Coming to you from the studios at the Illinois Rock and Roll Museum on Route 66, it's the Rock and Roll Chicago podcast. Hey everybody, it's Ray the Roadie. And this is Hollywood Mike.

How you doing, Ray? I'm doing good. You look like you're stretching. Well, I'm getting older, you know.

I do it when I wake up. I do it before I go to bed, you know, and the whole bit. Yeah, I got to do that.

Yeah. Something wrong with your mic tonight? Yeah, just a little bit. I don't know what it is.

We're having technical difficulties. So, if any audio engineers or video engineers are out there listening and they're looking for a pro bono gig, you know, contact us here at the Rock and Roll Chicago podcast. Or if they want to sponsor the podcast, we're always looking for sponsors.

Always looking for sponsors, absolutely. Yeah. I'll tell you somebody else who stretched.

We had somebody come all the way from Algonquin today. Whoa. A little bit of a drive from Algonquin to Joliet.

No kidding. Yeah, we got Mike Hansen with us here today. Hey, Mike.

Hey guys. Thanks for having me. Yeah, I'm from the Indian tribe, Algonquin.

Yeah, that's right. Yeah, the Algonquin Indians. There we are.

I took my horse all the way here. That's right. Yeah.

I'll tell you what I'm excited about. I don't think we've ever had a single individual drummer come in for a podcast interview. Well, that's cool.

I'm the first. Yeah, it is. There's no guitar players.

There's no egomaniacs. There's no singers. There's nobody.

There's just the guy swinging his dicks back there. We haven't. Well, we haven't, but Paulie and I had one.

Oh, did you really? Billy McCarthy. Oh, nice. Okay.

Yeah, we had Billy a while ago. Yeah. So I'll tell you what, why don't you tell everybody about yourself so everybody knows who we're talking to? Yeah.

So I'm Mike Hansen and I'm from the National Act Hurricane, the band from the eighties with Robert Sarzo, Tony Cavazzo. And I grew up here as a kid in Chicago. And then when I left in 87, towards 87, I moved West.

So then I was in Vegas for four years. And then I went to Los Angeles for 36 of those other years. And so now I've recited back to here right before COVID, about five months before COVID, I moved back here.

My dad had cancer and my family still lives all here. I'm the only one that moved out West out of any of my family and to pursue all my music. But anyways, my dad gave me the red light, the light to say, I got a year to live.

So I packed it up. I came home not knowing five months later, there was going to be a pandemic. So it was kind of a, it was a trip, man.

So, yeah. So, I mean, I looked at pandemic and look, it was a bad thing, of course, but it actually, that was kind of good for me because it slowed the world down for me. And it's like, I didn't have to keep up with all the things that I needed to keep up with anymore.

I was equal to everybody in the world now. I'm like, oh, wow, everybody's on the same page now. We're all sitting home.

That's exactly right. Yeah, absolutely. So I spent that time and my dad's a great guitar player, you know, he's played with people like Rascal Flats and Barbara Mandrell.

He was a guitar player. Yeah. And so, yeah, we wrote a song together, you know, and recorded a couple of different things together and we got to, you know, kind of close the book.

Right. So I haven't left. I've stayed here now.

So I'm based in Chicago, Algonquin area where the house that I grew up in. So I did a full circle life. Right, right.

Here I am. So, yeah. So, but I mean, I play with, I play with a lot of people, you know, throughout my years.

It's just, what got me out to the West Coast was the Pointer Sisters. So I played four years with them. That was interesting.

I looked at that list and it's like, no kidding, the Pointer Sisters. I mean, you look at it, it's an eclectic group of people that you played with. And most of them were hard rock or heavy metal guys or something like that.

And then you've got the Pointer Sisters. R&B, yeah. And then you got Paul Abdul and I was like, wow.

Yeah, yeah. I did, you know, I came, I was a pop drummer. Yeah.

Okay. So, you know, I was, I grew up, you know, here and I was in this funk band from Elgin, you know, and yeah. And my, my buddy, you know, Jerome Cunningham, a bass player, you know, I was, I was a total white dude player, man.

You know, I was a country, fifties rock player with my dad when he was here in town. So as a kid, I was, I was playing clubs from 11, you know, 11 years old, you know, for my dad's band. I started at five.

So, you know, I was weaned into the business, you know, my whole life. And, and so all of a sudden I answered this ad one time, you know, I think I was 16, 17 years old and they were looking for a funk drummer. And I'm thinking, oh, you know, maybe I'll give this a shot.

So I called Jerome Cunningham. So I went down to Elgin and, you know, they were kind of like, hey, you're a white dude, man. You know what I said? You're all brothers, man.

And they go, hey, well, while you're here, why don't you just sit down and let's see what we got. Right? Yeah. Right.

Right. So they took me in, man. And they taught me how to, you know, Jerome kind of got me, taught me how to, Oh, Sheila was the first song I've ever played.

And, you know, I kind of learned, you know, and had to learn all that. Ready for the world, Oh, Sheila. Dude, right? Yeah.

Wow. So he, so what happened was, and I played with him, we'll speed it up a little. And then I, um, I went out with a band from Chicago to Vegas for two weeks and I met all these agents and managers and things like that.

And I came back to a gig that I had and the drummer that I had hired to take my place for a sub, he took my gig. Oh, wow. I was like, yeah, I was like, he goes, Hey man, you know, not the drummer, but the leader goes, we're just going to stick with this guy.

And I'm going, Oh man, I don't have a gig now. So I, only thing I did, I picked up the phone. I called one of the coolest agents in the world there.

And I said, Hey, Lou Garrett, he's a Jamaican dude. He's cool as hell. I said, you ain't gonna believe what happened to me.

And I told him the story and he goes, you know what? Anita Pointer is looking for a drummer. Wow. He says, you need to get on a plane yesterday.

And I said, dude, I don't even have my clothes unpacked yet from when I got home. And he says, well, then you need to get here. So he says, grab your Walkman.

Right. Walkman. Right.

And he says, when I pick you up at the airport, I got a cassette, cassette for you. And you need to go to a hotel room and learn six songs before nine o'clock at night. What were the, what were the six songs? It was like all the major hits, you know, I'm so excited.

Neutron Dance. We did Slow Hand. We did Yes, You Can Can.

You know? And so we got into all those. So, I mean, there was, I think one more there, but that was, that was the book that I remember that we did, you know? Yeah. Right.

And that was cool, man. You know? And I, about that night later was like seven drummers auditioning. And then they, they told me that night that I had the gig.

