https://www.youtube.com/embed/SbOozkQQPak
- Yeah! (laughs). ( praises) Well done, male. Well done. - Many thanks. - Ladies as well as gentlemen, Mister. Rodney Holmes on the drums. Yeah. Many thanks for coming out, friend. - Oh, it'' s a pleasure. Thanks for having me. - Yeah, anytime. We'' ve actually. been chatting for, I put on'' t recognize, the. last couple years currently, and I'' m so pleased we finally. got to make something work. - Right. - And also bring you out to Drumeo. As well as for those of you that. don'' t know that Rodney is, there ' s almost a 99%. opportunity you'' ve heard him. He has videotaped, or is a drummer on among. one of the most preferred tracks ever before, which is Smooth by Santana, in addition to a number of. other wonderful accolades, functioning with the. Brecker Brothers.In fact, you '
re currently'. collaborating with Randy Brecker, I believe. - Yep. - As well as are gon na be going on. scenic tour with him and Jim Weider. You are additionally going. to be mosting likely to India for an All-Star show in. the following couple months. - That'' s right.- As well as Switzerland, also, to do a jazz arts event. - It'' s a Jazzaar celebration. - My bad. - It'' s alright. -( laughs) Yeah. So, yeah, man. Welcome to Drumeo. -Thanks. You have a really cool. lesson prepare for you. You ' re'an extremely creative. and distinct drummer. There ' s a reason why you obtain phoned call to the. workshop as a lot as you do', which ' s because. you have a character to your playing. And also I believe it ' s a. great lesson topic, adding character to your. grooves and to'your having fun, because, like I claimed,. you ' re extremely distinct. You have an unique. audio to you, as well as I believe it ' s fantastic.- Thank you extremely a lot.- Huge many thanks to TAMA,. Meinl, Vater Drumsticks and Evans for aiding. put this with each other, and also for sustaining Rodney. throughout his years. However, yeah. What did you play on?- Oh, that ' s a. track called Ghost. That ' s coming out this year? - 2018?- 2018.- Awesome, what ' s that. album mosting likely to be called?- The name of the. album is'Axiom, and I ' m about midway. - Nice. Make sure you find that. You can discover Rodney. -That ' s. - And after that on Facebook. at RodneyHolmesMusic. So make certain you inspect. him out, follow him, and see what he ' s. approximately this year. So,'that ' s enough of me talking. For those enjoying. on YouTube, welcome. For those seeing. on Drumeo, welcome. If you wish to see what. we do right here on Drumeo, directly over to our. internet site as well as join. We do this sort of. stuff regularly. We'' re additionally gon na be recording a lot of special. material for Side members, in addition to a meeting, with some questions. - Take it away, man. - Well, a lot of. (hi-hat clangs). Therefore there were 2 that
I assumed might. be interesting. One is type of like a halftime. groove with a backbeat, and I just wished to. provide you some suggestion of exactly how I show up. I ' ve come up with over time playing in different projects and various kinds of music. This specific groove( hi-hat clatters) came from playing like a halftime.( drumming )Something like that. And so I began simply including little points, and due to the fact that of specific. (drumming) Things like that. And also after that I started. adding the toms. So, let me offer you a suggestion. of what the actually suggestion is. The sticking, (laughs) I guess I must start. Well, all right, let'' s begin here. (drumming) So, if I was gon na play it, just kick, snip, hi-hat, it would certainly seem like this. right and easy this way. However the concept was to include. different components of the kit, making use of the exact same sticking. - Now, before you go onto that, can you just show. us the sticking? It'' s on the PDF, too.This is number 2 we'' re. speaking about below. However maybe you simply. explain the sticking and also just how you developed that'? Because that ' s currently. a pretty personal touch to that routine halftime groove. - Yeah. It'' s a--( drumming) So', it ' s primarily, if you were just. listening to the expression--( hi-hat beat) So, this is-- (drumming) that ' s where the. backbeat would be. (drums beat) And also it ' s, I use that a lot. It ' s a good pattern to. type of walk around a package. Like, plate it in. grooves like this. (drumming )- ( laughs) Okay. - So, you can take that. and relocate around. So, you take that exact same sticking, as well as you can kind of action it, well, mainly. with the right-hand man, you can relocate. anywhere, you know. Anything that seems music, and if you can get some kind of, like a melodic story going. Like you can make use of. it on the toms. You can use it on the cymbals.( drumming) So, I started using.
