PipemanRadio Interviews Jeff Kollman About 2023 AD

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Hey, you have unto censure.
I'm wow, cra youngro Why become of

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America. It's time for the Adventures
of pipe Man on W four c Y

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dot com West Pomp Beats, his
number one internet radio station. Here's your

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host, the pipe Man. This
is the pipe Man here on the Adventures

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pipe Man W four c Y Radio. And I'm very excited about our Mexican

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because what an amazing musician. And
that's not an easy thing to say in

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these days, because there's great musicians
and then there's music. Well, he

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falls under both. So let's welcome
to the show. Jeff Coleman, how

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are you? Hey, how you
doing there? Good to see a D.

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Good to see you. And I'm
very excited about your new album that's

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right behind me there, twenty twenty
three a D. And now we're already

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in twenty twenty four. You know
you might have to do a follow up

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album too. Yeah, right,
I'm always a year behind schedule. Right,

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it's one and the same if you
ask me. And so tell us

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a little bit about how this album
came about, and you know a little

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bit from your point of view,
the artist on this album, because you

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do have a lot of guest players
on it, which I think is super

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cool, especially that they would want
to do it with you. That says

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a lot. Yeah, you know, yeah, so the players I have

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on there. We had a single
we released with Chad Smith and the story

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behind that song and bringing him in
as I have another band called the Bombasting

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Meat Bats that we kind of formed
out of an era when I was producing

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Glenn Hughes. Chad would come in
and Ed Roth keyboard player, and we

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would jam and wait around for Glen
to show up, you know, in

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the studio, and we found ourselves
doing this kind of seventies Jeff back Billy

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Preston kind of stuff then and so
fast forward, we made a couple of

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records in a live recording and did
some random touring in between the Chili Peppers

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and Chicken Foot and whatnot. And
then in the process of making a newer

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record, I came up with the
song songs and thongs, and Chad got

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busy because for Chante came back in
the fold the Peppers just started rolling.

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So as I'm making this new record, I thought, man, I could

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use that song in the record.
It really has the vibe and the sound

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that I want in the track lineup, and he came over on a Thursday

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and knocked it out. And he
knocked it out in the first take,

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but I asked him to do a
second take and kind of fill all the

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whole thing. He said, like
Ron Jeremy in pace. I'm like,

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yeah, something like that. So
he's on there. The whole thing was

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recorded last year and the twenty twenty
three a d that's the intro pieces a

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tribute to the great Jeff Beck and
he passed away in twenty twenty three,

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as some of you know, just
a legend beyond legend, ye, So

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yeah, I have Shane Gallis on
there and the Wonderful Drummers played with Michael

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Shankering, bay Elmstein, every guitar
player under the planet, Jimmy Johnson from

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Alain Holsworth's group. So you know, the thing is I recruited different players

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for different who I thought would be
good. Okay, this guy's perfect for

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this song, that sort of thing, right, And you know, stylistically,

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the previous album, which was called
East of Heaven, that was done

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during a lockdown, so there was
a little bit more writing in your room

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and sending tracks off and you know, a little disjointed in that way.

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I'm really proud of it the way
it worked out. But it's a little

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more reflective, and you know,
this one was a little more in your

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face. And now we're you know, we're back and nice. Yeah,

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and do you find too okay?
I've been saying if you could take one

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positive out of the lockdown for is
that I don't know. It gave musicians

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an ability to jump off the hamster
wheel and get creative again, you know,

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which because we were living this fast
paced life. You know, dude,

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this this is this It's like some
of the creativity got lost. And

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I think now it's coming back because
artists not only had that time, but

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realize, hey, I want to
go back to this the regular Yeah.

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You know. It's interesting because during
the lockdown, I guess you learn a

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lot about yourself when you spend so
much time with yourself. Yeah, you

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know. And it was a different
way of writing, and yeah, you

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had time to be creative and not
just out on the road NonStop. And

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because some I guess a lot of
musicians are so busy doing it they don't

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really think about, like amster on
the hamster wheel. But then on the

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other hand, the fans got so
starved for live music. I think live

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music is, you know, come
back in a big way since the pandemic.

