The Questlove Show - Questlove Supreme: Steve Ferrone Pt. 2

Episode Date: June 1, 2022

For a special Questlove Supreme episode, Questlove interviews one of his heroes, Steve Ferrone. In part 2, Steve tells a great story about meeting Prince and recalls his time working with Average White Band, Duran Duran, Chaka Khan, Rick James, and Tom Petty.See omnystudio.com/listener for privacy information.

A win is a win. A win is a win. I don't care what you're saying. Yep, that's me. Clifford Taylor the 4th. 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, unfills of 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 Slical 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. West Love Supreme is a production of IHeart Radio. Ladies and gentlemen, what's up, what's up, what's up? I know it's been a long time, but here it is the long-awaited part two of our special one-on-one QLS with my hero, my idol, Steve Faroon. So in part one, Steve was talking about going up in Brighton, England. His drumming influences, and the tap dancer, playing in Brownstone. And that conversation ended with him just joining the average white band.

So let's start with part two right now. This is a special 101, Questlips Supreme with Steve Ferone, the great. Alan Gorey clearly is of the ilk of Ray Charles. Hamish has a wonderful, like falsetto and, you know, they're extremely soulful. But how

how much of the marketing of these funky white boys are they were lying on during this time period? A lot of people actually thought average white band was a black man. And when we walked out on stage, they did,

what the hell is this? You know? And there was a lot of, okay, show us. Really? That went on. Yeah. I mean, there was a lot of it.

But the band could play. The band was authentic. We weren't trying to be anything else other than average white band and play soul music. We love soul music. It was just what we did. I mean, I've had guys, I've had bands with guys that I've played in with bands and we've been playing average white band stuff. And I remember we played at Long Beach once, and average white band were playing across the street. Right.

And I think they were opening for Tower of Power. and I got hold of Ronnie and Alan and they came over and I had them sit in with my band and show them how it was done and it was like, oh,

so that's what it is. And I think that you'll find that with bands, when people come and sit in with like, you know, is there two or three of us from the heartbreakers that are playing together?

Right. You get that, they get that, feeling of what that was like and it's a powerful thing. I remember when I was playing with George Harrison and Ringo was set at the rehearsal, Ringo was there and Ray Cooper had another drum kit set up because he played double drums with me sometimes and some stuff back there. And I said to ring, and I said, come up. So Ringo came up on the stage and started to play and all of a sudden it was like, oh, this is what the Beatles felt like. You know? Right. There's a, there's a,

There's a way of those people, when those guys are playing. Yeah. There's a gel. Let me ask you this much then, because I know that as a drummer, the bass player and the drummer are married to each other. Now, you're in a group with two interchangeable bass players and two interchangeable guitarists. Yes. Who do you prefer on bass and who do you prefer on guitar? Do you prefer Alan Gory on bass or Hamish Stewart on bass?

Well, they're both different. they both play different different things Alan Alan had like a real nice round round sound with the bass and Hamish Hamish had this sort of more more more aggressive sort of like schoolboy crushed so that's the way of playing the bass he were playing the pick correct uh yeah okay yeah but who had the better pocket for you at least we're both the same I mean both both great bass players I mean it was it was it was a joy

I mean, when Alan picked up the guitar and started to play the way that he played, he would play guitar and then how, how Ony would, would fit his rhythm pattern to Alan picking. Yeah. And how it was, it was, it would lock, you know. Okay, a question I always wanted to ask, on the 1976 person to person live album, which incidentally is probably any, any list I make of my favorite albums of Walter,

that's number one. So there's a moment on TLC where you guys go absolutely apeshit in the zone and that's kind of the moment where I assume that it's Hamish Stewart taking this harmonics

bass solo you know kind of like Jacko Pistorius portrait of Tracy playing harmonics Like it sounds like a Oh do do do yeah Yeah during that moment

Because even when I was looking up old photos there's five photos of that period between 75 and 78 in which both of them are playing bass at the same time. So I assume that that was a part of TLC every night, at least for that tour. Are they both playing bass at the same time? Because I've seen two guitars play tandem.

There was one song that we had two bases, I forget what it was now. Probably love your life. It could be right, yeah. Yeah, I was going to say, because Hamish is like sort of go to the, Like, that's his go-to-do-d-d-d-d-d-do-do-thi. Like, that's his go-to-do-rhythm reference.

And he kind of plays a bass like a guitarist, but, yeah, I always wanted to know. Yeah, I mean, that's the thing, is Hamish has a way of playing. I mean, I can't say one of them was better than the other. I mean, they just had, it would just, it would, they'd figure it out which one, which one was going to play bass on which song. It was never really a fight over it, who was going to play bass. But it was that maybe, how do you say, why, you let me play bass? Let me try to play.

Okay. And then start playing guitar. And it would always, we'd always, we'd always work at tracks until that thing just sort of fell in into the, into the pocket. Okay. So that said, during Alan Gorey's pick up the pieces solo, you and him are literally hitting these rifts at the same time. Now, is this a result of... Listening. Kind of muscle memory.

Well, no, no, I'm in muscle memory where you know what he's going to do on his solo. Let me tell you something about that album. Yes. We recorded, I think maybe we recorded in Pittsburgh. We recorded in Philadelphia. And we played in Cleveland. And most of the... And there was another one, too, I think.

Maybe, maybe you know. But I think there's like four different concerts over the course of a year that we recorded. Right. That solo section was always in there. But everybody liked the solo from a different place. Most of it, the bulk of that album is taken from Cleveland. Cleveland. The gig in Cleveland.

But there was this song here. I can't remember which ones. But I remember this whole thing about we were sitting there. The solos in Pick Up the Pieces. It was like, okay. I like the one from there. I like the one from there. I like it.

And so Rhee said, well, let's see what happens. You cut pasted that? Oh, wow. Oh, man. Like, in my mind, in my mind, you guys are the tightest motherfuckers. It's like, whoa, they know exactly what's going to happen. Okay, well, explain to me this, then. How much, how much sweetening, post-sweetening has to happen after you get the tapes?

Like, do they go and sing some parts over? Are you like, I dropped the drumstick? Let me hit the snare? No, no, I never. I never did anything. No. It was basically what you heard is what you get. That is crazy.