it on the toms, and adding some cowbell,. including some cymbals.Like this.( drumming) So. (drumming) You can do it like that. As well as it seems amazing sluggish.( drumming) So, I would certainly often, well, a lot, add the hi-hat just to provide people. a factor of recommendation, so they can hear exactly. where the one is. That ' s a great thing to do. The entire thing. (drumming )-( laughs) I love it.- And also that ' s the suggestion. - So, exactly how did you develop that? Due to the fact that I remember. enjoying a video of you, I assume it remained in 2003, possibly it was the. Modern Drum Fest. It was a video where. you showed a beat similar to that, actually.- That was 2005. - 2005, sorry. However I remember viewing. that over as well as over once more, as well as you have that, like, you can inform that. that ' s a Rodney groove. So, just how did you create that. personality behind the set?- Uh, well. ( laughs) I believe that it'' s a combination, it ' s an end result of. all of my impacts. And also I believe what provides. a person a character, it ' s like, I suggest, I check out it. like talked language.'As well as much like any kind of child, you discover just how to speak. from individuals around you.- Right'. -You understand, your parents,. your close friends, whatever. Like, whoever ' s around you, as a child', you mimic them.And so regardless of, it doesn ' t issue if you ' re talking the exact same. language as every person else. You ' re handling that language. through your own prism, and also through your own. life experiences, as well as via your. very own qualities. So, also though I ' m. using the exact same'words that other individuals make use of, you recognize, I ' m still stating something. that they wouldn ' t state.- Right. - I put words with each other in methods. that are slightly various. I have a way of talking. You know, every person has their method relying on where they expanded up as well as what their impacts are.So, the way I. processed my music influences was unique to me. simply since I'' m me. You recognize, and'you ' re you. -Yes, yeah. But it was a lot of. various influences. It ' s from listening to a bunch. of different dialects of music. And also so, I simply thought of not only playing the groove, and also obtaining the groove. to being in a particular method as well as audio terrific, however melodically, how. can I obtain the groove to have a narrative all its own? You understand? Specifically in the. context of a drum solo. Or a break or. something like that. And also I assume that. puts on drum solos. It uses to just. generating grooves that fit songs really well. Simply to attempt to come up with. something that appeared great, like, that someone would. intend to listen to even more than as soon as. - Right. - Therefore I just obtained right into the. behavior of coordinating points based on the songs. that I paid attention to and also my early drum influences.
- Makes feeling. - Yeah. You understand, individuals like Max. Roach as well as Tony Williams, and also when I was really young,. big follower of Steve Gadd. Just anyone who was melodic. Well, any one of those people. They were extremely melodious. So, they were impacts. However attempting to find. up with points that if I hadn'' t heard them, I never ever would certainly have come. Do you understand? They would open up little sites, however it'' s up to you. You recognize, they. that ' s a method." So, you can theorize. - And they simply opened. things up to me. Like, aided me to believe of. doing things in a various means.- So, your strategy with this. as well as the ariose side of it, going around the toms, making something. delightful to listen to, that ' s bled via. whatever you play.- Yeah, yeah. -You attempt to use, "if a person concerns you as well as claim, "I ' d like you to play a. halftime groove on this album," that ' s type of what you go. It undoubtedly. relying on the track. - Yeah, I imply, yeah. Well, if a person asked me, if they called me as well as claimed,. "" Okay, can you use this? "" It'' s a halftime groove," I wouldn'' t just begin playing.- Sure, obviously,. yeah. (laughs) - What I would do. is to play them, the thing that works. best for the track, you understand. - Yeah. - With the bass gamers playing. If it'' s a singing tune or if. it'' s a critical tune. My initial top priority is to make. the track work and also feel great. After that, you recognize, if the artist or. producer would certainly ask me, "" Hey, could you, "" That'' s amazing, can you. add something to it?"" After that gradually,. I'' ll attempt different points to enhance the groove.Maybe little things. on the hi-hat, like, refined, subtle points. Or possibly the kick. drum a little more busy, maybe playing with. the bass gamer, or otherwise playing precisely. with the bass gamer. There are a million. variables, you understand. It depends upon what'' s. occurring in the track. However there are various other areas. where I can take it. - Yeah, well take us. with that procedure. This halftime groove. Show us, like, kind. of detailed. Possibly play it as you develop it, and also add some subtleties in. - I believe in the really starting, I'' d began simply. including various other items. (drumsticks clack) (drumming) See, it ' s like a straight. groove like that. After that you have a lot more a. groove, just even more like-- (drumming) So, I may do. something like that. Or--. ( drumming) Something like that. Or, keep this going, so that this gives the band and the audiences. a point of reference, as well as possibly trying. something over here.
