This week’s show is all about the joy AND angst of gift giving, the importance of context and considering the message you want to send with your gift. Peter learns this when he gives Jason the gift of Rolling Stone’s bassist, Darryl Jones-for his own- personal bass lesson, and Jason points out the problems issues he has with this incredible gift…Really, no Really!
Coincidently, besides playing bass with the Stones, Miles Davis, Madonna, Sting, Peter Gabriel, Herbie Hancock (the list goes on and on) Darryl is a burgeoning actor having played several roles in some major projects. So why not knock out two birds with one Stone (pardon the intentional pun) in exchange for his talents as a musician, Jason offers his tips and advice on being an actor.
Darryl Jones was born on the south side of Chicago into a musical family. At 21, he landed a life-changing gig with the legendary jazz icon Miles Davis, with whom he would record and tour over the next five years.
In 1993, Jones was chosen to replace longtime band member Bill Wyman as bassist for the Rolling Stones. Since then, he has toured the world, performed on studio and live albums, and appeared in documentary “Darryl Jones: In The Blood.”
IN THIS EPISODE:
FOLLOW DARRYL JONES:
Online: www.darryljones.com
Instagram and Facebook: @DarrylJonesBassist
FOLLOW REALLY NO REALLY:
X (Twitter)
Really now really.
Really now really hello, and welcome to Really No Really with Jason Alexander and Peter Tilden. You know, when you subscribe to our show, it's like a gift you give to yourself and more importantly, to us.
Today's episode is all about the.
Joy and angst of gift giving, considering the message you want to send with your gift, and the importance of context. Plus, Peter gives Jason the most incredible birthday gift, and Jason gives Peter a very unexpected response. Now here's our gift to you, Jason and Peter.
Now really, hey, everybody, welcome back. I am Jason Alexander here with.
You Tilden, Jason Alexander.
So yeah, I mean, and this is our what passes for our podcast Really No Really, where Peter and I explore the things that make he and I say really no Really. So you're annoyed, and I'm I'm already a little annoyed, not at our guest today, I'm actually very excited about our guess I'm annoyed at the topic because here's our really for the day, and I'm just gonna I'm gonna read it to you because I had to write it down to make sense of it. Peter got Jason a birthday gift that is six months late and no longer has to be paid for, and he still thinks it's a birthday gift.
Really, No, really, So I take our friendship seriously. I think friendship seriously. I know you do.
And I try and connect and think, what is it?
Because you have a lot of stuff, Yeah, what is it that you really need? And as you get older, by the way, the last couple of years, everything has been therapeutic. It's been a thing for a seat.
As you get older, it's a hostagegger finger.
It's sad. It's sad. Most of the stuff comes with surgical tape gifts exactly. But I helped Jason get a base because he'd never played bass before, and I thought, you know what, I'd seen this gentleman give a clinic years ago, and he blew me away, not only because he's one of the best musicians on the planet on the instrument he plays, but also he's just a wonderful human being and it's been playing since he's a kid, and his master this thing in such a way so far so so I then reach out to this person and he says, Yeah, that would be really, really cool. But he mentions to me that he would like to learn acting because he's been in some stuff. And so this could be a gift to both of you.
So you gave me a gift through barter, I actually have to give something in order to receive this gift. This gift gets better and better, so much like it's cost you nothing, and I have to do something.
Jason says, you know when a gift is no longer relevant, when it's belated to the point that it's closer to your next person. Let's put our bickering aside.
Can do that, because the gift that would be the money. That's the money.
But I reached out to Daryl Jones, who is the bass player with the Rolling Stones for over thirty years. And Daryl's got I mean is if you want to see what he's about, he's got a documentary called In the Blood that you can check out. But Darryl, what blew me away is he'splaining with the Stones, which is a pretty major gig.
That's significant.
I heard about Miles Davis and he played with Miles for a number of years. Left and Miles usually you're done I like you, you're good, but you never come back. He came back. He's like, good, Sting's a bass player. Yeah, he's stings that kind of stuff.
And he played abow the documentary of making the album, and I was like.
There's good pretty. So let's say hi to Darnald Darrell. I'm so thrilled you're here.
Man, man, I'm very happy to be it came in.
Most people they don't like us enough to come in, won't come in right.