How old were you when, when that happened? I was 19. 19 years old. I left here in 19, so in 1987.

So I'm 56 now. Yeah. Yeah.

A long time ago. So, so were you born in the Algonquin area? That that's where you were from? I was born in Elk Grove, actually. In Elk Grove.

Okay. I had election brothers, I think it was. Okay.

Yeah. Yeah. Yeah.

I was born there, you know, my dad was an Itasca police officer at that time. Okay. And my mom worked for the village, you know, and that's how they met.

Right. And then I was conceived. Okay.

Okay. Quick story. Quick story.

Yeah. Yeah. Yeah.

No, I grew up in the Schomburg area. So I'm very familiar with the Alexian brothers and. Okay.

Yeah. What is it, Alphanergy over there or whatever? Yeah. That's a beautiful hospital though.

I mean, it's a nice, it's a big place, man. Right. I went there just recently to help a friend get an operation and I was like, whoa, this is where I was born.

Yeah. I was like tripping on it, you know. Did you go to Elk Grove High School? I went to Crown High School because.

Crown, okay. We ended up, we ended up living in Carpentersville, my, like from my fourth grade. Okay.

Up until my sophomore year of high school. So I still have a lot of childhood friends here in town. Right.

And so, yeah, I went to Crown High School. And then we, then, then my parents moved to Lake and the Hills, Algonquin area. And then I went to Jacobs for my last two years.

And I really didn't know too many people from that school, you know, and I kind of was in my own lane already anyways, you know what I mean? I was kind of doing things. Yeah. Is that when you, is that when you found the drums or did the drums find you? No, my mom and dad got me a drum set, said that I, that the minute I was born, I was beating on things.

So they ended up doing, get me a kit. My dad would bring me in the room all the time. And in the back music room, we had a room about as big as this place and we'd just jam every night, you know? I mean, I don't even know how I became a drummer, to be honest with you.

I mean, that's all I know. And I just did it. Did you do no formal lessons or anything? Yeah, I took a couple of lessons.

I'll tell you just some weird stories about that. You know, you know, nothing weird, weird, like weird that we think of weird today. You can get weird.

You know what I'm saying, right? You can get weird. I mean, we've had some, we've had some weird discussions. So you guys remember Roselle Music? Absolutely.

Yeah, right? I used to live there. Dude, that was my store. Bought my first guitar from there.

Lyle. Lyle, Lyle. And the dog.

Lyle, yeah, that's right. And then you had Bob Wiggins downstairs. Yeah.

Big Bob, man. Big Bob, yeah, absolutely. Yeah, I loved Big Bob back in the day, man.

He was cool. I'm, you know, God bless his heart. He passed away.

But, you know, he, so anyway, so he had one time told me, you know, I bought a kit there. It was Roy Burns' drums and I got some free lessons with it, right? So I took these lessons. This guy looked like Sonny Bono.

And, and I remember, I'll never forget him. So five lessons went by and my dad, I said, Hey, are we going to sign me up for more lessons? He goes, son, he goes, he don't want to teach you. I said, why? And he goes, he says, you have bad habits and I ruined you as a drummer.

I said, really? So I said, all right, whatever. You know, I mean, it kind of got my feelings hurt, but, you know, like you just move on, I guess, you know, I didn't know how to judge myself. So I didn't know I was a kid.

Right. So we move on. And then Bob Wiggins comes up to me one day and goes, dude, you need to take lessons from this bad-ass drummer in town.

I go, who is it? He goes, Lester Merle. I go, Lester Merle? Oh my God, Transfusion. I remember, I mean, he was one of my favorite drummers of all time.

And I ended up taking from him for two years, you know, and he was kind of my dude. And then, you know, I took from a couple of other people too, but he was the main guy, man. He taught me things were that even today when I go play with all these different people, sometimes I'm going, shit, man, I'm glad that dude taught me that stuff because I would have not gotten this gig if it wasn't for him showing me that, you know what I mean? And reading, cause I read too.

And I play, you know, I play notes and, you know, I get some of my gigs are reading gigs. So, you know, I have to read still. So I don't do that as much as I used to, but, you know, I mean, it saved my butt, you know? So, you know, so he got me into like all this confusion, jazz stuff.

And, you know, this guy played with Harry James at 18, you know, bad dude. And he used to live here, man. He lived in Chicago and he used to play the Nick's fish house.

Yeah. He played up in there and then he used to play at St. Charles at the Pheasant Run. And I used to play Pheasant Run too.

I used to play there when I was a kid. That was one of my gigs. I would play six nights a week when we had- You had to play Pheasant Run.

Pheasant Run, you had to go through Pheasant Run. That was top A-list. Especially in that area.

For sure. You have no idea how many times we may have crossed paths because Roselle Music, I can walk there from my house. I mean, I lived off of, what was the road? Menching off of Irving Park.

So, if you guys kept heading west on Irving Park from where Roselle Music was, yeah, that's where I lived over by the Linford Winery and there's St. Walter School was over there. I went to Lake Park High School. Oh, yeah.

My mom went to Lake Park High. No kidding. Wow.

Yeah. You know, I mean, Lake Park area, man, I loved that school too. I always wanted to go there, but I never got a chance because my parents, we moved to, you know, out to Seville.

So, I was going to go there though. But I went to, I think I went to Medina East. Oh, yeah, yeah, yeah.

For sure. I was getting transferred. My parents were like jumping homes for a minute.

Right, right, right. I'll tell you, that whole area, because of Roselle Music, you know, Lyle had, Lyle knew absolutely everybody. I mean, I don't know if you've ever been there, but when you stand outside of the building, and gosh, I haven't, I mean, it's still there, but I haven't been there in forever.

But it's not that store no more. It's not that, it's not that store anymore. In the basement was where all the audio, like the pro albums.

And the drums. Drums were down there. Guitars were upstairs.

Guitars were upstairs. And I know they bought the building that was next to it and they knocked out a wall. And it kind of looked like an old soda fountain, like an old fifties diner.

And they used to start having open jams and stuff there. But as soon as they expanded, you know, the square footage of the store, you're right. It wasn't that, it wasn't the same store.

No, man. And then they had the Elgin store too. And I used to go to that one too on 25 over there.

That was the one, Bill Walsky ran that one. I used to go down to Ludwig drums all the time, and stuff like that. That was great.

I mean, I have a lot of great childhood memories here. You know, I do, I don't have like any bad things here. I had a good life growing up.

