The Questlove Show - Questlove Supreme: Steve Ferrone Part 1

Episode Date: May 25, 2022

For a special Questlove Supreme episode, Questlove interviews one of his heroes, Steve Ferrone. In part 1, Steve talks about growing up in England, his drummer influences, and going from Bloodstone into Average White Band. See omnystudio.com/listener for privacy information.

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Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else.

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Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. West Love Supreme is a production of IHeart Radio. Ladies and gentlemen, welcome to another episode of Questleaf Supreme. I'm giving you full warning right now. This intro is going to be very awkward. I will try not to make our guest a day feel...

and stray away from fan worship and just try to be as professional as I can. I will say, though, that, you know, every journey has to start with a spark. Every journey. So me personally, I will say that, you know, before directing and producing and developing TV shows and podcast hosting and movie and TV scoring and late night house. band leading and producing and songwriting for artists and when they are DJing music education designing flatware my own sneaker line clothes merch my own drum line teaching college whatever it is I will say that there still has to be a spark and that spark starts with a love of music

and more specifically playing music and specifically the drums everyone knows my passion is drumming In 1975, while on the road with my musician parents in Toronto, Canada, on a Saturday, I caught an episode of my all-time favorite television show, Soul Train. And it absolutely piqued my curiosity. I was already a fan of the average white band, and their scary ass logo. But my four-year-old self was transfixed on the one-day. figure on stage who was neither white nor average. Sitting behind a white 41-57 wooden Gretchen drum kit, I kind of made a declaration mostly to myself that what that guy's doing, that's what I want to do for the rest of my life.

And pretty much from that point forward, any album that adorned that weird logo of a white woman's ass in the place of the W, we copped those records and I studied it. and kind of molded myself in our guest image. And what really makes that sentence weird is I think the only time I really allowed myself to morph into the style of our guests was probably seven years into my career when a side project called The Philadelphia Experiment

on a song called Ain't It the Truth in which I kind of immersed myself kind of a what-would-Froni-do moment. And look, if I'm talking too much advanced math, I'm gonna slow it down Look, even on a hip hop level His drums are everywhere Nas is halftime

Eric Bia and Raq Kim's microphone theme TLCs ain't too proud the big T-Call Quest Check the rhyme NWAs if it ain't rough any right Gang stars gotta get over Grand Nubian word is blonde Jungle Brothers the promo

Chill Robbj's dope rhymes Star Dust Music sounds better with you Kanye West through the wire Mary J. Blige Love is all we need and love without a limit

P Rock and Seal Smooth's take you there BIG is notorious but not even just the samples Just the iconic songs I'm every woman clouds What you're gonna do for me All Night Thing On the wings of love

Tears in Heaven Love a girl Earth song Keep rising to the top glow. And name all the iconic artists. They're not official until he's the timekeeper. So name them. Freddie King, Brian Auger, Bloodstone, Bet Miller, Arretha Franklin, Sherlin, Paul Simon, Melissa Manchester. I told she's going to get awkward, Stephen. Christy McJagger, Patty Austin, George Benson, People Bryson, Jennifer Holliday, Duran, Duran, Al Jarreau, Howard Jones, Cindy Laughra, Anitae, Edithon, Edithon, Marcus Miller, Brian Ferry, Tracy Chapman.

John Cash, Zicky Marley, Slash, Stevie Nix, Leon Rhymes, Steve Perry, and of course, Tom Petty and the Heartbreakers. I will say that pretty much, you know, this guy is my hero, even before Prince, before Michael Jackson. I've been dying to have a conversation with a person that gave me the spark to fall in love with music. Thank you very much for talking to me, Steve Faroon. All right, that wasn't too awkward, right? It was just a five minute. No, that was pretty cool. There's a lot of people I didn't even know that later.

No, when we did the Elvis Costello episode, my engineer, Steve, his intro was about 24 minutes. So my initial intro was like 17, but I cut it down to a good five. You miss one of my favorite rap groups, so. Which one? what was it AMG AMG? Really?

AMG? Wow. Wow, okay. I didn't even It's like Janine, they used the schoolboy crush for Janine

the reprise. All right. Wow, you're highly aware of how you get utilized. I love them. Now, what I'll say that's weird about this moment is

the first time that you and I were supposed to talk for Questlove Supreme was on March 15th, 2020, which is kind of officially the day the world shut down because of COVID. Everything stopped. Yeah. Yeah, you were doing a residency at a 30 Rock sitting in on the Seth Meyer show. And the day that we were supposed to speak, that's when we realized that we were in a pandemic. We were in trouble. Yeah, we had to.

put that on ice. Now, what's even weirder is, you know, I had been begging and begging and begging and begging John Mayer and his people. Like, when you come to New York, I got to go to the show. So, you know, to really enjoy the experience, so to speak, our listeners know that in the pandemic, I started

micro-dosing. So, you know, I was in my zone. I was, I arrived at Madison Square Garden. I was ready to really take in the music and enjoy the show. And the first thing I do when I see Pino Pino, he tells me, dude, and of course, you know, I was microdosing, so it sounds like, Amir. Peron tested positive. Can you sit in? And I was like, huh? What? And literally, I was like, well, let me see the set list. And I was like, wait a minute. I had to learn 15 songs and how many minutes and they're like 47 minutes.

So literally I was like, oh no, I'm in trouble. So, you know, it's like I didn't get to talk to you, but I got to play on your drum set. And what's even weirder is that after two and a half years of avoiding this dodge ball of a virus, today I finally tested positive. Oh, congratulations. Welcome to the club. Right, yeah. We're connected, man. We are connected. Oh, my God. How are you doing?

