Podcasts about drums

This week we present the second set from the band's performance at the Greek Theater in Berkeley California on May 22, 1982. A fine recording that starts off with a tight 'China>Rider', to lead off a nice pre-drums set. 'Man Smart, Woman Smarter' always got the crowd fired up and we also have a Brent number, and a great 'He's Gone' into Drums.. post Drums highlights include a nice 'Not Fade Away' and a rockin' 'Good Lovin' to close the set. While it is a Saturday show, we get a 'U.S. Blues' encore !   Grateful Dead Greek Theatre - University of California Berkeley, CA 5/22/1982 - Saturday Two      China Cat Sunflower [6:51] > I Know You Rider [5:28] > Man Smart (Woman Smarter) [6:21]  Never Trust A Woman [5:51]  Lost Sailor [6:25] > Saint Of Circumstance [6:40] > He's Gone [10:#33] > Drums > Space [9:19] > Not Fade Away [10:05] > Wharf Rat [8:28] > Around And Around [3:48] > Good Lovin' [8:31] Encore      U.S. Blues   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod053025.mp3   Thank you so much for your kind support of the Deadpod!  

Join Rich Redmond and Jim McCarthy as they dive deep with Dango Cellen, a versatile drummer who's played with Scott Stapp, Amber Pacific, and Hawthorne Heights. Discover the secrets of surviving and thriving in the music industry, balancing multiple gigs, and maintaining passion through decades of drumming. Timed Highlights: [0:05] - Dango's Impressive Musical Journey [0:15] - Nashville's Drumming Hustle Culture [0:30] - Broadway Gigs and Musical Flexibility [0:45] - Teaching Philosophy and Mentoring Young Musicians [1:00] - Punk Rock Roots and Evolving Drumming Style [1:15] - Gear Talk: Drums, Cymbals, and Endorsements [1:30] - Balancing Family Life and Musical Career [1:45] - Financial Strategies for Musicians [2:00] - Personal Beliefs and Approach to Life and Music Don't miss this inspiring conversation with a true professional who embodies the spirit of musical dedication and creativity!     The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich:   @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:     @jimmccarthy www.jmvos.com   The Rich Redmond Show is produced by It's Your Show dot Co www.itsyourshow.co                  

In this episode of the Worship Drummer Podcast, I sit down with David Whitworth and Joe Volk — two of the most recognizable names in worship drumming. We talk about how they met in Redding, their years touring with Bethel Music, moving to Nashville, and what it was like to play with Brandon Lake on Jimmy Kimmel Live.We also dive into the heart behind their new project, Welcome to Sundays - a growing resource for worship drummers with templates, samples, and tools to serve your church and elevate your craft.

Support this podcasthttps://www.patreon.com/drumwithmikeandeddyIn this episode, we explore the journey of becoming a drummer, discuss the transition from hobbyist to professional, the challenges faced along the way, and the realities of pursuing a music career. We then chat about our personal journeys of personal growth, branding in the music industry, and the mindset required to succeed. We emphasize the need for action and taking control of one's career, rather than waiting for opportunities to come. The discussion culminates in the realization that greatness is a continuous journey, requiring dedication and adaptability.Sound Bites"I'm a throne slut.""You can't beat it.""It's important to have these conversations.""You're doing the same thing.""I think it started way before the band.""I could make 60 drummers.""Being good isn't the answer.""How big are your ears?"Support the show

Beat Migs! And Drums! Let's listen to John Stamos play a popular rock song!

Peter Conover Hains was born before the Civil War and still wore a U.S. Army uniform in World War I. He fired one of the Civil War's first naval shots, built ports and canals, and returned to active duty at age 77. His legacy spans over half a century of American warfare — and four generations of service. This Memorial Day, we're telling the story of the soldier who bridged two centuries. In this episode, we talk about his incredible career and then chat with Comedian and Educator, Joe Janes. Review this podcast at https://podcasts.apple.com/us/podcast/the-internet-says-it-s-true/id1530853589 Bonus episodes and content available at http://Patreon.com/MichaelKent For special discounts and links to our sponsors, visit http://theinternetsaysitstrue.com/deals

Ge-Ology - Dear God (Ge-Ology's Sunday Prayer Mix)SAULT - Faith (Kutcorners Kiss of life Blend)Sabrina Malheiros - Love SorteClive From Accounts - It BeganFKA twigs - Drums of Death (feat. Koreless)Gerardo Frisina - Some SoulJordan Rakei - CagesMargeeah - Daughters Of ZionMo' Horizons - Havana B-Boys (Freedust Remix)Q Lazzarus - Love DanceJambonne - Jambonne, Jam On2fox, Laville - Elevation (Louie Vega Remix)Fred Everything - Asolee (Atjazz Galaxy Aart Remix)FSQ, Charlie Soul Clap - Freak Out For Fitness (Charlie Soul Clap Remix)Jazzanova - Dance the Dance (Little Big Beat Studio Live Session)Brian Jackson & Masters At Work - It's Your World (feat. Raheem DeVaughn & J. Ivy)BADBADNOTGOOD & V.C.R - Found A Light (Beale Street)Collettivo Immaginario - Vento Eterno (feat. Isaiah Collier & Dwight Trible)The Philadelphia Solidarity Project - Umi SaysZola Marcelle - NamesDon Glori - DisasterMark de Clive-Lowe - past presentYASUSHI IDE - A Place In The Sun(Kaoru Inoue Remix)Yukimi - No PrinceNao Yoshioka - Love Is What We Find feat. JAELZaimie - I Need YouSAULT - P.Menahan Street Band & Rogê  - Tropical ManOrquesta Del Sol - Mundo CruelSivuca - Latin Sun (Lego Classic Edit)Mitchum Yacoub - Cumbia No Get EnemyBlvck Spvde & Stefan Ringer - YOURZZZBrighter Days Family - First LightSaucy Lady - I Can't Shake This Feeling feat. Omar (Young Pulse 'Baby Powder' Remix)lovetempo - But I Do (Crackazat Remix)Jazzanova - Days to Come (Little Big Beat Studio Live Session)Anushka - Really (Nothing is Cool)Sampology - Morning Sun

Rich and Jim dive deep with Nashville drummer, songwriter, and storyteller Vince Santoro. From his early days playing drums in Washington D.C. to becoming a staple in Nashville's music scene, Vince shares his incredible journey through music, including his work with Felix Cavalieri, Rodney Crowell, and his upcoming solo record "Exposed". Timed Highlights: [0:05] - Vince's early musical influences: Beatles, Kinks, Stones, and Hendrix [0:15] - Nashville's evolving music and food scene [0:25] - Vince's journey from D.C. to becoming a Nashville musician [0:35] - His role as Secretary Treasurer of the Nashville Musicians Association [0:45] - Playing with legendary artists like Edgar Winter and Felix Cavalieri [0:55] - Behind-the-scenes of his unique one-man show combining drumming and storytelling [1:05] - Details about his new solo record "Exposed" [1:15] - Discussing songwriting process and musical inspirations   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich:   @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:     @jimmccarthy www.jmvos.com   The Rich Redmond Show is produced by It's Your Show dot Co www.itsyourshow.co

Visit Sweetwater via the link to enter this month's giveaway for your chance to win a copy of Ableton Live 12: https://sweetwater.sjv.io/9LJMa5 More on Shawn: https://www.shawncrowder.com/ To support the show, check out Tim's educational resources here: https://bit.ly/3r3RBjh More ways to connect with Tim: https://linktr.ee/timbuell Podcast Rewind Playlist (on Spotify) to catch up on my favorite past episodes of the podcast: https://spoti.fi/3ExTvwv

  Today on another brand new episode of the Rarified Heir Podcast, we are talking with Rodd Bland, son of blues legend Bobby “Blue” Bland. As this is part two of our interview, we delve deeper with Rodd, who spoke to us on this episode of some of the more silly and fun things about his dad you may not know about the man. Such as? Well, what kind of car did Bobby “Blue” Bland drive? And what color was it? What burger joint was his dad's favorite spot in Los Angeles? We hear that too. And not only do we find out what place that was but we hear of a totally bizarre and wonderful coincidence on their very last visit together, on tour. But sorry – you will have to sign up to hear our Patreon episode to find out what soap opera was Bobby's favorite. We also hear about Rodd's time behind the drum kit as a band leader and also as a guest with some amazing musicians on a recent gig at the Antone's 50th Anniversary at Austin at Austin City Limits. We hear how Rodd started playing the drums and how it used to piss off his dad so much, he had to buy him his first drum kit. We also hear about Rodd's & his dad's relationship with B.B. King – on the road, at home and just hanging out. In fact, Rodd does one really terrific spot-on impression of the man known as Blues Boy that you have to hear to believe. Moreover, we discuss racism in the south, how Rodd is working on selling official Blue merch on the internet and his father's advice to him in life and on stage that seemed to be Blue's mantra for living a good life. It's all here and it's next up on the latest episode of the Rarified Heir Podcast. Everyone has a story.  

Send us a textGet ready for total musical mayhem! In this episode, we sit down with Dave & Robin from The Blunatics — a Treasure Coast band that blends blues, theatrics, and pure lunacy. From kazoo solos to bloody guitars, table dancing to awkward gig confessions, this one has it all.If you would like to SUPPORT the podcast, JOIN our Patreon page.https://www.patreon.com/RiffsnRhythmsPodcast.LISTEN on Apple Podcast, Leave us a RATING and Reviewhttps://podcasts.apple.com/us/podcast/drums-and-rums/id1503281559?uo=4We talk:- The origins of The Blunatics (and Blu-ray, That Man & Robin, and other amazing band name near-misses)- Turning disco and Prince into blues bangers- Wild road stories — including stage injuries and audience tears- Why the Treasure Coast music scene matters- And yes… rubber chickens, disco balls, and glockenspiels are involved- This episode is packed with laughs, heart, and enough weirdness to make a kazoo cry.

**Treasure Vortex took over All Metal Mode Podcast Jan. 2022.**Gypsy's Just Digging It: A Beginner's Guide to Metal Detecting BookPublish 1/12/2024:https://www.amazon.com/Just-Digging-Beginners-Guide-Detecting/dp/B0CSZBP4BZ/ref=sr_1_1?crid=16YYZUOGA9CZP&keywords=just+digging+it+book&qid=1706570416&sprefix=just+digging+it+boo%2Caps%2C148&sr=8-1**Co-hosts are Gypsy Jewels:Website- https://gypsydigs.com/tiktok- https://www.tiktok.com/@gypsydigsYoutube- https://youtube.com/c/ZeroDiscriminationInstagram- https://instagram.com/gypsies_jewels?utm_medium=copy_linkAnd Amanda Digger DegazTiktok- https://www.tiktok.com/@diggerdegazYoutube- https://www.youtube.com/@DiggerDegazInstagram- https://www.instagram.com/diggerdegaz/**Treasure Vortex Facebook group- https://www.facebook.com/groups/treasurevortex/?ref=share**Theme Music by Porks and BeansIan Loch- Guitar, Bass, Train WhistleRon Gallant- Vocals, Drums, WashboardJon Hernandez- Banjo, Mouth harpBecome a supporter of this podcast: https://www.spreaker.com/podcast/treasure-vortex-podcast--2244406/support.