I really did. And now, so I more appreciate my life now than I've ever appreciated my life. You know, after all the things we're going through, I look back at when we all grew up, dude, you know what, man? I know every generation says this, but it's damn true, man.

The seventies were pretty bad-ass. And so were the eighties, man. So were the eighties.

You know, I mean, comparingly. Yeah. I mean, technology, if we had this technology back then, look out, man.

Oh, I know. That would have been crazy. In the eighties with all this technology we have now, it would have been insane.

Yeah. I know. No more walking around putting flyers on people's windshields, cars.

No, man. Hollywood style. Going to rock and roll Ralphs and, you know, tagging all the cars for the whiskey gig coming up next week, you know? But yeah.

So I went, so as far as the teaching thing. So yeah. And then when I went to school in high school, actually, let's start in middle school.

The band director, I didn't get along with a couple of my band directors. I don't know what it was, but there was this real competitive thing. I don't know what it was, but they were really tough on me a couple of times.

You ever see that, what was that one movie? Miles Teller, The Drummer. The Drummer. Yeah.

Yeah. I forgot the name of that movie. Oh my gosh.

Well, that was me, dude. Ain't no joke. I had a teacher that treated me like that.

Wow. Wow. Yeah.

And anyways, so he, one day, this is kind of bad to say this on the radio here, but anyways, he got called me to his room one day out of English, pulled me out, and he started just ripping me up in his band room. And he said something to me that was so bad to me, and I did a bad thing. So I ended up punching him out.

He said to me that my dad ruined me as a musician. Right. Another guy said this.

Yeah. Yeah. And that drummers like me came a dime a dozen.

Yeah. And he was just trying to break me down. Well, I took him down.

Yeah. And I did, and I didn't get in trouble for it. He almost got fired for it.

Wow. Yeah, right. Now, obviously, in today's world, I probably would have been kicked out of school today, cuffed and everything.

We didn't have cops in school, man, when we were growing up. We had teachers yelling at you. Right, right, right.

So that happened to me. And then when I went to Jacob's, Crown actually was my best. That teacher, Mr. Miller, was the best guy in the world.

I marched in that marching band. We were five years in a row top in the nation as a marching band. I marched for Reagan's inaugural.

Oh, nice. Wow. Yeah.

That was pretty cool. So that school was cool about that. That teacher was my favorite teacher.

When I told him I had to leave, he lived in Lake and the Hills. And he's like, hey, dude, I'll drive you to school every day if you just come to this school. Wow.

Because you're my lead snare drummer, and I need my lead guy. I need you here. Well, I said, I'm not going to do that.

So I went to that school and that teacher was kind of like my middle school teacher and ended up having some bad words too and stuff like that. But, you know, man, I didn't let any of these guys take me down. And that's kind of what I'm getting at here as far as a message to all our fellow, you don't even have to be a musician for this.

You know, just don't let, you know, believe in who you are and keep going, man, because you listen to all these people's stories that, you know, especially the ones that have made it to where they've made it. And they've, you know, for some reason, we all got to go through this pain, man. It's just part of life, you know? Yeah, absolutely.

So while you were in high school, were you into anything else? Yeah. I was a wrestler and a soccer player for 12 years. Wow.

No kidding. And yeah, my uncle played for the Sting back in the day. The Sting.

Yeah. He went to Lake Park High School. We are just, we are just walking down memory lane with this.

We sure are. Chicago Sting, man. He was, he was out when Pele was out big.

I was watching him play against Pele. You know, down at the stadium down here. Yeah, man.

Yeah. So after high school, did you, did you just transition away completely from athletics and dive headfirst into music? I broke my arm wrestling. Yeah.

My last year in high school, I broke it and I was like, okay, now I need to, I need to figure this one out. I mean, I'm not going to be a professional wrestler. I'm not Hulk Hogan.

It ain't going to happen, you know? And we didn't even know who Hulk Hogan was then. Right. We didn't.

No, no. Not at all. We were listening to Duran Duran.

And you know, it's funny because, yeah, so I ended up just kind of just giving it all up, man. I did. And I just concentrated on my music and then I went to Elgin Community College for a really short time.

And then when I got that call, I boogied out, man. So you were, so you had mentioned one band that you were in, right? Where you, you learned, Oh Sheila was your first song. Yeah, man.

How many, how many bands were you in or what, what amount of time passed between that and then getting the call to go and audition for the Pointer Sisters? Mostly I played with my dad's band, you know, and a couple of other bands, you know, I played mostly like country, Western, not, not crossover country. Like we got today, I was playing like, like Ernest Tubman, the Texas Troopers. I was, I was playing like, you know, you know, like Merle Haggard, old stuff, you know, Rainbow Stew.

I was playing like, you know, Mickey Gilley, you know, like. Real country music. Yeah.

Yeah. You know, urban cowboy era. All kind of country music.

Yeah. You know? And so, you know, when my dad would get off the road sometimes, you know, he had this band. So, but when he wasn't in town, I, I ended up going to these jam sessions, you know, back in the day, we had jam sessions on Sunday nights, you know, you go to like a bar and somebody would host it.

That was a, you were a house painter. I know somebody that hosts one on Sunday night. Gee, I do too.

Do you? Yeah. Well, let's talk about it for a minute. Yeah.

Me. You? Yeah. Yeah.

See, but that's cool because you don't see that anymore. And that was like when I grew up and I think it really helps the community, bring the players together and we all network better that way, you know, you know, and because, you know, I can, you can live in a city and not know somebody for real. You know, it's like you wouldn't think you would, you would know everybody.

Even in LA, when I lived there, it's like as many people as I do know, which is a lot there. Right. I still didn't know some people.

Right. And I think these kinds of things help that. Yeah, absolutely.

And you know, it keeps us all working too. You know, and we have this conversation on this podcast every time we, we talk to somebody, there is something about being a musician in the Chicagoland area where there is that sense of family and there is that sense of camaraderie and those jam sessions do happen. There's the one that I host.

I got a bunch of friends that host them. You can find a jam session every night of the week somewhere in the Chicagoland area. You'll see the same faces over and over again, but it's like, if you get a phone call and says, Hey, I'm looking for a band, you know, for Saturday night.

Can you throw something together? You'll know, you'll know a bunch of people that you'd be able to do it. And we've done it before. That's the way to go.

That's the way you do it. That's the way you do it, man. It's a brotherhood, you know? Absolutely.

