The Church of What's Happening Now: The New Testament - #656 - Rudy Sarzo

Episode Date: February 7, 2019

Rudy Sarzo, a Bass player who has played with, The Guess Who, Ozzy Osbourne, and Whitesnake, and is the host of "The Dash" podcast joins Joey Diaz and Lee Syatt LIVE in studio. This podcast is brought to you by: 23andme.com - 23andMe is a DNA testing service that can offer you insights on to how your DNA can influence your weight, sleep quality and much more. Order your 23andMe health and ancestry kit at 23andMe.com/church.     Onnit.com. Use Promo code CHURCH for a 10% discount at checkout. Recorded live on 02/06/19.  

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Uh-huh. Da-da-na-na-na-na-na-na-na-na-na-da-da-da-da-da-da. Are driving me? Rudy Sarzo in the house. Yo, go-go-go. The motherfucking Christ killer. Uh-oh. Sharpening his knives, getting ready for fucking lent.

And you got Uncle Joey here. What's happening, you bad motherfuckers? Thank you. What did he's doing? I hope you. Don't worry about lent. All right. I just isn't an expression.

Whatever the fuck. It's pretty soon, though. It's creeping up on you. One day you're walking around next day, fucking white people are of ashes on the head. And you got to give something up. You got to give something up. You got something up.

You got something up. You got anything for Lent? No. Never? No, I mean, I got nothing else left. I give up shit for a lot every year. I remember the first time I saw people with the ass. I freaked out.

Oh, yeah, they just came from the Jewish lightning. They just come from burning the house. They got ashes on their face. What else would you put ash on your fucking face? You know what I'm saying? And we live in sensitive times. Look at that poor governor. That fucking poor governor.

They're going after him for his fucking med school yearbook because he has him with a picture of a Ku Klux Klan. And he had black face on. And people are losing their minds. First of all, did you even go to med school? Why the fuck do you care, a fucking poor guy? We want to make a big deal about anything today. He loved Michael Jackson.

He said he put dark face on one time for a Michael Jackson party. And he wore the slippers. And they even asked him, can you moonwalk? And his wife told him not that. Did you see this? On World News Tonight, tremendous. There's some fucked up shit going on. Freedom of speech.

And now the third online said he did it too. Everyone's just copying to it before they get caught. Yeah. Listen, one time in 1983, it was Aspen, Colorado, they have the second biggest moorwalk. It's called a mall crawl in Colorado.

Boulder's number one, obviously. The homeless people get in on it. They play the drums. It's a fucking stink fest. Everybody's got those burking stockings on with their feet smelling like goat shit. And Aspen,

had the same thing. So I came home from an electrical company that I worked at. Me, Jimmy Berkel, God rest of soul, and Cato had an idea. We were 19 years old. I think Jimmy was 21. We were 19 years old.

We were going to dress up with long thermal underwear and white sneakers and put a hanger around our necks and go to the mall or wall as abortions. Let me tell you what happened. Monday night football started at fucking seven. We ate a Kualoot and we passed out. Like, we did this Super Bowl.

And we woke up at midnight with these fucking hangars around our neck. And we were like, thank God we didn't go up there. Thank God. So would I do that? You know what I'm saying? It was tasteless. It was a tasteless thing to do at the age of 19, which we've all done something tasteless at the age of 19.

You know, at least the guy was in fucking med school. but this is the society I'm petrified of that they can just pull something out of your fucking high school yearbook. Thank God I fucking quit school. See the advantages of fucking not being in the yearbook and getting a GED? It is crazy how times changed, though. If they think about it, like, they were okay with that picture being in the yearbook. It's a KKK guy and a guy in blackface.

I'll get it out with a fucking Budweiser, like Americans. Like two Americans having a good time. I could see if they were drinking German beer and they were part-time Nazis or something like that dressed up with a fucking black face But to have you know they just having a good time in a dorm room Cracking jokes first off What the next but was a commercial racism is something that you have to eliminate that Reaction early on like I knew when I got the New York City in Nineteen 67 that the word spick I knew what it meant

I had been called a spick on 88th Street a couple times. I didn't know how to react and I went to my mom and I asked her and she flung her cigarette, took a swig of her beer and she's like, if they don't call you a nickname, they don't like you. And she just turned around and walked away. And I was like, you know what? She's right. At least they call you a fucking spick.

I can see if they don't call you nothing. And then you just learned to deal with it. And then I started going up to 148. where the white kids hung out with Puerto Ricans and they weren't allowed to say the words spick. They would say it, but even you had to get desensitized. You know, you had to get desensitized. They taught you like your mom in those days would say, shut up, sticks and stones will break your bones, but words will never hurt you. That was the old adage. My first friend was black. His name was Jasper Williams and they used to call him

Casper, Jasper, the friendly ghost. Like they would torment them and call him a ghost and all this shit. That he was the only black ghost. Why did his father call him Jasper? And I remember him dealing with it. By now, I know wherever Jasper is in this world, if you call him a nigger, he'll just flank his arm on you. We've been listening to it since I was 10.

You're not going to do nothing to me. It's not effective. It's not effective. How do you feel about it? When was the first time you got called this break ever? Oh, yeah. In West New York. Yeah, but, you know, the way I figure is, you know, ignorance.

You know, and this person is calling me names because he's probably never socialized or met anybody like me. So his only, their only reference is from somebody else's experience or reference. So it is my responsibility to let this person know what, this Latino, Cubano person, it's really like, just brained in me by a random identification, such as a spic, it doesn't make any sense. You don't know who I am. You never been to my house, but here, let me show you who I am. You know, and then, then you can call me a friend, you can call me a neighbor, whatever you want. But first, let me give me the, I,

to educate you on who I am and hopefully you can get a sense of who my people are like from knowing me. You know, usually things, you know, it's like ignorance breeds racism. You know, in my neighborhood, we have, I got a Russian across the street, we have Afro-Americans down the street. I have Sikhs right next door. I mean, it's like a little, it's a melting pot. We're all neighbors. When the holidays come, we'll give gifts no matter what our religious background is to each other. We respect each other because we know each other.

