a head and like i've been for the first time like dealing with a lot of that stuff i mean the pandemic was an opportunity to try to deal

with stuff but it was also a huge challenge an added challenge and so coming out of that i finally feel now like i'm i've addressed a lot of things that i never had time to address before and i'm actually now ready and more excited to play live music right now than i have been for the last 10 years um why do you think changed um because i think i rediscovered that it's something i really want to do i think i wasn't sure that i actually wanted to do it like i think i rediscovered that it's something i really want to do i think i wasn't sure that i actually wanted to do it like i think like you know the success that we've had uh versus how happy i was playing music were kind of like an inverse on a chart of each other it was like the first show i was probably the happiest and most excited and then i mean don't get me wrong. I love it. I love playing shows. I love our fans. I love giving to our fans. I love making music, but you know, when you do it

that much, it sort of just became, um, you know, something that I accepted and didn't feel every day. Like I was choosing it. And right now with all these transitions, uh, happening and me feeling so good, which I honestly do. I feel like I'm choosing it every day that I do it now. And it feels really amazing. You know, like that's what I wanted to ask Jerry and Adrian. Like how do you, how do you, like talking to young musicians like myself and Dave, how do you, what's your advice about burning the candle at both ends?

Well, personally, I have times... My advice is don't take drugs to do it. Yeah, you're right. You should have learned that 13 years ago, Jerry. It only works for one night. Jerry's back, but look at his hair's grown. Look at that. What's your advice, Adrian? I don't know that I have advice, but I do want to say this. I go through exactly the same things,

even though I've had a very long and successful career. It still happens to me sometimes, those same feelings of anxiety and wondering what the hell am I doing this for? Do I want to keep doing this? But I always end up coming out the other end of that on a positive place and saying, yes, this is what I love doing. And it doesn't matter. The real thing is the music. That's really what it's all about. It doesn't matter if it winds up on a chart or it doesn't matter how many people are at

the show. I'd probably be playing music in a little bar somewhere if I wasn't where I'm at now because I just love to play music. But it really is hard to handle, you know? I think it's good that you surround yourself with people that can help buoy you up, you know, keep you feeling like, yeah, let's do this. So when you're alone by yourself and you go through the pandemic,

it's pretty hard to do that yeah i mean i bet i mean especially for musicians whose minds are basically trained to keep moving non-stop and when you stop when you push when you put the the brakes down i think a lot of people couldn't handle it and people will start over drinking and stuff and over you know doing too much coke or fucking too much or absolutely well you know it seems that there was too you know people talk about the pandemic 20 pounds that people you know and then yeah and then there's other people who like they just got obsessed with working out and they came out of it going like god i feel better than i have in a long time

i mean uh you know one of the but you asked but you asked the question about burning the candle i think that first of all i think that when you're working and it's getting late as long as you have momentum and it feels like ideas are coming easy, keep going. But never take on the project that's sort of a work project. I think one of the things that I know as a producer is certain, like looking for a bizarre or just an overdub that fits in between all the other parts that are there, that can be a lot of work, especially if you're looking for like a sound. You're looking for, you know, a sound, you know, something that's like,

you know, especially on playing keyboards nowadays, you know, there's thousands if not a million sounds that you could choose. So threading that needle, it's really good to have that sort of, let's say, beginning of the day alertness to do things like that. When you already got your sound and you guys are playing back and forth and it's going good and like, I just did the lead, let's sing the background part and you can just jump into it. Keep going, keep going.

But don't start a new project late at night. You'll end up going it'll take you twice as long you'll be much more tired the next day go back and come back that the mornings the early part of the day is the day to do those kinds of more difficult and well let's just say more um more of a mixture of the left and the right brain that's what i would really say late at night's really good when your right brain is going and that's all you need keep going what about what about dealing with the stress i mean that's beautiful thank you jerry like what about dealing with the stress of like you know your band being so big let's talk about like remaining the light years like was there challenging moments in those years?

Of course. What was the hardest part about it? The politics of the band. Yeah. That's always it. What, is it like a dictatorship? Or was it, didn't feel like a band? I think there's an awful lot that's been written about that so i know you know but uh when we recorded i will say this when we recorded remain

in light we decided that we would go and not have anything prepared before we got in the studio because we thought that that would be a way to make because we thought there was something about the first time you play something is special. And that you never quite play it the same ever again. You might play it better from many points of view, but you don't play it the same way. So we wanted to capture the initial moment of creativity. And so very much of Remain in Light was not played ensemble. It was played one part at a time.

Oh, my God. In the studio built up and this whole melange of parts and stuff like that and you can listen to the there's a there's a uh a cd that comes that's some place of and like probably one of our re-releases where rough mixes from remain in light are like the last four or five songs uh on the album and and it includes also like a song or two that we never put on on a record but you can hear that there was there was a a direction and a joie de vivre that we were just on a roll. We were, ACDC was in the next studio. Holy shit.