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People want to get out, they
want to spend their money, and

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they want to have a good time. And I think they don't take it

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for granted as much because it was
difficult for people during the lockdown, Oh

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no doubt. I think see live
music to me is some of the best

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therapy music in general, but live
music in particular, like you just escape

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from reality and you're with all these
people that are your big family at a

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festival that most of them you don't
even know, but they's still your family

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and you're just all there for the
same reason. And I think what was

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happening leading up to COVID is like
you were saying, people were taken for

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granted. They were complaining all the
time, and now there's a right and

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they're still complaining. I know.
I see it all the time, Like

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I did coverage all these music festivals. I'm like, dude, at least

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we have live music. Me I
was saying during the lockdown, I'm like,

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I don't care if some kid in
fifth grade gets up on stageway recorder.

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I'm going to that live show because
I don't care. I just want

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live music. Yeah. Yeah,
so, and then especially with a musician

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like yourself, to me, seeing
somebody like you play live a post on

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a studio is a whole different experience. Yeah, it's a whole different thing.

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You know, you just express different, You're just completely free. And

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you know that's part of the trick
in the studios to not get the red

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red light syndrome where you're overthinking and
you know, really trying to capture what

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you do live. So it's a
different animal completely. Yeah, the way

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you interact with the fellow players.
And yeah, so you know what about

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sorry say that again, I said, I love them both. I love

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you know, the studio creativity process
and the live You know what I love

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about the studio that I think an
art that we're starting to lose is a

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whole album, like a movie in
an order, like if You've Changed the

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Wall or Dark Side of the Moon
or one of these great albums. The

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flow of the songs. You know, I start putting together songs and I

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think about a vision, you're thinking
about artwork, you're thinking about the titles,

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and then I'm thinking about the flow
and which songs work, which songs

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don't, and the order of things. And I'll work on that as much

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as working on any individual tune.
And for people just to click listen a

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few seconds or something going to something
else, it's such a right imagine doing

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that with dark Side of the Moon
on shuffle mode and iTunes. You know,

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it's so funny too that you mentioned
dark Side because at the I was

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at punk Rock Bowling this weekend and
that came up in an interview and I

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was like, yeah, it's just
like, dark Side's just one big song.

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How can you just listen to one
of the songs and then it's so

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weird if you listen to one on
the radio, it almost when it ends,

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it sounds like where's the rest of
the song. Yeah. So,

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and with instrumental music, it's tricky
because you have to express in a different

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way. And I like to think
that people don't need lyrics to feel emotion,

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right, I mean, yeah,
come on, there's a whole thing

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called classical music that went on forever, and but you can fall into a

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trap of just writing to show off
the guitar players for that. You know,

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I'll play a little head and then
I'll just riff a shred over these

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changes and then okay, here's my
country song. Here's this thing to show

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that I can sound like this,
And I think that's it's a little it

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can get a little silly, you
know. So I like a challenge making

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a cohesive album. And that's what
made musicians like Jeff Beck great because it's

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like they didn't put in this formula. You know, you guys don't put

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in a formula. You don't put
in a formula. It's just creative musicianship.

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Whereas I think the other things you
were talking about, that's part of

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that formula thing, which is a
big thing nowadays and music too, because

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of that click click click trun mentality. It's like musicians are being told to

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plug in this formula because this is
the formula that the algorithm likes. And

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you know, I think music should
go way beyond an algorithm. Yeah,

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I mean at that point, you're
halfway to AI, right exactly, which

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it's starting to happen now. It's
like, I don't know. AI is

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good for some things, I guess, but to make a whole song at

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AI, I don't understand what's the
purpose. I think what we're losing is

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experts in any field nowadays. It's
like if anybody can do this stuff,

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then nobody's really an expert, and
then it's just all brought a bunch of

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water down stuff. No matter what
industry, you're never going to replace human

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emotion. No, you know,
I'm not worried about any of that.

