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  • 2/6/2025
Conducido por el reconocido guitarrista argentino Marcelo Roascio, ROCK TALK es el programa ideal para los apasionados del rock en todas sus formas. Como su nombre lo indica, aquí el rock es el protagonista absoluto.

En cada episodio, Marcelo te llevará por un recorrido fascinante que incluye:

🎸 Entrevistas exclusivas con músicos nacionales e internacionales, descubriendo sus historias, anécdotas y perspectivas sobre la música.

🎤 Un análisis detallado de los equipos e instrumentos que utilizan las bandas más icónicas del género.

🎶 Exploraciones por los diferentes ámbitos y escenarios donde el rock cobra vida, desde estudios de grabación hasta grandes conciertos y eventos clave.

ROCK TALK no solo es un programa, es un espacio para celebrar, explorar y vivir el rock desde su esencia.

¡Sumate todos los lunes a este viaje único por el mundo del rock!

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🎵
Música
Transcripción
00:00Bienvenidos a un nuevo capítulo de Rock Talk, el programa donde hablamos de músico a músico.
00:17El protagonista esta vez es el baterista Bobby Rondinelli, quizás no sea un nombre muy conocido
00:24a nivel masivo, pero si ustedes se fijan por ejemplo acá tengo dos discos de Rainbow, la banda de Richie Blackmore
00:32o si buscan en álbumes de cierta época de Black Sabbath, Blue Oyster Cult, Axl Rudipel, Quiet Riot,
00:41bueno un montón de bandas y van a ver el nombre de Bobby Rondinelli en todas ellas.
00:48Charlé con él a propósito del lanzamiento de un disco junto a un guitarrista que se llama Jamie Holka
00:55y bueno, charlamos sobre su carrera, sobre este último lanzamiento, sobre lo que es ser un baterista profesional
01:04y un par de cosas más. Así que bueno, los invito a ver esta nueva charla en Rock Talk.
01:18Rock Talk.
01:43Rock Talk.
01:45Bueno, ¿cómo empezasteis en el truco?
01:56¿Cómo empecé en el truco?
02:00Desde que era un niño, estaba grabando cosas y siempre quería tocar truco, siempre, ¿sabes?
02:10¿Y tus padres? ¿Qué pensaste de eso?
02:15Bueno, ellos me querían empezar con la guitarra, así que tengo la guitarra primero, porque no era tan loud, y yo tenía 10 años, estaba obteniendo las lecciones de guitarra, y yo tenía un profesor, y él dijo, ¿quieres hacer un recito? ¿Sabes lo que eso es?
02:34Sí, claro.
02:35Yo le dije, sí, tengo que tocar en frente a la gente, así que él dijo, y tienes que cantar, y yo le dije, ¿sabes? No quiero cantar, no quiero cantar, no quiero cantar, pero lo haré, no quiero cantar.
02:50Así que yo soy 10 años, y cada vez que me toco mi cabello, mi cabello sale, mi cabello sale.
02:57Así que mis padres me traen a un montón de médicos, y ellos no saben lo que está mal conmigo, porque soy un 10 años de niño, perdiendo su cabello.
03:06Así que finalmente, me traen a un doctor, y ella dice, ¿estás haciendo algo que no quieres hacer?
03:13Y yo le dije, sí, estoy jugando guitarra y cantando, y no quiero.
03:18Así que mis padres empezaron a rir, y ellos le dijeron, ok, no tienes que jugar guitarra no más, y tengo drums tres semanas después.
03:25Ok, y bueno, la pregunta obvia, ¿cómo fue la experiencia de trabajar con Richie Blackmore?
03:36Ah, fue genial, I mean, Richie gave me my break, you know, and I was always a Deep Purple and Rainbow guy, you know, I loved the music, so to play with him was pretty awesome, pretty awesome.
03:57Porque, bueno, bueno, they say Blackmore has a, no, it's not an easy person to work with.
04:09Well, you know, even if that's true, he gave me, the first couple of years I was in the band, me and him were like this, we were very close, you know, and he gave me my break, you know, I took Cozy's play,
04:27and everything, so it was a big, it was a big deal, so, he wasn't that difficult, he changed my life, actually, so, it's a good thing, you know what I mean?
04:41And, and, and, and why did you left the band?
04:45Um, I was in there three years, that was a good amount of time, and it was starting to get a little weird, you know, and, um, I would have probably got thrown out if I didn't leave, so,
04:57And, and after you left, uh, Rainbow, you joined, uh, Black Sabbath?
05:09Um, no, no, no, no, no, I think, um, after I left Rainbow, man, it's all so long ago, I think I played with Doro Pesh for a while,
05:23and, and then I played with Quiet Riot, and then I played with Blue Oyster Cult for a few shows,
05:32then I joined Sabbath, then I went back to Blue Oyster Cult, you know, it was all over.
05:41Oh, what are you gonna do?
06:06When there's a part of you that needs to run with the wind, and the fire, are burning yesterday,
