Billy Cobham Interview

[Music] how you doing everybody Nick D Virgilio here and my very special guest in studio today is mr. Billy Cobham pleased to meet you welcome to Sweetwater sir yeah it's your first time here right yes it is first time in Fort Wayne is Murph right and what do you think of our fair facility incredible by me I'm still trying to figure out where am I it's amazed in the amazing maze right now it's a very big place and we're just really excited to have you here mm-hmm you've had a really long and storied career and I have a question I'm sure you've given a ton of interviews in your life about where you've come from and how you started but you start at a young age mm-hmm very young I think factory somewhere around four years old you seemed plain yeah what drew you to the instrument and he came from a musical family but what what was the calling that drums brought to you born into a family where they made drums in Cologne in Panama Tim ballast steel pen Congrats so it was hard to avoid it right now that little area cotton is now below but maybe 150 feet below water below the the gotten lake which is now the holding pen for many of the canal canal certified ships that go through okay and so that said my folks did not have a lot of work my dad was a scientist I just a mathematician so we ended up coming to New York and it Mike immigrating there coming directly to Harlem and the rest was history we started working he started where he was a piano player his older brother Edwin showed him how to play of me because he used to be the church pianist and organist in in our town and my father had this gift retention you know that he used in math he could do it musically in the same way and the rest was history he would just play and make anybody sound good you know as in wherever he could to earn some extra money for for the families because in those days you know you were if you earned $45 a week it was a lot of money for us sure yeah you ever went to a music high school Music & Arts High School in New York sure obviously learned more there but then you went in you I guess you got drafted into the Army in the late 60s right that's well they redirect Lee I saw the I saw the big red Swedish barn coming in the snow okay called draft yeah and I knew that if I if I I knew where most of the guys in my little community was going which was the ninth cavalry and that was a foot soldier sure and I thought let me just try one thing just to see you can't hurt and I went I said like I'd like to audition for the bands and they said we have enough people for the bands I said okay that's really say but what kind of answer ball play I made out the application and I said you know marching band I was in marching bands specialized drumming dual cores and a lot of the guys in the in the Army Center and they knew Blessed Sacrament on Caballeros Chicago Chicago Cavaliers and and I was in in that kind of area where we were we were dealing with we were competing against a lot of these different people even though the Capitol arrows Senior Corps okay and they said well wait a minute and they conferred and they came back and said take the test and I got through I was supposed to go to United States Army Field band in Washington but they they had a backlog so I ended up teaching at the United States Naval School of Music in scope which is down in Virginia okay and made some friends one was Grover Washington one was Cecil Bridgewater great trumpet player and kept trying to think of who else was a Roger Glenn who's whose father was Tyree Glenn who played trombone with the Louis Armstrong and next thing you know we were all assigned to different bands with Roger and Grover went to the 19th Army Band and I went to a very unique band called a hundred and the the hundred and the 32nd 172nd 78th army band and in Brooklyn Brooklyn army terminal and all we had to do was play four guys coming in on ships coming off leaving ships to go probably because we were on Atlantic side by ship to to Germany uh I don't know if they ever went through the canal did see what seemed to be crazy but anyway did that ships coming back in and ceremonies between our base and Governors Island which is what's the island right off next to the Statue of Liberty right that was the Third Army but we we had this specialty band and in that band there's a lot of guys that moonlighted like you wouldn't believe because we were making 168 dollars a month and had to figure out a way to survive so I was in Ringling Brothers Barnum and Bailey Circus or you know I did anything I possibly could to make it and learn and became connected to a lot of people like Grady Tate great great drummer played with Billy Taylor did a lot of surf recordings with Jimmy Smith the organism and Lalo Schifrin and all of the all of that and he was one of my mentors and he got me into the recording studio because I kept being available whenever and however I could be sure to work and when I came out of the service it was it was easy for me to make a transition based on recommendations from Grady the late Roland Hanna Ron Carter of course Jimmy Owens Larry Willis a lot of musicians like this and so at that Jones of course it's subbing for Mel Lewis from time to time everybody got to know me and trusted me it's next thing you know I was in studio first working with horror silver right for about a about ten months and that was that was real school I mean you talk about go to school you get your parchment and all of this you put it up on the wall and then you've got real school now you've got to put all of that information that you've read and you studied and prove to everybody that you've retained and make that music you know it's a whole nother thing sure so for me I had a chance to apply these ideas in real time I didn't get a chance to go to school or in in in in terms of the institution with the walls I got more into immediate plain taking on different situations on an off stage because there's a lot to be