This week, we offer up a commentary track on the hour-long Primus Interstellar Drum Derby finale. Receiving this much video footage of the band auditioning, practicing, rehearsing, jamming, and recording music is so rewarding after years of shelved video-based projects. You can join in the fun by simply listening in, syncing the youtube video with the podcast ep at the 12:52 mark in the audio, or viewing the synced video at the Patreon site (see "Burn your money" link below).Drum derby finaleGet involvedInstagramFacebookEmailBurn your money 

This performance used with permission from Daniel Meron New York City based composer and pianist Daniel Meron brought his trio to Clevland to debut pieces from his 2024 Pinch Records based release Pendulum. Over the past decade Meron has established himself as a prominent figure in the modern jazz scene releasing four critically acclaimed albums, and with featured performances at the Jacksonville Jazz Festival, Costa Rica Jazz Festival, and tours of the US, Canada, Europe and Israel. From a May 5th, 2024 performance that features Pablo Menares on Bass, Jimmy Macbride on Drums and Daniel Meron on piano, it's the Daniel Meron Trio – Live at the Bop Stop. Marzuk - Meron Up to You - Meron Night Ride - Meron Pendulum - Meron Cyborg - Meron For more information on the program, click on the Live at the Bop Stop Radio Show link at thebopstop.org.

Christopher Williams is the powerhouse drummer for the legendary metal band Accept. Join Rich and Jim as they explore Williams' incredible musical journey from small-town South Carolina to sharing stages with rock icons like Gene Simmons and Ace Frehley.  Hear hilarious tour stories, learn about his woodworking side hustle, and discover the dedication behind becoming a world-class drummer. From heavy metal to Nashville's rock scene, this episode is a must-listen for music lovers and aspiring musicians.   Timed Highlights: [0:10:39] - Christopher Williams moves to Nashville in 2008, getting his first opportunities through networking and connections [0:53:50] - Hilarious story about last-minute preparation for a Lee Greenwood gig, learning 22 songs in just 11 hours [1:07:14] - Funny interaction between Ace Frehley and Gene Simmons, with Ace signing a vault box and making a joke about not giving Gene more money [1:15:11] - Discussion of Accept's recording history, with Christopher joining midway through the Blind Rage tour [1:18:45] - Incredible story about performing at Wacken Festival with a 60-piece Czech National Symphony Orchestra, playing to 85,000 people and over a million livestream viewers [1:20:02] - Introduction of Ainsley's Essential Blends, Christopher's wife's product line, including a "Rock See" leather-scented cologne [1:27:47] - Christopher's top five drummer influences: Tommy Lee, Randy Castillo, Jerry Shirley, John Bonham, and Vinnie Paul [1:43:13] - Childhood horror movie memories, particularly being scared by Pet Sematary as a young kid   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jmvos.com   The Rich Redmond Show is produced by It's Your Show dot Co www.itsyourshow.co

learn 10 high-frequency expressions, including words for musical instruments and hotel amenities

The guys are back after a month's hiatus for Jon and Dennis as they embarked on the Europe Tour with Oddisee and GoodCompany! Join the guys as they talk about their most recent tour experiences and jump right back into the fold! They discuss whether the NBA lottery system is rigged, who will play in the NBA Conference finals, Trey's frustrations with yet another Andre 3000 album, and more! Learn more about your ad choices. Visit megaphone.fm/adchoices

The drummer and percussionist Billy Martin, whose name many Time Sensitive listeners may recognize—he created the Time Sensitive theme song—defies any boxed-in or limiting definitions of his work. Best known as a member of the band Medeski Martin & Wood (MMW), he's spent the past three-plus decades making experimental, boundary-pushing, and uncategorizable instrumental jazz-funk-groove music, shaping sounds that feel as expansive as they are definitive and distinctive. Across all his artistic output, Martin continually, meditatively searches for harmony. He is also a composer, a teacher, a visual artist, and a builder and craftsman. His expansive creative practice comes most alive at his home in Englewood, New Jersey, where he has cultivated a bamboo garden, crafted his own Japanese-style teahouse, and constructed a music studio. Martin is someone for whom rhythm is not just something heard, but also seen and felt.On the episode, he talks about his MMW journey at length, his concept of “rhythmic harmony,” and why he views sound creation as a sacred act.Special thanks to our Season 11 presenting sponsor, Van Cleef & Arpels.Show notes:Billy Martin[7:31] Medeski Martin & Wood[7:31] John Medeski[7:31] Chris Wood[7:31] “Not Not Jazz” (2024)[10:12] Iggy Pop's “Avenue B” (1999)[10:12] Don Was[11:27] “The Lover” (1995)[11:27] “Friday Afternoon in the Universe” (1995)[11:27] “Old Angel Midnight” (1973) by Jack Kerouac[13:44] Ra-Kalam Bob Moses[13:44] John Scofield[13:44] David Baker[15:57] “Shuck It Up” (1993)[15:57] “It's a Jungle in Here” (1993)[18:12] “Latin Shuffle” (1998)[18:12] “Combustication” (1998)[18:12] Frankie Malabe[18:12] Art Blakey[33:25] Thelonious Monk[33:58] “Life on Drums” (2011)[38:32] John Bonham[38:32] Charlie Watts[38:32] Stewart Copeland[38:32] Elvin Jones[38:32] Max Roach[38:32] Danny Richmond[38:32] Charles Mingus[38:32] Jack DeJohnette[38:32] Joe Morello[38:32] Roy Haynes[38:32] Stan Getz[38:32] Airto Moreira[38:32] Naná Vasconcelos[38:32] Babatunde Olatunji[39:58] Gus Johnson[39:58] “Whatever Happened to Gus” (1998)[39:58] Steve Cannon[40:54] “Chubb Sub” (1995)[40:54] ”Uncle Chubb” (1992)[46:41] “Shack-man” (1996)[47:06] “Drumming Birds” (2004)[54:48] “Bamboo Rainsticks” (1999)[54:48] Amulet Records[1:00:23] Creative Music Studio

NEW TRACK ALERT! Primus have released Little Lord Fentanyl, the first track to include newly-minted drummer John Hoffman. The track was a part of the final drum auditions for Hoffman and Borlai, who each composed drum tracks for the song. We discuss the workings of the tune and the lyrical content in a knee-jerk reaction mode, and what it possibly portends for Primus. Little Lord Fentanyl: https://www.youtube.com/watch?v=c4NGvSR2waUDrum Derby finale: https://www.youtube.com/watch?v=aFtaNtSYNYAGet involvedInstagramFacebookEmailBurn your money 

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► Start Your FREE StephensDrumShed Drum School Trial Here: https://www.stephensdrumshed.com/sign-up/ Subscribe to The Drum Show podcast or I will steal your cymbals: https://tinyurl.com/36z96tnr Check out The Drum Show on your favorite podcasting platform: https://linktr.ee/stephensdrumshed  In this episode I get to talk to one of my own drumming students. He's 74 and an inspiration to me and many others with how busy he is keeping himself. If you're a late learner on the drums, it's never too late! Subscribe to my main drum lesson You Tube channel here: https://bit.ly/2AyH1Fb FREE drum lesson series "Creating A Drum Fill Vocabulary": https://www.stephensdrumshed.com/creating-drum-fills-signup/ FREE download "30 Days to Better Doubles": https://www.stephensdrumshed.com/emailstuff/  

This performance used with permission from Theron Brown. If you're a frequent lister to this program we mention often that Theron Brown is the hardest working performer in show business. From his work as Artistic Director with the I Promise School to his role overseeing the annual Rubber City Jazz and Blues Festival, Theron is intimately involved with making Northeast Ohio a magnet for musical talent. For this performance, Theron brings the Fender Rhodes Mk II to life with his trio. While the Hammond B3 gets the accolades for being the center of Soul Jazz, The Fender Rhodes might not get the credit it deserves for the warmth, authenticity and versatility it delivered to audiences. At least, the ones built before 1983.  If you like what you hear today and are looking for more jazz records focused around the Fender Rhodes, All About Jazz has an excellent article on this topic, written by Chris May. For now, though, featuring Zaire Darden on Drums, Jordan McBride on Bass and Theron Brown on Piano and Fender Rhodes and from a sold out April 26th, 2024 performance, it's the Theron Brown Trio – Live at the Bop Stop. There is No Greater Love - Jones Who Shot John? - Wilson Feel Like Making Love - McDaniels Swingin' at the Haven - Marsalis For more information on the program, click on the Live at the Bop Stop Radio Show link at thebopstop.org.

Worship Almighty God with us as we celebrate Jesus and His gospel promises, by singing to Him wholeheartedly in praise and worship with singing prayers.

Season 5 Episode 14 is live and in this episode continues to follow our new structure (for the most part) including the following segments:Metalcore Spring Break Tour Recap: For this episode, we discuss our experience attending the Metalcore Spring Break Tour which included the bands Acres, Kingdom of Giants, ERRA, and The Devil Wears Prada.  Coaches Corner: This segment features health and wellness information/tips to help you meet your goals. This week, we discuss the ultimate shoulder and arm workout to prep you to look your best in a sleeveless shirt this summer. We dive into warmups, exercises, volume, etc. Song of the Week: We select a new metalcore song each week to highlight/share with you all. This week's song of the week is "Protohuman" by Dal Av ft. Tyler Tate from Hollow Front. Exercise of the Week: We select an exercise to highlight, describing the exercise, alternative exercises, muscles targeted, pros & cons, optimal volume, and more. This week we discuss the straight arm lat pulldown.  If you enjoyed the episode or are a supporter of the podcast, let us know by leaving a positive review! Follow us on Instagram @mc_muscle!