And a sisterhood, you know? You know, there's a lot of great girl players now, man, like big time, man. You know, it's like, I'm pretty impressed. But you know, yeah, I mean, so, but me being here, dude, honestly, I hear so many different things about this town, Chicago, and I'm still trying to figure it out, man.

And I need help because, yeah, because listen, I mastered LA. I was there 36 years and you know what? I, and I'm not, that's not a toot my horn thing. It's an earned thing, but it took me about 10 years of living there before I started playing like all the A-rooms and I started like really getting in with like Michael Landau and, you know, like, you know, and Steve Lukather and, you know, and, and, you know, all these great players like Richie Kotzen and, you know, and, and, you know, and just, I started, I became an A-list player there, you know? And so I used to play in a club there called the Baked Potato.

And it's in, it's an universal area and it's 50 years old now. Don Randy owns it. He was one of the wrecking crew members.

Oh yeah. Yeah. He worked under Phil Spector.

Matter of fact, Phil Spector was his roommate and I still work with Don Randy today. He was Frank Sinatra's, or Nancy Sinatra's musical director for her whole career. And, um, you know, so he was, you know, so this was his room.

So everybody and anybody that was hot and is still plays, you have to have a track record to play that room. If you don't have a list, you don't play. You know what I mean? It's like you go see two shows a night, whoever's in there, you can see, you know, Steve Lukather from Toto for 50 bucks standing from me to you.

You know what I mean? With his band. Not Toto, but his band. Los Lobotomus, bands like that.

So that's what that room was. And so I became the house drummer there for, uh, for two years up until I left. I gave up my throne when I knew my dad got sick.

So that was a hot seat. You know, there's a million drummers in LA that wanted that gig. I was there.

I was the house drummer at the Baked Potato on Monday night blues nights for two years. And I was playing with guys from Bruce Hornsby to John Mayall to Steve Miller to, um, you know, um, Albert Lee, you know, all these cats. And then all the cats would come in town, you know, and that was the room to go to, you know? So all these dudes would come down and, you know, we were a great band.

All these guys were players from those artists, you know? So the band was hot, man. You know, Rio Coolidge, we had them all coming down. So, you know, Steve Miller even came down a couple of times and wanted to play with us, you know? So he came down and jam with us.

He's like one night he goes, you know, man, ladies and gentlemen, he goes, if I ever did a blues tour, he goes, this would be my band. And I'm thinking, please go. I want to play with Steve Miller.

Can I push you out the door? Yeah, man. So that's my story. But yeah, so I played, you know, a lot of bands here in town when my dad wasn't here too.

And I played mostly country in the 50s and 60s. And you know, the Sundance Saloon that's in Mundelein, you guys know that place? I've played there many times. I was playing there in 1978.

Oh, wow. When they had line dance, it was like a mini Mickey Gillies back then. And they had a big bowl in there and they had all the line dancing and all the girls in their little hottie-tottie outfits.

And, you know, and I was 16 playing there, you know? So I know a lot about that room. Yeah. Yeah.

Yeah. I've played there a few times. In fact, the band that I'm in right now, we played there.

Was it, it was early spring or something like that. We were just, just there. And then I played there.

I only know your arms coming schedule, not your past. Yes. He, he's my, he's my, my booking agent in a way.

I play, I play quite often. So on Mondays, it's like, I look at, okay, where am I, Ray? And he tells me where I'm playing the coming, the coming week. That's great.

Well, yeah. And back in like 95, I was in a band and we opened up for Laurie Morgan over there at the Clundance place there. That was, yeah.

Yeah. That place is still there. Yeah.

It's a great room. Bob and his family own, and they do a great job. And, you know, they've always been nice to me.

You know, the Broken Ore is another good one, you know? Yep. Actually, I'm playing there, you know, you know, you know, Mike Dermott, he's the, he runs the, the Coteri group. Okay.

You know, it's a, you know, most of his functions that he puts together, it's all like the hot players. Yeah. Coteri, some people call it or Coteri.

Right, right, right. It's actually Coteri. But anyways, he, I'm playing August 26th with him for, to raise, raise awareness for autism.

Okay. Okay. And that will be at the Broken Ore on, on August 26th.

Okay. It's a full day event. I'm playing with an artist by the name of Nick Bell.

Do you know him? No, I don't know Nick Bell. It's a blues night that night. So it's going to be all blues stuff.

Okay. So like Gary Moore and all that kind of stuff is going to be happening. Yeah.

Yeah. Nice. So I'm doing that.

I mean, you know, just to kind of give the world a little know what's going on that's so far since I've been in town. So I try to do a lot of charities. I like to do those, you know, breast cancer awareness is a big one for me.

Autism is another one that I carry. So I'm doing this one and, and, you know, and I reach out, I try to help back to my communities. You know, I'm not one of those guys that stays home and untouchable.

Right, right. I like to know who, who's here in town. I like to meet the people.

Absolutely. You know what I mean? That's what we're here for. I'll tell you, man, get out to the jams.

Yeah. I mean, the one that I host would be one hell of a, of a drive for you. It's literally 10 minutes away from here.

So it'd be one heck of a drive. But I'm okay with that. You know, it takes me an hour and a half to go 30 minutes.

Oh, that's true. That's a normal 30 minutes. So it's okay.

Yeah. No, an hour for me ain't nothing. This actually wasn't a bad run for me.

Yeah. That's not too bad. No, this was a normal day in LA.

Cause it's like, yeah. And it's, it's a straight shot pretty much too. So it wasn't that bad.

An hour to me is like 20 minutes for me. It really is. It sounds terrible, but it's true.

No, it is true. I've driven in LA. Yeah.

But yeah, let me know the next time and I'll just come down. We'll hook up for sure. Yeah.

It'd be great. Yeah. You know, cause then it's arranged more and I'll come down and, you know, knowing that we're going to get together and I'll maybe throw me a couple of tunes and I'll learn them and come down.

Yeah. I mean, we, I mean, it's, it's, it's open to every artist, but you know, about 75% of it ends up being just some rhythm and blues, you know? Okay, cool. I'm all down with that.

I'm Christy from Crime Cave Podcast. I've had a huge interest in true crime since my days of watching marathons have snapped back in the mid nineties. I needed an outlet to talk about the cases that have haunted me for a very long time.

With each episode under 20 minutes, I shine a light on some of the most bizarre cases in the last 50 years. Join me in the Crime Cave. Hi, I'm Rick Anthony.

I'd like to thank my radio brothers, Ray, the roadie and Hollywood Mike, for allowing me to tell you about my podcast, the someone you should know podcast. We spotlight musicians, authors, and interesting people. And we like to say, we're making a difference one artist at a time.

