התמלול המלא של Eli Menezes Explains How A Side Player Becomes The Artist

were in town as well, and that was magnificent. 00:02:13.759 --> 00:02:17.680 Uh and then a while back you sent me this new record, which is fantastic. 00:02:17.759 --> 00:02:20.319 It's called Lo-Fi Black Tie. 00:02:21.039 --> 00:02:23.599 And you're playing guitar and bass on most of it. 00:02:23.759 --> 00:02:29.280 And uh you've got some special guests, including David Gristom and some other weighty cats. 00:02:29.680 --> 00:02:32.879 And it comes out on October 29th. 00:02:33.039 --> 00:02:38.879 Now, tell us a little bit about, you know, other than playing with David Gristom, you play with Fork, you've played with a million different people. 00:02:39.039 --> 00:02:44.639 What's what's give us the the the uh latest loadout about what you're up to and what's happening? 00:02:45.280 --> 00:02:47.199 Yeah, man, thanks for having me on this. 00:02:47.280 --> 00:02:48.560 This is uh this is fun. 00:02:49.039 --> 00:02:50.000 Pleasure, my friend. 00:02:50.159 --> 00:02:50.800 Oh yeah. 00:02:51.039 --> 00:02:55.840 Uh so quick background, I guess, for people that don't know me, which is most people. 00:02:56.080 --> 00:02:58.159 Uh I'm from Brazil originally. 00:02:58.240 --> 00:03:01.759 So uh I moved to New York when I was it was like early 2000s. 00:03:01.919 --> 00:03:08.240 I mean it was 99, 2000, 18 years old, and uh lived in New York most of my life. 00:03:08.319 --> 00:03:11.120 And I've been in Austin now for like six years. 00:03:11.840 --> 00:03:18.319 Um and yeah, so I've uh my first uh talk about misspelled names and stuff. 00:03:18.560 --> 00:03:25.280 My first like bigger major recording that I've ever been on was with this gospel artist, uh Fred Hammond. 00:03:25.759 --> 00:03:32.400 And and uh and I remember early 2000s, my first like big session in New York, you know, recording with Fred. 00:03:32.479 --> 00:03:37.840 I was like, oh man, I grew up like in church and playing gospel, and it's like he's you know, telling. 00:03:38.080 --> 00:03:42.560 And the day the album came out, I remember I was in playing with some band in Chicago. 00:03:42.639 --> 00:03:46.800 We went to uh I think it was Virgin Records when they still had CD stores. 00:03:46.960 --> 00:03:51.759 I was I was all excited, I was like, oh man, I'm gonna go get the CD, you know, my name on it. 00:03:51.919 --> 00:03:56.000 And then when I get the CD, I opened the cover and it says Eli Menendez. 00:03:56.639 --> 00:03:59.360 And I was like, ah, you bastards. 00:04:00.960 --> 00:04:04.400 Well, you look at it, that's the first thing you want to say, but it's not that. 00:04:04.560 --> 00:04:04.800 Yeah. 00:04:04.960 --> 00:04:05.199 Yeah. 00:04:05.439 --> 00:04:07.680 I I get it, so I'm used to it, you know. 00:04:07.840 --> 00:04:15.120 So hopefully uh I'll say it enough, and you know, people eventually get it, but that it doesn't hurt my feelings. 00:04:15.599 --> 00:04:23.600 It's like when I, you know, when I was younger, um I went to college and and there was somebody there with my same last name and they called her Kim Cook. 00:04:23.759 --> 00:04:24.959 And I was like, that's not right. 00:04:25.040 --> 00:04:34.480 But you know, I was like, if I would have just done that all those years ago and said, because that's what it means apparently in German, anyways, it's like fuck the chef, I would have saved myself some aggravation. 00:04:34.560 --> 00:04:35.519 But like, that's not right. 00:04:35.600 --> 00:04:37.040 That's not overrepresented. 00:04:37.839 --> 00:04:38.240 I know. 00:04:38.319 --> 00:04:41.920 It's it stuck it start getting a little personal, you know, after after after a while. 00:04:42.079 --> 00:04:42.879 You just gotta let it go. 00:04:43.040 --> 00:04:44.160 Just gotta let it be. 00:04:44.560 --> 00:04:45.199 Absolutely. 00:04:45.360 --> 00:04:49.439 So you were in New York for a good many years and then you decided to go to Austin. 00:04:49.519 --> 00:04:59.920 Tell tell us a little bit about you know just the New York thing for a minute, as far as how that was, like breaking into it and and sussing that out versus going down to Austin. 00:05:00.240 --> 00:05:04.879 Yeah, so uh I got to New York a year before 9-11 happened. 00:05:05.120 --> 00:05:06.560 So uh so that was fun. 00:05:06.800 --> 00:05:11.360 As soon as they came from Brazil, fresh, could barely speak the language. 00:05:11.519 --> 00:05:16.399 As I started meeting people and started doing like little gigs here and there, 9-11 happens. 00:05:16.480 --> 00:05:18.879 I was like, oh, are you you serious now? 00:05:19.040 --> 00:05:21.680 Everything is kind of shut down, there's nothing happening. 00:05:21.920 --> 00:05:25.439 You know, my mom in Brazil was like freaking out, like, come back home. 00:05:25.600 --> 00:05:32.240 Right, you know, but uh but I stuck around and and it was you know, it was cool. 00:05:32.319 --> 00:05:34.240 It was a big learning experience. 00:05:34.480 --> 00:05:37.439 And you know, 18 years old, I didn't know any better. 00:05:37.600 --> 00:05:42.639 I'm just taking a day at a time, and you just broke as hell, but trying to play as much as you can. 00:05:42.879 --> 00:05:49.120 Uh, start meeting people, and that's when I first started because of like playing churches and stuff. 00:05:49.199 --> 00:05:56.800 I started playing uh in black churches too, uh, which is where most RB and you know pop musicians come from. 00:05:57.360 --> 00:05:57.680 Exactly. 00:05:58.319 --> 00:05:58.560 Yep. 00:05:58.800 --> 00:06:09.920 So so that led me to a whole pathway of RB gigs and stuff, and eventually I got to playing with uh Lauren Hill and Common and uh Ashanti and a bunch of other people like that. 00:06:10.000 --> 00:06:18.160 And uh let's talk about that gospel thing for a minute because I got a buddy of mine from in town here, uh who I've been friends with for a long time. 00:06:18.319 --> 00:06:24.480 You know, he's he comes from that background and went on to play with uh uh you probably you

might know him. 00:06:24.560 --> 00:06:25.519 His name is Sean Hinton. 00:06:25.600 --> 00:06:27.360 He played with um uh Mary J. 00:06:27.759 --> 00:06:28.079 Mary J. 00:06:28.240 --> 00:06:28.480 Bly. 00:06:28.800 --> 00:06:29.519 I know, I know of him. 00:06:29.600 --> 00:06:30.480 Yeah, great player. 00:06:30.720 --> 00:06:32.399 It's a great guy, great player. 00:06:32.639 --> 00:06:37.360 And one time he's like, You should really sit in with uh one of the gospel groups that I'm playing with. 00:06:37.439 --> 00:06:41.920 And I and I go, I was in town for something, and there was a rehearsal. 00:06:42.079 --> 00:06:53.040 I remember I went to the rehearsal, and none of these guys knew who I was or what I was doing, or I was but I just kind of sat down and I and the the bass player was running the band and I asked him, I go, Are there are any charts for any of this stuff? 00:06:53.199 --> 00:06:54.720 He's like, Oh no, no, no, no, no. 00:06:55.040 --> 00:07:10.000 But but what I realized pretty quick is that there's there's a language, as much as there's like a language of um you know, in jazz or whatnot, or blues, or really any genre where there's like set turnarounds or you know where things are gonna go, it's the same in gospel, right? 00:07:10.079 --> 00:07:11.600 But you just gotta get hip to what they are. 00:07:11.839 --> 00:07:13.279 Oh, oh yeah, definitely, yeah. 00:07:13.439 --> 00:07:17.600 There's definitely a whole vocabulary, you know, things that like any any style. 00:07:17.759 --> 00:07:18.240 Right. 00:07:18.480 --> 00:07:25.439 And yeah, and even there, coming from Brazil, you know, I grew up in church, but it's different than playing a black church in New York. 00:07:25.600 --> 00:07:26.000 Right. 00:07:26.240 --> 00:07:34.000 So once I got to New York, I had to kind of learn some of the language too, and you know, but but it's not gonna be written down for you. 00:07:34.079 --> 00:07:36.240 You just gotta eat ball it and figure it out. 00:07:36.480 --> 00:07:41.839 I remember some point I was playing, I used to play at this church, and the services like they have time to start, but no time to end. 00:07:42.000 --> 00:07:42.319 Right. 00:07:42.560 --> 00:07:47.439 So I remember I used to wake up on Saturday mornings already stressed out. 00:07:47.600 --> 00:07:50.240 I was like, oh man, that's gonna be my whole day tomorrow. 00:07:50.319 --> 00:07:56.399 And we got like a million songs to play and to just just listen and vibe and hope for the best. 00:07:56.639 --> 00:07:56.959 Yes. 00:07:57.279 --> 00:08:06.079 But it was like the clip because I went to go see Sean uh play with this band at this church, and and we went there, and then the service started at like 10. 00:08:06.720 --> 00:08:12.079 And by noon, and I went there with my son, who was you know younger at the time, but was a musician and wanted to check it out. 00:08:12.160 --> 00:08:17.920 So uh and at noon, you know, we're there for two hours and we're like, we gotta get we gotta go. 00:08:18.079 --> 00:08:21.519 And and they were like showing no sign of ending. 00:08:21.839 --> 00:08:22.720 Oh, yeah. 00:08:23.040 --> 00:08:25.680 It's a very interesting scenario. 00:08:26.000 --> 00:08:27.279 This is a whole different culture. 00:08:27.439 --> 00:08:32.320 Yeah, I don't I don't do as much of that in anymore, you know, at least not the super long ones. 00:08:32.720 --> 00:08:34.799 But it's great, it's a it's great ear training. 00:08:34.879 --> 00:08:35.519 It's some of the best. 00:08:36.320 --> 00:08:36.720 Oh yeah. 00:08:37.120 --> 00:08:42.080 Well, don't you find that it's kind of yeah. 00:08:42.320 --> 00:09:09.679 Not that there's um I don't want to say stale uh jazz activities, but it seems like because uh of the way that you know contemporary gospel is and that, as you said, it's it's kind of the feeder into c you know contemporary pop and so on and so forth, it almost seems like uh th those changes in that music is still progressing and influencing popular music in a way that uh traditional jazz isn't. 00:09:09.759 --> 00:09:12.639 But there's a lot of overlap, but it's just fresher to me. 00:09:12.799 --> 00:09:13.360 You know what I mean? 00:09:13.440 --> 00:09:17.519 Which because I I hear that in your music, you know, there's a lot of that gospel limit. 00:09:17.679 --> 00:09:26.960 There, yeah, there's jazz changes, but the but the gospel-y thing just is is a more kind of uplifting, you know, soulful situation. 00:09:27.200 --> 00:09:28.159 Would you not concur? 00:09:28.559 --> 00:09:29.840 Uh yeah, I agree with that. 00:09:29.919 --> 00:09:31.440 I can I can I can see that. 00:09:31.759 --> 00:09:36.799 Because that is the foundation of the gospel music has so much soul to it. 00:09:36.879 --> 00:09:39.279 And a lot of it also comes from blues and things like that, too. 00:09:39.600 --> 00:09:42.960 There's a lot, there's a lot of overlap between jazz, blues, and gospel. 00:09:43.279 --> 00:09:47.360 A lot of it, a lot of it comes from uh the same, the same roots, basically. 00:09:47.679 --> 00:09:49.519 So yeah, definitely a big overlap. 00:09:49.679 --> 00:09:54.320 And and and that that stuff is some of the music that touched me the most, too. 00:09:54.559 --> 00:09:54.799 Right. 00:09:54.879 --> 00:10:02.080 And and I guess it just comes out even on this, on this record, you know, trying to put I don't know, a little bit of uh everything in there. 00:10:02.240 --> 00:10:03.519 The things that I enjoy at least. 00:10:03.759 --> 00:10:06.960 So when you were in Brazil growing up, what kind of stuff were you playing? 00:10:07.360 --> 00:10:16.799 There was mostly the uh I was uh you're very aware of of Brazilian music as far as like the whole Basa thing, samba. 00:10:17.039 --> 00:10:24.559 So I grew up having like big harmonies, like big, you know, a bunch of chord changes and like beautiful those beautiful Brazilian melodies and stuff. 00:10:24.720 --> 00:10:30.240 That's all