You know what? It's like having the sniffles. Like, I was expecting my taste to go away and all that stuff. I'm having a ball, man. I'm going to stay in bed all week. I'm watching movies. I'm going to work, you know, I'm working on the Slide in the Family Stone documentary now. So, you know, I'm in fine health. I couldn't be happier. Before I forget, congratulations on the Oscar, all right, my man. Thank you. Thank you so much. Fantastic. You work hard.

You work way too hard for me. Well, I don't work hard, but I work fun. Where are you right now as we speak? I'm at a friend of mine's house in Burbank because my house is being torn apart by contractors. Okay, we have a lot in common. I also purchased a farm about a year and a half ago, and I'm still, it's almost a money pit territory. So contractors, you know, are working on the asbestos. I had to fire my contract.

I guess the evening is. Same. Same. Same. You do, dog. Same. What is it for these guys? I got the house two years ago.

And now, you know, we're still waiting for it. I just had to freeze it. So I'll work. It was just way too much money to invest in it. So I got to wait until maybe October. So it'll probably be three years before I get inside my house. It'll get done when it's supposed to get done. That's all I can say.

Absolutely. Absolutely right. So, you know, I, I start. off with every episode with the first five basic questions. Number one, for our listening audience, could you tell us where you were born? Yeah, I was born in Brighton, in England, in the south coast of England, about now south of London. I will say that probably Brighton, England, 94, is probably the second best route show of all time. Really? Where did you play? I don't know. We did a gig with Roy Ayers, and that's where we discovered that the engine

of our show is just as important as the musicians on stage. And we kind of learned, you know, because the thing is, it's like unlike America, Brighton at least has an understanding. I don't know if it's that a lot of reggae concerts over there, but they have a deeper understanding of bass. And, you know, we realize, like, we would just push the sound limit. Like the average show, you know, if you trust the sound company,

maybe you're allowed to do like 102 dbs, maybe 108 dbs, like, we were 140 dBs. We weren't loud, but we just had a lot of bass. And so at the point where the audience was holding their stomach, like, you know, they were getting a colonic. They liked that. Right. Yeah, but still dancing, we realized, like,

oh, we have to be the most offensively loudest band in music. And so, you know, we, maybe the first three years, we were like everyone's nightmare, but nothing compares to that one night with Roy Ayers in 1994 in Brighton. Like, I know you just celebrated a birthday. Yeah, 72. Yes, happy belated. Thank you.

So I know that you were born in 1950. Now, you weren't born in the States, you know, dealing with Jim Crow, deep south racism. But, you know, I'm certain that it was alive and well across the world. But what does it mean to grow up, at least for the first 10 years of your life in Brighton? Like, what experiences did you have? You know, well, there's a, there's a photograph that's not around here. I wish I had it with me. in my house there's a photograph of me at school.

I was like the only black kid in school. Oh, wow. And we're watching a punch and duty show. And guess what? We were all just having fun. It didn't come into the question that I was a different color ever. I mean, when I was little. Okay.

Until one day that I was out with my friends and we were playing, I lived in a row of houses on a street. And then there was this alleyway that led up to this little collar. and then there was this crescent with big houses. And in this cottage at the top of this little alleyway, there was a guy that was a retired Harley Street surgeon. And so we used to play up there. There was a couple of trees and we'd play cowboys and Indians and stuff.

And we got a bit too close to this guy's house. And he came out with a sword stick. And he pulled this sword stick and he said, get out of me! Making all that noise, making it. And he looked right at me with this sort of, point in the science day, I said, you too, you black bastard. And I had no idea what it was that he said. Right?

I didn't know, I didn't know what that meant, you know, but I felt it. I burst in the tears and I ran home and I told my grandmother who... You were living with your grandparents? I would live with my grandparents and my mom, yeah. Okay. And my father was from West Africa and Sierra Leone. Wow. Okay.

But he was never around. I mean, he showed up when I was nine for a couple of. days that was about it. Okay. But my grandmother then told, got my grandfather and did one of those defend my honor. Oh, you went to the house. He went to the house and... And my grandfather went up there and grabbed this guy and put him up against the wall and said, don't you ever talk to my grandson like that again. But, uh, uh, oh, wow. The way that it got explained to me at that point in time, I think probably I was maybe five or six years old as a little kid. My mother said to me that, she said, you know what, there's people out there that think that way

and there to be pitied, which was something that wasn't desirable as far as I didn't want, I didn't want to ever be pitied, you know. And so anyway, so that's what, that's the way I kind of looked at it. But yes, you're absolutely right. There's, there's a big difference. The big difference, I believe, those social problems are bruised black America. And I see that.

I see it. And it's different for me because slavery never came into it. Wow, that's amazing. I can't even imagine a life. Racism, racism, yes, slavery didn't know. Right. I think there's a difference in the way that thing. You know, it's weird.

So in the States, I'm part of a 1% that's, there's 1% of, African Americans that can trace their family name, their slave ship, and where they came from. I'm in that lucky few. I also found out that L.O. Cool, J. is, there was 2% of African Americans that had nothing to do with slavery. I guess his family settled in a place in Ohio that just didn't have slavery. And, like, somehow he was able to, his family was able to avoid any of that strife, which is kind of a rare thing. Can you tell me what your first musical memory was? Well, you know, what I was told

was that I used to sit in a high chair and we didn't have TV back then. We had radio. And I'd sit in a high chair with my spoon eating and then some music would come on and I'd start banging my spoon on the on the high chair, the table there, just keeping time with whatever music was on the radio.

And that was when they decided that my grandmother and my mother decided that I needed to channel that ability somewhere. So my grandmother was a big fan of tap dancing. She loved Fred Astaire and Jean Kelly and Tick-Tac-Tow and those guys. She was aware of them. And so she sent me to tech dancing school, went as about as soon as I could walk. I was about three years old.