The podcast is heard twice a week on Mondays and Thursdays, and you could check it out on your favorite streaming platforms and on the web at someone you should know podcast.com. That's the someone you should know podcast with me, Rick Anthony, making a difference one artist at a time. So you've, you've played with two of my favorites, man. You've played with Richie Coatsen.

Yeah. And Paul Gilbert. Oh yeah.

God, I love those two guys. Yeah. I really do.

What was it, what was it, you got to tell me what it was like playing with those guys. Well, Richie, you know, Richie, I mean, both of those guys, you know, are my friends. I mean, Richie more so because I was in a band with him, with Phil Sousan.

And Phil Sousan, you know, he played bass, you know, with, with Ozzy and he played with a lot of people. He's in a band now called Last in Line. You know, you know, that's with, I'm trying to think, well, you got Vinnie on drums, you know, Carmine's brother, you know.

Oh wow. Okay. Yeah.

Yeah. And you got Vivian Campbell on guitar. Yeah.

Yeah. Right. You know, and Andrew Freeman on vocals, you know, so it's a hot band.

It's a real hot band. You guys got to see if they come out, they come through town, they come through town, they're badasses. So yeah.

So Phil and me and Richie, so we went to Brazil and did a bunch of shows in Brazil because Richie's really known in Brazil. Okay. Yeah.

So we went down there and it's just a power trio, man. Most of the gigs I do are power trios anyways. And most- When was that? When was that? I would say, gosh, now we're looking to see, I've been here three years now.

Was it like a precursor to the Winery Dogs? Yes. It was. Winery Dogs wasn't even existing yet.

Gotcha. They didn't even give birth yet. Nope.

All right. They weren't even like, that wasn't even thought. Richie was doing his own thing.

He'd get his little pickup bands that he, you know, he, the people that he liked to pick out to play with every once in a while. So, you know, he, we used to go to these, speaking of jams, okay, there you go. Yeah.

Right. How we went was I was, Phil Sussan was in a band. I was a house band in a different jam than the Baked Potato.

And he started inviting people down. Bingo. There you go.

Richie comes down. We get to know each other. Hey man, you want to do this? We're doing like three weeks in Brazil.

You want to go out and meet you and Sussan? I go, sure, man, let's go. That's how it happened. So here you go back to the jam thing again, how important it is as a network to go to these places.

Right. Oh, absolutely. So that's how I actually met Richie.

And then we went, then house parties, you know, and then you're hanging out and you're always going, everybody knows everybody at everybody's party. You know? Right, right, right. You know, Richie Coates inspired me.

I'm a guitar player. And every, you know, everybody kind of knew Richie as a guitar player because, uh, who did he, um, he poisoned. Yeah, there you go.

He was, he was with poison for a little while, for a little while. Yeah. That was, I saw the, uh, I saw the behind the music on that one.

Yeah. Yeah. Behind a lot of things on that one.

Yeah. I mean, I never got kicked off a tour bus before, but okay. But yeah, then all of a sudden somebody gives me this, uh, gives me a CD and it just had his name on the CD.

Somebody had burned it for me. It didn't have the name of an album or anything like that, but it had a couple of cuts on it that he does with the winery dogs now. And all of a sudden it's like, holy shit, Richie can sing and sing well.

Yeah. Like pretty bad-ass. Holy crap.

Yeah. He's as good at both, you know, he's a hundred percent at both. What a fantastic guitar player.

And he can sing. He's got that Lindsey Buckingham style. You know what I mean? The way he hits his- A lot of finger, a lot of finger picking and hitting with the thumb.

Yeah. He's got the Lindsey thing. I don't know anybody that can even plays close to Lindsey Buckingham.

He's in a lane of his own, that man. And he plays a style, he plays a style of music that you normally wouldn't see somebody playing an old Telecaster, an old Sunburst Telecaster. Yeah, man.

He rips it up, boy. He's absolutely amazing. I can watch that dude play, uh, you know, in fact, I saw the winery dogs a few years ago at the city winery here in Chicago, man.

It was the winery dogs at the city winery. That's pretty funny. Yeah.

Yeah. You know, you know, it's funny. You probably noticed on the track record, my stuff, it's a lot of guitar players, you know, and I was kind of known for that in LA as one of the guitar player drummers, you know? Yeah.

I got labeled at that because most of the gigs I did were all just bad-ass guitar players, you know? Yeah, yeah. You know, so yeah. So Richie was great.

Paul Gilbert, let me tell you, man. Paul, you know, he's one of the sweetest guys. I mean, look, Richie's great in all forms and fashion too, but this guy is a charm in another way, you know? He's just got a gift that's just so special in his own lane and, you know, and he innovated things for us, you know? Right.

I mean, he's a shred, man. There's nobody that can shred better than Paul Gilbert. I mean, he had all kinds of videos.

I can't tell you how many frustrated guitar players there are. He's helped a lot of people. Who had his VHS tapes.

Yeah. He was so good at it, man. And he, you know, and he just, so when we played together, yeah, it's like, you know, you just want to watch him, you know what I mean? Because he's just so amazing how he approaches his guitar.

But man, what a gentle giant, because he's really tall, you know? He's like six fours. Yeah, he's big. Tall, very soft-spoken.

Very soft, man. And easy going. It's like, hey man, don't worry if you mess that up.

Don't worry, man. We'll figure it out. We'll get there.

He doesn't worry about nothing. He doesn't make you feel that way, you know? And yeah, what a blast to play with him. And then I played with his sidekick, you know, you're a Racer X fan, obviously, maybe, right? So, you know, Bruce Pouillet was another guy I played with, but it was the other Racer X guy, right? So I played with them never together, but in separate projects.

Right. Yep. And, you know, I mean, I love them both, but I got to tell you, Bruce Pouillet, hey man, I mean, that's a little, yeah, a little underdog there, but I mean, you know what? That guy has got, he's got a great feel.

Yeah. That's what I dig. He shreds, but he's got great feel.

Right. Absolutely. I saw the, so I don't, I don't, I don't go out and see a lot of big bands anymore because, you know, it's like I used to do it a lot, but I get a lot more out of going and seeing local guys at smaller amphitheaters and things like that, or little lesser known guys and stuff like that.

But the last big name I think I saw was, I saw Mr. Big at the House of Blues here in Chicago and Paul Gilbert comes out and he was, he was kind of dressed like Evel Knievel. Yeah, he's funny, man. He's, he's, he's- With his headphones on, with his headphone monitors on.