It was down in the Bahamas. We were like going snorkeling and they wouldn't go, sharks, we won't even go near the water. And we recorded all of the basic tracks of Remain in Light in three weeks. And they did one vocal and one guitar solo in that same period of time. Oh, my God. So you guys were working. That's like – We were just – it was flowing, and Eno had a commitment,

and we had to take a break. We went back to New York. It was super hot. It was – and I negotiated a really good deal at Recording Studio. We went back in. And supposedly, David, because we had not planned ahead, David didn't have any lyrics until after we had the tracks. And he started to get, have a problem writing melodies and lyrics, partially because Remaining in Light really doesn't have chord changes. It's sort of modal music. It's more akin to, say, like Indian music than it is to pop music.

And finding ways to have drama when you move from one part to another, when it doesn't go to another chord, was hard. And in the end, David really had to pick up an instrument which was easier than writing lyrics and singing and started playing, layering some more parts on the songs. And the songs began to move and change. I was there every day, so I saw the organic process, but Chris and Tina didn't come as often because in large degree, their job was already recorded and they weren't, they weren't into the whole sort of the nuts and bolts of how you get the record finished all the way to the end. And that became something.

And it's one of the reasons I became a decent producer is that I not only learned from Eno, I also learned from Alex Sadkin how to master a record and all these things. not only learned from Eno, I also learned from Alex Sadkin how to master a record and all these things. I mean, even Eno, he didn't like to go to the mastering lab. He wanted to go to the next project. It's already recorded. David was already thinking about a movie or something else.

But I'm going, no, I want, I am taking this all the way through. I literally went even, I'm going to go down in the bowels of Warner Brothers and talk to the manufacturing guys. What kind of tape are we using for the cassettes? You know, there's a new formula out that we can get another DB of high end. Which they really appreciated because no one from a successful band was ever down in this part of Warner Brothers. They were always up in the A&R department. So I was always made a, always when I went to Burbank, I'd go down and say hello to all my friends that were really doing the work

that sort of got your records out and made them sound good in the end. But anyway, so in Remain and Light, the music started to migrate, we'll say. And then that migration helped David get in the flow of the music. I think that had we just continued in the Bahamas, it would have just flowed right out. But I think the break in that case was really a bad idea. But that meant that Chris and Dina were disappointed

that certain aspects of what we had done in the Bahamas had been lost. And so there was tension over that. And also David had just made my life in the Bush of Ghosts with Brian. So you might say his relationship with Brian was more au courant than it was with any of the rest of us at that time.

Did that bum you out in a sense where you felt like you cared more about this record than anyone else? I can't I'm not going to say that, that I cared about it anymore. I'm just saying that I, I, A, I wasn't lazy about it and B, I also, I was, I was willing to put off starting something else to, to make sure that this could be as perfect as it could be. Yeah. That's beautiful. Adrian, what about you? Any challenging moments?

In which thing? Making Remain in Light or playing with the band? Yeah, both. Okay, well, making Remain in Light was a joy for me. I went in the studio. I hadn't planned anything because I didn't think I was playing on any record. They asked me the night before. Yeah, I think I came down to the Mutt.

You were playing at the Mutt Club. I remember coming down and going, why don't you come up to the studio tomorrow? Yeah, exactly. And so I went in the studio. And it was one of those places where this particular studio, Sigma, was, here I am in a big wooden room and everything I tried to do on guitar worked perfectly. If I tried to make this note feedback, it just fed back. It was weird. It was like, this is meant to be kind of feeling.

So I could see them getting excited in the control room over every little thing I was doing. It was just a pleasure. That was great. them getting excited in the control room over every little thing I was doing, it was just a pleasure. It was great. Going on tour with them was similar in a way because I wasn't in the band, so it wasn't really my experience, if you want to call it that. It was talking heads. But I literally watched them just go to stardom right before my eyes. It was a fun ride because really, truly, I watched the band just kind of emerge from this experience.

And they were bigger than ever. I remember when I was in New York before that, you would go in bookstores or little restaurants or something. And there would be, you know, Talking Heads would be playing already. So I thought, wow, this band is already well ingrained here in New York City. But by the time we finished that tour, I think it was everywhere, you know, and they were like so much. They just broke through. Maybe it was before that. I don't know. But I. Maybe it was before that. I don't know.

But I always felt it was with that tour. And for me, it made it, it was really special to see that happen and be a part of it. What was the craziest thing you saw as the growth of like seeing the progression of stardom? Do you remember anything like, damn, they gave you the type of mayonnaise I liked or whatever it was. Well, I think the highlight was, and Adrian, I think will agree, was dinner at Nikita's in London. We had just sold out Wembley. Oh, my God.