Yeah, I was going to say, I just discovered that about you maybe a week ago when I was doing my research. And that's kind of my entry into drums. I went to perform in art school in the first grade. And it was one of those situations where you go to your drum lesson and the drums are right there. And you're sort of like, let me at him, let me at them.

And they're like, nope. and they point to a practice pad on the corner. And you got to learn like your room that's like, it's almost like I had to practice to work my way up to the drum set. But even before I got to the practice pad, yeah, I had to take tap dance. So, you know, all that bojangles, me and my shadow. Like I was a hofer. Like, were you good at it?

I was pretty good at it. Yeah, I was pretty good at it. I won medals and stuff. Really? Can you steal a hoof now or is that? No, I had a knee replacement. Okay. I know that light on my feet anymore, but I can probably, I can do a time step still.

Okay. Yeah, like around maybe nine, age nine or age ten, I kind of eased out of that and just became strictly like music. Well, you know, I have to say my first, like my moment. that you had, that you said that you had with average white band. I had, when I was about five years old, my parents used to take me, they used to take me, we had this, I guess you call it vaudeville or something like, it would be vaudeville. There was a theatre called the Hippodrome in Britain. And the Beatles played there actually, so it's kind of bingo hall now, I think it is.

But it's this nice, one of those theatres that got sort of neglected and sort of let go. Little theater. And they used to take me there to see these shows. And, you know, usually it was comedians and the Pia Pantermime at Christmas and stuff. And they took me there to see this show. And there was a band, a close harmony group called the Deep River Boys. Deep River Boys. Yeah, from Brooklyn.

Oh, really? Okay. And they were very, very big on Radio Luxembourg. was where people would go to to listen to something other than the BBC because the BBC used to just play classical music and it wasn't they didn't play anything at all you know so you go to Radio Luxembourg and you tune into Radio Luxembourg and they had a show on there and I guess they also would it was also a show that was that was that was good for like

the the American forces were all over Europe at that point there the bases in France and Germany and and and and and And so they used to be on the American forces broadcasting, but they had a regular show on this, on Radio Luxembourg, and they appeared at the hippodrome. So my parents took me down there, and they did my, it was kind of like gospel music, but I'd never heard anything like that. And I got really excited and started dancing around in the audience. Right. Listening to this music is like, what's this, you know? Oh, wow.

It's like when you find vanilla ice cream, you give a vanilla ice cream to a baby. First time they have it, they're like, why didn't you give me this before? You know, you got to get me this baby food. Where was this vanilla ice cream? Well, that was what I got from their music. And they sent their manager, their tour and they brought me backstage and befriended me. They made the Deep River Boys No, 6. And that was the time.

That was when I found out that I was black. Oh, word. Okay. Yeah, I had no idea. I had no idea that I was black until I went and saw these guys and they took me back back to my parents, my mom and my grandmother took me backstage to meet them, you know, with the, they've been invited back. And I looked at these guys and they were six foot tall, which was back then, back then was gigantic, was a giant. And I said, wow, I wish I could be black like you guys. We used the word back then.

We never said black was colored because it was respectful. It was disrespectful to say black back then. Yeah. I wish I was colored like you. And this guy, Harry Douglas, who I stayed in touch with for years. He passed away some time ago. Oh, you maintained a friendship with him. Yes, all through the years.

Yes. Wow. Just amazing. And these are the first Americans that you interacted with as well? Yes. Yes. How weird was it to hear, did they have? have an accent to you?

I didn't even, I, I was just like, I was just so thrilled. I mean, that's how they sang and they sang like they were right. We heard, it seemed like, we sort of heard about America. I think we had TV by then, so there'd be a couple of TV series that we'd seen, not much of a TV, little thing like this black, white thing. Right. But, but Harry Douglas looked at me and he said to me, he says, you know, tonight I'm going to cast a spell.

And when you wake up tomorrow morning, you go, look in the mirror. and you'll be you'll be colored like we are. I went to sleep and then I got up and I went to the mirror and I wanted to say, yes, it worked. That was it. I didn't have got anything more about it. Oh God, that's a great story, man. Yeah.

A win is a win. A win is a win. I don't care which I'm saying. Yep, that's me. Clever Taylor the fourth. You might have seen the skits. The reactions. my journey from basketball to college football

or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve

to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to The Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast.

And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, Never mess with a country girl. You play stupid games, you get stupid prizes. And Rule 2, never mess with her friends either. We always say that, trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends... Oh my God, this is the same man.

A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target.

He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest.

The director of the NFL's East West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break what really matters when evaluating draft prospects, from hidden traits teams look for, to the biggest mistakes franchises make, to the players flying under the radar. This is the insight you won't hear anywhere else.

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok Podcast Network on TikTok. Do you know what the first LP or single that you gravitated towards? Well, you know, I remember I used to listen a lot to Motown.

So Northern Seoul was a thing then, or was that more of the 60s? It was, yeah, it was more of a muds and rockers. You know, we had these two factions of Fort Warring factions. And the rockers used to listen to sort of Elvis Presley sort of rock and roll and skiffle music and the mods used to listen to the Who and Motown and Motown. Okay.

And that, and that was funny because we all, everybody started to play air bass. You know, it went from playing like air guitar or just air drums. Right. When Motown came out, everybody was. So that's what you grab it to it. It was, okay.

Digging on James James. Jameson. Yeah. Yeah, but when it came to playing an instrument, the drums was like, I'd learned, I'd figured out the mechanics of doing that, but I could, playing in a, I got, I actually got a job when I was 12 in a, in a, in a real show. And while I was on the show in the kids' chorus of this summer show, tap dancing and singing with this guy named Max Bygraves, who was a big star in England. Okay. I looked down into the orchestra pit and we did this, we said this thing where we'd all up, be up there doing the twist, you know, let's twist again. and we'd all have to be at the twist.