You know, and to me that from traveling around the world, the more you get to know people around the world, the more you realize how much in common we really have as human beings. We're all in the same planet, you know. And what happens is through generations and poor references of history, things that happen during history, you know, that people hand down through generations negative identities to certain religious groups or societies or cultures, you know, just because they don't know who these people are. Once you go to their country, you visit them, like Russia. You know, I grew up during the Cold War and the propaganda was that Russian women, they were all fat, they're ugly and horrible. Once I traveled to Russia and, you know, and even former Russian republics, Soviet republics, like the Ukraine and Belarus and, you know, so on, they are the most beautiful women. that I've met in Europe and all of Europe.

You know, I believe the United States has the most beautiful women in the world because it's a combination of all the countries coming in to America, you know, and bringing all, you know, the finest example of people to the United States. But if you go to Europe, I mean, some of them, you know, the most beautiful women you're gonna meet

are actually Russian. Hmm. I mean, do you think that your travel is part of the reason why both of you don't, get caught up in a lot of this because a you've been you've met all different types of people so you've been a verbally attacked or abused by everybody you've heard everything but then you've also on the flip side you've gotten to meet every different kind of person and you've made friends with them so you it's hard to hate

them and you're friends with oh that's like Jimmy like do you think that if you hadn't traveled as much you would have been a little bit more close-minded I don't travel yes you do no I don't I travel in the country I don't travel abroad. I just decided on how that word felt early on, and I knew that if you have to pick your battles when you're a kid on the street, you got to pick your battles. So in those days, in the early 70s,

where I hung out, there was a bunch of tough kids in this name, but 20 kids. You didn't protect your honor. as much as your mother. The big word was motherfucker. If I called you a motherfucker, you had a fight. And then your reply was, keep your mother off the street, and I won't fuck her.

And then we would have to throw punches or somebody to get here with a bottle. So speak, you just let go. In those days, it was your mother, or if they called you a gay name, you know. Then you had to fucking throw punches. That's just the way it was. So nobody could really say,

nothing about your mother. In those days, your mother was sacred. And when I came from Cuba, those kids I ran with, you can say nothing about that mother. They'd be on top of you before you said, the. So you let the spit go. You know, when I was growing up in 88th Street, it was a very, yeah, my little girlfriend was Chinese.

Her father was a draw for Charles Schultz, and we would go to the premieres of Snoopy and shit. in kindergarten in the first grade. I was very tight with their family. They would give me candy with paper on it and shit for Christmas. But everybody else in that neighborhood was predominantly white, and that's what was called the spick. But I didn't really give a fuck.

I was overcoming language barriers. I got it. And I remember getting until this day it haunts me that there was a laundry mat across the street from 205 West 88th Street. And I went across the street and a mother pulled me over until this day it was to stay away from her daughter because I was Spanish. Like I thought about that conversation for a long time. She said something to you? Yeah.

Her little girl was cute. I was cute. She was in my class or something. You know, we would walk together. And one day she pulled me aside and she goes, you can't walk with us or something like that. And I wasn't hurt at he. I'm telling you guys as men, ladies, I wasn't hurt. I was surprised.

So when I started going into my godmother's house on 148 street, the reception was so much different to me being Spanish, even from the white kids. The white kids were taking me to the house to eat before the Puerto Ricans. And they weren't white. They were fucking tough, Irish, white trash that would live and die for you.

If I still remembered their names, I would fly out and meet them and podcast them. Expose our world to them at those days. What we did, how we made money. Then there was the Sedeno family. They were a Puerto Rican family. I had nine kids. And they lived in a two-bedroom and everybody slept on the floor with fans. You never seen them like that.

So here I was living on 88th Street, Rudy, with my own bedroom. with air conditioning with my own stereo in my room. But on the weekends, I would go to my godmother and see how people really lived. So I would play my money down. I would play my money, where do you live? I would say in Jersey, I would never say 88th Street. I would never say 80.

Those kids taught me about being thankful and how their parents worked all day. And they wouldn't see their dads and moms. And, you know, it was a different world. there but that's where the word spick got taken away and then I moved to Jersey and in Jersey everybody calls you a speck like the neighborhood I moved to everybody calls your spick and there was only two spicks in that neighborhood it was me and Carlos Perez so now that was a different challenge the challenge was I would be a spick until I could prove

to these savages that I was crazy or as crazy as they were and then the spick went away and that's exactly what I did you know I had the same experience because when you and I arrive in the United States there weren't that many Latinos no Ricky Ricardo was the only one and everybody loved him if you didn't know Ricky Ricardo you weren't shit if you especially in Jersey when we were relocated to Jersey afterwards I had that experience but when I arrived in Miami in 1961 we had a we were second what was considered second generation of Cubans arriving because the first

generation were the the upper class that left Cuba right after. Privatista. Yeah, yeah. Privatista. Well, Privatista and a lot of them, as soon as their revolution happened, they jump in their yachts and went to Miami to actually live in their summer homes because they had, you know, homes in Cuba and homes in Miami. So I met a lot of girls who, their parents, actually, you know,

know, were industrialists, you know, people that own industries in Cuba, and they were actually living in Miami, but in their vacation home, basically, you know. And so when I got there in 61, because it took my parents about over a year to get all the work, you know, the visas, you know, the visa and the passport and, you know, we'll have somebody claim us, you know, we came here legally. And but so by the time we got in, we still, you know, we moved right into southwest, Las Hesera. you know in Miami which is it was basically a few blocks of just a Cuban ghetto just all families from Cuba moving in and what happens is okay while the parents were struggling to make a living the

kids we were misplaced mentally you know we just didn't know how to handle it except to get the anger of us being in a foreign country trying to assist trying to adapt not really knowing very much how to do it because your parents now were doing two jobs and I have to take care of my little brother because my mom and dad had to go to work so all of a sudden I'm babysitting my little brother who was maybe at the time seven years old you know and I'm 11 and it's like how am I going to I've never done this before so you know you're kind of like now you're protecting your brother you're trying to get an identity you're dealing with other Cuban kids who are pissed off too. So it all came down to what you're talking about. You know, a lot of confrontations all the time, not from outsiders, but from our own. Because we were misplaced. We just didn't even know how to fit in.

