stan lynch interview

It's great when you actually find somebody that doesn't hear music the way you do and you start to love them for it. Didn't even look back on that career & focused on the road ahead. Other guys, it looks like they went to business school to be rock stars. I don't know, I can only speak from my own experience. Tom Petersson from Cheap Trick - didn't hurt him! I imagine it's him saying, "You know, I'm only gonna put the best shit on my song...I don't want one of these to die; they're hard to come by.". Like I know Fiona Apple makes great records, but I can't listen to it because there's so much angst! Just download the PDF's and read away. Christ, you're kidding! If I had a record label, I'd sign him. The other guys might have had a little more expectation, so there was more disappointment for them. When I hear that old shit on the radio I can't believe that it's part of the musical vernacular, that it's been accepted for so long as real. There was a time when they were so glib and articulate, it really was like being around the Marx Brothers or something. I couldn't believe that I was the odd man out. So, in some ways it's harder for the same reasons it's easier, if that makes any sense. Thanks for posting these, Dan. I'm very comfortable with it. Seems to me ur opinion is about a million miles off. So it helps you to get your own inspiration back to be able to really learn to listen to somebody else.Yeah, because usually musicians don't listen, they just critique. God bless 'em! Those TP songs hit me hard as a young kid in the late '70's, and next to Stewart Copeland, Stan Lynch was the guy to follow. That is the fuckin' ride. It's like, Mick needs Keith. All I know is that I have very selective memory about the whole experience, very positive. So of course he's gonna stick his head up from behind the car with a court jester's hat on and missing teeth. Sorry, gotta stick up for my drum brothers and sisters! I'm not on Mount Rushmore and I don't think I should be! My cat could have a record deal! [laughs] You know, but back in the day - here we go, Grandpa Shitpants speaks - in 1970, to have a record deal meant something, that was a discriminator: "Well I have a band..." "No wait, I have a band and we're signed!" It still blows my mind that that shit that I remember cutting like it was last week is still somehow...viewed as...REAL! This is a great joke I heard somebody say to me: it was somebody who's very successful who was producing records for somebody who was lesser known...a record that was probably never gonna sell, but it was a cool record. You know? Stan Lynch: Gainesville Sun - July 20, 1984: Stan Lynch: Winnipeg Free Press - November 16, 1984: Tom Petty: Rolling Stone #436 - December 6, 1984: Tom Petty: The New York Times - March 25, 1985: Tom Petty: The Los Angeles Times - March 31, 1985: Tom Petty: Auburn Citizen - April 19, 1985: Tom Petty: Schenectady Gazette - June 15, 1985: Stan Lynch [laughter]. A lot of people in this business seem to forget why they wanted to be there in the first place, their values really change a lot. I tried being late to rehearsals like everybody else...I tried to act disinterested...but it all backfired on me! So it's like, my life feels more cartoonish to me than dour and dark. Now which one is it? I'm not saying...I'm certainly not bulletproof. All you need is a CD burner and $300 and you too can have your record on the Internet. Drummer, producer and songwriter Stan Lynch's career reads like a rock'n'roll fairy tale: from 1975 to 1994, as a founding member of Tom Petty and the Heartbreakers, Lynch toured around the world, enjoyed a string of hit records, and gained high acclaim as a drummer's drummer among his peers. I thought we were going out there to draw blood! What do you do if you've had a long run of success and then your music goes out of style with the public taste, your sales are flagging, and there is a lot of pressure from people to change.

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