Podcasts about Terry Kath

This episode of The Other Side of the Bell, featuring trumpeter, recording artist and co-founder of the bank Chicago, Lee Loughnane, is brought to you by Bob Reeves Brass.  About Lee Loughnane:   Lee Loughane of the band Chicago joins host John Snell today to talk about discovering the trumpet and committing to a career in music, the groundbreaking idea of putting horns front and center in a rock and roll band, and stories of writing and recording some of those famous and iconic trumpet parts!   Lee Loughlane was eleven when his father asked him if he wanted to play an instrument. His dad had played trumpet when he was a kid, all the way through his time in the Army Air Force, but the horn was now up in the attic. Fortunately, that meant Lee already had a great instrument: a Bach Stradivarius.   Lee's dad took him to meet the band director at St. Celestine grade school in Elmwood Park, Ralph Meltzer, who said “show me your teeth.” He wanted to make sure they were straight so the mouthpiece wouldn't tear up the inside of Lee's lip. Lee passed the visual audition and became a trumpet player that day.   Lee met Walt Parazaider at Depaul University; Walt was playing in a band called The Missing Links and invited Lee to come sit in with them. Terry Kath and Danny Seraphine were also in the band. When they broke up, Walt wanted to form a horn band, which was initially going to be a Las Vegas show band, but turned out to be Chicago.   Once they got signed to a record deal with Columbia Records, the group went to New York and recorded the Chicago Transit Authority album at the 42nd Street studio. Having never recorded before, it was very intimidating standing in front of a Neumann mic. These mics pick up every aspect of your playing, so there's a learning curve until you figure out how to relax and blend with the band. The group learned more and more about the recording process through the years and as the technology developed, they developed along with it.   Chicago continue to tour the world every year, including with original members Lee Loughnane, James Pankow and Robert Lamm. Lee has put together a traveling studio in order to record on the road, with much less overhead. The late great Phil Ramone advised them to, "Get a great mic and a great preamp." You can't start with mediocre stuff and make it great later. It's got to be the best sound right off the bat, then you can enhance the sound even more in mixing and mastering.   Lee and audio engineer Tim Jessup convinced the rest of the band that the studio was going to be good enough quality to make a record with, and they recorded a version of “Dialogue”, on the bus, one instrument at a time and then mixed. Everybody was so pleased with the final product that Chicago XXXVl was recorded over 2013-14 without going into a studio.   Chicago have kept very busy throughout their career, and it's not slowing down. In fact, they're busier than any of them could have ever imagined they'd be. As Lee says, "I can't think of anything I'd rather be doing."   What a pleasure to be joined in this episode by rock icon and horn legend Lee Loughnane, someone who helped pioneer an entire genre of music and gave horns exposure to a whole new audience.   Episode Links: Official Website for the band Chicago Cover art photo credit: Blushing Cactus Photography Podcast Credits: “A Room with a View“ – composed and performed by Howie Shear Podcast Host – John Snell Audio Engineer – Ted Cragg  

Kozy Bar, rounding up illegal immigrants, hockey talk, Matt from Duluth Stove & Fireplace, birthright citizenship, Terry Kath, and more...See omnystudio.com/listener for privacy information.

Send us a textMy guest is original drummer/co-founding member of "Chicago" and Rock and Roll Hall of Fame Inductee, the legendary Danny Seraphine! In this episode, Danny and I do a deep dive into several of Chicago's classic hit songs, breaking down his drum parts with Danny giving insights into how the songs were created and recorded. So come along for the ride and please subscribe! Visit Danny's website: https://www.dannyseraphine.com.  Chicago performing "I'm A Man" at Tanglewood 1970: https://youtu.be/DPZUgfOqAdg?si=RjpO2-yfnpYJ2TXfLive From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!Exciting news! 100% of the proceeds from Live From My Drum Room T-shirts goes toward a newly created Live From My Drum Room Scholarship with the Percussive Arts Society! https://pas.org/pasic/scholarships/ Live From My Drum Room T-shirts are made of soft 60%cotton/40% polyester. Available in XS-2XL. $25 includes shipping in the contiguous US. Payment with Venmo: @John-DeChristopher-2. Be sure to include your size and shipping address. Email: livefrommydrumroom@gmail.com. Thank you to everyone who's bought a shirt to help support this endeavor!https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

This week on RITY:Breaking News from Gil-Scott Heron. Plus, a moody weather report from meteorologist, Tom Waits.A song that was the end result of Tom Petty reuniting with his first bandA story about the time George Clinton drove into (what he thought) was the zombie apocalypse.Why in the hell was Terry Kath spending so much time in the shower?Plus deep tracks from John Hiatt, Wilco, Mick Jagger, Donald Fagen, Rory Gallagher, and TrapezeFor more info on the show, visit reelinwithryan.com

The guys start out talking about Jimi Hendrix which leads to other great guitar players, which leads to Terry Kath of Chicago.

Bienvenue dans cet épisode de La Partition, où nous plongeons dans l'histoire du groupe légendaire Chicago. Formé en 1966 à l'université DePaul, à Chicago, ce groupe a su se démarquer par son son unique, mélange de rock, de jazz et de pop.Sous la direction du guitariste virtuose Terry Kath et du chanteur-bassiste Peter Cetera, Chicago a su conquérir les cœurs du public américain, puis du monde entier. Leur premier album, intitulé Chicago Transit Authority, a été un véritable coup de poing musical, avec ses cuivres puissants et son énergie débordante.

In Part 2 of Rocker Deaths, Tessa dives six feet deep into rock deaths, a whole new line up awaits.. Featuring Yardbird's Keith Relf, Chicago's Terry Kath, Plasmatics Wendy Orlean Williams, James Hodges Ellis AKA Orion, and Lynyrd Skynyrd's Ronnie Van Zant, Cassie and Steve Gaines, and Dean Kilpatrick. Murder, suicides, an eerie plane crash and more... oh yeah...  and a whole bunch of heart break~! CREDITS & LINKS OPENING SONG

Len and Beave discuss the newest Facebook bracket, featuring the music of Chicago! Did you know that only the Beach Boys are the only American band that have sold more records than Chicago? We talk their incredible success, what songs we hope will win the bracket, and Beave tries to guess the #1 seeds but winds up guessing the #2 seeds instead. We also discuss where Chicago IX ranks among the all-time "greatest hits" albums ever released. We also talk solo Cetera (grudgingly). Tune in for some ultimate hits!

On this episode of The Bandwich Tapes, I am thrilled to be joined by a guy who greatly impacted me as a music listener and player.  Tim Sweatman is a talented songwriter, multi-instrumentalist, singer, and engineer.  Tim and I reminisce about our shared love for music and our musical journey together. We dive into our diverse musical influences, from George Jones to George Clinton, and our wide-ranging taste in genres. We discuss the importance of playing with musicians who are better than us to improve our skills. We also touch on the underrated guitar playing of James Taylor and the session musicians who played on his records. We explore the influence of drummers like Carlos Vega and Jeff Porcaro and guitarists like Dan Huff and Michael Landau. We reflect on the decline of melodic playing in modern music and the importance of melody in songwriting. Tim and I share our love for music and experiences playing and recording together in this conversation. We discuss our favorite bands and musicians, including Chicago, Terry Kath, Christopher Cross, and Toto. We also discuss our experiences with recording technology, from using TASCAM cassette recorders to modern digital audio workstations. We share our thoughts on the importance of good drum and snare drum sounds and the role of dynamics in music production. Additionally, we mention the use of AI technology in music production and mastering.Thank you for listening! If you have any questions, feedback, or ideas for the show, please get in touch with me at brad@thebandwichtapes.com. Please tell your friends about the show.The theme song, "Playcation", was written by Mark Mundy. 

David and Rachel discuss the tragic death of Terry Kath, who Jimi Hendrix considered the "best guitarist in the universe".

Label: Columbia HOF 33210Year: 1971Condition: M-Last Price: $8.50. Not currently available for sale.Originally released as the B side of Columbia 45467. The group was pretty audacious to cover a tune that already had a definitive version, in this case by the Spencer Davis Group (featuring writer Steve Winwood). However, you must recall that Chicago was a damn good, multi-talented band back in 1971, full of creativity and genuine rock sensibilities. So they managed to make yet another definitive version. Most of the track is a celebration of the group's drummer and rhythm section, leading slowly back to guitarist Terry Kath's psych-rock chording. This is a beautiful copy of the red-label Columbia Hall of Fame reissue, in its Hall of Fame factory sleeve. It has pristine Mint audio.

Sharon Osbourne says that Ozzy will play a few final shows before retiring. Josh doesn't know that he wants to see Ozzy in such bad condition. It's the anniversary of Terry Kath's death. This is one of the more messed up deaths in rock history. Scott has never heard the story. A 101-year-old WWII Vet shares the key to living a long life....Booze. What is the best Girl Scout Cookie? The Cardinals have released the promotional schedule for the season. We debut a game called "Metal McDonald" for Doobie Brothers Tickets. DUMBASS OF THE DAY: A lady misinterpreted a text from her aunt. Learn more about your ad choices. Visit megaphone.fm/adchoices

A terrible and entirely preventable tragedy that changed the course of music history

Keyboard player, "Just Sal" Marino, who has played with the Diane Kallay Band is was a founding member of the Chicago Authority, joined Rockabilly Greg "In the Flamingo Lounge" on March 30, 2023 to talk about his music and his relationship with Terry Kath from "Chicago" and Jimmy Greenspoon from "Three Dog Night".

Download the Strong Hand Tool worksheet mentioned in this episode: ⁠https://lodestonetruenorth.com/podcast-episode-038/⁠ In this episode of the Business Broken to Smokin' Podcast:  Lodestone True North's Head Coach Mark Whitmore and his right hand man Shane Kardos discuss the Strong Hand Tool, a good thinking hack to realize the places where you might get stuck while trying to get things done. 0:00 Intro 0:45 Documentary on Terry Kath, one of the founding members of the band Chicago: https://www.imdb.com/title/tt5037288/  3:07 Lodestone is here to help! https://www.lodestonetruenorth.com  3:58 Strong Hand Tool There are some wall that we run into… 4:54 The first hurdle is Epiphany… Ideas, solutions, clarity… 5:08 “On the pathway to execution, the first problem is that folks just don't see things.” 8:54 The second hurdle is Context… Put that epiphany into your context of where you are going with your business. Why does it matter? How does it fit our strategy?  10:12 Book reference - Principles for Navigating Big Debt Crises by Ray Dalio  Big take-away - You need to ask yourself what principle are you operating under? 12:28 The third hurdle is Framework or Format What's our operating system? Where do we drop this information into a system in which we get things done? 17:01 “The framework disappears in the hands of the craftsman.” 17:41 The fourth hurdle is Execute… 18:59 Book reference - 20 mile march from Jim Collins book Great By Choice - https://www.jimcollins.com/concepts/twenty-mile-march.html 19:58 Work ethic can sometimes be toxic, especially when going in the wrong direction… 21:11 The fifth hurdle is Review… 21:41 AAR Tool - see our podcast episode 032 for details: https://lodestonetruenorth.com/podcast-episode-032-aar-exercise/  23:15 Download the Strong Hand Tool worksheet here: https://lodestonetruenorth.com/podcast-episode-038/ 24:59 Some signs that you are a visionary… 28:12 What we do here at Lodestone… 35:26 Sprechstimme singing - https://www.britannica.com/art/Sprechstimme   **Credits** Music - Feelin' Stronger Every Day - Chicago Music - Remedy - The Black Crowes

Taking a look at the Grammys and Super Bowl music on consecutive weekends, and iconic figures lost and remembered, from great voices to revered players, Among the featured Rihanna, Chris Stapleton, Babyface, David Crosby, Tom Verlaine, Terry Kath, and more. Enjoy!

This Friday in Brooklyn, New York, Cheap Trick, Chicago, Deep Purple, Steve Miller and N.W.A will be inducted into the Rock and Roll Hall of Fame. Each day this week we are are profiling those inductees. Today, it's Chicago. The band has been eligible for induction since 1994, but -- like Cheap Trick -- was not nominated until this year. They were the top vote-getter in the fan ballot, receiving more than 37-million votes, but there is speculation that some electronic shenanigans may have stuffed the ballot box.Formed in 1967, the group at first called itself The Big Thing, then the Chicago Transit Authority. When the actual CTA threatened a lawsuit in 1969, they shortened the name to Chicago.While there were horn-oriented bands before Chicago, most notably Blood, Sweat & Tears and the Electric Flag, none achieved nearly as much success -- 21 Top 10 singles and five number-one albums. The group has sold more than 100-million records - over 40-million in the U.S. alone -- and has 23 gold, 18 platinum and eight multi-platinum albums.Four of the seven original members are still in the band: Robert Lamm, Walt Parazaider, James Pankow and Lee Loughnane. They will all attend the induction ceremony, as will drummer Danny Serphine, who left in 1990. Original singer and bassist Peter Cetera refuses to attend, and guitarist Terry Kath died of a self-inflicted gunshot in 1978.Friday's ceremony will be a bit of a homecoming for singer and keyboardist Lamm, who grew up in Brooklyn.Rob Thomas of Matchbox 20 will induct Chicago.

This Friday in Brooklyn, New York, Cheap Trick, Chicago, Deep Purple, Steve Miller and N.W.A will be inducted into the Rock and Roll Hall of Fame. Each day this week we are are profiling those inductees. Today, it's Chicago. The band has been eligible for induction since 1994, but -- like Cheap Trick -- was not nominated until this year. They were the top vote-getter in the fan ballot, receiving more than 37-million votes, but there is speculation that some electronic shenanigans may have stuffed the ballot box.Formed in 1967, the group at first called itself The Big Thing, then the Chicago Transit Authority. When the actual CTA threatened a lawsuit in 1969, they shortened the name to Chicago.While there were horn-oriented bands before Chicago, most notably Blood, Sweat & Tears and the Electric Flag, none achieved nearly as much success -- 21 Top 10 singles and five number-one albums. The group has sold more than 100-million records - over 40-million in the U.S. alone -- and has 23 gold, 18 platinum and eight multi-platinum albums.Four of the seven original members are still in the band: Robert Lamm, Walt Parazaider, James Pankow and Lee Loughnane. They will all attend the induction ceremony, as will drummer Danny Serphine, who left in 1990. Original singer and bassist Peter Cetera refuses to attend, and guitarist Terry Kath died of a self-inflicted gunshot in 1978.Friday's ceremony will be a bit of a homecoming for singer and keyboardist Lamm, who grew up in Brooklyn.Rob Thomas of Matchbox 20 will induct Chicago.