Maybe there'd be a vocal line or something that would be necessary to, but it was spot. I mean, really, if there was like a little bit, they'd just change, do the vocal, maybe. But it basically, what you heard was what you got. That was it. You're breaking my heart, man. Yeah. It was badass band. That man was badass.

And we didn't play with a click either. That was the thing. We got, at the end, we were at the, we were at the, all at the same place every time.

You're the pocket king. Yeah, I've been, I've been stalking the current president of Atlantic, Craig Calman, to let me listen to all of the,

uh, recorded live tapes of you guys. Because I Yeah, you know, I know If you go in there, if you actually get access to all that stuff, what they have,

there's outtakes of stuff and different versions of stuff that we did. Right. I think part of it was, you know, like, if I ever lose this heaven,

right. We all listened to that. I mean, I remember when I was out here with Bloodstone, I used to love to ride downtown and listen to that album. It was,

it was just kind of like a sound track for downtown, you know, and, and if I ever lose this heaven, it was just a great, what a great track. But, you know, when we went into the studio, they tried cutting that song a couple of times with a couple of different people. And everybody had sort of gone in there, what I heard, and they copied the same, very simplistic bass drum, the drum film that Quincy had used for the thing. When I went there and sat down, I decided to play just to play that song.

I mean, and I just sat down and I remember when it and listened to the first take of it. I don't know even though if that was the one we used it. But I remember Roger Ball coming over and kissing me on the top of my head. Was that the first song you recorded with him in the studio? No, I don't remember what the first song was. Were there any songs of Robbie on the Cut the Cake album, or is that all you? No, it's all me. Well, we just gone.

Okay. All right. So, you know, because you joined Duran Duran in 87, I'm certain that you could tell the difference between kind of the teen idol fandom of like screaming girls and regular fans who just like into the sound and into the band. What was, you know, again, I know there was a novelty or curiosity of these funky-ass white boys or whatever, but at least between 75 and 87, is there, what are the fans like? Wherever Duran went, there was the Duranis.

Right. And the Duranese. That's what you called them. Yeah, they used to, they used to be, they camp outside of the studio. And they were all very nice. You know, I mean, I remember when we were in London and we were recording as much, There was this girl, Michelle, I was still in touch with her. Right.

I was there and I had my kids with me. Okay. And they were little. They go out and there was this gate, you know, and they go out and they sort of talk to the Duranis through the gate. And finally, Michelle said, I said, Michelle, you want to look after the kids? Because I was inside working. Right. And they'd go out there and they'd sit with the Durannies and they'd have chips and candy.

and they were just hanging. My kids loved hanging out with these fans. I mean, Michelle said to me, she said, well, you wouldn't do that now, would you? And I said, well, maybe not. But back then, they were so nice. I mean, they were just fans. And all they wanted was another photograph.

Right. Was it like that for AWB, though? Like that level of fandom? No, no, no. I think it was a totally different thing. that with that average white band it was sex basically. It was sex in drug and rock and roll with with the with average white man. But I think I think it was it was a different.

I mean, you know, I was I think I was like 35 or something. And I think and I think that Duran Duran Duran had also started to mature as men. I mean, you know, when they first started, they were came straight at first. straight out of college would be the biggest band on the planet. Right, you know, it was wild.

You know, that's why they had that song, Wild Boys. Yeah, I see. So then, but the time I joined them, I was the, I was the oldest teen idol and they would,

they would, they'd calm down somewhat, you know. Oh, okay. Yeah, you guys were in that serious phase. But, you know, what's funny,

was at one point, nobody really took Duran Duran that seriously, you know, I mean, other than being like a team, they were a phenomenon, a team phenomenon,

you know? Really? And then all of a sudden I was saying a good musicianship though But they did yeah Eventually it was like they were working on it I mean like I said they came out and then you know And then you went great producer Martin Ruggers

And you know That could put that together Bernard Edwards and they'd work together And the power station and studios And all the money and all the time to do a record And make a song happen you know Right But they started to

They started to mature as people musicians and, you know, now, they've been around a long time and they're still valid and still make music and aren't just sort of resting on their laurels and we were Duran Duran. They just really matured into a bunch of really great players. Well, shout out to Duran Duran.

They just got a, I'm part of the Rock and Roll Hall of Fame committee, so I'm very happy that they got inducted finally. Absolutely, yeah. I mean, that's fantastic news. But yes, absolutely, you can't say that they're not valid. They've been making records. I mean, I remember, I remember, you know, I was working with George Harrison,

and I go over to London, and I had an apartment on Sloan Street. They gave me an apartment on Sloan Street, and I have to drive out to the rehearsals out in Bray Studios. I get there, a ride there, oh, I take a ride down at King's Road. I get in my car, I'm driving down the King's Road, and I see this guy, and I say, this little muscle, muscle bound guy,

the buffed. And I say, that looks like Warren Cochorello, but he's skinny, skinny rock and roll guy, right? Little skinny rock and roll

guitars. And then I look, and it is Warren. And I hadn't seen him in a couple of years, and he'd been pumping iron and he buffed out, you know?

Right. And I like, Warren, what the hell? It's like, oh, you're in town. He said, I need you to do a session for me. This is what I'm still driving

very slowly, right, and King's own. And I said, I got the window down and say, well, I don't know what my schedule is. He said, let me know. And he reaches into his bag and he takes a cassette.

And he throws it through my car window. He said, that's the song. Give me a call when you find out what you're scheduled. So I drive off down the road and I take this cassette and I pop it in the cassette player in the car. And it's an ordinary world. Oh. And I call up Warren and I say, you don't need me to play on this. You know, this, you can just put out this demo right now.

This is a hit record, you know, this is a great. This is a hit song. And he's like, no, no, no, we want you to play. So they insisted I play on it. I don't know if I bought anything else to it. But, boy, what a beautiful song. What a great hit record that was for them, you know. So I have a question about your studio sound.