Little kids with this guy. And I looked down and I saw the, how's he doing that with these hands like that, you know? And so I went upstairs and practiced that. And then I thought, well, then I had to listen a bit more when I was up there twisting and said, what's he doing with his feet? Wow.

Yeah. So what, well, I'll re-ask the question. Do you know the first single or album that you purchased with your own money? Because I think it's a little different than an album is in your house. Sadly. What is it? The first single that I got a bad one too, so go ahead. I'll share mine as you share yours.

Go ahead. It was my mother's birthday and I asked her what she wanted for a birthday. And she said she wanted green, green grass of home. Who sings that? I think it was Frank Eiffield. Oh, wow. On the road I look and there comes Mary. That's what your mom thought.

Yeah. went into the record store can I get a copy of that? Yeah, I lied to people and say like Jackson 5 or something, but the real answer is I think the 45 I ever purchased was Bad Blood by Neil Sedaka.

Only because really I judged, I lived in a house with like over 3,000 records because my parents were musicians and the Rocket Company, which was Elton John's label, Neil Sedacca's label, I judge records on how good the logo looked rotating on the 45.

So I like the green and blue hue of MCA Rocket records. And so I chose bad blood. So the first time that you actually sat on a drum set, like who taught you how to play the drums? Like what's your entry into sitting on a drum set? Well, I just, what happened was was that when I went to, when I was after we done this TV, this run, this show, the summer show, there was a place called the Regent Ballroom in Brighton and that is not there anymore.

It's a boots chemist now. But on Saturday mornings they would have, they'd have it open. There would be a disc jockey and people would take their kids there and drop their kids off there. And then they'd go shopping. They go and do their shopping. And they leave their kids. It was safe place in the beach. The kids were dance and, and, and, uh,

so DJ culture was the thing in the 60s where you put a record on, you hear it over a PA system? Yeah, yeah, yeah. We had, they had two things that they had a live band and then the stage would revolve and there would be a disc jockey. And so they would do, the band would take a break and then the disc jockey would be out there and play the records. And we used to like the records a lot more than the band.

Yeah, because the band played the old stuff, really. there was sort of like a ballroom band, you know, the disc jockey used to play the Motown, and we used to love that, loved it. Wow, okay. Yeah, yeah. And so we were there. We used to go there on a Saturday morning,

and me and my, me and, you know, a young boys with raging hormones who go up to these young girls, and they dance with us, you know, we might get a kiss on the cheek, and that was it, it was finished, you know, that was a lot. But one day,

Manfred Man's band, but they were playing that night in the in the in the in the in the in the in the in the in the in the ballroom right and and they they they set up early when we were all in there and they played i think i guess they did their sound check and they played for us little kids and really and every every every little 12 year old go in there went completely crazy about this band like like they were the Beatles screaming and so i said to my friends we're doing of what we're doing it all wrong. We need to be that.

We need to be a man. Yeah. So we started playing. We got, we just, I got a toy, I had a toy drum kit. And I had those motor skills.

I knew where to do it. And the only song, there was a guy that he had a real guitar. And, but he had an old record play that his dad had changed into being, an amplifier. In the amp?

Okay. Yeah. And he played, and we played, and we saw a stand in it. I had the T-chest with the string and the, pick that was a

really that's that was the basin that's and we that's all we could play with saw a standing there and we did that let me make sure I'm clear on this you mean man for man the axle blinded by the light guys yeah okay see I know them from that 70 cents

I didn't realize that they had history yeah yeah yeah yeah before then yeah yeah oh snap and so we would we would we would go and play in the afternoons at friends house you couldn't do it my grandfather would he was a he was a milkman

and he would go out to start work at three o'clock in the morning. And he didn't want to, he hated music, all kinds, the only thing he liked was classical music and anything young was just, he didn't like anything about young kids or young kids. Noise, right, okay.

So we go up to another friend's house and we'd set up and we play with this little toy drum kit thing that I had. My grandmother bought me a snare drum for Christmas, a real one. And the guy with the guitar, because he had a real instrument, his father,

his father owned a gas station. Okay. He used to go and hang out in the music stores, which is where all the older kids that had bands used to hang out. Okay. Right? So, there's these big kids,

what we call them big kids, you know, because here we are, 12-year-olds. And there's these, like, 18-year-old kids, 16, 17, 18-year-old kids that started playing bands, making bands and good play.

But we had money at jobs because someone would leave school at 15. and they would save up and buy an instrument and make a band so this kid was there trying being a little 12 year old I got a real guitar trying to hang out with these

older kids and there was a bunch of guys in there the way gigs used to be got there would be a bulletin board right they put a bulletin board in the music shop and if you if you wanted a gig you go and look at the bulletin and see who was

looking for a drummer or who was looking for a guitarist or, you know. And they put up this thing and they were talking to the proprietor of the store and they were saying to him, well, our drummer's got to go and get his appendix out. And we got a gig at a youth club on Saturday night and we need to get, if you hear any drummers coming in here. My friend took his life into his hands talking to like older kids like that and said, I know a drummer.

Really? And they said, well, who's that? And they said, well, you know, good thing. He said, you're a blues band, right? The flames, they called him. Yeah, he said, well, this guy, he's black. So that was, that was the first. That was the first.

They said, he's, how old is he? He's 12 years old. They said, well, is he any good? And he can play, he can play. He said, okay. Have him come over and meet us at this house. And so this kid, and we had no telephone, no. Right.

He had to come over to my house. He said, hey, there's these big kids. And they got a band and they're looking for a drummer. And I'm like, well, big kids, because big kids used to beat up kids like my size, you know. And he said, yeah, so I went over there. I took my life in my hands and I walked in there and I sat down and I played a few songs of them. And they said, okay, well, you can come play the youth club with us. You passed the test.

