WEBVTT

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Hey everybody, this is Jim Laughlin, and you

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are listening to My Weekly Mixtape with Brian

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Colburn. It's an awesome show, so check it out.

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Welcome to My Weekly Mixtape, a podcast that

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takes the classic mixtape approach to building

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a modern playlist. I'm your host, Brian Colburn.

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Anyone that knows me personally knows I'm a huge

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fan of live music. And one of my favorite genres

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to catch live is the jam band scene because it

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incorporates all of that in the moment spontaneity

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and improvisation and kicks it up to its maximum

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potential. And tonight on my weekly mixtape,

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I'm honored to welcome Jim Laughlin, percussionist

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for one of my favorite jam bands on the planet,

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Moe to the show. Jim, thank you so much for joining

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me tonight, man. All right, thank you for having

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me. Actual pleasure to be here. Well, Jim, I'd

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like to start by asking you the same question

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I ask all my first -time guests, and that is,

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what does the word mixtape mean to you? Man,

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it reminds me of being in the early 80s and sitting

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next to the radio with a cassette ready to go

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and ready to hit record on the songs that I...

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that I want, especially if they're doing like

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countdowns or this week's top 10, all that stuff.

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I would just sit there and record songs, record

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songs off the radio. And just the mix of those

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songs was the first mixtapes that I had ever

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made was just straight from the radio and praying

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that the DJ would say the name of the song and

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the band, just in case I didn't know what it

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was so I could find something new. Awesome. Well,

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I'd like to first start by talking about the

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evolution. of some Mo songs across the band's

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30 -plus year history. An example being Spine

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of a Dog. That track was originally recorded

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for 1992's Fatboy and re -recorded for the band's

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major label debut 1996's No Doy. And then there

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was a new version that was recorded for 2010's

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Smash Hits Vol. 1 that, in my humble opinion,

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brings the feel and energy of a live Mo concert

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into the studio rendition. Can you talk about

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how some of the band's songs, like Spine, for

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example, seem to evolve over the years? It's

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funny because Spine and the Dog was the first

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Mo song that really caught my ear when they sent

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me that album to learn their songs from. So a

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lot of the progression, especially from a lot

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of the earlier material, the stuff off of Fatboy

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and even Headseed, it really evolved. kind of

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through having different drummers play the song

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and different drummers approach the song. When

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the song was originally written, it was pretty

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straightforward. There wasn't really any solo

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breaks in it or anything like that. It was just

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Ray did this really cool tom beat that, you know,

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he had rototoms and all this stuff, and it sounded

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pretty wild, and it wasn't a traditional drum

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beat. And the bass line, all that came to sort

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of create this really unique song. And it was

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always a great song live, despite being one of

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our shorter or close to our shortest song. It

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just the energy behind it. Everybody always enjoyed

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that song. I mean, it was the pinball machine

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song or, you know, the title was never correct,

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but everybody had their own reference way to

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reference the song. And then I started drumming

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and the song evolved a little bit more. I changed

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the beat a little bit. everybody sort of settled

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into their parts and it really became a cohesive

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work when it was recorded for no doy it was again

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another drummer and they were just sort of trying

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to catch the song again you know with a sort

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of new fresh look on it and it was still a really

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popular song even though at that point in time

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it was probably eight years old something like

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that seven eight years old And that, again, it

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went out great. No Doy was a really big record

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for the band. It really hooked a lot of people.

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There's a lot of great songs on that album. And

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then we became a five -piece when I started,

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came back to the band as a percussionist. And

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adding the percussion line to it, we added the

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samba whistle, a small timbale break. Al's solo,

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I think, was extended. like maybe to twice as

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long as it had originally been. I can't remember

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how long the original solo section was, but it

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was very short. And when we were playing, when

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I came back into the band and adding all that

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stuff, and we started playing the song even more,

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and then it became sort of a jam vehicle as well

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for anything that was in a similar key or anything

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like that, like the big spine buster. You can

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go from a bunch of our songs into and out of

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spine. You can put it at the beginning, at the

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end. however you want to do it so again the song

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it's just a workhorse of a song for us we use

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it a lot we play it often and then and that last

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change for smash hits is pretty much that's how

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the song has been has been approached since then

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even now having nate on the song we haven't really

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changed the approach to the song or anything

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like that it's still very very similar and when

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we recorded that one most of the tracks When

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we re -re -recorded it, I should say, most of

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the tracks on Smash Hits were done live. Most

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of the record is live in studio. There's a small

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amount of overdubbing for stuff, vocals and solos.

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There's a small amount of punch -ins and whatnot,

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like studio stuff. Most of the basic tracks for

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that entire record were recorded live because

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that was kind of the goal. And at that point

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in time, since then, rather, it's kind of been

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our goal to capture as much of our live sound

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in the studio as we possibly can. And I remember

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in 2007 on Warts and All Volume 5, you had Spine

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of a Dog woven through an entire set of songs.

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It was Spine of a Dog, Mexico, Plane Crash, Spine

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of a Dog, Yoda Little. Spine of a Dog and Buster,

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lasting a touch over an hour and 40 minutes for

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one set. Yeah. I mean, the song works like that.

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It has specific parts to the song and you can

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sort of, like I said, just mix it in to a bunch

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of different stuff and it fits. Fits so well,

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obviously, across the board over the years. Now,

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going back to that Smash Hits album being we're

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talking about and it was all done live. Two of

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my three favorite most songs of all time are

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redone on that album and are what I feel the

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definitive versions of those songs being Rebobula

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and Mexico, because I love hearing the extended

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jam sequences that were always built into the

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live show finally being incorporated into studio

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recordings. Now, one thing I. I've noticed over

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my years of being a jam band fan is the discussion

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over who inherently prefers this live version

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or this live version of a song over their studio

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counterparts. And I feel like smash hits was

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the best of both worlds for Mo in terms of studio

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versus live recordings. Do you have a personal

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preference? I don't know. It's really difficult

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because in the studio, you get the opportunity

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to do things that you just can't do live. The

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studio itself is a whole other tool. All the

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effects, the recording, how specific you can

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get, how loose you can get. You can really go

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in any direction that you want to in the studio.

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I feel like we've made some great true studio

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records. I feel like we've made some great live

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records. And I feel like we've made some great

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hybrid records. Smash Hits is definitely a hybrid.

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type of album along with wormwood and um the

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conch a lot of these like we did as much as we

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can to be live in the studio for smash hits we

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tried to keep as much of it as we can and we

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also tried to frame the songs like we would in

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a live situation as opposed to what the studio

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recordings of those songs were when we recorded

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smash hits also i was now a part of the band

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and there was a lot of percussion heavy stuff

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in a lot of those songs added but they made an

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impact when we played the song live so we wanted

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to really represent that that like you said the

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evolution of these songs as well as you know

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what what we do with them live and you know if

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you look at wormwood and the conch we recorded

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a lot of those Basic tracks actually came from

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shows, like not just live in a studio, but on

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a stage. And we recorded as much as we could

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during shows and kept as much of that as we could

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and put all that together. I feel like in the

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jam band community, majority of jam band fans

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would rather listen to live shows than studio

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work. Because of the same reason that you said,

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the open sections of the songs, the improv solos,

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the segues, all that stuff that's happening,

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that's the biggest appeal of this genre of music.

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So since the early 2000s, I would say that's

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kind of been a goal of ours, is to try to capture

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as much... of our live show in a studio recording

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as we can. And if we can't do that, we want to

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use as much as the studio can offer us to make

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this record then. Some songs don't always work

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trying to catch a live recording of. Off of the

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new records, We Are Not Normal, Pill Vacation

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is a song that we needed all the studio to record

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that song. you know that studio version of that

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is it even almost becomes difficult to reproduce

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live but that's the direction that that song

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went and we've done it a couple times live but

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then the world fell apart for a while so you

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know it's something we'd like to get it back

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but it takes you know i need um uh in that song

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i'm using triggers and electronic drum pad as

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well as playing the marimba and a couple other

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things and just bouncing back and forth so to

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redo that live is like i'm a very busy person

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in a song like that it's a musical panic attack

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pretty pretty much and just the sounds that are

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in the song and in certain songs that we've recorded

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over the years just i think Instead of an album

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by album basis, I would actually go by a song

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by song basis as to which ones I prefer studio

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versus live. All right. Well, let's do that from

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the first song. I'm just kidding. I want to bring

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up. The Conscious Studio recording, because on

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June 11th, 2005, my wife and I were in Portland,

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Maine for the recording of the album at the State

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Theater. And that was the show that three songs

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into the set, someone pulled the fire alarm and

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they evacuated the entire theater into the street.

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Yeah, that was a blast. Very memorable show.

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But that night I got to see and hear the live

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quote unquote studio recordings for She, Wind

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It Up, The Road and The Pit. What was the band's

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mindset for taking such a unique approach to

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a studio recording? Because usually in live recordings,

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and I want to think back to like the kick drum

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on Wormwood at the beginning of Not Coming Down,

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you can actually hear some of the crowd noise

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gated in the kick drum. To me, that was so unique

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and so memorable. I'd love to know the band's

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mindset behind this. Yeah, that was a really

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cool album to record. It probably is the longest

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amount of time it's ever taken us to record anything.

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And it was exactly that. We needed to release

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material. We had a bunch of new songs and we'd

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been playing them live, all of them. And we needed

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to release something because it had been a bit

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since the last album. And just keeping in mind

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that whole concept that playing live is not only

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our strongest suit, it's also a majority of at

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least what we feel our fans want to hear. So

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what's the best way to release an album that

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isn't necessarily a live album because that can

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be a tightrope walk? you know that's why those

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the live series is called warts and all because

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we're not making any apologies for the mistakes

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that are on this record this is just how it is

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so you you know you bounce that line you can

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also go do something like what rush does and

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record an entire tour an entire year's worth

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of shows and then whittle through and find the

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best versions of the songs that you want to release

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but that When you're doing three -hour shows

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night after night after night, you end up logging

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a tremendous amount of material. And to go through

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that material would be just a massive headache.

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And then there would just be a lot involved.