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Yeah, you know, you have
to find inspiration and everything and somehow figure

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out a way to fuel it into
your music and right from an honest perspective,

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exactly, And I'm sure I don't
have much to say from a lyrical

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standpoint. So I feel really comfortable
with instrumental music, and I love collaborating

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with singers and songwriters and that sort
of thing, and delivering a song and

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supplying the music. And I can
write lyrics, you know, as good

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as some, but not It's not
like you know, John Lennon or Garaga

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Waters. So you know, I'm
happy to do instrumental music and I love

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it and trying to create a mood
and the depth of emotion through the sonic

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experience, you know. Yeah,
well, to me, some of the

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greatest guitarists like yourself, you know, you are expressing lyrics, just not

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with the words and not with singing, you know, like the music itself

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that you create on the instrument to
me, says a lot without saying the

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word, right, Well, thank
you. Yeah, I'm excited about this

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record, the sonic quality of it. You know, even though my hearing

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is getting worse and worse tonight,
this is growing. I learned so much

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more about space and production and what
works and you know, guitar tone and

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working with drum tones and just you
know, compression and putting the whole thing

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together and you know, and I
work with Alan Parsons, which he's such

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an inspiration with mixing records and so
yeah, it's just it's a it's a

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joy. Just the mixing process of
an album is such a joy to do.

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See. I love hearing that stuff
because I love that you like both

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sides of it. Because there's so
many artists that it's like, well I

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only want to do this or I
only want to do that, and I

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think to be a true artist,
you love the whole process, every bit

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of it, from start to finish. Yeah. Yeah, there's there's releases

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I listened to and I go,
man, I wish I would mix that.

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I love it. I love the
Steve heslatest record and a lot of

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times and I listened to it,
I was like, it doesn't sound as

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high fi as he presents himself as
a whole, like it's and it's great.

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It's like, man, I wish
I could have it sounds so arrogant,

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right, I wish I could have
mixture record. But you know,

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and but I'm sure it's the way
exactly how he wanted it. But it's

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an interesting thing, you know.
It is true though, because when you

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you do that, you do hear
things that others may not hear. It's

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no different than you know, when
it comes to me and radio, and

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I'll listen to other people will be
like, well I wouldn't really do it

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that way, or oh wow,
that's a cool way to do it.

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And then I listen to my own
and I'm you know, as we all

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know, we're our own worst credit, and like I'll have somebody say that

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was a great interview, and then
I'll get off and I'll listen I'm like,

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hope, but man, I sucked
these tall driving balls. So how

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do people connect to you on socials
on the web? How they get the

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new album All that Good? It's
out on Deco Records. I have a

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label, Marmaduke, but we kind
of did a thing together and anybody can

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buy any of my merch at Jeffcoleman
dot com or Culmination dot com. And

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we're doing vinyl and it'll be ready
to ship the beginning of July. And

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this is records forty nine minutes,
so it's too long for one album,

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but then it's too short for two
albums if you start righting three or four

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sides. I was like, oh, I have three sides of a double

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album. So in the eleventh hour
writing another couple of things. And the

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bonus tracks are just for the vinyl, very like for the vinyl is all

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bonus. I brought in Rick Fair
brought to you. Used to play with

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chick Corea and it's just a wonderful
player. And Guy Allison is with the

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Dewie Brothers twenty years and Guy co
wrote a tune called nineteen seventy nine with

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me and it's pretty pretty darn cool
man. So that was fun to get

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a side for going for the album, and that only ten people to maybe

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buy the vinyl, if if they're
fans and collecting, and they can only

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get that through the vinyl. It
won't be released digitally, and that's the

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way it should be anyway, because
like vinyl is a whole experience. We

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were talking about that a lot of
the interviews. It's making such a big

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comeback with even young artists that never
experienced it. It's like having that tangible

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product and that you know something you
and I know. I remember sitting out

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on my balcony after I bought an
album and listening to the album like fifty

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times in a row while I'm looking
at every little bit of artwork on the

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cover and reading all the lyrics and
yeah, you know, people today,

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no matter what song comes on the
radio, like I know the lyrics and

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they're like, how do you know
the lyrics that because we sat down and

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listened to it ten million times and
memorized the lyrics with the lyrics right in

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front of us, you know.
And yeah, track track track thing.

