EP #1 - Slacker Dave Loves Jon Taylor and Heidi Ore

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Hello everybody, welcome to the inaugural edition of Slacker Dave Loves Nebraska.
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Yes, I am Dave and I do love Nebraska.
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Uh this is my first podcast.
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I am uh hoping to be able to keep doing this for a long time, but you know, I gotta do the first one and then I gotta do the second one and then third one, and then we'll talk later.
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Uh but uh I'm from Wisner, Nebraska.
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I do love Nebraska.
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I love all things Nebraska.
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The podcast is gonna be, you know, music and anything else I want to talk about.
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Uh because uh life is good.
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For today's uh uh today is uh what is today?
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It's February Super Bowl Sunday, I think.
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Super Bowl Sunday.
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Super Bowl Sunday, it's like I don't know when this will be broad put out on over the world.
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It'll probably be, you know, March or something, maybe not.
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But uh 2026, yeah, just in case.
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So anything we talk about, you know, if it happened right around then, you missed it probably.
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But uh my first guest today, uh, I believe uh I wanted to have them be my first guest because they are kind of my my uh uh origin story in uh Lincoln's music and arts world.
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Without them, I would probably just be going to listening to shows rather than ever playing shows or helping with shows or working at things like that.
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But uh today's guest, John and Heidi.
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John Taylor, Heidi Orr.
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How are you doing, kids?
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We are great, Dave.
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Thanks for this opportunity.
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Oh yes, I'm excited.
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Good to see you, Dave.
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Um, so uh you and Ron, Ronnie Joe.
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Uh without you guys, I you know, you guys took me on the road.
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You taught me how to live in a van uh and sleep in rest areas and people's floors.
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Almost almost taught you how to die in a van, too.
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Yeah, almost killed you.
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But we didn't, well we didn't.
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But we didn't.
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No, no.
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So we're totally off the hook.
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Totally off the hook.
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And uh didn't murder Dave.
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Mark that on your bingo card.
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Or Scott.
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That's right, and we didn't, nope, or Scott.
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No, no, both of those.
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Yeah, that was those are great, great moments.
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You were wonderful.
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You know, I think I taught you I don't stop.
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I think it was the trip to Iowa City.
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I was I was reflecting on on you, and and uh everybody had to go to the bathroom, but Heidi doesn't stop.
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No, no.
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Because if you turn off the van, it might not start again.
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Right.
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That was always the main concern was if the vehicle would work.
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Also, uh gas stations for getting gas, rest areas for going to the bathroom.
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Right.
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Right.
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Yeah, and I think we hit a patch of construction also, just to be fair.
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I don't think I was intentionally trying to torture anybody, but it happens.
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It happened.
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I'm sure I've done it too now.
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I mean, I've learned from the best.
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There you go.
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I have a I have a question on my radio show that I asked everybody.
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Um, like bands that come through, I like to ask when you stop to get gas, who fills the gas, who washes the windows, who does who's got their job.
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Uh, because uh I think uh John filled the gas, Ron washed the windows of the van, I think if I remember right.
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It was it was um it would be a tall person, so it was either Scott or it might have been Ron.
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Um, not me.
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I have a hard time even getting into the middle.
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I'd pay.
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So that was I think that was my rule.
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Yes.
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I had I carried the money, carried the keys.
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You poor things.
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Um well, I guess we should talk about the band.
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We're talking about Mercy Rule at the time.
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Yeah, this is Mercy Rule.
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You know, I guess we know what we're talking about.
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Early 90s.
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Early 90s, and before Mercy Rule was 13 Nightmares, late 80s, and before 13 Nightmares was That's my first band.
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Yeah.
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That's my that's that's I was 13 Nightmares, nurse for old mess.
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I've only been in those bands.
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So random, random college bands that played cover punk rock covers.
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Spawning carp.
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Spawning carp, Pepsi Generation, I think, was all originals.
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Um, but it would have been drumstick era bands where ever there was this big suit of musicians in in Lincoln, and you would j you were just pop from band to band.
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You know, so you might have you know Ron Alberts in one in one band and then you know um Randy Krause in another.
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You know, you were you we all kind of bounced around until things kind of, you know, for for me, me and Ron and Greg and Heidi, that we kind of just settled on thir uh 13 nightmares when it all when the dust settled.
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Yeah, so yeah, you go till you s you play in bands till something sticks.
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And I think that was that was our one of the first moments that we got to have musically where you noticed a difference, right?
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When things were kind of working, or it seemed like oh, everybody's on the same page.
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And then for 13 Nimers, especially, you know, you that was isn't this is kind of a cliched thing.
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It's you things are going okay, you think they're going great, but then you get you're a superstar drummer, and then you go, oh, oh, that's that's what a band is.
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And it happens all the time.
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Like if you watch the movie, That Thing You Do, that movie is spot on.
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Go if you want to know exactly how it is to be in a band, that that movie's hilariously accurate.
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And that's what happened.
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I don't remember that.
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I remember we all noticed, you know, oh, Ron, Ron's the difference.
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And so that we that was yeah, 80 would have been college, you know, it would have been like eight, maybe 85, 86.
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Didn't you guys famously go through drummers like Spinal Tap for a while before Ron?
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Yeah, yeah, invincible.
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13 drummers.
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Yeah.
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No, there wasn't that many, but yeah, that would have been 1986.
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So that is um we were playing show 40.
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That's 40 years ago.
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Yeah, we would have played a show like with one a drummer, you know, a show.
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Yeah.
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Never the same drummer twice.
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That was kind of how it was, or pretty rare and to do more than one show with a drummer, and then uh until Ron showed up.
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And then again, that's a that's another uh revelation that you have in a band.
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It's like, oh, okay, everybody, everybody's gonna show up for practice, and we have we'll have a practice place.
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So it's there are all these little stair steps into becoming maybe what you look back and say, oh, that's our first real band.
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Yeah.
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Uh uh and then uh and then your current drummer, didn't he play with you in 13 Nightmares for a show at least?
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He did.
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Paul Tazil, who is who currently drums for uh Domesticette, is was in 13 Nightmares.
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Uh he didn't last.
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Greg didn't, I don't think that was one of the one show guys.
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One of the one show guys and he lived in his parents' house, in his mom's house for a while.
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He didn't even live live there at the time.
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No, he did.
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He was in the basement in a room in the corner.
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Like he would just emerge sometimes.
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We practiced in the basement.
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We practiced in his room.
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Yeah, no, it was like in the cellar, like the uh it was scary, but we're all that was a kind of for us, that was a typical thing too, was that we all the band all lived in the same place.
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The idea being that you'd rent a house or a floor, and then you wherever you lived, your basement was your practice place.
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Because I'm thir early on, 139 remember rented a practice space.
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And we uh we used we shared it with this band called For Against.
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Of all things.
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So of all things.
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And way out on uh Corn Husker, kind of like high, like uh uh what's the diner out there?
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Highway, uh Virginia.
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Yeah, in that neck of the woods for a while until we maybe a little bit of magic in that uh that that uh fry oil right there.
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Ooh.
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Uh so uh first off, uh John, where are you from originally?
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Oh, grew up in Omaha.
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Omaha.
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And then came to Lincoln to go to school.
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Heidi?
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I grew up in Seward, Nebraska, and then I also came to Lincoln to go to school.
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Yeah.
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Yeah, yeah, yeah.
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Uh so uh so John, when you were in Omaha, did you start a band in Omaha or was it until you got to college?
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Uh wasn't in a band in Omaha, went to go see high school kids I knew in high school go to see their bands and uh a band I can't remember the name of, like, you know, there were bands putting out records even back then.
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So this would have been, you know, 80 81, 82, and that's just me listening to records and playing guitar in my room, and then going to see, hadn't got hadn't no jamming or anything with anybody.
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Yeah, and what I did then how did you did you always want to be in a band?
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Did you always want to play guitar?
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What age did you start playing guitar?
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I mean, I was it was like I should be a lot better, but after I say this, but I it was like 10 or 11, like a it was a great sweet spot because it was, you know, right when I started getting records, you know, right when I started getting like Cheap Trick and Kiss Records, you know, I I had been learning guitar at the same time, and a buddy showed me, oh, here's how you learn how to play, you know, play along with records.
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And so it would have been in high school, you know, just goof the same thing, just standing there with your record collection playing along.
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And it wasn't until, you know, and I brought all the guitars on, you know, the guitar and the records with me to college, and you know, my first my first college roommate, David Zickman, came from Kearney.
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And you know, and so I mean I wasn't in certainly didn't go to college intending to be a band, I just guitar is a hobby, like it still is.
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And and the funny thing about Dave is that he uh he was in a band in Kearney, and their entire band came to UNL uh to go to go to school, except for the guitar player who went like who went University of Kearney instead, I think.
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And so he uh he had their set list, you know, it was all covers, and we say he and I had the same record collection, and so that just big dumb luck of it that you know they they had a band ready to go, and I just jumped right in because we knew all the same songs.
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And what would that be?
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That was spawning cards.
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That was spawning car great name, great name.
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Yeah, so that was and a pr in a super typical first band, just you you don't have you're not writing songs yet, you know.
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But we were playing Dead Kennedy songs, the Clash, 999, you know, uh just circle tricks, but probably not even that progressive, probably like more like seven, like sex pistols would be late 70s, you know, you know, eighty early eighties punk rock stuff.
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Yeah, and and that was what you did.
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And we would play there, used to be a small diner snack bar in the bottom of Nyhart Hall called the pub, and it had an amazing stage, and you could check it out like a library book.
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A lot of times we didn't do it, we was just set up and start playing down in the basement of of this dorm, which people hated.
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When I was on the University Program Council, I did a uh dance party in there one time, and uh Paul Tisdale was the DJ.
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I'll bet that was great.
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Yeah, it was quite good.
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And Heidi, how uh I mean, how did you get started?
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So John brought bought me a bass guitar and an amplifier, and my first band is Cirte Nightmares.
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And um Greg and we used to live in uh in a house, Dave Zickmund and Wendy Mauger, I think were on the third floor.
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It was Greg, you, and me on the second floor, and then I'm trying to remember who's on who's on the first one.
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So we all knew each other, then the whole house.
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We would practice in our living room.
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I just yeah, so that's that 13 nightmares and those songs and me playing bass on those songs.
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That is me learning how to play bass.
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But you come from a musical family.
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So I come from you, so I understood mute.
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I like I I come from a musical family singing.
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Um, I don't really have an instrument outside of oboe, which I didn't play very well, and bells, marching bells, which I also played poorly.
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Um, what's what's fun about those instruments is that you can hear those over all other instruments in the band or the marching band.
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Yeah, so when you suck, you just drag the whole thing down.
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So I uh I would uh I highly doubt that.
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Oh, I it was bad.
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It was great, but bad.
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No, punk rock was definitely has always been my friend.
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I mean, I remember Dad's quite famous, though.
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Yeah, my dad is a composer, he's an organist, Dr.
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Charles Orr.
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Um my mother was an organist.
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Um yeah, I sing, and bass is one note at a time, so hard could it be.
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Yeah, we it's not like you went to bass lessons.
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Never.
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No, we you learned as a as I recall, you you know, we you I think you you and I have similar record collection, so we either you used yours or my Ramones records.
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And if it and so pro tip if you want to learn how to play the bass, play, go grab some Ramones records, and you'll be a bass player in about four hours.
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I don't think I ever played a longer record.
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That was later.
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So what I would do is that you guys would play and I I'd hum something and I'd go, oh, that kind of goes.
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And then I'd find it on the bass neck and go, oh, there, that's a bass line, and then I'd just play that.
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You learn on stage, basically.
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We didn't it wasn't right.
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I remember being at the drumstick and the the band that we were opening for, one of them would go, Hey, you'd you could uh you'd give uh need uh bass lessons.
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I'm like, okay, thanks.
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What I appreciate is my bandmates never once said that to me.
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So I really appreciate you, John.
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I appreciate Greg and Ron.
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None of them said, Wow, that that's terrible.
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So I was good enough for you guys.
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And I appreciate that.
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I think in most rock bands, good enough works for all the instruments.
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Well, there it is.
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Yeah, and people it's not it's not that tough.
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How hard could it be?
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That's the fun thing about rock bands.
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You don't have to be great to have a lot of fun.
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That's all true.
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Um, so 13 Lightmares, a little more about 13 Lightmares.
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Uh you just started touring.
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How did you I mean, well was there many bands in Lincoln at the time that went out and played shows?
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I mean, other than like the cover bands playing the weekend at the whatever.
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I mean, there was a I mean, there kind of was a model band.
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For us, for me, one of the first people I met, and you know, or a couple of people I met, I remember meeting Charlie Burton and Phil Schumacher, right?
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So not punk rock in any way, but they were, I thought at the time they were kind of the model band.
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They were putting out their own records.
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So they were just they were an indie band, no matter how you how you look at it.
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And they were putting out records and going to play shows.
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They were doing it a little bit different.
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They were this was a time in the time of I guess bars at that time where they had to take their own sound system.
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That was like the big difference.
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Phil would always tell me stories about, you know, they have they drive to these places and they would do the whole weekend, kind of like how bands back then would come to the zoo bar and they would play three nights in a row.
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And Charlie would do that too.
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And that's right, you know, they had a lot of songs.
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So they were kind of the model, and then we would go see bands, kind of sneak in, you know, when we were underage, you know, um, to the drumstick.
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And I I mean, I asked Dave Perner point blank, you know, after their show, how do you do what are you doing?
00:18:09.519 --> 00:18:10.640
How do you do this?
00:18:10.880 --> 00:18:20.880
You know, because uh after Soul Sound played at the drumstick, and he just said you put out a record and then you go go play it, is what he kind of said it.
00:18:21.039 --> 00:18:25.119
So you just go play those songs and sell that record.
00:18:25.359 --> 00:18:25.519
Right.
00:18:25.839 --> 00:18:35.759
So there was that so the indie rock, so that you know, X would come through, REM came through, there would be these bands that you'd go see and read out Chili Peppers.
00:18:36.240 --> 00:18:40.880
And so there's this idea like, okay, they're doing a thing, they're going.
00:18:41.279 --> 00:18:51.759
But it was um Wayne Coyne from The Flaming Lips who we invited after they played um to sleep on our floor, and we said, How do you do this?
00:18:52.000 --> 00:18:54.400
That would that was our question always, how do you do this?
00:18:54.640 --> 00:19:01.200
He goes, I'll send, I'll have Michelle from Bullet Bull Jay Booking send you the list.
00:19:02.000 --> 00:19:10.480
So we got a list of places that entertained or would have indie bands play.
00:19:10.799 --> 00:19:13.119
And this was before the Book Your Own Life.
00:19:13.599 --> 00:19:14.480
Book Your Own Life.
00:19:14.640 --> 00:19:16.880
No, this is a place that's pre-that.
00:19:17.359 --> 00:19:21.839
You had to make your own list at that time, or you you'd get names from other bands.
00:19:22.000 --> 00:19:22.160
Right.
00:19:22.400 --> 00:19:30.400
And so we didn't expect to get that from Wayne, but they would but we it you know bugged him and he goes, and he didn't want to talk because he wanted to go to sleep.
00:19:30.480 --> 00:19:32.319
And so we go, Oh just shut up.
00:19:32.480 --> 00:19:35.200
I will get I'll have Michelle talk all night.
00:19:35.359 --> 00:19:38.079
No, I'll get Michelle to give you the thing.
00:19:38.160 --> 00:19:40.079
And so that's that's how everybody did it.
00:19:40.160 --> 00:19:44.960
You kind of um put together your own collection of where the cool clubs.
00:19:45.119 --> 00:19:45.599
Yeah, yeah.
00:19:45.839 --> 00:19:51.200
And then once we kind of got an idea of, you know, we would go and just do kind of one-offs.
00:19:51.359 --> 00:19:56.559
We would, you know, play, you'd go to Minneapolis or you'd go to Chicago and St.
00:19:56.720 --> 00:20:03.279
Louis and Columbia, and I remember our paling or bangers, and they would set us set us up like a week of shows.
00:20:03.599 --> 00:20:07.359
And just because of where how she worked, she could call.
00:20:07.519 --> 00:20:17.440
The problem is that you have to send a pack a package, which would be your press kit that was all fabricated, and then your record or tape, or you know, at that time it would be tape.
00:20:18.079 --> 00:20:18.799
With a stamp.
00:20:19.440 --> 00:20:23.680
And then you'd have to call the club back 800 times to say, Did you get our stuff?
00:20:23.920 --> 00:20:24.880
Did you listen to our stuff?
00:20:24.960 --> 00:20:25.519
When can we have?
00:20:25.759 --> 00:20:29.039
And so it was pretty super laborious, it was terrible.
00:20:29.359 --> 00:20:35.039
You know, but you were just typically at that time, you're so into your band, you're just gonna you you just do it.
00:20:35.599 --> 00:20:37.519
I've been on the other side of that a million times.
00:20:37.759 --> 00:20:38.079
Yeah, yeah.
00:20:40.079 --> 00:20:49.519
Yeah, because you were getting buried with stuff as soon as as soon as Duffies got on the radar, because the drumstick closed, and then Dave was smart enough to No, no, I'm I'm later.
00:20:49.759 --> 00:20:50.720
Who's before you?
00:20:50.880 --> 00:20:54.720
Uh well, Reg uh Scott Schultz was involved.
00:20:54.960 --> 00:20:58.160
Uh Sean Mashou had a lot to do with Duffies.
00:20:59.279 --> 00:21:03.039
Without Sean Mashu, uh Nirvana wouldn't have played there.
00:21:03.200 --> 00:21:03.519
Wow.
00:21:03.759 --> 00:21:16.160
Uh so Scott Schultz had a lot to do with it, and then Reg did a lot on his own, and then I think you guys, uh my brain says you guys recommended me to Reg, I think is what I remember.
00:21:16.480 --> 00:21:16.799
Okay.
00:21:17.039 --> 00:21:19.519
I mean, but were you still kicked out of there by then?
00:21:19.759 --> 00:21:21.279
No, not we hadn't not yet.
00:21:21.759 --> 00:21:24.880
Well, no, but because that was well you were kicked out before.
00:21:24.960 --> 00:21:38.319
I I think Yeah, because that was 13 Nightmares that got kicked out, and then um, and then yeah, what and then without Greg in the band and then Mercy Rule, um there was never a conversation.
00:21:38.480 --> 00:21:41.279
There was never a okay, now you guys can play.
00:21:41.440 --> 00:21:42.960
It was just we showed up.
00:21:43.200 --> 00:21:44.559
I think I just booked you one time.
00:21:44.960 --> 00:21:50.400
I think you did, and then we just played and Reg just all right, never mind.
00:21:50.480 --> 00:21:52.400
And and then we just moved on.
00:21:54.000 --> 00:21:54.240
Yeah.
00:21:54.480 --> 00:21:59.839
No, I'll bet we did because we you know, because you were I was doing the university stuff at that time.
00:22:00.400 --> 00:22:02.480
Well, yeah, and you had done UPC.
00:22:02.559 --> 00:22:10.079
I mean, and then you had had been in other venues, and you had you had the resume that a bar would watch.
00:22:10.319 --> 00:22:14.319
I I really miss the Culture Center so much.
00:22:14.799 --> 00:22:15.440
Yes.
00:22:15.920 --> 00:22:24.000
Uh Culture Center for people who don't know was on the corner of was it 14th and R?
00:22:25.039 --> 00:22:27.200
Yeah, it was between R and Q.
00:22:27.680 --> 00:22:28.720
Right behind the Wendy.
00:22:29.200 --> 00:22:29.519
Yeah, right.
00:22:29.839 --> 00:22:31.759
Between the university and Wendy's.
00:22:32.000 --> 00:22:40.319
It was a uh an old church place that uh was uh the greatest punk rock venue for a bunch of years in Lincoln.
00:22:40.640 --> 00:22:41.279
Yeah, it really was.
00:22:41.440 --> 00:22:43.279
Yeah, it took the place of the brickyard.
00:22:43.440 --> 00:22:43.519
Yes.
00:22:43.759 --> 00:22:56.000
When brickyard turned into apartments, then everybody went to the commonplace, and it was picture you know, picture a small church with no pews that you could indestructible space check out like a library book.
00:22:56.079 --> 00:22:56.640
Same kind of thing.
00:22:57.119 --> 00:22:59.119
From it was university property, right?
00:22:59.279 --> 00:22:59.759
Yep, yeah.
00:23:00.319 --> 00:23:02.480
And lots of yeah, tons of great show.
00:23:02.720 --> 00:23:07.039
It seemed like a show every weekend there, and no adults involved.
00:23:07.200 --> 00:23:14.000
It was, you know, you you reserved it, and it was up to you to take money out the door or not, and you know, put it all together.
00:23:14.319 --> 00:23:23.759
A lot of times we did them for uh benefits for like Amnesty International or Earth First or you know, College Now or you know, any of those benefits.
00:23:23.920 --> 00:23:27.039
And a lot of times the benefits were just an excuse to have a show.
00:23:27.359 --> 00:23:28.079
Absolutely.
00:23:28.319 --> 00:23:33.039
Because the university would allow that group to rent the space more like you know.
00:23:33.839 --> 00:23:42.400
Philanthropy was better than I mean there were so many bands that played there that really never ever got paid.
00:23:42.880 --> 00:23:44.480
No, well bet that's true.
00:23:44.799 --> 00:23:48.960
But they were packed places and paid for some good things, actually.
00:23:49.119 --> 00:23:49.599
I believe.
00:23:49.759 --> 00:23:50.880
I believe.
00:23:51.440 --> 00:23:59.279
Um yeah, about right then is when you needed somebody to guys go on tour with you every once in a while.
00:23:59.359 --> 00:24:01.279
And your guys' tours are the greatest.
00:24:01.359 --> 00:24:05.359
It's like what, Thursday, Friday, Saturday, or Friday, Saturday, Friday, Saturday, Friday, Saturday.
00:24:06.000 --> 00:24:07.200
Yeah, because we worked.
00:24:07.279 --> 00:24:11.359
We didn't we didn't quit our jobs and like, okay, now we're gonna be in a band.
00:24:11.839 --> 00:24:20.559
We we were able to kind of with Wayne's uh, and kind of the idea was we'd try to play to get press in St.
00:24:20.720 --> 00:24:23.920
Louis because they had publications, Chicago did.
00:24:24.240 --> 00:24:33.039
And Wayne had also said, don't move because when you're a touring band, you can get a better spot.