( drumming) You understand, something. that'' s not too offending. Something that still. audios like songs. (drumming) Something like that. - Yep. - Still appears great as well as musical. - Yeah. - It originated from. simply adding points in different situations, and also, you know, one. thing resulted in one more and also I started doing-- (drumming) Stuff like that. And after that that'' s when. that sticking happened.( drumming) That particular pattern. And from doing that, from some of the stuff. that I finished with Jim Weider, because he does a great deal of, kind of like rock. halftime grooves. Stuff like-- (drumming) I started going-- (drumming) (cymbal crashes) Things like that. - Yeah. - He wrote a tune. called Ma'' am Cry that was a halftime groove, and it was like this tempo. (drumming) And so I started doing this. (drumming) I desired something. with some tom toms. And after that that'' s when. I started thinking of all types of. points, you know.Because it ' s a long song with like 2 guitar solos, as well as ultimately a drum solo. So, I developed (drumming) And afterwards at some point, with. that, that pattern. - Really trendy. - So it was simply having fun with Jim and playing. with different individuals and also simply establishing ways. of expanding, you understand. - Do you have a particular. mix or pattern or rudiments that you find creeps into your. - Um, I would certainly claim the paradiddle did a little bit even more than anything. - I indicate, in my viewpoint, I believe the paradiddle might. And it'' s a mix. of doubles as well as songs. So, what it does is, it not just develops your hands and also gets you made use of to changing. from doubles to songs, but it also does. something with your brain. Your brain obtains utilized to. firing the synapses to switch. Which is a beneficial thing. - Right. - So, you can come out. of whatever you'' re doing, either with the. right or the left. As well as it'' s just kind. of a great way to get even more accessibility. to the set. You understand, even. something easy as-- (drumming) And also after that you can show up. with different phrases. (drumming) It just provides you this. accessibility to the kit. (drumming) All of that originates from. ( drumming) changing from. increases as well as singles, and also alternating. - Right.
- So, I would certainly claim in terms. of getting the most gas mileage, the paradiddle, I obtain the most mileage. out of that than anything. - Makes good sense. - Yep. - Yeah. - You have another groove. on the web page, a 7/8 groove. Do you wish to speak about that as well as reveal us just how you added. your own personality to that? - The 7/8 groove was something that I like to make use of. throughout drum solos. But yeah, that originated from. playing in situations where the songs,. nothing remained in 4/4. I indicate, absolutely nothing. - Really? - Yeah, I played with. this wonderful guitarist years earlier. called David Gilmour. Not the renowned David Gilmour-- - From Pink Floyd. - From Pink Floyd. - Okay. - An Additional David Gilmour.He ' s an incredible guitar player. And also he utilized to create. all this insane music. And also I was in his. band for a few years. Therefore I obtained used. to attempting to come up with various means of having fun. every one of these strange meter songs. And it was constantly like a bar of seven, a bar. 5, two bars of two, a 3/4 bar, and also something. It was always these. really angular shapes. But how would certainly I make. that audio enjoyable, you recognize, as opposed to like mathematics? So, as well as the songs. are very beautiful.But it was complex things. So, in an effort. to make it feel as well as seem less like an. odd meter, or meters, I began thinking of methods of making it appear I think more absorbable to. people that wear'' t know anything concerning weird meters at all. You know, they'' re. just paying attention. -Right.- So, and playing something like a 7/8 groove with. something straightforward, like--( drumming )Something like that. I started, once again, comparable. to the other groove, just trying to locate. different means of loading it out and. And also so, allow ' s state I was playing like a straightforward 7/8 groove.( drumming) So, that was exactly how it began. ( bass drums boom) And to me, it just seems good. It simply has a wonderful shape to it. It had a propensity to pull. So the entire thing is-- (drumming) You can play that anywhere. We can play it on. the ideal cymbal. You can play it on a tom the right hand component. (drumming) Okay? (drumming) When you relocate about, it sounds less like the. same angular pattern interlaced together. - Right. So when you do stuff such as this-- (drumming) - Extremely amazing. As well as then you can include points.