I passed the test, yeah. Oh, wow. I knew, I knew songs. You know, it was for the tap dancing, you feel where you're like, you know, I knew introduction. verse, chorus, bridge, you know, and how the dynamic of a song. So I could kind of follow that. I didn't even have to know the song. I could follow it, you know.

There's one time I went to, not in all-white school, but there's one time I went to, I was playing a pick-up game of basketball. So naturally, you know, the white kids thought like, well, we'll take a mirror because he's black. And, yeah, I was in a sports game. I found out. They may be captain of the football team. Really? Yeah, it's useless.

I was useless. That means you're a real musician. I always say that. Real musicians don't know sports. I'm sorry, man. Well, one, you're saying you were 12, which basically means that this is 62. Yeah. You know, for the United States, what we call the British invasion will happen in a year or a year and a half.

That's right. What is the, well, you lived in the British invasion, so I guess it wasn't a big deal to you. So what is the effect of white-based blues, these teens that are listening to these blues records and starting rock bands? Like, how influential was it in 63, 64? It was extreme, you know, because this is what happened. You know, these older kids, they knew somehow, I don't know how, but they knew about muddy waters, sanitary and Brownie McGee, Lightning Hopkins.

They knew all about that stuff. And those guys had a tour, and they would come and play at the dome in Brighton. Yeah. And so Bill Doggett, he was my least favorite. You know I like Bill Doggett? Yeah, yeah. Okay, okay, okay.

He was my least favorite. But now, and listening to him, I've got to wonder why. Right. But when at that time, I love John Lee Hooker. John Lee Hooker was just, and Sunny Terry and Brownie McGee. I love that.

And so these guys, they come around every year. And the band that I was this band that I was playing with, they'd take me, these 18-year-old kids would take me to see it. I mean, I would have paid more attention and I had known what I was watching. Right. You know, but I got to see those guys. It was incredible.

And that was the start of it for me. I'm currently trying to shop. There's someone that's written a series based on a lot of those Chicago blues legends coming over to Germany, coming over to the UK, finding a new audience over there. We're trying to shop that series right now. They knew who they were. I mean, we didn't have computers and stuff to look at these. But we'd read, who the hell is that? Right.

Well, it's good because, you know, they couldn't get arrested in the United States, you know. Well, yeah. I mean, even if they could get arrested in the United States, I remember seeing that, that, that movie about standing in the shadows of Motown, where they were absolutely shocked when they arrived in England that people would say, go on and say, who's James James James. And they were like, how the hell of how do you know about James James James? Right.

Which one is Benny Benjamin? We knew that all those people were. Were you developing any heroes? Like, who would you say is the first drumming hero that you had in terms of like? Bernard Purdy. Okay. Burn up. Yeah, I was going to say, I know you guys covered what is soul on the 77 Binnie and Us record,

but was that your idea to cover that song? Yes. Yes, because that was the first time that I ever heard drums played with. syncopation like that. I was working, when I was about 14 years old, I started to go like in summer, I left school at 15, but we started to go over and work American bases in France. I remember it, like it was yesterday. I was in the, there was a place called the Cacern and it was in Toulogne in the middle of

France. And we were there playing at the enlisted men's club. and we could eat on the base so we'd stay off the base but we could go to the base and eat on the base and go to the can and we sort of went and sat down near the jukebox

so we could hear the music that was on there couldn't afford to buy anything and this black GI in these fatigues the green fatigues that they used to wear he sort of sauntered over there sort of skinny I remember seeing him do it

and he popped in whatever it was quarter dime whatever they put in there. And he hit some numbers and walked away. And I heard, shagadal-d-do-do-do-d-d-do-tag-tag-tag-o-d-d-dug-tag-o-go-go-c. And I, what? What?

Wow. I heard a Ringo Star. I heard Charlie Watts. I never heard drums play like that. Where did that come from? Oh, wow. So I went over and had a little. What record was like, oh, Benny King?

What is soul? So how do you know who's playing drums? I don't know if album credits are even a thing. Like when I was, you know, Purdy did a session for my dad in like 74. So that's how I got to meet him. But how do you know who is what?

Well, I don't know. I found out that it was Purdy, but maybe it got the album or something or asked around and somebody else knew. I got no, I couldn't look it up on a computer. I don't remember. having an album with that with any information on it.

But somebody told me, oh, that's Bernard Purley. Okay. Well, you mentioned sort of dropping out at 15. When you do that, in your mind, is it like, okay, do or die, I have to be a musician? And how does your family feel about this decision? It was revenge. You know, it's a class system in England. Yeah.

I wasn't supposed to be anything more than maybe a bus driver or plumber. Oh, that was the size you can go. I wasn't going to stay an extra year at school and become a banker, like a working a bank clerk or civil servant or something like that. I was, it kind of started, I mean, I sort of stayed in, we had forms, A, B, C, D forms. I was in the A form. I was kind of in, I could hover in the middle of the A form.

I wasn't done. Okay. I decided that I wanted to play drums. And especially, you know, since, now, that Ringo Star have become a huge star, right? Charlie Watts. These were like normal guys.

They weren't upper class, upper crust or anything. They were like us. Keith Moon. I used to play, my band used to open for the hoop. And they played him with in Brighton. Really?

Really? Really? Was he destroying his kit back then? Not in the beginning, but then he started to, once they started to give him equipment. and there was the whole story behind that. But I used to go,

I take pieces of it for spares for Mike. I had an Olympic drum kit, a little Olympic, which is a little, it wasn't a gigster. Gigster was the, was the really cheap, horrible thing, right? And then you had Olympic,

which was intermediate, and then Premier, right? But I had this Olympic thing, and the Premier stuff would, like, different lugs and stuff would fit on there. So if I had stuff that broke, I could take that.