Lots come in, lots come in. No, we've had quite a few people in. But I thank you for being so gracious come in. The reason I told Darryl I won't him to teach your bass is not because you're a beginner so you don't know that much.
But I said, I'm not a beginner. I am an inductee. I'm a I'm a bass. Meet Jason, Jason meat bass.
It's starting. It's starting, but it's a bigger issue is for the audience today.
I hope it's a gift for them too, because.
You're gonna get here acting to know not you played oh acting tips from Jason to Daryl and then to Daryl to talk about music. But Daryl let's let's run through this for just for a minute. The background, Miles Davis. I had a different impression to him that he was really tough and really difficult to work with. And then I read your stories and he was.
Like a parent. He looked out for you. But your audition told us about your audition from us, because it's wild. Oh no, no, he was. I mean, first of all, he was funny. You know.
He started joking with me on the elevator upstairs to the the apartment. He says, uh, I'm chewing gum and he says, uh, you missed the gun.
I said, it's my last piece. And he said, you mean you.
Came all the way to New York and you only bought one piece of chewing up.
You know, so he's just used to Yeah.
And then he said, listen, man, if it doesn't this doesn't work out, it doesn't mean that you can't play. I think he understood, first of all, you know that he was this huge figure and knew that, you know, he could you could endo guy's career over something like that, and I think he wanted to be sure not to do that, but generous.
But you know, he was always.
Incredibly generous with musicians, and so the stories that you hear about Miles outside of the music community people looking inside, are very different than what people will tell you about. You know, the musicians that he played with, he was funny and very generous, and even guys who didn't work out in the beginning, he would give them a chance. He wouldn't just you know, close the door of the moment that you did something wrong.
He would.
He would, you know, try to give you a chance to find your place and your future opportunities.
A lotin came out of that because people saw you with Miles, and figure there the other story, and then we'll move on from Miles.
I love that he called you. Tell about when he called you in the middle, like two in the morning.
Yeah, you know, called me in the morning, and I mean there's a number of those, but found yeah, yeah, No, that first night that I was on stage, I was hoping that I found, like, you know, a gem, you know, and I did. I stumbled on it and after a couple of times through got it together. And you know, later that night, four o'clock in the morning, I get a phone call and he says.
Dall listening to the tape if you don't play that bassline tomorrow night on scop stop Scott that you played tonight, it's curtains for your ass.
So you know he was.
But that's a dual message. That's I really liked it. D's play it again, but experiment, go for it. No no, no, true true.
And it's also a movie reference because that's from a George Raft movie.
Uh, prison Break.
There's a prison I was watching this movie late one night, prison Break. The prisoners take a hostage and they get on the phone and say.
If you don't let us out.
George Raft says, if you don't let us out, it's curtains for his ass.
That's exactly right. So now you're you move on from Miles. You've played with the list is insane. He played with Ma Donna. Yeah, incredible. So now the Stones you hear you you actually wanted to play with him before you got the gig.
I wanted to play with Keith Richards, to be really honest, I wanted.
To play with his band. What was it about Keith Richards with your There's there's a record, Talk is cheap.
It's like his his first solo record to my knowledge. You know, it's rock and roll. But Bootsy Collins is on the record, you know it's rock and roll. But uh, you know, Steve Jordan who's now playing drums with the Stones, and Charlie Drayden, who's been out with uh with Bob Dylan were in the band, and those were the guys who I knew, and they were like, kind of they were guys coming out of the electric jazz thing, but they could but they also played rock and roll. But it was something about that rock and roll. It wasn't Elvis's rock and roll. It was much more modern, funky, and so I was like, if that's rock and roll, then I want I want to move over from the electric gas thing into that too, And so that was that was But then another friend got that gig. And then about a year later, a friend of mine from Chicago called and said, hey, man, I hear Bill Wima is leaving the Stones.
I remember thinking, okay, so you have somebody to reach out to them. Yeah. I reached out.
I called, you know, the management and said, hey, you know, I heard you guys might be looking for a bass player. There's a list I'd like to get on. And I later found out that I was kind of already on the list because the Sting movie that we did we played at the Mogador Theater. Mick came came to the show one night and I met him, and when I auditioned for The Stones, he said, remember we met, And I was like, no, I forgot that I met.