00:24:33.279 --> 00:24:37.279
If you're the Chicago band, you're gonna get Tuesday night.
00:24:37.519 --> 00:24:39.599
Oh, but you're touring.
00:24:39.839 --> 00:24:42.240
If you're uh from out of town, you're the exotic thing.
00:24:42.400 --> 00:24:42.720
Yeah, yeah.
00:24:43.039 --> 00:24:46.319
So now you get Thursday, the Saturday, the Saturday.
00:24:46.640 --> 00:24:49.359
You don't want to move to Chicago because now you're another Chicago band.
00:24:49.680 --> 00:24:54.559
But if you try to book Chicago and you're from somewhere else, now now you're the cool.
00:24:54.880 --> 00:24:55.839
Oh, you have a better night.
00:24:56.000 --> 00:24:57.119
And and they don't know.
00:24:57.200 --> 00:24:59.119
You're now you're the cool touring band.
00:24:59.200 --> 00:25:02.799
You know, if you have a record out, you're on the you're kind of on the same level as everybody.
00:25:03.279 --> 00:25:04.799
Okay, you know, they'll give you a chance.
00:25:04.960 --> 00:25:08.799
Um yeah, we played a lot of a lot of shows.
00:25:09.039 --> 00:25:15.039
That'd be like the sweet gig would be like to do Iowa City, Chicago, and then drive home Sunday.
00:25:15.200 --> 00:25:19.440
Like the best cool thing would be like to do a Columbia, then St.
00:25:19.599 --> 00:25:23.039
Louis, and then drive back on Sunday, and then have the Sunday night show at Duffy's.
00:25:23.119 --> 00:25:25.119
I'd like that's your like the best that you can do.
00:25:25.359 --> 00:25:26.000
Oh, yeah, yeah, yeah.
00:25:26.400 --> 00:25:29.039
But it was always, you know, it was Lawrence.
00:25:29.519 --> 00:25:31.680
Interstate 80, you know, down Interstate.
00:25:32.079 --> 00:25:35.759
Like Kansas City or Lawrence, you know, we'd play like Grand Emporium in Kansas City.
00:25:35.920 --> 00:25:37.599
And then um, what was before?
00:25:37.680 --> 00:25:41.440
Well, the bottleneck, if you were lucky, in Lawrence, and then come home.
00:25:41.519 --> 00:25:42.640
So it was a lot of weekends.
00:25:42.720 --> 00:25:49.920
And so that was, and that that was tough to get past that.
00:25:50.319 --> 00:25:56.240
So just, you know, these little these little trips, getting outside of where you were known for.
00:25:56.319 --> 00:25:59.599
And so that was, you know, we would have, you know, so I'll back up a little bit.
00:25:59.680 --> 00:26:17.519
So Ingrid book us five shows, we went all the way to Kill Devil Hills, you know, and and played, you know, lots of days in between, you know, you had band breakdown, all the you learned those late 80s 13 nightmare gigs where where you learn we need every sound person.
00:26:17.839 --> 00:26:21.039
Yeah, we need you know, you would like decide what you wanted to do.
00:26:21.200 --> 00:26:24.720
You know, a lot of bands they would bring a merch person, and we never did that.
00:26:24.799 --> 00:26:37.680
You know, we always way back then, as we were transitioning, I remember, you know, just learning to not you you had to expect everything to go wrong.
00:26:37.839 --> 00:26:44.079
And it was a and you just you know set your brain up for that, that things were gonna fail.
00:26:44.240 --> 00:26:54.720
And so you it was always just about bulletproofing stuff, making sure you had a really your van and you had like a, you know, you had a what is it, you know, you had like a differential, an extra differential in the toolbox.
00:26:54.799 --> 00:26:56.480
I mean you know the children's book.
00:26:56.720 --> 00:26:57.599
You had the children, yeah.
00:26:57.680 --> 00:27:05.920
You took the children's book, you took tools, you had tried to have two of everything, and you tried to, you know, and learned all that stuff in 30 Nightmare.
00:27:06.000 --> 00:27:13.839
So by the time we got to merchy rule, we were, you know, everything is streamlined, but then we also learned that not for we don't need merch, we'll just sell, we can handle that.
00:27:14.000 --> 00:27:19.920
But it was if you're gonna be a super loud band, you really need to take a sound person with you.
00:27:20.079 --> 00:27:23.759
And so we would just, you know, Scott, we would take Scott, Dave went.
00:27:23.839 --> 00:27:24.880
How many times did I not know?
00:27:25.440 --> 00:27:47.920
Well, I went for a long time until you guys got too good for me because I'm my sound system theory was I went into the club and said to the guy that was working, or girl, I'm sorry, person that was working, uh do the sound, let's just set them up like you would do any other band, and then I would just wrote faders because I know what the songs are supposed to sound like.
00:27:48.079 --> 00:27:48.319
Yeah.
00:27:48.480 --> 00:27:48.799
Perfect.
00:27:49.119 --> 00:27:56.319
I didn't I didn't mess with any any buttons or EQs or effects or anything like that.
00:27:56.480 --> 00:27:59.839
I just knew the song sounded like and the drums needed to be way louder.
00:28:00.160 --> 00:28:01.839
And that's a that's no guitar.
00:28:02.079 --> 00:28:05.279
So without knowing anything, that's like that's a huge win.
00:28:05.440 --> 00:28:18.799
Taking somebody that knows what your dumb band sounds like, taking them you know, on the road, now that person's making that audience hear you how you want to be heard.
00:28:19.039 --> 00:28:22.640
You don't want to drive all, you know, you don't want to drive to St.
00:28:22.799 --> 00:28:38.319
Louis and then just be at the mercy of some sound guy who says, Ah, these guys are too loud, I'm not even gonna worry about it, you know, where you take your own sound person, they go, hey, I know enough to not mic the guitar and I and just crank do punk rock sound, you know, with vocals only, right?
00:28:38.720 --> 00:28:47.599
Like Sue Miller at Cubby Bear, standing in front of Sue Miller, who's yeah, standing in front of us and her, he's plugging her ears.
00:28:47.920 --> 00:28:50.559
Yeah, and that but and that's another thing.
00:28:51.200 --> 00:28:59.119
Part of the group, these people that I was in a band with, we you don't show up worried if you're gonna make people happy.
00:28:59.359 --> 00:29:02.640
Like that's a that's a deal breaker and that's a band killer.
00:29:02.799 --> 00:29:10.880
If you're showing up and all of a sudden you drop all of your whatever dumb standards you have, right?
00:29:11.039 --> 00:29:23.839
And and to hope that to make a sound person like you or a club, because you know, if you're your yourself, and I mean that was our our move was volume and and our weird little songs.
00:29:24.079 --> 00:29:29.599
And some, yeah, a lot of times we were only playing to the bartenders, right?
00:29:30.319 --> 00:29:35.759
But those bar who's who's at the end of the night, who's who's talking to the club guy?
00:29:36.400 --> 00:29:50.240
The club owners, the bartenders, no, oh, all of a sudden we go from being crappy band from Nebraska to the geniuses who impress the bar owners, and then they talk to the club owner, you should have those guys back.
00:29:50.400 --> 00:30:02.160
And and so, you know, you know, the moral of this little story is you know, if if you think you're cool, you are cool.
00:30:02.319 --> 00:30:03.920
That's that's it.
00:30:04.079 --> 00:30:10.400
You don't don't worry about reviews, don't worry about people liking you at home, especially don't wait.
00:30:10.559 --> 00:30:11.519
And that was another thing.
00:30:11.759 --> 00:30:15.359
You do not wait to be the hometown heroes.
00:30:15.519 --> 00:30:21.759
Do not wait to be popular in wherever you live before you decide, oh, now we'll go on the road.
00:30:22.000 --> 00:30:25.200
But sadly, the people in your hometown don't know anything.
00:30:25.359 --> 00:30:28.160
And so just with all due love and respect.
00:30:28.480 --> 00:30:31.200
Yeah, it to those who who are, you know.
00:30:31.519 --> 00:30:37.359
Yeah, get your sound together, get it how you think it sounds, make it you play exactly how you want, and then go do that.
00:30:37.519 --> 00:30:39.359
And people will get that.
00:30:39.519 --> 00:30:42.960
Their earnestness is what that's very Midwest.
00:30:43.359 --> 00:30:44.960
Well, that that is very Midwest.
00:30:45.039 --> 00:30:54.720
Like, because I remember seeing bands from the West Coast or East Coast, like you could tell Midwest bands, especially our little our little areas.
00:30:54.880 --> 00:31:09.279
It was it was people who are not used to playing for industry, they're not trying to get signed, they're not trying to have a career, they're just trying to impress the bar pre the people at the bar.
00:31:09.440 --> 00:31:10.400
I don't know what they're trying to do.
00:31:10.559 --> 00:31:11.839
I don't know what we are trying to do.
00:31:11.920 --> 00:31:15.839
We just had weird weird stuff, and we were just like, we just should do this.
00:31:16.079 --> 00:31:22.319
I I've told many a band, I'm like, if you number one, you gotta go to someplace three times.
00:31:22.799 --> 00:31:23.440
Reasonable.
00:31:23.839 --> 00:31:27.119
And the first time, you have to make friends with the bartenders.
00:31:27.279 --> 00:31:32.240
That's the number one rule of any band going someplace is make friends with the bartenders.
00:31:32.319 --> 00:31:32.720
Yeah.
00:31:32.960 --> 00:31:42.480
Because as angry as bartenders are, they're still gonna tell their friends if you're super cool and we're nice and the band was great.
00:31:43.039 --> 00:31:48.240
Sometimes being great people will get you more shows than your great band.
00:31:48.559 --> 00:31:49.359
Absolutely.
00:31:49.519 --> 00:31:55.359
Yeah, being easy to work with, not being, you know, yeah, just treating people cool, doing the Yeah.
00:31:55.519 --> 00:32:03.519
I mean, I don't think we made in I don't think we made friends with a single sound person ever in like in.
00:32:04.240 --> 00:32:06.319
It's hard to make friends with sound people, yeah.
00:32:06.480 --> 00:32:13.680
Because they're in there trying to make it sound like a record, and and our band was in there trying not to do that.
00:32:13.759 --> 00:32:22.640
So you're at, but again, we took a sound person, we took we took our buddy Scott, cut him in, he got part of it, he whatever we got paid, he got part of it.
00:32:22.880 --> 00:32:23.759
We paid you, didn't we?
00:32:24.160 --> 00:32:24.559
Yep, yeah, yeah.
00:32:25.119 --> 00:32:27.599
And so that was far more important.
00:32:27.920 --> 00:32:30.720
And but so we missed part of the transition.
00:32:30.799 --> 00:32:40.000
So once you get your sound together and decide to go play, that the for us the struggle became well, we we need a booking agent.
00:32:40.160 --> 00:32:44.000
And so you talk to the booking agent and say, Well, you need a record or you need a label.
00:32:44.240 --> 00:32:46.960
And then you talk to the labels and say, Well, do you have a booking agent?
00:32:47.119 --> 00:33:00.160
You know, and so it will and we went, oh, okay, this is all it all kind of fits together because the booking agent wants to make sure that you're on a label that will promote your shows.
00:33:00.319 --> 00:33:02.720
It's not the booking agent that does that, it's the label.
00:33:02.799 --> 00:33:05.359
And so I remember that was always a big deal.
00:33:05.440 --> 00:33:18.160
So when we first put our first record out on Pravda, then we could say, Yeah, we're on a label, and then and started getting, you know, we had like big city booking from Chicago because Pravda bands had used this guy.
00:33:18.319 --> 00:33:24.160
So that was, I remember that was a big being on Pravda or getting putting a record out, that wasn't even like the goal.
00:33:24.240 --> 00:33:30.079
It was like the booking agent was more important because we just wanted to play outside of the Midwest.
00:33:30.240 --> 00:33:33.119
That was like the oh, we just want to play more shows.
00:33:33.279 --> 00:33:36.559
We know it's fun, and yeah, and we knew how to do it.
00:33:36.720 --> 00:33:46.640
And so I could then yeah, but then so then once we find other skill so I think it was like a big city booking show or me or somebody.
00:33:46.720 --> 00:33:53.839
I mean, we play New York and we got on a bigger label and then got a little bit bigger, you know, booking agent.
00:33:54.000 --> 00:33:57.359
So we get then whatever big city I think turned into something else.
00:33:57.440 --> 00:34:01.440
So I just remember that was always the struggle is making sure you had a cool booking agent.
00:34:01.519 --> 00:34:04.559
And then that guy, we had great ones.
00:34:04.640 --> 00:34:10.480
I still have back then, I still have all the faxes upstairs of you know, we would do 30 shows in a row.
00:34:10.639 --> 00:34:22.880
You know, we have I have it's there's one on the refrigerator in there from that just starts out at an Albuquerque and then goes to San Diego and then all the way up the West Coast and back, you know.
00:34:23.039 --> 00:34:25.440
And that was like that was exactly what we wanted to do.
00:34:25.760 --> 00:34:28.719
Well, Mike Watt would say, if you ain't playing, you're paying.
00:34:28.960 --> 00:34:30.239
Yeah, that's like, yeah.
00:34:30.400 --> 00:34:33.519
I mean, we we were we lucked out, we were smart enough.
00:34:34.960 --> 00:34:42.639
You we thought we were taking it seriously, and we still had jobs, but we had like I had the best band job.
00:34:42.719 --> 00:34:49.760
And so typically band job, there's a bit typically there's one band job, and that band job is called bartending.
00:34:50.000 --> 00:34:57.039
You work at you work at the bar in your hometown between gigs, and I lucked out and didn't do that.
00:34:57.119 --> 00:35:03.679
I was I that I wasn't qualified, but lucked into the guitar repair thing at Deeds.
00:35:04.000 --> 00:35:04.320
Oh, yeah.
00:35:04.480 --> 00:35:13.599
So it had the sweetest band, you know, band gig, and then Heidi had like a real state of Nebraska job that they were flexible enough and would let her leave, right?
00:35:13.920 --> 00:35:18.400
You were doing some some one-off part-time things, but then settled into that.
00:35:18.480 --> 00:35:29.599
So we lucked out this that's pretty unusual to have that solid of a job because all her buddies were did not have that arrangement, right?
00:35:29.679 --> 00:35:33.360
So we all are you know, everybody in Opium Taylor, everybody in Sideshow.
00:35:33.440 --> 00:35:39.119
You know, they're looking always in between Iran, even, you know, always looking for a job in between.
00:35:39.280 --> 00:35:45.039
So that was being in a band is a is pretty tough, just the music part.
00:35:45.280 --> 00:35:51.039
But I remember all over the country, all the bands that we would talk to, like that was always the thing.
00:35:51.199 --> 00:35:56.320
You know, they would keep in, you know, that's why they always wanted to play constantly.
00:35:56.480 --> 00:35:59.360
Because, right, they because how are you gonna pay for rent?
00:36:00.480 --> 00:36:00.960
Yeah, yeah.
00:36:01.360 --> 00:36:02.159
So that was a big deal.
00:36:02.239 --> 00:36:02.960
That was, I remember.
00:36:03.519 --> 00:36:04.480
And rent was cheap.
00:36:04.719 --> 00:36:05.760
Yeah, rent's cheap and later.
00:36:06.000 --> 00:36:07.039
And that's why we live together.
00:36:07.199 --> 00:36:11.599
So the band's all paying$300 a month to live in a house, and that was the practice place.
00:36:11.679 --> 00:36:17.920
So that's another luxury of the Midwest that you don't have in you know, Minneapolis or Chicago or St.
00:36:18.079 --> 00:36:18.880
Louis, right?
00:36:18.960 --> 00:36:25.679
You're like you likely wouldn't get a whole house, you know, for 400 bucks.
00:36:26.000 --> 00:36:26.480
Not now.
00:36:26.800 --> 00:36:28.880
No, yeah, not even not now.
00:36:29.039 --> 00:36:41.199
And so back again, these were different times, and you remember pre-cell phone, pre-internet, and it was all pretty, pretty flintstones, you know, compared to what we got now.
00:36:41.599 --> 00:36:42.400
Flintstones.
00:36:43.440 --> 00:36:45.920
Um hey, I'm gonna take a break here.
00:36:46.000 --> 00:36:52.480
We're gonna talk to our sponsors, we're gonna hear from our sponsors, and then uh we're gonna come back.
00:36:53.199 --> 00:36:56.719
And one, well, you know, I'll be right back.
00:36:56.960 --> 00:36:57.679
Hey, y'all.
00:36:57.920 --> 00:37:02.800
I just want to thank uh Rourke's Tavern for sponsoring Slacker Dave Loves Nebraska.
00:37:03.119 --> 00:37:05.440
Rourke's Tavern, it's Lincoln's downtown.
00:37:05.519 --> 00:37:08.400
It's like a neighborhood bar right in the middle of downtown.
00:37:08.559 --> 00:37:18.880
We're at 1329 O Street, and uh, you know, Rourke's I've always described as kind of like the backstage to the Lincoln uh musical community.
00:37:19.599 --> 00:37:29.039
They do fun things all year round, they got specials every day, they got two pool tables, they do dance parties, they got a chili cook-off every year.
00:37:29.519 --> 00:37:36.079
So you just want a nice, relaxing time, come on down, see Jordy and the whole family down here at O'Rourke.
00:37:36.239 --> 00:37:42.719
Hey, want to give a big thank you to Rick Peters for sponsoring the Slacker Dave Love Nebraska podcast.
00:37:43.039 --> 00:37:49.840
Rick is an independent insurance agent, uh, AMS Insurance Center.
00:37:50.000 --> 00:37:55.280
The phone number is 402-476-3599.
00:37:56.000 --> 00:37:59.280
He's a great guy, great personal service.
00:37:59.599 --> 00:38:03.599
Amanda and I have been uh customers of his for years.
00:38:04.400 --> 00:38:06.159
He just real good guy.
00:38:06.239 --> 00:38:08.320
You just you want to come see him.
00:38:08.639 --> 00:38:18.880
But the most important thing about Rick is he is a host of not one but two shows on KZUM 89.3 FM.
00:38:19.280 --> 00:38:25.360
Uh he hosts Rockin' Bones on Friday nights from 6 to 7.30.
00:38:25.760 --> 00:38:28.960
Rockabilly and all that kind of related fun music.
00:38:29.039 --> 00:38:32.960
And then Tuesday mornings from 6 a.m.
00:38:33.280 --> 00:38:34.159
to 8 a.m.
00:38:34.639 --> 00:38:38.559
It's the Sugar Frosted Chocolate Bomb Diggity Good Time Show.
00:38:38.719 --> 00:38:43.599
And you never know what you're gonna hear on there, but you know, they call him Rickabilly.
00:38:43.760 --> 00:38:45.519
I like to call him Rickopedia.
00:38:45.679 --> 00:38:46.639
He knows a lot.
00:38:46.880 --> 00:38:48.079
Great shows.
00:38:48.559 --> 00:38:49.599
Thank you very much.
00:38:49.760 --> 00:38:58.159
Hey, uh, I just want to thank uh Pete and Amanda from the Zoobar for sponsoring the Slacker Dave Loves Nebraska podcast.
00:38:58.480 --> 00:39:00.480
Zoobar, wonderful place.
00:39:00.639 --> 00:39:08.320
Uh live music almost every single night, sometimes most of the weekends, twice a night.
00:39:08.559 --> 00:39:13.360
Uh Zoo Fest, July 10th and 11th.
00:39:13.760 --> 00:39:15.440
Put that on your calendars.
00:39:15.679 --> 00:39:17.119
But thanks, Pete.
00:39:17.199 --> 00:39:17.840
You rule.
00:39:18.480 --> 00:39:19.920
All right, we're back.
00:39:20.159 --> 00:39:21.920
Thanks to all our sponsors.
00:39:22.159 --> 00:39:27.679
Uh so Pravda Records uh for 13 Nightmares.
00:39:27.840 --> 00:39:28.320
Yeah.
00:39:29.280 --> 00:39:31.280
The poster, the everything.
00:39:31.440 --> 00:39:35.679
That was some great marketing in that uh uh album.
00:39:36.000 --> 00:39:36.880
It was really beautiful.
00:39:37.119 --> 00:39:41.519
Shitride, uh just uh the black, the gold picture.
00:39:41.840 --> 00:39:42.559
Who's that picture?
00:39:42.639 --> 00:39:44.800
Is that Hudson Luce that took that picture?
00:39:45.119 --> 00:39:46.000
Or is that Bernie?
00:39:46.159 --> 00:39:46.800
Oh, that's Bernie.
00:39:47.119 --> 00:39:47.679
No, that's Hudson.
00:39:48.400 --> 00:39:51.760
No, the one at the commonplace the one in the middle is commonplace.
00:39:51.920 --> 00:39:52.480
That's Bernie.
00:39:52.719 --> 00:39:53.199
That's Bernie.
00:39:53.519 --> 00:39:54.480
The poster was from Bernie.
00:39:54.639 --> 00:39:56.400
I think the covers might have been from Hudson.
00:39:56.559 --> 00:40:05.679
A guy uh Cincinnati a guy we met in Kansas City, and I think he took pictures of us in He started in Cincinnati.
00:40:05.840 --> 00:40:07.360
Yeah, just some person.
00:40:07.840 --> 00:40:08.639
Yeah, random people.
00:40:08.719 --> 00:40:14.719
So yeah, though we we played Chicago enough to get on, get some attention.
00:40:15.199 --> 00:40:17.840
And we we knew about Providence and bothered them.
00:40:18.159 --> 00:40:24.639
13 Nimers bothered them enough, and basically, listen, we record, we'll take care of it, you put it, you know, we'll make it, you put it out.
00:40:24.719 --> 00:40:26.960
And that's exactly what they were wanting bands to do.
00:40:27.039 --> 00:40:32.639
You covered recording and you know, and we put up all the money and then they just put their name on it.
00:40:32.880 --> 00:40:35.119
Yeah, well then then they paid for pressing and stuff.
00:40:35.519 --> 00:40:36.639
I mean they did that though.
00:40:37.280 --> 00:40:44.400
So we that what you know that was the beginning of what we thought being a real band was.
00:40:44.880 --> 00:40:50.480
So last I checked, you could still get 13 Nightmares records on the POV the Pravda website.
00:40:50.800 --> 00:40:51.360
I think so.
00:40:51.760 --> 00:40:52.639
I think you still can't.
00:40:52.880 --> 00:40:54.000
Well, last I checked.
00:40:54.320 --> 00:40:54.800
Sure.
00:40:56.079 --> 00:41:00.400
When was the last time 13 Nightmares ever got a royalty check?
00:41:00.800 --> 00:41:05.440
Um, the one check I have from Pravda is actually still upstairs.
00:41:05.760 --> 00:41:06.480
We didn't cash it.
00:41:06.639 --> 00:41:07.199
We didn't cash it.
00:41:07.280 --> 00:41:08.000
It was for$30.
00:41:08.960 --> 00:41:12.159
And I didn't it's it's was that from day one?
00:41:12.639 --> 00:41:16.880
No, it was just a late one we got, I don't know, years and years later.
00:41:17.039 --> 00:41:17.360
Yeah, yeah.
00:41:17.599 --> 00:41:18.400
Yeah, years and years.
00:41:18.639 --> 00:41:20.639
No, we never got we never got anything.
00:41:21.280 --> 00:41:25.440
I think whatever money they make is what is paying them back for making it.
00:41:26.079 --> 00:41:28.079
I guess they're renting.
00:41:28.320 --> 00:41:41.199
I do not believe there's a profit being just one, just because Mercer as soon as that band ended, we put out a Mercer put out a four four song seven-inch EP.
00:41:41.840 --> 00:41:48.159
You know, we and didn't we didn't see, we just wanted to get Oh that was Caulfield, obviously.
00:41:48.639 --> 00:42:01.519
That was that was and then I remember we just wanted to get something out and with a re with a recognized at least regionally you know label.
00:42:02.239 --> 00:42:09.599
So that we could reintroduce ourselves to hey, you guys had 13 Nimers, now we do Mercy Rule, here's this.
00:42:09.840 --> 00:42:16.000
And the and it really we just we didn't there wasn't a bump or it just okay.
00:42:16.400 --> 00:42:17.119
Which one was that?
00:42:17.599 --> 00:42:20.320
That was 100 miles per hour, was that seven inch?
00:42:20.719 --> 00:42:28.000
And then that was yeah, pre uh uh I just saw Red Max a couple months ago play a show.
00:42:28.480 --> 00:42:31.039
Is it not on the back of Randy Doctor's motorcycle?
00:42:31.440 --> 00:42:44.800
Yeah, speedometer photo was me riding on the back of a you know, hypothetically a person would contact their friend who had a big big motorcycle and say, Hey, I'm gonna get a picture of the speedometer at 100 miles an hour.
00:42:44.880 --> 00:43:02.719
So hypothetically, myself and and that gentleman may have broken laws, hypothetically, and to get a couple passes to make to get that photograph, which is a real photograph of what a speedometer looks like at 100 miles an hour, because I was there.
00:43:02.960 --> 00:43:25.119
And trying to, you know, this is using a manual photograph, taking a picture of being on the back of a Harley Davidson, and the speedometer was located down on the side, it was because it was a you know let's call it a chopper for and then it was a modified motorcycle, and and so that that was that.
00:43:25.199 --> 00:43:29.679
And I remember all that, so that's all that's pre Caulfield.
00:43:30.880 --> 00:43:31.760
Pre-AI.
00:43:33.199 --> 00:43:37.199
And then so what was the what was that first record?
00:43:37.519 --> 00:43:47.920
Oh, God protects fools, then was our that was so we were again, uh usually you know, you would there's always some there's always like a cool guy in town making records.
00:43:48.000 --> 00:43:52.079
Like it was, you know, it was it was like uh uh Randy Watson.
00:43:52.320 --> 00:43:52.800
Randy Watson.
00:43:53.039 --> 00:44:30.079
Well, you know, but like 13 yeah, and also uh Rick Morris did 139 stuff, and then Randy Watson, and then Um by the time we were Mercy World and Eric Medley, we you try to you know was the cool guy who had the coolest studio and then he we did I remember making God Protect's Fools and it was like right right after uh Nevermind came out and I remember having that record in the studio go make it sound like this and so if you listen to God Protect's Fools, it's all drums.
00:44:30.719 --> 00:44:36.000
Which one uh Dave Snyder didn't uh I mean Dave uh Dave Snyder, yeah, right?
00:44:36.079 --> 00:44:37.119
Yeah, didn't he do one?
00:44:37.519 --> 00:44:47.840
He I think we may I don't he might have done it done a seven-inch, I can't remember, not an album, but he he was another cool guy because he had worked, he was in the room working on Pixies Records.
00:44:48.000 --> 00:44:48.159
Yeah.
00:44:48.400 --> 00:44:56.400
So he was another Lincoln just happened to have these real cool guys that would that had recording experience, and I can't remember what we did.
00:44:56.639 --> 00:45:05.039
I think he was an assistant engineer, and I think he I remember talking to him, and he didn't, he just took straight points for the album.
00:45:05.360 --> 00:45:05.840
Wow.
00:45:06.000 --> 00:45:12.239
And so he made way more than if he would have just taken pay to work on that album.
00:45:13.119 --> 00:45:17.679
And I think that's where his uh studio was all paid for by the Pixies, pretty much.
00:45:17.920 --> 00:45:18.159
Wow.
00:45:18.400 --> 00:45:20.000
Yeah, he was like the incredible.
00:45:20.320 --> 00:45:21.360
He was like the first.
00:45:21.519 --> 00:45:24.400
I remember we go, well, let's just do it.
00:45:24.559 --> 00:45:30.960
He goes, We're gonna do it like the Pixies did, and then I would record a recorded track, and he's okay, do it again, and record a track, okay, do it again.
00:45:31.039 --> 00:45:33.679
I remember like doing eight tracks, you know, of guitar.
00:45:33.760 --> 00:45:35.679
He was like, that was the pro way to do it.
00:45:35.760 --> 00:45:38.880
We're just doing a layer on top of a layer of stuff.
00:45:39.039 --> 00:45:41.679
And now I gotta now I'm gonna have to go back through all of our stuff.
00:45:41.760 --> 00:45:45.039
I can't remember which which songs or song or record.
00:45:45.199 --> 00:45:55.039
Because I remember being in Studio Q over there, and it and he it was just a really fun, interesting thing working with working with him.
00:45:55.199 --> 00:45:56.400
Also, we're working with Eric.
00:45:56.800 --> 00:46:15.039
Eric Medley was uh luckily we he you know the timing was just right that we got he was kind of you know your usual evil recording genius, and really you know, I listened back to what we did, and he was never critical of any any of the stuff we did.
00:46:15.119 --> 00:46:18.639
He just let us do that.
00:46:19.119 --> 00:46:23.519
He did that for a lot of bands, like that yard ape stuff was brilliant.
00:46:23.599 --> 00:46:31.039
And you know, he would just he just wanted he in my opinion of Eric, rest in peace, Eric.
00:46:31.199 --> 00:46:36.800
Uh uh he just let the bands be the bands, and he would just like, what can I do to help?
00:46:36.960 --> 00:46:38.960
Not like you should do this.
00:46:39.119 --> 00:46:41.599
He would like, what can we do together?
00:46:41.920 --> 00:46:43.280
More kind of guy.
00:46:43.599 --> 00:46:44.320
Absolutely.
00:46:44.480 --> 00:46:45.519
He really was that.
00:46:45.760 --> 00:46:50.159
And this was all you also gotta remember, this is all on tape.
00:46:50.239 --> 00:46:56.079
And so this is pre-pro tools, you know, where it was either 16 or 24-track tape.
00:46:56.239 --> 00:46:58.400
I think for Eric it was probably 16.
00:46:58.480 --> 00:47:05.119
I don't think we did two-inch tape till later, because we wouldn't have been able to afford the tape.
00:47:05.360 --> 00:47:11.920
I so I had to, I can't remember what, or like when we I remember we recorded this was on the big tape.
00:47:12.159 --> 00:47:19.119
Yeah, but that was that was 24-track tape, but but way back when when we would record with Randy Watson in the basement, that was on videotape.
00:47:19.360 --> 00:47:19.679
Beta.
00:47:20.000 --> 00:47:22.400
Beta, yeah, because it was that was the cool thing.
00:47:23.360 --> 00:47:25.119
Yeah, I remember, I remember that.
00:47:25.360 --> 00:47:28.880
Where are these uh they are yeah, they are?
00:47:28.960 --> 00:47:29.119
Yeah.
00:47:29.360 --> 00:47:30.159
Yeah, they're all sure.
00:47:30.239 --> 00:47:33.039
So we have some real to reels, 13 Nightmare stuff.
00:47:33.199 --> 00:47:34.320
No, it's all real to real.
00:47:34.639 --> 00:47:36.480
I mean, that's what I that's what I wanted to say.
00:47:36.880 --> 00:47:37.840
Oh, the beta tapes.
00:47:38.079 --> 00:47:38.639
We have those.
00:47:38.880 --> 00:47:42.400
Yeah, we don't have any, I don't think we have any two-inch tape.
00:47:42.639 --> 00:47:43.920
No, we don't have beta tapes.
00:47:44.079 --> 00:47:47.840
Because that all stays at the studio because then they'd use it over they tape over you.
00:47:48.079 --> 00:47:51.440
So I imagine they, you know, that's that was the thing.
00:47:51.679 --> 00:47:56.480
Your option was when you go in the studio, you can have new tape or you can record over some other band.
00:47:56.719 --> 00:47:59.119
And so I'm shoes or whatever.
00:47:59.440 --> 00:48:04.239
If it you know, I imagine like Lu Giordano has the two-inch tape.
00:48:04.320 --> 00:48:06.320
Um he's probably got a basement full of tapes.
00:48:06.400 --> 00:48:08.960
I don't think he would leave it at a studio.
00:48:09.199 --> 00:48:10.239
At Fort Apache.
00:48:10.559 --> 00:48:13.280
Or no, he would have at a smart studio or something.
00:48:13.519 --> 00:48:14.639
Yeah, they because they couldn't.
00:48:14.719 --> 00:48:18.880
There's no way they have enough, that's a small place, they don't have enough space to have all that junk.
00:48:19.360 --> 00:48:20.719
I thought that's true.
00:48:21.760 --> 00:48:22.480
Yeah, yeah, yeah.
00:48:22.719 --> 00:48:31.760
Okay, so uh then uh and then uh uh Mercy Wall, you guys got signed to a major label.
00:48:32.159 --> 00:48:47.920
We did, relativity, and that was because most of that was because we had developed a following in Columbia, Missouri, which none of that in relativity is a New York label, and so none of it makes sense until you you have to connect all the dots.
00:48:48.079 --> 00:48:56.480
The gentleman that was the AR uh person for relativity used to work at the college radio station in Columbia.
00:48:56.559 --> 00:49:00.320
And so when we were doing starting Mark Attenberg, Mark Attenberg.
00:49:00.639 --> 00:49:09.199
So when we were gaining popularity in Colombia, and specifically those guys would do we opened for this band Uncle Tupola.
00:49:09.440 --> 00:49:10.559
Yeah, we got some good shows.
00:49:10.639 --> 00:49:11.440
We lucked out.
00:49:11.920 --> 00:49:21.360
And that I think that that there was that was the most people, you know, probably the immersive role light, you know, the the beginning with we had ever played for.
00:49:21.519 --> 00:49:23.199
But we had been in Colombia a lot.
00:49:23.360 --> 00:49:35.760
I mean a lot, but that that show, and then someone talked to Mark, and then Well, the the radio the current radio station people at is it Well, I'll get I'll get it wrong.
00:49:35.840 --> 00:49:41.039
So I have a I'll have to go downstairs and look at an old sticker on a guitar case at the radio station.
00:49:41.360 --> 00:49:55.599
Because I had I yeah, and so yeah, people people at the college radio station taught mentioned to Mark, you know, our band, and it just so happened we were playing in New York City, and then Mark came out to see us, right?
00:49:55.840 --> 00:50:00.159
For no reason other than somebody in Columbia said, go see this band.
00:50:00.400 --> 00:50:23.360
And then the way in we happened to, again, it all sounds like a dream, but we booked our I think we booked ourselves in this club, it's this place in New York City called CBGB's, and you New York City is exactly what the movies and TV say it is.
00:50:23.599 --> 00:50:26.000
It's stuff happens 24-7.
00:50:26.320 --> 00:50:30.400
There's no you if you go to New York City, don't plan on sleeping because there's stuff to do all the time.
00:50:30.559 --> 00:50:38.159
So, for example, you'll have the headlining bands will go on, you know, uh 11, 12, 1 o'clock.
00:50:38.320 --> 00:50:39.519
And so that's the place is packed.
00:50:39.679 --> 00:50:41.119
Yeah, so you'll be super excited.
00:50:41.360 --> 00:50:44.880
You know, we what we played with, it was like Love Battery and the Fluid.
00:50:44.960 --> 00:50:49.440
We got on the, we we got on this bill, but not as the opening band.
00:50:49.599 --> 00:50:51.199
You play after the headliner.
00:50:51.280 --> 00:50:57.280
So like we didn't after the real show, it was I I think the fluid headlined it.
00:50:57.360 --> 00:50:59.039
So they're done at one or two in the morning.
00:50:59.280 --> 00:51:03.119
By the time we started playing, it was three o'clock, three o'clock in the morning.
00:51:03.360 --> 00:51:05.920
And for some reason, Mark stayed.
00:51:06.159 --> 00:51:08.800
And a collection of people from Nebraska.
00:51:09.119 --> 00:51:17.760
Yeah, I have the photograph of like there's all these transplanted Nebraskans that all we took this really amazing group photo out in front.
00:51:17.920 --> 00:51:22.880
And so we had we played through at least 12 people.
00:51:23.039 --> 00:51:23.920
I just want to make that clear.
00:51:24.400 --> 00:51:28.480
If the sound person didn't like you, they just turned the PA off.
00:51:28.639 --> 00:51:39.519
So you could go 1800 miles out there, be super excited, but we we could not, I could not, I personally was so excited to be there.
00:51:39.679 --> 00:51:41.199
We just exploded.
00:51:41.360 --> 00:51:42.880
Yeah, it was a it was a great show.
00:51:42.960 --> 00:51:44.480
We played, I thought we played well.
00:51:44.719 --> 00:51:47.119
I don't, yeah, I don't remember a single thing about it.
00:51:47.199 --> 00:51:54.079
Uh we have pictures of us each we handed the camera to each person, so we have pictures of us on stage.
00:51:54.239 --> 00:51:56.159
I have a picture of the toilet there.
00:51:56.239 --> 00:52:01.039
I mean, of all the things to worry about, I wanted to make sure I got a picture of the toilet at CBGB.
00:52:01.199 --> 00:52:02.480
So I have that somewhere.
00:52:02.800 --> 00:52:08.960
And played this dumb show, and then Mark said, Well, well, let's have um breakfast tomorrow.
00:52:09.199 --> 00:52:18.159
And so, you know, jokingly agreed to this, you know, and we ended up signing with relativity.
00:52:18.320 --> 00:52:34.239
Well, once relativity started sniffing around, because every label was looking for the next nirvana, and once the labels hear one label sniffing at a band, then they all will come looking, right?
00:52:34.320 --> 00:52:39.679
So we had people from Mammoth Records come out, we had people from Caroline Records come to Lincoln.
00:52:39.840 --> 00:52:41.760
I think it was Carrie, you know, it's Touch and Code.
00:52:42.400 --> 00:52:47.039
You know, no, I think we want no, because they were way too cool for us.
00:52:47.119 --> 00:52:48.719
Uh, we wanted to be on Touch and Code.
00:52:49.039 --> 00:52:52.960
Yeah, what was the Super uh uh not superstructed?
00:52:53.360 --> 00:52:55.599
Um my God.
00:52:55.760 --> 00:52:58.639
Uh well super chunk or chunk.
00:52:58.800 --> 00:52:59.840
What were they on?
00:53:00.079 --> 00:53:03.119
What uh they were on that um merge.
00:53:03.679 --> 00:53:05.679
I thought it was or something like that.
00:53:06.960 --> 00:53:09.119
Yes, yeah, that we weren't cool enough for that.
00:53:09.280 --> 00:53:12.320
We play, I mean, we hung out, you know.
00:53:12.480 --> 00:53:16.639
I mean, at the time everybody wanted to be, what was Figazi's label again?
00:53:16.800 --> 00:53:17.039
Discord.
00:53:18.159 --> 00:53:24.960
That, you know, whether you were a punk punk enough or not, like, yeah, you wanted like I remember us wanting to be on Touch and Go.
00:53:25.039 --> 00:53:33.519
We wanted to be on Discord, you want to be like on the cool, and we weren't, you know, we I don't think you know, we weren't mean enough and we weren't poppy enough.
00:53:33.679 --> 00:53:35.440
So we were that was the whole thing with this band.
00:53:35.519 --> 00:53:41.920
It was being between, and I remember we would come back from shows and you'd go through the answering machine.
00:53:42.000 --> 00:53:43.760
I remember like Mart writing it down.
00:53:43.840 --> 00:53:46.239
Hey, 13 labels called that day.
00:53:46.320 --> 00:53:49.679
I remember like, because and it was just this feeding frenzy, right?
00:53:49.760 --> 00:53:54.079
Every band, just about every band got a bump up.
00:53:54.239 --> 00:53:56.400
Sideshow went on Fly Daddy or whatever.
00:53:56.559 --> 00:53:57.599
Remember, is that what it called?
00:53:58.239 --> 00:53:59.280
Fly, what was it called?
00:53:59.519 --> 00:54:08.480
Something, you know, and then all the bands from Kansas City, like, you know, I mean, Hustler of Sizes got on, you know, uh some big label.
00:54:08.559 --> 00:54:10.320
Everybody was signing a deal.
00:54:10.480 --> 00:54:20.400
And I remember us just going with the first, basically, because relativity were the first people to care about us, you know, we did we went with them.
00:54:20.719 --> 00:54:22.000
It's hard to beat Mark, too.
00:54:22.159 --> 00:54:25.119
And he was Mark was super delightful and fun guy.
00:54:25.199 --> 00:54:26.960
He let us stay in his house in Queens.
00:54:27.119 --> 00:54:31.039
And you know, he yeah, I mean, so super easy.
00:54:31.280 --> 00:54:34.400
It was it was easy and he was fun and they were nice, you know.
00:54:35.039 --> 00:54:35.679
Cheesecake was great.
00:54:36.000 --> 00:55:03.440
They had great cheesecake at the Monique Cafe, and uh, you know, it wasn't so much about how you know what the rec record deal was, but I remember us our dumb little heads trying to wrap our heads around like a seven, seven album record contract, you know, and so at that point you have to all of a sudden you go from dumb band in Nebraska to dumb band in Nebraska with a booking agent and a manager because you have to have people help you read these stupid contracts, which Oh, lawyer.
00:55:03.599 --> 00:55:04.960
Yeah, yeah, the lawyer.
00:55:05.119 --> 00:55:08.239
It's just hilarious, all going from zero to that.
00:55:08.800 --> 00:55:11.840
So if I were right lawyer, mystery science.
00:55:14.079 --> 00:55:17.280
Well, uh didn't he have something to do with mystery science theaters?
00:55:18.000 --> 00:55:18.880
Oh, maybe Mr.
00:55:19.360 --> 00:55:20.800
Larry Ottenberg.
00:55:20.960 --> 00:55:23.199
Oh no, uh what was his name?
00:55:24.960 --> 00:55:26.559
Attenberg, Larry Osterman.
00:55:26.800 --> 00:55:27.280
Osterman.
00:55:27.679 --> 00:55:38.000
And and he had well, he also has something to do with we we had brunch with him and somebody from Prince's band one day.
00:55:38.239 --> 00:55:43.920
You know, just you know, in like we were too dumb to know what we were who we were hanging out with.
00:55:44.079 --> 00:55:46.239
And then Brun.
00:55:47.920 --> 00:55:54.880
Yeah, something that Amelia we didn't know existed until we until we started having people like lawyers.
00:55:55.199 --> 00:55:57.360
Oh, what is this between breakfast and what?
00:55:57.599 --> 00:56:06.239
I think Mercy Roll and 139 Race, and obviously the medicine, I do we really got the full experience without really having the full.
00:56:06.719 --> 00:56:07.840
It's kind of a fun thing.
00:56:08.000 --> 00:56:16.400
We got to tour, we got to, we got a manager, we got to have brunch with people, and uh that's that's incredible.
00:56:16.639 --> 00:56:22.880
I mean, we we obviously it's not not been our vocation, but wow, what what a time.
00:56:23.199 --> 00:56:31.840
And not to mention, uh, you got to tour while pregnant, and right after having a baby, taking a nanny on the road.
00:56:32.079 --> 00:56:34.000
Right, we had a nanny on the road.
00:56:34.079 --> 00:56:36.559
Yeah, that was that was crazy.
00:56:36.719 --> 00:56:38.960
Um we don't advise it.
00:56:39.280 --> 00:56:46.079
No, it it uh for the mom, the mom hours and rock band hours uh do not cross.
00:56:46.400 --> 00:56:53.519
And so you'd get up really early with your baby and then you'd stay up really late with your band and not sleep at all.
00:56:53.760 --> 00:56:57.119
And yeah, sleep deprivation is a is a real thing.
00:56:57.280 --> 00:57:00.400
I think uh some of those pictures.
00:57:00.639 --> 00:57:01.840
Oh my goodness.
00:57:02.079 --> 00:57:09.679
But uh the child uh turns 30 this year, so she is nervous for work.
00:57:10.079 --> 00:57:10.960
That's not right.
00:57:11.119 --> 00:57:12.559
That's just not right.
00:57:13.519 --> 00:57:20.960
I remember John announcing on the stage at Duffy's that you were gonna there was some hockey thing, I think, involved.
00:57:21.519 --> 00:57:23.119
Oh, slip one past the goalie.
00:57:23.360 --> 00:57:24.559
Slip one past the goalie.
00:57:24.719 --> 00:57:29.440
Yeah, not and I remember not an eloquent way to say your wife is pregnant.
00:57:30.480 --> 00:57:32.960
But it seemed it was funny at the time.
00:57:33.199 --> 00:57:34.239
It was funny at the time.
00:57:34.400 --> 00:57:35.679
No, it was intentional.
00:57:35.760 --> 00:57:56.559
It was you know, we were we are yeah, we were intentional parents, and I think after after everything, after the tours, all uh after after everything, I think we got we got dropped by another agent by by Matt by who we yeah, put out a record on relativity and then they dropped all their bands, which is pretty typical, right?
00:57:57.199 --> 00:58:04.320
All the all the things Steve Albinny was warning everybody about that was was happening, it was exactly happening.
00:58:04.400 --> 00:58:14.239
And we and we knew we knew you know it's pretty lucky to get a label that would stay with you and let your band develop like it should over some albums, right?
00:58:14.320 --> 00:58:18.480
You put out it's like you're nobody's fully cooked after their first record.
00:58:18.559 --> 00:58:24.559
Maybe you'll have a hit, maybe you won't, but you you're certainly not you're not done yet.
00:58:24.800 --> 00:58:39.440
And that, you know, you have bands like maybe the poster children who picked a better deal and they and their label was behind them and let them put you know, develop and and get to be you know the cool band that they were.
00:58:39.679 --> 00:58:52.480
And all of our what happens at a label is that people leave and you don't have anybody on your side anymore, and plus it they just you know, and then the new owner says, Ah, we're not we're only gonna do rap bands now, you know, because that's what makes all the money.
00:58:52.639 --> 00:58:56.159
So it's all about and it is, so we it's about money.
00:58:56.320 --> 00:59:08.480
You know, so put on a record, put it on a record, relativity got dropped, but we had already entered into a discussion with our the guy we were gonna make the next record with.
00:59:08.639 --> 00:59:12.559
And that person had a development deal with MCA.
00:59:12.639 --> 00:59:20.000
And so we lucked that producer sit talked them and hey, let me record a few songs and you can see whether you want to sign these guys.
00:59:20.079 --> 00:59:37.920
And so that worked out really well for a moment, and we got to make got to make another record for uh, and this time for MCA, and then who after we were done decided they didn't want to put it out, which was part of the fun of being on those kind of labels.
00:59:38.320 --> 00:59:49.360
So if you were in it to win it, at the point you have an album but the label doesn't want it, you have to go and try to find another label to put it out.
00:59:49.679 --> 00:59:54.719
Now that label you just made cost money to make.
00:59:55.039 --> 01:00:03.760
So in addition to us trying to shop around um that record, they also had a bill to pay.
01:00:04.559 --> 01:00:09.039
So let's say that record cost 70 grand to make, which it did.
01:00:09.280 --> 01:00:21.840
And and then so now you're trying to talk, not only you're trying to talk somebody into believing in your band, you're also saying, and we need you to give us how whatever the purchase price for that record was.
01:00:22.000 --> 01:00:24.159
And we did that for a little while.
01:00:24.320 --> 01:00:35.920
I mean, we didn't, you know, we you like for months, not like a year, but if you're in it to win it, you you say, no way, we're gonna we're gonna find another label.
01:00:36.159 --> 01:00:46.400
And that's why you hear stories about bands having years and years and years between records, because they'll make a record, but nobody wants to put it out, and they got to find somebody to put it out.
01:00:46.480 --> 01:00:51.280
And then by the by that time, they'll go, hey, just re re-record it, even though you love it.
01:00:51.440 --> 01:00:59.760
So I remember trying for a while, you know, having our manager and having the lawyer try to find a label for this record.
01:00:59.920 --> 01:01:12.639
But we, you know, we I think we gave it set, we went and played shows and we gave it like six months, and then we decided, oh, let's just figure out a deal where we can buy it from MCA and then we'll put it out on Caulfield.
01:01:12.800 --> 01:01:20.400
So that was the Flat and Flat Chronicles, which was done by, you know, this major label producer, Luigi Ordano.
01:01:20.559 --> 01:01:24.000
And he he's the guy that had hits with the goo dolls and stuff.
01:01:24.079 --> 01:01:26.400
And so we had this really great record.
01:01:26.880 --> 01:01:27.599
Beautiful record.
01:01:27.840 --> 01:01:40.400
Yeah, and so we that we liked and uh end up put self-releasing it, you know, on Caulfield, and then played shows, and those would be the shows where we would take the uh very small child.
01:01:40.960 --> 01:01:53.760
So then it was uh Chevy Beauville Van with guitar player, bass player, drummer, sound person Scott, and then his then girlfriend, now wife as the nanny.
01:01:53.840 --> 01:01:58.480
And so we would go for one for for some of the shows.
01:01:58.639 --> 01:02:02.000
And then the other, some other shows, it was um Pat.
01:02:02.880 --> 01:02:03.679
Pat Necker.
01:02:03.920 --> 01:02:12.800
And so Pat so we had people basically we by then we had a kind of a set place to stay in every city.
01:02:12.960 --> 01:02:21.360
So at that point, we're not really asking for places to stay from stage like you normally would, because especially since we had a baby.
01:02:21.519 --> 01:02:27.840
So we had pla we had known commodities and you know known locations in cities.
01:02:28.079 --> 01:02:30.800
So it this is not it.
01:02:31.199 --> 01:02:34.159
So I'm trying to make it not sound like child abuse.
01:02:34.239 --> 01:02:47.119
And so the you know, we had we had safe places to go to in each city, and but we still weren't in hotels because that just it was just what beyond you.
01:02:47.519 --> 01:02:51.199
Sometimes, sometimes we would do a hotel and and then that started.
01:02:51.599 --> 01:02:59.119
And you go to the hotel or you go to the the place that you normally stay, you drop off nanny and baby, and then you would go do your rock thing and then come back.
01:02:59.280 --> 01:03:01.840
It was a the system was was great.
01:03:01.920 --> 01:03:10.000
But again, what Heidi said is that the rock band schedule was 10 to 3 in the morning, no matter how you whether you're headlining or not.
01:03:10.079 --> 01:03:12.320
It just takes that long to do the stuff, right?
01:03:12.480 --> 01:03:16.800
To load in, load out, eat, you know, do all the stuff.
01:03:16.960 --> 01:03:37.039
And then so mom's not back to the place where we're sleeping until you know three-ish, four-ish, and then baby decides to enjoy the world at six in the morning for five, you know, and so and wants to see one person, you know, who happens to also be the bass player and the singer.
01:03:37.199 --> 01:03:46.079
So that the we actually did that for a while until um until we stopped.
01:03:46.320 --> 01:03:49.119
And then I think Ron and Ron left for New York.
01:03:49.280 --> 01:03:53.039
And yeah, well, that was that was when Kira, then I was pregnant with Kira.
01:03:53.360 --> 01:03:55.119
So then we decided to have another kid.
01:03:55.440 --> 01:04:02.320
Yeah, the kids kind of replaced the band, the same kind of juice, the same kind of energy and enthusiasm you have for music.
01:04:02.559 --> 01:04:09.360
So just for all the people in bands now that are wondering what parenting is like, I'll tell you, parenting is like being in a band.
01:04:09.440 --> 01:04:20.079
It's all it's uh all the fun, all the excitement, all the um, you know, it joy of being in a band is what parenting is.
01:04:20.239 --> 01:04:22.719
And so we real we, you know, it was an easy choice.
01:04:22.880 --> 01:04:26.079
Oh shit, we'll just gonna we'll just be parents.
01:04:26.159 --> 01:04:27.599
That's kind of that is a band.
01:04:27.679 --> 01:04:30.880
So all of a sudden your band is you, mom, dad, and your kid.
01:04:30.960 --> 01:04:38.480
And then we had you know, Kira, child number two, and so you kind of hang out and be that band.
01:04:38.639 --> 01:04:45.119
So once they were old enough to kind of take to watch themselves, then we came back to music.
01:04:45.199 --> 01:04:56.079
So once people are, you know, old enough to be unsupervised while you're about an hour for while you're down in the basement, then you can kind of you can come back to music.
01:04:56.239 --> 01:05:08.079
So it's for us, it wasn't you know, music, you know, it I guess once you're wired to make or write music, it's I don't know if that wiring goes away.
01:05:08.559 --> 01:05:08.880
Right?
01:05:09.039 --> 01:05:17.920
It doesn't, it I you you know, I never expected us to be coffee house musicians, and that's and that won't happen, right?
01:05:18.159 --> 01:05:29.519
I mean, we'll I you know the I think really the the goal now is to be like a we're gonna tour um senior living facilities, but super loud.
01:05:31.440 --> 01:05:32.159
People can hear you.
01:05:32.400 --> 01:05:34.800
Yeah, they'll be so like it'll be the perfect.
01:05:35.519 --> 01:05:36.400
I can see that, right?
01:05:36.800 --> 01:05:37.599
I have to remind you.
01:05:38.000 --> 01:05:40.960
We have no uh I mean you come over.
01:05:41.039 --> 01:05:43.679
There you there are no acoustic guitars in the house.
01:05:43.840 --> 01:05:47.280
So well, you know, so maybe that that's where it's headed.
01:05:47.360 --> 01:05:56.480
But you that you know, once once the kids kind of grew up to, you know, uh to a certain point, then you get right back into music again.
01:05:56.639 --> 01:05:59.760
You know, once you can have a babysitter upstairs with your child.
01:06:00.480 --> 01:06:06.239
And they our kids kind of grew up with the very loud sounds in the basement.
01:06:06.480 --> 01:06:08.480
So that was the norm for us.
01:06:08.880 --> 01:06:10.239
Oh, they didn't know any better.
01:06:10.559 --> 01:06:13.840
I do have a couple, we gotta just start wrapping this up pretty quick here.
01:06:14.159 --> 01:06:16.159
We're gonna have to do this again sometime.
01:06:16.400 --> 01:06:17.679
But I have a couple questions.
01:06:17.840 --> 01:06:18.159
Yes.
01:06:18.400 --> 01:06:31.280
Do you still have or do you know where the plans from the Big Red Rocarama class that you gave on building a loft in your van?
01:06:31.599 --> 01:06:32.719
Yes, we have those.
01:06:32.800 --> 01:06:34.239
They're upstairs.
01:06:35.519 --> 01:06:36.800
Would you like a copy?
01:06:38.159 --> 01:06:39.920
Yes, someday I would love a copy.
01:06:40.159 --> 01:06:40.880
Yeah, yeah, yeah.
01:06:41.039 --> 01:06:42.639
I just thought that was one of the funnest.
01:06:42.719 --> 01:06:44.400
That big red rock a rama was.
01:06:44.800 --> 01:06:46.159
Oh, that was that was amazing.
01:06:46.239 --> 01:06:49.679
So that was so screech all the way back.
01:06:49.840 --> 01:06:52.320
You had to teach everybody how to be in a van.
01:06:52.400 --> 01:06:53.519
Like you got really excited.
01:06:53.599 --> 01:06:55.280
You're like, oh, I've got this list.
01:06:55.519 --> 01:07:00.880
We shared the list that we got from the flaming lips and we copied it, like, here you guys go.
01:07:01.119 --> 01:07:01.599
All right.
01:07:02.559 --> 01:07:09.679
Vans would be in our front yard at Plum Street, and John would build the loft in the van.
01:07:09.840 --> 01:07:11.760
We're like, okay, I know how to do that.
01:07:11.920 --> 01:07:16.719
That's how he and Ron Ron drew it, but John, like, okay, this is how you do it.
01:07:16.800 --> 01:07:20.480
Then we'll put the lock on the back so nobody can get in there.
01:07:20.559 --> 01:07:25.760
And yeah, we did a so big red rock around was a music festival on East Campus.
01:07:25.920 --> 01:07:26.480
Yep, yep.
01:07:26.639 --> 01:07:36.239
And then the genius of this was people, people and bands gave presentation, you know, I mean how they do it.
01:07:36.320 --> 01:07:37.199
Yeah, it's genius.
01:07:37.440 --> 01:07:42.320
I was trying to make like a South by Southwest kind of experience in a weekend.
01:07:42.719 --> 01:07:43.679
It was a great idea.
01:07:43.920 --> 01:07:49.199
And and there's there's plenty of stuff to share because we don't nobody knows nothing.
01:07:49.360 --> 01:07:54.639
And so we would we so in addition to having like poster children played that thing, right?
01:07:54.880 --> 01:07:55.760
I thought one of them.
01:07:56.239 --> 01:08:00.079
No, they played at East Campus one time, but that wasn't that not for that.
01:08:04.079 --> 01:08:04.719
Yes, we did.
01:08:04.880 --> 01:08:06.320
And we had judges.
01:08:07.119 --> 01:08:18.000
Phil Shoemaker was a judge, uh El Kent was a judge, and uh uh what's his name from The Animal was a judge.
01:08:18.960 --> 01:08:29.520
He was not, he was not, I think he was at KFMQ then, but they and the radio station KFMQ uh broadcast it live over the air.
01:08:29.920 --> 01:08:37.359
Uh and then the winning was like uh it was the winning band got studio time.
01:08:37.840 --> 01:08:41.439
Nice because back then studio time cost money.
01:08:41.520 --> 01:08:46.880
You couldn't just go to your basement, pull out your phone, and record your band and have it sound really good.
01:08:47.199 --> 01:08:47.520
Right.
01:08:47.760 --> 01:08:51.279
Yeah, again, no pro tool, so you had to have people who knew what they were doing.
01:08:51.840 --> 01:08:53.199
So we did put you gave a presentation.
01:08:53.279 --> 01:08:53.680
You gave a content.
01:08:54.000 --> 01:08:54.960
Who won the contest?
01:08:55.359 --> 01:08:55.600
Nope.
01:08:55.840 --> 01:08:56.800
Who won?
01:08:57.279 --> 01:08:57.680
I don't know.
01:08:58.399 --> 01:08:58.720
I don't know.
01:08:59.119 --> 01:09:00.479
Great friends of yours.
01:09:00.800 --> 01:09:03.279
You done things on his label.
01:09:03.840 --> 01:09:06.079
Burning him again, the the the sideshows?
01:09:06.479 --> 01:09:07.439
Pioneer Disaster.
01:09:07.680 --> 01:09:08.319
Oh funny.
01:09:08.640 --> 01:09:10.479
Oh good, that was a good call.
01:09:11.039 --> 01:09:12.239
So we had presentations.
01:09:13.520 --> 01:09:14.000
Screen printing.
01:09:14.239 --> 01:09:17.600
So we taught people how to do how you did the screen printing one, right?
01:09:17.840 --> 01:09:20.239
So you could so you can so you're screen print your own shirt.
01:09:20.800 --> 01:09:21.600
Your own shirt.
01:09:22.239 --> 01:09:28.079
And then I did the how to build a loft in a van one because you need to have your equipment hidden.
01:09:28.239 --> 01:09:32.560
You can't just throw it in the back of the pickup and drive to Chicago because then you got no equipment.
01:09:32.800 --> 01:09:34.720
So we that was the cool thing.
01:09:34.800 --> 01:09:43.600
It was the instead of panels, you know, talking about the state of the industry, we showed people how to do really important you know functions.
01:09:44.319 --> 01:09:44.800
Get out.
01:09:44.960 --> 01:09:45.279
Yeah.
01:09:45.600 --> 01:09:49.760
Big regret of my life is I've I didn't save every poster I've ever made.
01:09:50.720 --> 01:09:52.960
And and things I've done.
01:09:53.039 --> 01:09:57.359
And you know, we don't we don't have everything we there's things from that big red rock a rama.
01:09:57.439 --> 01:09:59.680
I wish I had some of that just because you know.
01:10:00.079 --> 01:10:08.880
So what's great about big red rock a rama is you know bringing everybody together in this dumb town, this great town, that's that's the beginning of our music scene.
01:10:09.359 --> 01:10:17.600
So, like Lincoln Exposed is this weekend, and there's gonna be over a hundred bands, everybody plays.
01:10:18.079 --> 01:10:21.600
It is a joy because everybody knows what to do.
01:10:21.760 --> 01:10:32.720
They get on the stage, they get off the stage, everybody plays, they all everybody loves each other or hates each other, or whatever it is, but that is our music scene.
01:10:32.800 --> 01:10:36.079
That's what Lincoln is, because nobody's getting signed.
01:10:36.319 --> 01:10:38.800
I like the thing, I like to talk about Lincoln Expos.
01:10:39.039 --> 01:10:43.119
It's the only time that you're excited that the other crowd was the other band.
01:10:43.600 --> 01:10:44.079
Yeah.
01:10:44.319 --> 01:10:46.640
Because, you know, normally like, how's the crowd?
01:10:46.720 --> 01:10:56.960
It was the other band, you know, seven people at watching you, but it's Lincoln Exposed, you say it's the other bands, it's like a hundred people in there, and it's like, you know, it's just a it's a good thing.
01:10:57.199 --> 01:10:58.800
I think the bands, I I like it.
01:10:58.960 --> 01:11:05.840
The bands are all everybody's happy, everybody's, you know, and that's it's democratic, everybody gets paid the same.
01:11:06.319 --> 01:11:07.279
I love that part.
01:11:07.439 --> 01:11:25.359
So some of the some of the things like big rock big rock red rockarama come forward are part of this music scene, you know, where the drumstick, where the zoo bar, where the where music in this town is not like other towns.
01:11:25.600 --> 01:11:32.560
Like other towns, it's cutthroat, or people, you know, are weird, or there's no weird I don't think there's any weirdness.
01:11:32.960 --> 01:11:33.680
It's great.
01:11:34.239 --> 01:11:34.960
It's fun.
01:11:35.199 --> 01:11:36.159
It's super fun.
01:11:36.479 --> 01:11:38.479
All right, last question for you.
01:11:38.800 --> 01:11:47.439
If you're gonna tell somebody they're gonna go on a weekend vacation in Nebraska, where are you sending them?
01:11:49.359 --> 01:11:51.279
Well, Car Henge is amazing.
01:11:51.680 --> 01:11:59.279
Um, you know, uh Fort Robb up in the corner, or Highway 2 outside of Grand Island.
01:11:59.520 --> 01:12:00.079
Oh god, that's right.
01:12:00.319 --> 01:12:01.279
That's a moonscape.
01:12:01.520 --> 01:12:03.520
Like you go, wait, this is Nebraska?
01:12:03.680 --> 01:12:07.920
Like you know, you have no idea that that's actually what Nebraska looks like.
01:12:08.239 --> 01:12:09.439
That's incredible.
01:12:09.760 --> 01:12:10.720
Like a whole state?
01:12:10.880 --> 01:12:13.199
Yeah, just we're going for a weekend.
01:12:13.279 --> 01:12:14.319
Where are you sending them?
01:12:14.399 --> 01:12:16.560
Just you gotta, you know.
01:12:18.000 --> 01:12:19.439
The National Forest?
01:12:19.840 --> 01:12:20.319
Haldy.
01:12:20.640 --> 01:12:22.960
Halley because of the dark sky.
01:12:23.279 --> 01:12:24.319
There's so many options.
01:12:24.560 --> 01:12:25.119
So many options.
01:12:26.960 --> 01:12:28.720
John, where are you gonna go?
01:12:31.600 --> 01:12:41.199
Yeah, I'm gonna send them to the Goodwill Bend store in Omaha, which is the wildest of Wild West thrift stores.
01:12:41.439 --> 01:12:43.279
Oh, you gotta go there.
01:12:43.520 --> 01:12:48.960
It's it's uh the all the things are sold by the pound.
01:12:49.840 --> 01:12:53.680
So you put everything in your cart and you wheel the cart over to the scale.
01:12:53.920 --> 01:12:54.319
Oh, wow.
01:12:54.640 --> 01:12:55.840
Like a dollar seventy-five a pound.
01:12:55.920 --> 01:12:59.199
So you can get so if you buy light stuff, you win.
01:12:59.439 --> 01:13:16.000
So you're gonna do that, you're gonna then go to Schlotsky's, uh Omaha's best restaurant, and then you're gonna come back to Lincoln, and then you're gonna go to the aisles and get a Leaning Tower pizza.
01:13:16.479 --> 01:13:24.079
You're gonna eat that, and then you're going to go to the Museum of Speed, which I haven't even been to.
01:13:24.399 --> 01:13:26.079
But I've been to the Museum of Speed.
01:13:26.399 --> 01:13:38.000
The Museum of Speed, I you know that uh just from what I've seen, and they have like you know, cool model cars, they have toys.
01:13:38.239 --> 01:13:46.640
It kind of cover if you like any kind of car thing, they had the one three-wheeled car that they had the the the Dale.
01:13:46.960 --> 01:13:49.600
They had like, you know, there was a documentary on the Dale.
01:13:50.239 --> 01:13:58.319
So go to Museum of Speed, and then yeah, if you're gonna do like a Western Nebraska thing, then I like nature.
01:13:58.479 --> 01:14:00.159
That's like and the sky.
01:14:00.239 --> 01:14:03.760
You know, to me in Nebraska, the sky is the show.
01:14:04.319 --> 01:14:10.399
And so anything you can do, which is literally just standing outside, you can go look at the sky.
01:14:10.560 --> 01:14:14.000
It's that is what's incredible about Nebraska.
01:14:14.159 --> 01:14:15.439
The cranes are coming up.
01:14:15.760 --> 01:14:16.159
Oh, yeah, yeah.
01:14:16.399 --> 01:14:17.920
The cranes are incredible.
01:14:18.079 --> 01:14:21.359
Uh the flat river is incredible.
01:14:21.520 --> 01:14:22.399
I'm doing urban stuff.
01:14:22.479 --> 01:14:25.359
So after museums of speed, you should have time to go see bands.
01:14:26.640 --> 01:14:27.439
Come for Lincoln.
01:14:27.920 --> 01:14:30.880
Yeah, yeah, just go go see bands, just hang out on 14th.
01:14:30.960 --> 01:14:31.439
Yep.
01:14:31.760 --> 01:14:32.159
All right.
01:14:32.239 --> 01:14:33.439
Well, thank you very much.
01:14:33.520 --> 01:14:37.520
Uh, I love you guys, uh, and I owe a lot to you guys.
01:14:37.760 --> 01:14:43.359
Um, and you know, I'll always come running if you just say, hey, bring some gloves and a shovel.
01:14:43.600 --> 01:14:46.159
Don't ask any questions, you know, I'd be there for you.
01:14:46.239 --> 01:14:47.840
You know, so good to know.
01:14:48.560 --> 01:14:49.920
It takes a village, Dave.
01:14:50.000 --> 01:14:52.479
And so it's it's all it's all of us.
01:14:52.640 --> 01:14:56.640
But thank you for making facilitating our wildness.
01:14:56.880 --> 01:14:58.399
I'm glad we're all still here.
01:15:00.000 --> 01:15:01.039
All right, thank you.
01:15:01.119 --> 01:15:03.760
Uh I'll uh talk to you guys next week.
01:15:03.920 --> 01:15:09.279
Uh, and remember, uh, be excellent to each other and party on kids.