Because as soon as you left the neighborhood and you went to school, that's a whole, that's a whole, you know, story. Because now you're in the school with like the first generation of Cubans that got there now that they felt a little bit superior. to you because they have been there for two years now. So they were experienced, you know, in the American culture and society. Then you have Loj American, and they just don't want to have anything to do with you. Because they thought, well, first of all, these guys are going to be gone from here, you know, very soon because the whole thing Cuba is going to be resolved. And, well, you know, 50 years later, it still hasn't been resolved, you know, 60 years later.

So, yeah, I had to deal with a lot of that. And then on top of that, once we were relocated to New Jersey, that was a whole set of circumstances. That as a kid was very tough. In my high school, there was the white cafeteria and the Jocks cafeteria, and then there was a spit cafeteria, which the Spanish kids went into the eat. And I would go in between both.

Was it official from the school or just that? It was unofficial. So nobody got their feelings hurt. That's what the Spicks ain't. That's what the white. And the teachers ate in there, so it really didn't make it look bad. The teachers had a lounge in there.

Okay. But that's where I'll never forget. One of my favorite teachers of all time was talking to me in front of that place. And while he was talking to me from a distance, a kid walked in between him and stepped on his shoes. And Mr. T looked at him and he goes, pardon me. And the kid goes, what happened?

He goes, next time, get your hoop-to-doop-de-do maring-a-s shoes off my feet. I'll never forget dying my ass off. The kid was offended. Hoop-to-de-loop murengi shoes off my feet. And the kid nearly died, but it was official but unofficial. Did the Cuban kid's mind? Not really. They would just happen to be in this country.

They would just happen to be in this country. Somebody put up my sixth grade picture the other day. sixth grade Mr. Kingwell's class no it was seventh grade Mr. Levito the motherfucker I left me back and in that class

there were three kids that you could obviously tell were not 12 years old one kid's name was Juan Soto the other kid's name was Lazarido Valor and I forget what the other kid's name were

they were shipped in the seventh grade in those days if you had been in the American system for too long because it was taking your too long to learn English, they were just keeping the seventh grade, like two or three times. And by that time, Louis Al-Divar, you could tell you were starting to get a beard. I wish it was another girl put it up, so I couldn't take it down from her thing or really

share it. I tried, but it wouldn't let me share it. And it shows me in the top with like a white t-shirt on with like this fucking pornographic shirt on and Miss Lovino's class. but those stroke Juan Soto quit school in the seventh grade because he knocked the girl up and he had to go to work I'll never forget still walking home with him on his last day of school and him telling me bro I got to go load trucks tomorrow he was how old are you in the seventh grade uh they pulled me back one grade when uh when we came here so how old are you usually in the

seventh grade uh 12 he was 15 yeah yeah he was 15 yeah he was 15 yeah bro skip a couple of years yeah he was 15 he already was a man in the sixth seventh grade and they were gonna skip him and lazarito vallar they pulled him i remember seeing him punched the principal in the fucking head with a straight on him one day in the basement when i was eating lunch by myself i saw him say something to lazarito and lazarito told him fuck off and the teacher got in his face and before the teacher could even square Lazerito called him in the jaw with a straight arm and the teacher, his legs went out from under him. He was trying to walk and he kept saying, I'm going to the office.

I mean, that's how tough those kids were. But they would hold you back until you learn the language. I mean, I'm not saying it's racist or whatever. I'm just saying that they wanted you to speak enough English to at least be able to move around in high school. these guys were refusing to do it. There's Cubans that have gotten here in 1959 that still refused to learn the language because they always thought they were going to go back to Cuba

and it was going to be a waste of that time. My parents, my mom and dad, they didn't learn English until I left, I had left home. They were just, you know, them too, my mom and dad living at home, so they have free time, so they started going to a night school

to learn English. My dad never really learned it. My mom picked up with some of it. Enough. Because then again, no matter how much English you learn when you're in Miami, first of all, you're learning from Cuban teachers that don't necessarily have the best accent, you know. Second of all, there's nobody really in Miami to practice it with because all the other Cuban, especially in the area that my mom lives, they all speak Spanish.

How old were you in your Woodstock, Henry? When... Woodstock happened. Were you here already? Oh, yeah. I was born in 1950, so I must have been, what, Woodstock was 16, 69, yeah, 18, 18. 18. Do you remember the event? Yeah, I remember. Yeah, I remember. Yeah, but I heard about it on the radio.

I was 18. I was already playing bars in Miami, so it wasn't like, you know, I had commitments, you know, locally. So it wasn't like I was, you know, going to hop in a car and drive all the way to Woodstock. You know, I had gigs. Yeah, gigs. Yeah. How did you feel the other day I was listening to? woodstop, you know, the album I have it here or whatever. I just put on the Santana parts. Oh, no, I was watching YouTube.

Do you remember hearing Santana for the first time? Well, remember, yeah, it gave me hope for the first time. You know, because I completely understood being born in Cuba and having Afro-Cuban music at the foundation of what my music background is. You know, I was listening to Afro-Cuban music or even, you know, Celia Cruz, Lando Laceria, you know, any of that music before I came to the United States, before rock and roll, because we're talking early 50s, you know. And so when I came to America, then you have blues-based rock and roll. And if you look at it, they're all African-Cuban

music, blues-based rock and roll. It all comes from the same African influence. So that's what Santana did. He blended both. the Afro-Cuban and the blues into one sound. And there you go. To me, that is the best representation of rock music. I mean, he did it spectacular. Oh, fantastic. Spectacular.

Even the other night I heard the one he did with Rob Thomas. 30 years later, he still added that element of that Spanish to it. Yeah, actually, the first musician to incorporate in their, in American influence music, which is jazz, to incorporate Latin rhythms, was Dizzy Gillespie with Manteca, when he had Manteca in the group. And Duke-Canton had some of that. You know, if you listen to Caravan, he has, you know, a lot of Latin percussion in there. But actually, as a sound, as a direction of a group, Dizzy Gillespie went into Latin jazz. Well, Dizzy went to Cuba.