You were the guy with the list, right, yeah.
Yeah, So now you're going to that to audition, isn't that, Dawn? I mean, you know you're good.
I played with Miles, but you're walking into the Stones for an edition.
Well, it's kind of it's kind of both, you know. I mean, first of all, played with Miles Davis. Nothing gonna really be scary to a point. I mean, of course, there's always some nervousness, you know. I imagine for you, you know, you walk into a you know, a new thing. You know, there's you know, it almost feels like it's healthy that there's a little bit of you know, you know, nervousness. But at the same time you've been there before. Now and again. They were completely charming and and and put me at ease.
Mixed first thing, mix it and me.
He says, remember we met, And I said, yes, of course, said listen, you don't know the songs, we'll teach you the songs and then we'll love the audition.
It doesn't get you know, they all do that.
I gotta tell you.
I was at a benefit one time and we were all a group of us, all actors, and we have to do six McCartney songs, six Beatles hungs. Sir Paul comes in for the music rehearsal and he goes, all right, we're gonna try and unlock this and he's like, yeah, anything, He's day and he sings it right, and we're like, uh huh, and then he starts singing the next one, and Christina Applegate, who has more cutspell than any twenty people I know, interrupts him and goes, I'm sorry, sir, are you under the impression we don't know theseus? Because I'm pretty sure we could just burst into twelve part harmonies right now?
That's up?
Yeah, exactly, all right? So now are you with the stones? The audition is what the final audition?
I did two auditions I did.
I did, you know, playing through all the hits, Brown Sugar and you know, all of those things, and I got a good feeling, and I thought they felt as good about it as I did, I'll hear back, and a few you know, a few months later heard back, and I went and auditioned on the music that they had written in between that time. That became the songs on Voodoo Lounge.
So you ended up on this. So I ended up, you.
Know, playing, well, we wrote this new song, you know, figure something out for this, and and you know, I played through that stuff and it was then.
You when you're so now you're in the stones, you're a little comfortable doing the recording. Do you I got an idea? Or do you just shut up and play what they tell you to play?
Or no, you just play the idea? Oh you don't ask, you know, you just do it. You just play, and they're good with all of it.
Well, and if it works, you know, kind of everybody can kind of feel if it works, you know, or if somebody, you know, if mix says, well, you know, try something else to truss something a little bit more steady, or or you know, boom boom boom, you know, just kind.
Of to go back a certain step on something like that.
So I was so.
Fascinating. I went to the Motown Museum.
No.
I was in Detroit and That was the first time I learned that there was a house band and artists would bring in stuff that it was the song, but it wasn't the song. Yes, and these guys would go boom boom, doom doomm boom, and that is the hook.
That's right, I know that song.
Yeah, but they never got no creditit. There's no writing, right, there's no that's the song. Yeah, what I mean you realize yourself in that position where you're creating such an iconic part of a tune, but you never get to carry that.
Yeah, you know, yeah, yeah, no, Sometimes it's that way. Sometimes sometimes it's written, the lines are already written. Sometimes it's it's it's even though it's not written, it's it's it's kind of said, this should be what the bass does. And sometimes you're making something up, you know.
You know what, I didn't realize that what Jason said, that's a job of a studio musician like Michael Jackson, Like you said, Michael Jackson, beat it with three chords, right, somebody came up, Well, a studio mission came up with that's the song, right, but not more.
Yeah, no, wow, that's what musicians do. That's what you know, and.
There's even an interview where I believe I'm right on this.
I could be wrong.
But somebody was interviewing Michael and they went, how'd you come up with that?
Base?
Oney went, you know, I just kind of and claimed it is his. No, maybe it was his. I don't know, but.
Well he maybe even you're just not even thinking then that way he's saying, he's thinking, I sang what I sang to the to the musician, but you just sang. And the musician was the one who was able to say, okay, what he's singing.
It gives me a feel, is my interpreter that's not gonna work.
I've got to do something to it to make it work in this situation.
So I gotta say for me, when people are complimentary about how funny the Seinfeldt Show is and they say it was you four guys, It was you four guys, I go immediately to the writers through the ball to the two yard line. Anybody could fall into the answer when you know I can see to you, Hey, Daryl, do it. I got a sort of and if you turn it into something iconic. My feeling is, if I'm the artist, I'm going I had nothing to do with that.