And Keith Moon would take a sledgehammer to his drum kit and just smash it into matchwood. And I'd say to the road, can I have, yeah, sure, take it. Really? Pete Townshend destroyed a guitar on the Tonight Show, and they let me have it. Oh, great. It was like a ukulele, but still, you know, it's like a guitar. But like I'm saying, though, that this was Piers. that were doing it.

So when they started to ask me when I was like 14 years what do you want to do when you leave school? And I said, oh, I want to be a drummer. I want to play drums. And they said, you can't do that. I said, why not? And they said, well, because he's not a real job.

So I said, well, Ringo Starr does it. Charlie Watts does it. Yeah, but you're not Ringo Starr. And then they started to call me Ringo. And I used to play football They made me captain But I wasn't any good at the captain I used to box at school

I was pretty good boxing Okay Wait you were there was boxing curriculum In high school Yeah oh yeah yeah Until one kid got killed And then they stopped it That was a couple of years

But But they We had boxing at school And I was all right at that And I used to do that for the school And I used to run track at school but when they started to mock me about what I wanted to do about music

then I went on strike and I said right that's it I'm going to play music I'm not going to do this anymore and I rebelled complete rebellion I'd go into exams and I'd sit there and they'd say you've got five minutes to just read the stuff through I'd sit there and then they'd ring the bell and say okay start working

I put up my hand and say can't do it wow and I said can't do it's too difficult can't do it Well, try. I don't want to. And they wouldn't want to argue with me. So they'd just say, okay, get out.

And I'd leave. I'd go play drums. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Cliver Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football,

or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music.

The Clifford Show isn't just a podcast, it's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me, or you're just chasing down a dream, This is right what you need to be. Listen to the Clifford show on the IHeard radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok.

There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of The Girlfriends, Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist.

I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves. Listen to the Girlfriends.

Trust me, babe. On the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East-West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider,

you don't want to miss this episode. Listen to the Sports Slice Podcast on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok Podcast Network on TikTok. What was considered making a good living as a musician, at least at that point in your life?

Nine pounds a week with a bit of fortune. You know, when I left and got less school and got a job, I was earning like four pounds a week. Four pounds went a lot farther than it does now. Oh, because of inflation, yes. Yeah, but it was still very little money. I give about £1.50 to my mom for rent and... Really?

Yeah. Okay. That's how I was brought up. Eventually, I know in your mind, is the goal to make it an amazing? America is the goal to get on the radio, is the goal to play a large theater. Like, what's the first step in you making it? Never really had any particular ambition at all in anything except to play music and make a living at it.

I mean, I mean, I did the starving musician bit in London, you know, and with a couple of guys. We lived in a one bedroom, one bedroom, a apartment, wasn't even an apartment, a house of room. Right. And we're starving musicians and some people would live off the charity of people and go and hang out and get picked up for the old gig here and there.

Okay. I think the object really was just to get to a place where you could afford to pay your rent and get a place to live. Not even, you know, I didn't have any ambition as far as like private jets or... Right. What we have now?

Yeah. Yeah. What is rent a month in... Okay, let's say like you're now 18. Yeah. In 1968. What is rent a month in the UK? Oh, maybe two, three pounds a week, maybe.

Okay. Yeah. So you can make that on a gig. Yeah. Yeah. So when the sort of second. psychedelic movement eases in, or at least like by post-1966, like when the Beatles start experimenting, when Hendrix is starting to come over to make a mark, is this affecting you

at all in your musicianship? Oh, absolutely. I mean, yeah, I mean, it was wonder. It was a one of the 60s was a wonderful time, you know, as far as like music, fashion, you know. So were you a hippie? No, I was I was well I You know I started off when

Like I said The boring mods and rockers Right I thought well you know This all started like an Easter Sunday Down at the beach And I thought well who's gonna win Yeah the rockers

They can you know So I sort of put on some rocker garb As close as I could get to rocker garb And I went down to the beach And there were thousands and thousands of mods So I went back home And I put on some Levi's and white t-shirt shirt, chases it. And then went down there and became a modern rioted with everybody

throwing stones and running up and down the beach and beating up people when we could find them. Oh, God. So, you know, from what I know, it is, was the American group Bloodstone your first experience in the United States? Or was that, was there a group of four? In the United States, I mean, I'd done the Freddie King album. I worked on the Freddie King album. Oh, okay. What was that playing with him? Oh, he's incredible. He was incredible. And the producer was a guy named Mike Vernon,

a guy named Mike Vernon, and Mike had come down to see this. I'd come back to England from living in Europe, went to music school. What school? It was the Nice Conservatory of Music. Oh, you went to Nice? Yeah.

Yeah. Okay. It was a guy named Jacques Carre, who was the percussion teacher. I was too old, actually, to get into the school as a student. So he got me in as a teacher because I could play. So he had me teach the kids. And because I was teaching the kids how to play modern drums

because all they taught was classical music. That was about it. So you could read music? By the time I left, I could, yeah, minimally. Not like the guys. I mean, there was guys that had been. since they were tiny, I'd learned to play their instrument

through reading music, but these guys, they couldn't play modern drums. I could. So I'd have to teach them. So when I'm teaching them, I'm writing them out exercises, and they're like,

oh no, no, no, Mr. Farroni, this is how you write that out. And so I was learning, I was learning as I was teaching. As I was teaching. I did three years of that, and it was wonderful.