- Program us that one even more time. a little slower, if you can. That was actually cool. The standard pattern? - Simply what you were doing on. the cymbals, and also everything. It was so great. - Uh. (drumming) That'' s the pattern. - Right. - And after that you would. include points such as-- (drumming) Due to the fact that when you. relocate points about, it has a, it'' s got a. nice bulge, you recognize. It doesn'' t sound like mathematics. When you have adjoining. It'' s hard to describe. - Yeah, no, I get it. impact is a massive factor why you'' re, that ' s how. you developed your sound. However what kind of recommendations would you give. drummers around to find up with some type of. personality behind the kit? - Well. Well, one point I would say, that being open. minded is important. If you'' re a more youthful drummer, I would recommend listening to drummers that. came long before you or anyone else. that you recognize. Since it looks like. drummers wear'' t return and listen to people from. the '' 50s and also the ' 60s, and also the '' 70s, the. ' 80s, also the ' 90s. They name their impacts, as well as it simply doesn ' t. go back that much. you'' re denying yourself this tank, this. universe of abundant music. I suggest, there'' ve been so. several extraordinary drummers over the years, and also it just seems. like a lot of drummers wear'' t recognize that they are. People like Max Roach and. Elvin Jones and Sid Catlett. Just unbelievable gamers. So, it helps to. understand who they are and also have some concept of. what they carried out in the past, because we'' re, also if you'put on ' t understand it, you ' re standing on a lot.
of individuals ' s shoulders.You ' re playing points that were done a lengthy time back, and after that there were individuals. that found out from them and added to that, as well as people that discovered. from them and included in that. So, you'' re possibly. playing a whole lot of points that drummers kind of developed or were experimenting. with in the past. Directly, in my. humble opinion, I think it aids your music,. it aids your having fun, to know something around. those individuals or women. To understand something. about the linears, the permutations that songs. and the drummers that made it or were involved in it. Feeling in one's bones something. concerning what they did provides you something. to draw from. So, that'' s something, you recognize'. I ' m not stating you. need to be a chronicler, however just have some suggestion of what guys have. done throughout the. years, leading. Second is wear'' t. cut on your own off from, I like to call it different. I don'' t like to.- Don ' t cut on your own. off from something since you put on'' t think. it ' s cool down
to pay attention to it right away.Because the moment you say, "" Oh, I don'' t like. this type of music,"" when you make a clear-cut. And it ' s that music that. - Obviously, yeah. -So,'stay open minded. and do some research study. That ' s second. Number 3, pay attention. and also discover, however comprehend that. -Yeah, I was gon na state that, because at one point. various other fantastic drummers have done, but you additionally desire. to be much more individual. - Right. - It'' s not concerning copying,'it ' s about creating. your very own character. - Exactly. As well as I was, I guess, up. until the age of possibly 18, I would certainly imitate people. that I respected. By the time I struck 19, you can'' t escape that. I imply, I'couldn
' t.Where I showed up in. New york city playing, I suggest, you were frowned. upon if you sounded, if you were playing. the exact licks, you know, they can inform. So, there'' s nothing incorrect. with copying individuals, but once again, it'' s like a. kid mimicing a grown-up to learn how to. say particular words. They just duplicate what. another person claims since they'' re utilized. to using words as well as placing sentences with each other. Once you recognize that, you'' re not gon na go around just repeating what. other individuals state. So, if you can assume. of it that method. - Right. - Nonetheless, possibly there. are certain words or certain, a specific terms that you wouldn'' t. even have understood regarding if someone hadn'' t. said something to you. So, simply listening to. them say something or sharing a concept can. open your mind to something and also lead you to something. actually awesome later on.So, that'' s an influence. - I like it,'yeah. -That ' s the difference. - Right. I suggest, there are. lots of influences in the method I play, however. you couldn'' t acknowledge. You couldn'' t state, "" Oh, that. originated from this person,"" ever. - Right. - Which is exactly how I believe. they would desire it. Since I needed to find myself. within those criteria. You recognize, you listen to. other musicians, older musicians, and. they would unlock, and afterwards you have. to walk with it. Last couple years now, and also I'' m so happy we. ( laughs) I think that it'' s a mix, it ' s a culmination of. -You try to use, "if a person comes to you as well as claim, "I ' d like you to play a. halftime groove on this cd," that ' s kind of what you go. As well as it'' s just kind. ' 80s, also the ' 90s.You have to find on your own, however again, just to repeat, being affected by a person doesn'' t mean duplicating them. Not forever. -That ' s one point. See what'they ' re doing. See what they ' ve done. Don ' t just check out 10 seconds of something on YouTube. Really examine it out. - As well as there ' s no. Just be open minded. Realize when you'' re, when you obtain to a certain point, like I stated, I can only. usage myself as an example. By the time I struck 19 years old, I did not want anyone. to be able to hear me and also say I appeared. like someone else. You can claim that you dislike me, yet just put on'' t. say I seem like-- - As long as you put on'' t. audio like anyone else. Well, you absolutely have. your own audio to it. Allow'' s obtain you to play another . tune, if you wear'' t mind. Because we wish to listen to. several of your character out of these drums. You have an additional track aligned, deal with? - Yeah.