That was Daryl Jones.
Man, he came up with this and then your phone, I'm sure, and they go, yeah, he had nothing to do with that. Yeah.
I just don't hear in your world. I don't hear artists giving it up like that.
No.
No, And and the same thing, you know, in a way, when we talk about you know, how funny you know the show is, we don't talk about, oh that those writers were so funny. Sure, we talk about how you'ars so sure you know what I mean.
But you know, at least on our show, I think all of us were very quick to go, yeah we had Yeah, we're standing on the shoulders of a giant right right.
Yeah, yeah, and again, and you know, you think about playing with Sting, Yeah, you know, the songs that he wrote were great, great vehicles. So it's almost it's a kind of symbiotic thing where he you know, he's throwing us, He's throwing us a nice slow right down the middle, like who can't.
Hit that out of the park.
But if I if I played something and Miles, you know, but Miles was sneaky with that. Like I remember being on stage one night and I played something and Miles looked at me and went and I played it again and he went yon like yeah, like I'm yawning now because you played the same thing again.
You see what I mean?
You know whoa oh, and then you got to go on plan be destroyed position No.
No, no, I mean it's just stay sharp. It's like I'm digging what you're doing, but still stay sharp.
Here's what's amazing to a remedial like me. They're having this conversation and the notes flat a G flats is a half note you know.
Now with the stone since that happened, where they look at you because you know in stage I've seen you with the stones a number of times. And there's that hole where you get your back up against Charlie. You know, it's that whole thing where you're doing the thing he's going on grooving, Yeah, you're grooving. Is that quarreographed like that's eight minutes in every night? Or do you really do you get the hit back from them?
I don't know.
It's a it's a you know, it's all of that stuff is an improvisation. Rock and roll is there's an irreverent nature about it, you know, and there and in the way from you know, a show tune or a jazz tune. It's there's a little particularly with the Rolling Stones Man, there's a little bit of round of square peg in a round hole, you know, and that quirk is part of it. It's almost like when you go to a wedding and the band, particularly a wedding of a musician band is going to be incredible and they play a Stone song and you're going, something's not right about it doesn't have that little.
Level of chaos.
I was just going to say, you have to have confidence, but you use that term chaos a lot that there needs to be surprised chaos and which leads innovation and stuff like that. Is that every night? So I'm curious about you're standing on State with the Stones, and that's true. I played in the band in high school and college. Everybody plays Stone songs. They sound like Stone songs minus the excitement and the level of professionalism when they when they light up and they plug in even a rehearsal and just screwing around. When you're doing a B flat bluesers something, does it still sound like this is it a thing? Does it sound like, oh my god, this is special? So it's that different.
It's that energized, it's that much matter, it's.
You know, every night it's a little bit different. You know, Keith doesn't play the same thing twice, you know.
He does he know he's not playing the same thing.
Yeah, yeah, no, no, no, absolutely no, no, no, you'd be surprised.
Man. You know they're on right, yeah are they?
Oh?
So okay? Jason and I went on tour. We did a comedy tour and they asked, I do you want a rider? And we felt whore we brought we don't need? Yeah, And then I found out why you do need a rider? Because I think it was at the count Basie Theater in New Jersey. Our dinner was provided by a mother and daughter with a crockpot in the basement because we didn't have a rider. And Jason I looked at each other and went, you know, we should write some safe down that maybe we want to eat because who knows what we're going We gonna ligament sandwich somewhere else. It's frightening if you don't do it. What is what is the rolling Stones rider?
Like?
I can't even imagine?
Well, it's there are more than one, you know, yes, things you know.
So what kind of stuff is backstage? I can't even imagine.
Well, they used to you know, it's changed over time, but there used to be a huge snooker room, you know. Well they would make a room you know, out of and that was one of the things that was around for a while. We had the the banks of the video racing games you sit down, and that was around for a while that they've kind of cut back on that.
But in terms of food, you know, Keith has what he loves.
You know, what does he love? What's what's Keith?
I think everybody knows it.
So it's not like I'm giving you know, Shepherd's pie.
You know, there's so much food backstage.