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Also getting six guys to agree that, yes, that

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song should be on the record, that version. So

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we decided that we were going to record live,

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like actually record live. So we built a recording

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rig. Made it so we can actually track an album

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live while we're playing the concert. And most

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of it, I would say close to 90 % of it is from

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those two Portland shows. We have crowd noises

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on segues from that album of everybody chanting,

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be on my side, I'll be on your side. We took

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a different... weird stuff from the shows a lot

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of the ambient room of the theater itself and

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just said the way the sound traveled just through

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the theater just like reverb type of sounds that

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are just bled into the album throughout the whole

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thing and another big thing is you know you get

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a lot of adrenaline in you and stuff when you're

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playing live so tempos the songs tend to be faster

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and then we get in the studio and we sort of

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slow things down and things know to make everything

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click and fit and it's slow it the tempo is slower

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where we really feel that it should be but we

00:15:08.330 --> 00:15:11.009
jump on everything live because we're there to

00:15:11.009 --> 00:15:13.490
have fun and have everybody have fun so tempos

00:15:13.490 --> 00:15:16.789
are up and and that's capturing vinnie's tempos

00:15:16.789 --> 00:15:19.309
for all those songs live all those drum tracks

00:15:19.309 --> 00:15:23.879
are live on that record um there's no drum overdubs

00:15:23.879 --> 00:15:26.220
punches anything like he might have fixed a couple

00:15:26.220 --> 00:15:28.759
hi -hats but it's that's really those are the

00:15:28.759 --> 00:15:33.679
tracks and it keeps the tempo up for everything

00:15:33.679 --> 00:15:37.480
and then we even a lot of overdubs were done

00:15:37.480 --> 00:15:41.840
in the state theater or there was another big

00:15:41.840 --> 00:15:43.940
room that we played that we because so it sounded

00:15:43.940 --> 00:15:47.159
similar as far as getting the guitar to sound

00:15:47.159 --> 00:15:49.600
the same between what they had to fix or whatever

00:15:49.600 --> 00:15:54.350
but so much of that record was captured live

00:15:54.350 --> 00:15:58.570
and it was a great idea i you know it'd be really

00:15:58.570 --> 00:16:00.909
nice to be able to do something like that again

00:16:00.909 --> 00:16:05.710
but it like i said it took months months months

00:16:05.710 --> 00:16:09.110
and months to record that record maybe like eight

00:16:09.110 --> 00:16:11.149
months just to get everything together recording

00:16:11.149 --> 00:16:14.470
wise never mind artwork like everything else

00:16:14.470 --> 00:16:16.389
that goes behind releasing a record so it took

00:16:16.389 --> 00:16:22.600
a long time and it's hard to We don't always

00:16:22.600 --> 00:16:26.139
have that timetable to release material. We try

00:16:26.139 --> 00:16:29.799
to do it as often as we can, and it gets to be

00:16:29.799 --> 00:16:32.139
a difficult thing. We're not an album -a -year

00:16:32.139 --> 00:16:36.100
band, or even two years, generally. We've had

00:16:36.100 --> 00:16:39.620
stretches of five years between records. But

00:16:39.620 --> 00:16:42.240
we're trying, and committing to something like

00:16:42.240 --> 00:16:45.320
that, you're committing to a lot of time, you're

00:16:45.320 --> 00:16:49.059
committing to a lot of work. a really good advantage

00:16:49.059 --> 00:16:51.919
to the point because bill emmons who was our

00:16:51.919 --> 00:16:55.960
monitor engineer at the time was also our engineer

00:16:55.960 --> 00:16:59.019
for two albums prior to that in the studio he

00:16:59.019 --> 00:17:02.620
worked on dither with us and uh the album before

00:17:02.620 --> 00:17:05.740
i do believe so he had been with us a long time

00:17:05.740 --> 00:17:09.819
and he's an amazing engineer he got all the sounds

00:17:09.819 --> 00:17:11.759
that we wanted he knew how to catch everything

00:17:11.759 --> 00:17:15.920
and he's he let us kind of produce the record

00:17:15.920 --> 00:17:18.619
he basically worked with us to release a record

00:17:18.619 --> 00:17:22.160
that we wanted to release, which was awesome.

00:17:22.819 --> 00:17:26.480
They're both fantastic records. And just a small

00:17:26.480 --> 00:17:30.839
sidebar here, that June 11th, 2005 date, I actually

00:17:30.839 --> 00:17:33.920
saw you perform twice in one day because earlier

00:17:33.920 --> 00:17:36.299
that afternoon, you did a show at the Ale House

00:17:36.299 --> 00:17:39.519
with Mike Rocklin. It was a Rocklin and Lachlan

00:17:39.519 --> 00:17:42.539
duo show. That's right. It was a unique bar because

00:17:42.539 --> 00:17:45.390
there were swing sets. in the bar and people

00:17:45.390 --> 00:17:47.210
were sitting, we were sitting on swing sets,

00:17:47.430 --> 00:17:50.390
having a drink, watching your show. And my wife

00:17:50.390 --> 00:17:53.170
and I still play Carolina rice and beans and

00:17:53.170 --> 00:17:55.549
can't stand the heat all the time. He was such

00:17:55.549 --> 00:17:57.430
an amazing time. I miss him and his music so

00:17:57.430 --> 00:18:01.670
much. Yeah. Yeah. He, I, every day I think about

00:18:01.670 --> 00:18:05.369
him every day. He was a great man and, and just

00:18:05.369 --> 00:18:08.809
a great songwriter. He just really wrote great

00:18:08.809 --> 00:18:12.009
songs. When I was streaming over COVID, I covered

00:18:12.009 --> 00:18:16.740
his many as i can get out and like do a decent

00:18:16.740 --> 00:18:20.680
job of and they're all like all his songs just

00:18:20.680 --> 00:18:24.400
mean a lot to me it was difficult the first couple

00:18:24.400 --> 00:18:27.279
years after he passed to listen to him i could

00:18:27.279 --> 00:18:31.339
i really couldn't but now it's it it it break

00:18:31.339 --> 00:18:33.079
like i hear his voice again i get to hear his

00:18:33.079 --> 00:18:35.720
voice i get to hear the way he thinks and you

00:18:35.720 --> 00:18:38.440
know i know him obviously he's my brother i've

00:18:38.440 --> 00:18:40.740
known him my whole life and i know him so well

00:18:40.740 --> 00:18:44.289
and All the little jokes inside the songs, all

00:18:44.289 --> 00:18:47.750
the comments and the social comments and the

00:18:47.750 --> 00:18:50.210
political comments and all that stuff that I

00:18:50.210 --> 00:18:52.910
just know because I know who he is. And they're

00:18:52.910 --> 00:18:56.130
all just so important to me. Well, I just wanted

00:18:56.130 --> 00:18:59.089
to, I know it's a tough subject, but I just wanted

00:18:59.089 --> 00:19:00.809
to tell you that there's still people out there

00:19:00.809 --> 00:19:03.369
that love his music to this day and are very

00:19:03.369 --> 00:19:06.130
thankful for his stuff. That's awesome. Actually,

00:19:06.210 --> 00:19:08.329
thank you for that. That's just great, great

00:19:08.329 --> 00:19:11.650
to hear. Changing gears here. One of the things

00:19:11.650 --> 00:19:13.849
I love so much about Mo is the fact that the

00:19:13.849 --> 00:19:16.950
band utilizes three very capable singers who

00:19:16.950 --> 00:19:19.569
could be the lead singer of just a band by themselves

00:19:19.569 --> 00:19:23.009
between Al, Rob, and Chuck, who I should add

00:19:23.009 --> 00:19:25.970
that I'm also incredibly thrilled beyond words

00:19:25.970 --> 00:19:28.730
to see Chuck back on the stage after what he's

00:19:28.730 --> 00:19:31.529
been through the last few years. Oh, it warmed

00:19:31.529 --> 00:19:33.910
my heart seeing his return. It brought tears

00:19:33.910 --> 00:19:36.730
to my eyes because he's part of the family. Not

00:19:36.730 --> 00:19:40.250
seeing him on stage was tough, but the band really,

00:19:41.019 --> 00:19:43.599
got through and did it well, but having them

00:19:43.599 --> 00:19:46.319
back, there's just no other way. It's amazing.

00:19:46.859 --> 00:19:49.980
In terms of songwriting, let's take a song like

00:19:49.980 --> 00:19:52.019
Haze, for example, from What Happened to the

00:19:52.019 --> 00:19:55.099
Lalas. That was written and originally sang by

00:19:55.099 --> 00:19:57.980
Al, but then in the studio, Rob recorded the

00:19:57.980 --> 00:19:59.920
album version, and it's kind of lived that way

00:19:59.920 --> 00:20:03.140
pretty much ever since. Can you talk about how

00:20:03.140 --> 00:20:06.240
the songwriting process in Mo takes place and

00:20:06.240 --> 00:20:09.940
how those kind of decisions are made? Yeah, Haze

00:20:09.940 --> 00:20:13.000
is actually very unique as far as those decisions.

00:20:13.200 --> 00:20:16.940
Al wrote the song. He wrote pretty much the song

00:20:16.940 --> 00:20:19.500
completely. When he brought it in, I added the

00:20:19.500 --> 00:20:23.319
vibraphone line, but he already had this drum

00:20:23.319 --> 00:20:27.140
machine track underneath it. So that's why when

00:20:27.140 --> 00:20:30.180
the chorus is kicking, I'm playing drum triggers

00:20:30.180 --> 00:20:32.980
on the pads, just matching Vin, just trying to

00:20:32.980 --> 00:20:35.319
thicken up the drum sound in the chorus, because

00:20:35.319 --> 00:20:40.089
Al had this really cool... drum loop throughout

00:20:40.089 --> 00:20:42.170
those parts, throughout the chorus sections of

00:20:42.170 --> 00:20:44.470
the parts. I'm like, well, I'd really like to

00:20:44.470 --> 00:20:46.930
keep that in there and still have Vin play. So

00:20:46.930 --> 00:20:50.069
that's sort of how we worked that out. And he,

00:20:50.190 --> 00:20:53.230
you know, we had played it for live for a while

00:20:53.230 --> 00:20:56.910
with Al singing. And when we came in to record

00:20:56.910 --> 00:20:59.490
What Happened to the Lalas, we had actually hired

00:20:59.490 --> 00:21:02.210
a producer for that record. And it was the first

00:21:02.210 --> 00:21:05.039
time in a long time that we had worked with an

00:21:05.039 --> 00:21:07.880
actual producer producer someone who we were

00:21:07.880 --> 00:21:11.539
willing to just give control to and let him make

00:21:11.539 --> 00:21:13.680
a lot of the decisions so we didn't become this

00:21:13.680 --> 00:21:16.299
six -headed monster you know pulling it everybody

00:21:16.299 --> 00:21:20.000
in different ways and it was difficult we hadn't

00:21:20.000 --> 00:21:23.119
done it in a while and you know it's it's as

00:21:23.119 --> 00:21:25.579
a musician it's hard when someone tells you like

00:21:25.579 --> 00:21:28.160
yeah don't play that play this like it's weird

00:21:28.160 --> 00:21:32.910
you know And you have to sort of put your trust

00:21:32.910 --> 00:21:35.269
in this person and say, okay, this is, you know,

00:21:35.289 --> 00:21:37.009
we're trying to make a really good record and

00:21:37.009 --> 00:21:39.849
they know what they're doing. So I would just

00:21:39.849 --> 00:21:42.630
listen to them. And it was actually his idea

00:21:42.630 --> 00:21:47.250
to have Rob sing the song. He loved the song.