- As well as what is the track? - This is a song called. Electric Wildlife. Ghost is brand-new. That'' s mosting likely to be. on this brand-new album. Electric Wildlife is on an album called Twelve Months of October. - Okay. - That I taped, really it was. launched in 2005. So this is old. - Okay. - And some individuals out. there would know this tune. Yet it'' s fun. It ' s a cool song, so. I figured I'' d play it. -"Let ' s hear it!- All"right.( "Electric Wildlife". by Rodney Holmes )- Oh, I like it! I enjoy it, male. Really smooth. You ' re simply, easy. - That was very cool. We'' ve obtained a pair. I ' ll ask you a few of ' em. Initially one is really speaking. concerning your set set-up. I recognize Gene as well as Shackman. as well as a pair participants have asked about. your certain'set, as well as I ' ll take it. one step further. Just how much of your set set up relates to your. personality behind the drums? Due to the fact that you consider. people like Neil Peart, as well as he has a specific set up. He'' s known for it. Terry Bozzio, you recognize,. all these drummers. And you have a. unique set-up, also. I always see a cowbell right. installed on your bass drum in most of the videos. that I'' ve watched of you.So, very first inquiry is, exactly how big of an impact is your. set up to your character? - I would state no. I think my set up is a reaction. to my personality. - Ah, okay. - Not vice versa. - Okay. - I was a huge Rush. follower when I was a child. Me and also this guitar gamer,. we used to obtain together as well as play with all the stuff from Permanent Waves. and also Relocating Pictures, and also at that time I. desired this substantial package. As well as after listening to a. whole lot other people later on, like Clyde Stubblefield as well as . simply a bunch of other individuals, I understood that lot of the. things I intended to obtain, I didn'' t require a package that large. The means, the sort of exactly how. I was listening to drumming. I believe with some individuals,. there'' s specific audios, or specific things. that they intend to get, so they need those points. Me, I was able to get. the audios that I required from a kit that. frequently got smaller sized and also smaller and also smaller sized. So, the set is a direct response to just how I want this, the songs that I was. hearing drum-istically.
- That makes sense. As well as once more, you can see it, the very comparable set-up. in a lot of your video clips, so you can inform that that'' s influenced. your set-up, at the very least, your individuality ' s affected-- - Most definitely, most definitely. as well as I may include a floor tom. You understand, I believe, you know, maybe a 16,. In some cases I'' ll make use of a dash. That'' s it. And also the cowbell, you understand, that was just something. teachers I ever before had was a percussionist. called Frankie Malabe.And so I took
a pair. lessons from him to learn several of the. genuine Afro-Cuban rhythms and also type of just how he. applied them on drum package. Therefore I made use of the. cowbell for that due to the fact that several of those. rhythms that I was learning. - Right. - And also after that seeing. other drummers, once again, from the past that. Steve Gad, a few various other men. As well as then I located. out, I don'' t understand, it was simply a nice color to. have in any design of songs, so it'' s just a good. sound to head to. -I concur. I enjoy it. I like listening to the grooves. Whenever you relocate. to the cowbell, it constantly provides it another. degree, in my viewpoint. Last concern prior to. we wrap things up. We'' re gon na do a complete . meeting with Rodney, so for those Drumeo. members that have inquiries that we'' re not reaching, we'' ll reach those tomorrow.But the most significant one, we'' re. speaking about influences. That are your top. five influencers on the drum established? - Oh, god. That question is-- - I recognize, you possibly. - That'' s so hard. - That ' s tough. - Due to the fact that you put on ' t want. - That ' s the point. leave anyone out. I really feel truly bad, because. every person is so vital. - Yeah.