Uncle Joey's Joint with Joey Diaz - #340 - Rudy Sarzo and Dean Delray

Episode Date: December 15, 2015

Rudy Sarzo, Musician and Bass Player who has played with, among others, Black Sabbath, White Snake and Quiet Riot joins Dean Delray, Comedian and Host of the "Let There Be Talk" podcast, with Joey Diaz and Lee Syatt in studio.   This podcast is brought to you by: Texture. Go To texture.com/history to get a free trial for the Texture App. The Texture App gives the use access to hundreds of magazines. Onnit.com. Use Promo code CHURCH for a discount at checkout.   HITecigs.com For a better tasting, longer lasting e cig go to HITecigs.com. Use Promo code joeyschurch for five Hit E Cig's for $50   Recorded live on 12/14/2015.
   Music:  Papa Was A Rolling Stone - The Temptations I Wanna Be Around - Tony Bennet Diary Of A Madman - Ozzy Osbourne

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shit, Rudy Sarzo, Dean Delray. What do you think of these motherfuckers here? If you really think about it, then you really do your homework. I gotta be up there one of the greatest American bands all time. Five little black kids, two, three great fucking singers, Eddie Kendrick. Keep that bass line alive. Keep it. Keep it, Lee. Kick that motherfucking meal, Lee. He's a hungry black people right here. What's the name of the band that did the documentary, the people who did the music? Oh, that was the funk brothers. Are you fucking kidding me? Yeah. But they get $10 an album or something? They're still homeless right now. The people played the music on this. These guys are real American heroes, bro. This is what you should

get a medal for. Yeah. Because they're still going. How old is this song? Every time you hear this in your car, you turn this up. No matter the bright, jammu. Lee, kick this fucking song, I believe. I don't want to hear fucking hair. Kick it. Kick it, Lee. Listen to Kurgis. They flew a Cuban in to play the conga. Right or wrong, they flew a motherfucker. What's happening? Happy holidays to all your motherfuckers, whether you're Jewish, Cuban, Puerto Rican, Catholic, happy holidays. I know you celebrate something. Lee Syat in the house, my man, Dean Delray, and the master of ceremonies this afternoon, Rudy Sarzo. What's happening,

gentlemen? Yeah, at least know you that. At least know you that. So what happened last night? You went to Lemmy's. Yeah, Lemmy's 70th birthday at the whiskey. And was it fucking nuts? Oh man. Invitation only or paid to go? No, invitation only. Okay. Now they had done it 20 years ago on his 50th and Metallica played that one where each guy in Metallica dressed as Lemmy and they were called the Lemmy's. And that was pretty fucking epic, man. You can Google it and look at it or YouTube it. But this time they put together an all star tons of guys. It was like Steve Jones, Sex Pistols, Billy Idol, Sebastian Bach, Slash, Ian Escadion from Anthrax. You had Dave Lombardo, Slayer, another Cuban. I mean, it was on and on all these guys and they played all kinds of songs.

They opened with some Zeppelin. They did some, just got paid by ZZ Top. They did some, then they learned some 50 songs that Lemmy loved and they just rotated jammers. Duff McKagan, Billy Duffy from the Colt. It was, it wasn't like no C-League. This was like the hitters were out there, man. But Brutie Sarzo wasn't there. Yeah, well, I was invited, but I got the call. I was on my way to family holiday reunion, you know, and it's like the type that you pick people up and then you've got to bring them back. And by the time, you know, I was home, it was like, you know, they tripped a fan hit and I was passed out. Before we go any further, he was saying something very interesting. Happy birthday to you, brother. Thank you. 65. 65 years old. And you just get

started. You just get fucking started. You're young. You just get started. When we were growing up, if you heard the number 65, you were like, Jesus Christ, I'm fucking dead. You going on tour next year. You know, it's just amazing what the things you could do if you take care of yourself. I'm doing senior homes next year. Fuck it, whatever. It looks better than me. Yes, it does. Whatever pays the mortgage, really. It's just a beautiful thing that you're still out there. Did you think that you'd still be out there at 37? You know what? I love watching Crossroads, which is the events that Eric Clapton puts on just about every year. Right. You know, and I would say everybody, every time I watch the show, most of the people are way older than I am. And they're

still like killing it. You know, they're playing the blues, they're rocking out, you know, and it's like, oh my God, you look like a buddy guy. He owns the stage every time he gets up there, you know. He's a killer. Eric Clapton. I mean, everybody across the board and I go like, yeah, I want to do that, man. I want to be, you know, when I'm that old, you know, I want to be like Miles Davis die on the road, you know, playing, you know, being a musician. This is what I am. How is this Clapton now? I don't know. Yeah. Lee, can you look that up? Absolutely. Because Lemmy is 70 last night, you know? Oh, look at Lemmy. Was he there last night drinking? He was there? Hell yeah. Was he drinking? Yeah, he drinks. Was he smoking cigarettes? I'm sure. He's never changed. He's not like,

uh, I'm getting at this age. I better slow down. He's exact Lemmy from like 69 Lemmy or what. That guy was a roadie for Hendricks. You know, first tour I did with Ozzy Motorhead was the opening band. The opening band, right? Yeah. And I got to tell you, Lemmy wore on stage and off stage, the same clothes. You know, it wasn't like, well, we have our, you know, on stage outfits and then we're going to have like, you know, this is what I wear, you know, in the bus or whatever. No, I was like, these guys on the whole crew and band was the same thing. You know, just like blue jeans, jackets and jeans. And that's it. You know, just, you know, except that I think he put on the bullet, the bell, the bell, the bell. Yeah,

put the bell when he went on on stage and then he took it off when it got off the stage. That's about it. You know, they had a, they had a 10 minute video of like a 15 minute video of his life, which is far too short. But as it went through, it started from like early on when he was like 14 to now. And it was unbelievable who he had played with, who he hung with. He was Keith Emerson's roadie back in the 60s when he had the band, The Nice. And he's the one who gave Keith Emerson the daggers to stab the keyboard with. So you, you know, Emerson used to be like the same. Emerson Lincoln punk. Yeah. Well, this is before that. Absolutely. The nice, you know, they had that song America, you know, on the, on the, on the organ. And part of the stick was

that he would take these daggers and just like make chords, you know, like, like keep chords, you know, and just, and then he will solo on top of that and throw the organ on, you know, around the stage and stuff. But it was Lemmy who gave him the, they were actually German, Nazi daggers. He worked for Hendricks too, right? He did. Yeah. He was Hendricks' roadie. Yeah. You know, insane. And then he starts, he plays in Hawkwind, which is like the first early, they see what the Grateful Dead's doing, and they go, we want to do that. But in a 60s kind of London Assity way, and Hawkwind's like the psychedelic, crazy, huge band, you know, like a huge underground band. A lot of musicians get their start being roadies because it seems

like it'd be a great learning experience. Yeah. Like an open mic or, you know, I mean, I, you learned from hanging out at bands, rehearsals and stuff, right? When you're a kid, you know, you're at a band. I was like a young kid, had an older band, Vicious Rumors, you know, that band, they're, they're like a metal band, and I would hang at their rehearsals and learn shit, you know. Well, I know, like, if you're a guitar tech, yeah, right? You've obviously a guitar tech, you're a badass guitar player, right? Oh, no, not really. Some guys learn the, because you have to, like, tune in the chords for the guy, whatever the hell it is. So you have to be learning something along the way. Yeah. I mean, there's people in this town that come in as comedians, and they,

that's what they do. And there's other guys that end up writing and doing a little bit of television, and you just learn along the way, you become a sort of like a master of everything, you know, Prince could play everything, you could play a bunch of fucking instruments, can't you? I play the radio, right? Okay, you play the fucking radio. But it's, uh, Lemmy was just one of those guys that learned it, A, the fucking Z. You can't go to Lemmy, right? You go to Lemmy right now and go, let them want on tour. Can you come and look at the stage set up and he'll go there and just point little things, make the curtains blue, make this red, just things that you learn from fucking doing it that somebody can't tell you. Yeah, but the problem is, you want to understand what he said.

What he said, right? Yeah, yeah, I thought about it. All right, so here you are, uh, whatever the fuck, uh, the first band, and then you move on to Ozzy and quiet Ryan, and then you go on this tour that last God knows how long you didn't, you guys didn't even expect that type of success. They did. They used to last for a year and a half. Yeah, yeah. And his hit is with Lemmy and Motorhead. Well, yeah, yeah, the Ozzy. Well, actually the first, yeah, it was the first leg of the Blizzard of Oz tour. And the end of the tour, we went over to England to a place called an event, a festival called Port Vale, and it was in 1981. Uh, and Motorhead headlining, Black Sabbath with Ronnie was supposed to be the band that

was going to play before Motorhead, you know, like special guests, and they pulled out for some reasons. So Motorhead asked Ozzy, Hey, you guys want to be the one. So we actually, we took the Concorde because we had like one day to do it, to go back and play and come back, right? And we did the gig and then we got back in the Concorde and got to New York before we left London. You know, we left like eight o'clock in the morning. We got to New York at like at seven or six. You know, there's something ridiculous. The Concorde Concorde. Yeah. That's rock star shit right there. No, no. Rock star shit is watching Ozzy peeing outside the bathroom because he couldn't get in the bathroom in the Concorde. No, no fucking way. Yeah. Yeah. Yeah. Oh, he pissed

on the wall at the Concorde. Yeah. Well, on the door of the bathroom. Yeah, there were like three or four bathrooms on one side and he couldn't get in. So there was Ozzy pissing. Oh my God, did anyone see him? I did. Did I say anything? No, no fucking Motorhead as our opening band. That's where it was sick. Because I remember going to see the Palladium show was Motorhead and going, who the fuck are these savages? Yeah, these guys. Hey, listen, you know, we put it this way. Our bus was very clean because, you know, Sharon was trying to keep Ozzy out of trouble, you know, as best she could. So we had nothing in our bus. Then you go to Motorhead's bus, there's like hookers and strippers and blow and vodka and pizza and whatever, you know,

piles of people and all over the bus. Oh, yeah. It's funny. That's what I think green rooms are going to be. And then anytime I go in a comedy green room, it's probably more laid back than your bus was sharing. It's like just people like just sitting like it's a waiting room. That's different scene though. Different scene. You know, I think now you're, you got to look pretty professional because you don't want the co-owners to come back. These guys are just doing blow and they're all fucked up. I don't want them back. I was telling somebody the other day that I don't know anybody who's a comic right now. That's causing any problem. Yeah. Nobody. There's no, beside Cat Williams, you know, a couple of years ago, God rest his soul, there was a story about

Mitch Hedberg every other weekend. You know, there's always when I started comedy, there was a couple of guys that was still getting fucking happy. Yeah. You know, George Lopez still had both kidneys. That motherfucker was getting fucked up in 99 and 2000. Yeah. Then what's her name? Saw him and got him on the show and, but there was a time I've been in Miami with George Lopez and going, what the fuck is George on the floor? He was on the floor. I'm not making a joke on the floor. I had to do radio from his feature act. He wouldn't get up the next day. George was the real deal. Yeah. Mitch, every two weeks, you know, before that you had Kenison that was causing havoc. Yeah. And last night you took pictures with Duff. Yeah. Red band. And I read Duff's book.

