Music's Elite Seat // Episode 9 // Eric "PikFunk" Smith

Speaker: Dan Lewis 00:00
My incredible guest on this week's installment is Eric Pik Funk Smith. Eric has been touring and working since his teenage years and is currently working with the phenomenon Janet Jackson.
As well as this, Eric has played with Justin Timberlake, P. Diddy, Snoop Dogg, Rihanna, and many, many more major artists. In this conversation, we talk everything tour, home life balance, advice, pocket, and a lot more. Thank you so much, Eric, if you're listening to this for literally being one of the nicest, coolest, most humble people I've ever met in or out of the series. And for your insane words of wisdom and analogies left, right and center. Thank you all for listening and keep sharing the series. It's been going so well. And I just personally to thank you all for tuning in.
 
Speaker: Eric Smith 00:48
How's it going, sir?
 
Speaker: Dan Lewis 00:49
Yeah, man.
 
Speaker: Eric Smith 00:50
 I'm great man.
 
Speaker: Dan Lewis 00:51
Thank you so much, firstly, for agreeing to do this podcast.
 
Speaker: Eric Smith 00:56
Thank you for having me. Yeah, just to give you a bit of background. A few years ago, I was kind of flicking through some magazines and stuff. I'm preliminarily a drummer. So, I play for Carnival Cruise Lines. And so, we came off the ship this time last year, but a few years ago, I was reading magazines with, elite music professionals yourself, and most of what they were talking about was just gear, or what strings you were using on the last tour, and so I kind of, wanted to know more about, how you got there, and, and kind of what your advice would be to people who want to get into the industry and do similar things. So that's where the podcast started. And I've been lucky enough I've had people who have been very kind with their time. So, thank you so much for your time.
 
Speaker: Eric Smith 01:43
Man, I'm honored. Honestly.
 
Speaker: Dan Lewis 01:45
How have you been?
 
Speaker: Eric Smith 01:47
I've been great, man. Just staying healthy.
I'm doing music when I can. Spend time with the family and my dog.
 
Speaker: Dan Lewis 01:58
Yeah.
 
Speaker: Eric Smith 02:00
Yep. And doing some virtual things for my brother, he's a guitarist as well. So, we've been doing some virtual stuff. And then other than that, playing church and just being normal. So, the break has been good.
 
Speaker: Dan Lewis 02:09
Yeah, I'm sure. Because you probably you're so busy on tour, sometimes I can imagine your way for quite a long time.
 
Speaker: Eric Smith 02:18
Yeah. I notice. I mean, it's been it's been an amazing ride. But a lot of times, it's overwhelming. I mean, because it's not you can be on tour. I’m gonna take a two-week vacation doesn't work that, so yeah.
 
 
 
Speaker: Dan Lewis 02:30
Yeah, they don't. It's, it's the same with the ships, they don't really, I think you only go home on compassionate grounds. So, if someone passes away or something, so it's a very structured, you start here and you end here, yeah. So why don't we dive straight in and tell me, kind of, you've got such an incredible, varied vast career, I'd love to know, how you first started and how you got to the kind of level that you're at right now?
 
Speaker: Eric Smith 03:03
Actually, so when I adjourned long time ago. So, I grew up playing in church, I grew up as a drummer, actually, that was my first instrument, and then, switched over to bass as a teenager, and started learning some stuff pretty fast, just learning church stuff. So, honestly, I didn't expect this, this wasn't in my carrier field, okay, how to play bass, I can just travel the world because I come from a musical family. So, everybody in my family, is musically inclined, for the most part, my mom sang and played keys.
I mean, play keys, my dad played bass, drums and guitar, and he sang and my cousins, they sang, my aunts, they have a gospel group. So, I mean, it actually chose me. So, the more I played, some people got in my head is, Yo, man, Shelene is having an audition, man, you should really go check it out. And I was, Shelene, this is visually when she's doing glamorous life. Love was our where she's, I mean, not saying that she's not relevant. I'm not saying that at all. But, careers, they go here, then it’s, but I mean, she has fans for life. So, she'll be able to play into she doesn't want to play anymore. So, I just mean, when she's on the radio all the time. So, people come audition. I don't know about that. So, some people say, Yo, man, you can definitely get that gig. So, I go to the audition. And when I tell you the audition was nuts, I'm talking about it was cattle call of musicians that I've seen on TV Arsenio Hall, late night and Jay Leno. I’m, I'm never going to get over that guy. So, but I learned something that day. That pretty much has carried me through my career. So, what happened was, some people brought some stuff to my attention because I mean, I'm kind of intimidated. Just because of the, the arsenal that people are coming in there with and so after I heard about five bass players, I’m, Yeah, I shouldn't even know why because people are going net status. So, somebody made good comments. Okay, so what do you hearing? I’m, I'm hearing dudes and they're killing. And, okay, do you hear anybody playing pocket? I was, nah, do that, that's gonna pick you apart. So, I’m, okay, so literally, I went in, went in with that mindset. And, it got to a point where she would let any other bass players come in the room. So that so that was the start, I mean, and so ended up getting a gig. And from there, it's pretty much, the whole networking thing, you might be on a gig and, maybe an opening band or somebody, maybe you're opening for someone, and they're like, Yo, man, it’s, and where are you from? I'm from Oakland, man. So, hey, let's exchange numbers. Man, I would love to get you on here with me. So, it's really been that kind of stuff. Yo, man, what are you doing from this from this day to this day? I'm pretty open. And I want to do this gig. Cool. So, in all actuality, I would say, my whole career which has spanned, she was 92. So, it's going on 30 years. So, I've probably done three, four auditions at the most, everything else has been yo, we saw what you did on this show, we'd love to have you type of thing. And, I mean, so. I mean, there's,
 
Speaker: Dan Lewis 06:37
There's no, commendation for you than that. Right?
 
Speaker: Eric Smith 06:42
Yeah. I mean, that takes a lot of the pressure off, and it's okay, here's the music learn it, as opposed to okay, you're going up against that guy, that guy, that guy, that guy because now a lot of times, you go in and you kind of take yourself out of your own element, because you don't know what the artist is looking for. So, you might feel, okay, they're looking for a certain look or looking for a buyer or. So, you might go in there, and just trying to vibe out super hard, and maybe by you trying to vibe so hard, the musicianship suffers the more you move, you're not going to be as clean as if you're just focusing on playing, what I mean? Yeah. So yeah, so, that's, I mean, that's pretty much been my whole journey, just, call up after call up after call up, thank God.
 