As geek as you can get, he's got geek in there, man. He's funny, man. And he even said it, he even said it.

He comes out, he grabs his headphones like this, he puts them on and he goes, all right, yep, I am a nerd. And I'm, you know, and he's like, I'm wearing this and I don't care. I mean, he's literally on stage wearing these things instead of little in-ear buds that you can't see.

Yeah, because his ears are blown, you know, they're gone. His ears are just toast. He, he has hearing aids.

So when he gets on stage, he takes them off and that's why he uses the, the headphones because of that reason. Yeah. Because he can't play with, with hearing aids on.

It's just way too much power, you know? When he did his solo though, he took the headphones off and played, I guess he was just listening to his amp. But you don't have, yeah, you don't have cymbals crashing. Yeah, and you don't have everything all over the place.

It's literally the worst thing for any musician on stage, you know? And honestly, man, I've never worn, I've never worn any ear treatments my whole career. And my ears are like, I can hear things a mile away. Knock on wood, I hope it stays that way.

I'm very lucky, you know, and I've played with some heavy, heavy rocks bands, you know, George Lynch and, you know, I mean, tuned down to B man, you know? No in-ear monitors or anything? I do, but not very much. Most of my gigs are wedges. I mean, even, even with all these acts, you know, I mean, I hardly ever do, but Hurricane's going to be going out with, with them in-ears on this next one.

Yeah. Have you been practicing that yet? Yeah. Cause that's, that's, that's, that's a weird transition, man.

I much prefer the wedges myself, but it's like, you know, I'm trying to, trying to save the ears, but yeah, it took me, gosh, it probably took me a year to get used to it. And I, and even sometimes, but even sometimes I still have to take one out for a second. And they say, that's the worst thing you can do is to leave one in and take one out.

Is it really? Yeah. Yeah. There's all kinds of, there's all kinds of crap online.

Just Google it, man. They're telling, yeah. They're saying the worst thing you can do is take one out and leave one in.

But sometimes you can't, sometimes I can't help it. Sometimes I can't hear my guitar. Sometimes I'm over singing because I can't hear myself through it enough.

There's a frequency that you're not getting. So I just grab and go, you know what I'm like? Nah, I can't have that in my ear. I mean, I got to hear something like the bass.

I can't hear something on stage and the monitor guy's, you know, taking a siesta. And I'm like, oh shit. You know, what helps is what I found, what helps is just set up a microphone someplace that just picks up ambient stage noise and send that into your monitors as well.

And that helps. And when, when, when we have that, I find that I don't have to take the one out. Yeah.

I mean, you know, I try to, I've avoided them as long as I can avoid them. You know, when you start playing with, you know, guys that have tracks and things, it's just, there's no way around it, man. Yeah.

Right. I mean, this is what it is at that point, you know? Right. Right.

That's it. You know, we're stuck. That's where we're at in the industry now.

Yeah. Yeah. So before we run out of time, I can't believe how we've been just talking effortlessly.

We've been here for a half hour already. And you haven't even bought a drink. We haven't even, we haven't even scratched the surface of it.

I know, really. We have part two coming up. Yeah, no kidding.

But no, we can jump. Yeah. Yeah.

What's about, tell us about Hurricane. Okay. So Hurricane- Because I know you guys have a new, a new record coming out, right? Yeah.

We have a new record coming out. It's dropping August 25th. It's called Reconnected.

That's the title of the album. And, you know, basically we came up with that title is because of, you know, the world that, you know, we all kind of got disconnected for a while. So, and we've been out of the scene for 33 years.

We haven't put out a record in 33 years. So, you know, and as you probably well know that Kelly Hanson, who used to sing with us, has been the singer for Foreigner for 13 years. Right.

You know, and Jay's the drummer for Yes Now. Oh, I didn't know that. This is really- He was pre-me.

Yeah. I'm going way back now. Yeah.

Right, right, right. Because we're going 33 years back now. So I've been in the band for 15 years.

Right, right. You know, but there's been, the band hasn't done anything in 33 years, but I've been 15. No new material, no new material.

So during COVID, we wrote, it took us two years to write this record and we did it remotely. This whole album is remote, man. Yeah.

That's a whole new experience in itself. 10 times longer to write a record. Oh yeah.

I'm going to tell you right now. Yeah. Send me that track.

I need to do this. I'm going to send it back to you. Yeah.

And when you can be in a room and going, Hey John, you know what? I didn't like that riff right there. Maybe just play this instead. Yeah.

You know, and it's done in two seconds. Roll the tape. Boom.

And roll the tape. Listen to me. Yeah.

You know what I mean? I know. I know. I love tape.

Roll the tape. I know, I know. Yeah, but you can't do this.

So you have to wait for all that to get back when you're bouncing files back and forth. Right. So yeah, that is definitely not a good thing, but Hey, look, it's a learning curve.

It's a challenge. We took it, we did it. Did you have your own setup or did you go to a studio? No, no, no.

I've got my own gear. Matter of fact, you know, since I'm in town, it doesn't have to be in town for this, for this little lecture thing, but you know, I'm, I'm offering, you know, drum tracks for people, you know, if they want drums, you know, I'm not just recording my own band stuff, which I am. I mean, honestly, I have six albums coming out this year and this is two of the six so far.

Wow. That are coming out. I got two that, which is the other one that was his miles per hour with Doug and Gary Myrick and, and, and I got the hurricane.

So yeah, so I'm set up. So what I did was during COVID, I used the government money to buy all my studio gear. That's what I use it for.

I invested my government money and I, because I wasn't spending it. So I spent it on me and I spent it on my studio so I could do the record. That's what really ignited it.

But I knew as a player too, I had a studio in LA too. I said, you know what, this is my chance to really create my own the way I really like it now. So I did in a warm audio helps me out and focus, right.

They're all behind me. So I have outboard too. I have like 1176 copies and all these really cool outboard gear, you know, preamps and compressors.

And so I've got a nice setup down there. Yeah. And I got a backline too.

So I've got amps and everything for the player. So, yeah, so I got that and then that's how we did it. So it took us two years.

We've got a European distribution and we've got an American distribution. Our European is Escape Limited, which is really cool. Kali, he's fantastic.

And he really, really just led this, this project when we finally contacted him and said, Hey, we got, we got material. And he's like, send it my way. He checked it out.

He loved it. He said, let's go for it. So we've got 300 vinyls coming out.