Yeah. You know, and I suppose Duff is clean now. Yep. Absolutely. And you're clean. Yep. And you're clean. Oh, yeah. And everybody in this room is clean from, I mean, I smoke pot. I love smoking pots. I was a kid. I do it just as, it's not like, look, I wouldn't smoke the whole joint of shit that kills most Americans. I do it now just out of fucking habit, just as stupidity. Any day now I'm going to wake up and say, I'm not smoking this no more. Cause it don't do nothing. It don't do nothing no more. But it's amazing how your life changes. How at one time, you know, it was everywhere. It was fucking everywhere, Rudy. I mean, where you turned, you on the road with Ozzy and savages. He played with Sam. Yeah. And that whole fucking scene there,

he made Ozzy look like a beginner. And I remember that I, I, I used to, when I, you know, till, till eight years ago, I would go on the road and I'd get high afterward. And yeah, from time to time, you pick up a victim at the club and they suck your dick and you know, you got to throw them out the next morning. But I couldn't even, like right now, even if I wanted to like, so bright for me from drugs has been easy because even if I wanted to, I wouldn't do it. It's like, I don't see the, and you look at all, you know, I still remember slashing guns and roses on the American music or whatever the fuck they were on that time on television, national television, they were fucking gone. They would just rip that Grammys, whatever the fuck it was that show that

one year. Yeah. American music awards. And now people just move on, you know, I just saw the final hours of Michael Jackson. Anybody catch that? Yeah. That documentary. Yeah, it was great. He was fucking getting down. Yeah. I mean, Michael Jackson said, fuck it. I'm wearing a wig, Jack. I need to get, I mean, he was fucking putting shit in his body. We wouldn't dream about, but besides that, his musicians, I don't know anybody who's really drugging it up anymore. Comics. What do we, my green room has nothing, has no waters. Yeah, waters. I don't have blow. I brought bananas today. It's amazing how you evolved. You never thought of that when you were on the Blizzard of Oz and a couple bands after that and Sam,

you would be like, Oh, when does this shit end? I was talking about that the other day with Sam still be getting high. If you just brought up something really interesting. Yes, absolutely. And I got to tell you a bit of it. It's a, and this is, I'm not saying this is the way it is, but this is an observation. I think that what happens is, you know, you, you start getting successful and you become untouchable. You become unbreakable, bulletproof. And then shit happens and it brings you right back down to earth. You know, like with, in my case, it was Randy, Randy and the plane crash. That was like brought me back to reality, you know, but I think today, and I love to hear your opinion on this because of social media. I am in direct contact with the

fans that we have lost that and putting musicians in a pedestal. Mistake, you know, mystique. It's all like, we're, you know, we're all at the same level here. So that be becoming unbreakable, untouchable doesn't really exist anymore because you become really transparent to these people. They really know, I mean, they know what my wife looks like. My little dog, you know, they see pictures of my house, pictures of me hanging out, you know, stuff like that. The walls are down. The walls are down. So that gives you a little bit more of a center. You're more planted rather than to be like feeling like you're untouchable, like above anybody. And I think that's what happened when people started thinking you're above anybody. That's when you say, I'm, well,

I can take more drugs than anybody else because I'm above everybody else. Look at me. I'm successful doing all the stuff. So I mean, I'm sure Ozzie is great as a person, but most people don't pee on plain doors when they have to wait for a bathroom. He's from England. Have you ever been to a pub in England on Saturday night? No, there's more piss on the ground that there is. There is beer on the bar. I'm telling you, it has to go somewhere and everybody misses it. Usually they're troughs. You walk into the men's bathroom. It's a trough. It's not like these little toys like we have at the festivals. They actually have piss walls. I've never seen anything like it in Europe. So you're at a big festival, say the size of Coachella and you'll just walk up and go,

what is that? And it's like a hundred foot wall and dudes are just pissing right there in front of everyone on a wall. Yeah. It's crazy. Yeah. And that's the way he was brought up. So he sees a wall. Well, he pissed on the Alamo. Come on. Yeah. You got arrested for that. Yeah. It was from Birmingham, which is an absolute ghetto, you know, just like, you know, the bottom of Europe. It's actually pretty nice now. Now it is. Yeah. Yeah. Like I went to Sheffield. It's nice. Did you ever watch his documentary? Yeah. When he was born, it had been like maybe 10 years since the war ended. This place was dilapidated. It had been bombed by the Nazis. So you're being brought up and next to rubble, rubble, buildings all destroyed and everything. Absolutely. So you grew up in an

environment like that and you have certain, you know, ethics. Also, the, I think the pressure of being the rock star gets you to get crazy too. Well, that's that pressure that I was telling you, we're telling you about, you know, it's not even pressure. It's like this full sense of being you're successful and people like yelling at you and chasing you and you could create this full sense of like, wow, I'm, I'm, I'm like really cool or untouchable or unbreakable, nothing, you know, and then you start doing stupid things, you know, but now I think everybody's a little bit more, more grounded and that's it. It's just, you know, in the 70s, Jesus, you heard about a band every fucking weekend. There was no internet. No, there was no internet.

You heard, you know, different rumblings. And then, you know, I went to a union city, pastoral music, and everybody who plays the garden goes to pastoral music. That's just the way it is. You'd see him, you know, the time I saw Dwayne Altman and the fucking chair there, I was like, what the fuck is this? And I went in and I started taking bass lessons. And the guy was telling me, every time these people come into New York, they come over here, they do the garden, they come over to pastoral music. It's been there for 50 fucking years. Yeah. And you just heard rumblings of this and that. You don't even hear that anymore. You know, Drake, these black rappers, they don't do nothing. They drink champagne out of a fucking

thing with a straw. They got a bottle of that shit. Then they drink that cough medicine. That's big now. Yeah. Chris, Chris, whatever. Cody, they don't, they don't, I went, I went to the doctor, they don't have it anymore at the doctors because of that. The coding stuff. Yeah, it's great. Yeah. I've never, I've never had it like what they do important to soda, but it crazy dreams on that. I drank it. You have psychedelic radical dreams on. I couldn't believe it. You're like, whoa, you wake up like, I mean, whatever's in there makes you see monsters. You know, when you're sleeping. I was never a coding guy. I had friends that were into that shit, but it's just, it's not, I couldn't imagine doing what I did 15 years ago and going on the road now. I couldn't fucking

imagine. Well, here's a good example. This is how clean the slate is. This is how clean the slate is. We lost Scott Weil and last week, but over the last two or three or five years or whatever, you would hear rumblings like that. He was still, you know, like he got a DUI on his birthday, hit some cars and stuff. He was like the last really of the radical rock star, you know, the one that was still carrying the flag, so to speak of like hearing stuff, right? I mean, I don't know. I don't know. You know, that's, you know, growing up, I, I, I work with a lot, a lot of musicians who have mental issues and I got to tell you rock stars, you know, anybody who's labeled a rock star can get away with anything, get away with anything, things that

actors, athletes, politicians, nobody else can get away with just, and just because you're a rock star or, you know, you're a rock star, of course you can do that, you know. What baffles me about the rock star is that they'll never give up. Like that's the rock star I love. Like you're a rock star, Rudy Sarge, but I hate to tell you, you're a rock star. You have everything, your aura, your persona, you know, whatever that word is, a rock star. You did it. You did it. But there's people who are fake rock stars, but the rock stars today from that era have not changed. The other day I was scrolling through and I watched the heavy metal thing and I saw poor Michael Shanklin. I think I called you. Poor guy didn't even know what planet he was on, but he's still a rock star. He

don't give a fuck. He's still got the blonde hair and the fucking chain and another jacket. He's a fucking rock star and he'll be, you know, some people would one day go, you know what, that's, I don't do this no more as much. I do this part time. I'm changing my wardrobe. You know, these guys have held on and you gotta love it. Kurt Hammett, you know, these guys are just, and I respect that, you know, just because you're not in the war. You're still in uniform, bitch. You know what I'm saying? You can't be in union. It goes both ways. I got a question for you guys, because for me, as soon as I get off the stage, I'm already thinking the next time I'm going on stage, because to me that's, that's home. It's weird. I feel more comfortable on stage than I do crossing

the street. As long as I know what, you know, what songs I'm playing, you know, if, okay, I got it, okay, so I just get up there and do it, you know, and, and I get lost, you know, I'm a different musician with every band that I play, you know, with Ozzie, it was different than Quiet Riot and White Snake and so on, you know, because I just get caught in, in the, in the, in the spice that everybody else brings in, you know, the flavors, you know, or everything because every band is different, you know, let's say I would be doing Black Sabbath songs with Ozzie, I did a whole record, you know, Speak of the Devil, then I did Black Sabbath songs with Ronnie. It's a whole different Black Sabbath experience. Oh God, yeah, yeah, completely different. It's a, it's a different

element that each individual brings in the band, you know, so you have to feel that, you have to be aware of what everybody's communicating and putting out energy-wise, you know, and I don't have that in, in, in my life, you know, I have a very normal existence, you know, I got my wife over 31 years, I'm my little dog, and I have a home, I got a brother, you know, my folks, and, and all of that, but is when I get on stage, that's the person that you probably connect with, the guy that you remember me, or I remember watching you on a show or a video or whatever, you know, that's, that's even more real me because there's no, there's no, you know, nothing, no, no parameters really, it's, you know, with complete freedom, yeah, complete freedom,

freedom of expression and being myself within the parameters of what I'm doing. Again, you know, I was, I'm different player in, in every band because there's certain parameters in every band, in every band, you know, like, I remember when I joined White Snake, I, you know, being aware of that, I told David, you know, hey, so what do you want me to do? And he said, be yourself, okay, and I think of all the bands I've ever been in, that was the one that I just went fucking out of my mind on stage with. Yeah, yeah, yeah, yeah. It doesn't say just be yourself, okay, that's it, yeah. Like, when you play now, do you get like, brought back to when you were, like, 25 or however old you were when you started playing? Like, do you feel like you are playing

now? Or is it like, you're just like, zoomed back? You know, that is a really good question. And it's multi layered. My answer to that. I don't know about you guys. But I find that if I do songs from that includes past band members that are not longer with us, there's an element of pain. When I play those songs, like when we do the, the Randy Rhodes, yeah, when we did that, you told me that you said that it was, it's, it's hard. It's hard because your own stage and you're like in, in my mind, I'm there, man, I'm there, like, you know, I'm there at whatever gig, pick it, you know, you know, I'm at the garden, you know. Well, Randy wasn't there at the garden, but you know, what we're doing like any, any gig,

any gig at the San Francisco day on the green, whatever, you know, it's, I'm there. I'm there with Randy playing those songs. I never forget that kid. You know, you know, if I, if I do a choir ride, you know, recently I've been sitting, you know, but sitting in, you know, just doing one song with choir ride with Frankie, you know, because we're, you know, Gunzo and choir ride, we've been doing some shows together this year. And when one show I got into do come and feel the noise and it was like, you know, I'm playing with Frankie, you know, come and feel the noise. So of course it's all going to come back, you know, and there's a, there's an element of pain that I think every band that is a legacy band today that has been around

for over 30 years, they bring that element on stage, which is different from watching a tribute band, you know, like if you watch an ACDC tribute band, it's not the same experience as watching ACDC because first of all, one Scott, right? Yeah. You know, I mean, Brian Johnson, great, incredible singer, but I'm sure when they do highway to hell or TNT, any of those songs, there's got to be bond Scott on stage with the guys that were there with him years ago. He comes up, he's got to be in their brain saying, shit, he's not here. Somebody else is singing the songs, you know, so you have that element of joy of celebration of the music. You also have the pain that your buddy, that you have this amazing journey with, it's not there anymore.

Yeah, that's got to be interesting, right? It's fucking beautiful. Like you're like, we're playing that Randy Rhodes thing and you just, you're playing this tribute to a guy, like to me, I'm jamming with you at the thing and I loved Randy, but you played with him and he was a brother. So it's like, he's responsible for my career. Exactly. So it's got to be really weird. I'm up there like giving a tribute and you, it's a lost brother. Yeah. I mean, the same thing with when Ronnie passed away, you know, Wendy, Wendy actually masterminded this, it's called Deal Disciples and I did it for about six weeks and it was exactly Ronnie's band. You know, he got Scott Warren on keyboards and Goldie on guitar and Simon on drums and me, the band,

Ronnie's band, but we had two singers, Tim Ripper Owens and another singer from England and as good as the band sounded, it was painful, man, because you just, no matter how great the band sounded, you just, even the better the band sounded, the more I miss Ronnie not being there, you know, because it's, yeah, it's one of the best conversations I've had on the podcast in my life. No, man. You just opened up my mind because you know what made me call you? The other day, about two weeks ago, three weeks ago, I'm driving and I hear a dive of a man, what the fuck. I heard it on the way over, isn't it? It was on today. Yeah. It was crazy. Yeah. As I was pulling in the phone yard. Exactly. This is on fucking believe. I couldn't believe it either.