What better way to celebrate Thanksgiving than with some Turkey...Wild Turkey.  And what better person to celebrate with than Jimmy Russell.  Well, don't have Jimmy (or Eddie) but we have the next best thing in David Jennings.David is a Wild Turkey "super fan" and the authority on all things Wild Turkey.  Drew and Kevin taste three different Wild Turkey expressions with David and discuss what makes each special.  We also discuss David's book "American Spirit" that covers the history of the Wild Turkey distillery and brand and look forward to his upcoming follow-up book, "Wild Turkey Musings".David has a deep love and background in music, too.   The playlist companion for this show covers Bon Jovi to REM to The Monkees to Prince and can be found here:https://open.spotify.com/playlist/70M4NYwvwlOGODCdu3CR0h?si=45ac2eecbac2461bDavid also shared some YouTube videos he loves of fantastic music performances:Terry Kath of Chicago on guitar.  What an amazing guitar solo!https://youtu.be/Lba2g_u1CkgJames Brown steals the show on David Letterman in 1982:https://youtu.be/miwzvkESBI8Whitney Houston at the 1993 Billboard Music Awardshttps://youtu.be/ipQ0fE0MRWQPlease subscribe to the show and share the show with family you like (or don't like) over the Thanksgiving holiday.

In the latest recap episode, we talk sports, Fairleigh-Dickinson University and music as always! Len spends a LOT of time extolling the genius of BTO, to the chagrin of Diamond Listener Matt Engle. Beave decries the very existence of Pavement, and wonders how Rolling Stone can rank their album "Wowee Zowee" ahead of the Beatles' "Help". Len wonders about the health of Zach Lavine while exchanging texts with "Mattbags" host Matt Beyer about the one and only Red Rifle. Beave recommends the documentary "The Terry Kath Experience", and Len recomends "Hustle". Tune in!

Meet Lee Loughnane, founding member of the band Chicago who shares details about the band's 38th studio album release - Born For This Moment as well as their most recent tour. Lee reflects on the band's success over the years, including their 100 million in record sales, 21 top 10 singles, and 11 number one hits and discusses how the band has managed to stay together and remain relevant for over 50 years. The trumpet player tells us how music always came first in his life from the time he learned to speak. His dad had been a trumpet player and had a collection of big band records from the thirties and forties that influenced him heavily. Leigh loves his instrument and chats about his father had tried to discourage him from becoming a musician, how his dad reacted when he went against his advice, and how his wives and children have reacted to his being on the road every single year for the last 55 years. Lee also laments the loss of founding member and guitarist Terry Kath, who died in 1970 and tells us how that it's the passion for the music that has kept the band together and playing for audiences right around the world for more than half a century. Would you like to request a guest? Just send me a message through the website www.abreathoffreshair.com.au If you'd like to know more about Chicago, head for https://chicagotheband.com/

Lance Barresi, the owner of Permanent Records, joins us to discuss the 1969 debut album from horn-powered rock outfit Chicago. We pay special attention to lead guitarist Terry Kath, with some surprising innovations for a group that many associate with their later power ballads.   If you like us, please support us at patreon.com/idbuythatpodcast to get exclusive content (episodes on 45s!), or tell a friend about us. Broke and have no friends? Leave us a review, it helps more people find us. Thanks! 

Label: Columbia 33210Year: 1971Condition: MLast Price: $8.50. Not currently available for sale.Originally released as the B side of Columbia 45467. The group was pretty audacious to cover a tune that already had a definitive version, in this case by the Spencer Davis Group (featuring writer Steve Winwood). However, you must recall that Chicago was a damn good, multi-talented band back in 1971, full of creativity and genuine rock sensibilities. So they managed to make yet another definitive version. Most of the track is a celebration of the group's drummer and rhythm section, leading slowly back to guitarist Terry Kath's psych-rock chording. This is a like-new copy of the red/black label Columbia Hall of Fame reissue, in its factory sleeve.

On this episode we talk about why we took a break last week (O'Brien's 25th Wedding Anniversary) and all that went with it, the start of the Star City Syndicate Summer Tour, the latest music news involving Kate Bush and Stranger Things, Journey's new song, a dance version of a KISS song, the late Terry Kath of Chicago and more. We climb the Wall of Tunes to talk about an artist who did not make a sex tape with Tommy Lee. The letter of day is M. MARK! #anniversary #katebush #strangerthings #Journey #KISShttps://www.facebook.com/obrienanddoug/ https://instagram.com/obrien_and_doug

The band Chicago has created a LOT of songs that a LOT of people love. Somehow, they are still criminally underrated.  From their beginning's in the city that they took their name from, Chicago has touted some extremely talented musicians, from Terry Kath and Peter Cetera to many many more. Come hang out with Sight After Dark (Sifa and Dan) as they discuss all things about the band Chicago!

After taking his dad to see Chicago live Sean brings the album that has become known as Chicago II to discuss with Chris. Follow Albumworms on social media: instagram.com/albumworms --- Chicago the Band, Chicago II, Chicago Transit Authority, The Big Thing, Robert Lamm, Terry Kath, James Pankow, Peter Cetera, Columbia Records, Classic Rock, Music Discussion, Album Review, Vinyl Collector, Vinyl Enthusiast, The Beatles, The Beach Boys, The Band, Benny Goodman, Book Club for Albums

SUPPORT ME ON PATREON WATCH MUSIC is not a GENRE VIDEOS and MORE FEATURED SONG: REC – “Ripe” (from The Sunshine Seminar) Every band has a different dynamic, both for music and for business. Mick Jagger was right business-wise when he called the Beatles the “four-headed monster”, but on the music side they really just had the two heads. Most of U2's music is driven by two heads as well, but Larry Mullen Jr. started the band, so my guess is business-wise there's more equality overall. Fleetwood Mac has almost always been a complete mess on both sides, which makes their longevity & artistic success even more striking. Nirvana was that one troubled head for music, and likely pretty equal on the business end. Chicago was a special case. (I say was because they've been a shadow of themselves for a long time now, and more on that later.) They morphed. For their musical direction & business decisions to have changed so much and so often, you'd think their personnel did too. Nope. For all of their classic period, they were the core seven (and for a short stretch percussionist Laudir de Oliveira). After the death of Terry Kath & some growing pains (about which more below), their breakout comeback early 1980s period had six original members plus Chris Pinnick & Bill Champlin. After Peter Cetera left, he was seamlessly replaced with Jason Scheff, and Dawayne Bailey took over for Chris. When Danny Seraphine bowed out, Tris Imboden took over & stayed longer than any other drummer. And for the 1990s and almost all of this century, it's been the core four, Tris, Lou Pardini on keys, and a bunch of other changes. In the last few years, with Walt Parazaider retiring, it's down to three originals, Lou, and a handful of others who seem to be sticking around so far. Why do I go into that much detail? Two reasons. One, to show how much change a stalwart band needs to endure to have a career this long. And two, to show how this week's subject – the death of Terry Kath – made more of an impact on both the business & music trajectory of Chicago than any other event in their history. For those of you unfamiliar, a quick history. Terry was one of the greatest guitarists of all time. Top ten in the minds of many. He was also one of the principal vocalists & writers of the band. His passion & dedication to expression above all else gave Chicago a huge part of their initial raison d'etre, and their depth & groundedness. Then in 1978, he died of an accidental, self-inflicted gunshot to the head. From that point on, Chicago was never the same. And in many ways never as good. You could say that the death of any core band member changes a band forever, but that's a sliding scale. Bonham's death ultimately ended Led Zeppelin, but I'd argue it didn't do a whole lot to change their music. The Who's sound did change when Keith Moon died, but they've always really been another two-headed monster. Cobain's death of course ended that band. As for the recent death of Taylor Hawkins, the impact remains to be seen. For FULL SCRIPT, visit https://patreon.com/MUSICisnotaGENRE --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/musicisnotagenre/support

Staci interviews Brooke Lewis Bellas, a multitalented lady who acts, produces films, and is a bona fide “scream queen.” Brooke talks about creating her 80s rocker chick character in The Second Age of Aquarius film, being a video vixen for Megadeth on MTV's “Night of the Living Megadeth” special, worldbuilding in terms of producing indie films in these “content-driven” days, longevity as an actor, the allure of Jackie Collins, 1980s horror movies, her own personal rock and roll nightmare, and much more. Lastly, Staci reads from Rock & Roll Nightmares: True Stories, telling the story of Chicago guitarist and singer Terry Kath's untimely death. Photos and video at RockNRollThings.com. Follow Brooke on Instagram https://www.instagram.com/BrookeLewisLA

Chicago est un groupe de Chicago. Son nom s'inspire de celui de la compagnie qui gère les transports en commun de la ville américaine, c'est-à-dire The Chicago Transit Authority. D'ailleurs, à ses débuts en 69, avant de s'appeler simplement Chicago, le groupe se nommait comme ça… mais là n'est pas le problème, car il y a eu un problème. En 1978, Chicago a perdu son guitariste virtuose, Terry Kath, dans des circonstances dramatiques. Le groupe s'en est relevé, mais ça n'a pas été simple… Notre politique de confidentialité GDPR a été mise à jour le 8 août 2022. Visitez acast.com/privacy pour plus d'informations.

Stagione IX - ep 3: Terry Kath, chitarrista dei Chicago, che muore giocando alla roulette russa

Stagione IX - ep 3: Terry Kath, chitarrista dei Chicago, che muore giocando alla roulette russa

This episode was originally going to be all about Dave's Jazz Bass. Things did not go exactly as planned…Instead, this week we dig deep into Chicago's underrated guitarist Terry Kath, the documentary about his life, and posthumously tracking down his favorite guitar. We also get into Part One of a two-parter with Dave's early 60s Jazz Bass - how badly will Hank mess this one up? We talk a bit about the history of the Jazz and what we hope to have accomplished by next week's episode; hint: stacky bois.Also discussed: Terry Kath's Fender Custom Shop Master Built run of Teles, Walrus Audio's Slotva, Orange's Guitar Butler, Ibanez's Ruby Red TS9, NAMM's Believe in Music, Gibson teasing the return of Maestro pedals, Fender's longest tenured employee, and Linda Lee's '53 Gibson Gold Top Les Paul.Let's make music ugly again.

Who was Terry Kath? He was one of the most influential singers and guitarist of the early 1970s starring with the band Chicago. If all you know about Chicago are the Peter Cetera era ballads then let me introduce you to a time when they were experimental, influential, and lead by one of the most dynamic guitarists in rock. A guitarist who, none other than Jimi Hendrix said was better than him. Then, he was dead at the age of 31 from a self-inflicted gunshot wound. Why? And what might have been?

Guitarist Keith Howland has been playing in the legendary band Chicago for over 25 years and it's been a journey that's taken him all over the world, and allowed him to play with some great musicians every night. We talked with Keith about Chicago's new tour, which just got started, how you claim your bunk on the tour bus, and the perils of hotel fire drills.For more information on Keith and the band, and to see when they'll be playing near you, check out Chicago's website.

Al talks about turning the folk song 500 miles into rock with a secret guitar solo by Terry Kath of Chicago and stellar scat singing by Rita Coolidge. 