Jim wants to know what you REALLY want for Mother’s Day Plus – Checking in with local bars about how great the Leafs have been for sales GUESTS: Elia – Owner of Unionville Arms Dan – Owner of Safari Bar and Grill and Drums n’ Flats, both on North Avenue Road Bruce Arthur - Toronto Star columnist

Follow the show!Twitter - @loneactingnomsLetterboxd - @loneactingnomsInstagram - @theloneactingnomineesMusic Licensing:Bad Ideas - Silent Film Dark by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100489Artist: http://incompetech.com/

To enter the Sweetwater giveaway for this month: https://sweetwater.sjv.io/9LJMa5 To support the show, check out Tim's educational resources here: https://bit.ly/3r3RBjh More ways to connect with Tim: https://linktr.ee/timbuell Podcast Rewind Playlist (on Spotify) to catch up on my favorite past episodes of the podcast: https://spoti.fi/3ExTvwv

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter  or Bluesky for your chance to win the books that have been mentioned in this podcast.Competition ends on 21st May 2025. The winner will be contacted via Bluesky. Show references: Museum Wales website: https://museum.wales/Big Pit National Coal Museum: https://museum.wales/bigpit/Catherine Pinkerton LinkedIn: https://www.linkedin.com/in/catherine-pinkerton-b1905a110/Catherine Pinkerton is the Group Retail Manager at Amgueddfa Cymru - Museum Wales.Having worked in senior management positions for some of the high street's most recognisable brands such as Harrods, Selfridges, Dior and Guerlain to name but a few, Catherine spent 20+ years in London building her management career. Catherine is now the Group Retail Manager for Amgueddfa Cymru (Museum Wales). She is responsible for the management of all aspects of retail operations and development, across the national museums of Wales. Catherine is currently leading on a transformation project to create immersive retail experiences in each of the museum shops, reflecting the visitor experience and collections of each of the varied museums.Guests Also Featured in This Episode:Anya Kirkby, Freelancer - Anya Kirkby Ltd – Product Development and Graphic Design anyakirkby@gmail.comArantxa Garcia, Freelancer - Exibeo VM Creative Studio – Shop Design and Visual Merchandising Arantxa@exhibeovm.co.ukNia Elias, Director Relationships and Funding, Amgueddfa Cymru nia.elias@museumwales.ac.ukGuy Veale, Freelancer – Freelancer - Sound artist/designer - gbveale@gmail.comAmy Samways, Shop Supervisor, Amgueddfa Cymru - amy.samways@museumwales.ac.ukKate Eden, Chair, Amgueddfa Cymru - Members of Board | Museum Wales Transcriptions: Paul Marden: Welcome to Skip the Queue. I'm your host, Paul Marden. So today you join me on the top of a mountain in Blaenavon in Wales at Big Pit, the National Mining Museum. I'm here today for a really special event. I've been invited to the opening of Big Pit's new Museum Retail experience, which is a programme of work that's being done by the Museums Wales Group to improve the sense of place and the sense of feeling for what could be a blueprint for the rest of the group. We're going to be joined by a number of different people that have taken part in the project and without further ado, let's get started on our tour of Big Pit. Catherine Pinkerton: Morning, everybody. Hello, welcome. It is my absolute pleasure to welcome you all today and I know there's been a lot of you'd have travelled far and wide, so thank you so much for your time. I really appreciate you coming to see the amazing store that we've created and I hope you love it. We're just going to cut the river now. Paul Marden: First up I've got Catherine Pinkerton, Group Head of Retail at Museum Wales. Catherine, welcome to Skip the Queue. Catherine Pinkerton: Thank you very much. Thank you so much for having me. Paul Marden: Absolute pleasure. And this is a corker of an episode. I think everybody is going to be really interested in finding out about the retail, the gift shop experience that you guys have introduced at Big Pit and then you're going to go wider into. Into Museums Wales. This is a really weird episode because you and I are recording the morning after the day before. So yesterday was the big launch event and I was with you at Big Pit and I've met lots and lots of people and we're going to cut to them throughout the episode and hear from those people that were taking part in the project. But you and I have got the benefit of having enjoyed yester today's event and we can look back on what that experience was like and talk a little bit about the project. Paul Marden: Before we do that, I think it would be really lovely for you to introduce yourself and tell us a little bit about Museums Wales and Big Pit specifically. Catherine Pinkerton: Absolutely. Okay. So I'm Catherine Pinkerton. So I head up all of the retail stores within Amgueddfa Cymru, which is National Museums of Wales. I've been with the museum just under three years and I'm good that Cymru hosts seven sites. It's an incredible establishment to be part of and I think, you know, coming from a very commercial background, this is very different for me, but I think it's given me lots of insights into bringing kind of. Lots of. Kind of different skill sets, I guess, to this cultural sector. I think when I first initially joined Amgueddfa Cymru, there were lots of challenges. And that's not to say that we still have those challenges as they are in many of our museums. And I think coming from a retail background, it's. It's looking at something that's not. That's commercial, Paul.Catherine Pinkerton: That's key. But actually, how can we make it very collection and story based on our amazing assets that we hold within our museums? And I think that I felt was probably the biggest thing that was missing because I thought we've got these amazing exhibitions, these amazing collections, amazing, you know, opportunities, and how are we putting that into the retail structure and how do we offer that to us, you know, to our visitors? And I think. I think sometimes it may be. Have forgotten that you go around these amazing spaces and it's very based on that visitor focus and how can we make that visitor feel very happy and engaged. But actually the end part of that process is nearly always coming through, exiting through the retail space. Right. Catherine Pinkerton: And if they've had this amazing opportunity to go and, you know, a lot of investment in these amazing spaces, and then they come through that retail space which has some elements, but not all of what our collections hold, there's a confusion there. You know, that end piece. And for me, customer service and visitor experience is absolutely key to how they. How they finish and how they end their day. And if they're ending their day with something, oh, okay, I'll just have a magnet then. Because there's nothing really else here. Yeah, that pains me. That really hurts me. I think, come on, guys, we can do better than this. We are in an element of. We have our own assets, our own elements to be able to kind of display that. Catherine Pinkerton:  And I think very much it would be very easy and to take the kind of easy road of having, you know, let's. Let's pop a dragon on a mug and yeah, we're a Welsh museum. No, we're not. We have assets here. We have beautiful exhibitions, we have beautiful spaces. And actually looking from further afield into. In terms of an emotional connection. And I think, you know, for me, from all of my past kind of previous work, I'm working with Amgueddfa Cymru. It's probably been the most challenging to get perhaps senior management to understand a crazy way of Catherine Pinkerton working into a. What's emotional retail? What does emotive selling mean? This lady is crazy. What's she talking about? But actually, it's really basic, isn't it? Catherine Pinkerton: Because for me, if I take my daughter or my husband to any kind of day trip, I want to take something emotional that I've connected with home with me, and that's so simple. But actually, sometimes it's not thought about in that way. And, you know, for me, I'm all about the emotional connection. And I think we put so much investment in curatorial teams to kind of give that to our visitors. We need to end that. That end part is so important for them to finish, you know, that journey with that emotional connection that they can take home as a souvenir. So, yeah, I've probably said more than I needed to there, Paul, but.Paul Marden: Absolutely. So I think you're capturing the need to curate the. The ending experience because, you know, the nature of. The nature of people's memory is they remember the beginning and they remember the end and the bit that is in the middle is hugely important to the storytelling experience they have whilst they're at the attraction. But if you don't end on a high, then their emotional connection to you and the space and the stories they've heard is not going to be as impactful for them. Catherine Pinkerton:  Absolutely, totally agree. I think it's really key, and not just in the kind of, you know, the cultural sector, but in any sector, really. I think it's really important that connection is instant, really, because that is what you need to. That's the hook, isn't it, of getting that person, you know, and. And actually understanding what the visitor needs. I mean, it's very easy for me to say on a personal level, I'd love to have this collection of products within the shop, but actually, that's not what data tells us. That's not what our demographic tells know, you know. And they are the ones that are important. Our local communities, our demographic is key for us to be successful. Paul Marden: You know, so one of the things that I took from yesterday was the importance that you were moving away from being just any other generic Welsh gift shop to being a gift shop associated with the place. Yeah, that. That's the. That was the nub of I think, what you were trying to get to how do you go about doing that? How did you make it feel so much like a gift shop? About Big Pit? Catherine Pinkerton: It's taken a process of really pulling everything back and getting under the skin, what is the detail and the personality of the site. But actually it's talking to people and being humour. And Paul, you know, I think, very much, as I say, it'd be very ignorant for me to say this is what I think will work. And that's absolutely not what we want. What we want is for the visitors to say, I really. I mean, what was really interesting, actually, is that we did quite a lot of data analysis in terms of the demographics of customers that come through our sites. But also what was really key is areas of the sites that were really kind of, you know, three key areas that they really enjoyed or they really loved. Catherine Pinkerton:  And actually, one of the top ones was the pit ponies that they all love the pit ponies, they love talking about it, they love the stories that the mining team would talk about. It was a really inspiring, you know, inspirational moment for them to think, oh, my gosh, the pit ponies lived underground. This is really so, you know, I think in some respects that was probably missed in terms of our retail offer, because what we did after that is that we had a workshop with all our retail team and we almost did a little bit like a Dragon's Den effect. We said, right, these are the products that we have, right? Can you pick up out of these products, which products represent the pit ponies? Which products represent the shower rooms? Catherine Pinkerton: And actually, when you're talking to the teams in kind of a literal sense, there wasn't a lot within our retail offer that we already had. And I think it was a bit of a light bulb moment, really, for the retail team and said, “Oh, Kath. Right, I see, Yeah, I understand what you mean.” That's not represented in our retail offer. So what's represented currently was wonderful things and lots of Welsh kind of products. But actually, what. What makes that relatable to our site? And so I think what I wanted to do originally is just go on a journey and to kind of really, from a very basic stage, is understand what the site's POS was and actually understand what their personality was and what the curatorial team were trying to push forward as being their identity. Catherine Pinkerton:  And I think once we got the identity, we then broke that down into themes in terms of there's pit ponies. That's a huge part of the, you know, the exhibition. The other huge part of the exhibition were the canaries. So, you know, that was something that was talked about. There's a huge story around that. And then, you know, the kind of mining history and the community was massive. And actually that element was so important to me and the retail team to make sure that we got right. Because this is history, right? And this is. I come from both my grandparents were miners. So for me it was very much a, you know, a very emotional time for me to make sure that we got it right and that it was respectfully done. Catherine Pinkerton:  So that was really key in terms of how do we deliver this. That's really. That we are not stepping on people's toes. We're not profiting from something that was, you know, the strike range is very significant within what we've offered, but we really wanted to make sure that was respectful and that it was done in a tasteful way that people felt they could take a souvenir away, but know that was actually part of the exhibition. So it was those kind of areas that we really wanted to work. So once we have those themes in place in terms of what those looked like, it was then developing that and how do we develop that into an actual concept? Paul Marden: Yeah, and you've drawn in lots of people. You've already mentioned the kind of wide team that you brought in from Big Pit itself, but from the wider team in the group. Talk a little bit about what that experience has been like as a team. Who have you brought into this? Catherine Pinkerton:  So originally, when we wrote the retail concept and the retail strategy, you obviously have to kind of involve quite a lot of internal candidates to be able to allow them to believe that this journey and vision is a good one. And I'm super thankful. I've got the most amazing manager, Marc Simcox. He's the head of enterprises and he is incredible. He's very commercial, but very trusting in terms of understanding what the business should look like and actually giving that freedom to say, yeah, I think this can work. Kath. So you, you go ahead and that. That's huge. Right. We're not talking about a small project here. So that firstly was great for me. And then I think having the, you know, the opportunity to be able to get some key people. Catherine Pinkerton: And Matthew Henderson we've worked with previously and we've, you know, I knew straight away, for me, Matthew Henderson has gotten. Got a very unique way of working and we work very well together. We've got quite similar kind of ways of working, but I think that development and concept phase is really key and I think it really got to the point where we just sat in a room and kind of really understood what are we trying to achieve here, how can we achieve that? And really just making it very basic in terms of the key themes. And then in terms of product development, we brought on Anya Kirkby. So she is an illustrator and a very clever lady indeed. And we have worked with lots of illustrators and lots of suppliers over the years. Catherine Pinkerton: But what we wanted something for Big Pit was to be quite different in terms of the illustration and the product development. Because what we wanted to deliver with Big Pit was something that had been my vision since the very beginning when I started with Amgueddfa Cymru. And that is, you know, going into the shop and having those guidelines, you know, pricing guidelines, information guidelines, those small details which would probably mean nothing to the average person walking through, but actually a price ticket on something that's been illustrated pains me to see, because the work that's gone on behind that is so key. Catherine Pinkerton: And, you know, for most people not understanding that a price ticket on that is so I think those details are really key, Paul, and I think she really worked stringently with me to make sure that was, was, that was kind of a massive aspect of that role. And then Arantxa Garcia, who is just the most incredible designer. She's, she's a genius in what she does. She's incredibly creative and sometimes you have to kind of pull her back and say, okay, you want this? Okay, can you deliver this rancher? Paul Marden: Yeah. Catherine Pinkerton: And what was really interesting with a rancher is that, you know, she's got a huge, amazing CV of working with lots of people within the cultural sector and designing amazing, incredible pieces. But I think were very nervous because the, the original kind of renders that she sent through to us were quite amazing and impressive. And I said, arantha, are you able to deliver this under the kind of, you know, the budget? We've got a tight budget here. Paul Marden: That's the challenge, isn't it? Catherine Pinkerton: I mean, isn't it? Paul Marden: You do not want to be paying, you don't want to be offered the picture of a Maserati when you have got a Ford Fiesta budget, do you need to know that you can afford it. Catherine Pinkerton: Absolutely. And I think with Aranta, she was very, again, super creative lady. And I think I, as soon as I saw that image, I did say to her, right, you need to deliver this now. You've, you've committed to it, Arantia, so this needs to happen. And then finally, Richard Evans, who has, is hugely respected in the cultural sector and he really supported in terms of project management and the, you know, I hate to say this, and you won't mind me saying this, but the kind of boring kind of financial Gantt charts and keeping me in line actually. Right, Cath, we haven't got a budget for that. You can't spend that. Come on, Richard, make it work. Move some things around, you know. Catherine Pinkerton: So I think that was kind of the main area and then internally, Tracy Lucas, who was kind of my right hand woman, is our operations manager within Amgueddfa Cymru and she really supported me along with Amy, the shop manager, shop supervisor to really look at the product development. So I think, you know, and I think it was really nice actually to have them on board because I think it gave an opportunity for them to see what could be. And I think, you know, definitely in terms of retail, it's been