Podcast Transcript

Speaker 1: Takin a Walk.

Matt Sorum: I thank Axl Rose. People go, what are you talking about? You mean Axl Rose? I said, well, I got on the train. I got on the Guns and Roses train, and that train stopped and I got off. But that still represents a very big portion of my life and has brought me to a lot of other places because of what I’ve done with that band.

Speaker 1: Welcome to the Takin a Walk Podcast with Buzz Knight, where Buzz talks to musicians about the inside story of their music. On this episode, one of the most accomplished drummers of our generation, Matt Sorum, is our guest, known for his work with the Cult, Guns n’ Roses, and Velvet Revolver, along with a ton of other session work and solo projects. Check out Buzz and Matt Sorum next on Takin a Walk.

Buzz Knight: Well, hey, Matt, it’s good to have you on a virtual edition of our Takin a Walk podcast. Thanks for being here.

Matt Sorum: Yeah cool, thanks for having me.

Buzz Knight: Hey take me back to growing up and first discovering your love of music.

Matt Sorum: Well, yeah, the Beatles. And I’ve said this before, but I was about five years old when I saw him on the Ed Sullivan Show, and I didn’t catch the first one, because I believe that was nineteen sixty three, I would have been too young. But they did The Ed Sullivan Show three times, and I caught the last one sixty five, and I just remember Sunday night, family would sit down in front of the RSAA television, big box television, and I watched the Ed Sullivan Show, and I don’t know, man, I just saw Ringo and that was it. I pointed at I said to my mom, Wow, you know, he was like an They were they were at cartoon characters, those guys, weren’t they They were like animated figures, the haircuts and everything that was it. As a kid, it just like just kind of lit me up. And then I remember asking for drums for Christmas the next year, and I had two older brothers, so that was cool, and they were already listening to My first forty five was a Hard Day’s Night And got that on my forty five with the big hole in the middle and had a cross Lee turntable. My brother had a cross le turntable, the box one that you would look like a little briefcase boll thing you could buy a Sears and Roebuck or something, and had a little speaker in it, and I just played that thing. And then my older brothers, my middle brother Mark, turned me on to like you know, was in the late sixties, you know, Hendricks and Came and all that stuff. So I was really into that. And my mother was a piano teacher and she had piano students at the house all the time, so there was always musical when she likes to listen to opera though, she listened to opera, and I was just like, oh my god. And we had another big console. You remember the big stereo consoles. They were like built in like a and it was killer. I mean, I wish I had it now. And I had a turntable in it, and you know, we started getting a hold of some records and popping them on there when mom was out at work, you know, and cranking it up, and there’s a lot of music in the house and which was great. And then I did get that drum that next Christmas Serious Tiger Tiger sat from series and Roebuck Tiger Love It. Yeah that’s what it was called. Could you know. It was a crappy little thing, and you know, the heads broke and my brothers messed it up, and then around I want to say junior high school, I got a Saint George Blue Sparkle and that’s the one I really sort of I started banging on him as a little kid. But I don’t know, like in around junior high school, I had my own band already and we were playing like so the junior high I was was probably just coming up on the seventies, so you know, all the cool stuff. I remember playing Our House by Crosby Stills and Nash ng and our House is a very very very funny yes, And I did that at a talent show and that was actually in the fifth grade. I loved it and I had yeah, a lot of fun yeah, and it kind of was it for me. I mean, I grew up in California, and I always used to say I wasn’t a very good surfer. I always fall off and stuff. And my buddies were good surfers, So it’s like, how am I going to get girls?

Speaker 1: You know?

Matt Sorum: So I got you know, I I played drums at my house and there was a window and all the kids in the neighborhood would come watch, and had had the bedroom window. And then I moved to the garage, of course, and I had my little band and all the kids would line up on the street come watch us. And my mom was at work, so we’d open the garage door and rock.

Buzz Knight: I have to mention to you, we had a previous guest, you being one of the great drummers of our generation. He being one of the great drummers of our generation, Kenny Aronoff, and that moment that you described from the Ed Sullivan Show was the pivotal one for him too. I think for so many of us it was just pivotal, you know.