Yeah, he did. When did he get influence with Latin jazz? after Cuba? When Manteca joined the band. Or before Cuba? Oh, yeah. Well, see, I don't know if Dizzy had actually met Manteca in Cuba or if they met in New York City. But that was the biggest influence he had. Now, Manteca wasn't the- Precussionist. Yeah, percussed.

But it wasn't that. You know what they called them Manteca? They smoked a lot of weed. Really? Montecca. I meant weed when I was a kid. Manteca, yeah. So who was the guy he was visiting in Cuba? but dizzy. He became friends with.

Then he got him out. Arturo Sandoval. Then he got him out first. But the wife was a communist. She didn't really want to leave. That was a good little HBO. The only story I know, yeah. The only story I know is what I saw on the HBO made for, you know,

biography. Somebody reached out to me and said that Arturo Sandoval Jr. Either does a radio show or a podcast and he wanted me to go on. I just don't know much about his father. and his roots that I just saw him from what I know in that HBO movie. Yeah. And then I asked a couple of you Cubans. They were like, Artuber was cool.

His wife was the commie bitch. So I can't really, you know, go on this show. All I know about Arturo, the first time I met him, it was 1994 at a Billboard Awards, Latin Billboard Award in Miami. Somebody introduced me to him, and they told him, which I was, on going on two. actually doing a show in Russia in 1994 with Whitesnake. And when he hears that I'm going to Russia, he just threw his arms up in the air and said, man, he freaked out because he just didn't want to, you know,

that was a bad experience for him. The whole communist, you know, communism in Cuba, experience for him was awful. When you went to Russia, what did you see? I, you know, let me tell exactly what I saw. From the stage, of course, you know, we went there with the promoter, you know, and when you go there on a, what it's called,

This is 1994, you know. So when you go there on a almost a, what do you call that, you know, a government, you know, a goodwill tour, you know. What I saw, this was my experience. And it just, it was incredibly moving for me to be on stage and watch grown men crying because we were playing the music that just a few years before, it was. They quit a gun to jail for listening to it because rock and roll was outlawed during the whole communist regime in Russia. You know, so for them to finally feel free, that was freedom. And I was moving and moved to tears because still my country, my own country, you know, by my country of birth, because the U.S. is my country, by my country of birth, it's still a communist country. you know and and it's just it just gave me hope that the place that the birthplace of communism

is not communist anymore you know but my country still my country of birth still is but it just gave me hope that hopefully someday you know it will be free again and then the scorpions go over there too a bunch of people oh yeah yeah yes yes that's the rafka before before we actually play there we what we were doing was it's called the white knight's festival white nights festival white nights is because at the end of June, it's for about a week, the sun does not set. You know, it's just daylight. So it's white nights. And we landed at midnight and it was like noon, you know, basically.

So we went, you know, straight to some big party going on in some embassy or something. And then we just, we were there for like five days, you know, before we did the show. And we went to the museums and, you know, we were taking care of for fantastic. It was really great, and we got to meet the people, and you got to find out that everybody will have one thing in common. We want to be able to provide for our families, give our families the best life possible. And I found Russia one of the most religious countries that I've ever visited, because it was religion that gave them hope. if you look at books of the churches in Russia, they were the best maintained churches.

Because Stalin knew, and this is according to the locals, because I asked a lot of questions while I was there, you know, me coming from a communist country myself. I asked him a lot of questions. So, Chas, wow, I did not realize that churches, you know, still existed in Russia. And their answer was, they say, look, you know, we Stalin knew that he could not take God away from the people. He could not take hope, faith, away from them.

So he just turned a blind eye to certain, you know, like Christmases and certain religious dates and led the people celebrate them. But it was not an official government sanctioned celebration. It was just something that the people did on their own. So they maintain the churches, the people themselves maintain the churches really, really well. So later on, the churches, you know, every time I would, because I've done a lot of tours in Russia ever since, you know, with DO and some of the bands. And every time you arrive in a town in the middle of Russia, you go to the center of the city and there will be a beautiful church. maintain, you know, the dome and all painted in gold and all of that. So, you know, I think that gave the people during the communist era a lot of hope and a lot of faith.

Otherwise, they don't think that they would have been able to survive it. How was you spent with White Snake? How was it? Yeah. How long were you there for? I joined the band in 87 and my last show was in 94. That's seven fucking years. Three albums?

Actually, I recorded one, slip of the tongue. We tour on the 87 record. The record was done before the band, the band joined. That's when Vivian Campbell, Adrian Vanderberg, Tommy Alders, and I joined the band for the making of slip of the Still of the Night video. And then we stayed in the group and we just kept being members. As a matter of fact, Tommy Alder still is a member of Weissnake. They're about to tour.

Yeah, they, you know, all these bands, Death Lepper, White Snake, everybody, they go on tour every year. What does that fucking tell you yet? I mean, it tells me that the music is really timeless. People, you know, not only are you performing for the older fans, you know, the core fans,

but you're also, you're performing for the new generation of fans. And then you were you toured? with them until 84, white, not 94. 94, yeah, yeah. I was in Ozzy from 81 to 82. I rejoined what is known as the mental health version of Quiet Riot

because there was the Randy Rhodes version of Quieti right before that. In 82, I rejoined that. As a matter of fact, I recorded, speak of the devil, and started working on mental health at the same time.