06:18and only like the wind to lead you by, and guiding out the dark?
06:27Still the shadows now, looks like the change is on,
06:32Tomorrow's never gone, today, just never crawl,
06:38Go on and come, yeah, into the hurricane,
06:44You will forget the pain, it's already there, to exercise your mind,
06:51Looking at the world, when you've opened up your eyes,
06:56You've got to see, promises goodbye,
07:00They're rolling eyes, not what it seems,
07:04They're silent screams, living in a time machine,
07:09You can choose, still you are, someone you've never been,
07:15Someone you've never seen, living in a time machine,
07:21And how was working with Tony Iommi?
07:33Tony's awesome, Tony's awesome, he's a really good guy.
07:41And when you work with those bands, big bands, no?
07:46They tell you, well, you have to play this, don't do that,
07:50But you can do this, or suggestions?
07:54Well, with the, pretty much, pretty much, they let me kind of do what I do, you know?
08:04And, like, with Tony Iommi, I would say, we'd be working on a new song or something.
08:11The old songs, you kind of know, you gotta kind of do it the way it's done,
08:17And maybe change it a little.
08:18But with the new songs, I would say, you know, Tony, do you like it like this?
08:22Or do you like it like this? Something totally different.
08:25And he would go, oh, whatever you like, whatever you want, I like them both.
08:29So he was, like, very, very, very cool to work with in that way.
08:35But even when I wanted him to give me an opinion, he would go, no, whatever way you want, I like it.
08:41Okay, and tell me about the Leslie West project, you were involved, you produced it, something like that, Legacy.
08:51Say again?
08:52The Leslie West project, Legacy thing.
08:58Yeah.
08:59What about it?
09:01You produced the album because it started before Leslie passed away, no?
09:11No.
09:12The idea of it started before he passed away.
09:15But then he passed away.
09:17And I said, you know, I could produce this, you know?
09:27It was a very crazy thing because I'm not known to be a producer, but now I'm doing it a lot and I love it.
09:36But through the whole process, no one asked me to send them the manager, the record company.
09:49They never said, well, let me hear something.
09:51I did the whole album, we had all these great guitar players, and nobody heard anything until it was done, which I thought was totally crazy.
10:02You know what I mean?
10:03If I let you produce my record, I'd say, well, let me hear a song, not do the whole album.
10:09But that was a pleasure because I loved Leslie, you know?
10:19And in the day, he was one of my favorites.
10:22You know what I mean?
10:24There was nobody like Leslie, you know?
10:27So I had a really good chance to play with some of the great guitar players.
10:33Plus on the album, I played with another nine or ten great guitar players, you know?
10:40So that was a lot of fun.
10:42A lot of fun.
10:52Every night I have the same old dream
10:58Without you and me and what's in between
11:03So many changes, so many lies
11:11Try to run, try to hide
11:15From everything that I feel inside
11:19But I can't escape you
11:22Oh, your frozen eyes
11:31When you produce, you focus more on the songs or on the sounds. What's your job as a producer?
11:41Well...
11:42On the Leslie thing, everything was, I would do the drums and then everything was sent away.
11:54So you're kind of less involved.
11:59But I would go to try to get the drums to be similar to the way they were.
12:07Because I wanted to be as close to the original but different.
12:12It's always going to be different.
12:14You can never get it exact.
12:18My job in certain places was I extended some songs to give the guitar players more room to play.
12:26Involved heavily in the mixing, you know?
12:33And if somebody did something we really didn't like, we'd say,
12:36Can you please do a little more here, a little more there?
12:40Much different than my producing when you're starting from scratch.
12:44You know what I mean? Because here I'm just trying to get it to represent Leslie and Mountain or West Bruce and Lang whatever the song.
12:58And all these guitar players love Leslie.
13:02So it was really a pleasure.
13:06I never worked so much for so little in my whole life but I loved it.
13:09I didn't even get a thank you. I had to buy the record.
13:18I had to buy the record.
13:22Crazy.
13:23Yeah.
13:25And when you start a song from the scratch, from ZERO.
13:30For example, El Bueno,
13:32I send you a demo of me playing this song.
13:37And what would you do as a producer to finish the song, no?
13:44bueno a lot of time
13:49well that's how the Jamie thing