But I have also you know, me and Chuck Levell, keyboard player, we we share a dressing room, so we.
Have our rider.
You know, only green of thems is that one is I don't like.
I don't like to blue. Once the reason was that way.
Yeah, that's what's on yours?
What do you no green? Solad?
Uh?
You know, pistachios, but I have to have you know, pre cracked pistachi shows because I don't want to crack.
You know how much you take him home?
Everything on my right. The food on my riter for personal appearances would make it seem like I am the cleanest, healthiest eater on the planet because I'm embarrassed to go, well, yeah right, I'd like a cheesecake, and you know, to embarrassed. So I eat better backstage than I eat anywhere.
How the hell, I gotta tell you, seventy nine, seventy nine, Keith is seventy nine, Ron is seventy five. And you stand there, what are the shows?
Two hours? Almost?
Two hours to ten something ten and he's moving the entire show. Is he being injected with some kind of embryo thing? Is there something we don't know about what's going on? Because that's impossible. It really is impossible.
You know.
It's interesting because you know I asked Keith, I mean a Mick ONTs about the fitness thing, and he said to me, he says, well, you know my dad was a physic. Is that teacher he said when I was a kid. He didn't that when I when he came home from work, he didn't ask me did you do your homework?
Said did you run? Did you cry?
So it's in you know, it's kind of one of those things where the lessons that you learn when your kid you know you developed them.
And of course when you're teams you get away from them.
Playing so fin stadium and the stage that the thing goes out into the audience a mile and a half. The stage. I don't know if people, if you haven't been to stunt so the stage is really huge, wide, and he's running from one end to the other, and he's never off.
He doesn't go back and take a break. That's the entire time.
And yet the Egyptian.
So so let's let you ask him some questions about acting, because, as I mentioned off the air, but you didn't get to hear it on Darrel has performed. He was in uh was it in ninety seven Gridlock? You played a pan hitler. You were in the village of Them playing a patrolman.
Well, I will tell you, first of all, you know, there's many different kind of actors I've worked with and you have met, and we have all appreciated actors that know jack nothing about how the sausage gets made. They are empathetic observers. They haven't tremendous access to their emotions and or and or some powerful charisma, and they are just natural performers, and there's those kinds of actors. And if I was to teach them what I know and what I teach, i'd mess them up, okay, right, I get them in their head and their natural instincts would be shattered. But what I was flabbergasted to learn when I went to college as a theater major, I thought acting and I had been acting since I was, you know, eleven years old. I spec turned professional I was fourteen. Here I am at seventeen eighteen in college as an acting major. I thought acting was imagine who would be really good in the role you're playing, and then imitate them. That's what I thought acting was. And I get to college and they start to introduce the tools of an actual craft, and that was mind blowing to me. And I think the average person who does not study the craft of acting would be surprised to know that there are actually tools and craftsmanship to it. So it all depends on what kind of actor you are and what you want to do because a lot of what I teach, and I mean this sincerely, I can screw an actor up as quickly as I can take them to another level, depending on how they do their things. What I talk about when I teach is for most of most of what actors are engaged in. Here's what happens. Two or more people meet and they try and make each other do stuff. That's what most storytelling is. So my job. We all have the words the text when we walk in. The collaboration that I believe in actor brings is what makes it something that we're not just reading but actually we have to see and experience. It's the actions. That's why I believe we're called actors. We emote, but we're not called emotors. We speak, but we're not called speakers or orators. We're called actors. We bring action to dialogue. So actions to me are behaviors verbs, And what I get actors to do is I talk about, what are you actually doing when you're saying these things? What actions are you playing? What verbs? Because they're not ideas, They're not like I'm playing love, I'm playing sexy. You go you can't. You can play to seduce, but you can't play sexy. So what actions are you playing? How are you using your body that part of your instrument to convey that part of your storytelling. And here's the real thing that I focus on a lot of actors pick the best actions for their performance because that's what they care about.
What am I doing?