Exactly. You know, like I did one. record and then I came back to LA and continued working on the other record. You know, so it's as a matter of fact, in the 80s, I recorded five consecutive multi-platinum albums in the 80s in a row. I did the tribute album, which is live with Randy. I did the Speak of the Devil, which is the re-recording of Black Sabbath, metal hell, condition

critical, and slip of the ton. All of them multi-platinum. three different bands yeah I went to the house I saw Jesus Christ what is it like when you start hearing that an album you worked on because platinum means what

10 million no one million one million yeah gold is half a million platinum is one and then multi-platinum just start going to two three four and so on diamond is 10 million diamond diamond like that's such a crazy number

because you just record it in a studio. And I know you're going on tour, so you have an idea that some people like you. But to have a million people buy an album, that must be crazy. Yeah, because they had to buy the record in whatever format. They have to buy it in vinyl or CD or cassette. Once it started going into streaming like we have today,

it's a whole different ballgame. But what emotions? Do you remember the first album you had that went platinum? Well, let's see, if I'm going chronologically, because, okay, actually the first one that I received that was platinum was not a record that I played on, but it was actually a record that I toured on. Okay. One of them was Blizzard and the other one diary. You know, and people online, you know, social media, they say, hey, how come you got a platinum record or gold record for something you do not play on? is because if you look at the plaque,

the plaque clearly says to commemorate the sale of so many records, right, in your name. That's why when you go to a lawyer's office, they have gold records on the wall because they were the lawyers representing the artist for the record deal. You go to a dentist. You could be the guy who did the veneers for the singer. He gets a gold record. You can give a gold record to your parents. You know, it doesn't necessarily mean that you played on the record.

I received it because I toured. And I was kind of like the salesperson on stage, among with the band, selling those records. I got to take this back because I was in the car and my wife the other night and one of your albums came on, one of your songs came on. And my wife read about you. And she goes, he played on this, but they took him one. this.

No, that wasn't me. You did not do Blizzard of Oz. That was not you in the original recording. No, that was Bob Dazley. As a matter of fact, blizzard and diary were recorded before Tommy Aldrich and I joined the band. No shit. Yeah.

Yeah. Yeah. I wrote about her in my book. I thought she, it's very clear. I thought you wrote them. Oh, no. And then she took the baselines out to you can get any money. Well, that happened, but I had nothing to do with me.

What do you mean? On what albums? Well, there is a version of Blizzard of Oz and Diary that was re-recorded by other musicians, but I'm not involved in that. I wasn't even in the band. I mean, that happened like years after I left Ozzy. So when they first did the first Blizzard,

that's still Randy. Oh, yeah. Okay, that's Randy. Yeah, Randy is in every single version, the blizzard and Diary of the Madman. What you're talking about is when those records were, the rhythm section, the drums and the bass, were replaced by different rhythm section,

but that was way after I left the band. It had nothing to do with me. So, okay, so Tommy, whatever, Bazely, Randy and Ozzy do the first out. No, no, Lee Kerslake. Lee Kerslake. Lee Kerslake, from your right heap. Do the first album.

Yeah, and the same. second they did it back to back it's like they also sayto and all that was done all at one shot uh yes s ato sateo diary of a madman all that was done in one shot and blizzard well blizzard was recorded then they they did a small like a like a like a tour okay yeah well the ep yeah and all that and then they did diary and i have what once diary was in the can that's when they they decided to let go of Bob and Lee and get Tommy. Tommy was in the band before I joined the band. Then they got me in the band.

Randy got me in the band. Okay. And that's the thing, that's the band that toured Blizzard and Diary. Yeah. So yeah. Fuck yeah. You toured it. I took it.

You brought it out there. Yeah. You get crap. I mean, you know, I did as much to get those, you know, to earn those gold records as a lawyer or the dentist that has those gold records on the wall, you know. Well, you know, man, I'm sure you added your own type of licks and your own type of style to those songs. So whether or not they kept buying albums, they kept buying albums after you went on the road. Oh, absolutely.

And, you know, it's, you're hired to do something. Let me. If it wasn't me, it would have been somebody else, you know. And I'm glad it was me. And while I was there, I was just respecting and celebrating what the, what was played on the record. And just like everybody should, I was sticking basically to what was on the record that everybody was familiar with. You know, you can't, you shouldn't reinvent a wheel. You know, it's a great record.

So just play it as it is. Very simple. Never taking any credit for being the guy who played on it because that, I, you know, that's not me who wants to do that that's crazy you know you have to respect you know people's contributions you know and celebrate them you know and uh later on you know i got to record you know do the uh metal health record before i joined the band there were two songs that were already recorded and it's credited uh the current bass player chuck right he recorded metal health and don't want to let you go and do you know the story

story how I got to go back into Quiet Riot? Oh, okay. So Randy had died, you know, in the plane crash, and I was in a break from touring with Ozzy. This is like in the summertime, late summer. And in 1982, and I get a phone call from Kevin the bro, and he says, listen, do you want to come in? And we're working on a record. It was not officially named Quiet Riot yet because there was no record deal yet it was a production deal so kevin goes uh and we're going to be doing you know we're going to we're going to we're going to cut thunderbird now thunderbird was a song that that kevin wrote for randy when randy left choir riot and when randy left quiet riot i was doing different projects around town i was in a band called angel also i was living with kevin

and he had a band named dubrow so you know he asked me to play with him so i did I played in Dubrow, his own band, and one of the songs that we performed was Thunderbird. So I was very familiar with the song. So I walked in to the studio to do just one song, and we cut it really quickly because I knew it. So it was like, you know, okay, it's done. And then there was like three hours left of studio time. And so the producer turns to me and says, do you remember any of the older songs? Because metal health, the album, a lot of the songs on that were actually songs from the band called Dubrow that Kevin already had.

So he got rebranded as Quiet Riot, you know. So by the time that I left the session, I had recorded Slick Black Cadillac, Let's Get Crazy. You know, songs that Slick Black Cadillac dated back to the Randy era of Quiet Riot. That was the only song that was a brought in from that Randy Rhodes Choir Riot into the metal health version of Quiet Riot. It's like Black Cadillac. And, you know, so by the time I left the session, I had done about four songs already. I was not in the band officially. I just went in for a session.

But I got to tell you, the joy that I connected with, the joy that I found that I actually lost from playing with Ozzy after Randy died. I felt it again. Being in the room with Frankie, who I had played with him. I grew up playing with Frankie in Florida. Benali, right? Benelli, yeah. So, you know, I started playing with him back in 72. So 10 years later, we're in the studio in LA cutting this record that nobody ever thought

was going to do anything that went up to be the first debut metal record to go to number one. So, you know, so I even, and. And I started feeling like, wow, you know, I think I found my joy of playing again, you know, playing with Kevin and playing with Frankie and Carlos Cavazo, who I knew from the circuit. He was in a band called Snow. You know, we used to play same gigs and stuff like that. So, you know, I, you got to follow your joy. You know, in life, you, if you're, if for whatever reason, such as in my case, you know, after Randy died, it was. it was painful, painful to continue being in the band every night without him there.