13:52you know the Hulk and Rondinelli
13:54project started
13:55he sent, I'll use this as an example
13:57you know
13:58he sent me, he wanted me to play on one song
14:01so he sent me the song
14:04and I played on it
14:07and
14:08sent it back
14:12he liked what I did
14:13and then I said but
14:14can I screw around with it a little
14:16can I change the arrangement
14:19cut it up a little
14:20you know because
14:22as a producer I think it's your job
14:25to
14:25if it's
14:29really fine already
14:31don't screw with it
14:35but if you think you can make it
14:37better
14:38then you screw with it
14:41and it's always up to the artist
14:43to say yeah I like that
14:47you know what I mean
14:48so that's what I did with Jamie
14:50and then
14:52and we did the first song
14:53remotely
14:55you know
14:56and then he started coming to New York
14:58and we worked together
14:59and after we worked together
15:02he liked my ideas
15:05and asked me
15:06you know
15:06will you play on the whole record
15:08and produce it
15:09so
15:10I said
15:11yeah I'd love to
15:12you know
15:13and every production I think is different
15:17okay
15:20so you don't have a rule
15:23that you say
15:25bueno
15:25I produce this way
15:28and this is my way
15:29you adapt to the artist more
15:32well I
15:34I try to make the artist
15:41a better version of himself
15:43you know what I mean
15:46I mean if it's just
15:48something I like
15:50and it doesn't make the song better
15:52it's all
15:55it's all about
15:55it's all about the songs
15:56you know
15:57because everybody plays good nowadays
15:59so fast
16:01and crazy
16:01blah blah blah blah
16:02and
16:03to me it's about
16:04really good musicianship
16:09but
16:10there's a lot of really good musicianship
16:12played on really bad songs
16:15and then
16:17who cares
16:18it's
16:20the song has to
16:21I believe the song has to come first
16:25if
16:26if
16:26if
16:28if you have a good song
16:29you're halfway there
16:30you know
16:32um
16:33so I don't have a set way
16:35that it has to be like this
16:37sometimes it's just
16:38one little part
16:39I might change a little
16:41or
16:41sometimes it's a lot of parts
16:43I might change
16:43always different
16:45your drums
16:48no
16:49sounds amazing
16:50on the
16:50on the Jamie Holka
16:52record
16:53it's
16:54it's very
16:55live
16:55it's very powerful
16:57well the drums have
16:58yes
16:59the drum sound
17:00is
17:01incredible
17:02and it
17:03I think
17:04it
17:05lifts
17:06the
17:07the songs
17:07no
17:08up
17:09thank you
17:10thank you
17:10thank you
17:11I think
17:12if I had my way
17:16my drums would sound incredible
17:17on every record I ever did
17:19but I don't always have my way
17:21you know what I mean
17:23but
17:24yeah I really like the drum sound
17:26on
17:27on
17:27Jamie's record
17:29plus he would
17:30play more
17:31you know
17:31do it
17:32you know
17:32and
17:33I'm very happy
17:35I'm very happy
17:36with that
17:37with the whole record
17:38with his playing
17:38with my playing
17:40you have
17:42your
17:42your own studio
17:43you record
17:44the drums
17:45on your own studio
17:45no no
17:47I record
17:48at a studio
17:49called
17:50Distressed Vision Productions
17:54with
17:55Mickey James
17:57his studio
17:57and he's the engineer
17:59and I produce
18:01and
18:01between the both of us
18:03we get a really good drum sound
18:04song of days
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20:42pero ahora
20:43cuando yo play live
20:46cuando yo do big gigs
20:47I play with Axel Rudy Pellnell
20:50a German guitar player
20:52y ahora yo play
20:54with a click live
20:55this way it's always the same
20:58and
20:58the same basic feel
21:01because if you start too fast or too slow
21:03if you're a little tired and you got the click
21:06it's the same tempo
21:07you drink too much coffee and you got the click
21:09it's the same tempo
21:10and once you learn
21:17how to really play with a click
21:18that's the most important thing
21:20for young drummers
21:23is
21:24to play with a click
21:26because at some point
21:28you're going to have to
21:30I know some guys
21:33that you know
21:34they get big gigs
21:36then they go in the studio
21:37now they don't have the big gig no more
21:39because the click went on
21:41they couldn't do it
21:42bye bye
21:43you know what I mean
21:45so playing with a click nowadays
21:47I think it's very very important
21:49so you can be
21:51free with it
21:54so it's not like
21:55oh I got the click
21:56I got the click
21:57you know when you start playing with the click
21:59I think it might be like that
21:59but now
22:00it's
22:01it's one less thing you have to think about