And I was in my house and I was thinking about how different it would have, like listen, in my world, one day I went, I had sabotage war pigs and the first black Sabbath down. That's all I had. Yeah. And my friends called me and they go, we got an extra ticket to see Sabbath and some band. I don't fucking know what the garden you come. There was a cold night. I was a freshman in high school and I went over there and I was blown away, but my friends like they sucked and all of a sudden Ozzy and black Sabbath break up and it was February 19th. It was Bond Scott's, the day Bond Scott died in 1980. And I'll never forget that I picked up cream magazine in those days. That was your, that's it. That's your Bible. That was it. That

was it. Circus and cream and cream had just stated that black Sabbath had just replaced Ozzy Osbourne with Walker first before it was Ronnie Dames, James Dio. And if you go online, they replaced black Ozzy Osbourne with the singer from Savoy Brown. As a matter of fact, go on YouTube and look for the black Sabbath, even did tracks with them. It's fucking painful to listen to. Really? I never even heard that story. Yes. And you knew I only quit Sabbath and went to General Toll for two weeks and then came back. He was like, fuck a guy with a flu. I'm from fucking Birmingham. I'm missing a finger and you want to insult me with the flute. Flu rock. No. Flu rock, which, you know what? Say what you want to say. I'm gonna fuck. I had

some good songs. You hear locomotive breath. You want to run over a homeless dude. Yeah, you do. You hear, sometimes you hear love when you hear. And listen, bro, Martin Barray is no fucking joke. Yeah, that dude is no fucking joke. He's got like two or three jazz that Martin Barray goes off. So you got to look for it. It's like black Sabbath. The name of the band was Savoy Brown. So his name was like Matt something. Heaven and Hell put heaven. Heaven and Hell early recordings. You guys are gonna die. That's crazy. So this was the question by why he's looking for this. I'm sitting there going. What if all this shit went down? When look at that. Black Sabbath. Heaven and Hell live 1980. No,

no. This is black Sabbath put with Savoy Brown. Black Sabbath was I saw it on there. I couldn't believe it. They have early recordings of they did a fucking Savoy Brown was I guess a band. Yeah, yeah, Savoy Brown. Yeah. There it is. Dave Walker interview black Sabbath. See all the way number four. Well, he played with Wow. These days, you know, we've seen the Dave Walker band. How's that going? All right. So fine. Black Sabbath with Dave Walker. Yeah, yeah. Nobody even knew about that. I never knew that. And I was I was that Sabbath two part documentary, you know, they had them for two songs. Wow. It was so fucking painful, listen to

they said forget about Dave Brown. Dave Walker. I'm sorry. Have you ever seen a photo of a Judas priest with the original singer? Yeah. That's crazy. Now, Rob, how do you think it is? All right, put on David right there. There it is. What I tell you, Black Sabbath, Jr.'s eyes. What's it? 77. Told you they were going to do it with him. This is the end of this. Oh, shit. Sounds like some eighties rock, right?

You got the looks that kill. Well, that's where they got it from, because this is 77. I know, right? Oh, shit. Oh, shit. Is that Tony? Let me play a wall. Yeah. Crazy. I don't mind it. Told you. It's wild. I like it. A lot of people don't know this shit. It's heavy 70s, right? It's kind of cactus. So we got nothing. We got nothing. And all of a sudden, I see this EP at fucking in the village, the big whatever it was, and it was the Blizzard of Oz. But he had tried to form the Blizzard years earlier, like in 75. Well, somebody gave him a shirt.

Right. Somebody gave him a shirt or something. The Blizzard of Oz. Something happened early on that he had thought about that. My question was, like, I seen you guys at the Palladium and there was two shows that night. Yeah. Think of this. If this would all went down with the internet, that people would have known. People didn't know. Like I said, there was cream and fucking circus. That's it. You know, and in those days, you had a mail in for tickets. Yeah. I think I paid for your tickets at the Palladium. But the shows at the garden before that, like, yes. And all the who, all those shows that came to the garden, you had a mail in of money order for four tickets. And then they would send you four tickets back in the mail. You knew that, right? It's a sketchy,

man. No, that was how they were. But I'm saying, like, what if your tickets got lost, man? No, it works perfectly. Because you got four of your buddies. You bought four, you bought four, I bought four, and I bought four. In those days, let's say the yes came, came, they came for five nights. So if you got four tickets for Monday, you got four tickets for Wednesday, you got four for Thursday, we got to see, yes, four nights. Yeah. So we went to see in Monday night and then we go back Friday and go, wow, they were a complete different fucking bag. You go every night, you wouldn't like try to sell the tickets? No. Fuck no. I go every night. Fuck no for eight dollars, ten dollars. I thought they were expensive. No, there was no idiot standing in line. Eight fifty.

Eight fifty, twelve, fifteen, fifteen, fifteen was like fucking orchestra seats. Yeah. Like, 1950, at the garden, we're like, oh, red seats. Fuck that. I got straight to the four. Yeah. Straight to the floor. I always went straight to the fucking floor. That's a really good shirt, right? Van Halen, straight to the floor. Straight to the fucking floor. It was just amazing how different it would have been for that band that was so revolutionary at that time, right there. Boom. They just came in to Blizzard of Oz, struck perfect. That's why they blew up like they did in that time. But it was, if they would have had the internet, it would have been a fucking world arena tour because everybody was waiting for this. People were waiting for fucking Ozzie to pull the trigger.

I guess those last three sabbathons, people just didn't really like. I liked them. I loved it. I love never say die in technical ecstasy. People not technical ecstasy. Bro, if you put technical ecstasy on Twitter, yeah, people will hit you back. Rule number one of black sabbath. What's the thing from Fight Club? Oh, don't talk about technical ecstasy. You don't know how many times I've played. Don't, you won't change me. Yeah. And people have come back and said rule number one of black sabbath. Don't talk about technical ecstasy. And I've giggled in the morning on Jesus fucking Christ. You know, what's funny is I saw Rudy. I was, um, see, the night I was a sophomore in high school, their first super big gig, Dan the green,

they play Oakland. So it's like heart, headlining heart. And this 65,000 people at the Oakland A stadium. And I was only going to see, uh, you know, Ozzy. Yeah, we went on like 1030 in the morning. Yeah. Yeah. But I got to tell you, if you know, you're talking about the internet and all that, not blowing up, I think that really helped us to keep her shit together. Just think about the gig. Don't think about what everybody else thinks about the band, you know, which is what would happen with the internet. You start getting messages, good or bad or whatever. And then that gets in the way. You spend too much time, you know, uh, you know, uh, online, you know, social media. No, no, just think about the gig. You know, those three hours you're going to spend on the internet,

you're going to be, you're going to have your guitar on. Yeah, that's true. And also your head doesn't get filled with shit. Like, Oh my God, people are, they heard me play the end and they saw this mistake that I made on in Milwaukee on the third target. Yeah, it's like, yeah, you don't know, you're dealing with anything like that. You know, we used to go to the mall just about every day. Randy and I, we used to go to like, you know, bookstores to see magazines if they, you know, to see if an interview that Ozzy gave three months ago was finally printed. Because that's how long it took, you know, when, when Ozzy, actually one of his first circus magazine interviews, that was like three months before, you know, when we were on the road, you know, three months into

the tour, that's when the actual, you know, magazine came out. It was printed nowadays. It's like, you know, it's overnight, you know, somebody does an interview, something just before the stage is packed up. It's already online. Yeah, exactly. All of that. And you're so caught up in what, what he said this, he said that, or people are thinking about what we're doing. No, you just back in the day, 1981, we didn't, we didn't know, we just kept moving. You know, we did a show today and well, tomorrow we got another show, we're gonna get up there and kick ass again. That's all, that's all we were concerned with. Well, that gave you time to grow too. And, and, and organically, to become this killer fucking band, because if you were reading

stuff, you might start second guessing things. Yeah, you might start believing your own hype. Yeah. You know, Hendrix has one of my favorite quotes. It's, I don't like compliments. They, you know, they get in the way of my playing. I fucking hate them. You know, Hendrix fucking hate. No, I love Hendrix compliments or compliments. Oh, yeah. Yeah. After a fucking show, I fucking, they drive me crazy. You know, all that shit drives me fucking crazy. Because only you know how good you were. You know, it's your expectation. Yes, you should. Yeah. Yeah, we know. Yeah. When we walk up and they go, that was the greatest, you know, like, no, no, that was pretty. I call Lee all the time and Leo say, I just do, I hate shit. Really?

I can't figure that out. Yeah. And I know if Lee was there, legal, you didn't eat shit. But in my mind, yeah, I ate shit. I stumbled through this. I stumbled through that. It's to the effect to you when you make a mistake. Like, anyway, could be one mistake that is so small that if you hear back the, the playback of that show, you cannot even hear it, but sticks in your mind for the whole, the rest of the rest of the evening. And every other notice is correct. Just that one note that you maybe like, so it might be like a little flub that you, you know, it's, it's within what you play like 10,000 notes in a show. And it's that that one. Yeah. They go, Oh shit, you know, it's like that with jokes. When you, when you do the joke, just a hair wrong, you did the punchline first

by accident or something. You're like, Oh, I'm fucked here. I just ruined the joke. And I'll tell them, I'll stop and tell them. Listen, I just fucked up that joke. They'll get a laugh and we laugh and we all know we all make mistakes. That makes you human. That makes you them. You know what I'm saying? Now you're even doing better because all right, I made a mistake. Fuck it. You guys are, it's, you know, comedians, what you do, do you sometimes stretch it out because we do that as musicians, you know, we don't play exactly the same thing every night. Sometimes you go like, Oh, let me try this other, you know, pentatonic riff or whatever, you know, maybe in a different position or something. You guys do variations like that. Absolutely. Oh, every night it's different.

Absolutely. I can't go on stage and do the exact fucking night after night after night. No way. I got to switch it up. And if one night I get rid of a bitch, so fucking be it. If some night somebody gets hit with a glass and I riff on it, it's funny for 20 minutes. Fuck it. They got their moneys worth a different way. We still laughed about something. Totally. You know, I like to be in the moment. I love for something to happen. They don't have to tell jokes. Yeah, I love it. Yeah. Yeah. Like Bill Hicks would say the act is last. You know what I mean? What would be your equivalent of jamming because, you know, in a band, you know, crowd work, crowd work jamming. It's riffing, crowd work. This guy's killer at it. I used to be really, really good at it. Yeah. But it didn't

get you nowhere. It doesn't cost too much commotion and comics that follow you. Now you leave them open to talk to him. Yeah. So you have to be really careful with it. If you develop in New York, for some reason, you do it a lot more to kill material. And I was doing it for a long time. And then I had to stop. Sometimes if I'm rocking and rolling and I got them already, then you fuck around a little bit. You know what I'm saying? Just go. Not every show, though. You do it like maybe once every 10 shows I see. Yeah. No, it's terrible because I don't want to. It was such a bad habit. Yeah. You know, the worst thing you could do is anything. A musician is pick up a bad habit. When I was a basketball player, I used to take the rebound. I used to be a great rebounder,

but I get the rebound and put it on the floor. Why the fuck are you bouncing the fucking ball? Yeah. It took years to break that habit. And I saw it how, as a comic, you get into a fucking habit and boom, you know, for a long time I had this habit of wanting silence. What comic wants silence? Yeah. Because I was testing them. I would try to. We just go through so many phases. Yeah. And you try so many fucking different things and you have to stay where you are. You have to try different fucking things. Yeah. Yeah. I just, I'm more conscious of them now because people are paying for the tickets. Yeah. Yeah. Do you understand me? Yeah. Yeah. I'm more conscious now. Yeah. You know, when I go to the comic, it used to be that Monday, Tuesday, Wednesday,

he went to the comic store. I wouldn't even think about it down the road because I wanted that organic joke to come out. Yeah. There's nothing like, there's nothing like 40 people, which is 80 set of eyes looking at you. Pressure. You know, it's like I stated something when I watched around the rousy fight that you could tell that she didn't get punched in the face during practice. Nobody hit her. It's equivalent to a comic doing material in front of a mirror. Nothing bad is going to happen to you. You're going to do great every time. It's like you, it's like when you beat up a punching bag, who loses? Yeah. Who loses to a punching bag? Yeah. You got to get out there. Yeah. You know, you got to get out there. Yeah. I can't imagine how

a band does it. Like everybody in note every night tight and sure that the tour starts a little fucked up, but after a year, Jesus fucking Christ, Jesus fucking Christ. Yeah. Yeah. And I'm sorry. How do you, because when it's Joey or Dean, you can make a decision to change your joke. You don't tell anybody. You guys, do you, do you have a signal or how do you let them know during a show when there's 50,000 people cheering? How do you say, oh, I'm going to go a little bit along here, or do you plan it? That's a really good question. I got to tell you, if you're in a band, you're playing from front of 50,000 people, every show is going to be the same every night. And I'll tell you why, because of production. And once the production got huge and automated,

technology came in and all the lighting directors, you know, there's actually guys, the LDs who actually come in and they not only program, but they create a stage show very rarely does the guy who actually creates the production goes on tour with the band. I know a few, but mostly there's guys who make a living out of, you know, they get a phone call from band A, and he goes there and designs that all the lighting, the lighting rig, everything he'll program it. And it's the guy who goes on the road, his job is to push buttons and make, you know, he might stop the, the, the lighting sequence between songs. But usually it's all rigged, which means that you as a musician, you have to know where to stand spot on stage every song,

every section of the song, because otherwise you're going to be dark. Yeah, bombs and fire too. Yeah, yeah. Oh, yeah. Fire, absolutely. Smoke. Absolutely. So there's no room for, for jamming, you know, because everything is the bigger the band, the bigger the production, the more constraints you have as a musician to do everything exactly the same night. And a lot of bands have backup tracks, backing tracks. So that's, that's even more restrictions there, because you got to start the song and end the song exactly on the same bar every night. They play to a metronome and these background vocals trigger right on the spot. It's called Radar. It runs perfectly with the song. So if you're off a little, the backgrounds will come on

later. Yeah, exactly. You know, you're like, oh, fuck. Yeah. So, you know, things are changing back around the middle of the 80s when, when bands are getting automated productions. Before that, you know, like when I was working with, you know, with Ozzy, even Blizzard of Oz, it was just a bunch of guys get up there and you start the song. Sometimes Ozzy will walk off the stage and disappear. Yeah. And a couple of days with those spotlight. Remember, they'd climb up before the show. That's how you knew the show would start. Remember, the guys would go up those, those scary ass rope ladders and be up there with their fucking spots. And that was the lighting. Yeah. Yeah. So, all right. So I saw you in April of 81. And then Randy died in May of