Matt Sorum: Well, you know, and in the last fifteen years I had the opportunity to meet Ringo and of course my opening remark was, you know, I’m a drummer because of you, and he said, I hear that all the time. I bet you. I mean, you know, if you think about it, the amount of musicians that were inspired by that band and to see the simplicity of what they were doing, but done in such a musical way. People will say Ringo isn’t the greatest drummer, and I completely disagree because I’ve kind of built my career on being more of a foundational style of a drummer. I’m not about myself. It’s not a fancy pants thing. It’s not about flash. And even though I’m an entertainer and I get up and I do, my entertainment value like that came from Keith Moon, you know, to see a drummer and to be the drummer, to be a star of the band that Keith Moon was, or even John Bonham. The visual representation was very important to me. So I took that from those guys, or even Ginger Baker, where your eye was drawn to them even if you weren’t a drummer. And I don’t see that happening much anymore. I don’t see star drummers like I used to, you know. I mean, I’m looking. There’s a couple of young bands. I like that, you know. I remember when The Killers came out, but now they’ve been around twenty years. And I saw Ronnie Banucci and I’m look at that guy. I mean, he draws your eye. He’s got this. So I spent time developing my entertainment value along with the basics of being a drummer, without having to be like, oh look, I’m going to do a much of fancy drum fills. It wasn’t about that. It was about energy. It was more about energy and what can you bring to the band, you know, how can I elevate the band? And that’s always kind of why I guess I’ve had so many gigs because I drive. I like to drive it in an energetic way, if that makes sense. And when you watch Keith, Keith was the guy that was just making it chaotic and rock and roll. It just sounded rock and roll and with the mass, with the massive drum kit he sent. And there’s a there’s a making of the album Won’t Get Fooled Again. And the producer, and I believe it was, was Glenn Johns or whatever makes says here comes the Herd of Buffalo and Keith and it was just like I was like, that’s it right. And John Bonhams same thing. He You listen to these bands trying to copy led Zeppelin and they got it all wrong. You know, It’s like everybody gave each other space. It was like that was the that was the magic of that band. So as a young guy, I like to study that stuff and try to make it my own and somehow worked out for me.

Buzz Knight: I would say, So, you know what’s amazing about you is your respect for the diversity of your craft, and in particular, I know because your upbringing that you were also a fan of the great Buddy Rich.

Matt Sorum: Yeah, well, of course we all were probably one of the greatest drummers to ever live. Could you replicate him, No, nobody could. You couldn’t replicate a lot of drummers. And that wasn’t the point. It was like everyone had the human element of a drummer. I think it goes that way for all instruments in that genre of guitars and bass, and everyone’s got their own thing, and I never could say that one guy’s better than the other. But Buddy, all drummers looked to Buddy. It’s like, oh my god, he’s the holy Grail.

Buzz Knight: You know, insane, Yeah, brilliantly insane, right, yeah.

Matt Sorum: Just insane. I mean insanity behind the man, you know, I mean the a personality, you know, the old clam tapes and all that stuff, and how he was a perfectionist and inside the internal clock of Buddy Rich had to elevate to be in his realm. You know. He had these young musicians out of North Texas state and all these different places that would come and he was the boot camp. It was like you go to Buddy Rich. School, you’re going to get schooled, be like joining Prince’s band or something. No slackers, right, a little bit like go most the Whiplash movie. Right, Oh my god. And I think that way now. I think I’m so lucky, unfortunate. I grew up in an environment of live playing, and you had to show your shit or you were out come in prepared. You don’t. You don’t go to rehearsal to rehearse. People, I say, you show up at my rehearsal, you better average. I do a band called Kings of Chaos and Kenny plays for me. Sometimes it’s my van and if I can’t do it, I’ll call Kenny. My wife was having a baby and Kenny sat in for me. Kenny, Well, Kenny walks in. He knows every song from the beginning of the end before he gets walks through the door. And that’s why I call Kenny. And I’m the same way. And I’ll say this to any young musician. You don’t go to rehearsal or rehearse. You go in there to play the music. So when I when I talk to young musicians, you know not that the work euthic has changed, but a lot of them will walk in the studio and fix it in the computer. I said, no, play it live, play it live, get a great take, and then go from there. I was very happy. I just did an alum in La with this Japanese artist and I can’t say yet because they don’t want me to say. But these dudes are so organized it’s insane. The music was difficult, and I went in there and I was super prepared. I think I did one of my best records yet. Drummy wise, I felt it’s like a fine line. The technical ability but also be able to let go and not think is very important when it comes to especially rock and roll. I’d say, slash we want to do another take. We’d be like all those usual illusion albums that are like make take one and take two. We’d rehearse. But after take two, you’re thinking too much, Sashua. You just want to take suck the rock and roll right out of it, don’t you, Because that wild abandoned of going in there, and we didn’t use click tracks when we were cutting the tape. But there’s there’s something that happens, and then when you step over the threshold of trying to make it too perfect, or whatever. I’ll say that for my situations that I’ve been in, but I will go over that many takes with other situations. But this album I just did really pushed me. And I like that because you know, I’ve been doing it a long time, but I still want to challenge, you know. And that’s why I took that Buddy Rich album. I got that call. I know you researched that I did that. I was like, oh my god, I’m going to play with the Buddy Rich big band. That’s super cool. They looked at me like I was some human oddity when I walked in like a rock guy. You know, if you watch Neil Pert, he talks about me coming in the room. Kathy Rich called me up and I said to her, why me. You’ve got Steve Gadd You know, you got Max Roode, she got all these guys. I mean, are you kidding me? Why me? She said, because we wanted to use a couple of rock guys. My dad, She said, Buddy liked funk rock. You listen to other stuff.