Speaker: Dan Lewis 07:32
Well, what I absolutely love about that story is that I have a similar experience. Actually, we were with Carnival Cruise Lines, this contract just gone. And we actually were very lucky to have Victor Wooten come in and do a do a workshop with us. And I've had this experience before as well, where kind of people went up. And because we play prelim, we mostly we play electronic kits with, with the ship so that they can kind of control noise. And I keep everything kind of contained to each room, which is great. And we use the best they've got. And so, this particular workshop was with an acoustic kit. And so not many people were used to playing acoustic again, in a big, warehouse room. And so, every drummer that went up was kind of just tapping, tapping, tapping. And I had a similar thought to you, he wasn't really saying anything to these drummers. And so, I had a similar thought, you did where you were, well, I'm just gonna go and kind of play how I play. I'm not going to kind of follow what they've done, just because they've gone without comment. And I did and, he responded really well to that, , and I had a similar experience when I was auditioning, where a lot of the drummers, you saw one drummer go up, and he was , chop Central. And then the next drummer thought that that was what the audition is wanted. So, he just did that, even though that might not have been him. And so that's why that story is so great, because you just went in and did you.
 
Speaker: Eric Smith 08:59
Right. Yeah. And, and what that has done for me, this is something that I don't know what your listeners are, but this is something that I always try to convey to the up and coming.
I think social media has been the biggest blessing and the biggest curse. And what I mean by that is, so the people that get the s, are the people that are just going nuts on an instrument, their instrument is, whether you're a singer, your voice is your instrument. So, but what happens is, when real musical directors see this kind of stuff, they'll probably skip over you because they don't know if you can play a song or not. They know that you have the ability. And the reason I can say that, I mean because I put all female band together for Will I Am. So, he kind of told me what he was looking for I’m, Alright, cool. So, there's one drummer sits down, I'm talking about she was, I mean, she has so much power, not to play the sexist card or. But, if you turn your back you would have thought it was a man on drums, I mean, she just sat down and was, go start going crazy. I was, okay, because since I'm a bass player, bass and drums are the foundation for my song, okay? If I get a solid bass player and a solid drummer, I can build around it, so, and she just had some facility, man, but when I press Pro Tools, and she had to play with the track, it was so bad.  what I mean? And so, and I got so disappointed, and she was one of the people that after the audition, she kept calling me, did I get the gig? Did I get the gig? Did I get the gig, and so, I had to break it down to her? So, what I'm going to do for you something that probably no one else has done. I’m you’re playing reminds me of, if I went to the most amazing seafood restaurant, but I only ordered dessert. And I have a sweet tooth. So, I love sweets. But there's no substance to that, I mean, so I’m, the facility, you have that, your chops and everything are great. But you have to go back to the basics. You have to you have to learn how to play with a click, because every time we try to do a field, you left it so far, and I know you thought it because your eyes turned over every time you did. So, that's kind of stuff that she had to work on. And so, for me, the very first tour, I should say the first tour that I did, the first arena tour that I did was with Tevin Campbell in 1994. We opened up for babyface and boy’s demand.
And the reason people call me pick funk was because I played with a pick and check the Booker was the music director. So, he's a bass player too. So, he just let me do I wanted to do. He’s like, yo, Sparky, does what he does. So, the guy from babyface band, it's our job. So, Reggie Hamilton. Remember that name. He’s, Matt, they count to this day, because he spoke something to me that I didn't, I had no idea. He’s, Yo, man, there's a difference between church, club, theater, ballroom. Arena, Stadium, you have to approach them all differently. And so, you're out here, doing a lot of stuff that's not translating. You have to sustain those notes, man, you got to play whole notes, if you want to sustain your career standard notes. And literally, when I started going to the ground and watching their show, it made all the sense in the world, the whole heavens opened up. I’m, wow, that's how you're supposed to play because I'm thinking that it's crazy, plus, you're playing so loud on stage, that they're turning you down on a house. But me being young and ignorant. I’m, how does this little bass out compete with this big pa in his arena. But it does because, a guitar, in turn are loud as a frequency kind of goes that. Bass is kind of a big way. That’s if you hit a bass note, you'll hear seconds later. Man, I mean, so yeah, if you do a bunch of this is not gonna translate. So yeah. So, I had to learn.
 
Speaker: Dan Lewis 13:05
So, was there any training? Did you have teachers? Or was it purely through your family dynamic and church?
 
Speaker: Eric Smith 13:13
Man, believe it or not, I never had lessons man. I wish I would have because there's something for me.
I get around pretty good with my technique. When I watch, some of the cast, Braylon Lacy. For instance, a guy from Texas bad dude. But everything is so perfect, finger per fret so, I mean, it's not like….gone. [Inaudible]. All over the place, but it's working. But then there's influences I had, obviously, my big brother Derek Allen man is a people don't know about him get to know. I tell two people they're stupid. You need to know Jesus and Derek. I mean, that man, just being around him, literally changed my whole concept the way I thought about an approach base, but as far as lessons, I never really had any lessons.
 
Speaker: Dan Lewis 00:00
So, can you read?
 
Speaker: Eric Smith 00:00
I don't read melodies. I can read some chord changes though.
 
Speaker: Dan Lewis 14:28
Okay, so your process for say the Justin Timberlake 2020 tour, they come to you and approach you. What is your process for learning that wealth of material?
 
Speaker: Eric Smith 14:39
Well shout out to Adam Blackstone for even calling me because that, you said, as a wealth of material, every song is so detailed. I mean, you're not playing a song exactly.  the record. It’s in this short, as soon as you relax, you’re, ah, I missed that.  what I mean, it's a big band a lot of lines together that matter. So, literally I took it song-by-song man and it was so much that, literally, after I had agreed to it once they actually sent me a copy of the show, I was, whoa, whoa, okay, I got to put on a whole different cap, because since Adam is the bass player and MD, he knows that music inside and out, because he created it. And just the way he speaks on it on estrogen or I had to really pay attention to try to emulate a lot of what he did, but then be me at the same time. So, literally it's one of those things song by song and pick it apart. Just got to listen over and over again, because they were already on tour when I got the gig.
 
Speaker: Dan Lewis 15:49
Really?
 
Speaker: Eric Smith 15:50
Yeah. So, I want to say they had been out for about a good nine months, maybe already. So that's a little added pressure, because I'm kind of coming in to disrupting what they already had gone, because not only is he the bass player, he's the MD. So even though they are, they had Daniel Jones, take over for the MDC, so I'll just come in and play bass, whatever but Justin really leaned on Adam a lot. So, I had to be really, really, mindful, since he really leans on the bass, I got to make sure I'm solid. And I don't rehearse with Justin at all. So, it was kind of okay, we're up and running. So, we're gonna fly you out to Miami to look at two shows, just so you can see the staging and see where you're supposed to be at what time, whatever.
And, okay, now go, so it was kind of like that.
 