82. March, March of 1982. Yeah. And then the tour came back to my hometown with Brad. Yeah, Gellis. Gellis. Which show was that? Die River Madman. They played the Meadowlands. Meadowlands, yeah, Brad. And it was fucking a different stage. Yeah. Because I remember at the Palladium, there's not much you could fucking do. It was a picture of Ozzy, some dragons and whatever. But once you got to the Meadowlands that October, the fucking castle opened up and the castle, and now that you can't stretch. You know, you watch VH1 every, every other Friday, they got the song remains the same. Oh yeah. And they edit it down and they cut it and they put tracks in it and the whole thing. But you could see they were just up there, but there was no

production. No production. There was two explosions during, I think, yeah, no quarter. And that was the fucking wah wah thing with the hand. Yeah. Besides that, they would just look at each other and just fucking go, right? Bonham would just control the show. Those guys were jammed. They just jammed, you know. Jammed. Jammed. Jammed. That's not going to happen today where, you know, you're going to come up. We were talking about curfews. Yeah. Oh yeah. Or Union. Union. Union curfews, you know. Triple time. Triple time. The green coats in the garden. You know, I remember going to the garden and seeing the new barbarians and they went on to fucking 12, fuck the union, you know, but that cause, you don't realize it. But then you go years later

to see Don Henley at Fiddler's Green and you got to be off by 945. Those white people will fucking call the cops on you, dog. Yeah. They pull the plug right in the middle of the fucking song. Red Rocks is very nice. They got a fucking curfew too up there. It's so weird how you figure somebody goes up there and goes, listen, we're pulling a Dave Chappelle. We're doing every fucking song we ever wrote. Okay. Backwards. We're here till two in the morning. They played every song they ever wrote one concert, every song. It was like eight records or something. They did it. Every House of Blues that I played and there's, there's a clock on the side of the stage. Everywhere. That's everywhere. Yeah. And if you go over one minute, they start ducking like,

you know, $1,000 triple time. It's amazing. That's the House of Blues. You know, something really weird going on lately with music that I've been reading, not reading about, just heard things about what's going on with the Eagles. Something's fucked up. They're receiving an award, but I guess they told the poor, long hair guy, he can't show up and they, I mean, the guy wrote Hotel California. Something happened to Glenn Fry though. He's getting a surgery and he said from years of partying or whatever, he had to go in and get a surgery and they're going to get the award next time they pushed it a year. So he went into surgery, Google, Google that Glenn Fry surgery recently, something happened to him. But yeah, the other guy, Don Feldener is out.

Like he's fucking all over the folder. Yeah. Yeah. Yeah. Like he's like, I don't know what I did. You know, he's if you watch that documentary, you see him fucking up throughout the thing, you know, he wants to sing. I'm a singer. Like when they get to the long run record and, you know, everybody was the thing was they promised them they were going to sing. Yeah. They always promised him a song. Yeah. And I guess they pulled them out of the studio for lunch and they had what's his name? Don Henley sing. And then they said, why would we have you sing when we have Don Henley? Yeah. And he said that he, but they also said that would come back to haunt them. Yeah. And then when they got back on, you know, when they got back or something, something they went out as,

they weren't really a band anymore. They were something like employees. Oh yeah. Like four of them were the band and Don Feldener became the employee. That was when Hellfreeze is over tour 96. He told them, he goes, this is the deal that you do. I mean, they don't like them at all. You could see, and I figured he's like the guy that's still doing drugs. Like they showed up to rehearse like with the bottle and they're like, uh, we got shorthand now. We got our money suits on. You brought Budweiser. I came in a Lamborghini. Yeah, you know, he showed up in a fucking Z 28 and it's well packed. Like we're back. Z 28 and the Eagles are like, uh, we're getting 250 a ticket. Yeah. You find it?

Yeah. It's exactly what you said. It just due to all of his parting, he needed to push it back a year. Yeah. A whole year. So something's wrong with him. He said he was going in to get a surgery, you know, well, they only award those things once. Yeah. Once again, the Kennedy honors. The Kennedy Center. Yeah. So that's what it was. They think that they feel that everybody should show Randy Meisner. Everybody should show up, but the Eagles like, nah, I feel that too. I feel that anybody that was there to keep you going through the eras should be up there. Even with the Rock and Roll Hall of Fame. You know, you can, uh, I mean, when it came down to kiss guys, you know, uh, you got Peter and Ace definitely should be there and they should play together.

You know, don't you think so? I don't know. I think this is really an anomaly. Yeah. Because it's kind of like a, it's kind of like a, like a team and a team. By that, I mean, it's uniforms, right? There's a kiss uniform, which is the, their costume, their costumes and the makeup. And it's even there. There's a copyright to those things, right? And well, look at kiss without the makeup, business-wise, wasn't as big as kiss with the makeup when it got back together again with the makeup. And I mean, we're talking different between, so matter of fact, kiss supported Y Snake in 1990 without the makeup. They come back with it with the makeup and their headlining Dodger Stadium. Yeah. You know, so it's, it's, that's really an anomaly in the business. I'm just talking

about rock and roll, hall of fame or what, or awards where guys were on records and wrote songs and stuff. Oh, absolutely. Yeah. From that point, yeah. As far as musical contribution. Yep. Yeah, absolutely. Well, I would have to imagine that since the love is so big for those people you're talking about, that the hate would probably be just as big. If you hated somebody, you're probably not going to want to be in the same room as them. But you know what? When you, as a band, get into a room and decide, listen guys, we're going to be completely different from everybody else, rewrite some of the rules of rock and roll and the music industry. And we're going to put these outfits on. That's really going to separate you from everybody. And that to me, that becomes a corporation.

That's a business decision to do that. They, they, they say, listen, we can't really compete with Led Zeppelin or whoever, because we're not, we might not be as, as good as they are. But what we can do is create this and they created this mega, you know, corporation kiss. Yeah. That's a show. It's a show. It's a show. It's what it is. You know, and it's to me, yeah, they're, they're really good players. I think genius are really good bass player. I think he's really underrated. But business wise, that was genius. That's where the genius of kiss really lies in creating kiss. The whole kiss is the kiss world, kiss empire. Incredible, right? Even the manager, pillow, coin, genius. I mean, it's just fucking, you know, the whole thing is totally genius.

Never done again. I mean, tried to, but never like, you know, I mean, you couldn't do it now because of DMZ and shit. You never saw those guys faces for like 10 years. It was just bandanas. I tell you, when I, when I moved to LA in the mid seventies, I, I got a job at a place called McNatural's right across from Tower Records on sunset. And on my first day, I'm learning the, the register, you know, and I'm like, and I look up and there's Paul Stanley. You know, it was him. He looked like Paul Stanley without the makeup. And I'm like, oh, you know, I'm like, oh my god. And so he orders, he's ordered the same thing every, at every time that he came in was a Wonder of the Orient, which was a Brussels sprout and salad with a scoop of tuna

and a small carrot juice. He had that every single time. Wow. Your memory is incredible. I love it. Like when I had you on the podcast, he can drop dates and, and you know, how many times have Paul Stanley come into your, you got a great, you got a great memory, man, because sometimes I start getting foggy. It was like, what year is that? You know what I mean? It's like, I saw Sabbath and Ozzie or whatever. But then I only know like maybe one or two years because of when Blizzard and Diary came out after that. You're like, I don't know. It was in the eighties. You know, I was thinking about the other night when I was in New York last week, I was driving and heaven and hell came on. And I thought about how much I wanted to hate that

fucking out. Like as a true Ozzie fan, like when, when they split, like I was going with Ozzie, like fuck Black Sabbath. All right, fuck Black Sabbath. I don't need this shit in my life. And heaven and hell came out the out. And I remember like, I ain't buying that shit. And then like Guy Tabasco, the Tabasco family next door, they all had long hair and then went to Van Halen. They bought it. And they were like, you got to listen to them dog. I'm not listening to this shit. There was no more of an album than I wanted to fail in that album. And today I love the fucking album. Love the album. And Dio bothered me. The first time I saw Dio was in Philadelphia at the Spectrum with shaken street. And what's his name? The singer from Van Halen. Oh, Sammy Hagar, Sammy

Hagar and shaken street and Ronnie Montrose. Wow. And, and I drove from Jersey to Philly. Was it gamma? The band gamma Montrose? No, no, no, it was Ronnie Montrose. And I saw him again, open up AC DC at the Nassau Coliseum. Ronnie Montrose, but he was, it was so weird. I was Montrose, shaken street. And they were spitting at Sammy Hagar because Philadelphia, they got no class. They're savages, those people at the Spectrum. They were, and they couldn't spit long range. So they would spit on their fingers and flick it. And you would see Sammy Hagar singing and the spit flying over. And then Dio came on and they opened up a war pigs and I was insulted. Yeah. Like, I'm like, what is he doing? And I'm like, what the fuck is going on here? And we had six road

tickets and my friend did purple. He thought it was acid, but he fell asleep at the show. So for years, we kept saying, dog, remember the time he did those purple ludes? They weren't fucking ludes. They were acid asshole. I was tired. But when he came on, he's like, generals gathered in the masses. Just I'm like, no, we gotta go. We gotta go, dog. We gotta go. This guy's out there fucking butchering. I was furious. He was a short little guy, Dio dressed in black and then they did war pigs and he did something different. Like it was different. And I was into let's give this guy a shot. And then he stole my heart, man. In a weird way, Dio had me competing. You know, it was, it was the album you wanted to fuck and hate with everything I got. You know,

I wanted to hate it. I ended up seeing the tour like two times and yeah, well, we got lucky. They broke up because we got four masterpiece records. We got the Blizzard diary mob rules and heaven and hell. So she mob rules. I had already tapped. Oh, no, that fucking record actually also dehumanize humanized. We get five fucking records. It was dehumanized. It was right after mob rules. He had for a minute. Yeah, they got Ian Gill, and then he comes back and they do dehumanizer. Yeah, which by the way, is it really good? Oh, yeah. And I'll tell you what, I was done. What year was that? Oh, I don't know. Eight eighties. Yeah, eight eighties. Okay, because I remember still lonely diver, whatever the fuck. Oh, well, that's a solid stuff. That's a song. That was 83. Yeah,

you got Holy Diver. Whatever was in 83. Last in line. Last in line, all that shit. We should let you listen to it for the first time. What's a good song from dehumanize? Oh, no, play dehumanizer, the actual song. Yeah, it's unbelievable. Really? Yeah. Check it out. What year? Yeah, 89. I was doing something different. Yeah. I was holding people up and shit. I tell, I talk about this record over and over and over and over, born again, which everyone hated. And I saw the tour. It was Ian Gillen in Sabbath, hands down, one of my favorite records ever made. Really? And I saw the tour. It was empty at the Cow Palace, and it was really weird and a weird vibe. But I loved it, man. When we were on the bill, it was sold out every single night. Unbelievable.