When you go into work and you start to think, what can I get my partner to do? What can I offer my partner, what's the great choice for my partner in this scene? Then they make a great choice back, and all of a sudden, that game of ping pong or tennis goes to a much higher level. So that's what I teach every artist. I think, regardless of the medium, is at the end of the day, we're telling a story. You do it through that beautiful thing and through song, through lyric. I do it through text, dancers do it through movement. Painters and artists do it through paint or whatever medium they're working in. But we're all telling stories, and therefore the crossover between the tools we have to tell those stories you will find are very similar. The fact that I do it on a spoken word and Daryl does it on a stringed instrument is the least important thing. What we're doing to make those things sing.
Is the most important. Do you get Do you ever get called out by a kid or something that saw you, that was moved by you? And wants to know something that not a fan of the stones thing, it's more of a fan of the music thing. And how do you do this? Can you explain this to me? Does that happen a lot?
It doesn't happen a lot.
But but but from time to time, you know, I've had people come to me and say or even you know, like experienced you know, you know, you know bass players come to me and say, man, you know what really struck me about the gig was was not your solo or not the you know, the feature that you're featured in, but that every note that you were playing seemed to be endow with you know, with all this feeling and you know, and like that when when you know, I remember, this guy wrote me this long email about that, and I was like, that's maybe the finest compliment that I've ever you played with totally you know that you're you know that every note is there's no wasted you know, I'm not you know, there's no frills, there's no tricks. It's like this is the you know, this is and in a way it's like you say, this is how I feel about this and and if that if I'm doing that properly, then it it goes out.
The level of so we get to hear the love, the joy. You can go see his stones and there's a lot of moving parts that you don't even your kick for granted about what's going on up on stage connect before we rat star rapping. Charlie just lost Charlie. And I always hear about it all the time. You hear the the talk about I'm locked in, I'm locked in. It's always a drummer in the base player. What does that exactly mean? Because I'm sure you played with guys where you just don't no matter what it is, you're playing with them, but it's just not happening, it won't happen. But some guys you do and automatically it happened.
You know.
I've been really lucky with that man. I've played with so many of the great guys. It's rare now that I play with somebody who doesn't, you know, who is not trying to give in that way.
So what with Charlie.
With Charlie, Charlie was it was.
This interesting thing because again he was this really steady, you know, musician, but there was but it was also quirky, you know, and and and again. Like I say, you can have you know another great you know Steve Jordan, who's taking you know, is you know, playing in his place now is a I guess you would consider a much more educated and learned musician. He can't recreate the same kind of chaos or the same kind of quirkiness that Charlie did. Charlie, Charlie wats was really an enigma.
Charlie. You know, Charlie.
Collected very particular car it's very particular antique cars.
But he didn't draw, you know.
He he was a very public you know, you know, but he was a very private person, you know what I mean. He there were these contradictions clothing.
I never knew they starts early. He loved clothing right.
No, man, you know, you never saw anybody when Charlie was dressed up, really dressed up. It's rare to see someone that dressed up with everything without it being making him look like a mannequin. I mean, he's very comfortable.
So do you guys hang like when you're with the Stones man, Charlie, who's hanging shop shopping for clothes.
He would take me to his his shirt tailor and tokyo and his his his shoe cobbler and uh, I don't even they called cobblers at that level.
Oh my gosh, upper level. Yeah. Wow, how much does a pair of shoes cost? It's from his shoe cobbler. Cleverly, cleverly shoes. You know, you can get a pair of shoes for a couple of couple of thousands.
Yeah.
Yeah, that's what I want from my gifts, you know, to come back to gifts. Gonna get your hand very nice.
It was again made cross. Is what I'm getting your handmade cross?
Ye, handmade that. Everything you give me is a crowd you know, let me tell you give it.
By the way, look at this, look at you get this is this is magic?
This is magic.
No, that's Darryl, I know, but this is just the music what he has, what he has.
Yes, it is magic. It's oozing.
I just want to, I want to. I want to bring us back to is this so?
Is this the gift?
This was my birthday gift? This is it?
This was it?
Yes or no?
It's yes.
This was my birthday gift. Happy birthday to me. I'm going to be gifting you in the same way. About seven and a half months after your birthday, I want to ask you about some gifts I have gift things for you. Best give you ever got, best gift you ever got, Daryl, you can play to best gift you ever got? Anything?
Nothing, Boy, I can't say I can't think of the best gift of this because I gotta think gift ever Man music.
Think about if I had made you know, done something else, and I could almost shut her.
