In this episode of The Bandwich Tapes, I sit down with legendary session drummer Paul Leim, whose six-decade career quietly powers a staggering piece of the soundtrack to our lives. Paul has played on more than 12,000 songs across over 2,000 releases, with 1,400+ silver/gold/platinum certifications, and global sales topping 540 million units. His discography encompasses over 150 combined GRAMMY nominations and wins, as well as 40+ major film/TV awards, and credits on more than 150 films and 100 television specials and series. If you’ve heard Lionel Richie, Shania Twain, Lyle Lovett, Kenny Chesney, Whitney Houston—or cues from Dirty Dancing, Smokey and the Bandit II, The River, or even Return of the Jedi, you’ve likely heard Paul.

We trace the arc from East Texas clubs and Dallas jingle mills to late-’70s Los Angeles, where a “typical” week meant two complete drum rigs leapfrogging between Lionel Richie sessions, network TV soundstages, film dates, and award shows. Paul talks mentors and “angels” (band director Neil Grant, Robin Hood Brians, Doc Severinsen), lifelong friendships with the TCB family (Ron Tutt, Jerry Scheff), and lessons that still anchor his playing—especially dynamic control and “letting the mics work.” We get inside the high-wire reality of studio life. Paul calls it “95% boredom and 5% sheer terror”, including how to read conductors, when to lead the time, and when to ride it, and what it’s like to move from live kit to orchestral percussion with John Williams.

There are great shop-floor stories: cutting Lionel’s “Truly” and counseling Lionel at the fork-in-the-road moment of leaving the Commodores; discovering that Lyle Lovett’s “The Blues Walk” was gloriously vocal-free; and a deep dive into the precision world of Mutt Lange and Shania, ending bass notes just before the snare for mix “air,” the chrome-over-brass “important” snare, and the on-the-fly invention of tom “Mutt flaps” for short, open fills. Paul also shares a personal fork he chose differently: turning down a James Taylor tour to be home with his young family, only to hand JT the final serial-numbered Leim signature snare decades later at the White House.

Today, Paul is still very much in motion: bandleading the TCB Band in Europe, steering The Tennessee Four with Thomas Gabriel to carry the Cash legacy, and jumping into Million Dollar Quartet shows—proof that the hang, the humility, and the groove endure. It’s a conversation about craft, friendship, stewardship of a gift, and the choices that shape both a career and a life.

Music from the Episode:
Pick it Apart (Mark O'Connor)
Truly (Lionel Richie)
The Blues Walk (Lyle Lovett)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Theme music: "Playcation" by Mark Mundy

In this episode of The Bandwich Tapes, I reconnect (30 years later!) with bassist and singer Trish Imbrogno. We apparently shared the same summers at the Chautauqua Institution as teens, then each took “classical first” career paths before veering joyfully into other sounds. Trish tells the story of leaving a busy classical schedule to become a bluegrass/Americana bassist and bandleader and why she’s never looked back. We explore topics such as discipline, groove, ensemble trust, the debate between purists and progress, and the thrill (and terror) of starting over in a new musical language. We also preview her debut EP Bluegrass Love Songs, Vol. 1 (out Nov 7) and the monster lineup that played on it.

To learn more about Trish, visit her website.

Music from the Episode:
Think of What You've Done (Trish Imbrogno)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I reconnect with drummer and percussionist Wayne Viar, a true chameleon equally at home on rudimental snare, timpani, orchestral percussion, hand percussion, and straight-ahead drum set grooves. Raised in Richmond, Virginia, Wayne followed his older brother into the school band and studied at East Carolina University under the guidance of Mark Ford. He marched in the early 1990s with Santa Clara Vanguard in the front ensemble. Those years sharpened the two traits that still define his playing: refined touch and a highly trained ear. Wayne shares how timpani work shaped his sound concept, tuning, touch, and intent, and why those lessons transfer to every instrument he plays.

We trade stories from the North Carolina Triangle scene to Atlanta’s deep pool of drummers, reflecting on what makes a rhythm section feel great: listening, placement, and serving the song. Wayne describes his approach to subbing as studying a band’s center of gravity while giving them the feel they expect. He also shares what he learned playing percussion alongside Atlanta stalwarts such as Joe Lee, Scott Meeder, and Jon Chalden. He contrasts the football-team edge of earlier drum corps with today’s more dance-oriented productions. He explains why he writes parts that are musical, supportive, and grooving, using as much as needed but no more, instead of cramming in notes for flash.