Speaker: Dan Lewis 16:53
That’s incredible
 
Speaker: Eric Smith 16:55
Yeah, like I said, it's one thing if you get a chance to rehearse. But since I didn't, the first show, because there's so much information. So, I’m just panting, okay, so my song, don't look towards the next song, because you'll miss something. So, after the first show, Justin, literally waiting for me in the hallway. So, he's like, Yo, man, you killed it. I was like, thanks, man. He's like I got a one request. I'm like, what's that? Smile. And I was thinking so much the whole show is, he said, I can see that. And I totally understand. He said, just so you know, even though my name is on the ticket, we're all artists. And I want to invite the crowd to our party, you make a mistake. Who cares? We all make mistakes; I just want you to have fun. And so, literally that first show, any stress that I had, he was just like, no take that out of you man, we are gonna have fun, be a great tour. And from that point, it was just, so much fun. That's the I mean, not to put all my business out there. But that's the first tour my whole career. My last show I cried. I was literally trying to stay away from everybody, because I don't want people to see me crying. That was an amazing tour, for sure.
 
Speaker: Dan Lewis 18:16
Yeah. I've seen performances from him. And it's not just, you stand there. And he sings. And then the audience reacts, it is like a show, isn't it? Right. And so, I can, I can only imagine what that would have been like, and like you said, how did you get around the fact that you wanted to do the songs justice, but you also want it to be yourself? How did you navigate that?
 
Speaker: Eric Smith 18:39
So, it happens over shows or because initially you want to come in and be solid. Because you don't want to come in, I'm never going to overplay anyway, just because, that's not who I am as a player, but get everybody used to your field, first of all, because, me and Adam have two totally different fields, So, I want to make sure that everybody was comfortable with, what I was doing initially? And then I will take some chances here and there. That's pretty much my process. But I'm never going to overplay, I'm always going to make sure that I'm super solid. So, that's the way.
 
Speaker: Dan Lewis 19:28
And I guess, like you said, the more you play, the more yourself will naturally come out anyway, I guess.
 
Speaker: Eric Smith 19:33
Right.
 
Speaker: Dan Lewis 19:34
But I can't get my head, how many songs are on that? So, because I'm sure he would have played some of his earlier records as well. Right?
 
Speaker: Eric Smith 19:40
Right. I want to say that tour. I mean, initially that show is almost three hours long. I don't want to lie, man. I know, it was in the 40s, it was a lot of music.
 
Speaker: Dan Lewis 19:57
Yeah.  Do you have your own process for notation, or do you write, say mirrors, quote, intro verse chorus, verse chorus, or do you have?
 
Speaker: Eric Smith 20:11
I didn’t write anything down; it was all memory. It's almost like if you're a playing with a click track, just say, if you're already playing with a click track. And you started hearing that when it's not there right now. I mean, it's kind of the same thing, I mean, so, that's kind of my whole process. I'm just, okay. Some of the songs I will listen to, that I had already heard on the record, so, even though now I was just learning arrangements, so that’s the whole thing.
 
Speaker: Dan Lewis 20:48
Because I know he's very big on, stabs and things that, right. So, there's hit so, been, coming from all angles.
 
 
 
Speaker: Eric Smith 20:59
Yeah. The cool thing about is, a lot of that stuff. Adam thinks like a producer at the same time. So, stuff is coming up your ear, slight in your ear, stab two, three. So, if you're forgetting something, a lot of times it'll be a state never remind you, what I mean?
 
Speaker: Dan Lewis 21:20
Oh, okay. Okay. Okay. That's, that's probably very useful in in situations that.
 
Speaker: Eric Smith 21:26
Absolutely. literally, when, especially if you see a big pause, I mean, it’s, everybody's saying, how did you guys catch women come again, because we got to come out here. Think about, 15 people guessing?
 
Speaker: Eric Smith 21:49
Yeah,
 
Speaker: Dan Lewis 21:50
And so, I'm guessing that tours incredible. But you've also done tours with other more monumental people as well Janet Jackson. How did that come about?
 
Speaker: Eric Smith 22:00
Another thing too, Adam, actually, man. So, it's funny, man, because I actually grew up on that Minneapolis sound., I mean, I used to love, the Princeton the Morris Danna Tom stuff Jesse Johnson, Brown Mark from the revolution., he's probably one of my favorite bass players of all time. So, it’s, I kind of grew up on that vibe anyway. So when, I got a chance to play anything that Jimmy Jam and Terry Lewis did, it was just fun because everything is bass, literally, that whole gig, that's a bass players gig, I mean, yeah, most of our songs, even the ballots, if you look at, I guess alone [22:45] the key base is going crazy. [makes bass sound of a guitar]. For a bass player, he’s just like…you know what I mean?
 
Speaker: Dan Lewis 23:01
For you, it must be incredible, because you said, you get to play just these amazing parts, so it's, because sometimes, I'm sure you know, as well as sometimes, mid, whatever it is, there's always going to be a slight lull between, the start is so amazing. And then the end, you're almost there. But then at the middle, so, for us, it might be, five months into the contract, on a Tuesday night, you might have to just find some extra energy from somewhere. But you do relate, when you're on tour, and you're on stage, do you have the same kind of buzz and energy you do from your first?
 
Speaker: Eric Smith 23:37
Absolutely, because you got to think, man, when you work more people that, when the artists can literally point, the microphone in the crowd for, 80% of the show in the whole arena singing. I mean, the energy is just a different energy doesn't get any crazier than that. So, those kinds of tour just the energy. I mean, we’ve seen, even our Justin, you look in the crowd, grown man. I mean, he doesn't, it doesn't get old. I mean, you get you can play the same show every night. But this is a different energy because, each crowd is different. And for me, I love playing the crowds in the UK. Yeah, Europe in general, I mean, because I feel that they don't get as much as the music. I mean, because in America, tours happen all the time. So, it's just, when a new artist comes in, it’s, okay, I just, love the concert last night. I was at Bruno Mars last night, let me see what y'all got. You got to do extra to impress, US crowd sometimes., I feel overseas. Everybody's just music lovers. So, it’s, we can't wait for a show., I did a tour with Diddy and Snoop years ago in Europe. And honestly, I didn't want to do it at first because, in the US, there was always that, East coast, West coast rap beef kind of thing and I'm not trying to get shot playing bass though. Bro. It's in Europe trust me it's not gonna be a kind of crowd and it wasn't as I mean most of the crowd I will say, oh probably 75% White, yeah. And it was so much fun man it was, that was probably one of the one of most fun tours that I've done to with Diddy and Snoop
 
Speaker: Dan Lewis 25:27
I can imagine what was what was that whole process? Did you get to go to rehearsals beforehand with them?
 
Speaker: Eric Smith 25:32
Yeah, I rehearsed for a week. But again, it's so much easier when you're playing with artists that has hits that even if you're not familiar with songs, you've heard them on the radio. So, in terms of format, okay, because now is different. If you're talking about a musical situation a snarky puppy or, where everything every song pop music or rap music, there's normally a formula, there's normally, a baseline for the chorus, verse, bridge, map. That's pretty much it. It's normally not anything crazy. Unless the MD takes it there. So that part is once you know the formula, you can pretty much get around.
 