I made the decision to leave one of the biggest bands in the world just to follow my joy of making music. You know, it is the right move. You know, well, I mean, you know, 40 years later, yeah, it was the right move. But back then, except for my wife, who was my girlfriend at the time, she never said a word. She never said, oh, yeah, do you really, you really think you should leave Ozzy? No, she didn't. She just, and she's always been like that.

My wife has been incredibly supportive, you know. She's never. Back then. Oh, in 81, yeah. Yeah, yeah, I'm mad about my wife in September, 1981, yeah. Now, let me ask you this. Why haven't you put together like a little fucking Spanish fusion of your Afro background with some... I do.

I'm going to send you the MP3s. Okay, there you go. Yeah. I didn't fucking know this. Because you never asked. Nobody tells your dick no more, you know what I'm saying? You never asked me. I'm hearing you on any trunk playing bongos in the climate.

Like when a black dude taking out of the back, I hold out. And I did it for my folks because, you know, my folks only knew me as playing an American, you know, rock and roll. And so I put these songs together and just for my folks, you know, just for them. but I'm going to send him to you. Now, I'm happy. Now, how's it feel to be doing your own podcast and radio show? Yeah, you know, I thank you for the inspiration because I got to tell you, you know,

coming on your podcast and realizing how important it is to do these podcasts. And I'm going to tell you why. You know, in our world, in music, we only get to show people get to know us through our music and now through social media they might get a glimpse

of who we really are and you know anybody can manipulate social media anybody can present a certain profile of like I am a very nice person and I love puppies and I love kitties and you know I give to the homeless people but that could be manipulated

you know that could be not necessarily certainly be the real deal I believe on a podcast you can't fake it because it's a conversation if I'm going to be insincere you're going to call me out during a podcast I'm sure you've done it before you know or you might do it in the future to somebody who's going to come on your podcast and and you know and not be really honest with you know during the podcast so I thought I had I had a case one time when I brought a guy in for a second chance type podcast. Not a second chance with me.

I didn't judge him like that. But a second chance and when he folded on me the first time, it was like I turned my chair and just focused on me because there was no reason to go forward. If he wasn't going to come to terms with what he had done, it was the weirdest thing. It was one of our weirdest podcast. me and Lee Covered.

It turned out to be a good podcast. But once I saw that, there's been a couple times that people come on and there are different people, they're a different person than when they walk in the door. When they walk in the door,

they're fucking awesome on here. And I saw it. That's why they never came on the podcast. I always thought, I can't imagine today. Let's say I wasn't doing comedy. This was not happening. I was working at a car wash, and I found out Rudy Sarzo did a podcast.

I listened to it. I was a fan of yours in 1981. I saw the pictures. I read the articles, but I know if I listen to you, I'm going to get to know you. I'm going to tell you who I fucking hated. I'll tell you who I fucking hated for years. I liked the band, but I didn't like looking at him, except for Tommy Lee. Tommy Lee, I can tolerate.

The other three I couldn't. tolerate. Now today I kind of like Mickey Six. Why? Because of that fucking radio show. Oh yeah. And even though he's a dick on that radio show to people sometimes, come with it. I like it.

Because it shows me who he is. Now I know who he wasn't that band. Yeah. By listening to him on the radio, now I know who he was in that band and why that band was successful. That was Molly Crew, but that was Nicky's band.

You know, you listen and you, I can't imagine at this point not doing a podcast. I always knew that if I could get my story out there and explain to people what happened, as bad as good as it was, that I'd do a little better. And I was correct. Because when you're on stage, the whole time guys making jokes and then he leaves and maybe you might follow him on social media, you don't really get to know the real him. I know people that have come up to me and said, I really don't like your material, but you answered my email back. And I came here because of that character.

I emailed three other comics. They didn't email me back. You follow me, so it gets to see people the other aspects of your life. Let's see people that you are a dog lover. When I'm on stage, I'm watching you're hitting your head up and down like a fucking zumbo on the base.

I don't even know. I think you leave there and run over animals. Right? If you saw somebody on the stage doing this for two hours, they leave and they hit them dog with an animal. They don't give a fuck. Their brain is shattered from CTE. I got to know you were an animal lover.

You know, these are the things that at the end of the day, people really want. Everybody's got a poster on their wall. That's why I hate when celebrity, if you get a fucking Twitter account, twit, don't give me the false hold that you're not going to tweet. Tweet.

You open up an account to interact, to keep your relevant. Tweet. If somebody says I was your biggest fan growing up, take the two minutes and go, hey, man, thank you. Even though I retired from basketball in 1989, there's still 50-year-olds that still remember you.

I think it's very important. Think of if you had a show, If you were on Seinfeld, one of the biggest shows of our time or friends, once those shows end, you got so much money, you really don't want to do dick the first six months. You've been overwhelmed with questions and stupidities and jokes and six days a week and 80 hours. But after those six months,

now comes Mike and Molly and you lose those fans to Mike and Molly. No more. You can retain 50% of that family. based by telling them the people how your experiences were on that show and blah blah blah and now what they got they got a fucking cash register i don't like them i personally couldn't go to them and sit there but they got a thing called comican right and music on you could go there with head shots and fucking drumsticks and make a half million dollars a year nobody knows what the fuck you're doing you could tell the government you sold one drumstick and you shoved it up your ass and it broke

and they don't know if you're selling 50 or 100 it's even a bigger scam This microphone doesn't guarantee you a bunch of stuff. It guarantee you's relevancy. If you were in a band for 10 years and if you retained 33 friends, then we'll start with 33 people. And we'll work it upwards. And then Kishiel to her husband. Do you listen to Joey Dears?

No. I listen to Rudy Sarzo. What's Rudy? The bass player? What the fuck's he talking about? Listen. And I go to that. to hear you talk about, I remember snort and coke

with Ozzy, and he stuck a finger up my head. No, and all of a sudden, you're a human being. You're a human being, Rudy. You're talking about Christ and about the dogs and about opening up for your I heap, and these new baselines you're working at, and, you know, you're working on animation.