Ray Charles - The Sun Died (1968)  Ray Charles - Understanding (1968) This song only reached #46 in 1968, but it was a big enough hit to inspire the odd-ball takeoff recorded by The Red Shadow. It contains the unfortunate little snippet:  My old lady also understands that a man must have respect What I mean is, if she must play around don't let me catch her, because what I don't see can't hurt me, you understand? But on the other hand, If I should ever catch her I'm not gonna talk about-a and call her a bunch of bad names like you all might No no mh What I'm gonna do, I'm gonna go down-town to the Hardware store and buy myself a double blade ax, Come back, square off, and believe her soul's gonna Belong to the good lord Because her head's gonna belong to me, and I Guarantee she'll know what I mean when I'll say... The Red Shadow - Understanding Marx (1975) Red Shadow was an odd outfit performing polemical rock and roll from the mid-1970s. The core of the group was three ideologically minded economists who met at the University of Michigan in the early 1970s. They decided to form a band to preach the urgent message of left-wing economics.  Red Shadow put out two albums, Live at the Panacea Hilton (1975) and Better Red (1978) [Ed: WHICH I JUST BOUGHT FOR YOU!!]. Red Shadow's song “Gone Gone Gone” is a parody of the Beach Boys' “Fun Fun Fun” in which the malign corporate overlords will be “gone gone gone when the workers take their power away.” Similarly, “Anything Good” reworks Chuck Berry's “Johnny B. Goode” to accommodate the following lyric:  They may know how to serve the ruling corporate brass But they'll never have the knowledge of the working class No no, no they don't know know know Anything good Sammy Davis Jr. - The People Tree (1972) Written by Anthony Newley and Leslie Bricusse, who also wrote Sammy's only #1 hit, "The Candy Man". That song was from the soundtrack to the movie Willy Wonka & the Chocolate Factory. "The People Tree" was, in fact, the follow-up single, and it sank without a trace.  Gordon Parks - Blowin' Your Mind (1972) With vocals by O. C. Smith, whose big hit was "Little Green Apples". Talk about trying to make lightning strike twice (see "The People Tree")! O. C. Smith had been recording since the mid-'50s, starting out as Ocie Smith. An excellent stylist. I could and should do a whole show about him.  Leonard Nimoy - Spock Thoughts (1967) The Beach Bums (alias for Doug Brown and the Omens) - The Ballad of the Yellow Beret (1966) With Bob Seger(!) on vocals. Look at the composer.  From AllMusic: Despite a meager recorded output, Doug Brown and the Omens continue to hold a key place in Detroit rock and roll history as a launching pad for the young Bob Seger. Brown was already fronting the Omens when he first met Seger in 1964, soon inviting the aspiring singer/songwriter to join the band; financed by Del Shannon, sometime around 1965 the group cut a single, "TGIF"/"First Girl," which represents Seger's first known official recording. In January 1966, Brown produced Seger's regional solo blockbuster "East Side Story," the record credited with making the singer a Detroit superstar; the following summer, he also helmed Seger's "Heavy Music," another local smash.  Which doesn't excuse this particularly tone-deaf single. I guess no one thought their darker moments would be around in 2021.  The Osmonds - Havin' A Party (1975) Gentle Giant - Weekend Cowboy (1970) The Isley Brothers - Sweet Season/Keep On Walkin' (1972) Pat Boone - Wish You Were Here, Buddy (1966) James William Guercio  - Tell Me (1973) Terry Kath on vocals, uncredited.  Bob McGrath - Sir Duke (1977) The Utica Club Natural Carbonation Beer Drinking Song (1968) The band playing on this is the Chicago-based The Trolls. Richard Berry - Doin' It (1973) Richard Berry wrote and recorded the original 'Louie, Louie,' later performed by The Kingsmen. It is the second most-covered song in the history of rock music. Be Thankful For What You Got (inst.) - William DeVaughn (1974) From Wikipedia: DeVaughn was a salaried government employee as a drafting technician and a part-time singer. He wrote a song called "A Cadillac Don't Come Easy", which was eventually re-written to become "Be Thankful for What You Got", in 1972. He spent $900 towards getting it recorded with Omega Sound, a Philadelphia production house. The record producer at Omega, John Davis (a member of the MFSB studio session group), came up with a smooth arrangement, eventually booking time to record at Sigma Sound Studios in Philadelphia, used by Philadelphia International Records.  The song was released on Roxbury Records, a subsidiary of Chelsea Records, run by industry veteran Wes Farrell. You know him from his work with The Partridge Family.  The record sold nearly two million copies on its release in spring 1974, reaching No. 1 on the US Billboard R&B chart and No. 4 on the Billboard Hot 100. With a sound and content influenced by Curtis Mayfield, its simple and encouraging lyrics hit home, to the extent that it became featured on gospel radio stations. When his success as a recording artist seemed guaranteed, DeVaughn quit his government job. DeVaughn released an album, mainly of songs with a religious character, and its second single, "Blood Is Thicker than Water", reached No. 10 R&B and No. 43 pop later in 1974; "Give the Little Man a Great Big Hand" had only minor R&B chart success early the following year. Live, DeVaughn preached to and admonished his audience from the stage [Ed: Just like George Harrison!]. He lost interest in the music industry not long afterward, working in a record store and again as a draftsman. Dave Dudley - Coffee, Coffee, Coffee (1965) Written by Tom T. Hall.   Terry Jacks - Put The Bone In (1974) Lee Edwards (The Christian Con Man) - Maui Girl (1983) From one of the biggest inspirations for this show, for better or worse, 365 Days Project: "The Christian Con Man Goes Hawaiian" is like a three-wheeled Radio Flyer rolling down a rocky hill. It starts slow but careens out of control by the journey's end. The track "Maui Girl" appears at the point when Lee Edwards is really picking up momentum (or another glass of cheap whiskey). "KIMCHEE LOVIN'!! I SHOOK HER COCONUTS!" UK - In The Dead of Night (1979) This is the almost never-heard single recorded with Terry Bozzio on drums, instead of the original with the also-great Bill Bruford.  Bill Haley and the Comets - Me and Bobby McGee (1972) The Four Tops - So Deep Within You (1973) Odd to hear The Four Tops cover The Moody Blues. This has to be Justin Heyward on lead guitar. HAS to be.  IS. Here is an article. Fanny - Conversation With a Cop (1970) From Discogs: Fanny was an American rock band, active in the early 1970s. They were one of the first all-female rock groups to achieve critical and commercial success, including two Billboard Hot 100 top 40 singles. The group was founded by guitarist June Millington and her sister, bassist Jean, who had been playing music together since they moved from the Philippines to California in the early 1960s. After playing in several bands, they attracted the interest of producer Richard Perry who signed them to Reprise Records in 1969 as Fanny. The band recorded four albums together before June Millington quit the group. Following a final album, Fanny disbanded in 1975. Lee Dorsey - Yes We Can Can (1970)  Jackie Lynton - The Ballad Of Hank McCain  (1969) From the soundtrack to "Gli Intoccabili" (aka "Machine Gun McCain"); Written by Ennio Morricone. Fricking GREAT.  GTOs - Circular Circulation (1969) Hugh X. Lewis - Evolution and The Bible (1968)  Frank and Nancy Sinatra - Life's a Trippy Thing (1971?) Renaissance - Island (1969)

SUPPORT ME ON PATREON WATCH MUSIC is not a GENRE VIDEOS and MORE WTF?!? That's what goes through my head every time I think of the Beastie Boys. ONE because how is it these self-described funky-punky idiots were one of the main acts that changed the face of music in the 1980s? TWO because how did they then become well respected innovators, outspoken activists & legends, with a long career to rival the biggest acts of any genre? THIRD because how can it all be over?!? So much of the Beastie Boys story makes no sense that it almost DOES make sense that one of them would be dead, and almost a DECADE AGO. But no, not even that computes. These were three guys – great friends, bandmates & collaborators – who always came back together, no matter what happened in the interim. Unexpected successes. Career pressures. Explorations beyond the bounds of accepted form. Life changes. Hiatuses that seemed to go on forever but were way shorter than, say, the wait for Chinese Democracy. No matter what happened, they always came back. And then Adam Yauch died. The soul of the band the way Terry Kath was the soul of Chicago. The difference is while Chicago soldiered on and reinvented in both clever and disappointing ways, the Beasties – now Adam Horovitz & Mike Diamond – realized that carrying on without MCA would NOT be the Beastie Boys. So as usual, when Dumb Death gets in the way, we're left with memories & reissues & the hopes for more funky innovation crushed. I respect Ad Rock & Mike D's decision to shift gears, and love that they put out such a freakin' comprehensive love letter to music, their awesome threesome-ness, and Adam Yauch that is their 2020 mega quad pack Beastie Boys Book, the documentary Beastie Boys Story, the compilation album Beastie Boys Music, and Spike Jonze's photo tribute Beastie Boys. It was an explosion of beautiful energy that I can only hope results in more. As for the actual music, License to Ill is deep in my DNA. My music wouldn't be my music without it. Their next three albums moved – LEAPED – the hip hop & general music conversation forward in three different ways, with Ill Communication being my fave because it was a distillation of all three of them. Plus I just love mid ‘90s hip hop. Hello Nasty proved they could top the charts fifteen years out, and was their personal favorite. To the 5 Boroughs reminded me why I love NYC so much, and has lyrics I remember to this day. And Hot Sauce Committee Part Two reminded everyone else that they were in complete command of both creation AND the charts straight to the end. You wanna hear their influence on me? Listen to just about anything, but start here: REC – “The Power of Repetition (Everlasting)” (from the album Syncopy for the Weird) Are you a Beasties fan? If so, what's your favorite album? How did you feel about Adam Yauch's death? Do you wish Adam H. & Mike D. would still create music together, and/or do you understand why they've all but retired? Discuss dammit! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/nick-dematteo/support

Wanna hear the album? Listen to Chicago Transit Authority on Spotify!Check out our playlist featuring albums on The Countdown!Follow Big Daddy on twitter @BigDaddyGraham and on Facebook here.Big Daddy Graham's Countdown is produced by Last Out Media.

Part 3 of the Musical Taste Society sees us crack into the Events section, looking at the big - and sometimes small - moments in music history that make it what it is. This week, John regales Joseph with the story of Chicago guitarist Terry Kath and his unfortunate demise while Joseph gets his rabies shots and looks at Ozzy Osbourne biting the head off a bat onstage. The limits of the word “loveable” and the limits of tolerance for Chicago’s back catalogue are truly tested this week. As usual every like, listen, share, rate and review - WHEREVER you get podcasts - is appreciated and helps us spread the word. ENJOY! Facebook - search “Musical Taste Society” and like the page please Twitter - @MusicalTasteSoc Reddit - r/MusicalTasteSociety

SUPPORT ME ON PATREON WATCH MUSIC is not a GENRE VIDEOS and MORE There have been many Chicagos. As with most bands, people tend to know their most commercially successful period. But the 1980s was actually their FOURTH phase, in my estimation (don't get me started on sub-phases or we'll be here all year). PHASE ONE (1967-74) was all about fusion & eclecticism and experimentation. Just about any type of music that was respected or popular, Chicago tried. Jazz, classical, blues, funk, heavy rock, light rock, progressive rock, pop, folk, political, Latin, free form, spoken word, electronic. It was all there. They followed up their first THREE DOUBLE ALBUMS with a QUADRUPLE album, then two shorter ones, then another double album. They were a true prog-rock band. And so much of it was done so well. PHASE TWO (1975-77) was them getting tighter & focusing more on singles. They still had lots of the above elements, but more & more they were being used in the service of shorter songs. This was also their first true commercial height, and saw Cetera take more of the hit lead vocals than the other two main vocalists – Robert Lamm & Terry Kath. PHASE THREE (1978-80) was them just trying to stay afloat after the death of the incomparable Terry Kath (one of the greatest guitarists of all time so stop what you're doing and look him up RIGHT NOW). They dabbled in disco. They had a revolving door of replacement guitarists/vocalists, some of which took them in a Cheap Trick-y direction. There are some hidden gems here, but not much of it worked. PHASE FOUR (1982-91) was the money phase. New producer. Outside songwriting help. The ascendance and eventual defection of Pistol Pete Cetera. The uber polishing of their jammy jazz-funk tendencies into mass marketable mega hits. It was a true make AND break period. They managed to keep the hits coming years after Cetera (and drummer Danny Seraphine) left. But if Phase 3 didn't adequately display how they were losing their direction AND their soul, Phase 4 sure did seal that deal. PHASE FIVE (1995-present) has been them wandering in the wilderness – continuing to cash in on their history and their still incredible live show presence, while pumping out the holy trinity of dreck: unremarkable jazz standards covers albums, overproduced Christmas albums, and supremely subpar originals. Rarely have they come close to any of their prime periods (Phases 1, 2 & 4), other than maybe when the worked with Lenny Kravitz in the late 1990s. And yet I'm still a fan. I'm a loyalist to death. I'll keep listening. I'll keep hoping something sparks them to stop trying to be so commercial and get back to their roots, even as original members continue to retire and are replaced by soulless session veterans. Why? Because they deserve the reverence and consideration. They did what they did so well for so long, and clearly love music and the life so much, and managed to hang in despite so much strife & heartbreak. Beyond all that, their first phase kicked SO MUCH ASS, that even if they called it quits in '78, they'd still be revered as a massive American band. I have only two of their albums on vinyl – IX (a greatest hits collection) and II, and all of their albums up to XXXII on CD. I've listened to everything they've ever released. So there's no question that just by default they've influenced me. Crafting progressive pop music, with funky backbeats and layered harmonies – all of that has become a part of my wheelhouse. Here's one of MANY of these songs: NICK - “One Minute Shy of Forever” (from the album What It Is) What are your thoughts on Chicago? Discuss dammit! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/nick-dematteo/support

Rock Talk With Mitch Lafon presents singer & songwriter, Bill Champlin. (Recorded January 4th 2021).   Bill discusses his latest album Livin' For Love. Plus, Steve Lukather, David Foster, Terry Kath, Alice Cooper, Chicago and much more.   To order the CD visit: billchamplin.com/shop Help support the show. Please consider a donation: https://www.paypal.me/MitchLafon See omnystudio.com/listener for privacy information.

In this episode, we geek out over Todd's favorite band and initiate Tim into the wonder that is East Bay soul - Oakland's own, Tower Of Power. Helping us along is music educator, working musician, funk aficionado, and friend of Todd, mister Jim Robins.We'll do a dive into Todd and Jim's favorite songs and albums from the band's 52 (and counting) year career, some hidden gems, and then go all fantasy football on their dream TOP line-ups! LINKS OF INTEREST:- As you may or may not know, our beloved BSG XO Michael Hogan needs some help these days. Here's GoFundMe to help him and his wife with medical expenses and care. Also consider following Fleet Is Family on Twitter for more information as well.- Here's some info about The Fantastics in case you were wondering- Here's the Tower Of Power wikipedia page, complete with discography and personnel through the years- Yeah, Jesse Maguire can knock the socks off the national anthem- And for comparison, here's TOP horns playing the national anthem with singer Marcus Scott. Dig that quote of "You're Still A Young Man" at the end!- Here's a video of Huey Lewis & The News backstage with the Tower Of Power horns sometime in the mid-80's - And while we're at it, here's what Huey and the boys sounded like with the mighty TOP horns backing them up- Todd was a complete dope. As anyone with any sense knows, that was Eddie Murphy talking about his Aunt Bunny falling down the stairs, not Richard Pryor- Here's Rocco Prestia with David Garibaldi, Lenny Pickett, and Jeff Tamalier playing some "Oakland Stroke" and "What Is Hip?". Stripped down like this, you can really hear the way the bass and drums fit together.- Here's the first ever Tower Of Power music video for "Credit" from back in the day.- And, as far as we know, here's their only other true music video, released some 30 years later for "Look In My Eyes"- Once again, Todd was a dope. The Saturday Night Live closing song is called "Waltz In A". ...AND ANOTHER THING:JIM heartily recommends checking out the first 11 studio albums by the band Chicago featuring Terry Kath.TODD implores you to watch the documentary "The Sheik" on YouTube and follow The Iron Sheik on Twitter.TIM is all about Jack White's musical performances on SNL from a couple weeks ago FOLLOW US ON THE SOCIAL MEDIAS:Did you love what you listened to? Fantastic - we love people with questionable taste that enjoy a couple chuckleheads cracking each other up. Follow us on Facebook, Twitter, and Instagram for more of the internet funny.Be sure to subscribe to our podcast on Podbean, iTunes, or Spotify!