It was really wonderful. But when I came, when I came back, I started to play with this band Gonzales. They were a bunch of studio musicians that would play in the clubs at night. And the way you got into that band was, you'd wait for whoever was playing your instrument to go out of town or have a gig that he couldn't, a session that he couldn't make the gig. And then you would come in there and then you would play that gig

until you couldn't make it anymore. Then you leave. And then guys like Richard Bailey. So it switched off with like Richard Bailey. And that was how, that was how. that band. And we opened for average white band once. Really? Yeah. Okay. Yeah, I was going to say, at this point,

were you running into Allen or Hamish or the Glasgow guys? I was really good friends with Robbie McIntosh. When I went to Italy, when I was like 17 years old, I went to Italy, and I met Robbie down there. And Alex did it would? You know, Alex is he sang with Santana. He sang that song, I'm winning with San Antonio. Santana.

Really? Okay. And Alex and Robbie used to play in a band called the Senate. Okay. And they were there in Italy. And I was there working with an American guy named Ronnie Jones. He's still alive, God bless him. He's 83 years old, 83 years old now, and he lives in Milan.

Did McIntosh have what you would say, a pocket then? Oh, yeah. Oh, yeah. Oh, really? He came up with listening to the. same stuff as I did. You know, it's funny, you know, we all came up listening to the same music.

Even Tom Petty and, after spending some time with the heartbreakers, we start talking about, oh, you know, this song or that song of it. And I came to find out that Tom and Mike were listening to the same stuff as I was listening to as the English invasion. We were all listening to the same music. The same thing. Okay. Yeah.

And so there was a connection made through the music. And there was a connection made with, with the guys from average white band because they were up in Scotland and I was down at the way up there in Scotland in Dundee and I'm down here in the south of England

and we're all listening to Motown and listening to Stacks you know and so when we sat down and started to play that music we had a way of playing it that was it would give a nod to it

but we didn't copy we didn't it wasn't a it wasn't a It wasn't derivative of it. No, no. You could tell what it was. You know, because you were sort of the drummer whose DNA I studied the most. I always wanted to know this.

The sort of trick, or at least your signature feel, which I kind of believe maybe Purdy did it first, the infamous... Oh, yeah, yeah, yeah, that's Purdy. Okay, I was going to say... Yeah. you heard Purdy do that and then Matt just instantly became part of your DNA absolutely yeah and then and then the other

high hat stuff that the more I got that from Stevie Wonder it's so funny okay I'm glad I'm talking to you well keep on running I might be I was going to say quote unquote I might be

quote unquote working on a Stevie Wonder project as well and And, you know, Stevie to me, I don't know any, besides James Gatson and maybe Bonzo, I don't know another drummer who I define more with his symbol work. You know, like all music of my mind, just the sloppiness of like love having you around and just. I miss that when he started programming drums. I miss that so much. I know.

Like I love when he's sloppy and just all over the place. I think it's also the fact that he would sort of Motown style overdub those Tomtoms and overdub those high hat feels that it sounds super intense because, you know, it just sounds like he's playing it within an inch of his life. Oh, it's wonderful. That's wonderful stuff. What was the first American city that you arrived in? In New York. And what was your first impression of America? Wow.

Really? I remember landing I remember landing at the airport and I have my drums my drum kit on a on a on a car right

and I don't think I don't think I had a work permit what and I came through and this guy this customs guy looked at and he says what are you doing I said oh we just here like a vacation

and he said oh okay he says your first time here visiting I don't know it was because I had an English act for a black guy to speak with an English accent, you know. And he said, and he said to me, he said, have you got any drugs? And I said, no, I haven't got any drugs.

He said, there's plenty through that door. Welcome to New York. Really? And that was that. And that was that. Sixth Avenue. We rode, we're riding up Sixth Avenue. And I remember, wow.

Wow. Just looking out and amazing. Yeah. Yeah. When is the era of backline? Like, were you expected to provide your own gear, your own drums? Are you setting up your own gear? Was there a roadie back in the day?

Or were you setting up your own stuff? Well, there were a couple of roadies, but they would help. But, you know, we all have to really sort of take care of our own stuff. Okay. I've heard many accounts of how, Robbie passed away and how you got into the group.

But I'd never heard an official version from official band member. How did Robbie pass away and how did you get the gig for the average white band? Well, you know, Robbie and I were friends,

I was supposed to go to that party. I was supposed to meet him with that party. But I was doing the film, doing the film with the film. You're in that movie? No, I played, well, I might be in there, but I did the music for it.

So did it ever come out? Yes. Yes. I think I have it. I think I got it. I found it. Oh, my God. Okay.

Yeah. Train back to Hollywood. Yes. When they were promoting that album on Soul Train, Don Cornelius showed like a minute of the clip where they're riding in the train and they're in the bunkers and doing show tunes and whatnot. And so. This is a funny.

I mean, I had to go there and be on set with them. And then we do it called music. So you're all over that record. Yeah. Wow. That's not you on natural high. Money, money, no. That's not my natural.

But money is badass. Somebody actually said it to me. That's why I started looking for it. I forgot all about it. Wow. We did that. All the best things in life are free. Right.

I get it. So I was doing that. And they were playing it. They were doing a run at the tree. And Robbie called me up and he said, come on man, come on, go and be a party on that, you know, it was Sunday night or something. I said, I've got to work. If I can, I'll be there. And, and as a fate would have it, I didn't, I didn't go.

Okay. And the next morning I woke up and my, my, my, my, my, my, my, my, my, my, my, my, my, my, guy that was working for me, guy named Terry Merchant. Mm-hmm. He said, hey, Steve, you know, Robbie's dead. And I said, what, dead drunk? Because Robbie and I used to go out drinking together. Robbie was a hell of a drinker. And he said, no, no, no, he's dead.