So the thing that always attracted me to your sound was your tone, particularly the snap of your snare. Like, I think, like you really came. alive on the soul searching record. Just your drumming technique. Like I love the fact that, you know, we now live in the age where and drummers hate when I start speaking down on gospel chops. You know, but for me, gospel. I know. But for me, gospel chops is if you're a chef, you got to know how much garlic and salt and pepper and spices to add to your meal. And sometimes you can overdo it. But you always have these clean feel. So you mess up a really, really good piece of meat, really good cut of meat with too much spices. And sometimes you don't need spices,

you know. So that said, can you walk me through a typical session for AWB? Like, you know, like, do you have a say in the tone of your drums? You know, like I know that your signature Gretsch set kind of comes in at the tail end of the, of the, you know, like, do you have a say in the tone of the drums? You know, like, I know, the tour, like, are you allowed to tune your drums or is it thing where like the engineer says, don't touch my microphones, don't touch my drums, just play? At that point in time, I did it. I did it myself. I was my own.

I mean, I can't say that I'm a really great drum tuner other than the fact that I know what the dang thing, I want the dang thing to sound like, you know? Right. The first cut the cake was, it was the sonar kit that they had in, in the Atlantic. It was in a little box. Right. Do you ever see that photographs of that drum kit?

I've seen it, yes. It's like in a little box and the symbols were right there and it was, and that was, that was, that was, that was cut the cake. And then by the time, but the time he got around to soul searching,

it was, I got, I always wanted a great drum kit and I could afford one. And I got, that's when I got, so there wasn't such a thing as, we'll endorse you,

here's a free kit. Well, the endorsement that I had, with Gretcher at that point was they gave me a 50% discount. Okay. Now they give you away, but back then it wasn't giving a set that you did. No, okay, I see. And I got this drum kit and I set it up in the studio. And there was something that I wanted to try, because I always felt that there was,

you talk about the sound, the tone of the snare, there wasn't quite the pop that I wanted to get, the crack that I wanted to get out of the drum. with the microphone just on the top. So Gene Paul, who was Les Paul's son, was our engineer. And I said, Gene, could we put a microphone underneath the snare and I'm facing up and we can blend those two things so that we can get the crispness of the snare underneath plus the pop on the top? And he said, yeah, sure, we can do that.

So that's when they started to do that. And then I, then they were in soul searching. I actually asked him to put like a little delay or a little echo on there as on the underneath as well. And that's why it has that sort of roomy sort of sound. Okay. Yeah. And that was a, it was, it was, it was such great fun to be able to experiment with stuff like that back in those days. A reef Martin was very open to change.

I was going to say, how, how is A Reef Martin as a coach? Oh, incredible. Are you guys writing in that studio? We're in there writing as sometimes we'd have an idea of a groove and then we'd write it in the studio. It was expensive, but not as expensive as would be to do that today. You're talking about the studio that's Atlantic Records? Yes. Okay, so, yeah, I worked when we did the Hamilton.

On Broadway. Yeah. I worked on the Hamilton cast album at that particular studio. And I always wanted to know, okay, one, did they only have? have one studio and how does time get, how does time get divided? Like, do you have just a week to get in the studio and then we got to get out because the Rifa's coming or Bet Middler's coming or I don't know. We used to just go in and start recording and we were there. That was, that was it. We'd have like a couple of weeks or something and we just work in there. And sometimes we got,

that's how Benny and us got recorded was because we got stuck. We sort of got, we weren't going anywhere. So somebody suggested us doing an album with Benny King. And then we did a Benny King album and then went back to, I think it was soul searching. I think it was soul searching. Oh. No, it may.

Or maybe warmer communications. Warmer communications. I think it was warmer communications. So do you guys work out in sound check or like how is songwriting traditionally done? Well, we always had a tape recorder running at all times because what we discovered was that we jam. And out of the jam. would come something that would be the nucleus of a song.

But this is where Areef was really good when we're in the studio, was that we go in and we start to play this song. And we play, and we play the song there. And then Areef would say, everybody come in. And we come in. And he gets to a certain point in the song. Like we'd be playing and still looking for this groove, right? Right.

Still trying to find. And he would say, okay. this two bars, right? And there it was. Oh, okay. Okay, I get it. That's where we are. This is where the song is going to be.

Okay. He'd spot a section of the song that was where he wanted the thing to sit. And that's the magic. And then you guys were going. There's the magic. Now go and do that. You know, school boy crush. We must have done it about,

22, 24 times. And it just would not hang together. Would not, would not. Really? And so he said, okay, pack it up, go home, go out, come back tomorrow. We would do it tomorrow fresh when you come in. We all went off to that stuff, went out. Came back the next day.

We walk in there. Okay, let's run it down. So we ran it down. And he said, okay, let's do a take. Let's do a take. We did the take and then we went in and listened and it just wouldn't. He's like, oh, no, here we go again.

It's just not hanging together. And Gene Paul says, you want to listen to the run through? He had the presence of mind to press that record pattern the first time. Schoolboy crash. And the run through is what you sat with? Did he loop that?

Nope. You just went, the run through wound up being the master version. The run through was it. Wow. A win is a win. A win is a win. I don't care what you're saying.

Yep, that's me, Clifford 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 where you need to be. Listen to the Clifford show on the IHeart 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. 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 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 IHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. In 77, especially on the Montreau and your second appearance

on Soul Train, you guys had a bongo player in the group. Who was that guy? Sammy Figueroa. That was Sammy Figuero. Okay. Yeah.

What was the idea letting him in the group? Well, Sammy was crazy. Sammy was a guy around town. He used to play in a band called Raisis from Puerto Rico. Wait, what? And there's a man called racist.

Yeah. I think he said racist. Okay. No, no. Reisist. Okay. And Sammy was the best Sammy Davis impersonator ever. Really?

Okay. Or I should say he is because he's still alive. Really? Yeah. And he was a very funny guy. And we started doing things like Queen of My Soul and everything. And it was like, we could use him for Cassie. Sammy came with us.

You didn't feel like it was in your way? No. Because the thing is on the live, I don't know. of you ever listened to the Montreau 77 live album, but his presence there really doesn't allow you to do your pharonisms. So in my mind, it's like, oh, you got to be more tight. It was a little different animal, but it was, it was cool. I love Sammy.

You know, the only thing that used to annoy me about Sammy was he had this giant rainstick. Right? Yeah. It was huge. I mean, it was probably like six foot tall. And he would, we used to travel on a Learjet. And he would bring this thing in on the, on the plane and lay it down and right down the middle of the, you know, the, you know, the, it's tiny, right? So it would be right and take up most of the thing.