And the promoter goes, where do you want to go to dinner? And I said, I want to go to Nikita's he goes I've never heard of that where's that I go it's on this little street I-Field Road near the Chelsea football grounds it was a caviar restaurant and we went there and

it was when you could get beluga and at the end of it he goes Jerry this is one of the best meals i've ever had i thought i made a lot of money on this show but not anymore but i have to say this was a fabulous meal i have a couple of things to add to that particular story. First of all, they had us upstairs in this area waiting for a very long time, and it was crowded with people trying to get into the restaurant. And they were coming around with trays of lit vodka, flaming vodka. And I was standing there, and this tray went by, and then I saw this woman, the back of her hair caught on fire.

Oh, my God. there and this tray went by and then i saw this woman at back of her hair caught on fire oh my god i was doing this trying to catch you know and she's screaming at me and in french or whatever i'm like i'm sorry i'm sorry your hair's on fire that was one thing then we went by the time we went down into the restaurant i think everyone was thoroughly thoroughly drunk really and they started a food fight and all this expensive food flying through the air and everything. So that was kind of crazy. Then the next morning, this is the end of my part of it,

the next morning, 8 o'clock in the morning, the phone rings, and I'm like, oh, my God, oh. My head's going like this, you know. And it's Robert Fripp. And Robert Fripp goes, hello, Adrian. I know you're not the type to be out raving so I thought I could call you so early in the morning

and I said oh please please call back in three hours and that was the morning he asked me to form a band with him which became King Crimson are you serious that was what he was calling me for at 8 o'clock in the morning when he called three

hours later said so i hope you're okay now i said yes i'm fine now thanks he said well i just wanted to tell you that uh me and bill brouffer would like to start a band with you what do you think of that and i said oh so that was you know that was the morning after that night. Oh my God. So the way you get in bands, Adrian, is fucking insane, bro. This is crazy, dude. It always happens, like either pissing off Zappa or having a hangover from Beluga caviar.

Yeah. It wasn't so hard to get in this band. I just sent Dave a check for $5,000. It was. You did get that, right, Dave? Yes, it's already been spent. It's been deposited. We got Amazon to go for you guys

after this podcast. Now I'm buying my way into bands. The finest. Guys, I know you guys got to go. Thank you so much for being a part of this with me. It's just such an experience. And as a friend of Dave, I'm just so thankful you are in his life. And I know how much he cares about you.

And I know I love Dave. And, you know, Dave, you could always call me for anything, bro. You know, I got your back always. Jerry, thank you. Adrian, thank you. I got one question for all, bro. You know I got your back always. Jerry, thank you. Adrian, thank you. I got one question for all of you. Dave, you've already heard this question, but maybe it's changed since the last time I've asked you this. What do you guys

want to be remembered by when it's all said and done? Say that again? What do you want to be remembered by when it's all said and done? Do you believe in that legacy and stuff? Yeah, sure. Personally, I want to be remembered by the music I've made

and been a part of. And I want people to remember me as someone who they enjoyed being around. That's amazing. Look at the smile in my eyes and remember that part. That's beautiful, Adrian. Thank you for that. What about you look at the smile in my in my eyes and remember that part that's beautiful adrian thank you for that what about you dave social media genius hell yeah i'm working on it what about you jerry richest man in the world uh no uh hell yeah jerry i'll clap to that let's go jerry make that no doubt money dog make that no doubt money okay uh this is gonna sound egotistical but i started this company that so i'm in the rock and roll hall of fame

and i have a lifetime achievement for the Grammys. And so I know that our music, I know that the music I've made is going to be remembered. And I think that my generally, I think that the people who I've collaborated with have always thought that I was an asset. I think that will come through. But I'm going to go further afield. I started a company which we have a treatment to stop you from dying from snake bites,

which is basically mosquitoes kill the most people, humans kill the next most people, and snakes are third. Wow. They kill over 100,000 people a year and maim between a half a million and three quarters of a million people every year. Yo. And also, this drug is also possibly a treatment for acute respiratory distress syndrome, which could save millions of lives from COVID. Holy shit. millions of lives from COVID. Holy shit.

So, A, I want to be remembered that the clinical trials worked and all of this came to free. And I want the scientists I worked with to get the Nobel Prize because I want to add the Nobel Prize as one of the things that I helped accomplish. Fuck yeah, Jerry.

Let's go, big dog. Let's go, daddy. Hell yeah. Very, very good. Let's go, big dog. Let's go, daddy. Hell yeah. Very good reason to have ophidiophobia. Oh, dude, I'm afraid of snakes. Hell yeah, dude. I don't even go hiking because I'm afraid of that. So what...