He died of an overdose. Robbie wasn't so much of a drug taker. I could say there wasn't so much of a drug. He's more of a drinker. Right. But Robbie, this is, this was the thing. Robbie could drink, I'd seen Robbie drink bottle of vodka. and then he just switched to Scotch

and I'd get sick and never saw Robbie throw up never saw him he would pass out right you know and and from from my understanding because I wasn't there for a lot

when the whole I was just there for the aftermath was that he was at this party and everybody did did this some guy would say and here's some cocaine right and so and Robbie wouldn't do anything

small. He was not that sort of a person either. He went bigger. Yeah. He went home. And he went, he went bigger. And everybody, everybody else that did it got sick. And Robbie went home, went to sleep, and it stayed in his system. It was heroin and it was cut with strychnine and it killed him. Jesus Christ. It was that simple.

You know, I mean, we talk a lot about, you know, accidental drug overdoses. You know, sometimes the house I'm staying at the moment, you know, there was three guys that died of fentanyl overdoses. And one of those guys was his nephew. Right. And accidental, I don't think anybody does any of that stuff to die. You know, I mean, if they want to do that, they say, I'll write a suicide note. Right, exactly. You did this to me.

And then they're just doing an enormous lot, and they're dying. I think there would, recreation. I don't think that this guy even had a problem. And I think it was just three buddies that decided to go and mess around. Let's try that stuff and see what it does. Unfortunately, it's a killer. It wasn't like that in the 60s. I can tell you that right now.

But I don't think anything, any of the drugs nowadays are like they were in the 60s and 70s. It's a different animal. So, you know, Robbie, it was a, a trend. tragic accident. It did, it, it was a lot of pain. It's probably still being felt today. I hadn't spoken to his widow in over 20 years and she called me last week. Really?

Yeah. Wow. He did. And, and, and, and she, she was telling me that she, she, she just, um, just now has, has come to terms with the fact to be able to just say, you know, this is what it was. And, uh, no much point. Running around feeling was. resentment and years of running around feeling resentment.

It just made a self-same. That broke her heart for all those years, 45 years. It just, wow. Yeah, she remarried. Still pain in the heart. Yeah, still painful. Yeah. You know, Robbie was a great guy, a great drama and a great guy.

How long does time go by before you're getting the phone call to join the average white band? And before they call you, are they trying to at least maintain the staff? of the name of the group and find a white guy that's funky? No. Well, I'd tell you what happened was this. Was that when I found out about Robbie being dead, I went, I got hold of Hamish, and I went over to the hotel and sat over at the hotel with everybody. And we were all drinking because that's what we did with the Scots.

And I said to them, listen, you know, Robbie would. want you guys to stop now you know you just got to get this airplay with pick up the pieces it's happening for you i don't know how this is all going to know but you guys is you know you shouldn't shouldn't stop there was talk of maybe we should stop the group well uh it was it was everybody was sitting around sort of like it was all over you know it was done and it's like it's not over it's you know and so i said if there's anything i can do let me know and And I was under contract to Bloodstone. Right.

So what I would do is, Sticks Hooper and myself, what would happen? If I couldn't do it, if I was working with Bloodstown, sticks would go and play with them. Sticks briefly joined the average white band? Or you mean with Bloodshund? They played the, no, average white man. So he'd go and play the geek.

And then if he couldn't do it, I'd do it. and you know, I go and play with them. They were auditioning people at SIR. There's drummers, all black, white, and it didn't really matter. They were just looking for a drummer. Okay. Sticks and I would go to the auditions

and we'd sit there in the SIR and the drummer would come in, they start playing with them and they'd say, okay, no, that ain't working. And they would get more and more depressed, you know. And so either Sticks or myself would go up, and we'd jammed with them and they'd come back to life again and then they'd wheel in another drummer

and then we'd sit there and we'd watch them and they'd go down. Any drummer of note that tried to audition for the band that didn't make it? Nobody that I knew. But there was a lot of kids wanting to play. It was a big audition, go-to. Okay. And so I had to play this gig with them down at Long Beach,

at Long Beach Arena, at the old Long Beach Arena. And we down there, we sit down and we get come out, we start to play. I remember this gig. There was, they're also like kind of static audience. They weren't really doing too much. And then there was this one, I saw this one guy sort of started to rock, you know. So I sort of holmed in on him. And they kind of spread out from him.

And by the end of the show, everybody was like dancing and going crazy. And it was a great show. And I came off the stage. and this little fella came walking up to me dapper he was really well dressed and a little beard he walked up to me and he said you've got to be in the band and I said

I'd love to be in the band but I'm under contract to another band I can't do it and he said you're out of that band and you're in the band and then he walked and he walked off and Bruce McCaskill

was the manager at the time of the man I said Bruce who the hell is that? And he said, oh, that's how I'm at Urtigan. I'm at Erdogan. Nice. And I was out of that contract, and I was in average white man. Just like that.

All right, ladies and gentlemen, I know you dread when you hear this, but you got to come back next week for the next QLS episode of our special One-on-Quest-Lup Supreme with my idol, Steve Ferone. He's going to talk about his time with the average white band, Duran Duran, Tom. Petty, playing with Prince, all this other stuff, man. I hope you come back and enjoy this episode. It's one of probably the most special episodes I've ever done where I can talk to the person that showed me the joys of music and drumming, especially. All right. See y'all then.

Thank you. West Love Supreme is a production of IHeart Radio. For more podcasts from IHeart Radio, visit the IHeart Radio app, Apple Podcasts, or wherever you listen to your favorite shows. win is a win. A win is a win. I don't care what I'm saying. Yep, that's me. Clivert Taylor the fourth. You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The Clifers Show. This is a place for raw, unfiltered conversations with athletes,

creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to The Clivert Show on the I-Hard Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else.

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok Podcast Network on TikTok. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends.

Listen to the girlfriends. Trust me, babe, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. This is an IHeart podcast. Guaranteed human.