an opportunity for us to be able to say, look, this, the impossible can be possible. Catherine Pinkerton: Actually this is an amazing project and I think what was really incredible is that when we decided to work on Big Pit, the Big Pit team and all of the mining team actually just came on board, Paul, they took it on board and I think the reason why they did that is that one of the mining teams said to me, he said, kath, you know, we never get any funding here. It's always in this big cities, you know, we, the Cardiff and it's never here, you know, we're just in the middle of nowhere. And I was like, absolutely not. That is not what this is about. It's about, you know, making sure that the community in that area is solid. Catherine Pinkerton: And I think the mining industry and they're very proud of that in terms of who works there, they're incredibly proud of what they do. And so because we chose that as our first project, they were so helpful in terms of, yeah, we're going to make this work, let's make it a success. Cath, how can we do that? What do you need from me? I mean at one point we had two of the mining staff pulling one of the drums which we upcycled out of it was like a lake or, yeah, I suppose a lake with a tractor. And I was like, this is crazy. This is crazy but just amazing that these team members are willing to do above and beyond to kind of go and help and support.Catherine Pinkerton: Dwayne Smith, finally I have to mention him because he went above and beyond. He, he's an electrical engineer for Amgueddfa Cymru and no feat was kind of Too hard for him. He helped us massively. He's got a huge team of people and anything that we needed done, I'm not, you know, I'm not a trades person, so anything Trady. I was like, Dwayne, yeah, I'm on it, Kath, I'll do it. Which is great because I was like, okay, yes, that was massively helpful, but huge learning curve, Paul. I feel I've never been so excited about drums in my entire working career as I am now. Paul Marden: And I never heard of one until yesterday. But what I found interesting was you see them all the way through the underground experience. I went down in the. The cage to the bottom of the pit head, did the whole tour. You talk about these drams and the importance of them and the transportation of the coal from throughout the mine back up to the top. And then you walk into the shop and it's subtle. The way that you've blended the museum into the shop is a subtle experience. It doesn't feel, it doesn't feel crude. But you've got a dram in the middle of the workshop. Now, I know it's a real one because we talked about it yesterday and I know the pains that you went through, but it's very subtle placed in there so that it doesn't feel crude. Paul Marden: It doesn't feel like you're trying to overwork the metaphor of the mine in the shop. It's very cleverly done. Catherine Pinkerton:  Oh, that's great, great, great to hear. Because that's absolutely what we did not want. And I think in terms of visual merchandising, actually, and picking up on your point there, is that it's very easy for us and this is something that we're doing in a different shop. It's very easy for us to look at some of our assets and pop them on a tote bag and say, there you go, that's done, we'll sell that. But actually, no, what can we do that's different? That's more kind of innovative? That's more creative. That is a hint or perhaps an opportunity for us to show and display something that is. Is then part of the visitors question. So when they're coming into store and they're speaking to our retail teams, they're questioning, is this a real drum? Catherine Pinkerton:  You know, and that is a conversation opener, isn't it? You know, and I think Kerry Thompson, who is the curator for Big Pit, he's a really inspiring man. I could listen to him all day. And he told me lots about kind of the drums and the history of Big Pit and the strikes. He's such an interesting man, but I think having the inspiration from him allowed us to make sure that we did it not in a crude way, actually, Paul, but that it was representative of the site, but not in a way that's, I guess, too obvious, you know. Paul Marden: Look, Kath, we could carry on talking for ages, but let's cut at this point to hear about some of the voices from the team that you worked with, your internal team, some of the partners that you worked with, about the experiences that they've had on the project. Paul Marden: So let's hear from some of the internal team members involved in the project. Firstly, we have Amy Samways, the retail supervisor at Big Pit, followed by Kate Eden, the chair of Museum Wales. And lastly, Nia Elias, the Director of Relationships and Funding at the Museum of Wales. Hey, Amy, how you doing? Lovely to meet you. What's your role at the museum, Amy? Amy Samways: I'm the shop supervisor for Big Pit. Paul Marden: What have you been doing in this whole project? I guess you've been integral to the whole kind of making it all about the place. Amy Samways: Yeah, so I've worked with Anya, who did all the products for the new shop. So we walked around all the exhibitions. We did a lot of underground visits and a lot of museum visits and just put things together. I've done a lot of work before this project for the last two years to try and get things more relevant to us and not just a Welsh souvenir shop. So a lot of those products stayed and then we just expanded them then. Paul Marden: So how do you go about looking for those products that make it local to here? Amy Samways: Well, we've got a fantastic exhibition at the top of the hill. We've got obviously our ex miners and we also have a lot of events through the times as well. So this year was a lot about the strike because obviously it's the 40th anniversary and we've got a massive exhibition down in Cardiff and also there's a smaller one up year as well. So we just walked through the museum and obviously, you know that disasters are obviously a big issue. We didn't want to make a big issue about those, but obviously they need. They're part of history, aren't they? So more books. We made sure we had books around that. And as you walk through, there's a lot of signs that the staff liked as well, because a lot of our guys have been done about the new projects with those as well on. Paul Marden: So do you then go looking for local suppliers to help you with that? And where do you find those? Amy Samways: Etsy, Facebook. Paul Marden: Oh, really? Amy Samways: Yeah, a lot of them. And also online. And then we've also. Because we work with a lot of suppliers as well, I'll say we need this and then they'll say, oh, you should ask so and so, and then we'll go and ask both. Paul Marden: Brilliant. So one of the things that's really interested me this year is talking to people that are running museum retail and that kind of process that goes from you as a buyer, having an idea, what do you want? How do you stock the shop? I think is really interesting process to go through, but flip it on the other side, as a local creator, you've got your thing and you want it in the shop. How do you get it found? Well, yeah, sticking it on Etsy is something that they're going to do, but then that might help them get into the museum. Amy Samways: Even if there is something that we want. Like at the minute, we're looking for NCB soap. Paul Marden: For what? Amy Samways: NCB soap. Paul Marden: What's that? Amy Samways: It's either bright green or bright pink and they used to buy it in the canteen shop and it's just imprinted with NCB. The guides have been asking and asking for it, but we have actually found a supplier now who's going to be working on it. So that should be coming this summer. Paul Marden: Wowzers. Amy Samways: Yeah. That's really exciting for you. Paul Marden:  What was the highlight? What's the one thing about this space, about the whole experience of the project. Amy Samways: That jumps out for me is seeing all the stock we've worked on and somebody actually buying it. Paul Marden:  And what is it that people are picking up? What are they walking in and gravitating to? Amy Samways: Anything Big pet, really. The little enamel little mugs have gone really well. I think the wording on those are great because it says they must not be removed from the premises. So our guides are loving those. And also our retro sign, which we had for our 40th anniversary and three years ago, but we kept it because it's such a brilliant design. It was the original from 1983 and it was on the original road sign as you drove in. So we've had that recreated and that sells really well. Paul Marden:  That's really interesting. So my wife with the family about 25, 30 years ago, came on a family holiday and they had the original guidebook that they picked up when they were here with the kind of the retro. Retro signage on there. Amy Samways: Yeah, we're back selling it again. Kate Eden: Yes, So my name's Kate Eden. I'm chair of the board of Amgueddfa Cymru. Paul Marden:  Tell me a little bit about your involvement in this project. Kate Eden:  As the board, we've been tracking the development of commercial and enterprises over the past year. Really. And really thrown our way, weight and support behind what the team has been trying to do here as a kind of flagship, really, for what we would all like the new benchmark to be across all of the seven sites of anger for Cymru. So seeing it all come together this morning has just been such a special experience. It's absolutely fantastic. I'm going to bring the rest of the board here as soon as I can so the trustees can see this and see the reaction of staff and of visitors as well, because it's a fabulous achievement and it shows us what we can do now as a national museum. Paul Marden: How well does it tie back into the original pitch at trustees? So I'm a trustee of a charity as well. The pressures that we're all under in terms of reducing funding and having to generate our own funding is so hugely important. This must be integral to the conversations that you were having as trustees. Did you have this in mind when you were signing off the agreement to spend the money? Kate Eden: Yeah. So I don't think anybody realised just how successful this could be. We'd had some mock ups and we'd had a presentation, so there was a lot of excitement and there was sort of the fledgling idea years. So we've got a sense of what it could be. But I think importantly for us, it's about that marriage of financial sustainability because it's got to wash its face, it's got to provide a working profit that can go back into the running of Big Pit here.Kate Eden: But it's got to be authentic to this place. It can't be the add on the visitor should shop that you walk through at the end. And it's a bit of a tedious thing to get back to the car park. It's got to be an integral part of the whole visitor experience in this place. And I think that's what they've achieved. Paul Marden: It's so impressive. So impressive. You know, just the structure that they've built to give you the impression of the mine in a really subtle way. The product that they've chosen, the way that they've laid out that, the shop is amazing. I think they've done an amazing job. Kate Eden: That's it. I mean, this is my local site. Paul Marden: Okay. Kate Eden: I live about three miles over the mountain there. So I bring my friends and family here. This is our go to place when I've got visitors. And I think just the way they've opened up the room, they've removed the barriers, which is really important. It's a small thing, but really important so that people feel welcome. They can walk in or they can walk ground. Paul Marden: Yep. Kate Eden: And it's. And it just feels a little bit more inclusive. It feels a bit more kind of, you know, we're here, it's easy to come and see us, you know, and spend time and then spend a little. Paul Marden: A little bit of money. Yeah. So where do we go from here as trustees? Are you fully behind rolling this out now? Kate Eden: Yeah, I mean, I think now that we've seen what we can do and the type of data that's coming through from sales, this is now the new. This is the bar. Paul Marden: Oh. So it has made a discernible difference to say. Kate Eden: So early data from Easter is really promising. Yeah. So this is the benchmark now from all of the other sites. Nia Elias: Hi, Paul. Hi, I'm Nia. Paul Marden: Lovely to meet you. Tell me about your role at the museum. Nia Elias: I am Director of Relationships and Funding. It basically means I get to work with all of the teams across the museum that work on the reputation, the reach, but also the revenue of this wonderful charity and national museum that we are. Because as well as getting funding from Welsh government, we raise our own income so it can be invested.Paul Marden: What sort of split? Nia Elias: What sort of split? So the majority of the money that comes to us does come from Welsh government because we're a public service, we're here free of charge for the people of Wales and we look after the national collection, which is over 5 million items across seven museums and a collection centre. Nia Elias: But there's a proportion then of money that we raise ourselves about sort of 30%, which is from our cafes and our car parks and the experiences that people have, and most importantly, our shops. Paul Marden:  So what was the inspiration for this project? Why kick off a strategy project around the whole retail experience? Nia Elias:  Well, this whole project, in essence started three and a half years ago when the museum decided that it would bring a strategy together for all of its self generated income. So that means our philanthropic income generation and through our enterprise, including our retail. And from a retail perspective, we knew that what we wanted to achieve with all of the money that we raise ourselves is that it's really rooted in the collection, because we have an amazing collection. It tells the story of Wales and it's owned by the people of Wales. Paul Marden: Right. Nia Elias: And from a retail perspective, we knew if people could engage with that and could take away something from the wonderful experience that they've had on site, that it would be something that they would want and it would make it unique that it's only possible to have here. Developing a project like this is quite challenging. You need the time, you need the teams and expertise, some of which are on your permanent team, some of which are naturally not. And also you need investment. And so by starting the thinking and the route of where we wanted to get to three and a half years ago, it meant when we had the funding and the opportunity to do so here at Big Pit, we knew exactly what to do. Paul Marden: Okay, so you. You put all of those pieces together and then came here and did the first cookie cutter stamp. But what's interesting is it's not a cookie cutter stamp, is it? This totally feels like the gift shop for this museum, doesn't it?. Nia Elias:  Yeah. So we feel really strongly that we wanted the balance of knowing that you're at a National Museum Wales site, knowing that you're somewhere unique, but equally that it has a sense of a place. Because all of our seven museums together tell the holistic story of Wales, but you really get a sense of personality on all of those sites, not just from the collection and the buildings and the items, but also from the colleagues that work here as well. Paul Marden: Right. Nia Elias: They're very much a part of that in terms of the stories that they tell, their lived experiences, and we had a sense of responsibility and fun to bring that through in the shop. Not just the ambiance, but also the products themselves, so much of them, the majority of them actually, are grounded in being inspired by the collection in some way, and also has a really strong Welsh and local profit as well. What we think that will come through to our customers and visitors and guests is that because we've worked across all of the teams in the museum, so curators and people who care for the collection, our colleagues here at Big Pit, many of whom are former miners, and our colleagues front of house, it means that everybody will be able to speak about the product. Nia Elias: So as you're walking around picking things up, imagining them in your home or as gifts, our colleagues can talk about what they mean to the place. And that brings something additional that you can't really buy. Paul Marden: Yeah. There's a story to it. There's a background to it that roots it. Yeah. Lovely. For you, what's the standout experience from the whole project? What have you enjoyed the most? Nia Elias: Two things I think in terms of the way that it's been done, the fact that so many teams have worked together behind the scenes to make it happen. That means that as we want to change things or tweak things or improve things, we'll have all of the knowledge and expertise already baked in, especially learning from other suppliers who've come along and helped us. So we've got that baked in now, which is really exciting. And the second thing is that I can stand here knowing that this is the standard of a national museum that our guests and visitors expect and want to see. Paul Marden: And now let's hear from a few of the external partners that Kath brought into the project. Arantxa Garcia was the shop designer and visual merchandiser. Anya Kirkby was responsible for product development. And Guy Veal was responsible for sound design. Tell me about your involvement in the project. Arantxa Garcia: Sure. So I'm the shop designer and visual merchandiser. It's a freelance role, so. So I worked with the team, Matthew, Richard, Anne and Guy. Paul Marden: Excellent. Arantxa Garcia: So we kind of all came as part of a team and each one of us looked after different areas of the project. And my involvement was to kind of reinvent and reimagine what was already here. And the idea was to create a space that was connected to the experience and to the site itself. So we've basically ripped the space apart. We've kind of kept the structure, obviously, but we've opened up the space as well. Before the shop, it would be very separate. You'd have admissions and then you have the shop area, which meant that you were only really accessing the shop if you came to visit the site. But as a local, you wouldn't be able to come, for example. Or you could, but maybe not in such an open way. Paul Marden: Yeah, you wouldn't feel welcome. Arantxa Garcia: Exactly, exactly. You may not want to just because you didn't know, whereas now you can just come in and basically hang