Today we speak to Danny Seraphine, original drummer and founding member of Chicago.  He tells us about the history of Chicago, his songwriting process, and offers advice for other musicians.  For more info on Danny, visit https://www.dannyseraphine.com/    DAMM Good Podcast is dedicated to sharing our Artist's stories to you. All music play during the episodes are of the artists themselves. The songs are available at www.DAMusicLibrary.comDA Music is a Woman-owned, Independent Artist Licensing Boutique. We offer talented, emerging and established artists. We have House Composers that create in all genres, CLEARANCE FREE. We are your musical solution.Follow us: Instagram | www.instagram.com/da_musiclibrary/Twitter | twitter.com/DA_MusicLibraryFacebook | www.facebook.com/damusicmgmt/Linkedin | www.linkedin.com/company/da-music

Although commonly called Chicago II, this album is technically the first Chicago album because their first album was under the name The Chicago Transit Authority.  They changed their name in 1969 under pressure from the municipal governmental body called the Chicago Transit Authority.Chicago II is a double album, full of jams and their trademark horns.  The first four albums would all be double albums.  We're going to feature two songs from this album, although one is actually a seven part song cycle with at least two parts you will identify as well known singles.Chicago is: Peter Cetera on bass and vocals, Terry Kath on guitar and vocals, Robert Lamm on keybards and vocals, Lee Loughane on trumpet and flugelhorn, James Pankow on trombone, Walter Parazaider on saxophones and flute, and Danny Seraphine on drums.Chicago describes itself as “rock and roll with horns,” though it is a fusion of many types of music, part hard rock, part jazz, part prog rock, part soft rock, maybe even a little classical music for good measure.  Whatever you call it, we enjoy the variety and depth, and hope you will too. Ballet for a Girl in BuchananThis is a seven movement song cycle written by trombonist James Pankow.   The namesake girl is Terry Heisler, Pankow's ex fiancee who was attending West Virginia Wesleyan College in Buckhannon, West Virginia at the time.  Pankow wrote the piece in an attempt to get her back, and also because of his inspiration from classical music song cycles.Movement 1:  Make Me SmileTerry Kath is on lead vocals for this movement.  You have likely heard the single on the radio, which is created by splicing the first movement and the last movement together.Movement 2:  So Much to Say, So Much to GiveThis movement features Robert Lamm on lead vocals.Movement 3:  Anxiety's Moment and Movement 4:  West Virginia FantasiesThe third and fourth movements are instrumental tracks, and rather straightforward prog rock concepts.Movement 5:  Color My WorldTerry Kath returns to lead vocals on a piece that should be familiar as its own single.  Frank Sinatra supposedly wanted to record a version of the song if Pankow would write an additional verse.  Pankow declined, so we have the song as a long piano intro, one verse, and a flute solo.Movement 6:  To Be FreeThis instrumental has a distinct 1970's feel to it, and builds to the final movement.Movement 7:  Now More Than EverThe final movement is a reprise of the theme from the first movement, Make Me Smile.  You will recognize this from the single.25 or 6 to 4We can't do a Chicago album without catching Peter Cetera on lead vocals somewhere.  Robert Lamm wrote this song about trying to write a song in the middle of the night - 25 or 26 minutes before 4 a.m. (who really knows?) ENTERTAINMENT TRACK:Theme from "M*A*S*H" The motion picture M*A*S*H appeared in January 1970.  Only one of the actors from the motion picture would reprise his role in the television series - Gary Rich Burghoff, aka Radar O'Reilly. STAFF PICKS:“My Baby Loves Lovin'” by White PlainsWayne's staff pick is a bubble gum pop hit from the one hit wonder group, White Plains.  “She's got what it takes, and she knows how to use it.”  Lead vocalist Tony Burrows had 5 hits, all with different one hit wonder groups.  “Come Together” by The Beatles Rob features the well-known psychedelic hit from the Fab Four.  It was inspired by a request from Timothy Leary to write a campaign song for his California gubernatorial run against Ronald Reagan.  While Lennon couldn't come up with a campaign song, he did create this one using a Leary quote — “come together.”“Up On Cripple Creek” by The BandBrian's cranks up the swamp rock that references his hometown Lake Charles, Louisiana.  Robbie Robertson wrote this song about a mountain man and a girl named Bessie.  “A drunkard's dream if I ever did see one!”“I Want You Back” by the Jackson 5Bruce's staff pick introduces the first hit from the kid who would become the King of Pop.  This would start a string of 4 singles what would be consecutive number 1 hits. INSTRUMENTAL TRACK:“969 (The Oldest Man)” by The Guess WhoWe wind up this week's episode with an instrumental blues number from the album American Woman.

Robert Lamm of Chicago called Mark Manuel to talk about his new song, "Everything Is Gonna Work Out Fine"...a song he did with Jim Peterick of the Ides of March. In addition to the new song, Mark asked about the band Chicago, the death of Terry Kath, and the "David Foster-ized" version of Chicago...

This episode is a complete delight, featuring our first multi-remote-guest recording with our newest guitarbuddies Max and Dmitri from Rookie.We get into some deep Rookie talk, including forming out of Yoko and the Onos, their gear journeys (namely the importance of the Vox AC30, touring with a Rhodes and Hammond, and treble boosters) songwriting in a 6 piece band, touring with Cheap Trick, splitting guitar duties, and working through the quarantine.Your buds also discuss the controversial practice of putting stickers on guitars, swapping pickups in a cheap axe, Motown and Jamerson, Run the Jewels, politics in the gear world via Fulltone and Keeley, the Light 4 Sound oPik pickup, Squier Paranormal Series, a whole mess of Terry Kath talk, and even have a brief check-in with Neil Young(ish). Dave and Hank got the script flipped and had some questions asked of them this time, hoo buddy!Rookie’s debut self-titled full length LP on Bloodshot records is available everywhere, an absolute must-listen for fans of the rock and the roll.BLACK LIVES MATTER.

This week's episode of Keith's Music Box features a very special guest: professional guitar player Ken Lasaine. Ken has built a long career through his ability to move effortlessly between rock, jazz and other musical styles. He's played on television soundtracks, video games, award-winning songs, and toured the world as part of the touring band for Lou Bega, whose 1999 hit song “Mambo No. 5” sold millions of copies worldwide. Ken and I will play and talk about 10 great songs that inspired him, featuring guitarists including Ritchie Blackmore, Terry Kath, Peter Frampton, Neil Giraldo and Dickie Betts.

Rick and I became friends some years back through a mutual acquaintance and our friendship has grown more and more over the years. We have a deep respect for each other, our drive and our accomplishments. We share a kinship in that we're both drummers and love to watch each other perform and share our experiences on and off the stage. Rick takes us all the way back to his early childhood where we learn how his path and his outlook on life, was created at a young age both musically and personally. You will hear him say throughout this interview, the words “No Fear!” and you'll see why he has accomplished so much in his life up to date and why he continues to push himself and grow even more. ********** Rick Lewis: Radio Personality Color Commentator for the Denver Broncos Drummer for The Rick Lewis Project *iHeartRadio Shows* https://thefox.iheart.com/featured/the-rick-lewis-show/ https://koanewsradio.iheart.com/featured/logan-lewis/ Rick's Links: Instagram: https://www.instagram.com/1ricklewis Facebook: https://www.facebook.com/ricklewisproject/ Twitter: https://twitter.com/1RickLewis https://youtu.be/oDbwc0ss72A ********** Podcast Music By: Andy Galore, Album: "Out and About", Song: "Chicken & Scotch" 2014 Andy's Links:   http://andygalore.com/ https://www.facebook.com/andygalorebass ********** Subscribe, Rate & Review: I would love if you could subscribe to the podcast and leave an honest rating & review. This will encourage other people to listen and allow us to grow as a community. The bigger we get as a community, the bigger the impact we can have on the world. For show notes and past guests, please visit If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds, and it really makes a difference in helping to convince hard-to-get guests. For show notes and past guests, please visit: https://joecostelloglobal.com/#thejoecostelloshow Sign up for Joe's email newsletter at: https://joecostelloglobal.com/#signup For transcripts of episodes, go to https://joecostelloglobal.com/#thejoecostelloshow Follow Joe: Twitter: https://twitter.com/jcostelloglobal Instagram: https://www.instagram.com/jcostelloglobal/ Facebook: https://www.facebook.com/jcostelloglobal/ YouTube: https://www.youtube.com/channel/UCUZsrJsf8-1dS6ddAa9Sr1Q?view_as=subscriber Transcript Rick Lewis Interview: Rick Lewis Interview Joe: Hey, Rick Lewis, man. How you doing? Glad you Rick: Well, Joe: Could join me. Rick: Good to see you, too, Joe. As you can tell, as we were setting this up, I'm a borderline moron when it comes to this type of technology, so I'm trying my best. Joe: Hey, that's what happens when you're a big shot and they have everybody around you taking care of the technology. You just sit back and put the Rick: Yeah I need an I.T. guy at my house Joe: Headphones on and start talking Joe: [laughter] All right, cool. So I just wanted to start from the beginning. We're gonna just do a quick overview of where you started out and so let's just dig into it, man. Everyone's going to know by the time we start talking, at least your bio and everything else. But, you know, I want to start from the very beginning and get a quick synopsis of where you grew up, where you were born, where you grew up. Start from there. Rick: Yeah. So I was. I was born outside of Detroit, Michigan, in a steel town, blue collar steel town. Great place to grow up. Just, you know, really, really good childhood. A lot of great memories. My dad worked for a chemical company there and we lived there from the time I was born till 6th grade. And then my dad started moving around the country because he was kind of moving up, up the ladder in his company. My dad was the first guy in our family to ever get a college degree. And so he kind of broke the mold of, you know, generations of the family. And I really admire him for doing that because he had five kids. He was going to night school to get a degree. I don't know how he did that, but he did it. And once he got his degree, he started kind of moving up in the corporate world a bit. So middle of 6th grade, I moved from Detroit to Columbus, Ohio, middle of 9th grade, I moved from Columbus, Ohio, to Naperville, Illinois, which is right outside Chicago. And then just before my senior year, we moved to Cincinnati, Ohio. So we moved around quite a bit. I went to I think it was four different high schools, in two different states. And I think that...you know, what the time was was a little bit traumatizing because you're always the new kid. But looking back on it now, I realize that it it there were some good things about it that kind of molded me into who I am today. Joe: Right and from what I know, you and I are friends and I know you a fair amount, but I have a feeling that you are really good athlete, right? Rick: I was a really good athlete. Yeah. You know, growing up, I always thought I wanted to be a pro athlete. And that was my dream and that was my dream until I got into college, and then once you get into college with with better competition, you know that that dream was quickly shattered and I realized that that wasn't going to come to fruition. But so that was about until I was about 19 years old, until I realized that, yeah, I'm a good athlete, but there's a lot better athletes than me out there and it just wasn't in the cards for me. But yeah, growing up, we played every sport in Detroit. You know, every sport throughout the season, hockey, baseball, basketball, football and very, very competitive. We played we played a lot of sandlot games back there that were very competitive with some really good players and it was it was really cool to be in that type of competition where you have a real sense of pride for your street or your neighborhood and you're playing against all these other neighborhoods. And it got, it got to the point where there'd be fights. You know, there'd be a lot of, a lot of people that held grudges, you know, and that type of thing and ah like I said, it was kind of a tough part of of the country with all like blue collar, you know, people's kids that were really grinder's and just really gave everything they did...100% percent effort. Joe: Right! Rick: And I was one of those guys. Joe: I know, I know from your mentality that you weren't going to take any shit from anybody, so, so so how did you get to NAU in Flagstaff? Rick: Ok. Joe: How'd you pick that school out of out of Rick: Yeah, Joe: Everything? You know Rick: Well, like I said, we moved around a lot, so I was a good football player. And the fact that we moved right before my senior year was not good for somebody that was hoping to move on and play college football and get recruited and get it to a good football program because, you know, it's hard to follow somebody, especially back then, not today with social media. You know, it's a lot easier to get your profile out there to, you know, college recruiters and coaches. But back then, it wasn't. So the fact that I moved right before my senior year was a bit of a handicap for me. But I had a good senior year and I was getting recruited throughout the state of Ohio and Indiana and Kentucky and places like that. That I wasn't really that interested in going to, you know, a lot of smaller schools, a few mid-level schools. I did get letters from some other schools around the country, too, that were bigger. But I didn't have the confidence at that point to one up, you know, leave, leave or leave home and go halfway across the country to try to play at a at a bigger school. But anyway, NAU one of the schools that that did recruit me back then, I never even heard it in a year in Ohio. I mean, I had never heard of that. I heard the name before. So I ended up going to actually went to Miami University, Miami of Ohio, which was about an hour, maybe an hour and a half from my house. And the reason I did that is because at a high school girlfriend that I thought for me it was more important that I stay close to home so I could be around this high school girlfriend and Miami of Ohio had a really good football team at the time. Rick: They didn't recruit me. So I just went there so I could be closer to my girlfriend. Three weeks since you broke up with me and, you know, the typical freshman story. And so I couldn't wait to get out of that school. I mean, I just kind of I waited one quarter and I quit and I came back home and try to figure out what I was going to do next. And it was at that point that I really I think is when I would say I became a man at that point, because I had a I had a bit of, I guess you'd call it an awakening or epiphany back then as I was going through all of this pain, you know, this is high school heartbreak. And I realized that ah, that I had, I was I was blessed with a lot of things. I was I was born at the right time, you know, born in the United States. You know, I was athletic. I had had some intelligence. I had some musical ability. And I realized that I had all of these skills that were already given to me and that it was my job at that point to take all of these gifts and then try to make them better, you know, try to enhance myself in every way and become a better person all around. And so once I had that epiphany, I decided that it was time to launch. And I remember that NAU had recruited me and I like I said, I'd never even heard of you before but Arizona seemed like a really exotic place to be, especially for a kid from Ohio. And so I decided that's where I was going to go. Joe: And what did you. Yeah. So what did you go there to do? Cause it it wasn't getting go there for football, right. Rick: Yeah, Joe: What was your major. Rick: I did. Joe: Oh you did. Rick: Oh, definitely. Yeah. Joe: Oh, cool. Rick: And I had no major in mind at that point. I was I was on a different kind of mission. I wasn't going there to learn or be educated out of a book. I was going there to experience life. And so the school part of it wasn't all that important to me. I had something else in mind and that was just, you know, finding out who I was, what I was fully capable of doing, challenging myself and at that point, I would say I had no fear. I had no fear of failure. I had, I didn't even have a second thought that whatever I did wasn't going to work, that I would find a way to make it work. And I would find a way to be successful and I just...I could have I could have done anything at that point. I literally could have done anything. But I didn't know what it was yet. But I had a feeling whatever I did, it was going to be great! It which change this belief, just this faith that I had. So I went out there, you know, the football was a part of the package, but it was really just to find myself in the football part of it ended up becoming becoming a very minor part of the experience out there, because I learned so much about myself and what I was capable of doing. And I had several majors when I was there. I just you know, I could never find anything that really interested me enough in school until one day at the gym, a guy told me that he had a show on the campus radio station and he said, you should come down tonight to them on my radio show. I'd never even thought of it. And I said, "OK, that sounds cool, I'll do that". So I went in there that night and I really liked it. He put me on the air. I ended up getting my own show. I'd found my thing, basically. So when I went out there for with complete confidence that I would find but not knowing what it was at the time, I did find it. It's... Joe: How far was that into into that college year or like was it the first year, second year? Rick: I want to say it was year two. And I was only there for two and a half years, so I would say probably right after my first year I discovered that. And then I switched my major to radio TV. Like I said, I got my own show on the campus station. I, I knew I was...I knew I was good at it right away. You know, I just found my thing just like you when you found that you could play drumms, right? You knew Joe: Yeah. Rick: What your thing is. So I knew what my thing was. And so I also got I was doing ah...I was like a club deejay. They had nightclubs and stuff like that, you know like disco kind of thing. I became a disco deejay and that was really fun, I really enjoyed that. And just once again, just developing my craft, basically learning how to talk in front of people, learning how to put on a show, learning how to present. And that just was just giving me more and more experience for my radio TV career that follow. So after, after a year or so of doing that, you know, a lot of people were telling me, you know, a lot of people in Flagstaff were telling me right now my, my group of people [laughter] Joe: Right. Rick: Would be, you know, they were saying, you know, "Rick, you're really good at this man. You should go to Hollywood. You should you should try to get into movies in Hollywood". And I was thinking, yeah, you know what? I should probably try that. And so once again, going back to the no fear thing, that's what I did, I ended up quitting NAU after two and a half years. This was this because after like right after the fall semester. So going in to the spring, some guy that was driving to California for a job and I didn't have a car, I didn't have any money, I literally five bucks, that's all I had. So I had no car, I had five dollars to my name, everything I owned a pillowcase. I did, I didn't have any, anywhere to go up there, I had no place to stay...nothing. Well, there's this guy that I was driving out with, had a van, so I thought, well, you know, if I get desperate, I could maybe sleep in this guy's van. So I went out there and I quickly got hired at a club about there in Orange County as a deejay. And not only did I get a job, they gave me room and board at a at this nice hotel because the club was at a hotel. So I got a job, room and board at the hotel, I got a company car, all my, all my meals paid for and all my laundry and dry cleaned. Joe: Geez. Rick: So it was like I hit the lotto, you know? And I remember I called my dad up when I got out there because he was really mad at quit school. And I called my dad up when I got out there and he ah...he goes, "So what are you really doing out there, son?" He goes "Are you in the Mafia or something?" He goes, "He said, no...nobody gives a 21 year old kid a company car". I said, yeah, I know, Dad, but they did and so I had that, you know, so that gave me some stability and some income. And I went out and got an agent and this agent sent me out on my first, like very first audition was a movie called "Fast Break", which was a basketball movie, Gabe Kaplan was the star of it. And um,  I tried out for it was a very minor role in the movie. Basically just had to play basketball. So once again, going back to the athletic ability that I had. Right. So that was my tryout and they went, OK, good, you got the part. So I ended up I work six weeks on this film every day for six weeks, and it didn't pay that much. Rick: I still remember when paid it paid seventy five bucks a day. And at that point, I'd had a motorcycle. Um, I rode the motorcycle to the set every day in L.A. for six weeks...it never rained one time. Lucky because at that point I didn't have the car anymore because when I got this job, I had to quit the the deejay job. And so that I had to get a motorcycle, somebody loaned me money to get the motorcycle. Some guy just said, you know, "Let me buy that for you". So once again, it's just like it's like everything was just meant to be for me. And so that kind of got me started down the path of trying to be an actor. The movie was a was a big hit for those of you watching this now, you could still find that movie. It pops up like on, on TBS, like once a year they play it. At the time, it was one of the biggest movies of the year that came out because Gabe Kaplan was a big star back. He was coming from Welcome Back Kotter to that. And so. Joe: I'll have to rent it now so that I can and I have to figure out if I can find you somewhere in the film before we get past this point, though, I want to ask you, what gave you the foresight to to actually go and get an agent? How did that come to your brain to go, wow. I need to go get an agent. Rick: Why just knew I just knew if you're going to be if you want to try to get some TV or movies, you needed an agent. And so this guy this guy got me in quite a few things, mostly, mostly extra roles but I did pick up ah, I got a couple of national TV commercials, I got a Budweiser commercial, I got a Marantz stereo commercial. I was an ABC sitcom called "Makin' It" with David Naughton. You know, just a minor role...I beat him up in the show. I was like a tough guy and, and they and they you up, they didn't think I looked tough enough and I had, I had blond hair, kind of surfer guy look and so they sprayed my hair black with, with a Joe: Oh Gosh... Rick: spray paint out of the can. They sprayed my hair black to make, it look like me. So I was kind of disappointed in that because if you watched it and knew me, you wouldn't even know it was me. Joe: Oh Wow! Rick: But a lot, a lot, a lot of cool experiences along the way. Joe: That's really cool, and it's funny because you started out doing the radio thing, which is not in front of a camera to being fully in front of a camera and then come where we are today, now you're well, actually you do both now. So it's kind of cool. You got the experience, so you're comfortable in both situations. Rick: Yeah. And the way I got decided to go back into get into radio is, this is, this is really was a turning point in my life. I was working at a liquor store, like all actors do. You're either a wait, you know, a waiter or you work at a liquor store or something like that. Something that gave you the freedom to be able to go out in an audition and do whatever you needed to do. So as working at a liquor store in Anaheim, right down the street from Disneyland. And it was a Friday night and that night a show that I was on was on TV. So I brought a TV in to the liquor store because I wanted to...you know, I obviously wanted to watch myself on TV. And in effect, it was that show "Makin' It" that I just mentioned, the ABC sitcom. And so I brought to TV in and I had it on the counter and it was a Friday night on Harbor Boulevard in Anaheim, right down the street from Disney. And a couple of guys came in and, you know, put a 12 pack on on the counter and and I'm busy looking at the TV over here and I turned around I said, "You want anything else?" They went "Yeah, I think we'll go get another 12 pack. I said, "Yeah, that's great!" And so I go back, I'm looking at the TV, one guy comes around behind me and the guy in front of me puts a gun to my head. So they're obviously holding me up. Yeah, Joe: Yeah, man... Rick: It's so. Rick: You know, it's you don't know how you're going to react in a situation like that, until that happens and everything for me just slowed way down almost like slow motion. And I didn't panic, I was, I was really calm. I gave him the money out of the um, the cash register, but I knew that they had some marked bills in there. If you pulled these marked bills, that triggers a silent alarm and the Anaheim PD comes because if you're getting robbed, that's what you did. I didn't, I didn't, I didn't want to give him those bills because I knew that the alarm would would trigger the police to come and I thought if the police came, these guys would either hold me hostage or kill me. So you could see how how clear I was thinking. So I didn't give the bills and they said, you know, "Give us all the bills you M'efer". And so I pull them out, I threw them in the bag. Now, I knew that the cops had been alerted. So they're trying to get me to open the safe. I couldn't open that, I said, "Hey, man, I just work here, I don't have the combination". And they said, "Open the safe!!". and I said, "I can't man, I just work here". So they said, "Get in the back room, hands over your heads!!" I'm walking back like this. And that's when I thought, well, I might be in trouble now and then it's the same time, I'm still thinking, man, I hope nobody comes in that front door because they'll probably kill me. Rick: Even the cops were there, if the cops come they'll hold me hostage, if somebody else walks in, they'll probably kill me. This is a Friday night and then nobody comes in. So then they told me to lay on the floor, hands over my head, you know, like execution style...I'm doing that. And they're still trying, they find a crowbar. They're trying to open the safe, and so they, they couldn't get it open and they finally realized they're going to get out of there. And they told me to count to 100 before I got up. They had to step right over me to get out. And I'm thinking they're either going to kick me in the head, shoot me in the back of the head, you know, who knows what they're doing? Well, they didn't you know, they stepped over me and ran out the door. I counted to three and I ran up the door because I wanted to see if I could catch a license plate. But they were on foot. So they got away. It is up standing in the parking lot, five cop cars pulled up and at first they thought that I robbed a liquor store. And I quickly explained to them what had happened. And so, anyway, long story short, they never caught the guys but the next day I got called into the corporate office. It was a U-Tote'Em, I know if you remember you U-Tote'Em Joe: Ok... Rick: Became they became Circle K's Joe: Ok. Rick: Yeah, so a corporate liquor store. Joe: Mm...hmmmm Rick: And I got called in to the corporate office and the guy sat me down and he goes, "Well, you got robbed last night!", I said, "Yeah, yeah!". He goes, "Well, you know what? They got a lot of money!!" I was like? "Yeah!?", he goes "No, they got like $227 dollars. I said "Ah ha!" and he goes, he goes, "That's a lot of money!" And and I said it, and I was, I was probably twenty three years old, twenty two, you know, still just a kid and this guy's got his suit on and everything. And I said, I said, "Have you ever had a gun pointed at your head!?" And he said, "No, I haven't". And I said, "Listen, man"...I said, "I would've carried the safe to my fuckin' car!!". If I...that's a quote, you know, quote unquote. I told them that, he goes, "Oh, no, no, I understand,you know, I totally get that", but he goes, "We're going to have to let you go!". I, Joe: Oh, Rick: I got fired... Joe: Gosh... Rick: for being held up, and so I said, I said, "Why would I give up my life for a minimum wage job?" I said "I would get I wouldn't give them anything they wanted". He goes, "No and I get that we can have you work here anymore". I don't know, I still don't know what that was about. But I ended up realizing that I should probably get into radio. You know, that's really what I was born to do. Now, the acting thing wasn't my thing and so I ended up going back to school at Long Beach State because they had a really good radio program there. And I had a year and a half to go to get my degree and I got a degree at Long Beach State. They had two broadcast stations on campus, broadcasting into Long Beach. It was great experience...I did everything from a deejay shift to a sports talk show, to a news, I was a news anchor and I did play by play for the Long Beach State football, baseball, basketball team. And so I got a ton a great experience. Yeah, it turned out to be really, really good. Joe: That's amazing because I got on the radio at my college and I got the shitty 4 a.m. to 7 a.m. slot or something like that, because like it was only drunks calling in and telling me to play this and that and I'd get in trouble with it. I wouldn't stick to the playlist that the program director gave me, so. Yeah. So yeah, that's Rick: Oh, Joe: Good. Rick: I didn't know you do that. Joe: Oh yeah. It was it was a disaster. Rick: Yeah, I got to do everything, but keep in mind now I'm a little older, so I'm probably twenty three, where everybody else there is 18 and 19. So I was more experienced, I've been around. And so I really don't want to say I was the best guy there, but I probably was, you know. And so they want it, so they utilize me any way they could. And it just turned out to be great in fact I'm not bragging, but I got nominated as outstanding graduate the program. And this is Joe: Oh cool! Rick: it and me, a guy who never cared about school. I mean, I could care less about what I could learn at school or at least a classroom part of it but once I got into radio, it was just my thing. I got straight A's, I got a 4.0. my last year and a half with, without really even trying. And when that happens, you know, you found, your thing, you found. Joe: Yeah. Rick: You're supposed to be doing, you know, just Joe: Yeah. Rick: Like I mentioned earlier with you playing drums. Same thing. Joe: So now, now you're, you found it! You found what you love, you got your degree, you excelled in it. How you know, if we can just cover quickly the, the the brief stop offs at the different stations around the country that you, you got work at and then finally landing in Colorado. Rick: So, yeah, I graduated in June. I sent out tapes for, I sent out tapes for, you know, to be a deejay and I also sent out sports tapes to do sports talk or be a sports reporter because I like both. And and I didn't, you know, I thought I'd end up in sports, honestly, like to be a sportscaster but I didn't want to limit myself, so I set up both and I got hired in August. Two months later, I got hired at a radio station in San Clemente. So in the market still right on the beach, it was it was pretty cool. The money wasn't very good. I still remember what I was making back then, it was twelve hundred a month to do mornings at this station in San Clemente, but I wasn't in it for the money. I had, I knew, I knew what the goal was, I knew that the money would come at some point. This was just all about getting getting you getting reps, as they say in football, you know, building up my chops. I knew I had to build up my chops. I didn't come out of college, you know, a good broadcaster. I came out of college a you know, a green professional broadcaster with a lot of potential. So I totally saw the big picture and I knew I just had to get reps in and every day, you get better and better and better. Just like playing an instrument, you just got play. And, you know, anybody can crack open a mike and talk on the radio but it's the years of experience that really, you know, fine tunes, what you can do, just like playing drums or playing any other instrument. So, so San Clemente, I was there for a year and a half and I started getting noticed by some of the bigger markets like San Diego, they had me working weekends and say Diego at a radio station down there. In fact, they offered me the morning show down there and that's a whole another story, I kind of blew that one. Well, I don't know how much time we have. But Joe: It's Rick: Yeah. Joe: Up to you. Listen, I. I will stay here as long as, I have a lot I want to cover. Rick: Yeah. Yeah. Joe: But if Rick: Well, Joe: If this is Rick: Ok. Joe: A great but if this is a great story, because the story with the five dollars and the pillow Rick: Yeah. Joe: Case, Rick: Yeah well anyway... Joe: I had never I had never heard. So that was a great story. Rick: Yeah. Well, anyway, it was a, I learned a lesson talking to fans that would call the show, you know, a lot of times when records are playing, you'll kill time talking to people on the phone. And I happened to mention it to somebody, who happened to call down the morning show guy at the station in San Diego and tell them, "Oh, by the way, I heard this guy in San Clemente, Rick Lewis, is taking your job!" This guy's "What!!?" He went to the boss, told the boss, the boss called me. "Who? Who did you tell, you had the morning show here at the radio station!!?" And said, He said, "I can't hire you!" He said, "I had to deny it, I'm not going to be able to hire you". Anyway, that's the short version of the story, but still from there, from San Clemente, I ended up getting hired at a radio station in Anaheim. After about a year and a half in it, it was quite a big step up. It was a union station. The money was really good. I had probably more than tripled or quadrupled what I was making, you know, so I was there for just a week and they changed the format. I got fired a week into the week into this job and it was, you know, like I said, it was. Rick: It was a pretty good step up. And like I was thinking, how did they not know that they were gonna change the format a week ago when they hired me? It was pretty devastated. And so once again, I'm starting over I ended up sending tapes out. This time I'm certainly tapes out of the L.A. Three months later, I got hired at the biggest rock station in L.A. and probably the biggest rock station in the country. Some of you may remember KMET The Mighty Met, those of you from from L.A. certainly remember KMET. So, so one door closes, another one opens. I ended up like just jump, jumpin' over the mid-market, you know, radio station, right up to the very top. So in a year and a half out of college, I'm working at the top radio, top rock radio station in the country. It was named Billboard Magazine's Major Market AOR Radio Station. And so this was like a dream. It's unbelievable! I was the youngest guy there, they had legendary radio personalities there and just just a blessing for me. You know, I'm not the most patient guy anyway. Yeah, I don't think I was ready for it, to be honest, I still had a lot of a lot of growing to do as a radio personality, but that's certainly accelerated it. Rick: And then once again, the pay was two or three times more than what it was gonna be an Anaheim so in a year and a half, I just like I shot right to the top of my field. And, you know, you're probably thinking, well, you didn't pay your dues, you know. I guess maybe you could look at it that way, like I didn't have to go to a lot of shitty markets and you know, grind it out for 10 years before I got the opportunity but that's just how it happened for me. But I never took it for granted. I never took it for granted because going back to my blue collar roots, I would call myself a grinder with talent. The talent a blessing, the grind part, that's on me. I had nothing to do with the talent. But the grind part's on me, and I always thought that a grinder with talent, is the, the person you would want to hire because that person is going to take what they got and they're going to outwork everybody and they're just going to get better and better and better. And so that's kind of how it happened with me. So there I was LA, now you want to know how I got to Denver. OK. So. Joe: Yeah. Now, I wanted to how cause, like cause, that's where we're going to get into more of this other stuff. So... Rick: Yeah, so I worked in LA for...see, I started in 81' at San Clemente and I worked in LA till 1990 so nine years. I also worked at Power 106 in LA, which is still a big powerhouse radio station in L.A. because I ended up getting fired from KMET twice, um yeah, two times. Yeah, one time I just signed a three year deal and this fired me three months later. They pulled the plug on the whole radio station, this was in 1987. They, they became the first smooth jazz radio station in the country. They just pulled the plug on one of the greatest, if not the greatest rock radio station ever! Turn it into smooth jazz, fired us all. So that's the third time I've been fired now since 1981. So I went to...I realized then that I, to make the really big money and the biggest impact in the business, you got to do morning drive radio. So I stepped back down to that radio station Anaheim, that I was that early on in my career and started doing mornings there and I did mornings there for three three years and I got fired...again. So for no reason, you get fired in radio, not for doing anything wrong, it's usually a turnover of, you know, upper management, middle management, format changes, that kind of thing. So, so now I've been fired four times, since I started in 1981 and it's really hard to get a job in radio. Every time you get fired, you think I'm probably never going to get hired again. Rick: You know, because it's it's it's really hard to do. And I had, I had so many chances along the way there in LA where I almost hit like the big time. Like I got asked to guest host PM Magazine and I crushed it! And I killed it!. They call me later, they said "Hey, we want to, we're thinking about making you the national PM Magazine host" and I was probably, I was probably about twenty six years old, twenty seven, and they were like "I was like, cool!" So they said, we got to, get we got to get a reel, gotta to get something more than this to show people nationally, come on down, we'll do some test and test rule. And that day I got stuck in traffic driving from Orange County to Hollywood, took me two and a half hours. I didn't know then, that I'm hypoglycemic, so my blood sugar just tanked on the way down there. So I got there, I did the audition and I was flat, totally flat. And I knew it was not a good audition. And the guy pulled me aside, he goes, "Rick, what happened man, you crushed it when you guest hosted the show, the just wasn't very good!" "Yeah man,I know", I said "I'm just not feel "in it today. He goes, "I can't show anybody this!". "Well, can we try it again?" He goes, "No". So anyway, I blew that one. Dick Clark called the radio station in LA that I was working at, some, somehow he had seen me somewhere and he said, "Hey, I want to meet this guy, Rick Lewis, one of your radio people". Rick: They gave me the message, I call back, they set up a meeting with me. I go to Dick Clark's Studios in Burbank and I never met Dick, but I met his right hand man. We had about a 90 minute meeting. And he told me that they were going to develop a bunch of shows around me. And so of course, at this point I realized not to get your hopes up in Hollywood or in show business because a lot of times it just never happens. So I was feeling good about it, but I didn't get my hopes up at that point and I'm maybe twenty seven years old, twenty eight, I already knew better than to get my hopes up. So we had some conversations on the phone after that about different shows and different show ideas for about three, four months and then they went dark on me. Nothing, nothing ever happened again, I never heard from him again. So anyway, I had all these near misses or near hits along the way. And so at 1990, a radio guy in L.A. named Frazer Smith, and once again, anybody from LA would know that name, he was, he's one of the legendary guys out there. He was from Detroit and he told me, he said "Hey man!", he goes "I just got offered a half a million dollars to do mornings in Detroit" and this was in the 80s, so translate that into today's money. That's a lot of money! Joe: Right. Rick: He said big money Joe: That's a lot of money. Rick: You can make big money in some of these Midwest towns doing mornings. I went "Really!!? OK, it's good to know". So I contacted a guy that I knew in our company that I still work for and they offered me an afternoon show back in Cincinnati, which is where I used to live. I thought that was too big of a step down in market size, I turned it down. A show, a station in Detroit, told me that they were very interested in hiring me to do a show there and so I went back and interviewed. I took my life back, we were looking at houses and neighborhoods, never happened! And anybody that's in show business,  you know, Joe, you've been you've been in the entertainment business a long time, you know that this is just how it goes. All of these big things get dangled in that most of time they don't happen. But, I knew at that point that I'm ready to leave the market if the right opportunity came along. So the guy who offered me the job at Cincinnati got back to me and he named off about three or four other markets that they were willing to hire in and Denver was one them. And I'd never really been to Denver before. And he said, hey, we got this comedian named Floorwax, he's really funny, but he doesn't get the radio business, he doesn't understand it. He needs a really good partner to make it work. He'd already, he'd already had a show here in Denver. He was on the air with another guy and he said the station is losing money. Rick: They're they're not right even in the top 20, but he said, if you can go there, turn it around, he said you can write your own ticket. And I kept thinking back to what Frazer Smith told me about how this could all work out financially. So my wife and I flew out and we liked the city. I thought it was worth taking a chance for a year. Once again, back to no fear. I left the L.A. market and I by the way, I did get after getting fired there, I did have another radio show, another radio station I was working for back there, so it wasn't like I was unemployed, but I, I told my wife, I said, even if this only last year with Floorwax, we'll go somewhere else, meaning me and Floorwax will keep going somewhere till it hits. Because I knew I knew that what we had, was really special. And it ended up here we are 30 years later, I'm still doing the same radio show..it's unbelievable. And it's been just an incredible run and I'd never take it for granted because of how I started my career, getting fired four times in the first nine years. I wake up every day just counting my blessings. And I also realize it didn't matter how good you are, how big you are, how much money you make, they could fire you in a second and I've never taken that for granted. Joe: I know that about you, I know that you're grateful every day for what you have and what you've accomplished and that's why this is a special interview for me, because we we think along the same lines and in, you know, that's what they say, right? You said you are, what is it? The quote is something like, "You are the sum of the five people that you associate yourself with" or hang around whether or whatever. So, Rick: Yeah, Joe: Yeah, I get Rick: We all Joe: Yeah Rick: Attract, Joe: Yeah. Rick: You know, the energy we put out. We named Energy. And so Joe: Yeah. Rick: That's how you and I became friends. You know, you Joe: Yeah. Rick: Kind of attract who you are or what you what you put out there. Yeah. Joe: Yup. So you get to Denver and they get rid of this other guy that Floorwax is with and you step in and you guys create this this Lewis and Floorwax show that was on the air for how many years? Rick: Well, Floorwax and I did twenty three years together. And then Joe: Ok. Rick: Unfortunately for floor wax, he ended up quitting the show and he's been gone ever since. So he's been gone for seven years now. And the show continues to go on. The show is still very successful. You know, big revenue maker, big ratings. It's amazing. I can't believe it's lasted this long. I really can't. Joe: Yup, yeah, and there must have been a lot of pressure, right, when that whole thing happened where Floorwax was going away, you were still handed the show to say, let's keep it going and make the best of it. And I'm sure at that point everybody's eyes were on you going, ok, can he pull this off without having the secondary person with him on the air to exchange that banter with and all that other stuff? And I know listening to it after that, that it just it just kept shooting upward. It just was amazing! Rick: Yeah, I kind of thought Joe: And still is so... Rick: Maybe it was over here in Denver when he had left. In fact, I hired an agent outside. You know, the more I had a New York agent, you know, a national agent thinking that I would probably be looking for another job. And I looked at it once again as an opportunity. You know, like, all right, this is the universe telling me, hey, it's time to move on. Floorwax left in January and by that summer, the radio show was number one in the morning. And so then they the company was coming back to me talking about a new contract. And so it ended up working out where they signed me to a new contract. I don't think they thought it was going to work. I thought, I think they thought the show was over, you know, and this will be it. I think everybody was surprised, including myself. I ended up retooling the show, kind of reinventing it, reinventing myself. I looked at it as an opportunity to just get better. You know, I had a band with Floorwax as well, that was real successful. I looked at that as an opportunity to, as kind of a rebirth. And, and the approach that I took and it took a lot of work, it was a lot of work with the radio show and the band, to get it actually to the level we were before and in some cases even better. Joe: Right. So the timeline is you start with Floorwax. What year? Rick: 1990. Joe: And then it ends January of what year? Rick: Well, twenty three years later. So that would be 2013. Is what you Joe: Got Rick: Walked Joe: It. Rick: Off? Yeah. Joe: Ok. OK. And you picked up and you just just it was it's amazing. So I know that the list could be huge, but let's just for the sake of keeping it condensed. I know just a few times you invited me into the studio and I've been in town or I've listened to it from being in Arizona. What's the top five most famous people you either interviewed live in the studio or remotely on like call-ins over the phone? I know it's ridiculous because the list is probably hundreds. Rick: You know what it is, it's a really hard question to answer. Joe: Did any of them make you nervous? How's that? Maybe that would pinpoint them somebody like being really over the top. Well known. Rick: I literally interviewed almost everybody you can think of joke. You know, if even when I was in L.A., I worked for Westwood One and my job was to go get, to do probably seven to 10 interviews a week of either movie stars or rock ah, you know, rock stars, singer songwriters. So I was interviewing seven to 10 people a week for a couple of years out there. I interviewed everybody. When somebody is new album would come out, I got to meet them at a hotel in their hotel room, you know, and interview them. So it's all kind of a blur, to be honest Joe: Yeah, I'm Rick: With Joe: Sure. Rick: You. You started naming names. I could I could tell you. Oh, yeah. Joe: Yeah. Rick: I could tell you a story about Joe: Yep. Rick: That Westwood One gig did make me a really good interviewer or me, you know, it made me really know how to interview people and how to how to listen to people instead of, instead of having a list of questions in your ask, that you ask, you know, question number seven off your list, while they're talking, you're already looking at question number eight. You're just like, you've just got to let it flow, you know, and it just go with the conversation because a lot of these people, they, they, they're not that comfortable being interviewed. It's not their thing, though, some of them are great, like David Lee Roth. That's a guy I've interviewed many times. All you gotta do is turn the mic on and let em' go and just try to guide it, you know and try to, hopefully you get from point A to point B to point C without losing your license. You know, guys like that, Ted Nugent, Joe: Right. Rick: Ted Nugent, you just let him go. But you try to guide them, you know, along the way to try to get what you want out of them. Guys like that are real easy, but a lot of them, they really have very little to say. A lot of a lot of these rock stars are somewhat introverted, movie stars, really a introverted.  Movie stars, you take away a script, they don't have a whole lot to say. You know, they're always you know, they're going off, everything they do is off a script. You've seen some of these guys on the talk shows. You know, it takes a really good interviewer, Jimmy Fallon and David Letterman guys like that, to bring them out. And so you learn how to do that. I like I have so many. I really. Joe: I know, I know it's it's it's Rick: We Joe: A bad Rick: Wear Joe: Question. Rick: This watch. We can do this for hours Joe: I know, Rick: A day Joe: I Rick: For. Joe: Know. All right. So now you are currently on the Fox, 1.3, 103.5 Rick: Yeah. Joe: On weekdays. And you've been doing that alone since the spring of 2013. Correct. January 2013, that's Rick: Since Joe: When four Rick: January Joe: Weeks Rick: Of Joe: Left. Rick: 2013. Joe: Ok. So on top of that, you recently. I don't, I say recently only because in this industry, you know, a couple of years is still recent. But you, is it true that you're the color commentator for the Denver Broncos? I just didn't want Rick: This Joe: To get Rick: Is true, Joe: It wrong. I don't Rick: Joe. Joe: Want to say. Rick: Yes, it Joe: And Rick: Is. Joe: Just for Rick: Yes, Joe: The audience Rick: It is a. Joe: Sake, because I didn't even though I watch a shit ton of football, I didn't really understand what color color commentator was. So if you can quickly, you know, explain what that means, because I don't want to I don't want to give it the wrong description. Rick: Ok, I, I've been doing play by play, which is a different role for a long time, going back to when I was in college, I'd been doing play by play of high school and college games for, I got back into it at least 10, maybe 12 years ago, and I was working for Comcast here in Denver doing games play by play. So it wasn't like this whole thing of being at the booth was foreign to me. So four years ago. Ed McCaffrey was the color commentator on the radio on the Broncos flagship station. Ed McCaffrey, great football player, Denver Bronco legend. And he for some reason had to miss a game and so my boss called me like on a Tuesday and he said, "Hey, Ed can't do the game Sunday in Jacksonville, what do you think? You think you can do it?" I was like, yeah, yeah, I can do it. No fear, right?. I'd never been a color commentator before, but I understood the role because I've done play-by-play so much, so I prepped for it really hard and did the game and it went really, really well. And so much so that I thought, you know, you know if Ed ever decides he doesn't want to do this anymore, I'm going to throw my hat in the ring and see if I can get that job. And it happened the following spring. Ed McCaffrey decided that he wanted to spend more time with his kids. He's got at the time, I think he had two kids in the NFL and one in college. Christian McCaffrey, his son, is one of the best running backs in the NFL. So he, he decided he wanted to watch him play more and didn't have time to do this. Rick: So, I did get the job and so the color commentator is a is a different role than play by play. The color commentator has a very short window to try to color up the broadcast, keep in mind, this is radio, not TV. It's different on TV, on TV, you don't have to explain what happened because everybody can see it. On the radio, you have to paint the picture. And so the play by play guy will tell what happened on the play and in some cases even break it down. And then I have about maybe 10 seconds in between plays to say something that he didn't already say that actually add something to the broadcast and moves it forward and kind of resets the next play and so, it's a real challenge. It's a real challenge. I always thought play by play was easier, I still do, I think for me, play by play is easier to do than the color roll. So it was a bit of a learning curve on it. But I really, really enjoy it because it's challenged me for the first time in a long time, not only with the prep that's involved, that it's a lot of prep, but the speed of the broadcast is, is such that, you really got to be on your game because it's moving really fast and you got one shot. So it's like you're a Nik Wallenda, you know, when you're on a tight rope walking across the canyon, there's no safety net. You've got to be on your game. You've got to be super focused. Joe: Yeah, and it has to be Rick: And Joe: This Rick: That's Joe: Super Rick: What I like about Joe: Delicate Rick: It. Joe: Balance between knowing when he's actually done saying what he's going to say in the play by play and where you guys aren't constantly stepping on on top of each other and then there's room for the next play to come in or whatever. I hear it, I just I, I'm baffled at how it gets done so cleanly. Rick: Yeah. And my partner, Dave Logan is one of the best in the business. He is up in the upper elite 1 percent of play by play guys in the world and so the fact that he's so good, of course he could cover up any mistake that I might make or if I if I, you know, stub my toe a little bit, he can completely cover it up in a very smooth way, which I'm sure he's done for me many times, you know, to make the broadcast on good. You know, the fact that I've been in broadcasting so long, well over 30 years, what, 39 years, you know that I'm able to make a broadcast sound good. Joe: No. Rick: Let's figure out a way Joe: Go Rick: To make Joe: Ahead. Rick: It something. Joe: Yeah. So Rick: And Joe: I Rick: So Joe: Just it just as we're talking Rick: That's Joe: About Rick: What I Joe: This Rick: Do. Joe: See how I stepped Rick: Yeah. Joe: Right on top. Yeah, that's right. So is it true? I don't know if if where I heard this, but is it true that you are the only broadcast person doing these NFL games that is not and an ex NFL player. Rick: Yeah, on TV, I don't think there's anybody certainly on ah,  I don't anybody doing NFL games on TV that wasn't a player. There may be one on the radio, but I don't know who that would be. There's only 32 teams. So you got 32 broadcast teams doing it on radio. I don't think there is a guy doing color that didn't play in the NFL. Most of the play by play guys or guys like me that are broadcast, you know, guys, you know, experience broadcast guys. We kind of flipped the formula in our broadcast because Dave Logan played 10 years in the NFL. So you've got to play by play guy that played 10 years in the NFL. And then me being a broadcaster that I know the game, I understand the game, I played a little bit of football myself, so I totally get it. But it is pretty unique. Joe: And you're having to do what is an eight away and eight home? Rick: Yeah, eight home/away and then four preseason games, so 20 games a year. Last year we did twenty one because we had the Hall of Fame game. Joe: Right. And what's the most grueling conflict with the rad... that, you know, the morning drive time show now with you having to do the football games, what what days are the hardest for you? Is it Mondays because of the Sunday game or? Rick: Well, if we play a game like on a Sunday night or Monday night or Thursday night on the road, I don't work the next morning on the radio because we will get into 4:00 o'clock in the morning, sometimes 05:00 in the morning. So I take the morning show off. I do two radio shows a day, I don't know, I don't think you're even aware of it. But I'm do two live radio shows a day. So I do the morning show on the Fox actually from 6 to 9 a.m. from 9 to noon, I do a talk show on K.O.A., which is the Broncos flagship station with Dave Logan and Kathie Lee, who's on with me on the Fox show. So I'm doing six hours of my radio in a day. Joe: I had no idea. Rick: That also also pretty, pretty unheard up in a major market. Joe: Yeah, I had no idea that you were doing that extra stuff, I had only known about the Rick: Yeah. Joe: The Morning show so well. Rick: Well, this is why you don't hear from me much anymore. [laughter] Joe: I don't that's why I'm excited that I have you right now and I can't let you go until I get through Rick: Yes. Joe: A lot of this stuff. So let's let's bounce over to, you know, you and I have this mutual kinship and in playing drums. So when did you start playing? And then we skipped over it a little bit, when you're talking about you and Floorwax and having your band, which was the Groove Hawgs and now you have The Rick Lewis Project and you run the band and, and you and I had this same sort of leadership role in our bands. But when did you start playing drums? Rick: Yeah, I started playing drums at 17, I believe. I played piano when I was a little kid. Ah like classically trained, you know, lessons, piano recitals, all of that. I probably played piano for about three and a half years, I never liked it, but my mom was kind of forcing it on me. I would have much rather been outside playing football or baseball or whatever. So that was always the dilemma for me and I was pretty good. I picked it up pretty quick, I could read music and all of that. And then she finally, she, she gave up and said, "Ok, you can quit piano and do whatever you want." You know, I'd always wanted to play drums, I was always interested in drums but my mom and dad would never get me even a snare drum up. You know, we had five kids in the family, we didn't know we didn't have enough money for, to go out and buy me a drum kit. So I just kind of put that on the back burner, but at 17, somehow my younger brother got a drum kit. I don't know, I don't remember how it happened. Maybe my mom or dad gave it to him for a Christmas gift or whatever, and I started playing drums at 17 and I realized right away, like, you know, I can I can kind of play these. And, so I really took a great interest in it, and I played a lot of self-taught, as you know, played along to records, you know, put headphones on and just play the songs. And so I learned how to play, I think I learned how to play musically, you know, I never took any lessons and so for me, I play like the record because that's how I learned how to play. And like I say, I was so people I don't have chops, I have a chop, I got one. You know, I can play a song, I can play a groove, right? That's all I got, I can play a groove, but Joe: You have more than that, trust me, I've seen you play. Rick: Well, I don't. But I, I played until I was twenty one, when I went to NAU we'd go to the music room, me and a bunch of guys, you know, and we would jam in the music room. Remember I played once in a country bar in Flagstaff. You know, it took a lot of beer to Joe: Yes. Rick: Get up there to do that. And I did it and I just I just loved it. But then when I moved to LA to be an actor, I quit playing drums and I didn't pick up a pair of drumsticks again until I was probably 40 years old, so almost a 20 year span of not Joe: Well. Rick: Playing drums. And then when I was 40, I got it, I got interested again and I bought myself a drum kit and started to try to get up to speed and we formed a band pretty soon after that. That was the Groove Hawgs Band and with the connections I have here in town, I was able to hire the best musicians around here and it was it was a pretty good band. It because of who we were on the radio and Floorwax was in the band too. Because of who we were on the radio and the high profile that we had, we were getting really good gigs. The first gig we ever played was at Red Rocks...sorry, Joe. Joe: I know, it's like man! Rick: Yeah, we opened for the Doobie Brothers and CCR at Red Rocks and it was just amazing! And I was working as hard as I could to get back up to speed. You know, just practicing every day and having had no formal training, you know, was strictly just instinctive, you know, trying to get better and once again, just play the music, just trying to play songs. You know, for some reason, I got a really good natural feel for song structure. So that that, that's a gift. And being able to play drums is probably, it might be my favorite thing I do right now is maybe playing music, which is saying a lot because I do a lot of really cool things. The Groove Hawgs got to play big shows and we played, we opened up for ZZ Top and James Brown and Leonard Skinner and Ted Nugent to Def Leppard. We got to open probably seven shows at Red Rocks. Joe: That's amazing! Rick: We opened for The Who at the Pepsi Center...that was amazing! Back in 2007 or 8, there was The Who and The Pretenders at The Pepsi Center. So we played some really Joe: And you do it right, too, because you have a drum tech and I don't Rick: Good gigs Joe: So you just rollup, with your stick bag on your shoulder and you're like, oh, here. Rick: Yeah, yeah. The whole breaking down Joe: Oh, Rick: The drum kit, Joe: God. Rick: They...love...about it...that's one that's the big downside of playing drums. But luckily for us, you know, we the band gets paid pretty good for doing these gigs and so I can afford to pay my band Joe: Yeah. Rick: Members really well. You Joe: Yeah. Rick: Know, I told you they get paid really well and so I can also afford to have a Joe: Yep. Rick: Drum tech who can do all of that Joe: Yeah. Rick: For me as well. So I'm not in it for the money. Joe: No, Rick: Believe me, Joe: I Rick: This has nothing to do with money for me, just playing music. Joe: Know, I know. And it's too bad. I know right now it's like a kind of a tough question, but you guys are still doing local gigs around town. Like when things get on the other side of what's happening now with COVID-19, you guys will be out doing your normal festivals that, you normally just play like festivals and things, right? You're not. Rick: Yeah, we have a new band, The Rick Lewis Project started in 2013. So seven years in already and once again hired the best musicians around here. We played some big gigs too, which we've opened for Leonard Skinner and you know, many other people like that. We did a show with Ziggy Marley, I mean, we were the only non reggae band on the lineup and pulled it off. We ended up switching like four or five of our songs into reggae songs. I never played reggae before and we pulled it off. So it's it's really, really cool. But yeah, we have a residency at a casino here so that we can play anytime we want, pretty much so we play there about every six weeks. In the summer, we play a lot of festivals and we do still support some big acts. We've got a show in August with Government Mule on the books. Hopefully we'll be able to play it. You know, that type of thing. And others were I mean, we were just in the process of really rounding out our schedule for 2020 when all of this Coronavirus Joe: Yeah. Rick: Hit. Hopefully we can come out of it. You Joe: Yeah. Rick: Know, who knows? I think I think we will. I think by at least July, I would think, we'll be able to start playing live shows again and people will be able to start going to concerts again...I'm optimistic Joe: Yeah. Rick: About that. But Joe: Yeah. Rick: Who knows? Joe: Yeah, it's crazy. So this is something I don't know if I've ever asked you or we talked about and I'll have a few more things, so I'm not going to keep you much longer. But if you had the opportunity with all you know about music and all the musicians you've made and all of the conversations that you've heard, if you had ever had the chance to become a professional touring drummer over being the, you know, the radio personality that you are and all of that, would you ever have chosen that, that lifestyle? Rick: Well, that's a good question! Joe: I know you love performing in front of people. When I watch you play, I'm like, you know, you are so in your element doing it and and you're a great frontman when, when you know, anytime that I've jumped in behind the drums and you've run up to the front of the stage and like, you know, you're a great front man as well. So I just was like, man I wonder if he ever goes God, if I had only started that earlier and, and my path taking me in that direction. Rick: That's a great question! I have no regrets but I do think that looking back on it now, I wish I would have focused more on music than sports because, sports was my whole world back then and now I realize that for most people, your athletic career is over and after high school and if you're lucky, after college. Very, very few get to play professionally or make a living out of playing sports. Looking back on it now, I wish I would have stuck to the piano. You know, I told my mom that recently. I said, I wish you would have forced me to continue to play, just to establish, you know, that side of me. I wish, you know what I did? I did discover drums young enough at 17 that I could have been probably a pretty darn good drummer by now, good enough to tour with a big band. I don't know if I put enough work into it to be that good. I think, I have, I have whats inside of me to be that good but I haven't put in the work you know, because of everything else I do. You know, I wasn't a guy that could sit down and play drums for 10 hours a day, which a lot of guys do it, you might have been one of them. I was a guy who could sit down and play drums for an hour a day. And so that's what I did, you know, for 20 plus years, I would play for an hour a day. That's all I had time for,you know, with a family and an established radio show and everything else that I was doing. But boy, you know what? If I could, I sometimes say, man, if if like Earth, Wind & Fire would hire me to go on a tour, because I love playing funk music, that's my thing. If I could be the drummer and Earth, Wind & Fire on one tour, Joe: Yeah. Rick: that would be hard to turn that down, the really hard to turn that down. But, but, you know, a lot of musicians, a lot of these successful musicians that we all know and love, they've had a lot of hardships along the way and a lot of it's drugs and alcohol. Almost every one of these successful bands goes through that. You know what? I don't know, man, I don't think I'd change anything. You know look look, you know, my friend Danny Seraphine, who is the drummer from Chicago...longtime drummer from Chicago. I just watched a documentary on the band and I think it was on Netflix and drugs and alcohol once again, you know, Terry Kath's ends up killing himself. Maybe accidentally, maybe not. But you watch every documentary on Netflix about a successful rock bands, it's drugs and alcohol that takes them, almost all of them down. I don't know if it would be worth it to have to go through that type of thing but I did take one lesson on drums and that was Danny Seraphine. I told you that, right? Joe: Yeah. Rick: Yeah. Danny, Danny Seraphine came this my basement Joe: Yeah. Rick: Right here that we're sitting in. Joe: He's a sweetheart. Rick: Danny Seraphine came over and spent a weekend, I think, or two or three nights at my house and I got to drum kits set up in my house and he goes, "Hey man, let's get out a jam a little bit." He goes, "I want to see if I can help you." And I was pretty intimidated, but once again, no fear. So we sat down and we played together for like 90 minutes together, side by side. You know, he'd play a lick and I'd try to copy it. You know, that he'd play a groove and I jump in on it. And then he showed me a couple of things and after about 90 minutes, we stopped. He said, said, "You're a good player" and this is a long time ago, this is probably almost 15 years ago, he said, he said, "You're a good player," he goes, "but I can tell you don't have you." He said, "I can tell you you don't think you're a good player." He goes, "You should know you're a good player" and he goes, You have good time", he said "You have a great sense of time, great feel, a great groove." And he said, "Take that with you every time you play and realize that every musician wants a drummer that has those three things, time, feel groove..You said you got it." He says believe me. "That's what all these guitar players want is a drummer like that," he said "they don't want drummers that are playing all over the song and doing drum fills, you know, every break," And he said, "Take that and be confident that you have that." And that really helped me a lot. So that one lesson from Danny Seraphine really meant a lot to me and it gave me the confidence to, you know, be myself in play and play like I do, which is my one chop, I've got the one, I got the one Joe: Yeah. Rick: Here. Joe: Doesn't matter a grooves, it feels great. That's all right, man. All right, so what's next for Rick Lewis? What's...anything that is a super exciting that you can talk about or you know, I know you got a shit ton on your plate, I don't even know how you sleep. But just wondered if there's anything new you wanted to talk about before I let you go. Rick: I've gotten really good at living in the moment and living in the now. Joe