We mean choir rise. Yeah, right, right. We were the opening band for them on the East Coast. How great was that record? 83. Yeah. Here you go. Here's some dehumanizer. Show them what the cover looks like. So this is Sabbath. Oh, yeah. Yeah, yeah, yeah. Yeah, it's great. Let's go high. I am anger. I die. I'm the pressure. This is the way that was running. Lasting changes, a prisoner, the first to escape. I am wicked. Yeah, this is too much. How do you smoke with some bonk hits? Can I listen to this? How great is that? Yeah, we used to do that song with Ronnie on tour called I. Yeah. I, I, I. It's a crowd. I would even dare, even try,

you know, to sing, you know, it would be so funny. We would be, you know, touring with Dio, and we used to do a lot of Scandinavian, you know, countries, Finland and so on, you know, and Finland, they're very, a Norway, a very well known for, for like black metal, you know, the, the bands that go in and burn churches down. And like, you know, if they have a chick singer, she sings like cooking monster, you know, you're a cooking monster, a chick singer, you know, and, and so they would always, you know, come in and pay respects, you know, to Ronnie, you know, after their show, they will come in and, and, and tour dressing room and say, well, Ronnie, you're, you're the reason why I sing, you know, Ronnie was like, always shake your hand, be

polite, and then they would leave and go, do I sound like that? I'll tell you what, Mob Rules has Dio's best song ever, Sign of the Southern Cross. Oh my God. It's his best song ever. And if you don't know it. I remember the album. The actual song, Sign of the Southern Cross is the most epic Dio song ever. Check it out. It's falling off the edge of the world. That's another one. Oh, yeah. Yeah.

Children of the sea. Oh my. These ones were there really kind of ballady and he can get into it. When, when, when Ronnie joined Heaven and Hell, the band, Heaven and Hell, which is, you know, Black Sabbath by another name, you know, we stopped playing Black Sabbath songs. So we actually went deeper into the Dio catalog and Rainbow Catalog, where that's, that's another incredible Ronnie James Dio era. Tarot woman. Oh my, Tarot woman.

We just opened up with that. He only did two albums with Rainbow, right? I think three, three, three. Stargazer. That would be the first one. That's the first one. With the original, well actually with Elf. Elf, Elf, the Elf band without the original guitar player.

Yeah. And then Rainbow Rising and Long Live Rock and Roll. That's it. Long Live Rock and this, the huge one. That's a good one. Huge, but Tarot woman. I remember one day I was going down the road in my car with satellite radio and I go, what Dio song is this? I've had all the Dio and I was like, holy shit Rainbow.

And it's only like $4.99 on iTunes right now, that record. It's a, it's got Tarot woman, you know. And it's like six songs and it's an incredible Rainbow record. Yeah. And the genius of Richie Blackmore. What an underrated guitar player. Because everybody talks about Jeff Beck and every Clapton and Jimmy Page. Check out Richie Blackmore.

Were you friends with him? With who? Richie. No, I never, I never met him. What did you hear about him personally? From Ronnie, they had the greatest sense of humor ever. Wow. Yeah.

He said he was the funniest guy ever to be around. Yeah. Why didn't he ever keep a singer? Yeah, that's crazy. That's why I never, I never had Tony Bennett. Why the fuck didn't he ever keep a singer? I always heard little rumblings of him or what? Is he alive still?

Oh yeah. Oh yeah, he's coming out this summer. He got a new singer and they're doing Rainbow. Yeah. Here you go. Oh, Tony Bennett. I was all, here's a sign of the Southern Cross. No, I just, you know, I let go of music.

Like once I went into the world, it was over for me. I had to dive it. I had no more time to sit there. The shit I was doing, I had to dive it though. There was no time. I hear you. Right here. To put an album on and on.

You're on the streets. So I had lost that whole, that whole music thing in my life and I was lost, you know. I didn't get back into music till Guns N' Roses' Appetite for Destruction. That woke me up out of my musical coma and I stood and go see him enough. It was just something that I listened to. I bought that a couple of albums, but I was lost for a long time. Good record to bring you back. Yeah.

Man, you know, I talked to, what's amazing about Rudy is what people don't know is, and I had him on the podcast is they were the first band, Quiet Riot. They opened the door for Motley Crue and everything after it. Well, they say that one of the best documentaries right now. Oh, that's great. Yeah. That's great.

Even one of my friends said it is phenomenal. It is just, it really breaks down. I guess they had the number one single of all time or the heaviest metal album. First band, man. The first metal, what was, because metal today is very different from what was considered metal 30 years ago, you know, it has evolved. So we were considered metal and we were the first debut record to reach number one. See, I always thought that Led Zeppelin and everybody else had done that.

Thriller. They knocked Thriller off the charts. Yeah. We had to knock Thriller off the number one spot to get to number one. Yeah. Thriller. We were selling a million a week. Yeah.

He said, they were, remember those masks that Kevin, they were selling a million of those masks on tour that Kevin DeBrow mask. Yeah. Yeah. Yeah. Unbelievable. A million. I mean, this is 83.

Okay. Okay. Check this out. Back in the day, the average was about 750 ahead merchandise. You know, so you have 10,000 people in the arena. The average averaged out to 75 grand a night in merchandising without credit cards. We're talking cash. And would you, would the band get that?

Well, it was our money. And then, you know, we would pay whatever to the merchandising company, you know, they will take a make a percentage. And this is before the time when, when like, you know, now you have like Life Nation, they own a lot of the venues and they take about 30 to 40% of your merchandising money. Back then they didn't know. Yeah. They didn't.

It was just set up your shirts and walked with your cash. They take 40% of your shirts. Oh yeah. Now you have merchandise. Oh, you guys should just like give them a card to your website then. That's too much to give up. Well, here's the thing. Now also record deals are done on 360 deals because there's no record sales.

So when you sign a record deal now, you give the label part of your merch, your touring and your record sales. Yeah. Or if you, you know, like, for example, Life Nation, all these other companies that have a deal where they actually buy your record, you know, you make them, you make a record and then they buy your record. They give you a set amount of money for your tour and the merchandise. So they own everything.

You just have to show up and do your gig. An all in deal. A lot of times you'll tell the guy, Hey, put me on the list, like a huge band, like say Madonna, and they go, yeah, I got to pay for your ticket. Exactly. Because they've been paid one lump sum for the tour. Yeah. Well, the stills were one of the first ones to do that.

Exactly. That's how I know about it so much. Yeah. You have auctions and whoever the promoter won the auction, he bought every, he owned every, every seat. Every seat. So if you were Keith Richards and you wanted your, your uncle to come to the show, you had to buy that ticket.

Because you were paid a lump sum up front. It's pretty wild. Like people would be like, what do you mean, you don't got no guest list. You're really want that guy to come if he's in your seat. You know what I mean? It's crazy how the music industry has just changed completely. And it still fucks you guys. It's still out to fuck you guys.

It's always, it's never been music has never been a fucking paradise on your right. You hear the stories and you go, what are you talking about? These guys sold more records than anybody. What was the label quiet, right? The first one. The, uh, Pasha, yeah, yeah, yeah, you know, and I still, in order for me to get my money, I have to call my lawyer, which costs me money to get my money. So yeah, they gave me my money eventually at some point, but I got to pay my lawyer for

that, you know, a lot of money for like years. He didn't get paid. He had to battle to get it. Oh God. Yeah. For about seven years, we were, uh, you know, we had to go to court. Okay. So it's 1983.

Yeah. Quiet Riot gets this album ready to break it down for me, break it down from A to fucking Z. Break down to what? You don't have to tell me figures. Which process? Just break down how it happens. You guys have your eight songs.

Who was the album? Who was the label? Uh, it was Pasha records distributed. Who else did they have Pasha at the time? They had Billy, something Billy. Billy Squire? No, Billy. Ocean?

No. Something Children of the Sun. Billy. Billy. Yeah. Children of the Sun. Yeah. Yeah.

I know that tune. Yeah. All right. So Pasha, who was distributed? Uh, interesting because Pasha, as a production company, had distribution through different labels. One of them was capital. Okay.

Hours happened to be with, with CBS Epic at the time. So now you get the album, you sit down, we're going to do the album. How much do you get paid for the album? There's five guys in the band. Four. Four. Randy Rhodes? No, no, no.

Randy was. Oh yeah. I mean, but original original. No, no, no, no, no. No, no, no, no. We're going to talk about this. Oh yeah. Let's talk about this.

Carlos, let's talk about this first. Frankie, Carlos, Kevin and me. Okay. So there's four guys. Do they pay you to tape the album? No. It was all done on demo time. Demo is Pasha on the studio.

And let's say you cancelled a session. Uh, the engineer will call, you know, one of the guys and say, Hey, listen, we got time open for you guys to come in because we didn't have a deal yet. It was all done on spec. Spec time. It's called time. Yeah. So which, you know, after you get signed, that's when you pay for, for the studio time.

It's in good faith. They're thinking you're going to get a deal. You get a little heat and they go, look, this band has heat. We want to do is your studio in the middle of the night. Like two AM will pay if they get a deal. Yeah. Okay. Exactly.

Speculation. Yeah. Okay. Spec deal. Okay. So now you and the boys got a call and you went and how long to lay the album down? Well, you know what? Well, well, the guys were laying down basic tracks.

I was still in Aussie. So my, the first time that I walk in the studio to, to record on the album was to do one song called Thunderbird that I used to play with Kevin in his band Dubro. And then, uh, when Randy passed away, uh, he asked me to come in to do that as a, uh, tribute to Randy on the record. And so I, that was the first song I recorded. Then we had extra time and the guy said, listen, do you remember Slick Black Cadillac? Let's get crazy.

You know, songs that I, Slick Black, I used to play with Randy in Quiet Riot. And then we did that in Dubro. And then, uh, let's get crazy on the other songs, which I already knew from Dubro. So by the time I left, I had laid down like four or five songs from the album, but I was still Aussie's bass player, you know, and, and again, you know, getting back to the thing about playing from pain, it was very painful for me after Randy died, you know, to keep playing with Aussie. You know, so I hear him with the guys from Quiet Riot, you know, Kevin and Frankie and,

and Carlos and, and I said, God, you know, this feels good. I feel like, yeah, this is like a joy. I just joined my playing again, you know, which is what I, what I wanted in my life, you know? So I, I lit, here I am. I leave one of the biggest bands in the world, Aussie, for like the total unknown Quiet Riot, you know, that's how much pain I had. Which by the way, he, what he's not saying is no one wanted Quiet Riot for years. So it's, it's a gamble.

Well, not only Quiet Riot, but the whole music scene. Yeah, the heavy metal. Yeah. 1982 LA was all, you know, new way. Yeah. New way from punk. That was it. If you were not in a new way for a punk band, record companies don't want to know anything about you. You know, when, when you said that Quiet Riot opened the door, what happened was Quiet Riot

created a, a created some, some sort of within the industry, a, or opened the eyes of the executives that there is a market for rock bands. And so, you know, just like it happened with Nirvana in Seattle, you know, they record company, record companies locally in Los Angeles. I said, Hey, these guys came from the strip. Who else is on the strip? Well, you have Marley Crew who's been around and you got Rat and you got Docking and Gray White and so on.

So, okay, well, these guys are ready to go. Let's sign them up too and, you know, promote them and make MTV videos and so on. So basically that's what happened. It's not like, like we, you know, we invented anything, you know, we were there, but so were the other guys ready to go, you know. So that opened the door as far as like creating an awareness that that type of music that we were all doing, there was a market for, you know, and something that I, I got a glimpse of it because it was already happening in England and Europe, you know, with bands like Saxon,

you know, Ozzy opened up for Saxon in 1981. That was part of our Diary of the Mad Men tour, you know, in, in October of 1981. October and November. We also, we had Motorhead. We have Death Leopard. So I was aware of like Maiden, Maiden, Maiden, what was another band, you know, all those guys that later became MTV Staple. That's another thing, MTV.

MTV was responsible for creating all of that. Lightning in a bottle, right? Right place at the right time. All right. So now you put this out down. Yeah. They do the cover with the fucking masses. Come on, feel the noise.

Yep. Well, that was the second, second single, second video. First one was Metal Health. Yeah. Bang your head. What do you see a dollar? When does your first dollar come in at this time? Yeah.

I, as a matter of fact, the guys were getting gas money during the making of the record. There was no advances, no nothing. It was a production deal. It was like, you go, you record the record and we're going to try to put this out with a major label as a distributor, you know, marketing promotion and all that. So there was no advances, nothing, you know. Which meant that we recoup immediately. You know, I think at the cost of the album was like 32 grand.

Yeah. To tape. Yeah, that was it. Okay. Including electricity and tape and everything. Yeah. Yeah. 32, which means that we recoup really fast, but also you have to take into consideration.

When you sign a production deal, it's a difference between a cake and a muffin. The cake being the big, the big pot where everything comes out of, you know, and then a production deal is a percentage of the production deal. Not a percentage of the deal because you have the major label being the big pot, the big piece, you know, the big slice. So our slice was smaller because it was predicated from the production deal. You know, Sideman.