around, you know, you hear that on TV shows and and soap operas, all that kind of stuff. 00:10:30.639 --> 00:10:30.799 Right. 00:10:31.039 --> 00:10:36.000 Uh, which is even when I started playing guitar, I started getting I got into rock pretty quickly. 00:10:36.080 --> 00:10:38.639 So it's uh the whole Steve Vice, Satriani. 00:10:38.799 --> 00:10:42.480 Those are the guys that were always, you know, that was exposed to. 00:10:43.039 --> 00:10:52.879 Um but at the same time, he always kind of bored me when I s when I heard guys that could shred a lot, but they would just play like E minor for 10 minutes. 00:10:53.120 --> 00:10:53.279 Right. 00:10:53.440 --> 00:10:53.840 You know. 00:10:54.080 --> 00:10:55.919 And I was like, okay, that's cool. 00:10:56.080 --> 00:11:00.320 It's impressive for a little bit, but it never really touched me because, like, man, I want to hear some chord changes. 00:11:00.480 --> 00:11:00.720 Sure. 00:11:00.960 --> 00:11:06.960 You know, add some some interesting melodies and interesting harmonies and stuff because of the Brazilian influence. 00:11:07.120 --> 00:11:16.320 So uh I remember even in uh my mom used to travel a lot when I was growing up for work and stuff, and she used to go to Europe all the time. 00:11:16.559 --> 00:11:28.159 And I remember reading on a guitar player magazine uh an interview with a some guitarist, uh, and he was giving his like favorite like records to you know listen to, like jazz records and stuff. 00:11:28.480 --> 00:11:34.799 And then had guys like Mike Stern, John Schofield, Pat Mattini, Joe Paz, and I had no idea who any of those guys were. 00:11:34.960 --> 00:11:37.519 So I just popped and gave it to my mom. 00:11:37.600 --> 00:11:40.320 I was like, hey mom, just get whatever you can find from this list. 00:11:40.480 --> 00:11:40.799 Right. 00:11:41.039 --> 00:11:44.559 Just go whatever CDs you find out there, because it was hard to get in Brazil. 00:11:44.799 --> 00:11:51.279 And then uh, and that's when she brought up my first Draco records, Schofield, Stern, and uh, and I liked those. 00:11:51.360 --> 00:11:58.639 It's like, oh man, a lot of those guys play, they have distortions, so they got some of the rock fusion thing, tribal tribal tech and scar Henderson. 00:11:58.879 --> 00:11:59.120 Right. 00:11:59.279 --> 00:12:01.360 But they playing like their chord changes. 00:12:01.519 --> 00:12:04.720 So that was the whole beginning of the fusion era, you know. 00:12:04.879 --> 00:12:06.559 I was like, something basketball too. 00:12:06.639 --> 00:12:10.159 I get to rock out, but like the play of a change is like, oh, this is cool. 00:12:10.480 --> 00:12:14.159 So did you you started out as as a bass player or or as a guitar player? 00:12:14.399 --> 00:12:19.360 It was kind of the same time, but I took bass seriously first. 00:12:19.759 --> 00:12:20.159 Yeah. 00:12:20.320 --> 00:12:21.440 Yeah, I was one of those. 00:12:21.519 --> 00:12:33.279 I remember uh at my grandfather's church, it was really young, that they had a rehearsal there, and I heard the bass players clapping, you know, doing whatever it was, had a like a jazz bass, and I was like, How did you get that sound? 00:12:33.519 --> 00:12:36.559 So on a break, I just went up to him and was like, How did how did you do that? 00:12:36.720 --> 00:12:45.679 So he just like, I'm gonna get a sandwich, but here, he just put the bass on my lap, and I didn't know what to do, so I just kept banging on it, hoping like, how did you get the plug sound? 00:12:45.840 --> 00:12:46.080 I don't know. 00:12:46.159 --> 00:12:50.720 I just kept like hitting the strings and and but that got me interested enough. 00:12:50.879 --> 00:12:51.039 Sure. 00:12:51.200 --> 00:12:59.120 You know, I was able to borrow a bass like that next week and and so I started with bass first, and then I took a couple of lessons on acoustic guitar. 00:12:59.840 --> 00:13:02.480 Um and that's kind of it. 00:13:02.639 --> 00:13:08.879 From there was mostly self-taught, just playing in bands and playing church. 00:13:09.120 --> 00:13:11.759 Uh couple of different churches, got into a reggae band. 00:13:12.000 --> 00:13:16.080 Like when I was started going to a studio with a friend of with a couple of friends of mine. 00:13:16.159 --> 00:13:23.279 I was always the youngest one with my in my crew, uh, with my people, and people started taking to studio sessions, I was like 14 years old. 00:13:23.440 --> 00:13:25.600 I used to skip school to go to studio. 00:13:25.840 --> 00:13:28.639 Sometimes, sometimes I wouldn't even record anything, but just be there. 00:13:28.799 --> 00:13:28.879 Right. 00:13:29.120 --> 00:13:31.039 I was like, oh my, this is so cool. 00:13:31.200 --> 00:13:35.120 I mean, uh my grades weren't the best, but yeah, you and me both. 00:13:38.720 --> 00:13:45.200 So you get to New York and you're gigging around and and you know, you went on the road a bit, quite a bit with some folks. 00:13:45.519 --> 00:13:46.000 A little bit. 00:13:46.159 --> 00:13:49.840 The first time that I traveled abroad was with uh Lauren Hill. 00:13:50.000 --> 00:13:50.320 Okay. 00:13:50.639 --> 00:13:54.159 That was in uh uh begin 05, I think it was. 00:13:54.399 --> 00:13:59.120 Uh and then pretty quickly soon after that, I met uh Richard Boner. 00:13:59.360 --> 00:13:59.840 Okay, yeah. 00:14:00.320 --> 00:14:03.600 He was playing, uh, he was playing with uh Mike Stern, the 55 Bar. 00:14:03.759 --> 00:14:12.399 And I used to go there sometimes, and it was just kind of like it really feels like a God orchestrator thing, you know, if you believe in that. 00:14:12.559 --> 00:14:17.440 But it it's like I had a friend of mine visiting town and he wanted to go see a show, so we went there. 00:14:17.759 --> 00:14:21.440 The show finished, I walked out, and then he stayed in. 00:14:21.679 --> 00:14:25.600 And he's the type of guy that just talks with everybody and stuff, and amazing musician. 00:14:25.759 --> 00:14:27.919