Speaker 1: You know.

Matt Sorum: He wasn’t a jazz knobs he was he was looking for the next thing. It was like Miles Davis, Miles Davis when he did uh, his last the last record, that really crazy one Bitches Brew, Bitches Brew. He was like, I think Clive Davis is about that. Miles walked in, He’s like, there’s all this rock rock and roll thing. I was like, well, put that into your horn, go heavy metal with that, and that’s what he did on Bitches Burke. So he was inspired by other genres, Mitt Miles and so his Buddy. So I picked a track called Bula Witch, which was something Buddy did in the early sixties, and it was kind of a funk. I don’t want to say it was like Maynard ferguson Chameleon, but it was in that realm. Chameleon remember that. So I’m like, I can bite that off. Bula Witch. It was like, in my lane, that’s fascinating. Well, I wasn’t going to like pick some sort of full swing number with like brushes and you know, I that’s an art format all in it. I would say, it’s like being a painter. It’s like a guy that plays brushes and jazz and the solties of that. That’s that’s completely out of my realm. Like I could go there and try, but those guys Max Roach, Tony Williams more of a rocker a little bit, but he had a jazz thing. But I bit that off because it’s something I knew I could, I could go, I could make it my own. If that makes sense it does.

Buzz Knight: How much did it influence you and enhance your performance? When you were playing in that top forty band?

Speaker 4: Well, Top forty was my sort of school of learning from. You know, it’d be like studying, you know, if you’re going to be an actor, study the great actors.

Matt Sorum: I chose that job based on the fact that I was working in a club five days a week versus working in a job and then go in and play a gig. It was like, I’d rather get my chops up. And to this day, when I’m play in Kings of Chaos and I have Robin Xander Kom or Stephen Tyler or Billie Idol or anybody, I listened to the subtleties what’s going on inside the music, Like, oh, listen, how tight the high had is, or it’s this snare drum’s got this like subtle detail. And if you listen to the seventies music, you’re like, wow, he’s using concert toms and the snare drums. Thumpy, and that’s where I think. I think about that, and I’m thinking about crazy drum fills. I’m thinking about the subtleties of the colors of the music. How can I make it sound. I just play with Jason Chuff from Chicago and we went back and I was listening. I was like twenty five or sixty four, and how badass Danny Sarafan was. Do you down, down and tight? No click tracks. The band’s like moving, It’s like wow, it’s alive. So when I go back and do King’s cast, it’s much like when I was in a top forty band. It’s like learning, constantly learning. It’s like playing with Billy Gibbons. I’m in his band. I never played a Texas shuffle ever. I played rock shuffles. Billy for me was re educating myself and still to this day, that’s a genre of the Texas Blues, the subtlety of the blues, being a team player, playing the right volume. All of that played for the band, play for the music, play for Billy. Like I’ve been a little bit of a guy that has to morph in my career, so I really enjoy being educated. Still to this.

Speaker 1: Day, we’ll be right back with more of the Taking a Walk Podcast. Welcome back to the Taking a Walk Podcast.

Buzz Knight: Ever see Richie Heywood from Little Feet play?

Matt Sorum: Oh my god, Yeah, of course, I mean one of the greats. You know, Butch Trucks. I had to run in with Butcher Trucks and Alman Brothers. I had a charity I do have a charity, called about the arts, and he came out and I honored him and he got back there and I was just smacking him too, and it was like, Wow, some of these guys, some of these unsung heroes, you know, guys like Butcher Trucks, Ritchie and Richie is very well respected. But Butch, I don’t know, maybe Alma Brothers fans, but they’re those band guys. You go, wow, listen to what he’s doing on you know that six eight groove and that famous Almen Brothers most famous one whipping poster.

Speaker 1: Oh my god.

Matt Sorum: Yeah. And I hired this band, this killer Olman Brothers cover band, and Butch got up and just I get it because I’m one of those guys. I’m a band guy. People talk about certain drummers and when it comes to rock, I guess some people mention my name, but I you know, I’m not. That’s not what I’m here for. I’ve been here luckily, I’m involved in being on great records with big songs, and you know that’s cool.

Buzz Knight: I’d say, there’s some big songs. What are your ones that rise to the top that you’ve been part of? There’s so many, but I’m curious when you think about it and your pride and involvement in the bands, what are some of your favorites that stand the test of time?

Matt Sorum: Well, I mean the gun stuff. I mean you could be mine. I did this opening fill that became kind of the intro. I always say to young musicians, like, what’s your intro? Because you got to catch people fast. You got five seconds to get their attention. If that’s now, it’s Spotify next, so you got like three seconds to catch your attention. What are you gonna do? Me and Slash used to trade off. He’d do a riff and then I do a fill like opening with something I get it, but WHOA, Okay, you got it? You take that one, and then sometimes you gonna you know, you hear the beginning to Welcome to the Jungle and you’re like or you’re like, see what child of mind? You’re like, okay, you got that one. It seems like a lot of pop music, the vocals just comes in right away, you know. It’s like they don’t have intros anymore. It is the vocal ten seconds and the vocal starts for the rock and roll thing you could be mine and then the velvet revolver stuff is really probably a real pinnacle for me because it was I guess a bit of a comeback for us. It’s a band and we we were driven again like young guys. So when Slyther came out and I have that weird intro, it’s just a tom and we’re building tension. Slashes got one and it comes in and it’s like, okay, what is this?

Speaker 1: You know?

Matt Sorum: I mean, we weren’t having discussions of like, hey, let’s do this thing where we’re gonna build tension, but we just naturally did that and that was sort of the thing that worked between me, Slash and Doves as the three of us as a section. I don’t know, just I always say to people, if you meet a couple other musicians that you jibe with and you create magical moments like that, just try to stick to each other. You know it’s it’s classic and rock and roll. Jimmy Page and JOm Bonham and Joe Perry and Chiy Kramer ship that these great rock to Mick and Charlie. Look at the look at the Stones when they did Sympathy for the Devil. They spent nine days coming up with a groove. You see the you see the movie. Yeah, yeah, Charlie was and then Mick comes walking in with the para moracas and he’s like, all of a sudden, the bone it starts swinging. That was those guys together making each other strive to come be better. Not one guy walking room and go, Okay, this is where it’s gonna be because there are those guys. Yeah, what do.

Buzz Knight: You think The art of collaboration in music teaches those that are in other businesses.

Matt Sorum: Have an open mind, be willing. You have to be able to be willing and to go through the process without having to make a comment about what you think it should be. And I learned that, and I learned that from being in bands that oh man, hey that sucks. No, don’t do that because you don’t know if it sucks yet. You have to work through it and if it’s any proof. Just go watch him Bethy for the Devil, and those guys did not want to give up because they knew they had something. But each one of them took the time and had the patience to go through the process. And that happened with Slyther, which became a Grammy Award winning song for us. There was quite a process behind that song. We recorded it three times, and only because I kept I kept saying to the band, I said, I don’t think it’s right yet, and they thought I was crazy. I said, oh man, I didn’t feel right yet, to point where they were like, man, come on man, I’m like, oh man, it’s not speaking to me yet. It’s like I had moments with music like that where I actually physically pained over the song, where I actually felt that the song was crying out for something else speaking to me, and I was I couldn’t sleep one night about that song. And I walked back in the room and I said, we need to slow it down a little bit. We need to slow it down and recut it. And we did and we brought it back and it just two BP I’m slower, and it was like right there, and I’m like yesh, and I remember when we mixed it same thing. I couldn’t sleep and I went in. I was with Andy Wallace, the great mixer you did Jeff Buckley’s Grace album. Did never Mind? I called Andy. It was like eight in the morning. I said, I’m coming in early today. Don’t take the mix down? And I went in there.