It's like a middleman deal. A middleman deal. So now part of the contract is they give you money and then album sale money, correct? To the band or just the writers of the song? Oh, no, no, no. Yeah, record sales. Yeah. For life, you get this.

Well, we still do. Okay. Yeah. Because I met people in Boulder who were radio cops. Yeah. That there's two guys in Boulder. That's what they did for a living. They made sure you guys got your money.

Like ASCAP guys? Well, ASCAP and BMI. Yeah. And now it's done. It's different. Everything, old songs are coded and yeah. Yeah. Yeah.

It's a different world. I mean, now I make money from airplay and we didn't before. Musicians never used to make money from airplay. Now anything being what they call non-terrestrial broadcasts will make money from airplay. Yeah. It could be computer, XM, serious XM, whatever, satellite. Yeah. I met somebody in Hollywood 15 years ago.

Nice kid. And when I asked them, don't you work? And he goes, yeah. I'm on tour with the band that used to jump up and down. Not the fucking guys from Orange County. I'm going to have so hard, we're so hard in the end. It really doesn't matter.

Not those guys. But before that, before them, there was a guy in the guitar play and he was big and they jumped around and he was, they were going to make a comeback and they were huge. I don't know. Sugar Ray? Like a Sugar Ray. He was a good looking guy. He was kind of bald.

He was in the band and he was dating strippers. He was, oh, oh, the guys. And now he crazy town. No. And now they do something else. It's Lincoln Park. No, it's not Lincoln Park. It doesn't really matter.

Yeah. I know what that was. Before them, he said. It was around that. Anyway, they make a long story short. They were on tour. They were big and he's, he's producing now. They kept threatening to come back with a new guitarist for a long time.

Lip Biscuit. Lip Biscuit. Oh, there you go. Okay. What's the guy's name? Les R. King. Yeah. I mean, what's up?

Monkey. They had monkey. No, that's corn. Fred Durst. Westmoreland. What? No, Fred Durst. What was the name?

Fred Durst. Yeah. But what's the guy with the mask? Westmoreland. Yeah. Okay. Yeah. So this, this kid was in a band that was opening on the road.

They had a song on the radio. He told me, he goes, let me play because my song is on the radio. This kid was broke. And I go, how do you make money? He goes, we're going on the road to pay the advance to do the song. Like, what are you talking about? I didn't know how. I mean, this kid was living off of me and I had no money.

Like if I went and got a burrito, I'd buy him a burrito or something like that, like a breakfast fucking bagel. Yeah. And I'm like, how the fuck are you on tour? And he was telling me breaking it down. And he lived around the corner with his girlfriend, his girlfriend, I guess, maintained. And, but this kid was fucking opening up for Lip Biscuit on the road tour.

Like he was home for two weeks, broke. Wow. And he was telling me how the, this is 2000. This is when they were, you know, Napster and all this shit, 98, whatever, all this shit. How is there no money here on tour? Don't they give you nothing? So you're just on tour paying back the record label to the video? No, no, no, no, no, no, that's separate.

I mean, the way that it used to be back in the day, the label did not touch anything of your live performance. That was back then. Now it's a 360 deal though. Yeah. Yeah. Now it's completely different. But back then, you know, there was a separation between label and touring, you know,

and they, they were not tied in. Yeah. So your money was yours from touring? Yeah, from touring. But then again, that's, but they would give you tour support. Tour advance. Yeah. Yeah.

It's, and it went into here into the promotion or, and, you know, of the album cost. But you paid for everything. Bosses, soundman, lights. And it was all recoupable, of course, you know, tour support. Yeah. Like you look at this guy like Ozzy who did nine albums and came out of there with nothing. Well, like, well, right. There's two different sides.

Yeah. Yeah. No, I mean, this is what happened. Ozzy was signed through management as manager, you know, Don Arden, jet, jet, jet management and jet records. He was signed to the label. Again, I know the production deal. They were on Epic.

Epic through jet records. So if you look at an Ozzy record, this is a jet, jet records label, right. And so again, it was one of those situations. And Sharon was part of the management team. Her dad was. Yeah. But I got to tell you, they invested jet records, invest the money in Ozzy. They, they, they believe in him.

You know, that's all that the first tour at Blizzard of Oz, that was finance advanced by jet records, who was also the manager. Ozzy's manager. Yeah. Yeah. So they really believe in him. Yeah. It was a huge risk.

A couple of weeks ago, we had somebody on here and we were talking about the abuse that the Beatles did to this country. Like these kids are too fucking young. But if you were around in 66, 67, you know, the Beatles was claiming that Paul was dead and you know, he's walking around barefoot and the Sergeant Peppers and all this shit's going on. You know, Beatles fans had it the hardest. Beatles fans like Catholics, they took a fucking beat.

Then when they broke up, they kept threatening they were going to come back. You know, anytime anybody got popular, I want to see this band's easy top. They're fucking great. Some jerk will from the room will go, yeah, yeah, yeah, wait till the Beatles come back. They ain't bad. And you lose the argument. You know what I'm saying? Like, but then John Lennon got shot and a little piece of you were like, thank God,

he got shot because now the Beatles ain't getting back together. I went my argument. You know what I'm saying? Led Zeppelin is fucking better than the Beatles, you know. But it's so weird how all right, all that shit went down with the Beatles and all that time. That music is so important to bring the country back. Like in the 70s, like I was watching that CNN show on the 70s. Please tell me that.

And they had 1973. There was $2 billion in music ticket sales. That's how many tours. 73. 73. Who wasn't touring? Not only that. I mean, tickets were like 10 bucks or five bucks.

That's a lot of touring to come up with that much money. Bills and fucking dollars. That's fucking crazy. But if you look and you go because you know me, I'm a fucking nutcase. I'm going to, I'm going to, I'm going to, I'm going to hotel in, in some shit town. Jump down the rabbit hole. As soon as I saw that, I went online. You had to see.

It's like, who wasn't on tour in 1973? Who wasn't? Yeah. Stone, Zeppelin. Deep purple. Deep purple. Honest Cooper. Black Sabbath.

El John. David Bowie. El John was killing him. 73. He was just starting to fucking get warmed up. Right. It's too early. Well, that's crazy.

If you think about it, each ticket averaged out to $10. Yeah. That's 200 million seats that they sold. Yeah. That's crazy. Easy. Did you watch that special? They're doing the 80s.

Comes out in April. I couldn't find it, man. I would say who steals the show. How fucking hard. Incredible. They show them. I mean, Horing Sita. The chubby one was fucking skinny.

And that blonde came out and started doing his Bolero type thing. Like the light was just on her. And all of a sudden she just... And that fucking... Fleetwood Mack. I mean, it was just a different fucking time. Yeah. You know?

So there was so much fucking money. Where did this fucking money go? Eagles. And you hear all these stories. You hear, you know, you hear CCR. Another guy that didn't get fucking a dime. He didn't sign something or something, not a dime. And yeah, that's the other thing.

That's how you wrote that good music. You know, you sit here and you say to yourself, you know what, I did Coke for 20 years. I didn't get nothing good out of it. Oh, yeah. Something had to come good because all those motherfuckers wrote all those songs. And they were fucking writing all those movies,

the Exorcist. They didn't write that on mocha lattes from Starbucks. I'll tell you that much. You know, it just brought something up, you know. Yeah. That just happens, you know, lately. It's, you know, I grew up with 60s music. And every single band that mattered to me had a political statement.

You know, politics and rock and roll have never been divided. They've been united. As a matter of fact, I think that the best music came out of the 60s just because of that. You know, people have something to say, something to stand for. Nowadays, I go online and I don't even make a commentary. I just post something that somebody also posted. I get, I got flamed.

People telling me, oh, listen, no, we don't want to hear your political views because we just want to enjoy your music. You know, fuck you. First of all, it's my freedom of speech. You know, my right to express myself. Second of all, this is the problem with music today. It's like most bands, most artists don't have a political point of view just because they're afraid of like, I'm going to offend somebody.

You know, the best music, you go back to the 60s. CCR, you know, what is it? The Fortunate Son. The Fortunate Son. What better political statement than that? Yeah. You know, nowadays it's like, oh, you're going to offend somebody. If you, you know, write a song like that, look at the doors.

You know, Apocalypse Now soundtrack. It's all freaking doors music. You know, that's what they were in the jungle. That's what they were listening to. They were listening to the doors, man. You know, John Lennon doing a sit-in at a hotel room, you know, give peace of chance, you know, all of this, you know, different political views, whatever.

But people have something to say. And it was the musicians. Most of the time, Bob Dylan, another one, who actually gave you something to hold on to, something to, to believe in, you know, to stand by and say, yes, I agree with you. Thank you for putting it together into a song that I can actually, you know, feel it, you know, get it in my heart, in my soul, you know.

It was very interesting on that, on that special. They spoke about how Marvin Gaye went to Motown and said, look, that's another one. He said, look, bro, I like what you're doing, but I ain't doing that shit with five black guys dancing behind me. You think I'm kidding you? That's what he told them. Watch the fucking special.

He goes, I ain't no cookie cutter. I'm not doing it. I want to write a song about what's going on. Yeah. And he wrote what's going on. And it was brilliant. And then Stevie Wonder went in his office and said, I want to do what he's doing.

Yeah. I ain't doing it. And he put out four albums in a row that only match Pink Floyd's run, that, that dark side, metal, animals, like Stevie Wonder, because they had something to say. I mean, it ended with a songs and a key of life, which I was a little fucking kid. And I remember my mom had to bomb.

My head almost fucking blew up. You're right. They didn't have something to do. And that's what changed the music. The style is sympathy for the devil. Yeah. You know, listen to those lyrics. If that's, if that's, if those are not political,

social political statements, you know, you're not, you know, you're not reading it right. Absolutely. Yeah. And their whole battle like against the taxes and going into exile and writing exile on Main Street, like, fuck you. You ain't taking our money anymore. You know, back then 50% were, you know, they blazed, lived in a house

and lived in exile. Keep all their money. Rad, you know, You know, you brought a good point up last time you were on the show and I'm doing it this year. I'm going to like three or four shows this year. I plan to go into three or four shows, let my mind shut down. Black Sabbath is being one of them.

I don't care what the ticket costs. Yeah. Hollywood Bowl. Well, everybody's complaining that the ticket to price is too high. They're doing the bowl of the forum. They're doing both. Okay. I think I'll do Hollywood Bowl.

I'm going to see David Gilmore. I'm going to that. Okay. At the bowl. At the bowl. Yeah. Okay. There was somebody else I wanted to see this year because that's it.

You're right. You're never going to get a chance to see this again. I, for years, I just, I didn't want to go see somebody but sing with a lip machine or whatever the fuck it is. But you know what? I don't give a fuck. I want to go. You know, everybody said that for years Ozzy had a guidebook and a curtain

that sang from his shit like the Wizard of Oz or something like that. You know what? I'm going to fucking go. I'm going to go. It's inspiring. Well, the only way to write. So the only way to be creative is to get entertained. Totally.

Sometimes you have to go get entertained. You know, uh, one thing about Rudy is you see all those old canvassing things. Rudy was a fan of stand up. Yeah. Rudy likes stand up. That's how we met. That's how we met. Big time.

He saw me at the Nokia and he came backstage and he said, man, you were great. And I was like, what was this at? Who were you with? I was opening him for Artie Lang. Yeah. They were opening for Artie. Yeah. I went there with Rich, you know, and he came back and I was like, oh, Rudy, sorry.

So I was all over him like a fucking maniac kid. And, uh, and he said, you were great, man. And then he came to some other shows and stuff and did the podcast and we became great friends, you know, but he is a comedy guy. And then, and then I forgot about the wild thing and all that. And I was like, oh my God, he was with Sam at the store and wild thing and all that. I gotta tell you, most musicians that I know, they think that they're fucking funny. They think they're comedians.

That's all we do in the bus. You know, we take our music series and then we get off and we're just like fucking around all the time. And I think 40% of comedians are musicians that didn't have the balls to go through with it. Like I still have doubts about going and picking up a guitar because I know I'm scared. I know what's going to happen. Yeah, but how more scary can it be that you just stand there with the mic in your hand and you don't understand. No, no, no, no, no.

I'm scared of how it's going to take over my life. I could see me at 56 doing a fucking Rudy Sargeville cover band. You follow me? Yeah, yeah. I mean, I could see myself doing it. I could see it. I could just go, I could see myself playing, getting enthralled with it. Now telling my wife, fuck you.

I'm going to go on the road every week and do comedy. Meanwhile, all I really want to do is get in the whole time. Play my fucking guitar instead of snorting coke. In the old days, it was snorting coke. Sure, I'll go on the road. Christmas Eve, fuck. Yeah, Alaska. I'm there.