So I was like, yo, where's where's James? 00:14:28.080 --> 00:14:33.919 Well, like I came back in and he's at a table sitting down with a Japanese couple and and Richard, Richard Bonus. 00:14:34.480 --> 00:14:37.840 So as soon as I walk in, and I was like, Oh, here you are. 00:14:37.919 --> 00:14:41.039 And as I'm approaching the table there, everybody already left. 00:14:41.440 --> 00:14:47.919 Uh he goes, like, hey Richard, this is my Brazilian friend I was telling you about, uh Brazilian guitarist. 00:14:48.080 --> 00:14:51.519 And Richard looks at me and he's like, Oh, I need a guitarist. 00:14:52.080 --> 00:14:54.480 Just out of the blow, like, wait, what? 00:14:54.720 --> 00:15:00.320 So he had just done a recording uh record at that time, uh, that he used a lot of Brazilian musicians. 00:15:00.559 --> 00:15:06.240 So he had just finished the record and he was about to go on a European tour like three or four months after that. 00:15:06.399 --> 00:15:12.399 Uh so anyway, we hung out for a little bit, exchanged information, and in my mind, I'm like, this is never gonna happen. 00:15:13.039 --> 00:15:14.320 You know, this is never gonna happen. 00:15:14.399 --> 00:15:19.759 But anyway, uh the next uh maybe a couple of days later, uh I got a text from him. 00:15:19.840 --> 00:15:30.240 It was like, hey man, you know, just wanna just check in in, make sure, you know, see if you can come buy my place and in Brooklyn and let's just jam a little bit and you know, just see what happens. 00:15:30.480 --> 00:15:32.159 And it's like cool, no commitments. 00:15:32.320 --> 00:15:37.840 Like, I was excited, but I was like, man, I sure was like, man, Richard Bones calling me, what the hell? 00:15:38.000 --> 00:15:39.360 I was like 22. 00:15:40.399 --> 00:15:51.200 Um, and then uh yeah, I go to his house and and we jam a little bit, play, play a couple of his songs, like some minor blues thing, and he's like, it's like, oh yeah, you you got this. 00:15:51.600 --> 00:15:56.480 Like, yeah, so I have uh this uh seven weeks tour in Europe in three months, uh two months from now. 00:15:56.639 --> 00:15:57.519 Can you do it? 00:15:57.759 --> 00:15:59.759 And I'm like, hell yeah. 00:16:00.000 --> 00:16:00.879 Right, right, right. 00:16:01.120 --> 00:16:02.159 So uh so that was it. 00:16:02.320 --> 00:16:05.279 Just started chatting, had rehearsals, and that was my first time in Europe. 00:16:05.440 --> 00:16:07.120 So I went there for like seven weeks. 00:16:07.519 --> 00:16:07.840 Awesome. 00:16:08.080 --> 00:16:16.080 Uh my very first, and I was like, you know, I felt super underqualified for it, you know, the big imposter syndrome. 00:16:16.240 --> 00:16:20.720 And I was like, oh, I'm I'm nowhere near as good as any of those guys here. 00:16:21.279 --> 00:16:23.200 But but that was that was awesome. 00:16:23.279 --> 00:16:28.320 And I and I've played on and off with him since up until 2019, actually. 00:16:28.639 --> 00:16:28.879 Okay. 00:16:29.600 --> 00:16:30.799 That's pretty awesome. 00:16:30.960 --> 00:16:31.279 Yeah. 00:16:31.600 --> 00:16:36.000 So at what point did you think Nashville or uh Austin Here I Come? 00:16:36.399 --> 00:16:38.159 Man, it was a pandemic thing. 00:16:38.320 --> 00:16:40.799 I I always knew I was gonna leave New York at some point. 00:16:41.120 --> 00:16:44.480 And then I was with uh who's my girlfriend who's now my wife. 00:16:44.720 --> 00:16:49.759 And she's uh we've had it we knew each other for a while, but we only had been dating for a few months. 00:16:50.080 --> 00:16:52.080 And she's she's the one who started talking first. 00:16:52.159 --> 00:16:55.759 It was like, hey, I don't know if I really want to stay in New York, everything's gonna shut down. 00:16:55.840 --> 00:16:59.440 And and I to be honest, I was doing fine during the pandemic. 00:16:59.519 --> 00:17:06.960 It was like I had a bunch of uh people send me tracks to record on and doing videos and live streams for people, all that kind of stuff. 00:17:07.519 --> 00:17:10.000 And I wasn't spending any money because I wasn't going anywhere. 00:17:10.160 --> 00:17:10.240 Right. 00:17:10.480 --> 00:17:15.519 So like I was like, oh, this is killing, I have more money saved than I've ever had in my whole life. 00:17:15.680 --> 00:17:16.079 Right. 00:17:16.319 --> 00:17:20.160 Uh but we so we started talking about the possibility of going somewhere. 00:17:20.319 --> 00:17:27.440 I was like, all right, I know I do not want to go to LA, but Austin's a cool town, it's a music city, I also consider Nashville. 00:17:28.480 --> 00:17:39.200 And I don't know, I just kind of uh uh tax has just made more sense for like some tax incentives, and I was like, as long as as long as I'm close to an airport. 00:17:39.440 --> 00:17:42.799 So it was out of the blue, like August 2020. 00:17:42.960 --> 00:17:43.759 I was like, you know what? 00:17:44.160 --> 00:17:45.279 Let's let's just go. 00:17:45.680 --> 00:17:46.880 Let's just go and see what happens. 00:17:46.960 --> 00:17:48.559 She had never been to Boston. 00:17:49.119 --> 00:17:55.279 So like let's go find it, uh find an apartment, and uh and just move and see where it goes. 00:17:55.359 --> 00:17:57.759 If you don't like it, you can always come back or move somewhere else. 00:17:58.480 --> 00:18:00.240 And uh and and that was it. 00:18:00.480 --> 00:18:09.519 And within maybe three, four months after I got here, um, I met Sean Giddings and Michael Davler, who also played with uh with Grissom. 00:18:10.400 --> 00:18:19.279 And uh, you know, and those guys know everybody in town, they play with everybody, and little did I know that they were gonna be my big you know connection to the hookup. 00:18:19.599 --> 00:18:21.680 Yeah, the hookup into the Austin scene. 00:18:22.160 --> 00:18:25.920 And they just you know keep meeting people from there, and it was that was it. 00:18:26.640 --> 00:18:27.759 Six years in. 00:18:28.240 --> 00:18:30.000 Of six years of

rocking. 00:18:30.240 --> 00:18:31.440 Oh, big time. 00:18:31.839 --> 00:18:34.480 So, you know, I I like Austin quite a bit. 00:18:34.559 --> 00:18:45.119 I mean, it's it's getting to be a little expensive down there now compared to what it was apparently back in the day, but oh yeah, but there's a lot of music going on down there, and the food is fantastic. 00:18:45.440 --> 00:18:46.640 Man, tell me about it. 00:18:48.880 --> 00:18:50.559 Ah, that's a problem. 00:18:50.880 --> 00:18:51.519 Yes. 00:18:52.160 --> 00:18:53.920 So what's going on with this new record? 00:18:54.000 --> 00:18:56.799 So it's it's coming out uh October 29th. 00:18:56.880 --> 00:19:00.640 Are you gonna you're gonna do you're gonna do a CD release party or a release show? 00:19:00.880 --> 00:19:05.039 Yeah, so I'm having a release show at O4 Center, uh, which you've played there before. 00:19:05.200 --> 00:19:05.839 We did, yeah. 00:19:06.079 --> 00:19:08.400 I think I I think I I think I saw you that one time. 00:19:08.960 --> 00:19:14.240 Um and uh I'm not I'm not I'm not gonna stream the album right away. 00:19:14.319 --> 00:19:17.039 I'm gonna have on Band Camp and I have vinyls coming in. 00:19:17.200 --> 00:19:17.440 Right. 00:19:17.519 --> 00:19:19.599 Uh actually the vinyls are coming in today. 00:19:19.759 --> 00:19:22.559 So if I have to cut this off at some point, it'll cost bad act it's here. 00:19:22.960 --> 00:19:23.359 No worries. 00:19:24.880 --> 00:19:28.240 Um so uh yeah, but that's that that's cool. 00:19:28.319 --> 00:19:35.119 And and this record was also I've always done like little songs here and there, you know, but I've always been more of a side man my whole my whole life. 00:19:36.480 --> 00:19:40.880 And uh I never knew exactly if I was like, if I were to do a record, what what would it be? 00:19:41.039 --> 00:19:44.720 Because there's so many things that I like playing, you know, so many different things. 00:19:44.799 --> 00:19:52.640 And uh so anytime anybody else has a project that they want me involved in, I always just go do that. 00:19:52.880 --> 00:19:56.240 It's like I can make I can make money easier instead of spending money. 00:19:56.480 --> 00:19:57.839 You know, it just makes more sense. 00:19:58.079 --> 00:19:58.960 Right, right, right. 00:19:59.519 --> 00:20:12.000 But this finally worked out, and uh and I decided decided to do, I had I had a a couple that that they offered without me asking, they offered to support and help me finish the record. 00:20:12.480 --> 00:20:14.319 So that really put a bug in me. 00:20:14.400 --> 00:20:19.359 I was like, oh crap, if there's someone helping fund this, I need to do this right. 00:20:20.000 --> 00:20:26.319 So that's when I was like, I took it seriously, organized myself, and I had some songs already. 00:20:26.480 --> 00:20:29.839 Uh and I was like, all right, now I want to get some people that I want to get. 00:20:30.240 --> 00:20:33.279 You know, at that point I was already playing with JJ Johnson, drummer. 00:20:33.680 --> 00:20:34.160 Drummer, yeah. 00:20:34.480 --> 00:20:36.480 Yeah, but John Mayer and Gary Clark Jr. 00:20:36.720 --> 00:20:37.440 I love JJ. 00:20:38.319 --> 00:20:47.039 And uh and every time that I played with him with his quartet, it was uh I don't know, the stuff always like so open and vibey. 00:20:47.359 --> 00:20:48.960 And I was like, man, I love this too. 00:20:49.039 --> 00:20:56.559 So two of the songs that I wrote on the record, the last probably the last two that I've done, was influenced by that after the gig that did with JJ. 00:20:56.720 --> 00:20:57.119 Yeah, yeah, yeah. 00:20:57.279 --> 00:21:00.240 Which is which is the lo-fi black tie and the uh it's over. 00:21:00.559 --> 00:21:03.039 Nice kind of vibey feeling. 00:21:03.519 --> 00:21:06.400 Uh so yeah, it's gonna have some some good people there. 00:21:06.480 --> 00:21:13.279 I've been playing with a lot of guys here lately, and and a couple of residences, playing every month, try to Well, the record's awesome. 00:21:13.359 --> 00:21:14.559 There's some beautiful stuff on there. 00:21:14.720 --> 00:21:20.559 Great plan, great, great songs, great changes, and uh the tones are magnificent. 00:21:20.720 --> 00:21:24.640 So, how how much are you playing guitar versus playing bass around town? 00:21:24.960 --> 00:21:26.720 I'm kind of playing all of it. 00:21:26.880 --> 00:21:33.279 There's only uh there's one song, Tribal Dance, which I did with the this video that I had in New York, EMP3. 00:21:33.680 --> 00:21:36.960 So we have uh the drummer and the bass player for that. 00:21:37.039 --> 00:21:40.319 Uh, because that song originally was gonna be for that group. 00:21:40.559 --> 00:21:44.160 So I just kind of revamped a few things, but I kept the drum and bass. 00:21:44.319 --> 00:21:49.440 Uh so yes, I got Manny Lennon drums and my friend Patrick Candy uh on bass for that one. 00:21:49.519 --> 00:21:55.920 But I'm playing all the other basses and basically all the guitars, with exception of Grissom Solo. 00:21:56.160 --> 00:21:57.200 Grissom, yeah, exactly. 00:21:57.359 --> 00:21:59.440 That's that's a really cool trade-off between you two. 00:21:59.519 --> 00:21:59.839 It sounds like. 00:22:00.240 --> 00:23:52.240 great uh that thing was funny too because uh uh you know we talked about it I was like oh man I wanna you know I want to play something on it too and we started talking about the record and I was like man what song can I can I have him on and uh so I had that I had that one the um uh I need a funky tune with the funky tune a little bit of like a coal field thing you know and I was like man that song is like basically done but like oh maybe I can just split the solo with with David uh and funny thing about that one too is that those guitars they all from the demo guitars I did with uh the amp I didn't I didn't even mic it up I used the Oxbox and I was I was kind of like overdoing the scope field thing on purpose you know just