around and also browse the shop. Exactly. We took inspiration from life underground, from the mine itself. So before the building was white, the units were white, so it could be a shop anywhere. You know, it didn't really have a DNA, so to speak, or an identity that related it directly to the site. So when visiting down to the underground and King Call as well, the exhibition that we've got just up the hill, we took inspiration from basically sort of like the. The cladding that you've got on the walls. Cladding is not the right word. So if one of the miners hears me saying that, they'll be. Arantxa Garcia: That's not the word that we told you, but the idea is that all the materiality that we're using, it's really evocative of. Of the site and it's the materials that have been used underground. So even, like the safety lamps, they'll set authentic safety lamps. And the team on site, Dwayne Smith, has electrified them. So it means that now they work, obviously, as a normal light, but it's a safety. Paul Marden: But they are the original safety. Arantxa Garcia: They are the original safety. Paul Marden: Wowsers. And what about these styles? Arantxa Garcia: So, yes, I always like going for a hunt on the side. So basically the team took me to different rooms and we just found stuff, if you like. So they're like the pressure gauges, you know, we're gonna use them just to add, again, like, references to the site and the authenticity, of course. So you also find loads of tools that would have been used underground as well. Paul Marden: I would imagine that this has been a really enjoyable project for you. I can see it on your face, how much you've enjoyed it. Arantxa Garcia: It has. And I think for designers, sometimes there's projects that take a bit longer to emerge and you keep changing things because you just don't feel probably quite right. There's something. But with this one, it kind of. After the site visit, it was just. Paul Marden: I clicked immediately.Arantxa Garcia: It just clicked immediately. So we darkened the wall. So we've kind of given that sort of grey background just to kind of creating more of like a cosy and shrinking the space. Paul Marden: But you. It pops the orange. Arantxa Garcia: Exactly. And the orange is everywhere. So, like, we've also changed the lighting, so it's a lot warmer. So again, that hint of orange. Yeah, orange on the back, orange on the miners on here. And then it comes also from the products. So the identity is there, but without going fully corporate, if that makes sense. That's the colour that you remember, isn't it? You've just been on the ground. All our guides and miners wear the orange overalls and the sort of, like the blue jackets over it, whether it's a donkey jacket in the winter or then they wear the soft shells as well. So, yeah, it's all those details, like those hints to the experience that kind of are embedded in the design. And these are regional as well. The drums are regional, all the flatbeds. Arantxa Garcia:  So the team here took the metal sides off and then sort of like left the skeleton of the drum, varnished it. And then our shop fitters aren't here. They did all the sort of the cladding using reclaimed scaffolding boards. But the original Drums would have been made out of wood. Paul Marden: Beautiful. It's so tactile, isn't it? Arantxa Garcia:  It's tactile. Again, we're looking at the DNA all the time. And shops can be more than just shops. Shops can tell stories. You just connect with it in a very different way. And just having the time the team on site involved has been absolutely incredible. Like the sense of pride and belonging and provenance that this kind of has awakened, it's been great. It's your job done really as a designer. When you just feel like everyone owns it, that's your job, that's when you can walk away. Paul Marden: What an amazing testimonial for you and the work that everyone feels like that. Anya, lovely to meet you. Tell me, what was your involvement in the project? Anya Kirkby: So I mainly focused on product development. So we looked at where we could get inspiration from the site and how we could translate that really from the site experience into the shop experience as well. Paul Marden: Okay, so you're coming, you're experiencing what's going on and then looking to the outside world as to how you can source your products. Where do you go for the inspiration for the products? Anya Kirkby: Working with the team a lot. So Amy was a huge help on guiding us on what things would be very useful for visitors, what they really enjoyed when they were on site, what were their key take home messages that they experienced. And then working with Amy and Tracey as well to look at what products people like when they're in the shop anyway and how we can kind of marry those two up. Paul Marden: So what is it that people like when they come to Big Pit? Anya Kirkby: Well, unsurprisingly, the mine, they enjoy the mines, the mining experience. So that was just something that we already had in the shop. So we just expanded on that more if possible. But then we've also taken inspiration from signage. So they already had the original Big Pit signage and we looked at that and kind of again expanded on it. So then we've kind of expanded that to signage that you find in some of the other exhibits. So up in the showers, for example, in the canteen, signage, some of the original pieces from collections. We then translated that into products. So you'll see we've got the designs across mugs, original little metal signs, moved that across to prints, notebooks, postcards. Paul Marden: You've been developing a lot of the products yourself, so bringing that kind of the unifying feel to everything. Anya Kirkby: Yeah. So along with product development and making all the kind of the new things that we can have it's just bringing across the branding through the AC brand really strongly across everything. It's got such a strong message that we may as well have that on as many products as we possibly can do. Paul Marden: And how much of the stuff is actually locally sourced? Anya Kirkby: Oh, it's huge amounts. And the exciting thing is after speaking to Amy, the things that she needs to reorder are the local suppliers, which is so nice. So a lot of the confectionery that's locally sourced candles, soap, the coal figures, the wooden spoons, chocolate boxes, the biscuit boxes. So as much as possible. And then we've worked with local suppliers as well to do photography, to do some of the signage, to do the original signwriting in the shop as well. So beyond products, we've looked at the POS points like elements of the shop as well. So thankfully we've used as many local spires as we possibly can. Paul Marden: You've enjoyed this project, haven't you? Anya Kirkby: I absolutely loved it, yeah. It's fantastic to see it's absolutely amazing. Paul Marden: Yeah. Anya Kirkby: So yeah, it's really special. Paul Marden: And then from here you springboard on to the other seven sites. How do you, how do you come up with the ideas then? Anya Kirkby: Exactly the same process. So working with the teams to find out what it is that visitors absolutely love about their sites and bringing that into the shop experience. So again I get very lucky. I get to go around a lot museums and experience it. Paul Marden: It's a tough job, isn't it?Anya Kirkby: It's tricky. But basically finding out what they love and bringing that through the really things that visitors take home with them anyway and just making it into a product that they can actually physically take a piece of the museum home with them as well. Paul Marden: It's great because there are some pocket money items here because I take kids on school visits and it's a very expensive experience. You know, if they catch take a fiver with them, often they can't get anything with a fiver but they can walk in and they've got pencils, they've got rubbers and they'll walk out happy with those little bits. But at the same time you've got some beautiful stuff that the grown ups can come and pick up and really enjoy. Anya Kirkby: It's the same as any museum visitor. You kind of have to look at who's going to be visiting. It's all types of people that come and just gauging it from that as well. So having an offer for everyone that they can enjoy. Someone said to me once that children for the first time. It's often their first time having a transaction monetary wise. Is that a museum on a school trip? So it's just lovely to kind of have something for them to experience that as well. Paul Marden: Never thought of it like that. They're out on their own. They're not with mum and dad. So they've got the money themselves and they've got to make the decision. So we are at. I took some kids to the science museum last year. Anya Kirkby: Oh. Paul Marden: And the amount of time we took in the shop because of the indecision that they had. Anya Kirkby: It's the indecision decision and then the queue of all them having a five pound note and having all the change come back or not having quite enough. But I think it's such an important. If you can't do that in a museum, where can you do it? Paul Marden: Guy. Hi. Guy Veale: Hi. Paul Marden: I just wanted to talk to you a little bit about what was your part of the project? Guy Veale: I was sound designer for the soundscape which we can't hear when everyone's chatting. Paul Marden: I can hear some birds in the background. Is that. Guy Veale: Is that canaries? Living canaries. Not dead gas. Paul Marden:  Coal mine canary. Guy Veale: So I did a little bit of research sort of towards the end of the project after lots of stuff had been built in, when they decided that some low level sound would be a good part of the experience. And looking at the brief and the shape of the room, the acoustics, a lot of this new ducting that's gone in that was not then easy to put cables into. We had to go for a wireless solution. Paul Marden:  Okay. Guy Veale: As part of that I found a Swedish company that had a system that creates its own network which is like a weird dream because normally you've got to go the IT guys and then something goes wrong and there's some sort of address problems or. Bluetooth is not always reliable. This has been a revolution just in terms of. Guy Veale: Don't if you can see them. There's little. They look like light fixtures that are centrally over these panels. Paul Marden: Oh right. Guy Veale: And they're quite. Paul Marden: Oh. And so they're speaking speakers pointing down onto the panel to separate it. So what. What. The other kind of sound pictures that you're painting. We've got the canary. What else have you got? Guy Veale: So the whole idea is that you're trying to represent the industrial heritage of the site and have as many authentic sounds from the site as possible. Paul Marden: Right. Guy Veale: So we've reused some of the really high quality recordings that also feature at different parts of the site already. Paul Marden: Yep. Guy Veale: But then, also sourced about another 70 or 80 sound from the BBC archive. Paul Marden: Oh, wow. Guy Veale: Paid for. And so. But if you think about those sounds, they're quite punctuated and aggressive. You think of any industrial sound and like chipping away or different tipples working. You know, the idea is that you don't want to surprise someone that while they're shopping and leaning over next to a speaker and hearing. So it needed to be softened in some way. And you know, traditionally the way I've done work is music and sound design is using different textures and tonal design and like a drone, I suppose, is this as a sort of basis that can be moving and organic, not totally static? Paul Marden: Yeah. Guy Veale:  And the idea was to sort of try and include fragments of relevant songs using the male voice choir.Paul Marden:  Really.Guy Veale: And we tried several things and I looked at it and I realised that you might catch someone coming in for five minutes here and they catch a snippet and it's all well and good for them, but the staff and you've got to hear this eight hours a day, every day, you know, four weeks, a month, so forth. So even just one little identifiable recurring melody starts to get too much, even on quite a long five. Paul Marden: Oh, really? Guy Veale: And I found that it wasn't sustainable. So I, in the end, I ended up using the. Almost like the vocal warm ups and breaths of the choir artificially extended out so they're not breathing, just this constant low level, breathy sort of expulsion. I mean, if went quiet now, we'd hear it as the. As a backdrop and it's embedded with a few other little musical elements that just sort of try and soften and support. I think of it like the vowels of the track and then the consonants. Paul Marden: Or the industrial chipping noises and the harsher noises. Guy Veale: So they're harsher but they're there and they're a bit removed and reverberate and in the background. Paul Marden: But it's really interesting how you describe it in that kind of. Using the metaphor of the letters. Guy Veale: Yeah, that's what it felt like. Just trying to find something that was like a vocabulary of work that has to tick so many different boxes, including like a therapeutic retail experience. People leaving the site with a sense of well being. Also like summarising what they've been through, not sort of projecting them out the door with, you know, a completely new thing or somewhere that they haven't been through yet. So, you know, fair few things to try and fit in there and, you know, hopefully it works and we'll see how things are in a year's time. Paul Marden: Yeah. Cath, the last point I wanted touch on before we finish today is oh my God, how happy everybody was at that event yesterday. How positive the experience was for all of the team members. What was for you the big standout moment for the entire project? Catherine Pinkerton: I mean, there's so many, Paul. But I think for me it's an opportunity to see what can be achieved when people collaborate. And I think, you know, joining the museum three years ago is really collaborating with lots of different departments to achieve something as a team.Catherine Pinkerton: Teamwork is absolutely the key to kind of success and I think you can only achieve that by having that really product professional kind of embodiment with all of the collaborative teams to work together for the same goal. And I, I was really proud yesterday that it took a lot of work, but actually without a team of 40 people as well as the wider organisation, it would not have been, it was no mean feat, but it was certainly wasn't just down to one person saying this is my project because it was a team effort. Catherine Pinkerton: And I was so proud of everybody that was there to kind of thank them along the way to say, this is, we've done this and now onwards and upwards. Paul Marden: Yeah, absolutely. You should be so proud. It really was. Catherine Pinkerton: Thank you. Paul Marden:  It's a demonstration of what a museum gift shop experience can really be like when you work together like that, when you collaborate. So well done to all of you. It was such a lovely experience yesterday. Thank you for inviting me. Catherine Pinkerton: Thank you so much for coming, Paul. I appreciate it. Paul Marden: Before we go though, I always ask for a book recommendation from our guests. Now it would have bankrupted me to have asked everybody yesterday for book recommendations. So you have to take the responsibility of a recommendation on behalf of everybody. What have you got for me? Catherine Pinkerton: The secret for me is, you know, that that book seems to be. I always go back to that book very often and I think it's a key one for lots of areas. So that's definitely a takeaway for me. But the other one I'm reading at the moment called A Monk's Guide to Happiness. I'm not sure if you've had enough to read it. Yeah, it's a 21st century take on A Monk's Guide. It's written by Gelong Thubten and he had a very high powered job and he had a burnout and interestingly he changed his whole mindset in terms of what makes him happy and really making it quite basic. Right. Catherine Pinkerton: So it's a, it's a real eye opener in terms of just pulling things back sometimes, you know, at the end of the day, come on, let's just live life and be happy but, you know, not stress out about things. I'm quite easy to do that. So this is very much a. Just breathe, Kath, get through it. But it's a good one. If you want to just strip it back and just kind of understanding the basics of being happy, then, yeah, he's great. Paul Marden: Oh, Cath, that's a great recommendation. If you go over to Bluesky and repost the show message that Wenalyn put out and say, I want Kath's book, then the first person that does that will get a copy of the book sent to them. Kath, it was absolutely delightful. I enjoyed my day wandering around Big Pit yesterday no end. Given that half my family is from the valleys and most of them were miners, I feel like I should have done this a very long time ago. But it was lovely. And to enjoy the experience of the celebration that you had yesterday, it was a real privilege. So thank you. Catherine Pinkerton: Oh, huge privilege to have you there. Paul. Thank you so much. I'm really appreciative. Did you purchase? Paul Marden: I did purchase on my way out. Catherine Pinkerton: Yay. Great, great, great.Paul Marden: Deal. Catherine Pinkerton: Deal. Thank you so much. Paul Marden: So after my trip 90 metres down to the bottom of the mine shaft, where I of course couldn't take microphones, I'm now back up on the surface, microphones back in hand and enjoying myself, wandering around currently in the winding house, which is where all the machinery is for lifting the cages that 90 metres down to the bottom of the pit head. I've had an amazing day here at Big Pit. It's been so interesting to see this museum and to talk to many of the amazing staff that have taken part in this big project to redesign their gift shops. Highly recommend a day trip to Big Pit. Really has been very enjoyable, if for no other reason, to see that amazing new gift shop experience. Paul Marden: Now, as always, if you'd like a copy of Catherine's book, head over to Blue sky and repost the show notice that Wenalyn will post out and say, I want a copy of Catherine's book and the first person to do that will get that copy sent over to them. So all that remains for me to say is thank you to Catherine for inviting me here to Big Pit today. And I'll see you again soon. Take care. Bye Bye. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