22:06this is the tempo
22:08you know what I mean
22:09and
22:10and even the guys I play with in the beginning
22:14they're like
22:14we're going to play with a click
22:15I go
22:15no you're not playing with a click
22:17you're playing to me
22:18I'm playing with a click
22:19you know
22:21I give them the tempo
22:22even if I don't start it
22:23you know
22:24and
22:24I think it just makes things better
22:27and it's something
22:29you have to do nowadays
22:31at some point in the studio
22:33I think
22:36in my experience
22:37and when you play live
22:39what do you like to hear
22:41what do I like to hear
22:44well I have the click
22:46I have some drums
22:48some guitar
22:51the vocals
22:53not so much
22:54because they're usually
22:55everywhere on the stage
22:56you know what I mean
22:58a little
22:59keyboards
23:00very little bass
23:01because I can usually feel the bass
23:03on stage
23:04primarily guitar
23:07so me and the guitar
23:08because rock is really
23:10you know
23:11when they say
23:11you got to play with the bass
23:12you got to play with the guitar
23:14and rock
23:15to me
23:17but you're playing with everyone
23:19you know what I'm saying
23:20but you got to play with the guitars
23:22the lead guitar
23:23if it changes something
23:24you got to go with it
23:26if there's a mistake
23:27you got to go with it
23:28you have to
23:29being a good drummer
23:32is making the band
23:33feel comfortable
23:34and
23:35if there's a fuck up
23:37you cover them
23:38to make it as smooth as possible
23:41as yeah
23:42Bobby Rodden Elliott's drums
23:46this is from
23:47the Headless Cross
23:49yeah
23:49she's so fast
24:00she's so fast
24:04and now what days
24:32what are you doing
24:35you're playing live
24:37you're more producing
24:38what are your
24:40well I just got back
24:42from tour with Axel
24:43Rudy Powell
24:44we were
24:44all through Europe
24:46I'm producing a lot
24:50when I'm home
24:51you know
24:52I'm usually in the studio
24:53two days a week
24:54I teach
24:56a little
24:57you know
24:58to keep
24:58as you get older
25:00you got to keep playing
25:01you know
25:02and
25:03and then I
25:05when I'm home
25:05I have a jam
25:06one night a week
25:07so I'm playing more
25:08and
25:09just
25:11try to not suck
25:12I'll see you in the studio
25:28I'll see you in the studio
25:30I'll see you in the studio
25:31what's your usual drum set
25:53I use Ludwig
25:56Ludwig drums
25:59Piesty cymbals
26:01Charci Caputo pedals
26:04Aquarian heads
26:08Vader sticks
26:09and snare drums
26:12I have
26:13I like about 80
26:1680 or 90 snare drums
26:18and I'm a snare drum
26:20whore
26:20you know
26:21and
26:22I love
26:23I love my snare drums
26:25every
26:26every drummer
26:27owns
26:28my son
26:30is a drummer
26:31and I know
26:32drumsticks
26:355A
26:365B
26:371A
26:381A
26:39Vader 1A
26:40yeah
26:41yeah
26:41okay
26:42yeah
26:44so
26:45you know
26:47if
26:47Jamie Holka
26:48is planning
26:49to
26:50to
26:50to
26:51to play with you
26:52live
26:53to do
26:54some gigs
26:55we have
26:56we have a
26:56we have a gig
26:57June 6th
27:00it's like a record
27:02release party
27:03and a gig
27:05you know
27:05we'll play some songs
27:07and
27:07with me
27:09Jamie
27:09and
27:10Kenny Aronson
27:11playing bass
27:12and
27:13and
27:14and
27:15and
27:15and then
27:15we'll see
27:16we'll see
27:16what happens
27:17you know
27:19we might do
27:20some gigs
27:20hopefully
27:21okay
27:22okay
27:23Bobby
27:24I have to thank you
27:25very much
27:26for
27:26for your time
27:27for the interview
27:28and
27:29I hope
27:30someday
27:30you can
27:31come to
27:32tour
27:33South America
27:34Argentina
27:35that'll be great
27:36that'll be great
27:37we love
27:39rock music
27:40and
27:40every
27:41big rock band
27:43comes here
27:44to play
27:45so
27:45we're waiting
27:47for you
27:47all right
27:48it was
27:49it was
27:49a pleasure
27:50you were great
27:51thank you
27:51no thanks to you
27:53thank you
28:23Más que interesante lo que nos contó Bobby Rondinelli sobre todo en lo que hace a la producción que como que es mucho más importante la canción que el instrumentista y después un detalle que es lo que él escucha, prefiere escuchar en vivo en sus retornos
28:44porque en general los bateros dicen que prefieren escuchar más al bajista y Bobby prefiere escuchar más al guitarrista y nos da algunos detalles
28:54así que bueno esas cosas creo que fueron por demás interesantes
28:58escríbanos a nuestras redes, díganos que les viene pareciendo los programas del Rock Talk y los espero en el próximo capítulo
29:06mientras tanto seguimos con la programación de X-Level, hasta la próxima
29:14X-Level, hasta la próxima