said for for how you perform on the bandstand and where all of that information is coming from that that kind of spurs you want it's the inner in the ending of life you know and every note represents that and that's I mean that's why I've always said that I think music is the only sincere if me language community means of communication really you can't lie right when you play either you can play you can't and there's a reason why you you can do those things and all of that comes out in the notes you know and can be interpreted in many different ways not only by those who listen to you but by you yourself because you know what you doing sure yeah so it's one thing is led to the next and here I yeah that's some great information really cool stuff and where did I mean this may sound wait you know you're known as just this iconic jazz fusion such powerful playing in your a lot of rock influences and stuff some stuff you didn't in the 70s where did the where did you start to meld the two things together but your playing is very powerful mmm-hmm stuff you did with Maha Vishnu and and your salt spectrum and all your solo stuff where did those two kind of things start to come together it came together with a band called the Jazz Samaritans which is my high school band back in the let's say about 1962-63 before I went in the service I was in the bed with man with a keyboardist by the name of George cables and he was at the Performing Arts down in the Midtown trombone player named Artie Simmons who whose great trombone player even then is his uncle a wonderful gentleman who helped me just to get in the into the high school music in art with a little recommendation his name is Roy Haynes and the see a friend another now elite dr. Leroy Barton who's down in DC at school music there vernaccia Covello who became one of the big pharmacists in Chicago played alto saxophone antenna we had this band Oh Clint Houston was an art a painter but he played great bass and ended up working with until he passed away far too early age what stan getz it was a great great bass player and so that said we used to be we wanted to consider ourselves the the the second coming of the jazz Crusaders okay and those guys you Linton and all they never took any muck no prisoners when they played they were rocking but they would they were playing straight in is a Texas style taste straight ahead yeah it was us you know and we used them as a model and in that I had to lay it down a lot drum corps helped me a lot sure they just the whole idea of being in sync with everybody and sitting down time it's a funny part about it is that clinch played like Chuck Israel's it's all over the base and Chuck Israel's you may not may or may not know it's a great bass player played with Bill Evans and for a long time and he he established sort of a a very free style of playing that when they when he and Pete LaRocca who was a great great drummer would play together so they they'd meld together as one and they would it would sound very very special and bill would just float right through all of that stuff you know made that trio very very special especially when you listen to that and Ray Brown and ope and thick pen which is like rap you know in your face you can't get away from it yet very musical you know very powerful these are things that that would happen and I feel that I would listen to this and these things these ideas would would stay with me but I was growing and I needed to the the aggressiveness I mean I'd rather be told man you're playing too hard you're pushing too hard you know rather than I need more right you know I can always take something away and that's what I learned to do is especially when I was told on the few occasions listen if I ever hire you again this is what I'd like you to do nice I go yeah yeah yeah good days days like this sure you could talk about this for a long time but what was it like playing with Miles Davis and doing that that period of your career um what's the time to shut up and play okay and and not do anything until you were told that what you were doing was wrong okay and I'm I'm blessed he never told me that if anything the only time you ever commented on my playing was when I when we had a rehearsal in the Asmita he said that's a great group play that tomorrow and we'll do I could not remember what I played at all and so of course I was like this when I walked in and said everything and we were playing he's told me I told you what to play yesterday play that no nice to play that for me he said and I went when I start playing something cuz I said I gotta play something I don't know what it you didn't play that yesterday what I like that there you go boys he got through it ok that's good and I went awesome let's talk about gear for one second because you played Tama back in the day you're you and you've had electronic gear involved in your drums for a long time but you had you played a really kind of early version of some kind of electronic kit that Tama gave you I read way back when synergy and what was that like electronic drums in the early 70s awful awful that was it yeah you hit the bass Jimmy what there's got to be a better way you know ok throw some gray noise in in it sounded like ok that's it you know stay away right so the electronic here today is better than [Laughter] my well look you more inventive you know better things to work late LD the components are much much much far better to work with them now would you say that about same about acoustic drums as well the gear you had back then what do you feel about the you know the history of acoustic drums how do you what do you think unless you want it you will not get it now you have to really want to invest it's like I have drums that I can say are from from the past that are my Stradivarius okay and any drum set I have is it those are the drum sets that I I would never ever ever get rid of because I just wanted to throw it away right but that's because I I found my my my