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You know, how they ever really
get to know a song or I think

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about the parts of songs they miss, Like some of the songs are my

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favorite songs. If I only listen
to first ten seconds, I probably never

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would have known that was one of
my favorite songs. Yeah, you know,

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the experience of vinyl. Right you're
listening from start to finish, putting

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on als, cooking dinner, whatever, hanging out and just listen. That's

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why I like to drive if i'm
If somebody gives you a new record and

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I, you know, take a
little road trip, it's a great way

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to listen to well a podcast or
listen to an album. And it's iroty.

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And you know, it's not that
expensive to get into vinyl. Really

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you can. I want to turn
table for one hundred fifty bucks and pioneer

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speakers one hundred dollars clips. You
know, So I'm off to the races

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nice. I mean, obviously you
can spend fortunes, you know, just

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with the the need and all that
sort of thing. But you know,

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people, you know, anybody over
thirty five or forty year, I start

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going to look at it. See
it's like, who played on this thing?

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What the hell am I looking at? You know, I've never even

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thought of that part, but it's
so true. I'd probably be pulling out

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the flashlight on my bone to look
at it. The worst thing is people

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like concerts and they're just sitting there, they're looking at the band on her

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phone. Oh we could go with
the whole rabbit all what that, Because

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I'm like, man, I understand
you want to get some memory, so

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clip a thirty seconds or whatever.
But I sit there and watch people watch

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the whole concert on their phone,
and I'm like, just just go home

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and watch you too. Yeah,
I mean, yeah, we could do

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a whole podcast about how the phone
is the worst invention and yeah, you

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know, Sebastian bag mentioned it years
ago. He's like, man, people

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fans used to come up and you
could have some cool conversations and meet and

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get to know some of these people. And now it's just they come up

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and they want to do a selfie
with you. They get in your face

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and then they're right. You know, it's just weird, the whole experiences.

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You know, it can be rude, it could be weird. It's

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uh, you know, you're not
attached, and it's just a strange phenomenon.

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Well, I say all the time, we have more ways to communicate

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ever in history, and our communication
is the absolute worst. Yeah, And

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you know what, I don't care
that I don't have any selfies from teenage

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years, because man, I have
these memories in my head that are way

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beyond whatever those selfies could be and
the experiences that I had, and like

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things like hanging out with Lemmy at
the Rainbow, you know, and there's

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not one picture of it, not
one, and who gives the crap?

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You know, I have up here
the experience, you know, like you're

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saying, whereas nowadays it would be
just over here and take a picture with

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me, have a nice day.
That's all I care about it, Just

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yeah, I had a nice chat. Would let me at the Rainbow while

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he was playing pac Man and you
know, we right UFO and then Lizzie

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and cool things, you know,
and yeah, if I had a phone

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and had that kind of mindset,
I would have taken a photo and then

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run off exactly who cares? Yeah, tell everybody, show everybody, and

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then at the end of the day, it was just a picture. Yeah,

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you know, so well. I
love it. I love your music,

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especially this new album. Everybody has
to go check it out and get

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it and get the vinyls so you
get the extra beats there, right,

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And it's just cool anyway. It's
cool to have vinyl now, so you

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might as well. And thanks a
lot for giving us great musicianship and music,

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and thanks for being on the Adventures
of Pipe. Now all right,

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Thank you so much, Dean,
you got it. Thank you for listening

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to the Adventures of Papement on W
for CUI Radio.