And I'm like, fuck, I'm into Rudy. This is not what I expected. I wanted to hear him talk about Ozzy and snort ants with motley crew and hitting people in the head with bottles. You're not mentioning that. You know, I always make it a point here on this show not to talk about what people want me to talk about.

And that's exactly what I learned from you. Because I think this is my fourth podcast. Fourth or fifth or eighth? Yeah. But you've done other ones, and I've listened to the other ones, and you're great on it. Yeah, but, you know, there's something, there's definitely a specific connection

from where we come from. That it's a little bit deeper, you know, from the other conversations that I have because we get to talk about things that I don't get to talk about with everybody. So the connection gets

a little, you know, deeper, more profound, you know. But it's the honesty in the show. It's a very,

your show is a very honest show. And I learned that. And that's what I try to do on my podcast. Because as a musician, you know, first I started playing music because I saw the,

Beatles and the chicks were screaming at the Beatles. I want that. I wasn't a musician. I was just a guy that wanted to be noticed by chicks, right? And then later on, you know, I stuck with it and became a musician and realized that what we do, every single note that we play, we're looking for the truth. The truth. There's a lot of bullshit in life. We're bombarded by bullshit, man. And if I can put my bass on and I'm all by myself sitting on my cell phone with my little amplifier next to me on my guitar and my little dog and the back of my neck sitting on top of the couch and I just sit there and I'm not trying to impress anybody I'm just looking for the truth I'm looking for that what I'm going to play now is going to move me move me in a way that I have not been moved before I'm not

even in front of hundreds of thousands of people, you know, and that is something, that honesty, that honesty is what I live for. You know, every day I try to remove more bullshit that gets in the way of my creativity. Every day, every day, because they're just distractions, you know. And this is what I learned from doing your podcast, keeping it real, keeping it honest. I rather I don't even like that we're in the comedy category because when I come on to the show

I'm not looking for the joke I'm looking for the story and from the story humor will grow we our job is to find the humor from the story my niece was over last night my wife was talking every time my niece and I were talking about something serious

my wife would make a remark and I finally looked at it and I go So ask my niece if you wouldn't get a fucking backhand if this is our neighborhood. You would have got punched in the fucking head. They would tell you to knock it the fuck off. There's a serious conversation. I like serious conversations. I think from a serious conversation, eventually the lighten up is where you get the humor.

I don't like pushing and I don't like pushing jokes on here. If the jokes are going to come on, it's going to come out. We're going to have a good time. Me and Leo giggle, you'll giggle. I always strive. to tell the truth on these things. I get it off my chest. Whatever's out my chest and on my head,

I get to get it off. We get the disgustle on the air. It's like having your own psychiatry. Psychiatrist, but only it gets put out into the universe, which is even better for you than talking to one person. When I talk to one person in a psychiatrist, she takes her home, have two shots of vodka, sucks her husband's dick, and we move the fuck on.

When I put it on to the universe, it grows as a culture. And that truth, somebody's going to attach to it and that's what the truth connects because somebody else related to that stupid story I told about this or that or this that's what I've learned from doing this

if Lee tomorrow comes to me and says I'm opening up for Ron White on the road I can't through the podcast no more I wouldn't be mad at him I would periscope to periscope the podcast as long as you kept your weekly message up and kept the touch of people think about all those actors

that the shows came to an end and their fans stood there because I know if you watch not Darwin and Greg what's the other fucking show that was about the gay couple Will and Grace? Will and Grace.

One of my favorite shows on TV. The only problem were Will and Grace weren't the funniest characters on that show. It was the skinny gay guy and the chick. She stole the show. I wish I could talk to her.

You know what I'm saying? I finally ended up doing a show with her and I got some words that I told her. badass bitch. She giggled. But that's what we have today that we didn't have in the 70s. I couldn't talk to Julia serving. I couldn't talk to David Gilmore in the 70s. We have that now. You know Gilmore

answer you back from time to time. You do know that, right? No. Then he's got a Gilmore orgasm club and another Gilmore club that puts up pictures. But I follow David Gilmore on Periscope and on Twitter. And he'll talk to you from time to time. Have you read the Pete Townsend book. No. You got to read it.

I mean, for so many reasons, you know, I mean, are you a who fan? Yes and no. I've had my moments. Okay. I saw him live. So what's your no, no moment? Pete Towns is a fucking pedophile.

You think so? Didn't he get caught with a bunch of kids playing naked base? He explains. Playing the base naked? No, no, no. He had. Him and Kevin Spacey are sitting there. He explains it.

We love him. what actually happened. Okay, I'll read the book. It's in his book. But he was one of those guys that, you know, in the book, he reveals a lot of background stuff that the average listener of the Who was not aware of, like myself.

He was working with a book publishing company. And he published a lot of books. You know, he was responsible for editing them and all of that. He, if you joined the fan club, the Who fan club, he will write you back personally. By hand, this is before emails. He would send you a written response, you know. And that's, I respect that.

I respect that. I respect that. Always have. You know, immensely. Always have. The, after Tommy, the rock opera, every Who record, including who's next, because you got Quadrophenia,

You have... Quadraffini and who are you all my favorites. Yeah. But I love Tommy. Talk about your woman. I bet you could see mine. Every record, every record after that was actually a complete work. You know, not just a collection of songs.

It was a concept album, basically. And except for who's next, because whose next was supposed to be... a concept record about what he called the grid. Now, we're talking in the 70s. He had envisioned the internet being the grid where people could connect with each other on this grid. And that's what who's next. The record really is about all those songs independently.

And of course, you know, what they did is the Who rented out a theater called The Old Vic and they wrote and did the pre-production for the record on stage with an open door to anybody that was walking by they could actually go in and watch them do it you know write the record life as it was going on because to them that was a concept how about if we make a record and we invite anybody that wants to come in to watch us do this

but for some reason nobody really showed up except for some homeless people that were just sheltering from from the weather going walking into the theater and just sitting there watching them perform you know so he's got some really high concepts you know and if if you read the book you're gonna probably going to change your mind about see i'm fucking being judgmental i just thought he was a pedophile uh no he explains you know the origin of that uh yeah yeah yeah Always a fucking pleasure, Rudy. You always come in here and drop out. You too.