tie in when I came back to town it was with the idea that I would play the best set they had that they couldn't make when I was with Yamaha they gave me two of the best sets they've ever made they called Phoenix right I still have them today and I swear by him the same with the Bob Angus because I know what they do and I know how to I've learned how to set them up for me only for me to play what I need depending on the presentation but I'm a collector of drums I have cocobolo drums made of cocobolo I have drums made of in booyah wood because that's what I do you know it's like being a railroad engineer and having a whole bunch of HL trains all over the house you know that run throughout the house you become if you are really about what you do to a greater or lesser degree it's different grades degrees for different people you become that you you you live that every day it doesn't go away at five minutes past 5:00 in the afternoon and start again it you know 859 oh no it's all the time how can I do this better or what do we need Oh what are the requirements for tomorrow's gig whatever you know what is the room gonna be like what heads do I need what do I have to work with it and finding some compromise to play the best is as a player the best that you can first and foremost selfishly for me because if I play well I'm guaranteed that everybody else is gonna like what I'm doing it sure but at first I have to be I have to be comfortable with me so therefore I'm always looking you know and it's kind of an obsession yeah but but one I feel is very healthy you know whereas and and so to ask me about the equipment today is kind of unfair because what I would take most people can't afford my in my ideas I invest in for instance I I found a drum that I want I play now and I love so much it's made of a wood called mesquite and mesquite is a very very very hard wood to to negotiate in making of a drum it's it's it's completely it's almost petrified you know it's so you can get mesquite from the pampas in Argentina you can get mesquite enough right right up here in the deserts but try to break it unless you have proper tool it's going to be very difficult but yet I have a friend who found a way it made us made a drum for me that I swear by and it's some wonderful sounding drum for specific things you know be not power not not just being loud but the sensitivity at double pianissimo is with the right tensioning again so you need to know what you're looking for you don't just go and say oh man it's it's mosquito Wow then is another drum made from an apple tree completely different personality sir and it's wonderful sounding but you have to have the right heads on it of course as you would the mesquite to really show the character of the drum and of course to match it up with whatever the music is you play sure that brings me to a question about your setup I'm sure you change it up from gig to gig and depending what you're doing but you've always from what I've seen you've had big drum sets hmm but you've had set him up not just you know 10 12 14 16 you vary the size of the toms around you got all kinds of stuff going on so where did that start in your career and why did you go with like having you know small Tom big Tom small time that kind of thing around your kit well brings me the name I don't know if you guys are familiar with the name Hibs Joe hips I know Joe I knew Joe has boobs yeah he was a great friend of mine who treated me very well he was my tech oh ok ok when I was with Tama okay and one day we were doing we were we're going to explore a music and explore music was either in st. Louis or in Kansas Kansas City and I we relate whether blah blah blah I couldn't get on the get the plane was late on and so we panic and we come in because we only had we had a curfew and we had to get this done before so we had to start on time in order to fulfill the mandate of the contract so we get inside and when we open up everything that they had and from Tama and we're putting everything together and I'm setting up the stands hips his says where do you want want me to put the on the on the on the drum at the Tom's he says to me Billy what do you want me to put this drum and I don't look at him I'm assuming he has the the twelve and so I say over there and I'm still working and when I'm finished I turn around in these hats that's 15 sitting in the left hand side of my kit by my ride cymbal I go and then I realized hey not a bad talking point I wonder what would happen if I put that 15 because the next job after that was a 13 he had it all turned and I said give me the 14 to take the 14 away I took the 14 where the 13 should have been and I put the over here and I put it there and I put the 13 there so it's like 15 13 14 14 there 12 did dong dong dong dude what would happen if we did this in next thing you know I had ok the 16 was okay that the agent said that's enough then sometimes I would I would throw in a 20 on this side so it then it got into about into the idea of what tonality did I really want so the objective was I played the drum I want to play I don't play the drum that's that's been set up by custom to play right now the problem was to get whoever was the engineer sound wise to understand where I was going because now it's like but you have the drums in the wrong place no I don't they're right for me you know what's playing these drums me so therefore this is the sound I won which got those guys to start to think about okay looks let's tune the low drums first and go to the high drums or go from here in tune the spanning spectrum as a as opposed to per drum per sound in a degrading lower low sequence of frequencies so you have now two options where you only had one before and for me it was about just choosing what I wanted to have heard and then designing how everyone heard it including myself across the tonal spectrum that's fantastic now along with that you've been have you always been an open handed player your whole life did you kind of start out that way or did you kind of develop so most of my and most of my life when I was about I don't know I'm gonna give you a number like eight or so they're vows my dad said I'm gonna take you to just he didn't say it was there was gonna be specks pile but it took me to specks power whom I met later on in life and didn't remember me of course it by then the specks played I think but he played it with with maestro Bernstein and what's a West Side Story in the pit and I don't know how dad man No maybe through dexter or dizzy or somebody and so Mike went for a lesson just to see what as far as its why is why you play like this and everybody else plays the other way what's wrong with you and that's what he said spec's here's my son you know shorts but what's what's it see all right doing this so play for me so first I played like this inspects it no no no you have to play this way why since because that's how you play it why my father's because that's how you play okay so I started to play that way and he's just oh you can play that way too said yeah yeah he said well so why don't you play that way I said I don't know because then you know now I'm afraid to say really what's on my mind alright so I went through the lesson he was charging more than we could afford or my dad could forward and so we you know it sort of became an afterthought because you doing okay by yourself you don't need for me to spend any more money and his way of getting out of paying for that's okay I don't need this anyway it didn't hit me as being someplace I didn't want to go to I felt like I didn't want to go study as if I had to go to the dentist you know there's like come on I was having fun with this I'm still young and I knew I felt that then so next thing you know something said well I wonder what would happen if I did this by then my brother was born it's about one-year-old giveaway and I always saw Wayne holding his his shakers and stories he was old like this you know I said hey wait gave him these drumsticks anyway I said I said good given to me you just served but the thing was is it was natural okay he didn't do this he just did this and it was before he hurt himself I took the drumsticks away and I started to play this way but I okay let's take that one steppin this is like ten years old nine years old you know I'm starting to thinking huh if I were to take this hi-hat which is here so I always wanted there and funny thing is is that when I got my my first drum set which then I was teenager it had I set him up and I didn't even know how there was no one told me how to set a mother no one knew how to set him up yet I felt like I knew from from I was born how to set up it it just seemed logical to me just like I I met I met a young person a few days ago who designed out of paper I forgot the the art of making all these like origami origami and amazing what look I think I believe was like an f-35 jet out of one piece of paper it's 13 years old 14 years old and he just put it together it flew fine so how you do that I don't know it was the same for me yeah you know and and it was like I envisioned it you know where everything went it all made a lot of sense to the point where I was saying well yeah but if I have the high hat here why would I want to have a ride cymbal over here when I could take it and I can put over here and put the ride cymbal over here have the high hat here lower it down and then have my crashes in and I don't have to crust it I'm gonna do this everybody saying it's wrong but I never had any problems losing sticks or banging one thing against the other and it felt very comfortable for me so it all these things just sort of had a flow to them you know when the time was right like but but with hips put the drum over there and didn't even watch all of a sudden a new world open and it's all about you play what you what you envision in your mind first anyway sir and then it comes out so now you have to be selective and if you have the right sounds in your mind how you want to present this what drum you want to play at that time based on the environment which would be the music you're playing that's what you should do that's great information thanks for sharing that I got a question for you you've been playing drums a long time how do you or how have you kept up your body your physicality of you as a person so you could still play at this age you are and keep going because you play still a lot of gigs every year seems like you're working all the time you haven't really slowed down at all you know and you know drumming is a physical thing you know it beats up some guys and gals more than others so how do you how did you maintain your physicality throughout your career so at this point in your life you could still play as hard as you ever have the best lesson I learned from Vic Firth was to do not not let the drums play me play that play the drums okay oh yeah right you know what do you mean by that he never held the sticks too hard he always did this he says bill I can warm up he'd take the season be over for the symphony okay and he played with that symphony 50 years he could play a role any time just by knowing how to warm up the tendons hear all of the all of the control was always here it was the weight of the stick that he was controlling up and down and sometimes circular motions things like this very subtle but extremely musical just one timpani you couldn't tell which which stick was playing it all saying boo role was not burro you look at him you see like this right you know I'm supposed to do this and he would it just came from years and years of experimentation testing it sit down go to a to a mallet instruments it yeah you play the part like this and he didn't blame islets most of the time somebody else did that he said I have no time for this and you go okay okay this is all within his wheelhouse he knows how to make these things happen the main thing for me was to find a point where I could I could