That's all I wanted to do is snort coke. That's the only way I could do it by getting away from my girlfriend. Yeah. So I could see me doing the same thing. I love the guitar that much. Do you think you would travel with it? Oh, fuck yeah. Listen, fuck these punk ass bitches who travel with skateboards.

Listen, I travel every week and every fucking week I sit there and look at some dumb fuck bring something on a plane. And I got to ask myself, is it that important to bring a skateboard, you dumb motherfucker? So it's time for me to bring my mother fucking ukulele. You think I'm kidding you? I'll get like a little ukulele with a little, what do you call them, a picnose in the old days.

And I'll fucking blast that fucking hotel room from six to six. I know it. I have an addictive personality. And it's something I've always wanted to do. Once I got the head to do it, it's going to scam me. I'm going to get enthralled with it. And next thing you know, I'm going to be calling Dean. How do you start a band and asking stupid musician questions?

And people are going to say, Joey actually thinks he's a fucking musician. Somebody better tell him he's fucking 60 fat and he ain't going to be able to jump up or down. You know, fuck you. I ain't, what is that? Fuck you. You won't say, are you doing what you're telling me? You might say, that's me at 60. I'll be up there.

Fuck you. I won't do what you tell me. Let me give some shout outs. And we'll get Rudy out of everything. All right, Rudy. Yeah, yeah, we're rocking. You're beautiful. Motherfucking.

Tasha howl. I got the cancer brace and I'm going to put it on over the 12 days of Christmas. Bob and Becky, Olivia, Linlages, Walingus. I love you, motherfuckers. Thank you for the Bruce Lee book. Thank you for the present for my daughter. Thank you for Lee's presence. Yeah, they gave me the Red Sox.

Oh my God, those were amazing. Thank you. John and Ann Coulter. You know how much I love you, motherfuckers. I just met John for coffee, Robert Woolridge, Armando Salgado. My main man, JT always got my back. Chris Cordwell, Dante Gazini, and podcast quotes. I love you, motherfuckers.

What's up, Lisa? How are you feeling today? I don't know what you gave me, but it's strong. I don't know what you gave me, but it's strong as fuck. You know what I gave you? I gave you the same shit they gave Aldo to you. And I think that was that motherfucker. That was just some good fights.

That was a great fight. Those are great fights, man. They mean a balloon in my mind. Oh please, that's a different one. I don't think he wanted to submit them. I just wanted to fuck with them a little bit. Oh my God. So I was taught, did I tell on the podcast

what I did the other night, my creepy addictive personality? Yeah. I was telling you before the fight that I went with Jim Norton after the Rogan show in Vegas. Oh, the gamble, yeah. Bet on the fight. Let's go to the casino real quick. Let me go see what the lines are on the fights.

And between you and me, I told Joe Rogan. I'm betting a thousand on Aldo, a thousand on Whiteman, and a thousand on the Cuban Romero. Oh, you would have lost. Oh, I would have lost everything. Romero barely won. The Cuban barely fucking won. That little cheat, motherfucker.

Did you see him holding the fence? Holding the fence, I love it. And I walked over there and I looked at everything. And again, like the rest of the things in my life, I became a pussy. I was like, I'm not fucking betting on it. And I go, fuck yeah. Why do you come to Vegas, Joe?

You don't drink. You don't get your dick sucked. You don't play Wheel of Fortune. You do nothing. You come, you perform, and you eat something, and you leave. Go do something with your life. Go at least add some fun. So I went over and I put $100 on Aldo.

But when I'm standing on the board, I go, oh shit. There's a bet for under three rounds. And I put 50 bucks on that. 60 bucks. What the fuck I had in my pocket? 50 bucks. I went back to my room and I'm like, wait a second. That's the better the year.

I don't even fucking gamble. Yeah. This, I can't lose. I can't lose. This fight's going to end under three rounds. I called my wife. I woke her up out of a deep sleep. I go, do me a favor, put 800 bucks on my books.

She's like, what are you talking about? What are you doing? I go, I'm going to bet. Fuck, I got a bet. She's like, Joey, what the fuck? You did not call your wife. Put 800 on my books. Yes, I did.

I only had like 300 on there. I go, put 800 on my fucking books. And I got up at five. I really, when I called to get the wake-up call, it was the Mandarin Hotel. These motherfuckers said, do you want a pot of corn from Mr. Diaz? I said, you don't want?

Bring the pot and leave it in the valet box at 445. I go, you guys got breakfast too? They go, yeah, we do. I go, listen, why fuck around? Let's put the order in right now. Let me get two eggs, a little fruit, some wheat toast, butter, some juice, and no fucking potatoes. Give me a fruit because I don't want a really weak toast, whatever.

Bro, I got up before the alarm went off. I ate it. I fucking, I was already packed. All I had to pack was my sleep apnea machine. I went downstairs and I got a cab to the MGM Grand and I bet the rest of the fucking 950. So I bet Aldo for 100. And I never tell this shit.

Even Lee, I didn't tell them what I bet. Yeah. I bet not a thousand bucks on the fight with them under the third round. And I went home and I knew it was going to win. I was more, you know, I sat there going, Jesus. I could have, and I had a great time. And I told my wife, she goes,

what'd you do? How'd you end up making up? I gave her the ticket. I said, mail it in, bitch. Mail that fucking, mail it in. Mary Christmas, motherfucker. And she just looked at me like, Joey, you fucked up. It's yours.

I don't give a fuck. I don't want the money. I was just proving a fucking point. I never gamble, dawg. I go to Vegas, Ashley, for three days. I don't do nothing. Rudy Sargell, Rudy Sargell. The only thing I do is smoke e-cigarettes

because you don't do nothing no more. How long can we stand there, Rudy? It used to be in the old days, we got at least, we got a Coca-Cola, a Diet Coke, we put a cherry in it, and we're alive in line of people. Tell them we got a rum and Coke. Now we don't even do that. It was Pepsi and condensed milk.

By Pepsi. No, no, you really weren't. Condensed milk. Oh yeah, we were talking about Cuban eating habits. Yeah. And how Cubans could be 400 pounds if you let them. Because when you're a kid, you dip. Cubans get bread and they put butter on it

and then they put it in the toaster this way and they slam. But before you slam the bread down, you take the paintbrush, fill it with butter, and you put it on top of the bread, and you watch this leak. So you take the bread and you cut it leak. Then you put Italian bread, like Cuban Italian bread, you put the butter in the middle, you close it,

and you put it on the thing, you put butter on the thing, butter on top of the bread, and you slam it. Then you get the. You get a press at your house? If you don't have a press in your Cuban, you're slipping, okay? That's like a Jew without a yarmulke and a secret, secret, secret bank account. Every Jew has a secret, secret, secret bank account.

What do you got in the bank? Look, let's go to the ATM machine. I'm telling you, I only got 90 dollars. Come on, show me the real fucking account here. Show me the real one. I'm the grandmother's maiden name, not fucker. You gotta have a press. Then your mother makes you the big bowl of coffee.

It's not a cup like these fucking Americans. Let's go drink a cup. Give me a venté. What fucking venté? Cubans drink a bowl of coffee. That shit that'll kill a mule. Top ramen bowl. And they put fucking whole milk in that motherfucker

with a tub of sugar. Then they wait for the toast to come out. You take the toast out, Lee, and you cut it across the middle. So instead of two pieces, you have four pieces now. And you take that motherfucker and you dip it in the milk and coffee. That's Cuban, that's Cuban savagery. That's Cuban savagery. That's after the egg with the fucking egg on.

That's after the steak with the egg on top of it over the white rice. And you slice the egg yolk. And the egg yolk covers the egg and the white rice. It's called werewalk. How are you? You understand me? If I want to, if anybody's skinny here

and they really want to get fat, contact me. I'll give you what's called a Cuban diet. And then before you go to sleep, Cubans do something for the late night. Like when I first came from Cuba, I was always under the impression. This is how stupid your uncle Joey is. That chocolate was only to be eaten that night.

Because the way I look at it, it's a chocolate late. You know how late, so in my Cuban mind, late meant you ate chocolate at night. Chocolate. Chocolate late. And so chocolate, you have to eat that at night. What the fuck? Cubans said, no, we don't eat chocolate at night.

We got something better for you. Go get a can of a turba. A turba. A turba is made from what root? Mate. Mate. And it's delicious. It's sweet.

You take three inches of condensed milk, you put aluminum foil to cover it. That's the old Cuban way. That's before the lid. You just get aluminum foil and you pour that. This is what you do. You would put the condensed milk in the glass and walk away. And it would just drip little by little.

It's like when you fuck 18 times that last nut, it just drips out of your nut and just falls on your foot. It was just like that, Lee. And you take three fingers and you put the material in there. You stir that motherfucker up. And if you're real Cuban, you get Cuban crackers and you put butter on them. And you eat the fucking Cuban crackers with the butter.

Or a medianoche, which is named after midnight. Midnight sandwich because you had that at midnight because if you went to sleep without food, you could starve to death in your sleep because you're not eating for eight hours. I should have been Cuban. Now the medianoche and the Cuban sandwich are different. What is the difference?

It's the pork and the pickle. And the pickle. The pickle. Yeah. That's the medianoche because the pickle might give you nightmares of dragons and Cuban people chasing you down the street. Yeah.

I mean, what's that? You got ham and pork. And pork. Double, double hard. You really, really want to get fat. Like if you're a skinny guy and you want to lift weight seriously and get 30 pounds, I got the recipe for it. Yeah.

Yeah. You know, I got the steak one. Which one? You have that for breakfast? Bro, when I was really dingy and skinny at one time, my mom would sit there. Once the emulsion of God didn't work because I was raised on emulsion of God.

My mother thought that emulsion of God was the cure all be all. You know what emulsion of God is? Nope. Emulsion de God. Bacalao. Bacalao, which is just another word for bacalao. I know it does. It's bacalao milk.

I love that. It's like a hot dog for fish. The fins, the eyeballs, the guts, the stomach. It's like you fill the fish. They blend that up with milk. And then you take it in a teaspoon or more. Let me explain some tea. If every man over 50 takes emulsion of God,

there'll be more fucking people being born than ever before. Just boners sitting? Bro, emulsion of God, when you're six, gives you hard-ons. You can't even fucking rest and watch papa. You just sit there with your mouth open. Like you're doing two pounds of heroin in cough medicine. Cuban Viagra? Emulsion of God.

My mom would sit there and fucking stare at me and go, you're not going to school till you have this. And I'll beat you. And you had to fucking take it and drink orange juice. It got to the point where my mom would just pour it into the orange juice like vodka, stare it, and give it to me. But then after that, you got to eat a steak over, you know. Well, if you put a scoop of white rice,

que scoop, que scoop, meto un cucharón ahí con barra. They give you a fucking spoon. Flat over a thing. And then they put a fucking steak, a thin palomilla. That means they butterfly it. Yeah. And you get like an eight-ounce steak. And then they put a fried egg over that.

And it's not fried in granola oil. And the egg. Granola oil. It's fried in fucking butter, Jack. And lard. And lard. My dick got a break. My dick got a break.

When I sit by the window, it's big fat. It gets hard as fucking concrete. And they cut into it. They throw a chunk on the frying pan and fucking sizzles up again. And you take that egg when it sizzles on the steak. And that's when you cut the yolk and you make the yolk go on the right rice.

Has anybody ever eaten egg and white rice? Oh, yeah. I know. We have. And the back of your mind is fucking disgusting. I've eaten it. Don't get me wrong. Sounds amazing.

But would you fucking stop, Lee? But if you're skinny and you live weights and you eat one of those every day, two yolks over a fucking steak and white rice, the possibilities are endless. What's that one you like? It's like meat with a sausage in the middle? Boliche.

Boliche. And you tie Cuban pot roast with a chorizo in the middle. And you tie that fucking steak up around the chorizo. And the chorizo bleeds into the steak. And then you cut it and it falls over. Jesus Christ. And you see the chorizo looking at you just there. And you take the white rice and you put it to the side.

And you put some black beans and rice. You get a few fried bananas. You cut those up. That's a breakfast of champions. You test positive for everything on that shit. And don't forget, not your winner, having the whole pig on the table, head and everything.

Wow. Yeah. Wow. Yeah. Rudy, you don't eat any of that stuff anymore, right? No, no, no. I was last time. No, so really, you don't even know Rudy's done.

Rudy's. I'm done with pork. Listen, bro, there's Cubans that after 40, they substitute turkey meat because the meat becomes too much. The amount of food they eat, the, you know, I miss my mother. It's been 30 some years. And I really, Rudy knows a Cuban mom.