That's our limited edition pre-sale right now. And we dropped the single on July 21st, which is called Rockstar Cheater, which I let you guys hear that. Right.

And that's the song I wrote. I was the only song on the record I wrote and, and it's about my divorce. So, you know, so it's a true story.

So do you play, do you play other instruments? Drums and piano. So you wrote, I'm assuming you use the piano to write it. Some of it.

And most of it, actually, I actually talked to the guys. I just said, Hey, Robert, Sarzo, you know, this is why I'm hearing the guitar. Remember Heaven and Hell? I kind of want it to be like that kind of vibe, but come up with a melody, but something on that genre.

He got that. Then, you know, Daniel Schumann is our new singer. Fantastic guy from Australia.

Wow. Okay. Just amazing singer.

He's in a show that travels that's in Vegas as well, called the Tenors of Rock. So you guys, so you guys were actually sending tracks to Australia and everything. Well, he's in Vegas now, but yeah, but he told me he came from there for sure.

Yeah. Yeah. And so, and then, then, you know, I told him kind of how, because he had to massage my vocals, you know, after I wrote the lyrics, because he's the one singing it.

And, you know, unfortunately the poor man going through a time of himself, just like I did. So it was kind of interesting to have him on board to sing my song that I, you know, that I came up with the concept and, and here he's going through pain, like I already went through it. It's like, so what better guy to sing it, right? Compassionate.

Very compassionate and probably meant everything I wrote. Right. Yeah.

Yeah. Yeah. He can feel it.

Oh yeah. Oh yeah. And he, he massaged it.

He wrote some of his little things in it too, because we had to kind of make it kind of rhyme a little better and things. So he was really cool with it. And then Tony Cabazzo, you know, which is Carlos Cabazzo's brother, you know, from Quiet Riot.

That's an amazing connection. Yeah. And Rudy Sarza with Robert.

So I'm going to, I'm going to interrupt you for just a second here, because this is super, this is super important. Another thing that we always talk about on this podcast is there's a lot of young people nowadays that are just getting bored to death with the electronic dribble that is being played on radio stations. And the story that I tell everybody, you know, our listeners have heard this story a hundred times, but for your sake, I walked upstairs one, you know, one day and I'm hearing great rock and roll music coming out of my son's room.

And I thought that he was up there with his buddies playing guitar hero or something like that. Right. Well, they were up there playing a video game, some war game where they're killing people, but the music's actually coming out of some speaker that somebody brought over here and they're listening to like Bowie and Motha Hoopoe and Quiet Riot and stuff like that.

And so just the fact that we've got somebody here who's got this, who's got this band that has this connection to Quiet Riot, because Quiet Riot is still selling records. I mean, every single day- They're touring off crazy. Rudy's on the road all the time, man.

Yeah. And so, and so you are playing with the two brothers. The two brothers.

Yeah. They're the siblings of Carlos and Rudy Sarzo. That's amazing.

So I play with Carlos. I play with Tony Cavazzo. Yeah.

And then I play with Robert Sarzo. Right. Right.

Amazing. That's great. That's a great connection.

Yeah. It's a cool connection. I loved Quiet Riot in the eighties, man.

I absolutely freaking loved Quiet Riot. They really were. They were awesome.

Yeah. Yeah. Just badass.

Everybody knows them for like- Randy Rhoads. Oh yeah. I mean, everybody knows them for like two songs, man.

I know. But every song on their albums, I mean, were just fantastic. But they're a real rock band.

Like a real rock band. Yeah. Yeah.

And even then, I mean, you couldn't even call them heavy metal. They tried to, they tried to call them a hair band or something like that. No, they weren't a hair band.

They were too hardcore for that. They were a rock and roll band. And that's what Hurricane is.

Hurricane is not like Motley Crue. We don't wear makeup. We're not like Poison.

We're a rock band. We're actually a heavy blues rock band. Yeah.

Yeah. We're like an Aerosmith or something. I picked that up.

Yeah. Yeah. We're more like that.

We got swagger, you know? It's not like, you know, yeah, we're not Doobie Doobie music, you know? Yeah. Doobie bop bop stuff. No.

So this new record, we're having, we're having a good time with it. You know, we can't wait till it comes out, you know, on the 25th. But in the meantime, we have video drops coming out.

So we just did the first one, which is with Rockstar. And then we've got, I don't have the date yet for the next one, but one of the new songs on the album, we have another lyrics video coming out. And then we have one on the 18th drop that you guys will be totally tripping out on.

This one I did, I produced and co-produced the whole video on this one. Wow. And we did it remotely as well.

And we recovered David Bowie, Queen, if you know what I'm talking about, Under Pressure. Yeah. Right.

Right. Yep. We recovered it and wait till you see the video that's with it.

It's going to be one of most amazing moments you'll ever see. It's about, it's about the world and what we all are about here. And you're going to trip, you're going to trip.

Very cool. I can't wait for that one. That's actually, that sounds interesting.

Yeah. So, you know, if you're going to go to the, I mean, I guess I'll throw that right. So our website, if you guys want to go on it.

Yeah, please do. Is, is, um, hurricaneofficialrockband.com. Right. Yeah.

Hurricaneofficialrockband.com. And they can order the album there. Yeah. They, we've got everything on there too.

Or you can go, you know, to mine, which is, um, um, what's my name? Mike was mikehansondrummer.com. That's it. Oh, drummermikehanson.com. Oh my God. I got like 10 different ones.

Drummermikehanson.com. And then hurricaneofficialrockband.com. And I'm sure you're both on Facebook also. Yeah. Cymbal Crasher is my handle.

That's the handle on that. And Hurricane's on there too. And we got all that stuff going.

And then, um, the other song that I sent you guys, if you want to play it too, is, is, um, that's my project with Doug Pinnock. If you guys are Kings X fans, you know, Doug is, I've been playing with Doug since 1992. Doug used to live right across the street here in the corner on the second floor of this building right there.

Caddy corner here. Yeah. When he was in his twenties.

Doug is pushing 71 now. This building has an amazing history. It does.

And we're creating more history. Yeah. And I want it.

I'm glad to be a part of it. You know, I'm a member here. Oh yeah, man.

You know, and Ron's been great. And, you know, um, Patty Pendergrass, she brought me in here, you know, she's the one that kind of introduced me to everybody. Patty's been great.

She's with, you know, Kevin Lee and the Kings. So yeah. So yeah, they brought me in here in this place.