Speaker 1: I went right there.

Matt Sorum: Can you turn that down? And turn that up right there? Like details? And the band came back and I hadn’t slapped in. My eyes were like this, I’ve been bringing a college slash walk dad, and let me hear it. And that’s what you hear on the album. That’s amazing. But yeah, I mean god, I just love making music like that. Where you’re it’s like you could ask Lindsay Buckingham about this shit. It’s like having a baby. Where’re you gonna let it go? Sometimes letting it go as the hardest thing. It’s like, I don’t want to let it go yet, is it right?

Buzz Knight: Can you talk about that experience when you were with the Cult and you were in Minnesota and your father and your relatives came to see you play that gig with the with the Metallica.

Matt Sorum: Yeah, what was that like? Well, my parents got divorced when I was pretty young, and maybe that was the reason I gravitated towards the drums and always say this, I was looking for that outlet. I was about six when my dad left, and right about that I became a drummer. So in an Tony Robbins way, worked out right. I look at it now in reflection, for at the time I might have been sad, but it brought me somewhere and which has made my life in my career. But so, my dad didn’t really see me play much. He came once to see me at the Black Egg and said it’s out forty ban And I remember calling him and he lived in Minnesota, and I was kind of I think I gott in a call about twenty eight years old, you know, which is old for in those days. It got my first big break at twenty eight. I call my dad and I said, Dad, I’m here in town, and you know, I’m coming to Minnesota. I think it was about a week before, and I said, I’m going to be playing a place called the Met Center. My Dad’s like Theall Met Center. It’s like twenty five thousand seats. I’m like, yeah, he goes, what do you mean the met Center, like ball Met Center, like it just didn’t register. I said, yeah, Adam at the Met Center with this band called the Cult. He goes, you’ve joined a cult. I said, no, it’s.

Speaker 1: So.

Matt Sorum: He came down with my aunt Karen, all the cousins, and my great aunt Lucille. They all walked in backstage. My dad’s looking around. He’s like, all these people are here to see you. He said, well, me and my band, and there’s another band called Metallica plan He said, wow, it’s incredible. And then we played. Of course I’m on the big stage. I think everyone’s minds were blown. Didn’t put two and two together, And I think to this day my mother does not understand what I do. She comes to see me play. She gets that part, and I think a lot of people get that part, but they don’t get the part about all the rest of it, which is the business part of music. They get that, Yo, you’re up there and it’s like whoo, it’s like extracurricular activity. I’m playing. Did you ever have a plan? B? Though no, I didn’t. My mother used to say that all the time. She used to say, do you have anything to fall back on? So you need to have something to fall back on. I’ll put you through cooking school because I could cook a good omelet. You know, I could whip an omelet up. But I just, I don’t know. It was like uber focused, and I still think that way today, uber focused. Like if if I’m going after and I’m going after it, it’s not like, oh, hey, I’m going to do this, and I’m going to do this and this and this and this and this. I just didn’t have any other tunnel vision than that. And I knew it was something I was good at and I could tell when I played it felt good and it still does. She was worried about me, I guess, you know. And then of course, you know you read my book. I’m not sure if you read it, but you know I got into the other stuff and that’s a whole other spiritual journey.

Buzz Knight: But I want to ask you though about that music being such an important part for you and for society and what you’ve been through. And we have this other podcast we produce that is called Music Saved Me. Do you think music has therapeutic powers?

Matt Sorum: Yeah?

Speaker 5: I mean, as people know that I have been through the pitfalls of sort of rock and roll maybe it’s a bit of a cliche, you know, the alcohol and drugs that happened during that time, especially with Guns and Roses.