These days, Wayne splits his time among theater and tribute productions, including A1A, the long-running Jimmy Buffett show he loves for its surprising stylistic range, occasional ABBA productions with original bassist Mike Watson, and writing and teaching for high school programs. Throughout our conversation, we keep coming back to process over product, rehearsing well, building reliable systems, and teaching skills that outlast any single show. It is a deep dive into musicianship, adaptability, and being the kind of player and hang people want to call again.

To learn more about Wayne, visit his website.

Music from the Episode:
Who's Been Talking (Shannon Wickline, Wayne Viar, & Brad Williams)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I shine the spotlight on The Unfaithful Servants through a conversation with singer, guitarist, and songwriter Dylan Stone From Vancouver Island’s roots scene to a week immersed at IBMA in Chattanooga, the Servants have built a sound that slips past easy labels: tight three- and four-part harmonies, fearless arrangements, and a blend of bluegrass, folk, alt-country, and Americana that still feels unmistakably like one band.

Dylan walks me through the Servants’ arc: his partnership with mandolinist Jesse Cobb (a founding member of The Infamous Stringdusters), the jolt of energy when fiddle phenom Quinn Etheridge-Peddon joined, and the final puzzle piece in bassist Mark Johnson. We discuss the chemistry that's palpable onstage and how trust enables them to push beyond genre boundaries while always prioritizing the song.

Their new album, Fallen Angel (out October 17), captures that identity. The band converted Quinn’s basement into a studio. It brought in producer Adrian Dolan to keep it honest and alive, arrangements evolving in real time, performances that breathe, and the raw cohesion of a working band. We also explore their next steps: incorporating listening-led improvisation into writing (akin to jazz school rather than “endless solo”) and planning U.S. runs in 2026 from the Pacific Northwest down the coast and inland.

The title track “Fallen Angel” is out now on all platforms.

Band lineup

• Dylan Stone — vocals, guitar, songwriting
• Jesse Cobb — mandolin, instrumental writing, vocals
• Quinn Etheridge-Peddon — fiddle, vocals
• Mark Johnson — bass, vocals

To learn more about The Unfaithful Servants, visit their website.

Music from the Episode:
Fallen Angel (The Unfaithful Servants)
Real to Touch (The Unfaithful Servants)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

Niia joins me to unpack her forthcoming album—a modern, live-first take on jazz that blends an acoustic rhythm section with subtle, future-leaning electronic colors. Trained as a jazz vocalist and raised at the piano, she set out to create something timeless, without relying on retro tropes or trend-bound sounds. The result is a record that breathes: spacious mixes, genuine dynamics, and arrangements that allow for interplay while keeping the vocal narrative at the center.

We trace her path from a fiercely musical Italian family outside Boston—classical piano with her mom, jazz studies at The New School in New York—to early studio reps as a jingle singer, where she learned mic technique, speed, and how to “translate” creative direction. A move to Los Angeles opened new collaborative circles and ultimately led to the creation of this album, co-produced with Lawrence Rothman and Spencer Zahn (whose bass work is a standout). Most core tracks were cut together, with Niia revisiting vocals after living with the songs; mixer John Castello kept the feel alive rather than over-processed. Her version of “Angel Eyes,” distilled to voice and piano, anchors the record and nods to the tradition she loves.

We also discuss the human side of performing—stage fright, perfectionism, and the transition from singing with eyes closed to fully engaging with an audience. For Niia, connection beats ego: the goal is to help people feel something, not to sand every edge. As the album rolls out (release date: October 10), she’s launching a 10-date European tour starting in Germany and Copenhagen, with hopes of bringing the show to Asia and the U.S. next. Long term, she dreams of a lush standards album—but, as she puts it, not just yet.

To learn more about Niia, visit her website.