- And also also, like, a whole lot of men that a great deal of. drummers wear ' t know. Simply incredible players. - Possibly state some of. that are around town that were just phenomenal. and also good individuals. And also drummers never. talk regarding them. So whenever I leave someone out, I simply feel bad. - Yeah, reasonable enough. Fair sufficient. - However I'' d have to claim, I imply, there are possibly a couple of that really shaped me. at a particular time. As well as (breathes out) Max roach is a large one. As well as the factor I. keep stating Max is due to the fact that there'' s. so much of what, there ' s a lot of Max in a. whole lot of drumming in general. That'' s an additional thing I. put on'' t believe people understand. Like rock drumming. Like, simply the whole. point of making use of toms. Like--. ( drumming) Utilizing points in ariose ways. You know, Max used to. do points like that. He would certainly compose. whole drum solos in different time trademarks, then pay the tune on the toms.And simply type of little. things that he would do during his drum solo. (drumming )Stuff like that.( drumming )You recognize, Steve Gad, who. was also a huge Max follower, would, you understand-- (drumming) You know, a lot of that. stuff originates from Max. - Right, right. - Tony Williams is big. John Bonham was a large. I would certainly claim they'' re Tony, Max. When I say Tony I. mean Indicate Williams. most definitely Elvin. However I'' m attempting to think about the individuals that type of. It'' s hard to name 5. It'' s just difficult. the men that I would say actually shaped exactly how. I kind of set up and also recognizing what I could. We'' ll we ' re running low on time. - Okay. else you wish to add? Any various other tips or difficulties. to the viewers watching, the drummers out there. that are trying to get their very own audio behind. the kit prior to we cover up? - Uh, no. I wear'' t really have much to add, apart from just principles are, like,. unbelievably essential. Yet simply keep in mind. You understand. It'' s a way to an. So, whatever technical. points you ' re practicing, they'' re tools. They ' re devices so you can. access to the kit and also play your songs, play. the music that you hear, play the music that,'you recognize, whatever band you ' re. playing in, or whatever.
Yet the technique,. it ' s just a tool.An important tool,. however just, you know. Remember that the. concept is to play music and discover on your own in . whatever you'' re playing. Like, if you'' re in a rock band, or if you'' re doing a great deal jazz, or if like me you'' re. doing a whole lot of all of it, there are ways to be authentic and also. genuine to the songs, as well as adapt to the songs, but. still sound like on your own. You need to discover on your own. Simply be truthful. If something'' s not taking place, be truthful with on your own. as well as claim, "" Hey, that'' s "not. "I need to get that "together. "I require to work with this,"". or, "" I need to deal with that."" However via that,. via sincerity, you'' ll begin to discover. your very own method of talking. At the same time,. doing the music justice and servicing the. - Very trendy.- You'' re welcome. - Yeah. I wish you guys appreciated this. I truly suched as how. you simply damaged down two easy beats,. halftime, 7/8 groove, show it just how you add your. As well as you took '' em to. They ' re notated there if you. wish to try to use him as an influence. to your drumming.But attempt not to imitate. him 100%, right, I guess?- Yeah, I indicate, if. they'' re actually young-- - Go for it. - Then that'' s just how you find out. You mimic people, but-- - A pair members in. the chat were saying, "" If someone told me I. seemed like Rodney Holmes, "" that would certainly be the biggest. honor worldwide."" So. - That'' s good. - So, thanks. everybody for seeing. I hope you enjoyed it. Once more, if you like what. you'' re hearing right here, begun over to Drumeo.com. We'' re gon na do a full training course on the body fulcrum with Rodney, a Q and A, and some various other. actual trendy little lessons as well as quick tips for you, as well.So, inspect us out there. As well as again, a significant. thanks to TAMA. Significant many thanks to Evans,. Meinl, and Vater Drumsticks for helping make this take place. Rodney, I'' m gon na. leave it at that, yet I desire you to. play us a solo. Is that cool? - I'' ll shot, see what I can do. - Okay. (laughs) I'' m putting you. I'' m gon na leave. - It'' s a pleasure. - And also we'' ll see you later, guys. - Buh-bye. ("" Electric Wildlife"". by Rodney Holmes). I ' ll ask you a few of ' em. We'' re gon na do a full . And the reason I. keep mentioning Stating is because due to the fact that'' s. so much a lot what, there ' s so much of Max in a. lot of whole lot in general. We'' ll we ' re running reduced on time. - It'' s a satisfaction.
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