This is not only the church, this is university. This is Coco you. Coco you. Coco you. Not like Trump you. Not like Trump you. So you have the six degrees. Six degrees of Rudy.

Yeah, of Sarzo. Six degrees of SARS. Yeah. On. Monsters of Rock Radio, which is part of the Dash app. Dash is like if you download it, you go either on your Android or your iPhone. You download the app. It's free and no subscription, no advertising.

And it's gotten many stations. You know, if you like soul music or if you like funk, if you like metal, Monsters of Rockets, the station to go. So I'm on 4 p.m. Pacific Standard Time every Sunday from 4 until like 7 or 8 o'clock. Sometimes my show runs a little bit longer. We got more topics and we play music and a lot of interviews. I got Craig Goldie coming in this weekend, who I play with him and Dio, and we have a new record that came out called Dreamchild. And yeah, it's having a great time. And it's all thanks to you.

Thank you. Jesus, God. Almost pulled my earpiece off then. Thank you. You came in here and you did it and you saw it. You saw what it does. You saw how you feel afterward. Yeah, you see how you come in here sometimes the shit on your.

shoulders and sometimes you come here thinking about talking about something and it goes somewhere completely different and you're like Jesus now by the time I have them on next time we'll forget all about that fucking topic and you know if I can add something you know another reason why your podcast is so important and I think podcasts the good ones in general is because you know one of the another reason why I do the podcast is because in the music community we've lost a lot of lot of dear friends and band members you know and I've sat during services you know whether it's for Ronnie James Dio or for for for for lemmy you know and of course

Randy wrote many years ago but you know to sit there and have have people come up and speak and say wonderful words about the dearly departed and I'm sitting there I'm going like what I wish this person will be sitting here now with us to listen to these wonderful, you know, speeches from all these friends and colleagues. And I thought, you know, this is something that we can do with a podcast. With a podcast, we can talk to each other, you know, tell how much of an influence, how much love and respect we have for each other. And it's right there for eternity, you know, for everybody to listen to and share it. You know, 100 years from now, 100 years.

They'll be listening to this. This is fucking beautiful. I never even thought about it that way. It is really beautiful. You're a bad motherfucker dog. Now, do you have something on iTunes also or no? Well, you know, all the bands that I've played in it, you know, there's my two reason records is the

the Guess Who record that came out last year and Dreamchild. Okay, no, I'm saying there's your podcast get released on iTunes. Oh, yeah. Well, it's my podcast, which is separate, which you did my podcast too. That's called 6 degrees of Rudy Sondon. That was called the dash. The dash.

The dash. And the other one is called 6 degrees on months or rock radio. Yeah. Yeah. Give Rudy a listen. Besides that, don't forget next Thursday night, Valentine's Day. That's all that's left in San Jose. You get that?

I'm fucking throwing rhymes. So a week from today, I'm in Valentine's Day. The early shows almost so. out. The second show's on its way. Do what you need to do. Then the 22nd, I'm in Treasure Island and Viva Las Vegas, 8 o'clock show with the great Miss Kate Quigley. And then the same crew rolls down to Tucson to the Fox Theater on the 23rd of February to rock and roll with motherfucking, you Tucson Savage. And don't forget, I will not be going to Tempea, Phoenix. This will be my only Arizona performance this year.

So if you want to see your uncle Joey and smoke weed and all that stuff, come on down to fucking Tucson. And that's it and that's that. I'll see you guys Monday morning, tip top Magoo. I want to thank Rudy. I want to thank the Christ Killer. I want to thank Kishi. And I want to thank all you motherfuckers that I love to debt.

Fuck the fucking Super Bowl. If you didn't cover, go fuck yourself. Congratulations, Slee Sallat. Thank you. I know you're a New England fan. Have a great weekend. I'll see you Monday morning, ready to rock. Love you. All right, I want to thank Rudy Sarzor. I'm going to thank the Flying Jew.

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That's what 23 and me is giving me. So what I want you to do is this. To the church family, you're looking for a Valentine's Day present, this is the one. A 23 and Me Health and Ancestry Kit is the perfect gift of Valentine's Day. You buy your kit today. Today, right now, you can order it today at 23andme.com slash church. Again, that's 2.3 and me.com slash church. 23andme.com slash church.

That's the Valentine's Day present you're looking for. Did I thank On it already? Not yet. I want to thank Onit for being solid with me for five to six years. I knew Aubrey after that. Let me tell you something. The products are sensational alpha brain. If you don't like it, they give you money back guarantee,

and they don't want the product back. You ever try to that your weed store? You try that fucking May DNF, whatever fucking, I don't even know. Macy's, go to Macy's. And go, you know what, I wore this? I danced for 22 hours. The pants smelled like 10 dead fucking bodies. but I want to give it back to you.

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Okay? It's that simple. Excuse me. I want to thank 23amme.com. and I want to thank on it. I want to thank Rudy Sarzo. I want to thank my main man, the Christkiller and Kishi,

but most importantly, I want to thank you motherfuckers for being family. You understand me? You got the dates. Next Valentine's Day. That's all that's left in San Jose. Do you know the way to San Jose?

You better fucking know it, motherfuckers. Next Thursday night, 8 o'clock show, 10 o'clock show will be going fucking off. Whatever prescription medication you got, bring it down. It's going to be like a fucking night.

flea market down there. And that's it and that's that. Then the week after that, I'm at Treasure Island in Las Vegas and the 22nd with Kee Quigley. And on the 23rd, we invade Tucson, Arizona. Kent Vela, the kidnappy, is showing up. He confirmed it's all over. I left him two tickets at the door. I love you, motherfucker. See you next week. Monday morning nice and early. Kick that fucking meal, Lee.

My old sevens come. That's a little sacked. You motherfuckers to end it off right. My man Rudy on this here. So I'm a cold fairies wear boots.