I miss my mother. But I got to tell you a confession I never said before. I don't want to follow. My mother took her fucking pork so seriously that they were snort in my house in the 23rd. You stayed up all night just marinating the pork. Your family would come over and like the grandma and grandpa would go to sleep.

But the 40 year olds will get aluminum floor and they put at the table and have Coke rocks in it. And they'd sit there all night, do a little bump strick and do his on the rocks. My mother and her little crazy whore girlfriends. And they'd have a pig and they'd marinate that pig all night, orange juice and garlic. And you got to rub it in there.

And it was like a ceremony, bro. It's like a ceremony. It's like a, it's a family thing. We're going to get together and drink. But at the same time, we're cooking. And they, and you'd wake up and hate in the house would smell like heaven. When you wake up at a Cuban house on the 24th of December,

it's heaven. That fucking pork, you know, I just took my wife back for Cuban food. My wife's from a fucking farm in Tennessee. She bit into the Lechonas Island. The first thing she said to me, she goes, I get it. She goes, they, they, they fucking, this is, this is love. Well, it's the mojo.

And mojo is the whole thing. Garlic, naranja agria, which is something, you can get those oranges here, which is a sour orange. It's like a Mandarin orange or something. And it's, it's a whole different flavor. It's like in between a grapefruit and an orange, you know, it's like sour, naranja agria, garlic, and everything else that goes into it, mojo.

And they would stay up all night preparing it. And then at eight in the morning, that's when they throw it in the oven. So they would do it all night. Is it baked or roasted? It's in the oven. In the, well, ours was in the, in a spit. In a spit.

Oh, yeah. Like a broiler. Yeah. Like a broiler, yeah. Yeah. December 24th, early in the morning, you hear the, the, the pig squealing, you know, like because it's getting killed.

It's getting killed, bro. Amazing. Amazing. But as a kid growing up like that in my culture, that was like, wow, we're going to eat good tonight. Yeah. And, you know, which now to me is a horrific, you know, thought. Yeah.

But, yeah. And then you just start pulling up pieces of the skin. The ears. Yeah. You know, the chicharron. Yeah. You have no idea that chicharron. Yeah, chicharron, you know.

And those ears are going. And when the potato chip, you have no fucking idea, Lee. Oh my God. And the skin comes next to the fucking. Do you ever roast a pig in like your house in Jersey? All the time. My mother, listen, December in a Cuban house is 20 pounds. And it starts December 3rd.

There's a Cuban holiday. Yeah. Wednesday. Chango. Chango. It's Thursday night. And then San Lasado is the 16th. That's another big one.

And then the 24th dog, shit. Yeah. Shit. Bigger than Christmas. It is Christmas. It's Cuban Christmas. Then they celebrate the 7th of January. Yeah.

What is that? That's when the wise kings show up with a grandma blow. And they give you an envelope. You get cash on that day. A grandma blow. Yeah, you get a grandma blow. Which is actually the 12th day of Christmas. The 12th day of Christmas.

That's what it is. Yeah. Rudy, you don't eat meat anymore, right? I eat meat, but not pork. What kind of diet do you have? Because you look fantastic in that. Vitamins, vitamins and workout, exercise. Yeah.

Is it light weights or do you just walk and jog? No, no. I do some weights. I try not to injure myself now because of my age. Yeah. But one great thing about Medicare, it's the plan that I have that things are talking about. It's called Silver Fit, which is like Medicare Plus.

For like $20 a year, you just join a regular gym instead of paying $500, which in my case, because I spend so much time on the road, I would just buy like a month here and a month there. But now I just pay $20 a year and that's it. I go to like a 24 fitness place. That's great. Yeah.

And then the government pays the other half? Well, you already been paying the other half all these years that's been coming out of your salary. Yeah. Social security. Yeah, exactly. Got you. Wow.

Yeah. Rudy, God bless you, man. Oh, bless you too. It's fairly Navidad. It's hard to believe that I was watching you at the Palladium 30-something years ago, and here we are in North Hollywood. So weird, right?

It's like a dream come true. You're the sweetest guy in the world. And here you are, 65, looking beautiful, living your life. Who in the fucking thought we would have still been talking about Ozzy at a table? He's still fucking alive. You know, I don't look any different than when I was 64. You know.

No, no, you look cute. You look great, man. I feel good. I feel good. You know, I played with him last year, and this guy destroys onstage, man. Like, here's a funny thing. This is when I knew that I was never,

sometimes you wonder as a musician, like, I never got to that next level, you know? And then when I jammed with him, Brian Tishy and Tracy Guns, when they kicked in, I was like, this is why. These guys are next level dudes, you know? You know, it's just like you guys, you know, you guys put a lot of time into your art.

You know, I mean, it just don't happen back. So you got to take some time and develop your, your act and your, your, your material, you know, your relationship with the audience. And it's the same thing for us. You know, it's just put time into it. Yeah. But the way you played the bass,

I could feel it over there, you know, just the attack and, and he was so into it. Well, it's the same way when I saw your performance, you know, I got it. And I became an instant fan because, you know, you have that connection with the audience. It's the same thing. You have a very rock and roll connection,

you know, you know, with the audience. It's like, uh, it's like a rock musician. You know, I'm Gokul here. He's just freaking amazing. Every time I watch anything with you on YouTube, you're relentless and fearless. Yeah, he is fearless. I know it's like, it's like, you're on, on, on, on.

It's unbelievable. I've learned so much watching him at the store, man. Yeah. He's like an Invin Romstein level of comedy shredding. It's a shredder. Did the, uh, whenever I tell a Cuban story on those Ari things, I always think of you. I always think in the back of my mind,

I think of everybody who's Cuban that I know, because we grew up different ways and everybody, but there's still one basis, like the faith part, you know. And I did this last Ari thing, which will be out this year. And I talked about when I did Santo, you know, as a little kid and I liked it. I really enjoyed, I'm a Catholic, bro. I'm a Catholic, uh, just, I don't know.

We come from a Catholic country. Cuba's a Catholic country. I was raised a Catholic. I still have my beliefs in different ways, but I had a godmother growing up who I loved dearly. You know, she was a Cuban lady. You know, I always talk about pre-revolutionary Cubans. Yeah.

Other toughest people. You don't want to fuck with them at any level. Pre-revolutionary Cubans, they're the ones that built Miami. They're the ones that had to deal with those Jews the first time. They, they're smooth. They're fucking, but they're strong-willed. Pre-revolutionary Cubans put ideas in your head. They dealt with shit.

You know, everybody talks about Fidel, but Tista was no walk in the fucking park either. But there's some about pre-revolutionary Cubans and she was everything to me. And she used to always tell me, growing up, put a box away and put your trophies in there. And when you, and she put, she made me put my lock of hair in there. And she made me put my brass shoes in there.

She made me put newspaper clippings. And she'd go once a week, I want you to go sit with that fucking box. It was brilliant. And I'd go, why do you fucking make me sit with this box? She goes, because no matter what happens in your life, I want you to remember that. Who the fuck you are and where you came from.

And I would put shit in there when my mother died. She goes, make sure you take that box with you. You always look at that fucking box once a week, because I don't want this experience to, and she like knew my mother was going to die. That's why she'd make me fucking get that box every day and look at the box. And I fucking put the box in my friend's house

and I ended up robbing him years later. He was a coke dealer. I left the box. And when I left New York in 85, I bumped into her. And she goes, where's the box? And I didn't want to tell her that. I said, Martin, the facts. My thing of money, go.

That was his name. And I go, you know, the box is at his house. And she goes, I'll fucking get it back. Whatever. I didn't tell her my Rob Martin. And I'd lost my box. You know, through all those years, I lost that box. That pictures of my mother and pictures of my real father

and just little things in there. My sons go, I had a bunch of shit in there. And I made a fucking interview for some religious company in England. And they put the video on. And you know, I got my box back. Some lady called me from Miami in 2014. No.

We have your box. My godmother's grandson has the box. What? I flew to Miami. I booked the gig. I got the fucking box. 34 years later, I got my fucking soul back. Somebody had that box still?

And my life changed. And she brought the box from New York City. You know, 148th Street to Miami on a fucking bus. Wow. Because then she kept saying, even when I die, I know that kid. He's going to come back here for that fucking box. She goes, leave that.

The kid, all his life grew up. He's a man now. He works at Miami International Airport. Yeah. He goes, since I was a kid, I go, grandma, whose box is that? That's Coco's. One day he's coming back for that box. Even after I'm dead, I know that kid.

He's going to come back for that box. Wow. Fuck him 2015. I got the box next to my fucking bed. I told that story and I thought about it. Because we lose ourselves in our lives, man. Absolutely. I lost myself for a fucking long time.

And you know what? Some people sell their soul. They never get it back, though. I sold myself. I got it back. Yeah. A lot of people don't get their fucking soul back. And I knew some people would listen to that story.

I don't know what the fuck you're talking about. I know Rudy would think of that story and go, Jesus fucking Christ, because it's a certain faith you grew up as Cuban. I've always had that faith. I've always had that belief. You know what I'm saying? Yeah.

I'm happy you came on, Rudy. And I'm sorry you only got a couple potatoes. Fucking pornos. They got smarter. They made the potatoes smaller. They're fucking communists. When you say papa reina, I figured like this. Yeah.

The big ones and shit. Yeah. There's bowling balls. You know? These motherfuckers, they don't do it like that no more. Listen, you know what frustration is? When you want to read about the topics that interest you most and you have to mentally search for the content of the internet.

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Texture is not bad. I still love magazines. You download the articles before you go on a plane. You can read the certain ones. And how many fucking magazines you really read? Three or four. Rolling Stones, Us Weekly, whatever the fuck. As always, On It, my main people.

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Code Red Church. All right. And Hittisig's. Now, I need a big favor from you guys. I don't know. No fucking favor. September 28, 29, my buddy's Dean Delray is going to be at the San Francisco punchline or cops?

Yeah, punchline. At the punchline downtown. Listen, if you're going to go to this show, shoot yourself right fucking now. Okay. You know when we go to San Francisco, how we do it. Please go over and see them tickets are available. Where I punchline.com slash slash Joey.

Nothing. No fucking punchline.com. Be Delray. And when do you start your little thing again, my brother? Uh, it starts at the beginning of the year with Nam show. And then it goes through. I'm doing a axis and anchors cruise. It's a rock and roll cruise.

Who's on that? I'm doing some shows with Tracy. We're, you know, guns or a band. And then rock, uh, uh, Randy Rhodes, remember and all of that. So a bunch of guys, Zach Weil and in they and, and just a bumblefoot, a bunch of, you know, it's incredible. Yeah.

Yeah. It's, it's, it's in a boat. And where's the cruise go to? Key West and the Bahamas, the Caribbean. Oh, yeah. Yeah. Yeah. For four days.

So I'm suddenly in the girlfriend with you. Yeah. Yeah. Give me live reports. Look at them. We're sure. Yeah. So I'll definitely go.

Total rock and roll cruise. And then after that, I, I'm off to Europe. And, uh, and Russia with guns. So no, no, we're something else. Oh, wow. Yeah. Yeah. Cool.

Yeah. Good to have you. Yeah. I love you. It's Felicia. I love you too. Love you. Felicia.

All right. We can do a little something with my man, Dean. Don Rick. Oh, I love Baltic guys, man. Our Rudy has just been an unbelievable friend and so of you. So it's just, it's just amazing. I would podcast with you every day.

And what about Lee? You don't like, we know. Yeah. I love Lee. I love Lee. Hey. Lee just doesn't text me late at night. Like you.

You know, he doesn't check up on me. He's going to start checking up on people. I love you guys. We'll be back tomorrow. Thank Rudy. So I saw also my ma'am Dean Delray and the flying Jufa coming on. We'll be back tomorrow.

I'm in San Diego Thursday night. Second show got added. So go do your fucking thing. See you Thursday. I love you guys. Stay black. This podcast is brought to you by the new app Texture. Texture is the app that gives you an all access pass

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Diving of a madman, walk the line again. Diving of the future, Diving of the future. Sanity now is beyond this virtual show. Diving of the future, Diving of the future. Diving of the future, Diving of the future. Diving of the future, Diving of the future. Diving of the future, Diving of the future. Diving of the future.

Diving of the future. Diving of the future. Diving of the future, Diving of the future. Voices in the darkness scream away my memory. Can I ask a question to help me save me from myself? Can I ask a question to help me save me from myself? Can I ask a question to help me save me from myself? Can I ask a question to help me save me from myself?