Speaker: Dan Lewis 26:17
And you know the creative process, when you're working with these, massive artists, like you said, Justin Timberlake, came to you personally and give you some advice and things with the Snoop Dogg and Janet Jackson and P Diddy and stuff, do they? Did they approach you in person? Would they go to the MD to go to you?
 
Speaker: Eric Smith 26:34
The only artists that I've worked with in person lately is Hathaway. Right. But I mean, but that’s my girl we, yeah, she's, she's been in my house, I've been her house, I've stayed at the house, here are the keys to my Tesla take it. It's a different relationship. But, creatively is really, really cool. But, with artists, superstars, if you're not the NBA, you don't really have that kind of rapport with them, if you will.
And me being a bandleader or Rihanna for a long time. I prefer not to be in that seat on those type of gigs. Because, people only see the outcome, but to get to that point, so stressful, man. It’s a really stressful gig, because it’s like you have, you have the artists, you have management, you have creative directors, you have choreographers, and nobody's on the same page, I mean, so it’s, I think I should do this, I think should do that. I mean, there's days where we go to rehearsal where Rihanna and I kid you not, was there for like 15 hours. And don't play one note. This just means all day, I mean, okay, take a break, we are going to hit an hour. Then they're looking at the video stuff.  No, I don’t that content. So, this shouldn't be there. It’s a process and so, on those types of gigs when everybody's in the van asleep. You're still up working. I’m like I don't need to do any of those. But that's why people like Adam Blackstone, I keep saying his name because I honestly don't understand how he does it because he's literally in so many different situations.  He's literally the MD of MDS now. And he can literally get on stage with Eminem tonight, Rihanna tomorrow, Janet Jackson the next day, Diddy the next day, Jay Z the next day, and so forth the song and play that stuff verbatim. He’s, his memory is like an elephant.
 
Speaker: Eric Smith 28:39
Yeah, he's bringing nature for sure.
 
Speaker: Dan Lewis 28:41
So, what's the Rihanna tour? I'm gonna take a pun and say that you just got asked because of your reputation, no audition.
 
Speaker: Eric Smith 28:48
Yeah, believe it or not. So Tony Bruno was the initial MD, he had like a dry season, gigs like that.
And amazing, but they were coming from early on, a rock perspective, because she wasn't a pop star yet. She had, her biggest song at that time was ‘Pon de Replay’ at that at that point. Right. So, umbrella hadn't come out yet. So, it’s like technically, we have R&B artists, Rihanna. Are you interested? I’m, sure, so, but they had already heard my plans. So, so me and the drummer there, they already knew they wanted us, me and Chris Johnson, but we auditioned keyboard players and guitar players. So, I was part of the audition. So, me and the drummer actually had a say, as to who would come in because, we were so respected at that point, right? But I mean, there were at ground zero, I mean, shower rooms, during those big tours as long tours, even when we were doing arenas. We only got hotels on our days off. So, there was one point in Europe, we had two weeks straight, no hotels, you would sleep on the bus station takes the beanies [30:00]. So, I'm just trying to paint a picture I was with Rihanna when Rihanna was, just doing this, but it's amazing to see what she's done with her career, man. So, yeah, without a doubt.
 
Speaker: Dan Lewis 30:15
I mean, that leads me so nicely, actually on to my next question, which is, so you were in the audition room, what was it that you were looking for? When you were looking at the other musicians?
 
Speaker: Eric Smith 30:26
For one, it's even more so than plan, your energy, what kind of person are you? I mean, because we got to live together. I mean, so you can be amazing on your instrument, but you can be a jerk. I mean, so, it's the little things that matter. So, and then as it comes to plan, just how you approach the record, most of the guys that came in who's just doing them in, or you might have church casts coming in and just trying to cord you to death, yo, did you listen to the record? Or, for instance, so, the records weren't out yet. But we were having people play, umbrella shut up and drive, that kind of stuff. And you will get the music, ahead of time, okay, we'll have you play three songs about audition. And the fact that shut up and drive is distortion guitar, you show up with a hollow body? Nah, man, it’s common-sense kind of kind of stuff, you know what I mean? So, it's almost, if, I'm coming on a gig, just say I've been a painter Valentino type of situation. And I know that he played a p bass. Why would I go bring a six string Mike Tobias design, I mean, it just doesn't make sense? So, it’s, you got to literally look at what the gig is sonically and try to be that, I mean, so it's just, it's just a little stuff, man. And, and I know, everybody is not great at programming. I don't feel I’m ready to programming either., when I say great at it, I mean, listen to ISOs of the record, and going and get those frequencies till it were spot on. Now. There's been times I’m, okay, I this one. But then as other time, I might add on help you I mean, so. But I'm with guitar players. I mean, but there are certain songs I had key base that actually played bass on because the bass felt better. Yeah, me. But yeah, so looking at other musicians for an audition is you looking at vibe, I mean, how you look on stage, how you're sounding, I mean, it’s, if you put something in, oh, yeah, I mean, some of the feel good It's not even about the facility. It’s, quality over quantity. Yeah,
 
Speaker: Dan Lewis 32:39
Yeah., so did you find, ironically, that some people would come unprepared?
 
Speaker: Eric Smith 32:46
Absolutely. And, I know people like that personally, because they're so good. And their ears are so big, that they feel they don't have to do the work. And they've shot themselves in the foot before, because, okay, once you just play, it was amazing with that one record. Matter of fact, I know a bass player. I'm not gonna call his name, but his ears are so big that, literally, he’ll, they'll be going over music, and they're reading charts. And he's acting like something's wrong with his base while they're playing. But he's pretty much learning the music. So, the next time they play it, he's killing it rather than just saying, listen, I can't read but I have bigger ear so, but he's not gonna do it. He's not gonna read and get on the gig and be friends.
 
Speaker: Dan Lewis 33:40
Yeah, I need, is that just seems wild. My level, where you read everything, and things that to think if I were if I was ever offered an audition, I would probably, if anything, I would over prepare, I'd probably overthink it.
 
 
Speaker: Eric Smith 33:55
Yeah. I mean, an aside, the thing about it is, since you already have eyes, the ears should come if they don't if they're already there. I mean, because, at that point, it's almost I would just think because, I said, I'm not a great reader, but I would think that once you read music, even when the charts aren't there, you can kind of see it in your head, I mean, okay, here's that, are now going to 16th, I mean, it's okay, now quarter notes on a hat. That kind of stuff.
 
Speaker: Eric Smith 34:24
Yeah. And it's like you said, that pop music, most of the music that I play on probably that you will play is very structured., it's not gonna be verse bridge length., it's gonna follow a pretty set structure. So even if you don't know it's gonna be fairly easy to navigate, right? Yeah, for sure., so what do you look for obviously, drums and bass are the, the whole glue of pretty much every band ever. What do you look for in a really good drummer?
 