Music from the Episode:
throw my head out the window (Niia)
pianos and great danes (Niia)
f*cking happy (Niia)
angel eyes (Niia)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

In this episode of The Bandwich Tapes, I sit down with the legendary vocalist Arnold McCuller, whose voice has graced stages and recordings alongside artists such as James Taylor and Phil Collins, among others. While we reflect on some of his most iconic musical moments, our conversation centers on his current mission as a recovery coach and interventionist, as well as his involvement with Harmonium. This powerful organization supports creatives in recovery.

We talk about the unique pressures musicians face, how addiction weaves into the culture of performance, and the courage it takes to rebuild a life and career on new terms. I also share some of my own journey of sobriety — nearing one year — and Arnold offers wisdom on moving past shame, reclaiming creativity, and finding freedom through community.

This is a conversation about music, resilience, and hope — one that every artist (and human) will find something in.

Music from the Episode:
Witness (Arnold McCuller)
Chances Are (Arnold McCuller)
Hard Times (Arnold McCuller)
You'll Never Leave Harlan Alive (Arnold McCuller)
Above the Rain (Arnold McCuller)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy.

On this episode of The Bandwich Tapes, I sit down with Todd Meehan, Professor of Percussion and Associate Dean of Graduate Studies at Baylor University. Todd is a dynamic performer, educator, and advocate for contemporary percussion, whose career blends artistry, scholarship, and leadership.

We talk about his journey as a percussionist, including what first drew him to the instrument, his time as a student and performer, and the ways he continues to push the boundaries of what percussion can be. Todd also shares insights into his role as an educator, mentoring the next generation of percussionists at Baylor, and how he balances the dual roles of professor and associate dean.

Along the way, we dig into topics such as innovation in percussion repertoire, the importance of cultivating curiosity in students, and how higher education is evolving for young musicians. Todd’s perspective offers a unique look at how percussion performance, teaching, and leadership intersect.

This conversation is both inspiring and practical, perfect for musicians, educators, and anyone fascinated by the craft of percussion and the pathways it can open.

To learn more about Todd and the Baylor University percussion studio, visit Todd's website or the Baylor percussion studio website.

Music from the Episode:
Gardens (Excerpt) (Ivan Trevino - Baylor University Percussion Ensemble)
Gardens (2024) was commissioned by the Baylor Percussion Group in celebration of Todd Meehan's 20th year of teaching at Baylor University. The piece is scored for six percussionists who perform on piano, two vibraphones, one 5.0 octave marimba, and glockenspiel.

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy.

In this episode of The Bandwich Tapes, I had the pleasure of talking with Ray Herndon, a musician whose story stretches from Scottsdale’s legendary Handlebar J to the road with Lyle Lovett and the harmonies of McBride & The Ride.

Ray and I start by digging into his family’s club, Handlebar J, which has been a Scottsdale institution for 50 years. We talk about the balance of being both a musician and a restaurant owner, and what it means to carry on the legacy of a place that has hosted countless nights of music.

From there, our conversation winds through his other passions, like competitive poker, and the surprising similarities he finds between playing cards and improvising on the guitar. Ray also reflects on his lifelong love of learning, including his in-depth exploration of Barry Harris’s concepts, his admiration for Pat Martino, and what he learned from lessons with greats like Joe Pass and Ted Greene.

We spend time swapping stories about the incredible steel guitar community, remembering players like Buck Reid, Paul Franklin, Gary Morse, Bruce Bouton, Joe Rogers, and Johnny Cox. And of course, we trace Ray’s path from nights at Mr. Lucky’s with J. David Sloan and the Rogues, to that fateful Luxembourg trip where his band first connected with Lyle Lovett, and how those relationships eventually led to McBride & The Ride.

Ray also discusses finding his own voice as a singer and songwriter, including the enduring impact of “Me and You,” a song that has remained a staple in weddings and playlists worldwide. We close by talking about what it’s like to reunite with McBride & The Ride these days and how the music has only gotten better, the pressure is gone, and the laughter comes easy, as well as his recent work with Don McLean’s band.

It was such a joy to hear Ray reflect on the twists and turns of his career, the people who shaped it, and the music that continues to inspire him.

Music from the Episode:
Amarillo Sky (McBride & the Ride)
Lovin' Her Was Easier (Ray Herndon)
Me and You (Ray Herndon)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy.