PAUL LEIM Studio Drummer Nahville/LA(StarWars,Dirty Dancing,Lionel Richie,Shania Twain,Kenny Chesney

there's always another level of proficiency a perfection style feel be open have an open mind to the different styles learn how to play everything know how to play a bebop field know how to play a left-handed Texas show Paul your name comes up and every possible artist that is out there that has made a difference in the music industry you've had a connection with them it's really amazing well thank you I'm amazing the powerful work that you have done and continue to do at an incredible pace it's amazing to me that just I feel like the most fortunate person on the planet to still be working if I'm talking with the with the cats and in LA when I was doing all the television work and movie work out there they all said your record career will be over when you're 40 they'll start calling the younger cats and your record career be over so don't turn down the movie dates don't turn down the TV dates because some of the guys back then there was so much record work that how and horse Hal did everything but a lot of the guys Tommy and and Chuck and the guys would would they with the wrecking crew they would turn down a TV show to do a record day right which that made sense yeah but and there were so many record dates they would end up turning down a lot of TVs but then when they hit their 40s then the young cats coming in they didn't have the TV to fall back on and then other guys like Steve Shafer who had concentrated on TV and that their careers continued on so that was a that was one of the first of all ways listened to the guys ahead of me I've watched the guys ahead of me and the guys of course Ronnie Tutt and Jerry Scheff that we're like family I saw when Elvis died instantly dawei from being out of a gig they put all their eggs in that basket and it got tough for him til they reinvented themselves like we've all done over the years reinvented themselves and found another way to get back into the business that's the open-mindedness of that to reinvent yourself to be open-minded enough to be able to see that there are other opportunities of the music industry we may have to just change our path a little that's right a perfect example is when all the electronics start coming in at Nashville a drummer in town James Stroud that played on forever and ever amen with Randy Travis great drummer turned producer he calls it the long weekend around 1983 seemed like all of us had great time up till thriller came out around 83 when this seemed like everything had to be then the met Metron ah it had to be perfect so everybody had to start playing with a click and a lot of guys just said I'm not gonna play with the click I'm not gonna do that's not what I do right when the electronics came in and you had to make the decision some some of the older guys said I'm not going to do that I'm just going to play the drums and that's fine you can make that decision but Keltner and I we got into the S I can't remember it now that the Oberheim or the Lin drum and drum and the Simmons drums and the next Simmons drums and and all that you just had to but you learned it you opened up your mind to step in to learn it and that's a very very powerful understanding for this next generation to realize that you were able and willing to adapt yeah you have to adapt you you have to look at it you can't just go well I'm just a player I'm just gonna play jazz we were talking earlier about the guys in Dallas in this in the early 70s they'd come out of North Texas and want to come to a session and so I'd take them to a jingle session or take them to where we were I was doing all the shotgun packages for WLS Chicago in 73 those those are the same shotgun packages by the way on I Heart Radio on the 70s channel absolutely still me going there less about Chicago wls Bob Chicago that's all still that's those packages are still being played anyway they didn't want to do that they wanted to play jazz yeah they say wait I want to move to New York and play jazz and starve and I'd say that's exactly what you should do and you wanted more of a pop focus I wanted to hear myself on the radio I wanted to you know I've heard the Beatles - just like everybody else absolutely and much I heard DayTripper it was like ho that the coolest thing ever what's amazing is that you mention names like you say how and we have to understand that that's Hal Blaine how am i and how bland who we've interviewed here the sessions fantastic in smile it was you mentioned Keltner and jim keltner who we've also interviewed here so the capturing of these people when they hear in certain names I want the audience to do the research do the research who these names are because they were important names to research Steve Schaffer these are great great names of people that are out there moving the industry in the art form forward I've had drummers come up to me and I've asked them the same question so do you know who played with Elvis but live primarily you know the guys to play without Ronnie wasn't the only one you know do you know the guys that do the records different guys did the records like always so yeah do you know who some of the big band drummers were with Duke Ellington you know they don't know yeah they don't know and my band director was one of my first angels I've had these angels in my life that come into my life at a certain point and help me move to the next level and it's I just it's just been incredible I don't know how I've been on 250 300 million records I don't know how that's added I've just I just took the calls right whether it's happened that you have maintained the highest quality of performance on each one of those recordings and every live date that's an incredible personal Constitution that you as well thank you my band director said listen listen to who's doing what and think about why they played that right this is when I was 14 so I got my hands on everything when I heard Louie Bellson a family friend yeah brought the recording with Louie from about 1952 he'd written a chart for Ellington and it skin-deep Lindy which of course you're familiar absolutely Lilly was a dear friend I'm almost tearing up now beautiful guy Oh so Louie was my very first hero he's like Louie was like God to me so because at 10 years old I didn't know who Louie Bellson well yeah yeah but my friend brought that and so I just heard that sound and later on I learned it was Louie so the quick story fast forward to let's see that that was about 1960 I would have been about 1962 fast forward 20 years to 1982 and I'm doing the Grammys right and I we go upstairs we rehearse for the Grammys we go upstairs to catering and then we're gonna go back down and shoot the show right so I go up and get my food and I'm sitting there and there's an escalator and I see Louie Bellson come on the escalator it was like god I'm just looking he goes over and gets his food and he comes and sits down right beside me there was a hundred places to sit and Louie set right there and I I can't eat I can't freaking eat and I I'm like I'm getting all nervous right now just and I'd finally I got the words out Louie I know you've heard this a million times but you are the reason I'm here you're been the biggest inspiration in my life beautiful and I I just can't tell you what you've meant to myself and my family and my career and my life has been so much better with you in it Wow and he was such a gracious cat he just said he said Paul I know you guys are carrying the ball now and he said your god you're doing wonderful job I know you work and he said you guys have it now yeah the graciousness beautifully humility of this man Louie was absolutely a saint and he was just such a pro all the time I had the chance to study with him and go to his house and know Billy would cook for us it was just amazing experience he was born there so loving oh he won you felt that in his music not only as a drummer yeah I've been a ranger yeah a writer it's a very very performant composer Louie was right and still to this day his website which his wife Francine keeps going now has music and music that you could still track down and it's important for that younger generation to find out who Louie Bellson so if they want to understand who Paul Lyme is they had to go in and get a study Louie Bellson stay and then you got to go back that generation to see where they are I asked Ronnie Tutt one time I said you know they open her for four see see rider don't you know the opening that of course I had to play doing all the Elvis shows when he couldn't do them for Graceland I said you know where'd you get that idea he said it's Sing Sing Sing he got it from Krupa yeah he said I love Cooper Cooper was my hero yeah so that's a whole that's a whole 15 year generation absolutely so the generation after Krupa was belson it was my my hero yeah but Ronnie Tutt who's the generation basically added me is up 13 years older night yeah his generation was grandpa grouper yeah so he did that he's even got better doesn't about but doubles debit debit about Ron plays that didn't small rock bits in there so you know we all if you're not listening to the guys that came ahead of you and listen for why they played what when they played it and the historical value of that if it's successful and if it's sold a million records are 10 million records or 75 million records like Shania Twain if you're not listening to why that happened you're missing something that's the education right there you know when I was in music school I was I was working six nights a week I was recording five days a week at Robin Hood Brian's studio and Tyler Texas where all the ZZ Top hits were the early ones tres hombres Rio Grande Lagrange all that stuff so I was doing the jingle American Airlines jingles and stuff during that during the day doing gigs at night and trying to go to college in the daytime and I was falling asleep in Theory class listening to Brahms and Beethoven and stuff like so my per mile German professor came and he said you have what do you do I do fall asleep in theory class and I said I I play six nights a week and I record three four or five days a week I'm giving drum lessons and I'm going to school and I'm married and have a family yeah at 19 hello and he said well you can't do that and I said what do you mean he said you need to take a loan from your parents and stop all that playing and learn because the only way you can make money in the music business is to teach how amazing how amazing and I looked at him I said I want to be a player yeah he said you're dreaming you can't do that my teacher yeah and I asked him I said how much money do you make and he said well a tenured teacher can make twenty five thirty thousand a year and I said I want to make a lot more no no I want I want to I want to make a difference yeah and you know yeah so he said you're dreaming you can't do that the bottom line is you took that and that propelled you to probably even push you further to be the success that you are and that's the example that you have to dream and then you have to pursue that dream that's right and you're gonna hit roadblocks yeah and you're gonna hit you're gonna hit Forks in the road where you have to make a hard decision and I've hit them several times that we can talk about but the decisions to go left or right are really hard sometimes in there and they can be painful but you have to keep your eye on what your original thing was eye on the prize you really have to keep your eye on the prize and you cannot let anyone stop you without Dan huff and I have talked and Dan has a saying he said if you can talk your kids out of this business they shouldn't be in it yeah if you cannot talk them out of it then they have to be as those so and at that point if they're that driven then they're probably going to make it but even I think the people that aren't even physically qualified enough to make it I think they will find their place absolutely and in inside of it right and your perseverance that willingness to continue in Drive will allow you to find your niche even if it wasn't your initial dream you maybe you'll find that niche that will at least satisfy you to have the value and worth of this career yeah that's right let's go back to the beginning early on what got you involved with drumming and what got you involved with just you know pursuing music at an early age when I was 10 years old in the third grade I was beating on everything that I could find that came from a poor family in East Texas and my dad cut me a couple piece of Dowling and I would play on the furniture and everything my grandfather bought me my first drum when I was about seven mmm he bought me another one when I was about 10 I would go to every band practice with my sister who was in the high school band and I would sit in the drum section this is at 10 years old and I would go to every football game and sit in the bleachers with the drum section and and I just heard it and the drum and the drummers in the high school band play something I could play it they play something else and I could play that it was a natural talent I had I just a god-given talent I just had something and my band director saw it and he'd was he would always let me be part of the drum section and even when I was in elementary school and so by the time I hit junior high I was the section leader in the seventh grade in high school for the high school guys fantastic so the school music program was a very important part of your development because right now the school music programs are falling apart dramatically throughout the u.s. I would love to go and talk at schools I would love that I went back to my school just this last year and there's not that's not all that's falling apart absolutely for sure but I mean from the quick I took a bunch of pictures and I signed May the fort since I've did star what made the force be with you Paul I'm and I'd hand it to him and they stood there and after after I'd signed about ten pictures they're all standing there and I said what's what and they said can you tell us what it says and I said what are you talking about they said we're not talking we can't read what you wrote oh my gosh I looked over at the band director in the end the superintendent was standing I went what they can't read Kurt they can't read they can't read the grandmothers notes in the Bible that's right they grandma wrote 20 years ago what it has changed as the world changes hate to get off on that but that is sad to me you it really says so now you mentioned your mom did your mom click rolling my mom would order these Reader's Digest compilation records so Breakfast at Tiffany's and Ferrante and Teicher she had this music going all the time I just couldn't get enough music I listened I listened to everything I could everything she had I'd listened I knew a Ferrante and Teicher record I knew what song was coming next I every moment I had I'd listened to music so when I got to LA that's when I was 12 so when I started doing movie dates with Hank Mancini in 85 I knew his style I'd listen to every Henry Manson thing that he'd ever cut I'd listened to all the Pink Panther stuff and everything but it has the composer is fantastic wonderful guy just being immersed in it but also being immersed in it and and wanting to primarily be a player but but knowing that when the electronics came in and now we're not selling records anymore so like you've done reinvented yourself and I mean a fabulous studio player there's so much home recording going on now things have changed so much and with all the music that's being given what given away a perfect example I'm on every Shania Twain hit and with Shania I think it's 75 million records just on Shania incredible Taylor Swift is every bit as big as Shania ever was I think Taylor's sold 15 million records yeah that's a perfect example we're selling one fifth of the records so there's just not the money to go down to make more records and more studios be built or more cartage companies it goes all the way down through the cartage company cartage companies are failing and studios are failing it because there's just not enough work going on so we're all reinventing ourselves you've ruined this our artists studio accessed John Schneider and I started John Schneider was Bo Duke from Dukes of Hazzard and then he had five number-one country records so we've started a series that we put out a new song every week yes like just like episodic TV like we used to do with Dukes of Hazzard yeah every week we put out a new song there's a new youtube video and we video every recording session and he edits the recording session together so you can see us make the record because people all over the world have always want to come to Nashville go to the studio so now they can they can go and see us make the record and Brent Mason's on it and Glen Worf is on it with the dire straits and they can see us make the record and then they can go on CD Baby and buy the record so we're trying to invent a way to make money in the music business again I mean I could quit I can quit right now I don't want to quit I love it we're having too much fun is what the reality is we're not making music how have you organized the business side of it because a lot of the kids that watch these interviews they're confused about how how have you managed to keep it all going how has that worked like I said the guys in in the studio said you'll be done with records about time you're 40 concentrate on another genre of playing music you know working the videotape worth under the television motion picture contract but a lot of even that's gone away now because in movies they're using songs from there using archived records right instead of doing soundtracks the balance of producing trying to invent new ways staying up with what's going on young Yamaha has been fabulous supporter Yamaha and Paiste and Remo have been have been such incredible performers I don't have to worry about the equipment side right that's all taken care of I need this and it's there it's hard keeping it all together and and with the challenges of also having to look to the future that someday you are going to retire I've always had this mantra save your save the first 10% of every check you get for yourself and spend the rest on everybody else save the first 10% for you because if it wasn't for you that first 100 percent wouldn't be there so save 10 percent of everything you make and invest it so how did you organize with all these different acts that are calling you in these sessions and TVs of how did you organize all that with us sometimes where you were being called for the same times and the same dates and that's the hard part when it's really busy we have I always have two sets and we call it leapfrogging we used to do it in LA with the cottage companies in LA once once that would go to wedington the other set would go to Universal and then the set from wedding when I was at Weddington 9 to 1 and then Universal doing Battlestar Galactica or something that set would go there and and then the first set would go to Ocean Way and I do Battlestar from 3 to 7 and then Lionel Richie at Ocean Way from 8 till 2:00 in the morning and then a lot of times I would have a kit in Las Vegas and when Doc was doing The Tonight Show with Johnny Carson with then the sets would leapfrog in town meet dock at Burbank at he'd get off the show at 7:00 we'd be on the ground at 7:30 1 by Learjet in Vegas change clothes go onstage at 8:00 do an 8 o'clock show 10 o'clock show get back on the Learjet fly back to Burbank be at Universal the next morning that set would be there do a session at Universal do a afternoon session get back on the jet fly back to Vegas and could do that for a month I passed out one Wednesday at a LAN or I passed out at lunch one day I started having these chest pains and Tedesco comes back and he goes oh what's the matter everybody's going to lunch and I said man I said I'm just he said are you doing that commuting with Doc again you've been doing you're doing it and you can't do that you're gonna kill yourself 26 years old I felt invincible invincible right I couldn't do it now and Tommy tadesco one of the greatest guitar legends he called it like it was practiced so he would music that's too much you don't need all that I love Tommy so you did all these dates is there any date that stands out that you felt that you you learned an amazing amount about life and music from from that performance or from that artist working with John Williams was a tremendous experience that was I was really something to watch John conduct an orchestra and and set the mood for an orchestra because when we do pictures you have a like an eight beat count off you've done it yeah there's two bars a click and then then the picture there's a streamer that comes across and for the midlane well I can start the stuff of the stream area in the bend of button comes across that are edit points and that's where the music starts and he would talk to the orchestra okay lightly now ladies and gentlemen the click would start lightly ladies and gentlemen very lightly and Marcus he would just set the mood for the orchestra and yeah I mean you just get chills down your back watching him conduct he's he was so fantastic and then of course then then when I was a big piece he'd say okay with energy now yeah with energy right to the downbeat he would talk to them talk to everybody right before the downbeat well what a brilliant brilliant mind that you had the opportunity to work with I mean John has done everything and continues to do everything yeah his uh there was a real quick funny story here we were doing a picture called the river I'm on set that would go over and help with Joe and Jerry and the cats over there in the percussion section so and of course when the call used to come out used to call from the Father the Son the Holy Ghost right because because John's father was a master timpanist and master percussionist Jerry his brother course he's the Holy Ghost right that his father sounding the Holy Ghost so this one time Jerry says Paul you're on timpz on this one and Hutch I was like you're kidding okay he said Paul I've got them all tuned up cuz i'm i'm not a mallet guy right there's another saying in nashville you couldn't pull an e string through my butt with a John Deere tractor right that's how tight I got so anyway so so I go over and the first run I'm so nervous I can hardly get through it and and and John and I would surely he didn't help hear how bad that was and John said ok that was really good ladies and gentlemen let's do one more and I got a second shot at so anyway a second when I was fine okay Paul you can do this but that's the most nervous I've ever been session is playing I do have an attempt part a multi five drum Tim part Dona John Williams cue I've been put in situation is that even though you might not have been prepared for you had the skill to adapt at moment immediately yeah and and great guys to be there when joke Joe Picaro says save my butt so many times yeah and all the guys Larry bunker yeah Joe Picaro Larry's gone is Larry gone Larry's gone Joe we interviewed recently here for the sessions and we have him on that his interview was absolutely wonderful oh good he between Joe and amyl and bunk and I'd be back there and course I'm a drumset guy right I spent my life trying to be the best drummer I can be and and you they put me over I I told him don't just don't put me on a vibe part I'm not okay I can't do that but if there's a time part or bail part that course amyl invented all these instruments if you don't know who Anil Richards is they'll do the research do the research on Abel Richards he invented the water phone he invented the water chimes he and he would invent these in the scary stuff you'd hear in the movies back then amyl invented the set of brass things they were just brass plates and you hit them with a mallet and they'd have a boom Oh bum bum bum you know and then you take and he'd have a bucket of water and you put your foot on this thing and it had had a pulley system and you you take one and they did their the queue on the on the score would be water chime here and and start with the C note so you do and then as you as you're hitting it it you you lower it into the water and as it went into the water the pitch would change if we went up or down when in the water probably went up so oh and you'd hit it and lower it into the water back up now you do with the synthesize yeah right Eamonn Richards invented it absolutely it's incredible look at the people you had the chance to work with it associate with this is fantastic that you continued to to just step into this world of creativity that is endless it's just endless these guys have so much knowledge you know Geoff was so lucky to be born into that family having that family has suffered such yes Carol yes such sickness so much yeah just such a natural player and and just such a he was a great cat great guy great player yeah and as is with Joe to see Joe Picaro it would be the saint that he is much much like much like Louie Bellson yes they have that personnel that's humble and kind and just just beautiful people and experience in this music business we have such an incredible array of the fantastic people that are with us to inspire us is there any other any events that stand out that we're challenging for you that that when you went to you were like really nervous for that you just were like man I am petrified well I told you the one about John but the one before that I'm gonna confess to something I've never confessed to before I was band leader for Lynda Carter now and producing John Schneider these people that had these careers back in the 70s and 80s they still want to do it too yeah and so I worked with him I did wonder woman i did Dukes of Hazzard and and so they called me to get their thing going again so we do Lincoln Center Kennedy Center with with Linda but anyway the scariest thing that ever happened I was 19 years old and I was doing a lot of session work at Robin Hood studio and Tyler I hadn't broken into I was you know 19 and 19 or 20 right right around that time this girl I was bandleader for Vicki Britten got a record deal on MGM curved so they asked me to come out which many years later I realized you never do this but a studio band so they asked me to come out and and play her record we go to LA and we're at Cherokee what at the time was MGM studios there on Fairfax we go there I put my drums in the cab back then you could fly anything on the airplane put my drums in the cab get him to the studio get them all set up and I start seeing these big cases come in Larry Carlton Victor Feldman max Bennett I see these cases come in and start coming in it was cartage I've never seen cartage before I went these guys are so successful and so busy these names I've heard they have moving companies move their equipment I've never heard the term cartage they have moving companies move their equipment for every session and Here I am setting up my drums Rd Butler was the arranger full Symonds and everything we are doing a song called flight 309 to Tennessee and we played it and played it in the clubs and rehearsed it knew but of course we get out there and already butlered rearranged it that's what he's paid to do so we start playing this song and that I've knew and I kept running out of music I just rant would run out of music and the band kept playing I'm caught God what's going on why can't I figure this out and so finally after about three times I'm the young kid on the all the pros are there and they brought in somebody that's not ready yeah and already goes to the producer and already says you know I have this kid place good but he's not making it and so they tried to call how al was not busy they tried to call John Guerin he was not he was busy they ended up calling John rains and John rains they moved my drums out of the drum booth John came in set up and saved the day I went on the street I was so upset I'm about to I'm about it hurts so much it hurts so much it hurts that much now well I went running down Fairfax and I was gonna jump off the Santa Monica Pier which I know I know is ten miles away I was I was so upset I wanted to kill myself and this bum another one of my angels on the street I had grabbed him and I said where's the Santa Monica Pier and he thought I was on LSD he said sit down here kid sit down and he made me sit down on the sidewalk and I was crying I was I was so upset I was just my career here 19 and my career is already over so I sat down he walked away of course I got up again and I bit calm me down I would have run out in front of a bus I was ready to kill myself because I thought I was such a failure I called my mom I found a pay phone booth I called my mom and I said mom it's over I'm not good enough I can't do this I'm not good enough for this and she said son you're only 19 you got a long way to go I went back to Dallas by this point Paul Guerrero was who had been at North Texas Paul Guerrero was now the head of the percussion department for SMU and he used to come in to club and listen to me play rock and roll and I called Paul and I told him what had happened he said I want to meet with you every Monday and I'm gonna give you all my materials and he said I will teach you how to read oh let me back up you know why I ran out of music I was so nervous you didn't fold it out I didn't fold it I didn't fold it out I believe the date because I was so scared yeah I didn't fold it out it's the worst thing and the best thing that ever happened to me I went back I started working with Paul I do my studio stuff I play in the clubs and I practice I do all his stuff two hours a day he had all these wonderful materials for reading and and seeing figures over and over go over again and he'd say for this figure use the first time you play the piece of music use this fill every time the first time you play it yeah then but then you know what the then you can improvise the second time good never improvise try to improvise while you're sight reading is something down for the first time and so you'd see these new that that that but didn't do by you know played it boo bop bop bop boo did a dude I don't try to make it right don't try to do anything or just the Charleston figured it out just played this figure every time the first time but just little tricks like that and and my two feet see thing that I came up with later just little tricks that you you learn to do you're only going to learn those from the guys that have been in battle you're only going to learn how to fight from the guys that have been in battle so after studying with Paul for two years every week for two years in doing all his material Pete Peter also studied with him Erskine also study with yeah with Paul in LA by 1978 I was doing the American Music Awards in Los Angeles episodic TV I was doing Wonder Woman Dukes of Hazzard Battlestar Knight Rider all that stuff by 78 yeah eight years later I was back in LA and and part of it that's amazing so but it was the best the worst thing and the best thing that ever happened to me I swear how to run out in front of a bus that night but what great experience that by going through this here and the person that's first time I've ever admitted that that's beautiful it's hard it's hard to admit it's hard to relive that for sure but the fact that you allowed that to bring you to the level that you're at right now and the consistency of how you read how you perform is at such a high level that it was a very big part of the learning process that you needed I didn't I needed it yeah I needed sometimes people need to go to jail to straighten their life absolutely yeah and I I needed to go to jail I was there I wasn't as cool as I thought I was these people that are watching tonight and I want to ask you in closing thinking about these young kids that are watching this what advice could you give to the next generation that could that can understand how they can follow their dream and pursue their passion to play music what would you tell there is no prize I thought at some point of my career it would be that's it that it it's it when you get to it then there's another it there's always another level of proficiency perfection style feel be open have an open mind to the different styles learn how to play everything know how to play a bebop field know how to play a left-handed Texas shuffle know how to play brushes when people call you they call you because they've been told you're good and I had someone tell me one time when I was going to go out with Doc Severinsen for the first time I was so nervous again I had this hypnotist we called him doc and I went to doc and I said look he doesn't know I might mess they've called me to go out with Doc Severinsen I was 22 years old Doc's called me to go out he said well he's heard of you he's heard you're great I said but he doesn't know I might mess up they says of course he knows you might mess up but he also knows you'll fix it and so so these these words of wisdom always come into your head you know and I'm I'm always worried about never since the episode I told you about I over prepare for everything did you see and Kenny does too Kenny Kenny Aronoff he'll tell you great advice Kenny and I talk all the time and Kenny he'll tell you he over prepares her everything so once you see him play it he makes it look easy yeah but he's busted his ass to make it look easy and that's what we do rehearse yourself learn every style and don't think you ever have it under your belt make sure you have it under your belt before you show up the gig the more proficient you get with yourself the more proficient you'll be once you get to the gig and the more confidence you have in yourself knowing you might screw up but you're gonna fix it if you have those two tools yeah you get the call and you can fix it you're gonna be okay fantastic people you know it's amazing how you continue with this youthful enthusiastic approach all thanks to life which that comes out in your music oh thank the antastic on behalf of the sessions paul we thank you so much you've done Fanta thank you so much for having beautiful [Music]

Channel: The Sessions Panel

Views: 10,991

Rating: 5 out of 5

Keywords: TheSessionsPanel, dom famularo, paul leim, drum, music business, music education, drummer, the sessions, Artist Series, Jules Follett

Id: 5YZDLczb3Lg

Length: 37min 3sec (2223 seconds)

Published: Wed Aug 08 2018