And this is something you could carry in your pocket. If you got bit by a snake, you would just eat it and it will get you to the hospital safely uh and here in the united states you might not even need any of them oh my god so what's it taste like uh i haven't i haven't tried it because of course i'm not part of the trial but green apple yeah what if they got flavors yeah and and we have some other additions to it to improve. This is part one.

And we have part two and part three. Actually, interestingly, Derek Rossi, who is the scientist who basically brought mRNA to the world. So the Pfizer and the Moderna, he started the company Moderna, although he's not there anymore, has just joined our scientific advisory board. Holy shit. And he has all of these ideas. And so I want that to work. And but I also I want to make more music. And this has been so exciting.

Just doing the show. And it was just so exciting. I mean, I've played other shows, but it's all hit and miss here. I sit in with someone for a few songs or something like this. To be out doing our show for an hour and a half for 16,000 people was just, oh, my God, this. Oh, I've missed this. It was so great. And I'm looking forward to just every show

we're going to do i'm looking forward to adding shows to this i'm hoping that we get this i'm the covid uh you know the outliers who are refusing to be vaccinated i hope that something changes their mind maybe going to shows like this yeah Yeah. Because I want all of this to happen. I want this to end. You know, I have plenty of other wishes for the world, but this is the first one. Well, I'm thankful for all y'all for sharing your time with me. And you heard that, Bongiorno.

Start booking more shows for this tour, baby. Let's do it. We're working on it. So I'll see you guys on Friday. I'll be at Floyd Fest. So I'm playing Floyd Fest as well. So I'd love'll see you guys. I'll see you guys on Friday. I'll be at Floyd Fest. So I'm playing Floyd Fest as well. So I'd love to see you. I'll see you guys in Virginia.

And I'd love to actually meet you, Jerry and Adrian, when we get there. Great. Yeah. We will meet. We will meet. I can't wait. Well, you guys have a great day. Dave, I'm a phone call away, buddy.

You know that. I love you, buddy. All right, guys. You guys have a great day. And I'll talk to you guys later. Later. Bye-bye. Bye. And there you, buddy. All right, guys. You guys have a great day, and I'll talk to you guys later. Later. Bye-bye. Bye.

And there you have it. Wow. Adrian, Jerry, Dave, all in there. That was crazy about the talking heads. They got deep on us. We got Dave. I want to get Dave on the podcast by myself, me and him, and we're going to talk through this stuff

because I don't like seeing him upset. And I'm glad he's finally in a good spot. Shout out to Dave. Let's go, buddy. I love you, bud. Thinking of you. All right, guys. I'll catch you on the tail end.

Now, a message from the UN. Rock and roll ain't pretty, but it's pretty fucking cool. Some days on the road might seem shitty, and you end up a drunken fool. What a fucking interview, right? Fuck. Holy shit. I'm proud of myself. I'm giving myself a round of applause.

Let's go. Three people. I got knowledge from everyone. It's hard to do interviews with three people because you want to give each person that moment. And for me, a pothead, I really focus, but sometimes I don't respond to the, to what the meaning of what we're asking a little later. So I feel like sometimes when I'm in a three person interview, I'm like, all right, oh, I'm thinking about something for Jerry.

When I'm like, now I'm listening to Adrian tell this amazing story about Zabba or Dave talking. And like, so I think I did a good job on that one. All right. That's it. That's it for today, y'all. I hope you learned. I hope you feel. Hope you laughed, cried, whatever you got to do to get us feeling better. That's what we got to be. We got to be the most authentic to ourselves. We got to be the most authentic to our body. Listen to your body. You know, I did. My body was like, oh, you're going to do cocaine most authentic to our body. Listen to your body. My body was like, oh, you're going to do cocaine until 5 a.m.? Really?

Oh, cool, cool, cool. Well, bam, hangover. Bam, anxiety. Bam. So listen to your body. Drink water. Stay focused. Stay healthy and stay in the mind, the mentals, the happiness of the mentals.

stay in the mind, the mentals, the happiness of the mentals. Because when the heavy devilness of the mentals come out and start beating up your soul, like you feel like you're a piece of shit, you got to say, oh yeah, I am just low dopamine, low serotonin. And not today, devil, because my soul is going to take this shit. My heart, my mind, we're going to follow those dreams and we're going to fuck shit up. All right. I'm done. done i love that rocky music i want to get that guy on the show and tell him how much that song pumps me the fuck up all right have a great week and um if you need anything holler at me i'm on instagram um i'm on wherever talk let's talk all right love you you tuned in to the world's health 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 saving podcast for more infant 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. No animals were harmed in the making of this podcast as far as we know. Any similarities, interactions, or knowledge, facts, or fakes is purely coincidental.