And as that, as we would go to take off, it would be like, shh. It was this annoying. But he was a, he's a funny guy, Sam. I love Sammy today. He was just really great to happen. How are band decisions made? Like, is it the idea that you all get a say or who are the alphas that say this is what we should do? We'd have a bad meeting.

Okay. Are you guys by 79? Are you guys still friends? Are you kind of phony in from home? Are you tired of each other yet? 79, you're talking about their arrest the years? No, no, feel no fret before you go to Arista. Oh, no, no, we were, we were still locked in.

We're still home in on making, making record. Now, why was there an exodus to Arista? Because also Aretha goes to Arista as well. Like, I noticed that there's at least four or five Atlantic acts that get wooed away by Clive Davis. And that, I think that's what I have management. Management were pushing heavily for us to move from it. to go to Arista. I don't, I, I know I wasn't that sure about it because I love being Atlantic.

Now, without, without ruffling, you know, and here's the thing, I'm actually friends with Foster. I'm a fan of his work, like I love the new birth stuff. Me too. You know, all that stuff. And, you know, and I'll admit that maybe younger in my 20s or 30s, you know, I might side-eye the fact that, wow, like Chicago used to sound some way. and then they got with Foster, and then Earth, when Fire, used to sound to Wayne,

then they got with Foster. Now, you know, Shine comes out when I'm nine, so, you know, I'm not, I'm not cynical. So I will say the nine-year-old me, I loved, you know, what you're going to do for me.

I loved Into the Night. You know, I loved Help Us on, like I like those songs. Like, I listen to Shine constantly. But clearly, it's a more mature sound. Yeah. I wasn't very, I mean,

working with David is fun because he's a great musician. Right. And I think he's a great producer. But I don't think that he was in a tune, I think he's more attuned to artists than he is with a band.

Okay. Because average white band was such, such a special, combination of how the parts of everybody fit together to make to make average white band i understand that a producer's got to do you know it's his job to come in make make some changes but i don't think that you can actually lose the essence of a band like average white band without having some some some problems

and and the problem that i i found with it was when we finished that album and we we sat down and started to play it, six people with the band and one sounding right. So we had to get another key. Because you don't have the elements of overproduction that you had in the studio. It didn't translate live? Right, no. And we ended up, we had to get, we got another keyboard play to come in and play with us.

And we got a couple of background vocalists to come in with us. And I found myself sitting on stage playing those songs and saying, where the hell did Everidge White Band go? I see. At the turn of the 80s, especially on like songs like Catch Me Before I have to testify,

whatever, like this is sort of the introduction of like, you know, I can hear the Sonsonic drums or like sort of drum machine. You know, and kind of the Philma and Louise car jump for a lot of these bands who were killing in the 70s. And this goes for the Ohio players and the Commodore.

everyone. They have a decision to make, to either sink or swim. How aware of you of what technology is and your role in it? Is it like, okay, this Roger Lynn box might replace me? Do I embrace it and learn how to program it or the Simmons drums? Like, do I roll with the punches or do I just fight the power and be like, nope, I'm not learning technology. I'm playing drums. Well, I like the Simmons drums. I mean, I used them on stay with me tonight with Jeffrey Osborne. And I had to fight George Duke for that.

I said, I said to George, we cut it with the real drum kit. And I said, yeah, George, I said, I think this thing could use, I'd heard that blinded me with science. And I thought, I like the sound of that. So you were all for it. I was all for that. I mean, John Machines had never interested me really

to program anything. I mean, I mean, even though I did program the so misled on the Duran Duran thing, started off as me programming something for them to play to. Right. They were writing in the studio.

So I programmed that and then I had to figure out how to play. So what were your opinions on like people that clearly were going to define the era, i.e. Prince's music. You know, the fact that now deep snare sounds are, kind of the thing that's invoked, kind of the opposite of what was your signature sound. Are you, are you with this?

Or are you sort of fighting? No, I mean, I mean, look, I used to fight the click. I mean, when they first started saying, you know, we got a cut with a click. I mean, I think when you're talking about those songs you're talking about, all of a sudden, we were cutting stuff to a click and just sort of walk in there and it was play it to the click, and that was it. before we used to go in and have to find the tempo right the tempo would come from the song

before I was like okay this is the song's tempo and this is what we're playing at that okay and it you know and it was kind of uninvolved you know I had when you know when people started to play I'd worked hard on my tempo and and I remember a ref you know say we're going to cut this with a click and I'm like Oh, come on, I reach it. Is this for the Sackas? Yeah, some of it. Yeah, but not.

I mean, even the early stuff with Shacko, the lover's falling on me. I didn't have the click. Okay. It was just that's playing. Right. But I'm every woman. There was the one cut with a click.

It was, yeah, we played that. Please answer this for me. Who is playing bass on some love? Is that her brother, Mark? Anthony Jackson. That's Anthony Jackson playing some love? I think so. Wow.

That's crazy. That was the day we cut. Aretha put aside the whole day to cut, Love is falling on me, and we did it in one take. Yeah, I was going to say, for a song to get cut, how long, when you're not working on your projects per se, when you're working as a session musician, how long do you guys? have to get it right. Well, you know, Shaka, with a reef with Shaka was like we'd go in and a reef had a definite idea about how this thing would be, right? And we'd go in and we've rehearsed the parts and we'd get everything and run it down,

run it down. Shaka would show up, like, you know, whenever she showed up, like 2 o'clock in the afternoon or something. Right. And when she walked in there and she got in that booth and she opened her mouth, everything went out of the window. Everything changed. Okay. So you had the vibe with her.

Yeah. It was like, oh, okay, with all the stuff that we've been sitting there rehearsing and rehearsing and rehearsing, it was all about it. It was her. And she would, it would change. One thing that I just found out, your work with the Burke family. Yes. I wasn't aware that the Invisible Man band was basically the five stair steps as another name. Yes. And a lot of hip-hop fans are. are unaware that that's you drumming on keep rising to the top.

Yeah. When you're, when you're drumming with other acts, again... My favorite percussion part on All Night Thing. Dude. I actually played the percussion on that. Oh, the cowbell? Yeah, all on one go. I had a...