00:21:48.309 --> 00:21:52.210
And we had recorded a couple other songs at that

00:21:52.210 --> 00:21:54.190
point in time. So he had heard everybody sing

00:21:54.190 --> 00:21:57.490
and just in his head, Rob's voice. just fit the

00:21:57.490 --> 00:22:00.849
song better the the mood of the song and how

00:22:00.849 --> 00:22:04.470
it i don't want to say should sound but his voices

00:22:04.470 --> 00:22:07.430
fit in that slot you know he thought that it

00:22:07.430 --> 00:22:10.930
fit in that slot better and after recording it

00:22:10.930 --> 00:22:13.410
and stuff and you know then we decided well this

00:22:13.410 --> 00:22:14.809
is how we're going to play we're going to play

00:22:14.809 --> 00:22:16.390
it with rob singing it and everything and it

00:22:16.390 --> 00:22:19.809
sort of did after doing it long enough it clicked

00:22:19.809 --> 00:22:23.410
and you know rob does a great job singing the

00:22:23.410 --> 00:22:27.970
song and you know al did a great job of saying

00:22:27.970 --> 00:22:31.309
of just stepping down and being like yeah rob

00:22:31.309 --> 00:22:33.970
should sing this song he does a great job of

00:22:33.970 --> 00:22:38.569
it and it did really didn't bother al but we

00:22:38.569 --> 00:22:43.289
have other songs like akimbo when we wrote that

00:22:43.289 --> 00:22:45.890
as another song that al wrote most of the song

00:22:45.890 --> 00:22:51.029
but chuck wrote the lyrics and in rehearsal of

00:22:51.029 --> 00:22:54.309
writing the song he chuck sort of just came up

00:22:54.309 --> 00:22:57.359
with the vocal line the vocal melody and a bunch

00:22:57.359 --> 00:23:00.299
of words and so it came out that way this is

00:23:00.299 --> 00:23:03.059
a song that al wrote mostly wrote that chuck

00:23:03.059 --> 00:23:08.200
is singing and then who you call and scared rob

00:23:08.200 --> 00:23:12.380
literally wrote the song for chuck to sing like

00:23:12.380 --> 00:23:16.259
as rob started writing the song on his own he

00:23:16.259 --> 00:23:19.480
realized that he'd have a really difficult time

00:23:19.480 --> 00:23:21.380
playing this bass line and singing this song

00:23:21.380 --> 00:23:26.200
and it's high It was just out of his range for

00:23:26.200 --> 00:23:28.339
him to be comfortable singing, especially, you

00:23:28.339 --> 00:23:31.539
know, this was after Rob's recovery from throat

00:23:31.539 --> 00:23:35.180
cancer. So, you know, he literally came in and

00:23:35.180 --> 00:23:37.980
was like, these are the words, learn how to sing

00:23:37.980 --> 00:23:40.319
it. This is the melody that you're going to sing.

00:23:41.099 --> 00:23:44.339
You know, it's on you. You are singing this song.

00:23:44.400 --> 00:23:47.539
I'm not even going to try. So it comes about,

00:23:47.640 --> 00:23:50.119
most things come about in this band through different,

00:23:50.279 --> 00:23:53.269
you know, very different. ways not every song

00:23:53.269 --> 00:23:56.630
is approached the same not every song gets written

00:23:56.630 --> 00:24:01.049
the same and it again this is just the culmination

00:24:01.049 --> 00:24:03.730
of a bunch of guys working together for 30 years

00:24:03.730 --> 00:24:07.650
who now we don't need a set pattern if someone

00:24:07.650 --> 00:24:11.390
has an idea they can either rely on the other

00:24:11.390 --> 00:24:14.170
guys to help finish that idea or they can bring

00:24:14.170 --> 00:24:16.650
a completed idea in and everybody gets it and

00:24:16.650 --> 00:24:18.650
everybody's like okay this is my job and this

00:24:18.650 --> 00:24:20.930
is how we're going to do it It's still open to

00:24:20.930 --> 00:24:22.970
suggestions. People still go, what if I did this

00:24:22.970 --> 00:24:25.829
and all that? And there's no argument. No one

00:24:25.829 --> 00:24:28.970
comes in like, no, this is, you have to do this.

00:24:29.690 --> 00:24:32.750
That really doesn't happen. So just about everything

00:24:32.750 --> 00:24:35.950
is a cognitive effect of us working together.

00:24:36.910 --> 00:24:38.750
Well, this is going to be kind of a sound like

00:24:38.750 --> 00:24:40.930
a silly question, but what happened to the Lala's?

00:24:40.990 --> 00:24:44.430
I've always wondered. Was that title a joke in

00:24:44.430 --> 00:24:46.609
the mixing of the album? Like they mix Suck a

00:24:46.609 --> 00:24:49.029
Lemon and the La La's wasn't there and somehow

00:24:49.029 --> 00:24:51.069
somebody came up and said, dude, what happened

00:24:51.069 --> 00:24:54.750
to the La La's? That's actually exactly how it

00:24:54.750 --> 00:25:00.769
happened. We were listening back to the end of

00:25:00.769 --> 00:25:03.329
Suck a Lemon and John, the producer, was sitting

00:25:03.329 --> 00:25:05.049
at the board and we're listening back to it when

00:25:05.049 --> 00:25:07.839
we get to the end. and rob turned around he's

00:25:07.839 --> 00:25:11.220
like what happened to the lalas and so john's

00:25:11.220 --> 00:25:13.180
like oh yeah right and rewound it and popped

00:25:13.180 --> 00:25:16.079
it in and there was you know a moment of laughter

00:25:16.079 --> 00:25:19.259
because look it's a weird thing to say just a

00:25:19.259 --> 00:25:22.380
weird sentence standing on its own and then it

00:25:22.380 --> 00:25:25.119
ended up as the album title that's that was like

00:25:25.119 --> 00:25:27.579
you know one of the pinnacle moments of that

00:25:27.579 --> 00:25:30.700
record so it ended up being the title of the

00:25:30.700 --> 00:25:33.779
album love it Well, one of the songs I want to

00:25:33.779 --> 00:25:35.940
talk about from that album is a song you wrote,

00:25:36.000 --> 00:25:39.059
Chromatic Nightmare, which features an incredible

00:25:39.059 --> 00:25:41.940
vibraphone melody. And I'd love to know from

00:25:41.940 --> 00:25:44.000
a musical standpoint of writing that song, is

00:25:44.000 --> 00:25:46.319
that something where you initially write the

00:25:46.319 --> 00:25:48.900
melody on a vibraphone? Or did you write the

00:25:48.900 --> 00:25:51.099
music first and then come up with the melody

00:25:51.099 --> 00:25:55.660
like lyrics to a song? Actually, so the main

00:25:55.660 --> 00:25:58.319
melody of that song is played in the studio.

00:25:58.319 --> 00:26:00.880
It's played on a xylophone. Oh, geez. Sorry.

00:26:01.210 --> 00:26:04.250
it was written on a marimba but the vibraphone

00:26:04.250 --> 00:26:06.529
line in the in the middle that chuck and i play

00:26:06.529 --> 00:26:09.490
together and then chuck solos over yeah yeah

00:26:09.490 --> 00:26:13.869
that i had written it was maybe a year before

00:26:13.869 --> 00:26:18.309
i think we were doing a westwood one like a national

00:26:18.309 --> 00:26:21.390
brady mpr type of radio broadcast i forget which

00:26:21.390 --> 00:26:23.589
it was one of the bigger ones i forget which

00:26:23.589 --> 00:26:28.809
one it was and um they came in and the guy asked

00:26:28.809 --> 00:26:31.789
he's like after we did the show he asked me he

00:26:31.789 --> 00:26:34.470
said can you play just a couple music interludes

00:26:34.470 --> 00:26:37.970
we want to use the vibraphone for musical interludes

00:26:37.970 --> 00:26:40.250
throughout the show like coming back from commercials

00:26:40.250 --> 00:26:43.349
and stuff like that so i i was like sure and

00:26:43.349 --> 00:26:46.130
i went in and i just improvised a handful of

00:26:46.130 --> 00:26:50.809
little 30 second things and one of them happened

00:26:50.809 --> 00:26:58.509
to be that and that was the one that stuck in

00:26:58.509 --> 00:27:01.880
my head And I just had it in my head for years.

00:27:02.460 --> 00:27:06.539
So when I was home and I wrote the melody for

00:27:06.539 --> 00:27:10.099
Chromatic Nightmare and I brought it in and we

00:27:10.099 --> 00:27:13.880
were working on the song with Mo and we needed

00:27:13.880 --> 00:27:16.640
something in the middle. It couldn't just be

00:27:16.640 --> 00:27:20.039
this weird polka thing. So I started playing

00:27:20.039 --> 00:27:23.519
that line and Chuck... started matching the line

00:27:23.519 --> 00:27:25.160
with me and vin came up with like a three four

00:27:25.160 --> 00:27:27.599
almost swing or six eight swing kind of beat

00:27:27.599 --> 00:27:30.740
for it and everything just clicked and the chords

00:27:30.740 --> 00:27:32.980
outline themselves right there you know it's

00:27:32.980 --> 00:27:38.160
just f minor b minor really easy and we opened

00:27:38.160 --> 00:27:41.460
that section up to let chuck play over and it

00:27:41.460 --> 00:27:44.259
ended up being you know really the part of the

00:27:44.259 --> 00:27:47.079
song that for me stands out on that song because

00:27:47.079 --> 00:27:52.559
you have this really bizarre sort of Kind of

00:27:52.559 --> 00:27:57.240
a minor -y, weird, circus Tim Burton thing. Yeah.

00:27:57.339 --> 00:28:01.440
That goes into this really nice swing, minor

00:28:01.440 --> 00:28:04.299
swing feel for Chuck to play over, and he tears

00:28:04.299 --> 00:28:07.440
it up every time. And then you come back into

00:28:07.440 --> 00:28:10.400
the weirdness of it. And the thing that surprised

00:28:10.400 --> 00:28:16.819
me, I wrote the song for maybe the Acid Lemonade

00:28:16.819 --> 00:28:19.380
Test show or something like that, the same show

00:28:19.380 --> 00:28:24.309
I think Vin wrote Mar De Ma for. And, you know,

00:28:24.329 --> 00:28:26.849
we wanted new songs for the shows, and those

00:28:26.849 --> 00:28:29.049
guys wanted Vin and I to write a song, so this

00:28:29.049 --> 00:28:31.589
is what we came up with. And we played it a couple

00:28:31.589 --> 00:28:34.170
times after the show and stuff like that. And

00:28:34.170 --> 00:28:37.470
the producer, John, when we sent him all this

00:28:37.470 --> 00:28:40.289
new stuff, that was one of the songs he picked

00:28:40.289 --> 00:28:42.710
for the record. And I was like, are you kidding

00:28:42.710 --> 00:28:48.589
me? Really? Okay. And, you know, we went in and

00:28:48.589 --> 00:28:51.960
recorded it, and he... Like I said, it was originally

00:28:51.960 --> 00:28:55.339
written on a marimba. I didn't have a marimba

00:28:55.339 --> 00:28:58.500
on the road at the time. I just had my vibraphone

00:28:58.500 --> 00:29:02.339
and a xylophone. And I brought my marimba into

00:29:02.339 --> 00:29:04.099
the studio to record the song and everything.

00:29:04.240 --> 00:29:08.279
And he's like, no, it's too big sounding. He's

00:29:08.279 --> 00:29:11.180
like, I want something pokey, like plinky or

00:29:11.180 --> 00:29:13.240
whatever. And I was like, I have a, so I could

00:29:13.240 --> 00:29:15.420
set the xylophone up and play that with a set

00:29:15.420 --> 00:29:17.059
of hard mounts. And he's like, that's it. That's

00:29:17.059 --> 00:29:23.210
the sound. And boom. That was one of the easier

00:29:23.210 --> 00:29:26.390
songs, despite that the melody is difficult to

00:29:26.390 --> 00:29:28.730
play. I have a tough time with it live sometimes.

00:29:29.029 --> 00:29:32.349
It's not easy. But that song came together just

00:29:32.349 --> 00:29:35.890
incredibly fast. And we had all these huge drums

00:29:35.890 --> 00:29:39.170
and weird percussion instruments to work in the

00:29:39.170 --> 00:29:42.069
breakdown and everything about it just worked

00:29:42.069 --> 00:29:45.130
out so well. I'm really happy with how that one

00:29:45.130 --> 00:29:47.789
actually came out. In the studio, like that's

00:29:47.789 --> 00:29:50.990
a great studio version of a song. Really, really

00:29:50.990 --> 00:29:53.710
is. Now, following up on something we talked

00:29:53.710 --> 00:29:56.029
about earlier, the band's different approaches

00:29:56.029 --> 00:29:57.849
to recording and a lot of the songs like you

00:29:57.849 --> 00:30:00.549
mentioned for Wormwood and the Conch were road

00:30:00.549 --> 00:30:04.529
tested songs. However, in 2007, for the Sticks

00:30:04.529 --> 00:30:06.670
and Stones album, you guys rented out a church

00:30:06.670 --> 00:30:09.309
and cathedral in New England to record. And you

00:30:09.309 --> 00:30:13.029
came up with songs like Deep This Time and Zed

00:30:13.029 --> 00:30:16.599
Not Z that were. written there as well as two

00:30:16.599 --> 00:30:19.519
songs all roads lead to home and conviction song

00:30:19.519 --> 00:30:22.740
that were already road tested but for the most

00:30:22.740 --> 00:30:25.920
part that album was all done prior to the mo

00:30:25.920 --> 00:30:28.859
fan base hearing it was there a reason behind

00:30:28.859 --> 00:30:32.119
this change of mindset for this one album um

00:30:32.119 --> 00:30:35.680
a lot of it was because we had never done that

00:30:35.680 --> 00:30:38.640
as the first time we had ever recorded a record

00:30:38.640 --> 00:30:41.500
that no one had heard yet no one had heard any

00:30:41.500 --> 00:30:43.259
of the songs like you said except for the two

00:30:43.950 --> 00:30:48.130
the two songs and it was originally supposed

00:30:48.130 --> 00:30:52.730
to be a majority acoustic album i remember that

00:30:52.730 --> 00:30:56.230
yeah you know i had bought all these drums uh

00:30:56.230 --> 00:30:58.509
hand drums and stuff for the record and we sort

00:30:58.509 --> 00:31:01.569
of geared up and then we showed up got in set

00:31:01.569 --> 00:31:06.170
up in the church and started playing and the

00:31:06.170 --> 00:31:08.470
stuff that sort of started coming out from us

00:31:08.470 --> 00:31:11.849
jamming were really more of these kind of americana

00:31:11.849 --> 00:31:16.539
rock Songs and they didn't they just worked better

00:31:16.539 --> 00:31:20.319
electric than they did with any kind of acoustic

00:31:20.319 --> 00:31:26.579
approach and the I Think at least three of those

00:31:26.579 --> 00:31:32.920
songs queen of everything deep this time and

00:31:32.920 --> 00:31:38.400
At least one other song until so all the music

00:31:38.400 --> 00:31:41.720
was Played and recorded and we were just titling

00:31:41.720 --> 00:31:44.140
them rock riff number one rock riff number two

00:31:44.140 --> 00:31:50.559
rock riff number three and then Al and Rob had

00:31:50.559 --> 00:31:53.180
just sort of divided up the songs that didn't

00:31:53.180 --> 00:31:55.799
have titles and didn't have words yet and they

00:31:55.799 --> 00:31:59.720
went and Wrote the lyrics and that's where the

00:31:59.720 --> 00:32:02.859
titles of the songs even came to be they weren't

00:32:03.720 --> 00:32:06.680
They didn't exist. We pretty much had the songs

00:32:06.680 --> 00:32:09.400
done from beginning to end before any lyrics

00:32:09.400 --> 00:32:12.079
were written for any of those. And they went

00:32:12.079 --> 00:32:15.759
up to their little lofts and weird places we

00:32:15.759 --> 00:32:18.380
were sleeping and wrote out the lyrics for the

00:32:18.380 --> 00:32:22.180
songs and came in and did the vocals. And then

00:32:22.180 --> 00:32:24.380
now all of a sudden the songs had titles and

00:32:24.380 --> 00:32:28.400
they were done. And it was awesome. That was

00:32:28.400 --> 00:32:32.000
another super unique recording experience for

00:32:32.000 --> 00:32:35.700
us. Because of that, because we had nothing.

00:32:35.779 --> 00:32:38.779
We went in with nothing but two songs and came

00:32:38.779 --> 00:32:44.740
out with an entire album and a solid record.

00:32:45.500 --> 00:32:48.599
They're not the big jammy songs that we have

00:32:48.599 --> 00:32:52.019
and even still live, they don't open up. Zed

00:32:52.019 --> 00:32:54.960
Not Z opens up a little bit, but most of them

00:32:54.960 --> 00:32:57.940
are kind of played as they are. We use them as

00:32:57.940 --> 00:33:01.319
segues. Into and out of them easily, but the

00:33:01.319 --> 00:33:03.380
structures of those songs haven't really changed

00:33:03.380 --> 00:33:07.079
much in close to 20 years. Well, while we're

00:33:07.079 --> 00:33:09.079
on the studio thing, I want to pivot from Mo

00:33:09.079 --> 00:33:11.660
for a brief second and talk about your 2020 studio

00:33:11.660 --> 00:33:15.079
album Below the Surface, which as a different

00:33:15.079 --> 00:33:18.039
studio setting, you wrote and recorded all by

00:33:18.039 --> 00:33:20.819
yourself along with your wife. The opening track,

00:33:21.039 --> 00:33:24.680
The Brass Ring, is a heavy prog rocker, which

00:33:24.680 --> 00:33:28.180
gives me this. unfreeze mcgee and rush vibe while

00:33:28.180 --> 00:33:31.440
still being unique and original on its own personally

00:33:31.440 --> 00:33:34.180
just throwing this out into the universe i feel

00:33:34.180 --> 00:33:36.579
like it could fit really well in a most set coupled

00:33:36.579 --> 00:33:40.420
up against bullet but i'd love to hear about

00:33:40.420 --> 00:33:42.420
the process of recording that album because this

00:33:42.420 --> 00:33:44.259
is again you're not doing this with anybody you're

00:33:44.259 --> 00:33:47.759
playing everything on this album yeah yeah it

00:33:47.759 --> 00:33:51.710
was uh So our tour got canceled because of COVID.

00:33:51.829 --> 00:33:54.970
We were out west. And for the beginning of it,

00:33:55.029 --> 00:33:57.690
we were kind of keeping ahead of it. And then

00:33:57.690 --> 00:34:01.470
it caught us in Salt Lake. So we all flew home.

00:34:01.750 --> 00:34:05.089
And, you know, at first, I think like everybody,

00:34:05.309 --> 00:34:06.970
no one, everyone was like, oh, two weeks. Yeah,

00:34:07.069 --> 00:34:09.710
no problem. This will be over in no time and

00:34:09.710 --> 00:34:16.630
this and that. And then it wasn't. And so people

00:34:16.630 --> 00:34:19.949
started streaming and all this stuff online.

00:34:20.269 --> 00:34:24.909
And, you know, Rob and Al had started streaming

00:34:24.909 --> 00:34:27.969
little acoustic shows at their houses and stuff

00:34:27.969 --> 00:34:31.289
and giving lessons and anything we could do for

00:34:31.289 --> 00:34:35.750
money. So I did my first stream and all I did

00:34:35.750 --> 00:34:39.289
was just go live on Instagram and improv a bunch

00:34:39.289 --> 00:34:41.829
of vibraphone stuff over some pre -programmed

00:34:41.829 --> 00:34:45.199
drum pad beats. and it was pretty cool you know

00:34:45.199 --> 00:34:46.920
it was fun to do and a lot of people seemed to

00:34:46.920 --> 00:34:49.760
enjoy it and a buddy of mine called me the next

00:34:49.760 --> 00:34:52.679
day and he's like what what are you doing like

00:34:52.679 --> 00:34:56.019
he's like you seriously do you want to continue

00:34:56.019 --> 00:34:57.820
to do that like are you going to keep streaming

00:34:57.820 --> 00:34:59.480
and i was like yeah he's like okay look this

00:34:59.480 --> 00:35:03.039
is how you have to do it and he told me everything

00:35:03.039 --> 00:35:08.019
about how to get my rig up how i can use uh logic

00:35:08.019 --> 00:35:10.519
and all my input channels and stuff that i have

00:35:10.519 --> 00:35:13.900
in at home and actually stream a show on facebook

00:35:13.900 --> 00:35:16.900
and stuff so i started doing that i did that

00:35:16.900 --> 00:35:19.659
a couple times and i realized i don't have enough

00:35:19.659 --> 00:35:22.920
material you know the the people from busking

00:35:22.920 --> 00:35:25.039
down the house called me and and she was like

00:35:25.039 --> 00:35:28.960
can you do like two hours on wednesday night

00:35:28.960 --> 00:35:34.360
and i was like god two hours no i can't there's

00:35:34.360 --> 00:35:38.639
no way so about a month later i wrote a bunch

00:35:38.639 --> 00:35:40.659
of songs and started recording this stuff and

00:35:40.659 --> 00:35:43.320
about a month later i i got back in touch with

00:35:43.320 --> 00:35:45.940
them like okay i can do this now and i had just

00:35:45.940 --> 00:35:47.920
about enough material to cover two hours and

00:35:47.920 --> 00:35:50.239
a lot of that was like my brother's songs and

00:35:50.239 --> 00:35:52.480
a bunch of just acoustic songs tom wait songs

00:35:52.480 --> 00:35:55.800
um billy joel stuff i was doing whatever i could

00:35:55.800 --> 00:35:57.840
to fill the time with these little originals

00:35:57.840 --> 00:36:02.019
and i just fell in love with recording this stuff

00:36:02.019 --> 00:36:04.719
that i was doing which was mainly just for the

00:36:04.719 --> 00:36:10.630
streams and Then I started getting kind of adept

00:36:10.630 --> 00:36:15.070
at doing this recording stuff and figuring out

00:36:15.070 --> 00:36:18.409
what I needed to do and how to get stuff to sound

00:36:18.409 --> 00:36:20.309
the way I wanted to sound and all that stuff.

00:36:20.849 --> 00:36:23.769
So I had four songs that I thought were really

00:36:23.769 --> 00:36:27.030
strong. I spent a lot of time recording them.

00:36:27.050 --> 00:36:31.349
And this was the original EP, the first, which

00:36:31.349 --> 00:36:36.030
has Edwin, the rhythms. i can't remember the

00:36:36.030 --> 00:36:38.429
name of my yesterday today and tomorrow and uh

00:36:38.429 --> 00:36:42.130
down to this so i had these four songs that were

00:36:42.130 --> 00:36:44.489
really solid and and i got good recordings of

00:36:44.489 --> 00:36:46.969
them and i sent them up to tank studios to have

00:36:46.969 --> 00:36:49.150
those guys because we that's where we had recorded

00:36:49.150 --> 00:36:52.730
the last two records with mo so i sent them to

00:36:52.730 --> 00:36:54.730
ben at tank studios i asked can you mix these

00:36:54.730 --> 00:36:58.289
and and master them and they did a great job

00:36:58.289 --> 00:37:00.570
doing both of those things and i released it

00:37:00.570 --> 00:37:04.760
on bandcamp And it did fairly well. And that

00:37:04.760 --> 00:37:08.539
whole time I was still just recording. Now I

00:37:08.539 --> 00:37:12.219
just had all this stuff. And I made a deal with

00:37:12.219 --> 00:37:14.159
myself. I said, I'm not going to start a new

00:37:14.159 --> 00:37:16.800
project until I finish the project that I'm working

00:37:16.800 --> 00:37:20.340
on. And that was probably the biggest thing for

00:37:20.340 --> 00:37:23.440
me was to make that a rule. Because I, up to

00:37:23.440 --> 00:37:26.199
that point, have 60 things that I started and

00:37:26.199 --> 00:37:28.739
never finished. Just riffs and hooks and all

00:37:28.739 --> 00:37:32.280
this stuff that just never came to be. And by

00:37:32.280 --> 00:37:36.119
the end of it, I had probably written probably

00:37:36.119 --> 00:37:40.840
20, 25 songs and recorded all of them. So I took

00:37:40.840 --> 00:37:44.599
all the songs that ended up becoming Below the

00:37:44.599 --> 00:37:48.300
Surface and really put in a lot of time into

00:37:48.300 --> 00:37:52.900
mixing and mastering those myself. And one of

00:37:52.900 --> 00:37:55.880
the biggest things was after recording the first

00:37:55.880 --> 00:37:58.570
four songs, I realized like... I need to get

00:37:58.570 --> 00:38:00.690
better at the guitar because everybody wants

00:38:00.690 --> 00:38:03.989
to hear the guitar. Like no one really wants

00:38:03.989 --> 00:38:06.610
to hear this metal album with a bunch of vibraphone

00:38:06.610 --> 00:38:10.070
because that's just kind of weird. So I sort

00:38:10.070 --> 00:38:12.849
of needed to like offset that. So I learned,

00:38:12.909 --> 00:38:14.630
I put a lot of time in and learned how to play

00:38:14.630 --> 00:38:16.610
the guitar and record a guitar and make it sound

00:38:16.610 --> 00:38:20.510
good. And that was a big thing for me. It opened

00:38:20.510 --> 00:38:23.530
up a lot of doors and it enabled me to record

00:38:23.530 --> 00:38:26.739
a lot of different. styles of music that i just

00:38:26.739 --> 00:38:29.079
wouldn't have been able to do without learning

00:38:29.079 --> 00:38:31.760
how to play and then the album was basically

00:38:31.760 --> 00:38:34.599
born of of all that you know it's a reflection

00:38:34.599 --> 00:38:36.460
of everything that was kind of happening at the

00:38:36.460 --> 00:38:39.340
time um everything that was going on with covid

00:38:39.340 --> 00:38:41.559
with just the craziness that this country was

00:38:41.559 --> 00:38:44.480
starting to go through and then even myself my

00:38:44.480 --> 00:38:47.300
own head and all the craziness that was going

00:38:47.300 --> 00:38:50.579
on in there at the time so it was this huge cathartic

00:38:50.579 --> 00:38:55.170
thing as well for me and um throughout the recording

00:38:55.170 --> 00:38:56.869
the thing my wife brenda just you know she'd

00:38:56.869 --> 00:38:59.909
come down and hang out for a bit and sudden she's

00:38:59.909 --> 00:39:02.969
just noticing all these little things and she

00:39:02.969 --> 00:39:06.969
started to just record her own stuff on her ipad

00:39:06.969 --> 00:39:11.349
and kind of learned taught herself sort of how

00:39:11.349 --> 00:39:14.190
to produce a song and how to make a song work

00:39:14.190 --> 00:39:16.849
so she just kept coming down in the beginning

00:39:16.849 --> 00:39:19.369
giving these little you know she'd just say like

00:39:19.369 --> 00:39:21.690
one little thing and i'm like yeah yeah and she'd

00:39:21.690 --> 00:39:23.449
go back upstairs and then i'd do it i'd be like

00:39:23.929 --> 00:39:27.949
oh my god that worked great you know and then

00:39:27.949 --> 00:39:30.650
she's giving me like little tips on you know

00:39:30.650 --> 00:39:34.409
you need to sing melodies not like because i

00:39:34.409 --> 00:39:36.309
was doing all this like coming with monotone

00:39:36.309 --> 00:39:40.170
less claypool kind of vocal stuff and she's you

00:39:40.170 --> 00:39:43.309
know if you look take this note and sing it up

00:39:43.309 --> 00:39:45.110
here and take this one and go down and do this

00:39:45.110 --> 00:39:47.769
and then all that started working i'm like holy

00:39:47.769 --> 00:39:50.110
cow you know by the time i had finished actually

00:39:50.110 --> 00:39:52.960
putting together those songs to release it I'm

00:39:52.960 --> 00:39:55.500
getting ready to post it on Bandcamp and to get

00:39:55.500 --> 00:39:58.440
it streaming. I realized she produced half of

00:39:58.440 --> 00:40:05.519
this record without even trying. It was wild.

00:40:05.679 --> 00:40:09.780
It was so much fun to record. She has enough

00:40:09.780 --> 00:40:12.199
songs to release an album on her own now out

00:40:12.199 --> 00:40:16.260
of all of it. It's crazy, but it was a blast.

00:40:17.519 --> 00:40:20.460
Well, I know the morons listening to this episode

00:40:20.460 --> 00:40:22.119
are thinking to themselves, you guys have gone

00:40:22.119 --> 00:40:24.860
a long time and you're not talking about the

00:40:24.860 --> 00:40:27.119
live music. So let's get into that for a little

00:40:27.119 --> 00:40:31.039
bit. You got with 13 studio albums to pull from

00:40:31.039 --> 00:40:34.219
and taking into account the fact that the band

00:40:34.219 --> 00:40:38.059
opens up songs into extended jams during a live

00:40:38.059 --> 00:40:41.440
performance. How does the band decide each and

00:40:41.440 --> 00:40:43.949
every night? what songs are going to make the

00:40:43.949 --> 00:40:46.710
cut? Because I'm sure if you asked 10 different

00:40:46.710 --> 00:40:50.409
Mo fans what their idea of a Killer Mo show would

00:40:50.409 --> 00:40:54.110
be, you're getting 10 different answers. Oh,

00:40:54.150 --> 00:40:59.170
absolutely. So right now, the three main setlist

00:40:59.170 --> 00:41:04.670
writers are Vin, Rob, and Al. So we have a master

00:41:04.670 --> 00:41:07.690
song list, obviously. That's everything we've

00:41:07.690 --> 00:41:10.150
ever done, including every cover we've ever done.

00:41:10.889 --> 00:41:13.889
um every original we've ever done none of them

00:41:13.889 --> 00:41:16.789
are really crossed off but some of them you know

00:41:16.789 --> 00:41:22.510
don't don't ghetto get used anymore really to

00:41:22.510 --> 00:41:25.230
sort of and right now we're we're unfortunately

00:41:25.230 --> 00:41:27.929
dealing with a cut down working list because

00:41:27.929 --> 00:41:31.389
nate is learning as many songs as he possibly

00:41:31.389 --> 00:41:34.289
can and to get comfortable on them and because

00:41:34.289 --> 00:41:36.869
we have a catalog that goes back 30 years so

00:41:36.869 --> 00:41:39.250
right there's so much stuff there are songs that

00:41:39.250 --> 00:41:42.820
he's never heard that aren't on albums that aren't

00:41:42.820 --> 00:41:44.800
you know you have to dig through live shows to

00:41:44.800 --> 00:41:47.619
find and all this stuff and and I mean he does

00:41:47.619 --> 00:41:51.480
an amazing job and he he doesn't want to just

00:41:51.480 --> 00:41:53.860
sort of be like yeah I kind of got it let's do

00:41:53.860 --> 00:41:57.800
it because it's just not doing justice to the

00:41:57.800 --> 00:42:00.119
material you know that that and that's first

00:42:00.119 --> 00:42:02.960
and foremost what needs to happen you need to

00:42:02.960 --> 00:42:05.079
do justice to the material you can't just throw

00:42:05.079 --> 00:42:06.860
a song out there just because we haven't done

00:42:06.860 --> 00:42:08.739
it in a while and just it'll just sound like

00:42:08.739 --> 00:42:12.489
crap and No one is going to like that. So the

00:42:12.489 --> 00:42:15.150
things that are always taken into account are

00:42:15.150 --> 00:42:18.190
basically, obviously, the flow of the show, how

00:42:18.190 --> 00:42:20.489
you want a show to sort of go from beginning

00:42:20.489 --> 00:42:23.130
to end, where you want your peaks to be, where

00:42:23.130 --> 00:42:25.989
you want your kind of, not lulls, but the softer

00:42:25.989 --> 00:42:28.889
sections of the shows. You need to build in little

00:42:28.889 --> 00:42:31.650
rests because everybody can't. We're too old

00:42:31.650 --> 00:42:35.010
to play it up -tempo for three hours these days.

00:42:35.889 --> 00:42:39.230
um so you gotta sort of write those in it and

00:42:39.230 --> 00:42:40.989
so you have to pay attention to the keys the

00:42:40.989 --> 00:42:43.909
songs are in as well as the tempo and the feel

00:42:43.909 --> 00:42:46.949
of these songs you can't be jumping around tempo

00:42:46.949 --> 00:42:51.050
wise some time signature changes to other ones

00:42:51.050 --> 00:42:54.449
are difficult like it's hard to go from a song

00:42:54.449 --> 00:42:57.969
in four to a song in seven like trying to segue

00:42:57.969 --> 00:43:00.909
into ghost of ralph's mom is it's next to impossible

00:43:00.909 --> 00:43:04.099
the switch is just too fast and We've tried it

00:43:04.099 --> 00:43:06.820
and failed on a couple of occasions. It's worked

00:43:06.820 --> 00:43:09.300
on a couple of occasions, but overall, it's probably

00:43:09.300 --> 00:43:13.219
not the best idea. And then keys. You don't want

00:43:13.219 --> 00:43:16.539
to have these weird cross keys or have like a

00:43:16.539 --> 00:43:19.420
dissonance of going from one song to another.

00:43:19.679 --> 00:43:23.219
We create tension, but it doesn't want to be

00:43:23.219 --> 00:43:25.440
this fumble through of dissonance where nobody's

00:43:25.440 --> 00:43:27.519
really at the same place at the same time. We

00:43:27.519 --> 00:43:29.739
kind of want to all move together from one point

00:43:29.739 --> 00:43:33.159
to another. So if it's an easier, you know, we

00:43:33.159 --> 00:43:37.579
try to make the key changes sort of as basic

00:43:37.579 --> 00:43:41.500
as possible. Relative majors, you know, switch

00:43:41.500 --> 00:43:44.480
between relative keys or parallel keys is usually

00:43:44.480 --> 00:43:47.539
the easiest way to go. And all that's taken into

00:43:47.539 --> 00:43:50.000
consideration when they write these set lists.

00:43:50.360 --> 00:43:51.980
Sometimes they take into consideration, you know,

00:43:51.980 --> 00:43:53.980
if we're playing in D .C., we're probably going

00:43:53.980 --> 00:43:56.559
to play Kyle's song, you know, things like that.

00:43:58.000 --> 00:43:59.940
If we know certain people are coming to shows,

00:44:00.059 --> 00:44:03.300
we'll place songs for them. Or if we get requests

00:44:03.300 --> 00:44:05.940
that are that mean something to some people.

00:44:06.239 --> 00:44:08.980
And you play New York City in like Canada, right?

00:44:09.099 --> 00:44:13.980
Right. That's the one song that New York City

00:44:13.980 --> 00:44:16.199
is the one song that has been played in odd places.

00:44:16.239 --> 00:44:18.420
And like someone will write it. And then after

00:44:18.420 --> 00:44:21.119
the show, be like, why? Why do we play? What

00:44:21.119 --> 00:44:26.639
was this? It was there for a reason. But we try

00:44:26.639 --> 00:44:32.000
to do funny shit like that. But mostly, we want

00:44:32.000 --> 00:44:35.559
to make the most coherent and enjoyable song.

00:44:36.059 --> 00:44:39.500
The set lists are going to get more diverse.

00:44:39.880 --> 00:44:43.420
I know right now, some people are slightly bummed

00:44:43.420 --> 00:44:46.099
that we have such a short working list because

00:44:46.099 --> 00:44:52.280
they've had decades of us working off this 100

00:44:52.280 --> 00:44:56.400
plus, 150 plus song list. That just doesn't exist.

00:44:56.619 --> 00:45:00.079
I mean, it exists. We just don't have everything

00:45:00.079 --> 00:45:04.659
down again. Chuck needs to get back. He's relearning

00:45:04.659 --> 00:45:09.679
songs left and right. The guy is breaking his

00:45:09.679 --> 00:45:14.179
ass. It's amazing what he has accomplished to

00:45:14.179 --> 00:45:17.800
this point. For Nate, he just has to learn the

00:45:17.800 --> 00:45:21.059
songs. For Chuck, he has to relearn songs. He

00:45:21.059 --> 00:45:24.710
has to relearn how to play them. because it's

00:45:24.710 --> 00:45:27.610
not the same for him as it used to be. His hands

00:45:27.610 --> 00:45:30.110
just do not work the same way yet that they used

00:45:30.110 --> 00:45:34.469
to. So he has to think of ways to be able to

00:45:34.469 --> 00:45:37.110
play this song again. And it's going to be different,

00:45:37.170 --> 00:45:39.610
and we have to work with these differences, and

00:45:39.610 --> 00:45:42.250
he has to accept the differences and just be

00:45:42.250 --> 00:45:45.190
able to kind of get through it. And the more

00:45:45.190 --> 00:45:46.849
times he gets through it, the more comfortable

00:45:46.849 --> 00:45:50.010
he gets and the better it sounds. So that's kind

00:45:50.010 --> 00:45:52.230
of what we're going through right now. We got,

00:45:52.349 --> 00:45:55.550
you know... two guys in the band who have been

00:45:55.550 --> 00:45:58.369
just working their asses off to get this material

00:45:58.369 --> 00:46:01.889
up and running as quick as possible you know

00:46:01.889 --> 00:46:04.550
we've defaulted to a bunch of new covers because

00:46:04.550 --> 00:46:07.650
honestly covers can sometimes be just we can

00:46:07.650 --> 00:46:10.030
throw it together in a sound check and it's good

00:46:10.030 --> 00:46:14.369
to go but a lot of our own material we want it

00:46:14.369 --> 00:46:16.929
to gel we want nate to fit in like really well

00:46:16.929 --> 00:46:19.570
and chuck to get comfortable again so that takes

00:46:19.570 --> 00:46:23.119
sound check after sound check just doing the

00:46:23.119 --> 00:46:26.559
song eight or ten times and then going on and

00:46:26.559 --> 00:46:28.380
doing the rest of the stuff that we have to to

00:46:28.380 --> 00:46:31.659
get that show for that night but then we'll do

00:46:31.659 --> 00:46:34.079
that song again the next day a bunch of times

00:46:34.079 --> 00:46:36.960
just keep getting it so it's under people's belts

00:46:36.960 --> 00:46:40.159
and under people's fingers and that's where we're

00:46:40.159 --> 00:46:41.960
at right now as far as everything that we're

00:46:41.960 --> 00:46:44.579
working and dealing with and that's the way we

00:46:44.579 --> 00:46:48.840
need to address live shows for the moment well

00:46:48.840 --> 00:46:51.860
as a fan of your live show one thing that blows

00:46:51.860 --> 00:46:54.679
me away every single time i see you is how the

00:46:54.679 --> 00:46:58.380
band musically communicates on stage during a

00:46:58.380 --> 00:47:01.139
live show obviously you're not going out there

00:47:01.139 --> 00:47:03.940
and saying okay so we're going to jam this part

00:47:03.940 --> 00:47:08.179
for 74 measures and then go and it the songs

00:47:08.179 --> 00:47:11.739
just organically unfold as you're playing them

00:47:12.269 --> 00:47:15.090
Does that really amount to years of learning

00:47:15.090 --> 00:47:17.650
each other's musical tells on stage? Because

00:47:17.650 --> 00:47:20.190
that's not something that you can just get into

00:47:20.190 --> 00:47:22.269
a room with a bunch of musicians and pull off

00:47:22.269 --> 00:47:27.210
so effortlessly. No, it's not. And yeah, that's

00:47:27.210 --> 00:47:30.449
pretty much it. I mean, we've played with each

00:47:30.449 --> 00:47:34.750
other for so long. I know exactly when Vin's

00:47:34.750 --> 00:47:37.050
going to fill. I know almost what he's going

00:47:37.050 --> 00:47:40.250
to play. I know. When Al's bringing a solo up,

00:47:40.329 --> 00:47:42.010
I know where he's going. I know when he's going

00:47:42.010 --> 00:47:43.769
to hit the peak. I know when it's going to come

00:47:43.769 --> 00:47:47.530
back down. The same thing with Chuck. I know

00:47:47.530 --> 00:47:50.150
when Rob is going to turn a segue into the next

00:47:50.150 --> 00:47:54.730
song. You just feel it. At this point, if it

00:47:54.730 --> 00:47:57.590
were possible, we could play a show from our

00:47:57.590 --> 00:48:01.449
basements and not have to see each other. It

00:48:01.449 --> 00:48:03.849
really wouldn't be altogether that difficult.

00:48:04.829 --> 00:48:07.250
And that's the thing we need Nate to get into.

00:48:07.510 --> 00:48:09.530
I mean, he's played with us long enough. He knows

00:48:09.530 --> 00:48:12.969
our stylings. He knows some of our tendencies

00:48:12.969 --> 00:48:16.050
and habits. But he's not at that point where

00:48:16.050 --> 00:48:21.050
it's almost telecommunication. A lot of times

00:48:21.050 --> 00:48:22.650
we're like, all right, we need a visual cue on

00:48:22.650 --> 00:48:25.289
this. And if it's from Al or Chuck, I don't need

00:48:25.289 --> 00:48:28.750
a visual cue. I know when they're turning around

00:48:28.750 --> 00:48:33.099
and looking. Everybody kind of just knows. and

00:48:33.099 --> 00:48:36.960
that it is it's come from and not just honestly

00:48:36.960 --> 00:48:38.880
not just playing with each other for this long

00:48:38.880 --> 00:48:41.039
but like living with each other for this long

00:48:41.039 --> 00:48:44.619
and knowing each other for this long like i don't

00:48:44.619 --> 00:48:46.260
just know what these guys are going to do on

00:48:46.260 --> 00:48:48.579
stage you know i know what they do throughout

00:48:48.579 --> 00:48:51.480
an entire day from when they wake up to when

00:48:51.480 --> 00:48:54.739
they go to sleep so there's definitely an innate

00:48:54.739 --> 00:48:58.849
feeling of just knowing where everything's kind

00:48:58.849 --> 00:49:02.210
of going and you know there'll be surprises every

00:49:02.210 --> 00:49:04.750
once in a while and you kind of hope for them

00:49:04.750 --> 00:49:07.949
after a while like if someone tosses a curveball

00:49:07.949 --> 00:49:10.110
you usually see everybody smile on the stage

00:49:10.110 --> 00:49:12.889
because like yeah that was nice so you kind of

00:49:12.889 --> 00:49:15.690
want those surprises but they don't happen all

00:49:15.690 --> 00:49:19.050
that often and unless someone has like just comes

00:49:19.050 --> 00:49:21.949
up with an idea on the spot and that's happens

00:49:21.949 --> 00:49:25.349
when we're doing new stuff like things will change

00:49:26.079 --> 00:49:28.860
constantly on if it's a new song constantly on

00:49:28.860 --> 00:49:32.079
a night to night basis the solo on blue jeans

00:49:32.079 --> 00:49:35.900
pizza like chuck's cue to get out of it has always

00:49:35.900 --> 00:49:39.719
been this he just constantly changes it like

00:49:39.719 --> 00:49:43.739
he has one thing that he plays that's kind of

00:49:43.739 --> 00:49:47.199
short but then he does all these teases of the

00:49:47.199 --> 00:49:50.920
outro And that is always flipping around and

00:49:50.920 --> 00:49:52.780
he's trying to do new stuff with it. So some

00:49:52.780 --> 00:49:54.860
nights he'll be looking and everyone's like,

00:49:54.880 --> 00:49:58.199
you haven't actually played the thing yet. So

00:49:58.199 --> 00:50:01.579
it can be interesting live. Some weird things

00:50:01.579 --> 00:50:04.360
can definitely happen. But they're usually, like

00:50:04.360 --> 00:50:06.659
I said, it's usually enjoyable and not like,

00:50:06.679 --> 00:50:10.480
oh God, of course. Well, over the years, you

00:50:10.480 --> 00:50:12.239
mentioned this earlier, the band has pulled off

00:50:12.239 --> 00:50:14.860
some epic covers that fit seamlessly into the

00:50:14.860 --> 00:50:17.739
band's original material. And one of my favorites

00:50:17.739 --> 00:50:20.179
I want to bring up just for a selfishly personal

00:50:20.179 --> 00:50:23.719
reason was the Roseland Ballroom Run of 2005.

00:50:24.380 --> 00:50:26.659
Because I promised one of my closest friends

00:50:26.659 --> 00:50:29.079
that I would mention this. We went to college

00:50:29.079 --> 00:50:32.260
together and the Roseland Ballroom Run of 2005

00:50:32.260 --> 00:50:36.199
was my wedding present. from my buddy dylan and

00:50:36.199 --> 00:50:38.980
that is the one wedding present that my wife

00:50:38.980 --> 00:50:41.880
says i have never forgotten i don't know my aunts

00:50:41.880 --> 00:50:44.420
and uncles have given me different amounts of

00:50:44.420 --> 00:50:46.380
money and gifts and different and i don't remember

00:50:46.380 --> 00:50:49.719
any of that i remember the mo run of 2005 at

00:50:49.719 --> 00:50:53.000
the roseland good man that weekend the band broke

00:50:53.000 --> 00:50:56.179
out a cover of electric light orchestra's evil

00:50:56.179 --> 00:50:59.400
woman to this day i feel like that version rivals

00:50:59.400 --> 00:51:02.610
the original and now with nate in the band I

00:51:02.610 --> 00:51:05.269
just want to use this moment to kind of suggest

00:51:05.269 --> 00:51:09.610
that. And maybe to say, hey, if the band wants

00:51:09.610 --> 00:51:12.690
to throw up that 2005 Roseland Ballroom run on

00:51:12.690 --> 00:51:15.989
nugs .net, I would not argue that. I would love

00:51:15.989 --> 00:51:19.969
to see that there. I'm trying to think of how

00:51:19.969 --> 00:51:23.210
we're recording at the time. It is very possible

00:51:23.210 --> 00:51:26.510
that we have the show, like our own copy of the

00:51:26.510 --> 00:51:29.050
show, a board copy or even a track copy. It's

00:51:29.050 --> 00:51:31.610
possible. the roseland shows were always all

00:51:31.610 --> 00:51:35.889
i mean i miss that place me too like seeing shows

00:51:35.889 --> 00:51:37.849
there and and playing there playing there was

00:51:37.849 --> 00:51:41.510
a huge thing for me i grew up right outside of

00:51:41.510 --> 00:51:45.369
the city and um you know everybody knew the venue

00:51:45.369 --> 00:51:47.829
like i knew the venue growing up my father knew

00:51:47.829 --> 00:51:51.849
the venue from ballroom dancing and like when

00:51:51.849 --> 00:51:54.750
he was a kid he grew up in manhattan and from

00:51:54.750 --> 00:51:58.659
when it was actually a ballroom And playing there,

00:51:58.820 --> 00:52:01.579
my friends would come down to those shows from

00:52:01.579 --> 00:52:03.440
Long Island. My family got to come to the shows.

00:52:03.519 --> 00:52:05.619
I got to bring my parents to watch me play at

00:52:05.619 --> 00:52:07.500
the Roseland Ballroom and all that stuff. It

00:52:07.500 --> 00:52:12.199
was such a special place for me. And every time

00:52:12.199 --> 00:52:15.139
we played there, at least to my recollection,

00:52:15.139 --> 00:52:18.800
it was an amazing show. Some of the best shows

00:52:18.800 --> 00:52:21.900
we've ever done have been at Roseland Ballroom.

00:52:22.500 --> 00:52:25.300
I'm trying to think of why we did Evil Woman.

00:52:26.219 --> 00:52:29.460
It just seems like there had to be a reason that

00:52:29.460 --> 00:52:31.760
we picked that song, and I can't for the life

00:52:31.760 --> 00:52:34.599
of me think of what it is. I think Al was on

00:52:34.599 --> 00:52:36.920
his keys that night, and I think he was playing

00:52:36.920 --> 00:52:38.599
around with them throughout the set a little

00:52:38.599 --> 00:52:40.980
more than normal, and it just kind of came out

00:52:40.980 --> 00:52:45.420
of left field. But Rob's vocals on it were so

00:52:45.420 --> 00:52:49.199
goddamn perfect that the rendition just, to this

00:52:49.199 --> 00:52:52.699
day, it's been like my holy grail of I hope they

00:52:52.699 --> 00:52:55.280
release it at some point. One of the things that

00:52:55.280 --> 00:52:57.880
we're actually doing now, especially with the

00:52:57.880 --> 00:53:00.739
re -release of Tin Cans and Car Tires, the special

00:53:00.739 --> 00:53:04.599
vinyl re -release that's coming out, also just

00:53:04.599 --> 00:53:06.739
having been around for so long, and we're sort

00:53:06.739 --> 00:53:11.340
of behind the eight ball as far as releases have

00:53:11.340 --> 00:53:13.300
gone. But that's one of the things that we're

00:53:13.300 --> 00:53:17.280
trying to do is find shows. like older shows

00:53:17.280 --> 00:53:20.139
and stuff that we have really good releasable

00:53:20.139 --> 00:53:22.960
recordings of and get them out whether it's on

00:53:22.960 --> 00:53:26.139
nugs or if we end up printing it to vinyl or

00:53:26.139 --> 00:53:28.179
just anything like that we're we're definitely

00:53:28.179 --> 00:53:31.340
trying to get a lot of what some people would

00:53:31.340 --> 00:53:33.840
consider classic shows and actually make them

00:53:33.840 --> 00:53:37.000
official releases so that would be a great one

00:53:37.000 --> 00:53:39.340
to look into actually because around that time

00:53:39.340 --> 00:53:42.699
like i said we were recording a lot of stuff

00:53:42.699 --> 00:53:46.389
live so i'd have to figure out If we have that

00:53:46.389 --> 00:53:49.090
show, cause that would be cool. If you do, I

00:53:49.090 --> 00:53:52.690
promise you day one buyer right here. What, what

00:53:52.690 --> 00:53:56.150
year was it again? Sorry. 2005, 2005. And that

00:53:56.150 --> 00:53:57.969
was like the Thanksgiving weekend. Thanksgiving

00:53:57.969 --> 00:54:01.789
weekend. Yep. Yep. Yep. So you talked about this

00:54:01.789 --> 00:54:04.510
earlier. There are a ton of most songs throughout

00:54:04.510 --> 00:54:07.590
the years that are incorporated into live shows,

00:54:07.710 --> 00:54:10.550
but never appeared on a studio recording. So

00:54:10.550 --> 00:54:12.889
off the top of my head, I'm thinking of things

00:54:12.889 --> 00:54:17.199
like George. Bear Song, Tijuana Donkey Show.

00:54:17.280 --> 00:54:19.760
Those songs were on the Warts and All series.

00:54:20.019 --> 00:54:22.920
But then you have tracks like Johnny Lineup that

00:54:22.920 --> 00:54:26.300
never appeared on even a live release. They're

00:54:26.300 --> 00:54:28.900
just kind of these live breakouts. Is there a

00:54:28.900 --> 00:54:31.260
reason for this? And more importantly, do any

00:54:31.260 --> 00:54:34.960
of these tracks exist in studio form? Johnny

00:54:34.960 --> 00:54:37.719
Lineup does not. That has definitely not ever

00:54:37.719 --> 00:54:40.920
been studio recorded. That was... okay originally

00:54:40.920 --> 00:54:44.139
i mean that's an old that song predates myself

00:54:44.139 --> 00:54:48.219
that's like then original the original four piece

00:54:48.219 --> 00:54:52.599
song and it was just kind of um when i came into

00:54:52.599 --> 00:54:56.340
the band we started using it sort of as a time

00:54:56.340 --> 00:54:59.860
filler to a degree because it's mostly solos

00:54:59.860 --> 00:55:02.420
the words never change the song just goes to

00:55:02.420 --> 00:55:04.639
the same exact cycle but the interesting part

00:55:04.639 --> 00:55:08.420
about the song is the solo sections in the song

00:55:08.420 --> 00:55:12.619
and we still there's no order to the solo sections

00:55:12.619 --> 00:55:16.840
there's no rules whoever jumps on it first is

00:55:16.840 --> 00:55:20.380
the first soloist and that starts the whole cycle

00:55:20.380 --> 00:55:23.239
that's going to happen and they just play until

00:55:23.239 --> 00:55:27.039
they're done and then it'll go back into the

00:55:27.039 --> 00:55:29.920
lyrics and the melody and then we'll come back

00:55:29.920 --> 00:55:31.440
out and someone else will just start playing

00:55:31.440 --> 00:55:35.309
it's the only song we don't like have an order

00:55:35.309 --> 00:55:37.530
of solos or who's going to solo in it or anything.

00:55:38.309 --> 00:55:40.389
It's one of my favorite songs to solo over, so

00:55:40.389 --> 00:55:42.849
I try to jump in as fast as I can in the beginning.

00:55:45.329 --> 00:55:48.949
But it was always just this kind of like a mellow

00:55:48.949 --> 00:55:51.750
spot in the show where we get to relax and sort

00:55:51.750 --> 00:55:53.909
of stretch our legs for a little while. It's

00:55:53.909 --> 00:55:57.809
not fast. It's easy to play over. We can have

00:55:57.809 --> 00:55:59.869
guests up to play over it if we want, and they

00:55:59.869 --> 00:56:03.070
don't have to do anything except solo. And that...

00:56:03.289 --> 00:56:06.230
There's a handful of songs that we've used for

00:56:06.230 --> 00:56:09.389
that over the years, and a lot of those haven't

00:56:09.389 --> 00:56:15.110
made it onto recordings. Meat has its own recording,

00:56:15.269 --> 00:56:19.230
but that's a whole different thing. But it was

00:56:19.230 --> 00:56:22.289
one of those songs that we never thought we'd

00:56:22.289 --> 00:56:27.110
do a good job of in the studio. After I had left

00:56:27.110 --> 00:56:30.309
the band as the drummer, I think it's Mazer plays

00:56:30.309 --> 00:56:33.469
on that one. But they just happened to be rolling

00:56:33.469 --> 00:56:36.530
while they were playing the song kind of to warm

00:56:36.530 --> 00:56:39.190
up or whatever. And it ended up being like 40

00:56:39.190 --> 00:56:41.889
something minutes. 46 minutes and 10 seconds.

00:56:42.090 --> 00:56:44.989
So it was like, well, why don't we release it

00:56:44.989 --> 00:56:47.989
as a limited edition CD? And sure. And that's

00:56:47.989 --> 00:56:50.570
how, you know, Meat came out. I've always wondered

00:56:50.570 --> 00:56:53.369
one thing about that one. Can you tell me the

00:56:53.369 --> 00:56:59.139
story behind Al's lyric? Actually, that song

00:56:59.139 --> 00:57:01.820
was also actually written before. So I don't

00:57:01.820 --> 00:57:05.840
really know. I think it's kind of just a tongue

00:57:05.840 --> 00:57:09.360
in cheek joke as to Al was a vegan when he wrote

00:57:09.360 --> 00:57:13.000
it. So that's my biggest guess is it's just a

00:57:13.000 --> 00:57:16.019
kind of tongue in cheek joke by Al to just scream

00:57:16.019 --> 00:57:19.880
meat into a microphone and have that be the only

00:57:19.880 --> 00:57:24.360
thing said in an entire song. We used to have

00:57:24.360 --> 00:57:28.380
a song called 30 -06 that was very similar. But

00:57:28.380 --> 00:57:30.980
that was more along the lines of kind of, it

00:57:30.980 --> 00:57:37.559
was similar to that Pink Floyd song, Interstellar

00:57:37.559 --> 00:57:40.340
Overdrive. Oh, yeah. Okay. Where there really

00:57:40.340 --> 00:57:43.980
weren't any words. It was just like this kind

00:57:43.980 --> 00:57:46.619
of chant staring down the barrel of a 30 -06.