Matt Sorum: I had to go through this journey to really kind of understand how much of a gift it really was. And at the time when I got successful, to the point where I wasn’t even sure who I was anymore because it’s so crazy, things got scary and I just didn’t know how to handle. I guess I hadn’t done the work from my childhood and everything else that went into being to finding the drums and finding music. So when I finally got clean and silver and had my life, got my life back, the reflection of what I’d gone through, and I say it was something I needed to go through to really have to find where I’m at now. And then looking at the drums and the music and the gift that has given me, and I even say, I think Axel Rose, people go, what are you talking about? You mean, Axel Rose? I said, well, I got on the train. I got on the Guns and Roses train, and that train stopped and I got off. But that still represents a very big portion of my life and has brought me to a lot of other places because of what I’ve done with that band, especially obviously Nicole BELLI revolve with. Those are other bands I’ve been involved in, but that particular band albeit a hotel and the guy said I’m going to upgrade you, and why he goes, because you were I loved that band, and I’m going to put you in a bigger room. It’s like some guys like, come on my yacht. I love your band. Which band Guns and Roses. It was a blessing. It was at the time, I thought it was a little bit of a curse. I don’t look at it that way anymore, you know, and you know, people ask me and you think you should still be there. I’m like, no, I did that. I’m doing other stuff and that’s what I’m supposed to be doing. I look at it like I’m going down the road and whatever. When I’m going down, it’s being guided by my higher power and the universe. I don’t push square pegs through round holes like I’m in this studio the other day with this Japanese artist who I can’t wait for you to hear this record. I’m like, wow, I never would have been here. There’s other things that now I’m doing that I never would have done if I was still doing that, like opening up new avenues for me, playing with Billy Gibbons. I look at it, he’s my friend. What it’s like we talk on the phone like girls, It’s like it We’ll talk for two hours. I’m like, this is really incredible life I’ve got. Not only is he a bad ass, but he’s one of the coolest humans I’m playing it ever I had a chance to talk to him. I’m really grateful. I’m super positive about where I’m headed. I’m glad to be back on the I took some time off of the kit because I had a daughter. She’s coming up on three. I didn’t go tour. I’m starting to take some tours again, getting back into making more records. So in closing, what do you still want to learn that you haven’t learned? And I mean, like I said, there’s always there’s always stuff to learn. And I’m learning to be a good father right now, like to be patient. Patience is something everybody needs to work on. But I’m doing a lot better with a lot of situations, and I’m you know, and I’m proud of that more than anything that as a person I’m you know, obviously I’m getting older and I’m maturing and all that stuff, but I’m still learning about music is always a learning process. I love investigating. Like I’m working on a record on my own right now, I’m working on a kids record, and I’m going back and I’m listening to old records and I’m listening to those things we talked about earlier, learning learning, learning, What is that? What is that?

Speaker 1: What is that?

Matt Sorum: A guy put Mike’s on my drums the other day in the studio. He was an engineer. He spoke no English Japanese. Incredible engineer and I had to ask the interpreter, what’s he doing right there? That sounds incredible learning. You know, I always want to know when I’m in the recording studio what’s happening with the gear because I want my own studio. Somebody’s always got a trick that’s better than the trick you have, you know, well stated, very well stated, Like Kenny Aronoff does stuff that I can’t do on ID, stuff he can’t do, and he’s like, Matt, what was that? What was that?

Speaker 1: Oh man?

Matt Sorum: Right, Matt, this has been great.

Buzz Knight: You are one of the great drummers of certainly my generation and the music that you’ve been part of that you continue to give us really matters and makes a difference and connects with us. And I really thank you for your generosity here on the podcast.

Matt Sorum: Yeah, well, thanks so much. And I think my post is can I wanted to mention my recording studio, Good Noise. You can go to Good Noise dot io slash studio and check it out. Just check out what I’m doing in the desert. I’m in Palm Springs and I got all my equipment. I’m a history of my career in there. It’s like a museum slash recording studio.

Speaker 1: I’m alone.

Matt Sorum: I mean, I’m curating the people coming in the building and I’m kind of it to get back, but it’s also a place to come and create and use equipment that’s got a lot of mojo, got a lot of mojo, it’s a lot of history. So check it out Goodnoise dot Io Slash Studio will go straight to the studio page. That’s awesome. Yeah, thanks man, cool, I appreciate it. Thank you, brother.

Speaker 1: Thanks for listening to this episode of the Takin a Walk Podcast. Share this and other episodes with your friends and follow US so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts, and wherever you get your podcasts.

About The Author

Buzz Knight

Buzz Knight is an established media executive with a long history of content creation and multi-platform distribution.

After a successful career as a Radio Executive, he formed Buzz Knight Media which focuses on strategic guidance and the development of new original content.