Ding, ding, ding, ding, gong, gong, gong, ding, dung. Right. Right. Gung chikum, gong, gong, gong, ding, dong. I was going to ask, did you guys, track live, because even with you matching their ad libs at the end with the drum fills or whatever, like, was that song just cut at the same time with everyone? Yeah, we cut it live.

Jesus Christ. And then it, I mean, basically we cut it live. The vocals are live as well. And then I guess they did the bits of the ad libs and stuff, they loved it. So they just either kept it or did it or did it. Did you have a relationship with the five stair steps? Like, why, you know, what was your? your relationship with the Burke family?

It was a guy called Alex Masucci, who used to work at Fania Records. Okay. Who was a friend with I guess he'd sign Clarence and Alex I met Alex

I used to go and hang out with Ray Barreto and all those people up there at the Corso. And Alex asked me to play on this record. So I just wanted to play. I wasn't even aware of the stair steps thing. connection. It was just... You didn't realize that was the guys that did Uchow?

No. I had no idea. Oh, wow. My back, this is all news to me right now. Wait, seriously? Yeah, seriously. You didn't know that the five stair steps and the Invisible Man Man that did all my thing. No. Well, surely you know that, I mean, you know Kenny Burke and...

Yeah, oh yeah, I spoke to Kenny not so long ago. And you know what's funny? It's in Northern California, up near Carmel, there's a radio station, and they play all night thing all the time. Dude, that was a black, that was a black radio staple in 79, 80, you know, even in my dad's band, like, my, the way the, you know, my dad would do like five sets a night, but his band would have to do three dance sets of, like,

the songs of the day or whatever. And they used to kill that song. Of course I should have known that was you drumming, because, you know, again, you have the perfect pocket. By this point, how do you, are you your own manager? Are you your own negotiator? Yeah, I do all my own stuff. I've always done that.

I mean, there was a couple of people who'd come in and say, you know, I'd really like to manage you. And I'm like, well, you know. So you just keep your own dates. I do, right. You keep your own dates and you keep. Now, at that point, are you like, are you a, quadruple-scale guy, or are you like, whole album, give me 20,000 or whatever?

Double-scale, yeah, double-scale, basically. So you were still a scale guy? Double-scale, yeah. And you could make a solid living just... Absolutely. You never ran out of work. No. Is there a particular song that you were asked to play on that got a way that you weren't

able to play on because you had something else to do? No, I don't think so. John Robinson missed a date on thriller or off the wall or something like, can you do this gig real quick? You can't do it? No, I don't think so. Okay, okay. So, you know, MV80s, of course, you know, you'll join Duran Duran, but could you talk about the Clapton period? Yeah, yeah, it was great.

How did you guys hook up? I was with Duran Duran and we were in London and we got in. divided to Bob Goldor-Snyter party, which is at the Hard Rock Cafe. And I went there and I was hanging out there. It was funny, some Spandale Ballet were there and they had a little squabble going with Duran Duran. It was like, there was like rival,

there was like this rival thing between them. And so I'm at this party. And Phil Collins comes up. me and I've met Phil a couple of times before and feels like hey Steve did you ever meet Eric Clapton and I said well I said I met him once

he came to an average white band show and I just met him briefly just to say hello that was about it and come over and come over here with him come over and hang out with us so I go over and I sit down and I'm there with Eric and we're just sitting there talking we talked for a bit and I remember what the conversation was about really

and then I said well I better to get back over to my crowd over. There's a nice meeting you and that was it. And I did see you feel. And I went back over and I hung out with my band and I'm a lot and that was it. Go back to New York. And I get this fun call and guys say, listen, would you like to go and play with Eric Clapton?

I don't know. Well, that sounds like fun. Yeah. What's the gig? You know, and they said, well, he's playing a couple of clubs. One in Boston and one in New York. And I said, well, yeah, great. who's in the band.

Greg Filling Gaines and Nathan East. Ah, okay. The cats. Oh, my buddies, my man. Right, okay, yeah, fine. That sounds good. And so we went up to Boston and we rehearsed a bit. I think Eric wound up in a hospital.

After day one, I think he was one of his drinking periods. Oh, okay. I see. And so we were just rehearsed on our own. And then he showed up for last day or two, the rehearsal. And then we went and played in this club. and then we went down and played the club in New York, this club in New York.

When you're in this position, you know, when I drum with other people, I tend to think like a shapeshifter. Like, I don't think I have a definitive sound. My default sound, of course, is your sound, which, weird enough, I never use, even though if I were to just start drumming, I would basically say what would Ferron do right now,

even though my brand of drumming is kind of way different than Matt. However, I do find myself shape-shifting a lot. Like currently right now with DeAngelo, I'm sort of somewhere in between Tiki Fullwood, Funkadelic and Jerome Brailey.

Drumming in ways I haven't drummed before. But for you, if you're with Clapton, is how hard is it to not champion? old ginger baker, like, okay, should I give him a cream moment or like, or is it just strictly like, I'm going to drum like I do? Yeah, I mean, I think, I think I always refer to, okay, I defer to the song first. Okay. I just go and I play the song and I don't think about anything.

But in listening to the song, when I'm listening to the song, there's always bits that sort of stand out that go like, oh, well, if I don't play that, then I noticed it. It's big enough moment for me. I should play. I should do that. And sometimes there's stuff like that. I don't notice some stuff until later. But I, I mean, I never really, I never really think too much about, I mean, I played, I've replaced like a lot of people in bands.

I mean, I remember, I did a, I did a, I played for this band called the Pooh, I pooh. It's a, it's a, like Winnie the Pooh. Not Poo-Poo. Okay. They're an Italian band, and they've been together for, like, over 40 years, and they're sort of, like, progressive rock band. Okay. And they've been together forever.

And their drummer, Stefanon, retired. And they asked me to go and do an album and sort of to move them forward. Not just one album and a bit of a tour, just to keep them going. And I went over and did that. and I had to listen to a lot of their music. And he did, Stefanow recording, and he sort of nod. You give it a nod. But the rest of the time, I play it myself and try to bring something to the song.