Send us a textMusic, madness, and way too many drinks — this is Riffs & Rhythms, baby.If you would like to SUPPORT the podcast, JOIN our Patreon page.https://www.patreon.com/RiffsnRhythmsPodcast.LISTEN on Apple Podcast, Leave us a RATING and Reviewhttps://podcasts.apple.com/us/podcast/drums-and-rums/id1503281559?uo=4In this wild and unfiltered episode, we welcome Treasure Coast outlaw-country artist Bethany Lynn — and nothing's off-limits. From quitting the music industry (briefly), to detailing yachts in hurricane season, to being allegedly banned from venues (thanks, Mom), Bethany dishes out hilarious and heartfelt stories about life as a working musician. We talk Nashville, carpal tunnel, retirement home gigs, and how old men flock to her like "flies on

**Treasure Vortex took over All Metal Mode Podcast Jan. 2022.**Gypsy's Just Digging It: A Beginner's Guide to Metal Detecting BookPublish 1/12/2024:https://www.amazon.com/Just-Digging-Beginners-Guide-Detecting/dp/B0CSZBP4BZ/ref=sr_1_1?crid=16YYZUOGA9CZP&keywords=just+digging+it+book&qid=1706570416&sprefix=just+digging+it+boo%2Caps%2C148&sr=8-1**Co-hosts are Gypsy Jewels:Website- https://gypsydigs.com/tiktok- https://www.tiktok.com/@gypsydigsYoutube- https://youtube.com/c/ZeroDiscriminationInstagram- https://instagram.com/gypsies_jewels?utm_medium=copy_linkAnd Amanda Digger DegazTiktok- https://www.tiktok.com/@diggerdegazYoutube- https://www.youtube.com/@DiggerDegazInstagram- https://www.instagram.com/diggerdegaz/**Treasure Vortex Facebook group- https://www.facebook.com/groups/treasurevortex/?ref=share**Theme Music by Porks and BeansIan Loch- Guitar, Bass, Train WhistleRon Gallant- Vocals, Drums, WashboardJon Hernandez- Banjo, Mouth harpBecome a supporter of this podcast: https://www.spreaker.com/podcast/treasure-vortex-podcast--2244406/support.