feel comfortable with any drumsticks in my hands so if the idea of playing and multitasking from the right side or from the left side one of the things that happened with that changing of the drums and Tom's affront was that my main drum more than ever before even though what's the center drum the manger snare drum became the springboard for everything I went did left and right like go like so so I set with my posture very very important as if this is my table to have dinner or breakfast I get my cereal I share I always like so I put the stick on the head I draw the sound out I never play into the drum okay so therefore there's no such thing as carpal tunnel syndrome for me it doesn't exist because I don't play that hard I'm always drawing I'm saying come on come on come on when I hit his cymbals come on come on I need your sound no no no no so when I'm playing say when I play I play so so everything is loose and all of my power centered here so I'm not I'm not doing this because I don't really have to unless I cannot hear you then dead all of us unnaturally I'm playing much harder than I have to and now I'm in trouble because I know that this is going to hurt me physically and I'm not gaining anything by it because I am not enjoying my performance okay why do that that was very cool I was always wondering how you you keep going okay let's get up to today you got a lot of great things going on you were telling me that you have a book oh you went out and and you're gigging here you're gigging down in Indianapolis right now with your with your bands let's let's hear about what's going on with you today well as of tomorrow I will go to Mellie to Milwaukee and we'll play a concert there God knows where I can't remember and then we come back and we we play in Evanston probably it's space and then we come to the Jazz kitchen right in Indianapolis for a couple of days all right but along with all of this being on tour with Scott chips and and oh the band is very unique the Crossman's project has a bassoonist in the band nice he's instead of playing tenor sax he's playing too soon Paul Hanson used to be with cirque de soleil bela Fleck and when he went to a Cirque du Soleil they just took him for like a few years and he disappeared III heard about it but I did Circle for five years yeah couldn't find the guy because it was in Japan I just found out you know what okay now I get it I get it and so I have the opportunity the honor of playing with his wonderful wonderful musician and of course Tim Landers bassist was miss me back in the Gil Evans days back at the beginning of the 80s and my first band Glass Menagerie until around 84 and then he went out to LA and became a list bass player and never to be heard from again until about a year or two ago I saw him walk into Los Angeles College of Music and I really it's Tim no no it was before that a place called a mint in LA anyone can I was hey what do you been you know he said and he started to tell me a little bit on acid what John Tesh what all of this kind of stuff really once you leave and you go to LA if it's New York and LA is like oil and water no chance everybody just goes whoo so I didn't know and one thing led to the other and we met it rollin to work on a project that again as I said I'm a I'm a collector of drums so and odd bits and so I ended up purchasing a bunch of jumps that look like bubbles they call molecules ok and we had a ball just just as here what they would sound like with pickups on them you know and that's where the whole rolling thing started to work for me because I use them with hybrid hybrid pickups in my recordings ok and so I've got two really funny sounds I mean two together once you're tuned right oh boy I have a ball with it you know it's a it's a very special thing but in that in what got me over was with Tim played bass on this with Scott chips and myself and whom am I missing Fareed hock he used to play guitar with Jose Avinu for a very long time and it's a mad mad scientists of all these guys are what Professor this a professor that you know and but he's he is the ultimate professor well what happens if we did that stop talking you know you'll play a million notes per minute and in all of it makes sense that's the cross which project out of this so far we've developed a strong musical rapport hopefully as we are designed it so that we're going to play the same music like the same two shows for the rest of the year okay just to really lock in them record and and see how that goes because it's it's I think they they make a really special statement but without taking away from the spectrum forty project which was a great band this is a whole nother thing and not greater just different and I'm taking my time too to make sure that it's done right you know that we we stay on track to do what I'd like him to do while that's going on I've been working on jazz orchestral projects with my music so I've worked with the Frankfort radio big band and I have an album out called broad horizons with them that was done in 2014 or there abouts 2015 and I'm looking to follow up now with another project with a big band out of London and we're working at Ronnie Scott's we worked there last year in July and we'll do it again this coming June and what makes it so special is that the last time I was there I had a conversation with a very good friend of mine who was a writer a book writer and he asked me Brian groover his his name he said you know you should put down some of the stories that you talk what you talked about with drumming and and also different things that happen like the situation with Harry Belafonte no not not Howard Belafonte but Hugh Masekela where he where I was in the Army and I was asked to come down and and and play in Hugh's band when he had grazing in the grass and he was touring back in 60 67 I think I was so and those guys called me and they said yeah come and rehearse and come in and see if you if he likes you to have the gig I'm moonlighting