Man. You know every day I go and.
Play with musicians and hang out with It's not just playing with us, it's that whole the whole thing.
Man, Easy, didn't you get you just made me? Remember my first guitar. I always wanted a guitar because I had piano lesson as a kid. I hated it because I had a good ear and I would play it by ear and the piano teacher, he's not reading, he's playing by ear. But my dad punished me. I got an SG guitar, gibsonn ESK, and he wrapped the case up the neck in a rope and put it in the attic and they would go out on the weekend for dinner and I unbuckle it because the soft showcase and slide it out the bottom and play and slide it back in. And then when he gave it to me finally about a month and a half, two months later.
He was shocked. Thought I was a prodigy. Then I could actually play some things. I thought that was a pretty good anybody was influenced by the Beatles? You wanted, you wanted something.
That's a real gift, that's a good gift. What's the worst gift you ever got? What's the worst? Worst gift you ever get?
Worst s gift I everget? I don't remember it.
I will tell you if my wife were to answer this question, it would be any attempt her husband has made to give her clothing or jewelry in forty three years. I know the woman forty three years, on half a dozen dutions, I've tried to surprise her with a gift of some sort of clothing or jewelry, and all I get is, you just don't know me, do you? You just don't know you ask right, listen. But I'm sure the profet, mister google Lin was there was an abundance of things in this episode. Anything you'd like to point out for our audience.
Well, I think the biggest thing is who wrote the baseline the thriller.
Who wrote the driller Brodature.
He wrote the song and he has taken credit. The braceline was written first, then.
The quarter Game.
Okay, all right.
Also I was researching proficient guitarists.
With small hands.
Oh Angus Young who his tiny hands? Angus Young apparently has tiny hands. Nancy Wilson, okay, yeah, Paul Simon Simon tiny hands, yes, uh, Prince Prince tiny.
Really time, like a size zero tiny like wow?
Yeah, no he was. He was at the wordest dominions.
But like, we go.
Wow.
I just want to say that that may be all well and good, Devin, Look at my hand. I have a five month old grandson. His hands are almost this Yeah, oh my god. Anything else to have, anything else we should be aware of.
I do have some famous gifts throughout time, or we could get into the unwanted gift problem.
That we have in this country, the unwanted gift.
According to a twenty twenty two study Byfinder dot com, it was expected that Americans spent almost eight point three billion dollars on unwear gifts.
That's your shape, because we're entitled, we we we you.
Know me An example of an unwanted gift, anything.
That you've purchased, your your for your wife, anything you're turning.
The spend three billion. Well, but they do say that.
Of Americans say that clothing and accessories were the gifts that they unwanted the moment.
Yeah, that's the thing nobody knows. So when you do actually get me, oh God, an actual gift, don't.
Go with already I give you sh It's like, wow, Wow.
Ladies and gentlemen, it has been a gift coming to you today on this episode of Really No, Really Really.
Now, Really.
Really Now Really.
As another episode of Really No Really comes to a close, I know you're wondering what was the most expensive single gift ever? Given that answer in a moment, But first, let's thank our guest to Daryl Jones. Follow Darryl Jones at Daryl Jones dot com, on Instagram and Facebook at Daryl Jones Bassist. You can find us online at reallynoreally dot com. We're also on Instagram, YouTube, TikTok, and threads at Really No Really Podcast. Please check out our full episodes on YouTube. Hit that subscribe button and tick that bells you're updated when we release new videos and thank you for listening, subscribing, and sharing the show. We release new episodes of Really No Really every Tuesday, so make sure to follow us on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts. And all kidding aside, it would be so meaningful if you subscribe to our show. And now, the most expensive single gift ever given would have to be the world famous taj Mahal. The ivory white marble structure is actually a tomb the Emperor Shah Jahan built for his wife, Mumtaz Mahal. Approximately twenty thousand artisans and laborers works for twenty three years to complete during the years sixteen thirty one to sixteen fifty four. The cost during those years was thirty two million, which would translate in today's economy as about thirty five billion.
And since the Emperor's wife.
Was deceased, she never even saw this amazing tribute to her honor and memory, and I would assume the Emperor never got a thank you card. Really No Really is the production of iHeartRadio and Blase Entertainment.