Who swings harder: Oscar Peterson with guitar or drums? In this jazz piano trio showdown, Adam and Peter go head-to-head with seven scorching tracks spanning OP's career. Team Guitar brings Barney Kessel, Herb Ellis, and Joe Pass, while Team Drums is anchored by the ever-swinging Ed Thigpen.  We break down comping chemistry, shifting textures, virtuosic solos, and how each setup shaped the trio's iconic sound. Which format delivered the best Oscar Peterson performances? Join us for a deep dive into Canada's greatest jazz export.

Today's track tells the tale of Richard McCaslin, a self-proclaimed superhero, who, disguised as the Panthom Patriot, invaded the Bohemian Grove in search of child sacrifices and other horrific crimes...in the off-season when the economic and political elite were not present. We provide the background on the story, as does Les Claypool in our associated live cuts. We also have with us regular contributor Matt Hunter, who models the bass riff, discusses the dynamics of the song, and helps us find where the pinky finger fits into the whole thing, as Les infamously broke his pinky finger during filming of a movie, and was unable to play this tune on tour for weeks as a reult. Lots to explore in this one - don't get radicalized!Get involvedInstagramFacebookEmailBurn your money 

Bang da damn drums mix by DJayCee is a harmonious blend of Afrobeats, Amapiano, house, Latin, and Raboday. The playlist heavily features tracks that boast a prominent drum beat. Enjoy the mix and don't forget to secure your tickets for the inaugural Bang da damn Drums event, scheduled for June 28, 2025 in Brooklyn, New York. 

Bang da damn drums mix by DJayCee is a harmonious blend of Afrobeats, Amapiano, house, Latin, and Raboday. The playlist heavily features tracks that boast a prominent drum beat. Enjoy the mix and don't forget to secure your tickets for the inaugural Bang da damn Drums event, scheduled for June 28, 2025 in Brooklyn, New York. 

This week we return to Hartford Connecticut for the second set of the band's performance on April 17, 1982.  This set starts out with a smokin' 'Shakedown Street' featuring some exuberant Brent runs and interplay with Garcia. They then go into a top version of 'Sailor>Saint' which culminates in a bit of a Spanish Jam before leading into Drums and Space. 'Uncle John's Band' comes out of Space, not a usual occurance, and leads too into a hot 'Not Fade Away'. 'Wharf Rat' takes the ballad spot, and they rock out with 'Around and Around'; into a killer 'One More Saturday Night'. You might notice there are no stops between these second set songs on this night. The encore, "It's All Over Now, Baby Blue' has some great Garcia vocals..   Grateful Dead Hartford Civic Center Hartford, CT 4/17/1982 - Saturday Two      Shakedown Street [15:03] > Lost Sailor [7:20] > Saint Of Circumstance [7:07] > Jam [5:28] > Drums [5:28#] > Space [8:50] > Uncle John's Band [9:00] > Not Fade Away [7:58] > Wharf Rat [9:41] > Around And Around [3:59] > One More Saturday Night [4:21] Encore      It's All Over Now, Baby Blue [6:59]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod050225.mp3   hope you have a wonderful first week of May!! 

Join Rich Redmond as he sits down with Parker McCollum's drummer Jonathan Bostwick for an epic conversation covering his musical evolution. Highlights include: [0:15] - From Ohio to Nashville: Jonathan's musical roots [0:30] - Uber driving days and early musician struggles [22:00] - Breaking into the country music scene with Parker McCollum [45:00] - Performing at massive venues like George Strait's record-breaking Kyle Field show 1:05:00 - Exploring drumming techniques and musical influences 1:20:00 - Side hustles: Jonathan's emerging passion for music production 1:30:00 - Personal stories about touring, kayaking, and navigating the music industry A candid, entertaining dive into the life of a rising drummer navigating the competitive world of professional music. Packed with laughs, insights, and musical wisdom.   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich: @richredmond www.richredmond.com     Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jmvos.com   The Rich Redmond Show is produced by It's Your Show dot Co www.itsyourshow.co

It's NU METAL! And John Stamos has never heard Papa Roach! But he plays drums to one of their iconic songs!

Send us a textGet ready for a wild ride! In this episode of Riffs and Rhythms, Kevin McLoughlin and Paul Robertson are joined by metal legends Bobby Gustafson (ex-Overkill) and Jim McCourt to talk riffs, rhythm, road stories, and their latest projects.If you would like to SUPPORT the podcast, JOIN our Patreon page.https://www.patreon.com/RiffsnRhythmsPodcast.LISTEN on Apple Podcast, Leave us a RATING and Reviewhttps://podcasts.apple.com/us/podcast/drums-and-rums/id1503281559?uo=4

**Treasure Vortex took over All Metal Mode Podcast Jan. 2022.**Gypsy's Just Digging It: A Beginner's Guide to Metal Detecting BookPublish 1/12/2024:https://www.amazon.com/Just-Digging-Beginners-Guide-Detecting/dp/B0CSZBP4BZ/ref=sr_1_1?crid=16YYZUOGA9CZP&keywords=just+digging+it+book&qid=1706570416&sprefix=just+digging+it+boo%2Caps%2C148&sr=8-1**Co-hosts are Gypsy Jewels:Website- https://gypsydigs.com/tiktok- https://www.tiktok.com/@gypsydigsYoutube- https://youtube.com/c/ZeroDiscriminationInstagram- https://instagram.com/gypsies_jewels?utm_medium=copy_linkAnd Amanda Digger DegazTiktok- https://www.tiktok.com/@diggerdegazYoutube- https://www.youtube.com/@DiggerDegazInstagram- https://www.instagram.com/diggerdegaz/**Treasure Vortex Facebook group- https://www.facebook.com/groups/treasurevortex/?ref=share**Theme Music by Porks and BeansIan Loch- Guitar, Bass, Train WhistleRon Gallant- Vocals, Drums, WashboardJon Hernandez- Banjo, Mouth harpBecome a supporter of this podcast: https://www.spreaker.com/podcast/treasure-vortex-podcast--2244406/support.

► Start Your FREE StephensDrumShed Drum School Trial Here: https://www.stephensdrumshed.com/sign-up/ Subscribe to The Drum Show podcast or I will steal your cymbals: https://tinyurl.com/36z96tnr  Check out The Drum Show on your favorite podcasting platform: https://linktr.ee/stephensdrumshed Subscribe to my main drum lesson You Tube channel here: https://bit.ly/2AyH1Fb FREE drum lesson series "Creating A Drum Fill Vocabulary": https://www.stephensdrumshed.com/creating-drum-fills-signup/ FREE download "30 Days to Better Doubles": https://www.stephensdrumshed.com/emailstuff/ 

In this episode of the Rich Redmond Show, drummer-turned-producer Ben Jackson shares his incredible story of musical reinvention. Dive into a candid conversation about transitioning from touring musician to studio wizard, navigating the Nashville music scene, and building a successful career by constantly evolving. Ben reveals insights into modern music production, the art of co-writing, and the importance of staying adaptable in the ever-changing music industry. Highlights include his work with artists like Gary Allen and Steven Tyler, his approach to studio recording, and the challenges of balancing creativity with business savvy. Whether you're a musician, producer, or music enthusiast, this episode offers a fascinating look behind the scenes of contemporary music-making.   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich:   @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:     @jimmccarthy www.jmvos.com   The Rich Redmond Show is produced by It's Your Show dot Co www.itsyourshow.co  

⭐ Find links mentioned in this episode here: https://www.fullvoicemusic.com/podcast/205/ ⭐ In episode #205, Nikki welcomes special guest Jeff Costello, an accomplished musician, vocalist, music educator, and voice teacher with decades of experience. Today's conversation dives into a surprisingly controversial topic: using YouTube as a teaching tool. While it's widely used, some voice teachers still see it as a less-than-ideal option for instruction. Jeff and Nikki unpack common misconceptions and share how YouTube can actually be a powerful and effective resource for both teachers and students. Tune in for insights, practical tips, and a fresh perspective on serving your students in the digital age on The FULL VOICE Podcast.

What are drums made from? What are different types of drums? How are drums used to communicate? Have you started your FREE TRIAL of Who Smarted?+ for AD FREE listening, an EXTRA episode every week & bonus content? Sign up right in the Apple app, or directly at WhoSmarted.com and find out why more than 1,000 families are LOVING their subscription! Get official Who Smarted? Merch: tee-shirts, mugs, hoodies and more, at Who Smarted?