That's why I called Ron. I said, Hey man, I'd love to come down if you guys are cool with it. And you guys were cool with it to come down and just, you know, cause I, I, nobody really, I, you know, I just don't know nobody in this town, you know, you know, really, you know, so I thought I'd, this is a good way to kind of meet my people.

Yeah. You know, Well, we can certainly hook you up with a couple of people. Thank you.

Get you out to some jams for sure. Yeah. I want to do that for sure.

So is, uh, is there going to be a tour backing up this album or? You know, we're working on those right now, uh, with Hurricane, you know, there's a lot, a lot of talk going on with a lot of different angles, you know, um, with maybe like going back in time and possibly, you know, even doing a show with Striper because Hurricane is known. Yeah. Everybody that talks about their memory of, of Hurricane.

Yeah. I seen you on the Striper tour, the hell with the devil, you know, and they, they remember that time. So, you know, Michael Sweet and we've all talked before about, Hey, wouldn't it be cool if we just kind of re-created that for all these guys, you know, you know, cause they're kind of, dude, all these bands are kind of like fizzling out.

I hope this audience knows this, you know, and for the ones that get on there and try to just like, just put down a band for you to have a member change or something. And when all we're trying to do is give you music, you know, and you guys can't be so critical on us, you know, evolution, man, it's life. We, you know, you got family members that come and go, well, you know, band members come and go to just like death.

And I hate to say it that way, but it's the truth. Absolutely. So treat it like that.

Just remember the good things and like, accept those bands that are out there. And I'm talking for all you bands that have these member changes that have to go through this, you know, we get counseling bros, you know, over this stuff. Sometimes you get, you people hurt us, man, you know, you know, it's not cool, man.

It's not cool at all. So I'm just saying, give a band a chance, man, you know, and evolve with the band. Just it's a ride, man.

Yeah. So take the ride. That's all I'm going to say.

Yeah. The, the I didn't really get into an argument, but I was just sitting and listening to guys talk at a bar one time, you know, just recently, literally about a week ago about, yeah, I'm not going to go and see Leonard Skinner. There's not one original member of that band left.

Well, come on, man. You know, the band's trying to go on, you know, and the, and they're producing music for you. So, you know, Starship too, right.

Yeah. You can't put us on ice. You know what I mean? And say, okay, let's pick it up, you know, cause people are like, oh man, you know, without this guy, it's not the band anymore.

Of course it's not the same. So when you guys get divorced and get remarried out there, are you comparing your ex-wife to your new one? Because if you do, you're going to be divorced again. Right.

I'm going to tell you that right now. So I'm warning y'all, it works the same way, people. You know? Absolutely.

It does. Absolutely. It does.

Man. True story. So are you doing anything outside of Hurricane where people can actually come out and see and meet you? Well, the 26th thing I'm doing, but I do play with another artist here that lives here in town and you guys might know him, you might not, but his name is Davey Knowles.

Blues guy. He's from Isle of Man. So I played with him with the Rory Gallagher celebration.

So he's, we're all, I belong to the Rory Gallagher team. So I'm in the whole group with the Rory Gallagher camp. So I tour with the original members of Rory Gallagher and he's one of those as well, but he has his own project and he lives here off of like Lawrence somewhere.

And he's a fantastic artist. You got to check him out. His name is Davey Knowles, D-A-V-Y, like Beyonce Knowles, K-N-O-W-L-E-S.

Dude. One of the best, listen, Eric Clapton, Peter Frampton produced one of his last records. Right.

Jeff Beck, Joe Satriani, Warren Haynes. Okay. Yeah.

He's toured with like, open for like all these bands and like, he's real. Yeah. Right.

Right. So I play with him currently and I'm actually, we're working, he called me today. He goes, I got some new tracks for you to check out.

I want you to see, lay some drums down to him and see how we can come up with this cool thing. So we're going to do this new record. So it's cool.

I'm going to do a new record with him. I met him through Eddie Kramer. Well, at least you'll be able to do it together.

Yes. Yeah. We're going to probably go pre-production in my studio and then the label will tell us where to go after all the pre done.

Cause that's what we'll do. Yeah. So that's really all I got right now.

Otherwise, catch me at a jam, man. Yeah, absolutely. Yeah.

We'll hook up on Facebook and all the other social media stuff and I'll send you out some places. Yeah, for sure. For sure.

I'd like to meet some new faces, shake new hands and meet my community, you know? Yeah, absolutely. Yeah. Well, thanks a lot for coming out tonight, man.

Yeah. Great conversation. I enjoy talking to you a lot.

You guys too, man. Thank you for having me. It was a pleasure.

Thanks a lot. Thank you. Well, there you have it.

Mike Hanson, man. What an interesting dude. I was going to say the exact same thing.

Okay. Should we start this over? Do you want to start it? You know, I wish we could do a part two with him. I know.

I know. We barely scratched the surface. I wrote all these notes down to talk about and we just ran out of time.

I mean, the guy played with Richie Coats and Steve Vai, George Lynch, Paul Gilbert, the Pointer Sisters, Corey Glover, Albert Lee. I mean, he's just played with so many different people. No kidding.

The stories that he has have to be absolutely amazing. Yeah. I mean, I was getting worried that we weren't going to have time to talk about Hurricane.

Yeah, no kidding. And that's his current gig, you know? No kidding. Yeah, absolutely.

Absolutely. What a pleasure it was to have him here. We didn't even get into... I wanted to ask him if he ever taught anybody.

Oh, yeah. You know, and the gear that he uses in the whole bit, because it's very rare that we get to just talk and focus on a drummer. You're right.

You're right. Well, maybe someday we'll have him back again. Yeah.

We'll see. Absolutely. Not too often we do that.

Right. Right. Absolutely.

Absolutely. So there you have it. Hope you enjoyed that.

We sure did. And we look forward to... Well, we don't look forward. We do look forward to it.

Yeah, we do. And we hope that you check out next week's episode next Tuesday. Coming to you every week.

Yeah, absolutely. We've got... Who is that? We've got... Yeah, we've got a few great bands coming up. And just check it out every Tuesday.

Coming to you live from the Rock and Roll Museum on Route 66. This is Ray the Roadie signing off. This is Gary from Straw Dog.

You can catch us next week on Rock and Roll Chicago podcast. Right here in Chicago. Thank you.

The Rock and Roll Chicago podcast is edited by Paul Martin. Theme song courtesy of Eminar Rush. The Rock and Roll Chicago podcast does not own the rights to any of the music heard on the show.

The music is used to promote the guests that are featured.