Terry Kath was the monster guitarist from the band Chicago, when they were still a monster guitar and horn-driven band. This edition of KVC-Arts has David Fleming in conversation with Michelle Kath Sinclair, who was only two when Terry lost his life. She went on a journey to find the father she never knew, and shares that story with the documentary, "The Terry Kath Experience." This is a rebroadcast for Terry's birthday, who would have been 74 on January 31st.

Este 23 de enero se cumplen 42 años de la muerte de Terry Kath, guitarrista y miembro fundador del grupo Chicago

Jimmie Pankow is a founding member of Chicago with a new holiday album, "Chicago Christmas", out now. Jimmie is the trombone player and called from New York City before their performance at the Rockefeller Tree Lighting ceremony. This summer they go on tour with Rick Springfield. Jimmie discusses his friendship with Rick Springfield, if he's ever been to Peter Cetera's house in Idaho, how to write a Christmas song and if he thinks the 1978 death of Chicago guitarist/vocalist of Terry Kath was an accident or a suicide. Jimmie is in the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. He was featured on Three Dog Night's 1969 song "Celebrate" and on the 1979 Bee Gees' album, "Spirits Having Flown".

Jimmie Pankow is a founding member of Chicago with a new holiday album, "Chicago Christmas", out now. Jimmie is the trombone player and called from New York City before their performance at the Rockefeller Tree Lighting ceremony. This summer they go on tour with Rick Springfield. Jimmie discusses his friendship with Rick Springfield, if he's ever been to Peter Cetera's house in Idaho, how to write a Christmas song and if he thinks the 1978 death of Chicago guitarist/vocalist of Terry Kath was an accident or a suicide. Jimmie is in the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. He was featured on Three Dog Night's 1969 song "Celebrate" and on the 1979 Bee Gees' album, "Spirits Having Flown".

I'm joined by guest Phil Stacey as we discuss the Grateful Dead bootleg Cornell '77. Show notes: - Recorded at CompCon world HQ - Talking about Dead show recorded on 5/8/77 at Cornell University - Phil: Listened to this hundreds of times - Jay: Very impressed by the bootleg - Phil: The show was so random - Dead had taken some time off from touring from '74 to '76 - By spring of '77, band was firing on all cylinders - Phil's parents wouldn't let 8-year-old Phil see the Dead on that tour - A lot of live albums are unnecessary - But a great live recording is transcendent - Phil: Early Chicago with Terry Kath on guitar was a great live act - The Dylan and the Dead live album was a dud - Phil Lesh: The Heineken Years - Clapton's MTV Unplugged album was awful - Jay: Solo Clapton is terrible - Phil doesn't like Thin Lizzy - The Dead has 36-minute versions of songs on their bootlegs - Phil has around 125 Dead boots - Figuring out which songs flow well into others - Phil: The version of "Morning Dew" on this bootleg is the best - Plenty of snow at that show, inside and outside - Love when bands change up the setlist every night - When you get sick of songs you love - Somehow we start talking about "The Day After" - AC/DC's music is more complicated than you think - Phil would set his time machine to 5/8/77 Completely Conspicuous is available through Apple Podcasts and anywhere else you get podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

En este episodio recordaremos al legendario Terry Kath, guitarrista de la mítica banda Chicago. Repasaremos su historia, su estilo musical, su legado y aquella tragedia que terminó de manera abrupta con su carrera. Ajusten bien sus cinturones que están por explorar un mundo plagado de jazz, soul y rock & roll.

Ever wanted to learn where the bone comes from in a bone nut?The hunks talk: Gear overkill for a podcast, setting up Dave’s 80s Paisley Strat, D’addario strings, glass on a chalkboard, updating the Symphony of Corrections, Chicago’s Terry Kath, & Stanley Donwood’s new Radiohead bookMore: Catalinbread Karma Suture and Henry’s quest for all of the Harmonic Percolators, J Masking tape, tips for upgrading cheap guitars, every rockstar you know someday will die, reckoning with influence, & cutting your own vinyl

Welcome to Chicago breaks from its regular format to bring you a scripted special presentation—a harrowing true-crime saga that Horn Section members won’t soon forget. On January 23. 1978, Chicago’s lead guitarist and singer, Terry Kath, accidentally shot himself in the home of roadie Don Johnson. But…is there such a thing as an “accident”? How does this tragedy relate to the alleged relationship between Terry Kath and Jimi Hendrix, or the ongoing conflict between Kath and Peter Cetera? And why did a mysterious hater Twitter account appear just in time to derail WtC’s investigation?

Freefall is such a massive, MASSIVE episode we had to break it two. As you know we not only breakdown the actual episode, but we love to look at the guest stars and music that were so important to Miami Vice. With Freefall's epic amount of music and guest stars we've broken them out into their own episode so next week we can focus just on the series finale of our beloved Vice. This week its all about the atmosphere of Freefall. John gives us the full breakdown on the guest stars, which surprisingly doesn't include Luis Guzman or Stanley Tucci. In music the Vice producers pulled it off. We get Phil Collins, Peter Gabriel, Mike Rutherford, and Chicago one more time. Over the last 3 years John has done an amazing job covering this aspect of Miami Vice and this is the final time we'll be looking at music and guest stars. Its one for the ages, standing ovation required. Become a Patron! Episode Information Miami Vice - Season 05 Ep. 21 - Freefall Premiered May 21, 1989 Music No Way Out by Tim Truman & Don Johnson Year Zero by King Swamp Cryin' Shame by Lyle Lovett and His Large Band Bugle Call Rag by the Glenn Miller Orchestra Ship of Fools by Robert Plant Land of Confusion by Genesis Bad Attitude by Honeymoon Suite Tell Me by Terry Kath Feedback Got some feedback? Contact Us. Email: gowiththeheat[@]gmail[.]com Dom Twitter: @domcorriveau John Twitter: @corriveau_john Melissa Twitter: @mrsmelcorriveau The shows official accounts: Twitter - https://twitter.com/gowiththeheat Facebook - https://facebook.com/gowiththeheat Instagram - https://www.instagram.com/gowiththeheat/ Intro & transition music provided by: Cuban Sandwich, Voice Over Under Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0

Andy, Sam, and Winston explore Chicago's slightly less bloated second album and commercial breakthrough, featuring suites and hits out the waz. Terry Kath explores his softer side. Andy comes clean about a crucial detail of his Chicago fandom he kept from the group last episode.

Danny Seraphine Picks The Essential Chicago Danny Seraphine shares his 10 Essential Chicago songs. Spanning all eras of the iconic band Chicago, Danny picks his favorites, shares memories of early drumming influences, some childhood memories, some really detailed and wonderful stories about the formation of Chicago, colorful memories of playing a mob bar with an owner that insisted on singing Sinatra songs with the band, locking with Terry Kath as a bass player and guitarist, the very first time the original Chicago lineup played together, meeting and working with percussionist Laudir de Oliveira, what happened to Al Kooper's video recording of the band's first studio sessions, sharing influences with The Bee Gees and Earth, Wind & Fire, getting fired from the band, what it meant to be inducted into the Rock and Roll Hall of Fame with his old bandmates, where he is now with performing live, and much more.

Rock N Roll Archaeologist Christian Swain sits down with Michelle Kath Sinclair and discusses the documentary feature film she has put together paying homage to her father, founding member and legendary Chicago guitarist Terry Kath. After discovering a box of Chicago memorabilia, Michelle began work on this documentary as a way to get to know and understand her father, one of the great unsung rock legends of the 1970s. Featuring interviews with Kath’s Chicago bandmates, friends, family, and prominent musicians (including Joe Walsh, Jeff Lynne, Steve Lukather, Mike Campbell, and Dean DeLeo), the film is interspersed with concert footage, archival photos, and video taken by Kath himself, as a way to piece together a life that ended tragically too soon.  Buy or rent 'Chicago: The Terry Kath Experience' on Amazon Video, iTunes, and Vudu. Please subscribe, rate and review and head over to Patreon to help support our network of rock based podcasts including Reel Rock, Vinyl Snob, Rock N Roll Librarian, Deeper Digs in Rock and Rock N Roll Archaeology. Call us at 650-822-ROCK or email at: info@rocknrollarchaeology.com  

Rock N Roll Archaeologist Christian Swain sits down with Michelle Kath Sinclair and discusses the documentary feature film she has put together paying homage to her father, founding member and legendary Chicago guitarist Terry Kath. After discovering a box of Chicago memorabilia, Michelle began work on this documentary as a way to get to know and understand her father, one of the great unsung rock legends of the 1970s. Featuring interviews with Kath’s Chicago bandmates, friends, family, and prominent musicians (including Joe Walsh, Jeff Lynne, Steve Lukather, Mike Campbell, and Dean DeLeo), the film is interspersed with concert footage, archival photos, and video taken by Kath himself, as a way to piece together a life that ended tragically too soon.  Buy or rent 'Chicago:  The Terry Kath Experience' on Amazon Video, iTunes, and Vudu. Please subscribe, rate and review and head over to Patreon to help support our network of rock based podcasts including Reel Rock, Vinyl Snob, Rock N Roll Librarian, Deeper Digs in Rock and Rock N Roll Archaeology. Call us at 650-822-ROCK or email at: info@rocknrollarchaeology.com  

Cinematographer/Producer Jordan Levy returns to the show and brings documentary filmmaker Michelle Kath Sinclair with him. Michelle's debut feature documentary is "Chicago: The Terry Kath Experience", a delightfully charming search for her guitar-shredding father, a founding member of Chicago, who died when Michelle was two years old. The film was a hit at the Toronto Independent Film Festival. We chat about how the film came to be, the technical and legal challenges and more. We also explore the wonderful, healing effect making the film had on the surviving bandmates. Rent, steam or buy the film here. Happy Holidays, Jordan "I Am Battle Comic" is the perfect stocking stuffer.

Cinematographer/Producer Jordan Levy returns to the show and he brings Director Michelle Kath Sinclair with him. Michelle's debut feature documentary is “Chicago: The Terry Kath Experience”, a delightfully charming search for her guitar-shredding father, a founding member of Chicago, who died when Michelle was two years old. We chat about how the film came to be, the technical and legal…

The Terry Kath documentary was a labor of love for Kath's daughter Michelle who guests on the Fake Show podcast with host Jim Tofte...enjoy!

Pat and Kyle welcome director Michelle Kath Sinclair to the show to discuss her labor of love documentary "Chicago: The Terry Kath Experience."

Filmmaker Peter Pardini joins Pat and Kyle to discuss his upcoming documentary "Now More Than Ever: The History of Chicago." Many tunes will be played!

Keith Howland is an American guitarist and singer. Since 1995, he has been the lead guitarist for the veteran pop-rock band, Chicago.Howland started playing the guitar at the age of seven, and he played in a number of bands during his school years. He attended high school in Richmond, Virginia, and graduated from James Madison University in 1986 with a degree in communications. In 1987, Keith moved to Los Angeles and took a job with Andy Brauer Studio Rentals, which helped him to make invaluable contacts in the music industry. He also continued playing as much as possible, including a 1993 summer tour with Rick Springfield.In 1995, Chicago was looking for a new lead guitarist following the departure of Dawayne Bailey. Howland was a long-time fan of the band and of their co-founding guitarist, Terry Kath. Howland appeared uninvited at the auditions, and attained a chance meeting with the band's bassist, Jason Scheff. He performed a last-minute audition, and was offered the job on the same day.Howland has also pursued projects outside the band, including projects he has done with Chicago's drummer Tris Imboden. Their collaborative effort is known as The Howland/Imboden Project, releasing two albums. The sound can be described as all-instrumental, jazz/rock/fusion. The eponymous The Howland/Imboden Project is a studio album, and Live At The Baked Potato is a live recording.In November 2007 Keith released an album titled KeCraig. This album started as a jam session in November 2007 with his brother Craig.His latest solo project is a collaboration with former Chicago keyboardist, guitarist, and vocalist Bill Champlin on Champlin's 2008 solo album No Place Left to Fall.

Chicago guitarist Terry Kath tragically died of a self-inflicted accidental death in 1978 when his daughter Michelle was only 2 years old. All these years later, Michelle went on a journey to discover who her dad was. She guests on an all new Fake Show podcast to discuss her new documentary titled, "The Terry Kath Experience. Listen now and enjoy!

Terry Kath

On today’s episode of Inside MusiCast, we’re bringing you a very special guest who’s producing a documentary about her father, Terry Kath – the amazing guitarist and vocalist who spent a little over ten years with the band Chicago, until his accidental death in January, 1978. What’s unique about this documentary is that it’s a journey inside the mind of Michelle Kath Sinclair, who was only three years old at the time of her father’s passing. Scouring through boxes of memorabilia, Michelle discovered several reels of Super 8 film that her father shot throughout his touring days with the band. This, along with interviews, correspondence, and other memorabilia helped piece together a glimpse into her father’s fast, musical and ultimately the tragic end to his life. What did she learn about her father that family and friends hadn’t been able to describe throughout her life? And after so many years after her father’s passing, did these pieces help to answer the questions she has always had about this man; a father; a husband; and a musical legend. Inside MusiCast welcomes Michelle Kath Sinclair.

SMI Radio's Greg Roth features an interview with the original drummer of Chicago, Danny Seraphine. Danny talks about the early days of the group, the tragic death of original guitarist and singer Terry Kath in 1978 and a lot more. Donn Bennett is no stranger to you. He owns and runs Donn Bennet Drum Studio, an invariable mecca for drummers all over the world. Don is putting helping put on a great event on Sunday, November 5th, Woodstick Big Beat at the Juanita Field House in Kirkland Washington. In the third segment of the show Roth speaks with Bassist and Vocalist, Lou Trez from the Power-pop trio, Quickie. They have a brand new song called “Latex Super Hero.” An ode to Phoenix Jones, who was arrested a few weeks back. The band is in the process of making a video and will be playing Louie G’s in December for the NWCZ Radio Holiday party.

Dana Kareem Harmon was born in Columbus,Ohio, but was raised in a small town outside of Columbus called RickenBacker.At the age of 11,Dana experienced playing his first musical instrument. Which was his fathers saxophone and drum machine. Being a musician was heavily influenced by his older generation. His grandmother “Odessa Harmon” played piano in churches thoughout Columbus,Ohio, and his father “John Harmon”is a professional saxophone player. Dana also has other influences by other well guitarist such as Carlos Santana,Gary Moore,Terry Kath,Omar Rodriguez Lopez,and Steve Vai. Dana moved to Tampa,Florida in 2006 to pursue his music career. He also provides guitar lessons to local children and adults in Tampa.He is also the guitarist for "Super-Producers" Trackbangas,The Colleauges and Rieces Pieces. People explain his unique style as a fusion between blues,rock,soul and jazz. Dana’s future goals are to keep playing for the love of GOD,traveling doing shows and make music that will play on forever!!!!!   http://www.danaharmon.com/