And then, so I do this interview and this guy says to me, I don't know if you realize how big a thing this is that you're doing, replacing Stefano in a band that's been together for that long. and I said, well, I've done it before. I did it with Duran Duran. I did it with the average white band. I did it. I did it with Eric Clapton because there was basically that introduction was Phil

Colin saying, I can't do this. I've got my own gig to do. Try Steve. So then I had to go, I had to go do that with Phil Collins. There's been Stan Lynch with the heartbreakers. I've replaced so many people great dramas

that have done at great moments that have had iconic, I'd say iconic moments and I don't think too many people have missed them. You know,

I mean, it's just that I've gone and done that but I play the song and I don't really think too much about what everybody else plays

when I listen when I listen to something. There's certain fields that's like, well, you know, I can't not play that. That's got to be there. Right. Right. But I listen more to the song than I do to what the drummers playing. So one of the most magical nights that I've ever seen, one, was the first time I ever seen you play live. And two, you're playing drums for another hero of mine, which is Prince. I was there at the Rock and Roll Hall of Fame. Yeah. Isn't that cool? When you guys do my guitar gently weeps. Was this at all sound checked or rehearsed?

Well, we rehearsed here with elements of the heart with Tom, Scott Thurston was playing bass. When we got to New York, there was Winwood and there was Jim Capaldi. And Jim was a very funny guy and he was going to play percussion. Right. And Jeff Young was playing keyboards as well. Okay. And then Prince materialized over there. And I'm like, I said,

when the windward was sitting right. I said, what's Prince in? I don't know he's coming. He said, no, no. He said, I think this is sort of like last minute addition to the band. And there was a little bit of an uneasiness because apparently what had happened was Olivia wanted people that were connected with George to play.

Olivia Harrison wanted people that were connected with him. but the Grammy people have persuaded them to let Prince come and play. Right. So I said to Winwood, I said, I'm going to go over and say hello to him. So he said, he said, he said, he would say, you're not. And I said, yeah, I'm going to go over. I'm not frightened of him. So I go, so I go on and I say, hi, Prince, how are you doing?

Steve Ferroni, nice to meet you. And he says, oh, he says, I know who you are. And I said, and I thought, I feel for you, right? Right. Yeah, I played an official. feel for you. Right. So and I said, well, we had a little bit of a chat and I said, okay, well, I'm going to go back over there, but really nice to meet you. And I go back over and

Wimwood was like, what did he say? And I said, he's really nice. Go over and say hello to him, go on introduce yourself. All of a sudden, I hear schoolboy crush being played. Right. I hear something like, do-da-do-dun-d-d-d-d-d-d-and. And I thought it was like somebody from the Lederman band or something just messing with me, you know. Right. And I look across the stage and Prince is looking right at me playing schoolboy crash and I'm like dang he does know who I am. Yeah, no, you're God.

Yeah. But, you know, and so we played a little bit and then Tom sort of went up to Prince and said, listen, just take that solo at the end and you know, just have a bit of it. Did you guys know when you were going to go apes it?

I had no idea. And he put on a whole show, he put on a whole show when he fell into the audience. Yeah. We had no idea. We thought he'd fallen off the stage. The whole band was like, oh, we just killed Prince. And then the guy, big giant catches him and pushing him back up on the stage. And then the guitar went up in the top and then everybody was like, where did that go? You know, it was a show for us. It wasn't for them. It was our show. He told me that that was, I asked him, I said, was that a revenge solo? Because, you know, Rolling Stone had comprised a 100 best guitarist

lists. Yeah. And they never mentioned Prince, which to me is like, dude, he's a monster on guitar. How do you guys not? And, you know, he sort of, you know, it's kind of scoffed like, well, they know now. You know, that sort of. Right, right. Yeah.

But I, you know, I instantly felt like that was his moment to let them know that, you know, I'm a motherfucker on guitar. It's an incredible soul. It was just incredible. It was just incredible. A win is a win. A win is a win. I don't care what I'm saying.

Yep, that's me, Clifford 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 where you need to be. Listen to the Cliverts show on the IHeart 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. 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. 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. Of all the bands that you've been anchor members of, what is the more favorable for you as far as just experiences? Is it the heartbreakers? I spent 25 years with Tom Petty and the Heartbreakers. That was the longest that I'd ever ever. associated myself with any band.

I loved that band. And I love the experience of making music with that band. Constant, always relevant, always fresh, always doing something new. Tom's motto was, I may have made a lot of money, but it's not going to stop me from being an artist. What more could you want? You know? What was, do you remember the last show that you did with him?

Yeah, Hollywood Bowl. Was there anything particularly? I got inducted into the rock walk in Brighton in my hometown in England on the pier. Right. They gave me this plaque and they put a plaque up on the pier. And Julia and my fiancé, she decided that she was going to start off, like getting people to make one of those little films where they say, oh, congratulations, Steve, you know, all these people leaving nice messages.

Right. And she got older Nathan and Nathan just went crazy and got like, you know, Eric Clapton to say stuff and all these people. And she was trying to get me to watch it for the longest time. Right. I know you hate praise. I get it. I get it.

So we're going over to England to do this thing and we're sitting waiting for the plane and she says, she pulls out of computer and she says, right, we're going to look at this now. I said, okay. And I sat there and I see all these people that left beautiful messages for me. And I was just sitting there's done. It was so nice, everybody, all this stuff that people were saying.

It was like being at my own funeral. People say the nicest stuff about me or something else. Right. And it got to the very end and she put Tom introducing me at the Hollywood Bowl. And Tom said, one of the best musicians I ever played with.

And he said I was a great person too. Did I help a lot of people? I guess maybe because I did stuff in AA or something. Right. and I just lost it in the airport. I just started blubbering. I just couldn't. It was, it was,

and she was like, I'm sorry, I'm so sorry. I'm like, no, this is, this is good tears. This is good tears.

I think it's good to, that's, that's kind of a theme on this show. Like I, I, for at least five years, I hated when people bestowed praise on me.

And so I'm fighting tooth and nail and kind of learning to accept love and appreciation you know because well listen there's something that you're that your people who are going to watch this is that they should see that when you

inducted me into the rock walk down here in in Los Angeles when we play pick up the pieces I think we looked up pretty good together we absolutely did you know you know what I want to ask about that night how you know it's weird the weirdest part about that

whole night was it wasn't until I left that I left that I realized that was Steve Perry I was playing with. He's such a, he's so mysterious. I thought Steve Perry was like one of the, I thought he was a roadie or something. And he was so nice to us. That was the funniest thing.

Steve, I'm really good friends with Steve, and learning for a long time. Right. And he's very much reclusive. But he, you know, and I was always trying to encourage, man, you know, if I had a voice like that, I'd be out there, oh, but I don't have the range that I used to. I said, man, you can sing.

you know, it's, all you got to do. If I had that voice, I'd be out there singing now, you know? Does he just think that he can't sing anymore or? No, he can still sing. He still makes records, but he has a lot of insecurity about it, you know. But he's just a wonderful singer and a wonderful human being. He's just a great guy, you know. And so he liked to go, he was sort of liking to go to see people rehearse and

sit in in rehearsals and so he liked to be around that, you know. So I told him that, you know, Hamish was in town for this thing. And I said, we're going to be rehearsing over at the rehearsal studio. He said, can I come? And said, yeah, sure, of course. So we get over there and we start playing, I think it was person to person. Right. And when we're playing it, I'm missing a harmony in a vocal harmony.

I'm like, I'm missing a note, you know. And Hamish said, well, what, no. And they're all singing. I'm like, no, there's a note missing. I don't know which one it is, but it's missing. And they were trying to know, and they're really annoying. There's nothing missing, Steve. And I'm getting more and more upped.

Right. Steve is sitting there and he knows exactly what note is missing. Yeah. So Steve says, can I, can I, can I? Yeah, come and come and sit there. So he said, then, boom, and there it was, right? Yeah. There, you see, that was missing.

And I said, you're in the band. And he said, you're in the band. Good. I was there even at that moment. Like, he, I thought he was a Rooney. And then he was playing percussion. Yeah, he's playing Cal Bell. And so he's right over the same.

But the funniest thing was, was when I introduced him, there was all the audiences like looking at me, right? And I said, let's start over that side there on background vocalists. We got Steve Perry. And everybody sort of went, uh-huh. I was on the drum set. Like, wait a minute. This is Steve Perry this whole time.

Like, I did not know. Ah, he needs to sing more, man. He needs to sing more. Please, please. I'm going to tell you. Point him to this thing here. He's just, he's got this voice that's just so special. He's got an instrument that's so special.

And I don't know, I don't know anybody now from, you know, that's in, from our era that can sing in the same key as they did back in the 80s or the, or even the 90s. But, you know, you can drop a key as long as you can. can sing because, you know, I mean, I get, I get annoyed, you know, when you talk about the gospel chops, yes, I get annoyed at the people who think they're on America's got talent and they got like 30 seconds to sing every dang note that they can, that's in the book. And I hear people singing those songs like that and it's like, just sing the dang, sing the, make the word mean something. Don't, it ain't about what you can do with it. Just make that word, you know, I, heard somebody singing something that somebody did a cover of a average white band song and they sent me

this singer that was well right singing all over the place on yeah okay i'm gonna wrap this up momentarily i just have a few more questions left number one of your career as far as your actual performance is concerned what do you feel is your most memorable satisfactory performance in terms of drumming, in terms of tone. Like, if I want to know what's the definitive three Stieferone songs, what is it? And I don't mean popular. I just mean in terms of... Yeah.

You locking it in the pocket. Well, I mean, I have to say schoolboy crush. Okay. And were you playing the bells and drums at the same time? No, I added that as an afterthought on the recording. Okay, cool. Yeah. Okay.

But every time you started in concert, you do it. Yeah, they just hold the belt here. But I just thought that sort of fit the song somehow and then all the rappers liked it. So that was good. Yes, exactly. But that Wildflowers, the whole album with Tom Petty was that was an amazing experience. Okay. I love that album's Secret Story.

Pat McEntany. I love Papantini so much. He's been on our show. I think that's one of the most beautiful albums that are played on. I wanted to ask you about the glow sessions, but I will just, because, you know, that was definitely Rick James' craziest period in this career.

Yes, it was. You have to read the book. I'm in the book. Yeah, I know. I was going to say, from 1 to 10, how crazy were the Rick James Glow sessions? Great. And that was a lot of reverb on those stairs, man.

Yeah, I mean, it was, it was crazy. But Rick, man, well, he just had such an energy that was really cool. I love these music. I mean, I just, I went and saw this little band playing in one of the clubs in Los Angeles. Oh, I forget, peppermint or something like that. It's called them. And they were playing, they were playing some Rick James. But do, do, do, do, do.

And they were like, man, that's a great. What a great energy. That's amazing. Yes. Give it to me, baby. Yes. Yeah. All right.

So I was going to say, what was the hardest session you ever had in your canon? Oh, hardest. Like take after, take after, take after take after take after take. Didn't nail it. Got through by the skin of my teeth. You know, it was a schoolboy crush was pretty hard. But I think there was a song on secret story. I forget what it's called now.

But there's this. And it's in 7-4. and Pat wanted to keep the bass drum beat but he had done something with the Sinclaver the sort of boss and overbeat over this bopp-a-bub-d-bub-d-bub-d-bub-d-d-bub and I had to figure out how to play it so I said well yeah

I tell you what just run the tape and I'll play and see if I can come up with something and I was trying to figure out how to play this thing and just playing and then finally I got settled into this one one sort of pattern with it. And I tried to do something and I almost fell off the drum kit doing it.

And so I just abandoned it. And then I went in and then I went in, I went back in there and said, okay, was there anything in there in that? And he said, yes, you played it once. And it was, it was this thing. I said, both my feet are off of the ground at the same time. It's just, I had to really sort of, I had to go in and sit down and woodshed a little bit just to get comfortable with my balance as I played that.

It doesn't sound that much. but it's just a little bit, it's just a, you were kind of going there with the, especially with the Brian Auger stuff. Like you were doing a lot of, you know, quasi-proc rock-rockish, like odd meters. Yeah, I was young. I was very useful with Brian Ogre.

I was 23 years old. I listened to that stuff and it's like, wow, it's so young. So I want to mention before going, you have a new project, E Bunchions. Yeah, yeah. You on drums and, and, Jeff, Babco on Keys and Woody Monkowski on vocals, Ethan Farmer, and Champs area. That was fun to do.

We did that in the lockdown in my studio and they brought the songs over and a bass player. I mean, Jeff had done all the stuff with the keyboards and they'd done most of the rough vocals and stuff. And then Ethan came over to the house and my engineer, the guy who engineered is Eric Thorngrin, he does the engineering for me. And we'd figured out how to do it so he could engineer me from Long Beach. Right. And so he was in Long Beach and we were there in the room and masked up.

You know, it really is something, I don't know if you've experienced this with your band, but it really does give something when you can actually, even if you're overdubbing to a track that's already there, if you put down bass and drums at the same time, it just adds that little feel of there's that interplay that happens between. between a base place. It just makes the track feel, I think, a lot warmer. So are you guys planning on, like, going out live with it and removing?

Well, I'd like to go out and play. We were doing this little gig at this, at this pastrami, I think it's called Joe's Pastrami place. We were playing on Friday nights. There we go and then playing. Well, I was playing with Jeff. And I said, whether or the abundshundians are going to come and play? And he said, oh, I don't know, I'm too busy.

But I would really, I would hope that we'd go and play a gig, at least one, you know, at some point. At least one. There's one song I want to ask about that I forgot to ask about. It's on Shaka's fourth album. She did an extremely ambitious medley called Bebop Medley. Yeah. You know, she's basically marrying all these old jazz songs.

That was a reef. Yeah. Did you piece that together or? Yeah, we cut a piece of it every day. I thought y'all did that in one fell swoop and I always wanted to know how did you guys get that together so you guys had to cut and paste that

yeah cut Arif would record that bit and then he'd take it home he'd listen to it and then he'd write the next bit and then we'd come back in the next day and then we'd play the next bit and then he'd tag it on and then we'd go take it away and then write the next bit

there were times where I saw you play with Shaka have you guys ever attempted to do the B-Bop medley live I think we have done it live I think we've done it. Jesus, age Christ. Yeah, baby, da, da, da, right. Exactly.

Yeah. You know, yeah, we did, I think, yes, we did it live. There's a, there's a, I think we did it at the concert. Maybe we did something at the, the, uh, the Roxy. You did, you did a, I've seen only maybe like four or five songs from that particular thing, but I haven't seen the whole concert. I think we may have done it there. Okay.

That was fun. But, you know, it's really hard because I've played. with so many great musicians and had so much fun playing in my career and continue to do so grateful and really grateful for that but but it's hard to sort of narrow it down to say you know always feel like I'm leaving somebody out right I usually I usually when I do when I do something like this I always make a big point of thanking the school of like local 802 and the school of local 47, you know. So you really are a union guy.

Yeah, man, I tell you, you know, they may be, they may be, they may be, they may be pay for a pension and I'm like, give me the money. I don't have any of pension. You know, I'm really, I'm really happy that they did now. Those guys are always on my case. You know, I'm kind of in a different category where I don't depend on that, but I also understand that musicians have to make a living. Oh, wait, speaking of which, we do have something.

in common. You were, I didn't realize that you were in 85, the house drummer for S&O. Yes. Yeah. How was that gig for you? You just did it for one year, correct? I had the gig for three seasons, but in the middle of the second season, I started to get really busy with Eric Clapton and Duran Duran, and so I was out of town a lot. And so finally, I just said, And it's silly me keeping this gigas you give it to some. So you decided to let someone, okay, I see. Yeah. So for you.

But Lauren has always been really, really nice with me. I mean, he's always, every time, I always introduce myself. And he says, I know who you are. So my final question is, is there ever a thing as stopping? You know. Playing? Yeah. No.

So for you, drumming is still a passion. You still have... I love doing it. I love playing the drums. Yeah. I love making music. I have a dream. And I thought, you know, if COVID wasn't here by the time I turned 50, I said before I die.

You know, and unfortunately, Malcolm is no longer here with us. But before I pass away, I have to see the core five members of... of the group play one more time. Are you guys at all, as far as average white band is concerned? Is there an average white band thread on your phone? No, you know, we talk every once in a while, and I try to get those Scotsmen to make peace, you know? It's like, who's at odds here?

Hamis and Alan? Well, yeah, it depends on the day. Sometimes Alan's at odds, and sometimes Amish is at odds. And sometimes, you know, I mean, you know, You know, Molly passed away with, you know, I mean, I tried to get something back together and, and, and. Because you've done things like easy pieces and. Yeah. All these projects with one or two members, but, you know.

I mean, I mean, you know, I was talking, I was actually talking with Hamish, I thought, man, you know, it would be great to have Questlow come producers, average white man. You know, he enjoy it as much as we would. I, look, I would, I would honestly say to you, I would probably risk the ire. of anybody I've worked with and walk away in a heartbeat if I knew that I could facilitate an average white band reunion. Well, I tell you what I do. I'll get you, Alan Gorey's telephone number.

I send it to you. So he's the missing piece? If he agrees with it, then you think everyone else will fall in line. I think I can persuade Hamish. I think that could be done. Yeah, I just want a proper closing. Yeah. I think it would be a good thing to do because, like I say, everybody can still play.

Yes. It would be fun thing to see what would happen. Your mouth to God's ears. Yeah. You know, in closing, I just want to say, yes, I really truly hope that you know that literally, you know, you sparked a revolution of where I am right now in my life. Like this starts with you.

I'm truly grateful for that because it's nice to see, have somebody walk up to you and say, man, you've been a great inspiration and I can actually turn around and say, man, that guy plays his ass off. Thank you. And also, thank you for that snare drum.

I'm literally using it all over the next week. I've seen you use it. I saw you doing it. I saw it on the TV. Is it used my sonnet? Absolutely. I'm using it on the next Roots album. Wouldn't it be wonderful if all those instruments

got used that way? I mean, that people got them in. didn't just put them in glass cases and look at them and think they're worth a lot of money. No, man. That snare has a snap like no other. But I thank you for that. Ladies and gentlemen, the great Steve Ferone,

my musical hero on Questlove Supreme, I thank you for taking the time out to listen to this. And we will see you on the next. Go around. All right. See you all later. Watch Love Supreme is a production of IHeart Radio. For more podcasts from IHeart Radio, visit the I Heart Radio app, Apple Podcasts, or wherever you listen to your favorite shows.

A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Clifford Taylor the 4th. 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

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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.

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I vowed, I will be here. 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.

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