so it doesn't make them and I'm thinking okay it's just another band I don't know Hugh Masekela so I okay what is South Africa Miriam Makeba bah bah bah bah yeah it sounds very historical I don't what do I know I come in pants sounds great Bernie next thing I know I go to you and I say because in experience I've been playing a lot of weddings and stuff like this and I walk up to him and I said yeah this band's really really great listen if you guys are looking for work I know some weddings so that you know you can we can you I can get you you get you a gig you know you get some contracts you can work some things on the weekend you know I can't work in the week cuz I met the army he says wait wait you know say you're aware and you're doing what and he said ok look let's step into my office for a minute you know he says you're fired and I'm good what why you know in what happened he says you still don't understand what's going on in this business I mean Hugh Masekela had a number one hit record and I'm telling him that he should play you know we have there's a there's a wedding in the Jewish community this is wedding all this community and we need to learn these tools and everybody fell down laughing women is it so that's in my book things like this I know learning experiences and things like just hey I'm I'm now a big shot you know what less than 24 years old oh no that's not true a little bit more than that but still less than 24 in my head and so this this book and it's called six nights at Ronnie Scott's and represents a a lot of these ideas these thoughts that came through plus the opinions of other artists whom I've been associated with my colleagues Bill Bruford Bruford or peers of suits a Randy Brecker sir young hammer run people like this ok so there's that and that should be available by this coming June ok so what have I missed I don't know probably a lot more oh then there's the art of the rhythm section retreat which would run from July 23rd that's the first day of activity for the those who take part to July 27th which is the Saturday I think but we still have a bridging the gap between the electronic and the acoustic that's me and Scott and we do a special thing for with roland electronic gear and but during that whole week it's all about the interaction - social interaction of the rhythm section and in in dealing with the supporting wind players this year you know oh not some matin the next year could be vocalists okay you know but this time it's wind players so we will have Paul's a couple of students from Paul's small his classes come and play and that way and maybe one or two other people if they make it it's a it's a small group of people no more than 50 people at the max because we can't really handle more Ron Carter and Kenny Barron will be there to give a lecture or with me on how rhythm sections worked in the 60s where we were what we played how we developed a repertoire that we could call on at any time because between the three of us one of the part of the act that we got we do is that we walk on the bandstand and Ron says okay when you want play or can anyone play and it's just three spotlights and you know that okay start something there and can it'll start to play something it could be anything monk you know anybody you know and from there we go Lerner and Loewe monk whatever yeah and whatever comes out comes out but it's based on the fact that we studied over when you played in New York back in those days you played you played for six weeks in the club that maybe there were more people on the bandstand that one isn't working the club but it was for six weeks so you did the half note you did the five spot you did the the cookery you did Cotton Club you did the Vanguard you did the Village Gate and it just went oh the Hickory house you the Red Parrot you just did and then this was after 52nd Street pretty much closed down but on 52nd Street between First Avenue and about 11th Avenue we had about 30 different clubs Wow and so people working all the time and that was just clubs then you had RKO and all these other big theaters where they were playing ten shows a day you know with big man and all of that it was ridiculous it was that's why New York became a mecca but out of that came some people where you learned the ABCs of a kind of a real book in your head and it's still there and that's so when I work with McCoy Tyner which has only been twice in my life once in 1976 or 77 at fantasy when we made a record called fly with the wind and then at the turn of the century here I work with him and Stanley Clarke had to be around 2008 or thereabouts and he would just call off tunes and I had to know what was happening right and that's what you don't do now right so all these things happen at the art of the rhythm section retreat very cool that's nice it's so amazing if so many great things going on so I congratulate you for that well thank you and the point is also that I'd like to stand as an example of someone who's trying to promote the idea that you should never have to wait for anybody else to put the food on the table for yourself and your family you got a brain use it you know try to find a way to make it work if they're going to be mistakes made by somebody else representing you it's still your fault so you might as well make the mistakes yourself and be done already he's a good advice right well Billy thank you so much for coming to Sweetwater today Roger thanks for taking the time to talk and give us all this great information and tell the stories I'd really appreciate it and we'd love to have you back come play come come at the studio there's so many great things we'd love to have you here sure no problem look awesome thanks so much pleasure thanks for watching everybody [Music] you

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Rating: 4.9793105 out of 5

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Id: a-l5c39x3h4

Length: 46min 10sec (2770 seconds)

Published: Tue Apr 17 2018