RockerMike and Rob Presents: Walter EganWalter Egan is an American rock musician, singer-songwriter, and guitarist, best known for his 1978 hit single “Magnet and Steel.” Born on July 12, 1948, in Queens, New York, Egan began his musical journey in the 1960s and has remained active in the industry for decades. Early Life and Musical BeginningsEgan pursued a Bachelor of Fine Arts degree at Georgetown University, where he majored in sculpture. During his time there, he co-founded the band Sageworth and Drums (later known as Sageworth), which gained a reputation as one of the best and most original bands in the greater Washington, D.C. area. After Sageworth disbanded in the early 1970s, Egan relocated to Los Angeles to embark on a solo career. “Magnet and Steel” and Solo SuccessEgan's most notable achievement came with the release of “Magnet and Steel” in March 1978. The song, featured on his second solo album Not Shy, reached number eight on the U.S. Billboard Hot 100 and number nine in Canada. The track was co-produced by Egan, Lindsey Buckingham, and Richard Dashut, with background vocals by Buckingham and Stevie Nicks of Fleetwood Mac. Nicks also served as the inspiration for the song. “Magnet and Steel” has enjoyed enduring popularity, featuring in films such as Boogie Nights (1997), Overnight Delivery (1998), and Deuce Bigalow: Male Gigolo (1999), as well as in the HBO series Divorce. Later Career and Personal LifeFollowing his initial success, Egan continued to produce music, releasing several albums over the years. As of 2014, he had recorded ten albums, with his most recent at that time being Myth America. In addition to his musical endeavors, Egan has worked as a substitute teacher in Williamson County, Tennessee. Egan resides near Nashville, Tennessee, and remains active in the music scene. He is divorced, has two grown children, and continues to perform and record music. http://www.chillertheatre.com/http://www.walteregan.com/https://www.instagram.com/walterlindsayegan?igsh=MWE4bDIzczNodXh1aQ==https://www.facebook.com/share/19vpZMzz4R/?mibextid=wwXIfrhttps://www.facebook.com/share/15gqapiMSD/?mibextid=wwXIfrhttps://youtube.com/@lindsaythomas?si=4f7Yw07Fc4XeXbVJ#walteregan #stevienicks #christinemcvie #mickfleetwood#fleetwoodmac #bobwelch #johnmayall#tompetty #gypsy #golddustwoman#cassettetape #cassetteculture#goyourownway #rumours#witchywomen #NewMusic#MusicDiscovery #artistsyoushouldknow #generationclash #tracktapes

Visit Sweetwater via the link to enter this month's giveaway for your chance to win a FREE Vic Firth drum rug: https://sweetwater.sjv.io/9LJMa5 To support the show, check out Tim's educational resources here: https://bit.ly/3r3RBjh More ways to connect with Tim: https://linktr.ee/timbuell Podcast Rewind Playlist (on Spotify) to catch up on my favorite past episodes of the podcast: https://spoti.fi/3ExTvwv

► Start Your FREE StephensDrumShed Drum School Trial Here: https://www.stephensdrumshed.com/sign-up/ Subscribe to The Drum Show podcast or I will steal your cymbals: https://tinyurl.com/36z96tnr  Check out The Drum Show on your favorite podcasting platform: https://linktr.ee/stephensdrumshed This is a recording of a live student guest artist call I held for my students in my online drum school. Brittany Bowman is the drummer for pop superstar Demi Lovato. An insanely great drummer and a wonderful person to boot! Hailing from Chicago, Britt sold her soul to music at the tender age of five years old. Her innate sense of rhythm was discovered in the backseat of her mom's car as she hit the headrest to the beat of the music on the radio—The Beatles were one of her favorites. By the age of ten, Britt discovered Green Day and got her first kit, beginning her budding romance with punk rock and drums. By the time she hit 15, she was playing notable venues around the Chicagoland area such as The House of Blues and Bottom Lounge, just to name a few. At 21, Britt made the move to Los Angeles where she now has her own studio and works as a hired gun for artists such as Demi Lovato, KiNG MALA, Meg Myers, Royal and the Serpent, and Toni Cornell, among others. She also focuses on session work for artists of all genres, while developing her YouTube and Instagram following by posting covers and play-through videos. With a growing online presence, Britt has piqued the interest of reputable companies who have brought her on board as an endorsee, trusting her opinion and talents to showcase their products on camera. Britt is constantly honing her talents, as well as seeking additional opportunities to tour and build relationships with like-minded bands and artists. Subscribe to my main drum lesson You Tube channel here: https://bit.ly/2AyH1Fb FREE drum lesson series "Creating A Drum Fill Vocabulary": https://www.stephensdrumshed.com/creating-drum-fills-signup/ FREE download "30 Days to Better Doubles": https://www.stephensdrumshed.com/emailstuff/ 

Join Rich Redmond as he sits down with Gerald Ware, a multi-talented musician, Navy submarine veteran, and PhD holder. Highlights include: [0:00-0:15] Musical Influences: Gerald shares stories about bassist Joseph "Lucky" Scott [0:20-0:35] Musical Philosophy: Treating songs like relationships [0:45-1:00] Career Journey: From Navy submarine service to architecture and drumming [1:15-1:30] Comedians and Creativity: Discussion of Dave Chappelle and comedy [2:00-2:15] Drumming Insights: The importance of musical feel over technical speed [2:30-2:45] Personal Life: 25 years of marriage and raising three children [3:00-3:15] Future Plans: Traveling and enjoying life as empty nesters A fascinating conversation exploring music, service, creativity, and personal growth with a drummer who's much more than just a musician.   Follow Rich:   @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:     @jimmccarthy www.jmvos.com   The Rich Redmond Show is produced by It's Your Show dot Co www.itsyourshow.co                  

Today I sit down with an absolute legend Faith No More drummer Mike Bordin. This is a full deep dive into Mike's entire life, FNM, Cliff Burton, Drums, Korn, Black Sabbath and our love for the everything Day On The Green. This is definitely one of my all time favorite episodes with one of my favorite drummers ever. Dig in and enjoy. DDR Make sure you check out my brand new Stand Up Comedy Special 5836 out on my YouTube channel April 17th 2025 Website for my Tour Dates and Patreon https://www.deandelray.com/    

#556 MONSTER MUSIC MONDAY    - The episode focuses on reviewing and providing feedback on music submissions from listeners.    - Submissions are accepted via the Mike Herrera Podcast Facebook group, where artists can share their YouTube links.    - Critiques various aspects of the submitted songs, including production quality, vocal performance, and song structure.    - Offers constructive criticism and praise, highlighting both strengths and areas for improvement in each submission.   Some Advice and Tactics: Avoid Excessive Auto-Tune    - Use auto-tune sparingly and only as an effect. Overuse can detract from the authenticity of the vocal performance, especially in genres like punk rock. Simplify Intros    - Keep the intro of your song short and engaging. Long intros or unnecessary samples can cause listeners to lose interest before the main part of the song begins. Focus on Production Quality    - Invest time and resources into ensuring high-quality production. Good production can significantly enhance the listening experience and make your music more appealing to a wider audience. Duh!   Monster Music Monday Submissions: 1. BEN TROUBLES - BREAK THIS BALL AND CHAIN    New submission for Music Monday.    Punk Rock from North Carolina, Y'all.    Enjoy!   2. OLD TOWN ZERO - GRAPEFRUIT    A little side project about getting all my old and new music out.    This was me at 19 years young. I'm now 46 and still making silly songs.    MxPx back in the day helped me learn guitar as I was figuring out your early years songs.    Something fun, not for the fame, but for the enjoyment.    Finally in a place in life, putting myself out there to the world.    Would love to be able to be featured on Music Monday.   3. LAST CHANCE MARIE - WESTBOROUGH    Punk rock band from Bellevue, Ontario.    Have been around since 02/2007 with no signs of giving up.    Would love your thoughts on our latest track.   4. THE BOY DETECTIVE - UNREALIZED GAINS    Submitted by Brandon.    No additional information provided.   5. GRUNGE PUNKS - ASHES FOR BREAD    Grunge punk from the Fall Blues EP.    Grunge Punks is my punk rock heavy music side project.    Written and recorded by Aaron Reynolds, mixed and mastered by Jason Wisdom, released by the Charyn Collective.   6. WHAT YOU'RE MADE OF - WHAT DOES MARCUS WALLACE LOOK LIKE    A band from Sydney, Australia.    All about big sing-alongs and good times.    This is an older track of ours, but sums up pretty well what we sound like.   7. LYCHEE CAMP - LET'S GO SURFING    Submitted by Joe Markey from Florida.    Self-produced music and video, DIY or Die.    The kids are supposed to be little versions of us going around town in Tampa and getting into some hoodrat activities, gambling, vandalism, those kinds of cute harmless things.    A cover by a band called The Drums.   8. LET ME DOWNS - BROKEN PROMISES    Second single from the new Let Me Down's album North by Southwest.    New album released January 23 on Felony Records.    From the PNW, Tacoma represent.    Song has a kinda long lead into it.   9. DANNY ATTACK AND THE REVENANT HEARTS - MOMENTS    Submitted by Danny Attack from Jacksonville, Florida.    Music video for the song titled Moments off the latest record, Kiss You in Hell.   10. SURRENDER THE GHOST - SMOKIN' DOESN'T HELP     Submitted by Matthew Ellis.     New to the page.     Official video for your listening pleasure. Listen now! Share with a friend. Leave a voicemail- 360-830-6660 --------------------- Check out the new MxPx album 'Find A Way Home' at MxPx.com and streaming everywhere now! Listen or watch "Linoleum" here TEXT LIST - Join our Text list by texting MXPX to 31996 MXPX - Self Titled Deluxe Edition  I now have an Artist Series Music Man Stingray from Ernie Ball! You can order straight from the shop on the Music Man website.  A portion of proceeds goes to MusicCares! MIKE HERRERA SIGNATURE SERIES BASS If you like the podcast- Subscribe, rate and review on Apple. Support what I do at MXPX.com and also add MXPX and Mike Herrera to your music libraries on whatever streaming platfrom you use. Producing and editing by Bob McKnight. @Producer_Bob

 What a classic set list we have on this week's Deadpod. While this show took place back in 1991, none of the songs debuted earlier than 1972. Better yet, they are all played with joy and authority reminiscent of earlier periods in the band's history.  The tight opening China>Rider portends a great second set, and we are not disappointed for following this we have a fine 'Looks Like Rain' highlighted by some Healy echo on Bobby's vocals, then Garcia leads the ensemble into a long and dreamy 'Dark Star. The Star goes seamlessly into an interesting drums and space but then returns before leading into a continuation of 'Playin' In the Band' from the previous evening. Jerry then brings out 'Black Peter' in the ballad spot and delivers a soulful rendition. The set closing 'Lovelight' brings the crowd one last chance to shake their bones. Jerry returns for a great encore choice: 'It's All Over Now, Baby Blue'.    Grateful Dead 1991-04-01 Greensboro Coliseum - Greensboro, NC Two      China Cat Sunflower > I Know You Rider Looks Like Rain Dark Star [22:37] > Drums [8:20] > Space [9:46] > Dark Star [1:16] > Playing In The Band [3:28] > Black Peter Turn On Your Love Light Encore      It's All Over Now, Baby Blue   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod041125.mp3   "You must leave now, take what you need, you think will last But whatever you wish to keep, you better grab it fast"