as a I was like this is just a demo and then I'll record the solo for real later and uh so I kept I kept those like super skull and so at some point I took I took some guitar parts out and left some space for David to do his thing and and then he kind of played against what I had done already and my whole my plans was to redo my solo guitar but uh but after he played it just felt wrong because right right so he kept what you had yeah his reacting to the stuff that I did even though it's like it's not perfect sometimes like oh man this should have been a little tighter I was like oh the tone is a little like this or like that I was like I should have played this a little different differently or whatever but after he after he did his part I'm like I can't change this now just right it's gotta let it be keep it real but it's like but you know that's that's the thing with recording though isn't it it's like you know as as musicians we're always like oh this could be better but sometimes just what happens in the moment happened for a reason yeah and it should stay oh yeah and I'm even guilty of this sometimes like you try to reduce stuff and like oh man now it's like it sounds technically more perfect with better tones or the better playing but it doesn't have the same vibe. 00:23:52.559 --> 00:24:07.039 Doesn't have the thing yeah I get you and you're like you know what I'm not trying to make this perfect just uh just gotta just gotta think you know even as I listen to it now I'm like oh man I should have done this differently right but but it's like no I just put it out there that's the snapshot of that time. 00:24:07.279 --> 00:24:33.039 Exactly and that's and that's the thing too it's like I don't know about you but a lot of times I can't I can't what you know you listen to something so much as you record it and you mix it and you get it mastered and you're like and then you can't listen to it anymore because you hear all the imperfections and you almost have to hear it by accident to go hey that sounds pretty good and you're like oh shit that's me and then you start hearing all the oh for sure that's me all day. 00:24:33.519 --> 00:24:37.440 That's why you know we got this live record coming out which just ours just arrived yesterday. 00:24:37.519 --> 00:24:41.119 It's not coming out until October as well that I just got the CDs in the mail. 00:24:41.359 --> 00:24:49.039 And that was the nice thing about doing the live record I mean there were some things that I could have fixed but I didn't you know I was like fuck it is what it is. 00:24:49.359 --> 00:25:19.759 And it's something like no no one else will know especially with you point it's like well is this quirky thing on purpose yeah right or not or not it's like or not well never know no one's gonna know oh yeah but man but you guys sound so tight too it's like oh thanks it was a blast in his set in man that was glorious and and it's always a little bit of a pressure because I'm like who needs a bass player when you have Toby's left hand you know although it although it loosens him up to be able to go crazy. 00:25:20.000 --> 00:25:38.559 I know so it's like yeah I'm just holding down so you can do even more you know but yeah but man Toby's uh such a beast his left hand is like just like the best bass player yeah he's you Toby has has powers we're we're headed off tomorrow for Europe for a month. 00:25:38.799 --> 00:26:16.559 Oh nice so uh we're gonna have fun but um yeah month is a month is a while I know I'm surprised people can still afford to go out that long you know I remember I used to do like two or three month tours and now it's even with fork we do like 10 days two weeks you know right rarely more than that at a time well tell us a little bit about that the about fork and what that's all about oh yeah so fork is uh fork started with uh with Henry Hay um piano from from Rudder and for George Michael and Rod Stewart you know big jazz guy in New York too and and a Michael League from Snarky Puppy. 00:26:16.720 --> 00:26:30.319 So they started they started fork together uh when Snarky Puppy wasn't it was before the Grammys before you know they got super big and it was a little bit of a side project so they could play you know different things with a smaller band. 00:26:30.640 --> 00:26:30.960 Right. 00:26:31.279 --> 00:26:41.200 So originally it was uh JT Thomas was also played with Snarky and Mark Litieri the same amazing drummer he's been there since the beginning and Adam Rogers was the first guitarist in Fork. 00:26:41.440 --> 00:26:41.759 Okay. 00:26:42.000 --> 00:26:54.160 So it's Adam Rogers my my colleague Henry Hay JT so they did the first record and uh Adam couldn't travel because he's busy with his own thing and everybody else and he didn't want to travel. 00:26:54.319 --> 00:27:00.880 So uh from the second record they got Chris McQueen from Snarky Puppy and that was the band for a long time. 00:27:01.039 --> 00:27:11.440 And then uh uh uh my colleague he started getting busy with Snarky Puppet they started getting a bunch with a bunch of gigs and he couldn't do more than maybe a couple of dates a year. 00:27:12.319 --> 00:27:14.880 So it's like man we gotta get something some somebody else. 00:27:15.039 --> 00:27:18.960 So they got Kevin Scott on bass at that time same band. 00:27:19.759 --> 00:27:58.240 And Kevin now plays he's been with uh Governor Mule for a while now yeah yeah great dude great bass player uh but then at some point uh after the pandemic he started getting really busy with government mill too I think it's on salary and stuff too so it's like like good for him right you know he can be doing like a couple of tools with four K E or so uh I had done a gig with Luther Woodward with Chris McQueen and and Harry at uh we did a think opinion up for Snarky Pop in in Florida uh three years ago and they told me later that they started talking was like man Eli actually like he could be I think he would be

great with fork uh before they told me anything. 00:27:58.480 --> 00:28:59.279 And I always liked him I liked the music and stuff and and at some point uh Harry was doing residency at Rockywood in New York uh he invited me I was already living here but uh I was visiting New York and he invited him to come in and sit in and the band was uh yeah with him with Adam Rogers on guitar uh Osno I was supposed to do it but I was sick at that time and uh uh Trump Dalton on drums from SNL okay yeah so it was just a jam just kind of vibing and playing whatever and I found out later that that was basically my audition for the band you know so after that yeah I uh got to play a couple of songs on the record on the last record and uh and then I did a did a run did a did a couple of tours with them and I remember because J JT is such an amazing drummer like he played RH Factory and he's got a bunch of you know snarky and a bunch of other bands that he's played and recorded with and he's not the most um you can't really tell what he's feeling much. 00:28:59.519 --> 00:29:02.240 When you look at him he's always kind of very serious and quiet. 00:29:02.400 --> 00:30:12.400 Right so the whole time you know we had a rehearsal after the first show in Europe uh like you know he just doesn't say anything and I'm like dude oh man JT hates everything I'm playing it's just like oh man this guy hates me you know and but I was like all right just go still got a couple of weeks to go you know learn the songs and got it familiar with them and and after the second gig I think it was we're in Berlin and right before we left uh Henry comes in and he was like man you've been killing man and and and if you if you want the gig is yours and I was like oh I'm like it's like yeah we're just talking with JT and you know if you want the gig is yours I'm like really JT said that uh so that was like that was a very you know reaffirming uh moment I was like oh this is cool okay uh something something right right right right so yeah so so that's cool so I've been with them for two maybe two and a two years two and a half years or something and um yeah you're about to go record new new got a new record next year next month uh we're gonna start recording and then got an Ear up run in in March. 00:30:13.039 --> 00:30:23.039 But that that's a fun that's a fun uh that's a fun gig man like Chris Chris Chris McQueen you know him amazing guitar player too and you know got to play all the weird stuff. 00:30:23.359 --> 00:30:24.079 Excellent. 00:30:24.319 --> 00:31:05.440 Yeah so how'd you how'd you end up doing the thing with uh the Mighty Grissom as well yeah well Grissom was through uh uh Sean Gatings and Mike Davler that that were playing with him at that time uh and uh at some point they need a sub on bass and they were kind of trying to get me uh to play with Grissom because Grissom is very he doesn't change musicians that much like like his regular guys are kind of his regular guys you know he

doesn't get a lot of new people unless it's like an emergency um so at some point I think they you know they pushed him enough and I'm like man you know whatever you don't have a bass player for this Tuesday a second and you got Eli. 00:31:05.599 --> 00:31:11.599 It's like oh alright I'll give it a shot and that first gig was like a was a blast. 00:31:11.920 --> 00:31:21.200 You know or able to like really open things up and and uh and because I already played so much with Sean and Davila you know we already had a thing. 00:31:21.279 --> 00:31:29.839 So like we already like rhythm sex was super tight so just stop playing with David it was just it's like oh man I've been playing stuff here that I didn't even know it. 00:31:30.079 --> 00:31:40.640 You know yeah so so that started still got into rotation so with with Grissom is usually me and Rob Alton we kind of alternate gigs at the uh the regular gigs of Saxon. 00:31:40.960 --> 00:31:44.880 Uh it just became a thing and that's actually like my favorite gig in town. 00:31:45.039 --> 00:31:51.279 She's on the break she's on the break right now but man that's like my my favorite even though we play a lot of the same songs. 00:31:51.599 --> 00:31:52.640 But they're always different. 00:31:52.960 --> 00:31:58.880 Every time is different you know and I'm usually the guy they're like I'm gonna be pushing this like let's see how far we can take this. 00:31:59.119 --> 00:32:01.680 Right right and then well that's good. 00:32:02.000 --> 00:32:03.119 Makes it make makes it fun. 00:32:03.279 --> 00:32:07.680 So it was cool yeah the first time that you played that too I'm like oh man we got Greg here too. 00:32:08.640 --> 00:32:12.240 That was a blast there was a there were some good moments. 00:32:12.640 --> 00:32:22.079 Oh yeah that was that was fun I look like a little midget next to you but can you say that I don't know if you can say that anymore but yeah I think midget is still okay. 00:32:22.400 --> 00:32:24.960 We're diminutive individual. 00:32:25.279 --> 00:32:57.359 Yeah yeah you know I was I was a little guy well excellent so you you you reckon you're gonna do some a little bit of touring with your with your solo material or you're gonna see what happens I I I'd like to I just get this uh try to get this out of the way as far as the the album release um and then I want I want to have something in New York I'll have I want to have an official release in New York and uh probably before the end of the year or early next year if possible. 00:32:57.440 --> 00:33:00.960 And I've and I'm trying to like figure out if we can make something happen in them too. 00:33:01.119 --> 00:33:05.680 Oh there you go around would be would be cool because I'll I'll probably be there anyway. 00:33:05.920 --> 00:33:14.480 So I can just bring a couple of my guys and and you know even if it's the trio thing or I guess some guys they are there too like you know we know we we know enough people. 00:33:14.799 --> 00:33:16.240

Yes there's people lurking. 00:33:16.640 --> 00:33:23.279 Yeah yeah but I like to do some runs up so I'm just trying to like kind of sell where I can do this because as you know it's not it's not the cheapest thing. 00:33:23.440 --> 00:33:25.680 And I'm trying not to like be in the red too much. 00:33:25.839 --> 00:33:26.000 Right. 00:33:26.079 --> 00:33:29.359 I don't mind I don't mind not really making money but I don't want to lose money either. 00:33:29.519 --> 00:33:53.359 At least to pay the guy it's not all about the money but it is a little bit it is a little bit yeah and it's uh I I always think of uh there's something you always say there's like oh man I don't need like a million people but I just need enough exactly that's my line that's uh I don't need a million I just need enough and I always think that it's like I don't need to have like a million followers or a million streams or you know a show with a million people just just enough. 00:33:53.680 --> 00:34:22.559 Well and that's the beauty of how the you know as much as the the internet and and digit the digital realm has affected the music industry in its traditional ways it's also opened up ways for you know get rid of the middle middleman or middle person or forces of evil whatever you want whatever you want to call it and you can you know you have that immediate connection with the followers of the people that like what you do and as a result of that you don't need a million. 00:34:22.639 --> 00:34:37.280 You just need enough people that are going to support what you do and that way you can do the music you really want to do instead of you know being on a label that says well you know it's not this and not that and maybe if you did this and now you can just say how about I do what I want to do and the people that like what I do will buy it. 00:34:37.360 --> 00:34:38.079 And there it is. 00:34:38.480 --> 00:34:55.840 You find your people were you signed to a label before I did have a right I've been on two different labels but the the last thing I did was um I did a blues record on Devin Ullman's label and uh but it was basically it was a compilation of the stuff I'd done before with like two new tracks with some special guests. 00:34:56.079 --> 00:34:56.719 And that was good. 00:34:56.800 --> 00:35:16.480 I mean that was it was for the right reason you know Devin was able to pull a few strings knew some people and that opened up a few doors uh but again the the most what we sold the most of is I got on Rick Biotto's show and Rick Biotto did an interview with me and and I played some we talked about the record that sold more records than anything. 00:35:16.719 --> 00:35:21.360 Wow so you know it's all the the stuff that you can manage to do online. 00:35:21.679 --> 00:35:38.079 That's I mean because all the guitar magazines and stuff I mean it's always good press is good good to have press you know yeah but I I think so many people are just immune to the fact that you know they

get these guitar magazines and oh here's another person with a record I I don't really see any traction as a result of it. 00:35:38.400 --> 00:35:58.159 It's not going to hurt but the things that I find is you know you get on as many you know of these types of things as possible where there's like a crowd that comes out and this is what they like to listen to about new things and then they they act as opposed to you know the the people that get subscription to a magazine and they just kind of you know whiz on by. 00:36:00.480 --> 00:36:27.599 Just to look at it more they've seen in the toilet just you know exactly the thing is I think a lot of people are hip to the fact too as well is that it's you know a lot of people that are getting a lot of big write-ups in in on uh this is not always the case I want to preface that but uh you know a lot of people that end up on the cover of magazines or and you get the big articles they're in league with people that are advertising a lot in those magazines. 00:36:27.920 --> 00:36:31.920 So as a result people are you know they're a little you know they're a little skeptical. 00:36:32.000 --> 00:36:38.159 You know people are and rightly so you know there's a lot of as we know the music business isn't necessarily a meritocracy. 00:36:38.239 --> 00:37:00.800 So a lot of the stuff that gets the big push is maybe not something that is uh you know it's it's stars aligning with with um with people with mutual interest as opposed to finding stuff uh organically online or through the various different streams of building up your own crowd that's the shit that's what gets it done then you can make some of that money we were talking about. 00:37:01.039 --> 00:37:09.840 Well yeah yeah I've tried to find those yeah so let's talk a little bit about a gear for the fun of it because you I've seen some great amps behind you. 00:37:09.920 --> 00:37:11.360 So what kind of stuff are you using on the record? 00:37:11.440 --> 00:37:23.280 There's some great acoustic stuff on this record the electric stuff sounds great but I see you got a couple of glorious Marshalls behind you and a Jim Kelly and a Morgan next oh yeah oh can you see all that? 00:37:23.360 --> 00:39:38.880 Oh yeah oh yeah got a got a few things so the the first one uh that one on top there I mean people probably can't see it but you can is the is a 7350 watt uh super lead I actually got that from Osnoy way back when okay that's that's the amp that he used on all his first records and stuff uh and I use that amp a lot it's it's so amazing right and and then the uh the Jim Kelly I got that from uh from Grissom a few years ago he used to have two uh and I remember Dave Scher bought one of them okay you know I'm a big Jim Kelly fan I oh yeah me too and and and and they they bought one and I'm like man Grissom sold you one of his uh uh Jim Kelly I was like damn I wanted one and and he's like oh he has a second one but I don't think he's selling it but I told Dave I was

like hey if you ever decide to get rid of this tell me first right uh which at some point you know he uh once he reached out I had just made like a big purchase for something it was like the worst time possible for me to buy anything but I was like I can't miss this I just I'll figure it out and I was able to get it uh and then the the Morgan is like SW50 it's kind of lightweight it's kind of like a it's kind of like a fender uh deluxe type of type of sound clean app and actually I saw Michael Landau using one and I'm like oh okay good you know why don't I sound why don't I sound like him but and then I have uh hand wire ET30 oh yeah head got a 68 showman I got for my friend from the Peterson brothers and then uh custom out electronics the BT100 that's my first like good camp head kind of fender marshall and then I got and then I got this fun guys here those uh a friend of mine actually kind of gave him to me is the 200 watts there's uh 1968 super tremulous suplexy that's uh it's the marsh I use the most now is just yeah it's like you put a guitar through it you just turn it on and even even on the cleaner setting just like this is what guitar is supposed to sound like it sounds like a record all the time and then underneath I have uh I think it's a 71 um super bass. 00:39:39.119 --> 00:39:39.440 Okay. 00:39:39.599 --> 00:39:44.159 Yeah I can't I can't prove it but I believe that's uh that was Eric Johnson's at some point. 00:39:44.400 --> 00:39:44.719 Okay. 00:39:45.039 --> 00:41:10.159 Uh I should probably try to ask him uh the little ancillary tweed little guy right there uh the matchless 8C30 and then I got that JMP that's a 20 watt 1969 uh 20 watt jmp which is like a mini plexi yeah yeah that thing backs a punch too it's sound it sounds like the big plexi but at a more it's still loud as out right but more like manageable level comes the matching cabinet thing like two uh greenbacks uh yeah it's got a little 57 champ just a volume knob in there you know Princeton no deluxe you got a few things so what do you what do you like to take out when you're gigging on guitar what do you use man most of the times uh is uh the deluxe reverb I have uh a 70s one that Lee Jackson working on worked on okay yeah yeah yeah Lee's a guy in town here and I mean people know him from LA and stuff and work with all the all the greats yeah I remember the the the Lee Jackson uh ampegs in the eight in the late 80s early 90s they were nice I would love to hear you just have just be in the room with you and him sitting down and talking man that but that might be like the best uh he's got so many stories like you you should you should probably get him at some point like all right next time I'm in town or maybe I'll have him on the I'll have him on the show. 00:41:10.400 --> 00:42:27.519 Yeah man he's yeah he's the best he worked with everybody Steve Ivan Halen he worked on Van Halen's number one amp and you know Paul Rivera and Paul Gilbert he was like the first guy to

work on Paul's first amp when he first moved to California and stuff and so his guy stories from like the you know the rock and roll uh 80s the 80s era yeah yeah the whole hair metal thing he was part of that whole thing it's sometimes I go to his place it's like hey man I have this amp here I need a little work but let's just sit down and then you just chat and and just just just let him talk uh he's the best and he knows his stuff too at least uh at least the man and then uh guitars I got like a room full of guitars and I used a lot of um I have a couple of 335s uh I have an 81 with the team shop pickups I have a custom shop 64 that use a lot on the record I have uh a tele which is kind of like a park tell a rock and roll relic and that's probably the uh the one I've used the most is the first tele I've ever I've ever bought like this and uh and it's the one with the like chunky neck that's what what got me into like fat next too yeah because I and I started selling all my skinny neck guitars I can't I can't play those things anymore yeah and uh what else did I use? 00:42:27.760 --> 00:43:10.719 I got a no Gibson J45 most of the acoustics are the Gibson like the uh mid 60s um yeah Martin Eric Clapton acoustic um yeah I have an exotic strat that I use a lot I don't play much strats anymore because I feel like everybody plays strat right so I got a little I don't know I like for certain things but I was like I don't want to be that guy I don't know why I don't know the same thing you know I at one point I just like I'm done being strat guy I'm just gonna be telly guy but then I pick up a strat and there's things I do on a strat that I don't do on a native guitar so I'm like well okay I'll keep one around and so then I did that latest one with uh with Reverend where we did some tweaks and it it does a thing. 00:43:10.800 --> 00:43:11.360 You know what I mean? 00:43:11.440 --> 00:43:16.880 So yeah that's kind of cool because it had the switches right kind of the the the serious parallel thing and a little boost or something. 00:43:17.039 --> 00:43:21.599 Yeah it's got the yeah the the second voice which is a little hotter and it's got a thing. 00:43:21.840 --> 00:43:38.079 Yeah I've I've I've been down to try that I I saw uh yeah when I heard with you uh with the telly with the reverend telly I was like oh man when you change stuff like that's actually kind of cool yeah and plus it's noise free so it's it sounds great it's noise free and it's got that extra boosty thing. 00:43:38.800 --> 00:43:41.199 So it's it's it's comes in quite handy. 00:43:41.519 --> 00:43:42.719 That's pretty nice. 00:43:42.960 --> 00:43:46.480 For the service of rock all the time. 00:43:46.719 --> 00:43:47.199 Yes. 00:43:47.920 --> 00:44:03.039 So the Marshall thing I mean I'll I'll tell you what it's uh you know I always uh my line that I like to use is that when you're done fucking around Marshall because it's just it's the most it's just what All the sounds we grew up listening to, that's it. 00:44:03.199 --> 00:44:05.360 I mean, as much and fenders are great, obviously. 00:44:05.440 --> 00:44:13.920 Uh the fender sounds more cleaner and there's there's some that are dirty, but Marshall for the for all of the real, you know, stuff with some hair on it. 00:44:14.239 --> 00:44:16.800 I feel like the real grown-up stuff. 00:44:16.960 --> 00:44:17.280 Right. 00:44:17.440 --> 00:44:18.880 It's like it's usually the Marshall. 00:44:19.119 --> 00:44:19.760 Yes, exactly. 00:44:19.920 --> 00:44:20.079 Yeah. 00:44:20.320 --> 00:44:25.039 Even though on sessions, I use the Jim Kelly the most because it can get a little bit of that that grit. 00:44:25.440 --> 00:44:27.920 But the clean stuff sounds like huge. 00:44:28.239 --> 00:44:28.559 Yes. 00:44:28.800 --> 00:44:31.599 So is that a two-channel one that you have or just a single channel? 00:44:31.920 --> 00:44:33.920 It's the single channel with the boost and stuff. 00:44:34.079 --> 00:44:34.239 Okay. 00:44:34.400 --> 00:44:37.599 Yeah, but yeah, the boost and the the mid-boost and the regular boost. 00:44:37.760 --> 00:44:40.400 But yeah, it's the the what Stir started making them. 00:44:40.559 --> 00:44:40.960 Yeah, exactly. 00:44:41.199 --> 00:44:41.840 Oh, the look at the stuff. 00:44:42.000 --> 00:44:43.679 Yeah, it's the Surgeon Telly one. 00:44:43.920 --> 00:44:48.480 I had one of the newer ones and it was really nice, but it was like too loud and clean for me. 00:44:48.639 --> 00:44:51.119 I mean, it was great, but it was worth a lot of dough. 00:44:51.280 --> 00:44:57.280 And I think when I was when I wanted to buy my 53 telly, it had to go in service of the 53 telly. 00:44:57.519 --> 00:45:09.119 But back in the day, I had because this buddy of mine from uh who was actually from Texas, this is 30 years ago, um, he's like, hey, guitar player friends of mine down in Texas, if you if they play Jim Kelly amps. 00:45:09.199 --> 00:45:11.360 If you ever see a Jim Kelly amp, just buy it. 00:45:11.599 --> 00:45:17.119 And I was in this music store in Milwaukee probably in 1988. 00:45:18.320 --> 00:45:25.039 And um and I looked down and I see this combo app, and it had this, you know, this leather cover on it, and it said Jim Kelly on it. 00:45:25.280 --> 00:45:29.920 And it was one of these music stores where I was like everything's just piled up, you know, old school, you know. 00:45:30.079 --> 00:45:30.639 Oh yeah. 00:45:30.880 --> 00:45:34.800 And um and I and it was run by this family and uh the Zanonis. 00:45:35.039 --> 00:45:37.760 And I said to Bob Zanoni, it's like, hey, what's the deal with this Jim Kelly? 00:45:38.079 --> 00:45:40.719 I was like, I don't know, some studios getting rid of some shit. 00:45:40.880 --> 00:45:42.320 Give me 400 bucks for it. 00:45:42.480 --> 00:45:45.199 So I just I didn't I didn't even plug it in. 00:45:45.360 --> 00:45:50.400 I first and I and 400 was like a million dollars to me back then, but I I just happened to have it.

00:45:50.480 --> 00:45:50.639 Yeah. 00:45:50.800 --> 00:45:52.320 So I was like, I'll take it. 00:45:52.559 --> 00:45:55.679 So I bought that app, and that was my main app, but it was a two-channel one. 00:45:55.760 --> 00:46:01.199 So it was it was called the FACS, foot activated channel switching version of the two. 00:46:02.480 --> 00:46:05.840 So it was a combo with a single uh 12 JBL 120. 00:46:07.119 --> 00:46:15.840 And then it had the custom uh attenuator with it that worked so you could keep the first channel clean and keep the second channel, just drive the power amp. 00:46:15.920 --> 00:46:18.480 Yeah, and it was freaking glorious. 00:46:19.440 --> 00:46:20.480 How heavy was it? 00:46:20.639 --> 00:46:21.679 It was heavy. 00:46:22.000 --> 00:46:25.599 It was heavy, but that was my main amp, and then I blew it at one point. 00:46:25.679 --> 00:46:37.679 There's something I fried something inside, and after they my guy repaired it, and at that time it was kind of hard to get decent 6v6 tubes, and it just never sounded right after that. 00:46:37.760 --> 00:46:42.079 And and then I ended up and then, of course, you know how it is like oh, doesn't sound right. 00:46:42.239 --> 00:46:50.400 Now I'm using something else, and then someone made me an offer I couldn't understand, so I got rid of it, and I always regretted getting rid of that amp. 00:46:50.880 --> 00:46:54.400 Because they just they just load up in a way that just sounds so great. 00:46:54.639 --> 00:46:56.480 They they do a thing for sure. 00:46:56.559 --> 00:47:03.760 That's and I think that's what Grissom's feeling now, like you know, he's mentioned a few times, he's like, hey, uh, were you selling the Jim Kelly? 00:47:03.840 --> 00:47:05.840 If you ever do, I I I kind of miss it. 00:47:06.000 --> 00:47:09.519 Ah and I'm like, sorry, bro, it's not going anywhere. 00:47:10.639 --> 00:47:12.239 But if something happens, you never know. 00:47:12.719 --> 00:47:13.519 Yeah, exactly. 00:47:13.760 --> 00:47:16.639 But it's kind of it's like a souped-up deluxe, basically. 00:47:17.280 --> 00:47:17.519 Yeah. 00:47:17.920 --> 00:47:20.320 But it's nice to have like that that mid boost and stuff too. 00:47:20.400 --> 00:47:21.519 It gets kind of dumbly. 00:47:21.760 --> 00:47:21.840 Right. 00:47:22.079 --> 00:47:30.159 A little bit a little bit a little grainy, but it's still got that sound, which which my deluxe gets too after Lee uh worked on it. 00:47:30.400 --> 00:47:32.960 He kind of did a little bit of the reverer mod to it. 00:47:33.119 --> 00:47:37.199 Not all of them, but just just uh the cleans, like it's good upon the two channels. 00:47:37.360 --> 00:47:41.679 He put a master volume in the back for the second channel, it's like that thing gets dirty too. 00:47:41.760 --> 00:47:42.559 It's yes. 00:47:42.800 --> 00:47:48.239 I can I can just take that to any gig and like it'll cover the fender marshall thing. 00:47:48.960 --> 00:47:50.559 Too much fun. 00:47:50.960 --> 00:47:51.360 Delicious. 00:47:51.599 --> 00:47:52.079 Oh yeah. 00:47:52.320 --> 00:47:55.280 So how many uh what's your gigging schedule like when you're in Austin? 00:47:55.440 --> 00:48:05.119 Do you do you gig every weekend or or do you just gig a couple times a month, or are you you're trying to keep as busy as possible, or does studio stuff kind of preclude all that? 00:48:05.440 --> 00:48:07.280 Oh, there's uh I mean it's all kinds. 00:48:07.440 --> 00:48:13.440 Because I played uh because also because I do gigs on bass and guitar, I get to play with a bunch of different bands and different artists and stuff. 00:48:13.599 --> 00:48:14.000 Right. 00:48:14.239 --> 00:48:17.199 So uh so I'm usually pretty busy. 00:48:17.280 --> 00:48:26.239 I think this week, today I'm um today I'm off, but I had I had stuff yesterday, I had I had stuff for the rest of this week, then going to California this weekend. 00:48:26.480 --> 00:48:32.000 Then as soon as I get back, got a couple more gigs throughout the week and and then go to New York for the weekend. 00:48:32.239 --> 00:48:35.039 Uh so that's that's that's a lot of work. 00:48:35.280 --> 00:48:38.320 There's some section people send me stuff all the time to record at home. 00:48:38.400 --> 00:48:40.480 And I I like going to the studio. 00:48:40.639 --> 00:48:44.960 Every once in a while we still get like live bands in the studio, and that's kind of my favorite. 00:48:45.119 --> 00:48:45.280 Right. 00:48:45.440 --> 00:48:49.199 I have I have one of those coming up uh next week, and I'm kind of looking forward to it. 00:48:49.519 --> 00:48:58.559 But I do a lot of stuff here and and and I've I got a residency too, uh playing a Toho House in Austin once a month, playing with my music, with my trio and co-for chat. 00:48:58.960 --> 00:49:02.400 So that's been cool to play, you know, be able to play my music and stuff. 00:49:02.559 --> 00:49:06.400 But uh yeah, keep it pretty busy, which is which is nice. 00:49:06.480 --> 00:49:08.960 And I still travel quite a bit, you know. 00:49:09.280 --> 00:49:09.920 Yeah, yeah, yeah. 00:49:10.639 --> 00:49:13.119 New York, California, and try to, I don't know, trying to. 00:49:13.360 --> 00:49:16.000 So what are you doing out in uh California this weekend? 00:49:16.159 --> 00:49:16.880 Who are you playing with? 00:49:17.039 --> 00:49:20.800 Yeah, I'm playing with this uh uh with two artists, uh Andrew McGee. 00:49:20.960 --> 00:49:22.960 They both are based in Austin and Gina Chavez. 00:49:23.199 --> 00:49:35.519 So Andre is from uh Ireland, she's like a kind of singer song writer, but great, she got great songs, and uh she plays flute, percussion, this boron with like this Irish percussion thing and acoustic guitar. 00:49:36.480 --> 00:49:42.559 And we're doing some kind of uh fancy, expensive party from somebody there, apparently. 00:49:42.800 --> 00:49:43.280 Excellent. 00:49:43.440 --> 00:49:44.960 Uh I love those kind of parties. 00:49:45.119 --> 00:49:48.239

I like that's what you're saying, you know, private beach and all the kind of stuff. 00:49:48.320 --> 00:49:49.039 I'm like, yeah. 00:49:49.679 --> 00:49:50.320 Yes, please. 00:49:50.559 --> 00:49:52.159 I'll do that. 00:49:52.480 --> 00:50:02.320 Uh so do that, and then I got a thing in New York next week, and uh and then just come back because with and then October I'll be in New York doing the fork record for about a week. 00:50:02.639 --> 00:50:05.440 And I come back two days before my album released. 00:50:05.760 --> 00:50:08.800 So that's gonna be kind of kind of wild too. 00:50:08.880 --> 00:50:10.079 But I I like being busy. 00:50:10.159 --> 00:50:15.280 I I had to take a break because uh I don't know if you saw I did uh I had a little wrist surgery. 00:50:15.519 --> 00:50:20.639 Oh, early this year I found like there's a little cyst on my wrist. 00:50:20.960 --> 00:50:21.119 Okay. 00:50:21.599 --> 00:50:32.559 Which a lot of people get, like the ganging assist and stuff, but apparently mine was like deep enough and it was somewhere that like it was like really hurting and it was was pretty kind of bad. 00:50:32.800 --> 00:50:36.480 Nasty and for a guitar player, you're like, oh man, now I can, you know. 00:50:37.360 --> 00:50:43.679 So before every gig I had to just take some bunch of Advil or whatever, and and oh the drag. 00:50:44.159 --> 00:50:48.400 Man, but anyway, eventually I found this uh this doctor between New York and Austin. 00:50:48.719 --> 00:50:51.280 The same guy that actually works on uh uh Mike Stern. 00:50:51.599 --> 00:50:53.920 Mike Stern had the the surgery of the shoulders and stuff. 00:50:54.000 --> 00:50:55.039 Yeah, the same dog, Dr. 00:50:55.119 --> 00:50:55.840 Baron. 00:50:56.159 --> 00:51:01.760 And uh and I just went ran across a friend of mine that I hadn't seen in a while who's working with this foundation that Dr. 00:51:01.840 --> 00:51:04.320 Barron created, the the it's called MTF. 00:51:04.400 --> 00:51:05.920 This might be helpful for some people actually. 00:51:06.079 --> 00:51:08.480 It's called Musicians Treatment Foundation. 00:51:08.800 --> 00:51:11.039 And it's basically uh so Dr. 00:51:11.199 --> 00:51:20.400 Barron started there with Elvis Costello, uh, and it's just to help musicians that, you know, a lot of them don't have health insurance or can't really afford to have stuff. 00:51:20.559 --> 00:51:24.239 And uh so they they uh they do that. 00:51:24.320 --> 00:51:29.920 So I met him, uh they sign me up and stuff, and cost barely anything. 00:51:30.079 --> 00:51:37.440 For me, just like basic stuff, and and and the doctor he just did uh he did the surgery on me uh a couple weeks ago. 00:51:37.760 --> 00:51:45.679 And in the he's like, alright, just chill for a week, just just take off, but you know, move your fingers and stuff, and in a week you can gig again. 00:51:45.920 --> 00:51:46.639 I'm like, really? 00:51:46.719 --> 00:51:53.679 You're gonna open my wrist, stitch it up, I'm gonna I'm gonna have a cast for like five, six days, and then you can say that I can play in a week. 00:51:53.760 --> 00:51:57.199 It's like, yeah, your physical therapy is actually play more guitar. 00:51:58.000 --> 00:51:59.679 I'm like, cool. 00:52:00.320 --> 00:52:01.840 So anyway, that that would happen. 00:52:01.920 --> 00:52:02.719 That that happened. 00:52:02.880 --> 00:52:09.840 And uh exactly a week later, I had a gig, I had my own gig schedule, my my monthly residency that I didn't want to cancel. 00:52:10.320 --> 00:52:14.159 So uh so I played that and it was it's fine, you know. 00:52:14.320 --> 00:52:17.199 Just got a little little scar here on my wrist, but it's yeah, yeah. 00:52:17.519 --> 00:52:20.480 Crazy it's healing up, it's all closed up. 00:52:20.559 --> 00:52:21.840 It's been like less than two weeks. 00:52:21.920 --> 00:52:23.039 It's like it's wild. 00:52:23.280 --> 00:52:24.239 That is wild. 00:52:24.559 --> 00:52:26.400 But it's always scary, you know. 00:52:26.480 --> 00:52:26.719 I know. 00:52:26.800 --> 00:52:29.360 I don't know if you ever had any any issues that like preventing you from playing. 00:52:29.760 --> 00:52:30.800 I've been really lucky, you know. 00:52:30.880 --> 00:52:39.920 I I um but it it is scary because as you said, I mean these things just come out of the blue, so you know you can never take it for granted. 00:52:40.079 --> 00:52:41.760 But I've been um I've been real healthy. 00:52:41.840 --> 00:52:50.960 The other thing I started a few months back, I started to get uh my first finger on my left hand, I'd wake up and it would be sore and stiff. 00:52:51.360 --> 00:52:53.840 But then as soon as I'd wake up, it was it was fine. 00:52:53.920 --> 00:52:55.679 And then it didn't affect my playing at all. 00:52:56.320 --> 00:53:02.960 But it was just in the morning when I wake up and it'd be stiff, and and I haven't had it now for a couple and it's been fine for however long. 00:53:03.119 --> 00:53:05.360 So I think I was just sleeping on it wrong or something. 00:53:05.519 --> 00:53:05.840 Yeah. 00:53:06.000 --> 00:53:08.960 Uh yeah, yeah, those things in the morning, that's when it's worse. 00:53:09.039 --> 00:53:11.119 Like I always wake up, my hand would be like all stiff. 00:53:11.440 --> 00:53:16.559 And then as as it starts moving, you know, you got the fluids there and stuff in the joint, and then it gets better. 00:53:16.800 --> 00:53:17.280 Right. 00:53:17.599 --> 00:53:20.079 But yeah, man, that's not fun. 00:53:20.639 --> 00:53:22.159 No, no, no, no, no, no. 00:53:22.239 --> 00:53:24.960 Yeah, it's uh it's a crazy thing. 00:53:25.119 --> 00:53:29.440 I mean, I just um I just saw Clapton the night before last. 00:53:29.599 --> 00:53:35.280 And I've I've seen Clapton uh uh, you know, I think this was the seventh or eighth time I've seen him live, you know. 00:53:35.440 --> 00:53:35.599 Yeah. 00:53:35.760 --> 00:53:42.559 And uh, you know, the guy's 81, so you expect some some slowing down and so

on and so forth, but I was really taken aback. 00:53:42.719 --> 00:53:48.880 You know, it was it was really there were just a couple times where I was like, oh, it just dawned on me. 00:53:48.960 --> 00:53:53.920 It's just like, you know, at some point for everyone, it's just not gonna be what it was. 00:53:54.079 --> 00:53:54.719 You know what I mean? 00:53:54.800 --> 00:53:57.199 And and so it's still great that he's out there playing. 00:53:57.440 --> 00:54:04.320 The I'm sure the vast majority of people they didn't realize, you know, but I know it's playing backwards and forwards, you know. 00:54:04.480 --> 00:54:05.119 Right, right. 00:54:05.280 --> 00:54:11.360 Uh, but there were times where I was just like, I I was like, oh, and I just you just get sad because you realize, well, that's gone now. 00:54:11.440 --> 00:54:12.320 You know what I mean? 00:54:12.639 --> 00:54:15.119 The way that it was is not gonna be anymore. 00:54:15.199 --> 00:54:16.159 And that's just life. 00:54:16.239 --> 00:54:17.119 You know what I'm saying? 00:54:17.280 --> 00:54:24.079 But that's why my what I was saying before, it's like you can never take any of that for granted because like in a millisecond, that shit can be gone. 00:54:24.159 --> 00:54:24.800 You know what I mean? 00:54:25.039 --> 00:54:25.679 Oh, absolutely. 00:54:25.840 --> 00:54:41.760 This is like it made me feel so much more grateful now that like it wasn't like anything like life-changing, but just enough to kind of give you a little you know, a little nudge of like, oh crap, I gotta one take care of myself better, which I'm I'm not bad. 00:54:41.840 --> 00:54:46.719 Like, I eat pretty well, I took I take care of myself, but you know, those things you don't have much control over. 00:54:47.039 --> 00:54:50.800 But even it's like, man, I I'm lucky to be doing this. 00:54:50.880 --> 00:54:58.079 Because any moment it could be taken away, and now I'm like, and now I'm I'm more uh and now I want to practice more. 00:54:58.159 --> 00:54:59.280 And I was like, you know what? 00:54:59.360 --> 00:55:01.039 Now I need to really step up my game. 00:55:01.199 --> 00:55:08.559 Like there's no reason why I basically get a chance to play more and and just be mediocre, you know. 00:55:08.639 --> 00:55:20.960 And I was saying that you know I'm bad or whatever, but I was like, I like I need to step up even more, you know, because you get you get busy with just like playing a lot and stuff, and and I'm like, no, this never ends. 00:55:21.039 --> 00:55:22.960 You just gotta keep for acting, like hockey. 00:55:23.840 --> 00:55:26.320 But you're you're doing you're doing just fine. 00:55:27.119 --> 00:55:28.719 The record is stunning, it's great. 00:55:28.960 --> 00:55:32.159 And I I encourage everyone to go out there and pick it up. 00:55:33.199 --> 00:55:39.760 As you said, like it's it you're not gonna do streaming at first, you're just gonna do band camp and you're gonna do hard physical copies, correct? 00:55:40.079 --> 00:55:40.880 Finals, yeah, yeah. 00:55:40.960 --> 00:55:41.360 Yeah. 00:55:41.599 --> 00:55:41.920 Yeah. 00:55:42.079 --> 00:55:42.960 But but we'll get there. 00:55:43.039 --> 00:55:50.880 Yeah, I mean, if there's enough of uh demand, you know, I might start streaming sooner, but uh it's gonna be it will be available at your website? 00:55:51.119 --> 00:55:52.079 It'll be on my website, yeah. 00:55:52.320 --> 00:55:54.800 And which is eliminates.com. 00:55:54.880 --> 00:55:57.280 Yeah, so Eli M-E-N-E-Z-E. 00:55:59.360 --> 00:56:00.159 So it'll be there. 00:56:00.320 --> 00:56:04.719 And uh and uh on Bang Camp, you know, look me up that too. 00:56:04.800 --> 00:56:11.360 And and I I I only released one song um on on the streaming things from this record, which is the one that opens the record with. 00:56:11.440 --> 00:56:12.559 It's called Lay's Lullaby. 00:56:12.800 --> 00:56:13.440 Right, yeah, it's beautiful. 00:56:13.760 --> 00:56:15.760 That that's a song that I dedicated to my mom. 00:56:15.920 --> 00:56:18.960 My mom passed away uh in November 2024. 00:56:19.119 --> 00:56:19.599 Oh, I'm sorry. 00:56:19.840 --> 00:56:23.360 Uh first better better than cancer for a while, it's like you know, a whole thing. 00:56:23.519 --> 00:56:32.159 But uh it's cool that I actually she got to hear that song because she was able to come here and already had it, you know, before before she passed and stuff. 00:56:32.320 --> 00:56:42.159 And and that I kind of did it for her almost like you know, you're kind of sitting like in the front porch, like looking at the mountains kind of thing, you know. 00:56:42.400 --> 00:56:42.559 Yeah. 00:56:42.880 --> 00:56:47.840 Uh it has that vibe, you know, I'm playing a beritone, a guild beritone acoustics that I have in a mandolin. 00:56:48.400 --> 00:56:55.280 And and you can kind of hear nature and and things, and it has a little bit of Pat Matheny thing, which it was not on purpose. 00:56:55.679 --> 00:57:00.559 You know, uh uh, which is funny, like the subconscious thing is kind of weird. 00:57:00.719 --> 00:57:01.679 But there's there are parts of it. 00:57:01.920 --> 00:57:13.519 It was like, oh, I think it was Dave Terry actually, like, oh man, it's got a Pat Matheny thing here, you know, got a little bit of a uh James thing, and I'm like, I've never thought of it, but it's like I can hear some of the some of the influences. 00:57:13.760 --> 00:57:14.320 Yeah, yeah, yeah. 00:57:14.800 --> 00:57:15.199 Yeah. 00:57:15.760 --> 00:57:18.400 Not on purpose, but yeah, that that's the one that opens the record. 00:57:18.719 --> 00:57:19.679 Yeah, it's a beautiful too. 00:57:20.000 --> 00:57:23.760 Yeah, just just simple kind of sets the vibe for the rest of it, you know. 00:57:24.000 --> 00:57:36.719 Which is more of a uh more of a mix of a friend of mine said like the all the place life beam, basically, because that sounds from New York, sounds from Brazil, and a little bit of that rootsy Austin thing

too. 00:57:36.960 --> 00:57:37.599 Yes. 00:57:38.079 --> 00:57:39.760 That Austin filth. 00:57:40.159 --> 00:57:41.199 Yeah, just enough. 00:57:41.360 --> 00:57:42.000 Just enough. 00:57:43.119 --> 00:57:44.079 Dirty enough. 00:57:44.719 --> 00:57:45.679 Just a taste. 00:57:46.159 --> 00:57:46.639 Oh, yeah. 00:57:46.800 --> 00:57:47.760 It's pretty awesome. 00:57:48.000 --> 00:57:57.199 Well, as you said, old old uh old David Grissom's on a little bit of a break, but they they were kind of announcing that it was the end of his uh residency, but he's like, I've just taken a break for a while, man. 00:57:57.280 --> 00:57:58.480 I just need a break. 00:57:58.800 --> 00:58:06.800 Yeah, he's like, you know, I got you know, he's got a house up uh up north in Michigan, and he's like, let me work on that for a little bit, and then I'll come back and we'll continue. 00:58:06.880 --> 00:58:12.960 So I mean everything is up in the air right now a little bit still, but uh we're hoping that like by the end of the year he comes back. 00:58:13.039 --> 00:58:21.199 And I don't know if it's gonna be a once-on-one thing, or I hope he goes back to weekly Tuesday sex because that's that's like my favorite gig in town. 00:58:21.440 --> 00:58:21.599 Right. 00:58:21.760 --> 00:58:31.760 Well, once trust me, once Dave gets a sniff of winter in the uh in the Northlands here, I mean it has its moments for a while, and then you're like, okay, I'm done. 00:58:32.400 --> 00:58:33.280 Yeah, yeah. 00:58:34.320 --> 00:58:35.679 I spent most of my life in New York. 00:58:35.760 --> 00:58:37.119 I'm like, Yeah, you understand. 00:58:37.280 --> 00:58:37.840 Yeah, yeah. 00:58:37.920 --> 00:58:39.599 I I I I could do without the winter. 00:58:39.760 --> 00:58:44.719 The snow and the slushy and the messy, especially in New York, they get messy the day after snows. 00:58:45.280 --> 00:58:46.079 Oh yeah. 00:58:46.400 --> 00:58:48.079 Yeah, it's not it's not fun. 00:58:48.320 --> 00:58:53.599 Yeah, but but then on the other side, now I'm in Austin, it's like September and it's like 90 degrees right now. 00:58:53.840 --> 00:58:54.719 Right, exactly. 00:58:54.960 --> 00:59:00.880 So the one thing I will say about winter that I find is the worst, especially as you get older, is ice. 00:59:01.119 --> 00:59:03.519 Ice is like it's terrifying. 00:59:03.760 --> 00:59:08.320 Because all you gotta do is fall once and you're you're in deep shit. 00:59:08.639 --> 00:59:09.280 Yeah. 00:59:10.000 --> 00:59:12.400 And uh yeah, it's it's scary business. 00:59:12.480 --> 00:59:13.840 So you because I love to walk. 00:59:13.920 --> 00:59:16.559 My wife and I go to you know go on long walks all the time. 00:59:16.639 --> 00:59:22.880 And once the weather changes and there's some ice out there, it's like, okay, it's time for time to go to the planet fitness. 00:59:23.280 --> 00:59:27.679 Yeah, because going outside is you're taking your life in your hands. 00:59:28.000 --> 00:59:29.440 Oh, for sure. 00:59:29.920 --> 00:59:30.480 Yeah. 00:59:30.800 --> 00:59:31.760 No fun. 00:59:33.199 --> 00:59:34.400 Well, listen, my friend, dude. 00:59:34.480 --> 00:59:35.599 It's so great chatting with you. 00:59:35.679 --> 00:59:37.280 I'm glad we got a chance to do this. 00:59:37.360 --> 00:59:42.960 I've been a little bit uh I I haven't been doing many podcasts lately because I've been so busy on the road. 00:59:43.039 --> 00:59:47.679 And I but when you I I listened to your record a while back and I loved it, and I was meaning to get back to you. 00:59:47.840 --> 00:59:50.880 And then when you emailed again, it's like I gotta get him on before I go to Europe. 00:59:51.039 --> 01:00:05.440 So I'll uh I'll get this over to my buddy who uh who does the um kind of does the spit shine to get it ready and posts it on uh all the different on Buzzsprout, which goes to all the different um all the things podcast layers. 01:00:06.079 --> 01:00:15.599 And uh you know what one of these days I'm gonna start doing the the videos on my on my YouTube channel because my YouTube channel is kind of is growing quite a bit now that I'm doing some different content. 01:00:15.840 --> 01:00:18.320 And uh we've been have been having fun. 01:00:18.559 --> 01:00:20.079 Oh yeah, I mean you you've got it ready. 01:00:20.239 --> 01:00:22.719 It's just like get the same thing, just put it up. 01:00:22.880 --> 01:00:24.079 Bing, bang, boom. 01:00:24.320 --> 01:00:24.880 That's it. 01:00:25.119 --> 01:00:25.840 All right, my friends. 01:00:26.079 --> 01:00:26.559 Great to see you. 01:00:26.639 --> 01:00:28.719 Good luck, Gia, and I hope to see you again soon. 01:00:28.880 --> 01:00:29.679 Uh, thanks, Greg. 01:00:29.840 --> 01:00:30.400 Appreciate you, man. 01:00:30.559 --> 01:00:32.559 And then let me know next time next time you're in town. 01:00:32.639 --> 01:00:33.199 I'll, you know. 01:00:33.679 --> 01:00:34.079 Absolutely. 01:00:34.320 --> 01:00:36.000 We'll jump and we'll eat. 01:00:36.400 --> 01:00:37.280 Got some barbecue? 01:00:37.519 --> 01:00:37.920 Be nice. 01:00:38.079 --> 01:00:38.400 Absolutely. 01:00:38.480 --> 01:00:39.599 All right, my friend, take it easy. 01:00:39.679 --> 01:00:40.159 All right, bro. 01:00:40.320 --> 01:00:40.559 Thank you. 01:00:40.800 --> 01:00:41.360 Bye-bye. 01:00:46.159 --> 01:00:54.000 Thanks once again to our friends at Fishman and to all you for checking out our show, which we call Chewing the Gristle. 01:00:54.159 --> 01:00:55.920 We're gonna keep on keeping on. 01:00:56.159 --> 01:00:57.280 See you soon.