Speaker: Eric Smith 34:59
Solid pocket, not too loose. For instance, you can impress me on a ballot than you can on a mitt, because ballots everybody can make about and feel good, and that's why Chris Johnson, is one of my favorite drummers ever to play with, we've done so many tours together from, Mary Mary, we did Rihanna together, he's in my band, but his field managers, I’m talking about. I remember being on a tour, Rihanna and we're doing a song and soundcheck. Ah, I'm so hot. It's so hot. And, literally, his room is just, light. And I'm just hold on,
 
Speaker: Eric Smith 35:53
And one time I remember I was looking at you sweet bro. It's like making a simple stuff feel good.
I mean, it’s, so I'm Phil over everything, man. It’s, how does the song feel when you're playing it, Now, even though we're playing with a click track, I don't want to listen to the click track. I don't listen to you. So, I might listen to the clip for the count off. But once the song starts, I want to lean and depend on you. I mean, so, do you play on top? Do you play behind? I mean, are you right on it? So, I mean, just that kind of stuff. And if you have facility, and your placement is good, I like that too. But, but I'd rather, have somebody that can make the sound feel good like Quest love for instance. Quest, since he's a producer, that's how he approaches drums. I don't know if that answers the question.
 
Speaker: Dan Lewis 36:53
Yeah, no, that's a great answer. And so, what for you as a basis, because I know, it's probably very similar. You want a basis that's going to lock in with you and someone with great themes and things that. How do you? How do you work on those sorts of things from the bass perspective?
 
Speaker: Eric Smith 37:08
Ah, well, for one, the first thing I work on is my tone, I try to make sure that my, that's my thumbprint. So, my tone has to be amazing. Because, whatever I play, I need you to hear it, I need you to understand it. And anything I play is going to be purposeful, I mean, it's not going to be a wasted note. So, Tom, just trying to make sure that, that, I'm kind of, behind you a little bit. Because, a lot of times when you're on top, it almost feels, it's a push pull type of thing. So, so those are the things that I try to focus on. And, with, there's a relationship between bass playing and sound man, because of one thing, a lot of, are becoming bass players or even, cast has been playing the one thing that they don't get, because the one thing that I get complimented on more than anything is my time. And I learned early on because, you will play so loud, because bass players we play loud, because we want to feel it.
 And so, but then there's that, marriage between, okay, well, you want, you want to sound better out there than you do up here, so I learned how to cut, a lot of my low end, maybe add a little low mid, cut a little high mid and boost my treble up a little bit. And so, it’s a really clean thing. So, literally, I want my, especially if I'm doing this, I want that to be with the drums, kick drum, almost, okay, are you planning to kick drum on your thumb? I mean, because I just wanted to be, even if we doing something like, [makes drum beats] so, bass and drums have to be in the same, almost like okay, are they playing live?
 
Speaker: Dan Lewis 38:58
So, do you work on, rhythmically, obviously, bass is an incredibly rhythmic instrument as well? Do you work on, working through the different, the table of time and things that?
 
Speaker: Eric Smith 39:09
You know what, I used to do stuff, man, but, I mean, I feel bad saying, I can't tell you last time I picked up my basic practices.  I'm gonna tell you the reason though, because, and this is horrible side. I hope everybody deletes what I'm about to say. I realized that when I used to really share a lot, everything that I practiced on, I can use. It’s like I'm working on all this different stuff, and hey man, I don't translate, play a record, play the record, play the record, man make that record food. So, I’m like okay, so what am I wasting my time for? And then what I would do is a lot of gigs I was getting called for early on, I was coming in after somebody, maybe somebody, got let go or and had to do something else or. So, I don't want to get locked in to what they were doing. Especially, people come and do their own thing. So, the way I will learn music is, I will find out what the songs are and the order that they're doing it man. And I will make my own playlists from the record, so. So just, I don't know, if, you can do this. Now, just say if you did a playlist in your car, let's say you if you had a playlist, okay? This is my chill playlist, after a few times here, and that, even though you're not looking at it, what the next song is. I mean, that's how that's kind of how I prepare for tours or. So, it’s, I know, the sequence. And so then, so from here, it's about a five-hour drive to LA. And that's where most rehearsals are. So, I will literally listen to the music before I left and learn the show on the way to LA. So, by the time I get to LA, I'm good., I mean, so even though I'm listening to a live bass player, I'm so locked into what the record is doing. That's gonna be my field. And then, then give you a splash. I mean, here and there.
 
Speaker: Dan Lewis 41:08
So, you're laying the foundations with the original material.
 
Speaker: Eric Smith 41:11
Exactly.
 
Speaker: Dan Lewis 41:12
Yeah, I think that’s, an incredible way to look at it. Especially like you said, when you're when people get so caught up in, the new feel, like you said it in social media can be a blessing or a curse. Aside the things that get the most instant gratification and likes, the most you can fit into, if you just play grew for a minute, it won't get half the amount of views as if you can share it for a minute.
 
Speaker: Eric Smith 41:34
Yeah, but the same token, it’s, it depends on what's you’re playing, because I the little kid and the basis. He's going nuts. I mean, he sounds a grown man at 10 years old. And it’s like he has some facility. But the stuff that he's posting is the stank face groove stuff, just the ghost notes. I feel that is just as relevant as all other stuff, because that's what's going to set you apart. In my opinion, if everybody's playing this, and you're playing that? Trust me people want to do this. You can't do that, too. [Makes sounds]
 
Speaker: Eric Smith 42:20
I mean, the people that are liking that it's gonna be other musicians. Yeah. But the average listener is going to break their neck to, for instance, if you plan some, that's why most cloud I don't know about over there. But, if you go to, just say, a concert here, and they like thank you tonight. And then they play exit music. It's going to be some like old James Brown, Mr. Stubblefield, and poking out dented and it’s still funky 50 years later, that's the stuff that's never gonna change. So, if you learn how to play grooves and make rules to get that's going to be relevant, I don't care what new fad is coming up, everybody’s going nuts, or, the, the new dilla sound, and everybody's playing on quantize, all that kind of stuff. That's going to have its place too. But pocket. If you learn how to have a good field, you will work forever, I promise you trust me. It’s been. I mean, James Brown said it best keep it on one. It's worked for me. I'll be the first one to tell you a lot of a lot of bass players. And I had a facility that they had. I mean, I know casts that are like that.
 
Speaker: Eric Smith 43:41
A lot of those people that have that much information. They have it sitting at home.
 
Speaker: Eric Smith 43:49
Yeah. And I just think from everything that you've said, he's just, it seems and from all the conversations I've had, it seems that just, the more musical integrity you have, the longer your career will be.
 
Speaker: Eric Smith 44:01
Absolutely. Yep. You said it best man. You have integrity. Matter of fact, I had to put a band together from the UK one time, I did a gig with artists, I'm not gonna say their names. But, by I mean, incredible musicians in the UK, by the way, we’ve locked up and had some really good, musicians, when I come over with artists was just me and I got to use a band, rehearse with them a couple days, But there's one guy in particular, amazing keys, amazing, but the dude would not just play the record, he was stretching the whole show, in artists, we try to address it a couple of times, but it’s, he's just, what do you mean? So, yo, you got to remember, it's not about you. And you can be great at the record, because people are going to leave the show like wow, this sounded just like the record. Yeah, so to me, that's more of a compliment than somebody coming up to me, Yo, man, you were killing it. I’d rather somebody telling me, Yo, man, the band is amazing. So that mean, we were playing together as a unit, as opposed to just going for blood the entire show. Because it’s like I'm getting my rocks off, but the music suffers.
 
Speaker: Dan Lewis 45:26
Yeah. So, you think musical integrity comes from just serving the person whose music it is, right?
 
Speaker: Eric Smith 45:32
Yeah. And then I think you are what you eat as well. Like I said, for me, the stuff that I always gravitated towards, I'm a quartet guy, which is, church stuff. And a quartet baseline, you might have to play, you get to a map of a song, that song might go for six minutes, and you play the same thing over and over again, without changing anything. And it’s like, don't get bored. But what is our user’s analogy, I don't know if you guys have a grits over there. Grit is like a hot cereal, almost kind of cream a week type of thing. It’s, you boil your water. And, then you add the grits, but don't put anything in it. But the more you stir it, it keeps getting thicker, without adding anything that will just keep stirring the same grits in the same pot with the same water. And there's something about the grit that swells up. To me, that's what a groove does, you play the same thing over and over again, as I did when you first started, you might be, four minutes, hey, we haven't changed anything. It's just, it just gets contagious after a while. I'm just, everybody, I stay in phase Yo, chill. So that's, and that's the way that's always been my approach.
 
Speaker: Dan Lewis 46:52
Yeah, I absolutely love that analogy. That's literally the perfect analogy, I think. And it’s you said, you don't have to change anything to make the group good, right, you can play the groove, but you can still make it good. It could be four on the floor, and two different players can play it. I watched something a few weeks ago, at the Musicians Institute. They did an online thing or something. And Steve Jordan was there and he was doing, he did, “come up someone play” and I'll kind of, I won't alter the groove whatsoever, but I'll do things that will make the group feel better. And so yeah, this guy just played a groove. And then he was, that was great. Now, let me show you I'll play the exact same groove. And it just sounded completely, just so much better. But it was the same groove. And he literally all he changed was the heaviness of the hi hat. That's all he changed. It’s crazy, what one little thing can do to the whole picture. So, you don't have to change the way the groove is played, or adding more notes., if anything, I think from what I've learned from speaking to people like yourself is, if anything, the more you take away, the better it's gonna sound.
 
Speaker: Eric Smith 48:07
Absolutely, what's funny is so early on in my career. I did a thing with John B and Babyface. We did the song because they did a duet on young record song cause someone to love. So, we did Jay Leno. So, I got a chance to rehearse with Babyface for a whole week for one song. So, one day, I just asked him I just picked his brain and I was like “yo man,” because remember, you talking about early 2000s maybe every song that he did was a hit. And I was just, yo, what's your formula when you're writing, he told me say, “well, I figure, if an eight-year-old Alzheimer's, or three-year-old is just not going to talk. Can you hear the song for the first time remember, the melody is a hit, and then, when somebody gives me tracks, I started muting stuff, rather than rather than adding, I started taking away” So, I’m, okay, is it Yeah, because now people will say you stuff that sounds amazing. But once you start a muting a couple tracks, now the whole thing is breathing. I’m like, wow. So, and that's why even having those kinds of conversations, I'll put everything back on me, okay, how can I apply that to my plan? so there's a beauty in space. It's almost like, imagine if you have a five-bedroom house, right? But then, your finances changes. So okay, well, I got to downsize. So now you go to a two-bedroom apartment. But bring all your furniture. It's just going to be cluttered., I mean, get rid of some of that stuff.
That's how I feel your plan has to be so. I remember doing this one tour that stuff that I do, even Justin the simple stuff is the stuff I had fun playing. So, he had a song called murder, literally not. I'm just sustaining. Boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom….
 
Speaker: Eric Smith 50:29
Man, that was my best song that I shot. Man, this song feels so good man. Or even, what's the song? pusher love, sample man but, I love the space. I love the space on the song. So, to me, that's what I always, gravitate, that's so that feels better to me.
 
Speaker: Dan Lewis 50:57
I mean, yeah, I love everything that you've just said. Especially that another house.  another analogy with the house is, all the stuff that you have in that five-bedroom house. The stuff itself could be great, it could be it could be really nice stuff. But then you put it in a smaller house. And it's still great stuff. But it's it doesn't work.
 
Speaker: Eric Smith 51:20
Yep. Everybody's walking through your house and that's how musicians sound. It’s almost like there are certain bands that you hear. It's just like y’all sound like you are fighting man. Yeah, it's almost, some people are like ah, “I did this.” Nobody knew what a one was with me. I’m, okay, with everybody loss. Yeah. You get a feel that you lost everybody, but she knew what it was. And everybody’s, come on, man. It's not making sense. Okay. Yeah. Your meet is better than everybody's now what? We're a band, man. One band one sound.
 
Speaker: Dan Lewis 51:59
Yeah, another thing that Steve Jordan said in this thing, I think it was him or someone else I can't remember. But they said, from a drumming perspective, and from a rhythm perspective, if, you aren't getting the people to dance, or move or feel something, you're not doing your job, right. So, you have to find, he'd say when he would do, live gigs and stuff, and no one will be moving. He'd be, what, what is it that it is we have that control? and I think piano drummers and basis, kind of underestimate the control they have over that, because, guitar and keys, vocals, they're kind of the top melody lines, they can kind of go and do what they want, but the bass and drums kind of stay where they are, right? And they're the ones that make people move.
 
Speaker: Eric Smith 52:42
Yeah, bass and drums, everybody, for instance just take Justin’s song “Like your body.” There's a part of the song where everything drops out, except bass and drums. Right? But if you take the same song, let everything else playing the bass drums drop out. That's weird. I mean, we're the glue. So yeah, I think that the people just realize that, okay, we can't build this house on sinking sand. So, it’s, sort of foundation base drop. Now, I'm not discouraging anybody from, getting facility and shane[53:28] and, just give them a vocabulary, give more information, not trying to discourage that. But I'm saying, make sure that you have a foundation first. Because it's cool to be able to go different places. But it's also cooler to have the restraint to not do it.  I tell people “Yo, go do your record,” Dude, do solo record, get all that out of your system, let the world know, that sure are an amazing, it is that you're trying to do.
But if you're trying to be, on a big stage plan with a big artist, you got to learn how to respect the music., there’s, there's a Christian bass book by Rick Warren. It's called the Purpose Driven Life., I tell everybody about this book. And, literally, the first line in the book says it's not about you. You didn't close it at that point to me. You can get that concept, it's not about me, it's about the bigger picture, It’s, I mean, you're gonna, you're gonna be amazing. And I feel, and that goes even in your other relationships, it's not about me, and if I can make everybody around me better, life is going to be amazing. And that's what I want to leave, when I leave this earth. I want to know that I left the earth better than I did. It was my god here. Yeah. People going to be like “yo I met that dude, he was amazing.” I mean, that's more important than my musicianship. Yeah, that's important to me., to people to know that. I'm a great person over a great musician. Now, do you think I'm a great musician that's cool too. But I'm trying to be a good dude, that's the important thing.
 
Speaker: Dan Lewis 55:08
Well, I can definitely confirm you are a great guy.
 
Speaker: Eric Smith 55:11
Thank you, man, I appreciate that. Likewise, man.
 
Speaker: Dan Lewis 52:13
And so again, you're the perfect podcast interviewee. You’ve led me perfectly on to my next point.
How do you balance? Because I know, when you're young, you don't have ties, you don’t have commitments, you can go on, a 15-month tour, if you want to, how do you start to balance that when you have a family, and then you're also still working in that line?
 
Speaker: Eric Smith 55:35
Well, I think that this isn't for everybody. And I feel every woman can't be married to a musician, because it’s, there are times that, you got to be gone for a long time. And there's times, it’s, okay, maybe you got to have trust issues, and, all that kind of stuff. So, you have to know, okay, family first, family over everything. So, me and my family, we talk all day, every day, before show after show, we FaceTime. Before there was FaceTime, there was Skype, that kind of stuff. And, it's my job, but I was still, just say, for instance, one time, I had to do, six days in Paris, I flew my wife out, because I'm not going to fly her out for one hour because it's too expensive. And then, most tours, don't want your family on tour buses, because of, liability, that type of thing, if anything happens, So, whenever I have at least four days off, if, if my wife has the time off, , I'll fly out, one time I flew in,  a couple days early and pay for , some tours for gone before I got their type of thing. It's just, making sure that we’re good, and still date. I mean, so you still got to, make sure that you do little things. I've been married a long time. It will be 27 years in a couple of weeks. Wow, people don't get that much time for murder, bro.
 
Speaker: Dan Lewis 57:09
That's my age. How long I've been on this planet?
 
Speaker: Eric Smith 57:11
Oh, wow! Yeah, May 7 will make 27 years. So yeah, just and I'm not gonna tell anybody that has been easy. I mean, we've had some good patches, we had some patches on it, I don't know about it, so, but I'm glad that, that we made the choice to, to figure it out. Because, the older you get, it gets easier, stuff you might, have problems with aside, that's not even that big of a deal. and, and just learn the language, the communication because, as men, sometimes we might take things as nagging.  I remember a time when she would be like “when I left for work, he was in a studio when I came home,” you're in the studio. It’s, so you come off tour to work here.
 
Speaker: Eric Smith 58:05
I'm like “leave me alone I’m a musician” but it's, so, now to most it’s like, oh, my gosh, she's nagging me. I'm not, I'm not in the club. I'm not in the streets. I'm at home. And she's nagging me for being home. But I had to realize that all they're saying is spend some time with her. Yeah. So, once you actually grow up and mature and realize that kind of stuff, it gets easier. And it’s, and you've got to have conversation, you got to have the simple stuff, okay, are you happy? I mean, is there anything we need to talk about? because a lot of times, things happen, because communication breaks down. But you got to make sure that, even when even with kids, I mean, it's one time my son, he had an issue with me being gone, and I don't know, I'm thinking, okay, this kid is spoiled, rotten. He had two cars. Before he can even drive you need to have a license, but I'm just spoiling the kid with everything. he wanted, I got for him. He wanted a basketball court. I got it; Yeah. Oh, one time I was Yo, man, you want to go look at, I literally just come home from tour. Or you may want to go, to sporting goods store., he’s like, “I just want a father.”
 
Speaker: Eric Smith 59:26
Are you kidding me? But I'm thinking that, every dollar I'm making, I'm sending home, make sure you all get to live in this big house, and I might as well be on stage with stilettos on. But I had to realize that the time is more important than any of that. Yeah. So that's why, and now, I mean, he's 26 years old. He's a cop, and we're super close, so, but just learning, what's important and, just having those conversations, the hard conversations. So, it's a balance, but it's Good.
 
Speaker: Dan Lewis 1:00:01
Yeah. And I'm sure as he's grown up, he can now truly appreciate it because when you're young, you just want your parents around a lot. But maybe now he's older. He understands the sacrifice to even get all the things he had, right?
 
Speaker: Eric Smith 1:00:13
Oh, absolutely. I mean, we have crazy conversations. He’s like “So yeah, Dad, I'm, really playing, I used to be mad because I, my son is an athlete, he plays football and, my papa walked me on a football field on senior night, and I wanted that to be you, but now I get it, you're working so hard to make sure that, I had things that you didn’t.” So, he apologized, for even feeling like that. He’s like “now I get it because I know, I'm going to want to have a family.” And so, I always just use an analogy, okay, if you're playing football, just every play for the San Francisco 40, Niners training camp might be in Arizona, so you're chasing your dream, but how fair would it be? If your kids basically lived there? You're not here, and but you're making all this money. And you provide a really good life for your family. But as a kid, you don't understand it., but the older you get, it makes sense now, so yeah, now I get it. So, and he's doing really well for himself, my daughter as well. So, two kids.
 
Speaker: Dan Lewis 1:01:22
Yeah. And I think this is a side of the life that, people would see you on these world tours, playing with some of the biggest artists I've ever been on the planet. And they'll think, oh, so it's okay for them or, blah, blah, blah, but it’s, this is the side of the life that people don't necessarily see is the sacrifice, right?
 
 
 
 
Speaker: Eric Smith 1:01:39
Absolutely. It's definitely a sacrifice, on every angle, because you got to think most people if you're in a crowd, or you're looking at [word not clear] playing for Janet Jackson, and assume that I have Janet Jackson winning. No!
 
Speaker: Eric Smith 1:01:55
This is her career; we do good for ourselves. But I mean, obviously, if you're the artist, you're doing really well. I mean, just like Rihanna is worth a billion dollars now. There's definitely a sacrifice, and even for Janet. Janet had a kid and didn't stop touring. She has mommy duties, and she makes it work, I think it's that balance.
Again, family first, I have this amazing career. I love my fans, but I got to make sure that we're good over here as well. So, that’s the part that fans don't get. Because, just me being so accessible, I've had some fans, kind of crossed the line a little bit. I remember this one fan, requested me on Facebook, I accepted it. And that's when I was working on a lot with Rihanna. And I would always be a little leery to accept certain people because her real name is Robin Fenty, Rihanna, her middle name, she knows that. Yeah. Robin Fenty is her named. That's why her perfume line is Fenty. So, she has so many fans that their screaming might be, damn Fenty, so your profile picture might be a picture of Rihanna. So those types of people I'm sorry, I don't know. So anyway, this is around a time, Grammy time when Rihanna and Chris Brown had their little situation, and a fan hit me, like “hey, how are you?” I'm good. “Is it true that Rihanna is back with Chris Brown?” And I said, listen, I don't have a problem, interacting with you. But please don't ask me personal questions about my clients. And she said, “why?”
I'm just like, you got to have some privacy, people have to be able to be normal, if you will.
 
Speaker: Dan Lewis 1:04:08
Yeah. I think well they might not want you to understand clearly is that if spoke on behalf we could you could lose our jobs.
 
 
 
Speaker: Eric Smith 1:04:21
Absolutely not even our jobs our livelihood because we signed NDAs before tours so we can't discuss personal stuff so if, just say if I let somebody know something personal about Janet and they fire me and sue me that just all your good stuff gets around as well as the bad stuff, I mean. The bad stuff will overshadow everything good that you've done your whole career, do not hire that guy because he’ll go to the tabloids on you or he'll do this just like I felt horrible. I had a situation on Janet tour with Qantas airlines, and it’s definitely racially motivated, And, and it was a thing. So, I complained. And so, somebody hit me up about doing an interview about it. So, I did the interview.
And next thing I know, all this stuff gets posted. “Janet Jackson's bass player”, it's a picture of me and Janet together, and so, I felt bad because they put her name in it. I don't want it to have anything to do with her. But since I was with her, Eric Smith doesn't matter that much to the masses as much okay, Janet Jackson, that’s the story. And that's how, as musicians, we have to be really careful about, how we act, when we're on a roll, even sometimes when we're not on the roll, because we represent the brand. I mean, the brand's always going to be bigger than us. So, so that kind of stuff. And it goes back to what we say, how you are as a person because, if you get into a bar fight in Ireland, nobody's going to say, Eric Smith, going to a bar fight last night, it's going to be Justin Timberlake’s bass player. That kind of stuff gets you sent home.
 
Speaker: Dan Lewis 1:06:17
I'm sure that's why they're very, very careful when they're selecting these musicians, because like you said, a lot of the time is not based on, well, obviously, I just think when you get to the level that you guys are playing at, everyone in the room can play, everyone can play, it just depends on how they play, or kind of the type of person that they are. Because like you said, I think the recurring theme throughout this whole series, and of all the time I've spent with, elite-level musicians are they say they'd rather do a leapers drummer was saying most of the job on tour, you're in a bus. So, he’s like the bus from the gig to the next gig. He’s like, you only play the gig, maybe two hours a day. And the rest of that time, you're with other people,
 
Speaker: Eric Smith 1:07:01
I've seen people want to kill each other. There are certain things that you got to avoid, that's why I mean, thank God, I've never smoked weed, never did drugs, I don't drink. And I realize I'm here to do a job.
I go to my room, and I have a bar, I'm alone on Netflix. Honestly, my base, till I get to the stage when I take care of my stuff. So yeah, it is it's an amazing life for me.
 
Speaker: Dan Lewis 1:07:35
Yeah, and so one last one, before we finish is just one final, we've had so many bits, so many incredible bits of information and advice, but what would your kind of summarize your advice to be for anyone wanting to have a career as prolonged as yours?
 
Speaker: Eric Smith 1:07:53
I will say, be just as great, matter of fact greater off your instrument as you are on it. Know that your personality. Your gift will make room for you, obviously, but who you are, as a person will go a lot further because a lot of times people will call you just because your hang is so cool. “Call Dan, bro. He's a cool cat, make and play.” And we are about to have a blast, bro, because I'm funny. I'm always laughing. Nobody's safe, everybody knows with about me. So, yeah, do the work man, do the work, be great on your instrument and come prepared. That's what's going to separate you when people are like “Yo this dude sound good on the gig” preparation, preparation, preparation, do the work, do the work, and listen, and just know that, you're not the greatest, there's going to be somebody better, but nobody can be better than you, than you or better at being you than you. Just be true to who you are, man. Keep God first and everything else gonna come.
And I can honestly say that, my career was definitely ordained by God. Because for one in the western works over here, you have a gazillion dollar business but artists are, cheap management is cheap. They don't want to spend extra money to fly people in and put them up in hotels and all that kind of stuff when they can get people that are in LA or that are in New York. So, I've never lived in either place. But I've constantly worked because, they’re like, okay, we want, Eric, so we got to fly him in and put him up and I know that's nothing but God because there was a lot of really amazing musicians in LA that they can just, okay, got a bass player call him. But we won't eat. So, I mean, that speaks volumes for me. I know that nobody can do that but God man plus, I remain humble and humility. I mean, that's another man humility will go so much further than your talent will. So, and like you said, at a certain point, audition, anybody can play the reason that you're here in this room because somebody thought that you can play. So, at that point, you just got to listen, like okay, I see that they're playing this. I'm about to come left.
So, because I hear everybody outside, just approaching the gig like this. And so, you just switch it up, this was a breath of fresh air.
 
Speaker: Dan Lewis 1:10:36
Yeah, thank you. That's one incredible way to end just I cannot thank you enough for your time.
I appreciate it. Well, I'm sure it'll happen one day that we'll get to meet. Yeah, so you're out in the States. We primarily work from the States. So, if I'm ever in the area, I'll drop your message we can go for a catch-up.
 
Speaker: Eric Smith 1:10:59
Absolutely. Man, out and I've done some of those cruises as well. We're, halfway through the smooth jazz cruise, Capital jazz Tom Joyner, yeah. So now, if we're ever close, definitely, let's link-up.
 
Speaker: Dan Lewis 1:11:13
Yeah. Thank you so much again.
 
Speaker: Eric Smith 1:11:16
Hey, man, my pleasure.
 
Speaker: Dan Lewis 1:11:19
You have a good day. And so there you have it. Thank you, everyone, for tuning in. And thank you again, Eric, for such an incredible conversation and for being just so kind and generous with your time. And for all of the amazing bits of information and advice that you give throughout. I'm eternally grateful. And so, if you would like to get in touch and you have questions about the series or anything you would like to ask some of the world's most elite musicians, please get in touch at Music's Elite Seat on Instagram, or www.inconversationwithpodcast.com or on any of my other socials at @danlewisdrums thank you again and I look forward to the next episode.