00:57:47.079 --> 00:57:49.360
And there was a couple other lines to it. But

00:57:49.360 --> 00:57:54.329
most of the song was just this dark. open jam.

00:57:54.969 --> 00:57:57.250
And, you know, when we used to play at Broadway

00:57:57.250 --> 00:57:59.570
Joe's and had to play from midnight till three

00:57:59.570 --> 00:58:02.090
or four in the morning, well, we can do this

00:58:02.090 --> 00:58:07.269
for 25 minutes. So the house lost its advantage.

00:58:07.690 --> 00:58:10.849
Exactly. Keep the beer flowing and we're just

00:58:10.849 --> 00:58:12.389
going to keep playing and we'll stretch this

00:58:12.389 --> 00:58:14.010
one out. We'll stretch this one out. We'll stretch

00:58:14.010 --> 00:58:17.590
this one out and we have a full show. And a lot

00:58:17.590 --> 00:58:20.150
of those songs just never kind of dawned on us

00:58:20.150 --> 00:58:23.309
to record. Nevermind. they weren't written for

00:58:23.309 --> 00:58:26.650
that reason at all. Yeah. I feel like a song

00:58:26.650 --> 00:58:28.750
like George would make a perfect studio cut.

00:58:28.809 --> 00:58:30.570
I've always felt that way. That's one that I

00:58:30.570 --> 00:58:33.210
really hope the band does come around to on a

00:58:33.210 --> 00:58:35.630
studio cut for. Yeah, that would be, I don't,

00:58:35.630 --> 00:58:39.070
some songs I, it's like that. Like, I'm not exactly

00:58:39.070 --> 00:58:42.469
sure why we never recorded George. I know it

00:58:42.469 --> 00:58:45.710
was kind of written at a weird time between albums

00:58:45.710 --> 00:58:49.909
and Al sort of had this idea of connecting that.

00:58:50.380 --> 00:58:52.619
Obviously, there's parts in George that are in

00:58:52.619 --> 00:58:58.079
McBain. He wanted one other song, so it would

00:58:58.079 --> 00:59:01.340
be a trilogy. None of the songs, lyrically or

00:59:01.340 --> 00:59:02.920
anything, having anything to do with each other,

00:59:02.980 --> 00:59:05.960
but just thematically and musically connected.

00:59:06.559 --> 00:59:12.619
The third song has never been done. You get lost

00:59:12.619 --> 00:59:17.039
in these things. Al's just this ridiculously

00:59:17.039 --> 00:59:22.389
prolific songwriter. So he just keeps moving.

00:59:22.630 --> 00:59:25.949
He just does not stop. And he writes and writes

00:59:25.949 --> 00:59:27.809
and writes and writes. And if we don't do it,

00:59:27.809 --> 00:59:29.329
he's fine with it because he's going to write

00:59:29.329 --> 00:59:34.250
10 more songs in the next couple months and just

00:59:34.250 --> 00:59:36.869
keep moving and moving and moving. And a lot

00:59:36.869 --> 00:59:39.849
of stuff, unfortunately, sort of falls by the

00:59:39.849 --> 00:59:42.989
wayside because we just don't have time to keep

00:59:42.989 --> 00:59:46.800
this song as sharp as... These other songs and

00:59:46.800 --> 00:59:49.159
you know, we need some kind of reaction Even

00:59:49.159 --> 00:59:50.920
if we've only played the song like three or four

00:59:50.920 --> 00:59:53.219
times live there needs to be some type of reaction

00:59:53.219 --> 00:59:56.400
to it If there's not it's hard to sort of put

00:59:56.400 --> 00:59:59.500
a lot more into this song and make it like yeah

00:59:59.500 --> 01:00:02.260
We're gonna play this all the time some songs

01:00:02.260 --> 01:00:05.400
have built up to that point like ATL and Some

01:00:05.400 --> 01:00:08.280
songs just never kind of got there as it were

01:00:08.280 --> 01:00:11.440
They're still around. We still sort of know them.

01:00:11.519 --> 01:00:15.190
We can bring them back if need be but There's

01:00:15.190 --> 01:00:18.449
a lot of other stuff that we want to accomplish

01:00:18.449 --> 01:00:21.869
and do. So it's a give and take thing. You kind

01:00:21.869 --> 01:00:24.090
of sacrifice some things to get some other new

01:00:24.090 --> 01:00:28.130
stuff. Is there a song that you consider to be

01:00:28.130 --> 01:00:36.190
the fan favorite Motune? Wow. Rebubule is huge.

01:00:37.210 --> 01:00:41.130
We have a bunch of songs that basically we call

01:00:41.130 --> 01:00:44.909
the four day or four show rotation songs. So

01:00:44.909 --> 01:00:48.650
we try to go three days at minimum without repeating

01:00:48.650 --> 01:00:52.429
songs. The four -day songs are the big songs.

01:00:53.429 --> 01:00:59.650
So they include Rebubula, Buster, St. Augustine,

01:00:59.670 --> 01:01:03.349
Mexico, and there's a couple others that I can't

01:01:03.349 --> 01:01:07.030
think of off the top of my head. But those songs

01:01:07.030 --> 01:01:11.150
to me are definitely... The songs that have nicknames

01:01:11.150 --> 01:01:15.230
are the songs that... ever since saint augustine

01:01:15.230 --> 01:01:18.789
has been written we constantly hear play goddess

01:01:18.789 --> 01:01:22.849
light like or some you know plane crash same

01:01:22.849 --> 01:01:25.550
things every people are constantly like too high

01:01:25.550 --> 01:01:30.670
you play too hard and so those those are the

01:01:30.670 --> 01:01:32.809
songs that i i mean the songs that have reached

01:01:32.809 --> 01:01:35.250
out and grabbed people and brought them to see

01:01:35.250 --> 01:01:38.190
us like most of those the four day songs are

01:01:38.190 --> 01:01:40.789
probably the songs that most people can point

01:01:40.789 --> 01:01:43.590
to and say this is the song that That hooked

01:01:43.590 --> 01:01:46.289
me. Like, this is the song that got me into Mo.

01:01:46.570 --> 01:01:49.929
Very true. Yeah. They consider that the perennial

01:01:49.929 --> 01:01:55.010
or the ultimate Mo song, like what Mo is. For

01:01:55.010 --> 01:01:57.570
me, it's hard because they're all, you know,

01:01:57.590 --> 01:02:01.250
I look at them all as like my family of songs.

01:02:01.610 --> 01:02:03.550
And, you know, there are ones that I, like I

01:02:03.550 --> 01:02:05.969
said, there's ones I love to play live more than

01:02:05.969 --> 01:02:07.730
other ones. There's other ones that I think came

01:02:07.730 --> 01:02:09.969
out as far better studio recordings than other

01:02:09.969 --> 01:02:13.019
ones. Some of them you love to hate. their hate

01:02:13.019 --> 01:02:15.860
to love. I was just going to bounce off that

01:02:15.860 --> 01:02:18.179
and say, do you have a personal favorite, even

01:02:18.179 --> 01:02:24.059
if it's just right now to play? Um, it's usually

01:02:24.059 --> 01:02:27.480
the, the newer stuff I'll always, to me, I always

01:02:27.480 --> 01:02:29.579
like playing obviously time at McBain and the

01:02:29.579 --> 01:02:32.760
songs that I get to solo in are just fun. Cause

01:02:32.760 --> 01:02:35.880
I, cause I get to solo in them, but Skitch and

01:02:35.880 --> 01:02:39.320
Buffalo is just awesome. Like it's a great song.

01:02:39.500 --> 01:02:43.389
I can't. Hear it without just remembering You

01:02:43.389 --> 01:02:45.230
know he's writing about the time that we lived

01:02:45.230 --> 01:02:48.789
there and it was it's a song that affects all

01:02:48.789 --> 01:02:51.329
of us that we all can relate to like really closely

01:02:51.329 --> 01:02:55.449
and It's a great song. I mean from the intro

01:02:55.449 --> 01:02:59.050
to the vocal diverse groove to the solo section

01:02:59.050 --> 01:03:02.690
Like all of it is just really really cool song

01:03:02.690 --> 01:03:06.559
and it's a blast to play i get to play a couple

01:03:06.559 --> 01:03:08.760
different instruments in it and the feel of it

01:03:08.760 --> 01:03:12.199
is just really fun so that's one of my favorites

01:03:12.199 --> 01:03:15.500
like the a lot of the new ones uh along for the

01:03:15.500 --> 01:03:18.280
ride that's another one that's just so fun to

01:03:18.280 --> 01:03:22.840
play and um so it's it's usually the new ones

01:03:22.840 --> 01:03:25.280
that the fresher ones and stuff that i really

01:03:25.280 --> 01:03:27.760
that i really enjoy and any of the ones that

01:03:27.760 --> 01:03:31.000
i consider are uh as like a challenge and jazz

01:03:31.000 --> 01:03:35.090
cigarette is it's like a personal thing for me

01:03:35.090 --> 01:03:37.849
to have play it right and play it well because

01:03:37.849 --> 01:03:40.409
i wrote this and i want it to be good like such

01:03:40.409 --> 01:03:45.110
a great tune now it's been a few years since

01:03:45.110 --> 01:03:48.610
we've had an official mo down festival and unfortunately

01:03:48.610 --> 01:03:52.690
even longer since there's been a snow down festival

01:03:52.690 --> 01:03:54.989
is there any chance that we're going to see a

01:03:54.989 --> 01:03:57.230
return of either of these major mo festivals

01:03:57.230 --> 01:04:00.139
at any point in the future There's always a chance.

01:04:00.300 --> 01:04:02.079
I mean, we always want to do them, and we're

01:04:02.079 --> 01:04:05.539
always trying to figure out how. We really, really

01:04:05.539 --> 01:04:09.179
want to get Modem back going again. We need dates.

01:04:09.659 --> 01:04:12.739
It's hard to find dates for festivals these days

01:04:12.739 --> 01:04:16.099
because it seems that everyone has their own

01:04:16.099 --> 01:04:18.679
specific weekend and everything, and it's hard

01:04:18.679 --> 01:04:20.599
to go back to Labor Day because ADK has been

01:04:20.599 --> 01:04:23.480
doing so well, and we have a great time playing

01:04:23.480 --> 01:04:26.070
there. So it's got to be... You know, we have

01:04:26.070 --> 01:04:27.809
to find a good date in the summer and we need

01:04:27.809 --> 01:04:30.690
a good location. There's some new places in upstate

01:04:30.690 --> 01:04:33.530
New York that are looking really promising. We'd

01:04:33.530 --> 01:04:37.030
still use Chuggy Cheo and that whole gang. And

01:04:37.030 --> 01:04:39.829
it'll be somewhere in that area is what we're

01:04:39.829 --> 01:04:43.969
looking to do. But we definitely want to do it.

01:04:44.170 --> 01:04:48.710
And Snowdown, again, we love it. We love doing

01:04:48.710 --> 01:04:51.889
it. It's going to happen again. I don't think

01:04:51.889 --> 01:04:55.329
that we can... do these things on a yearly basis

01:04:55.329 --> 01:04:58.050
there are things that we have to take advantage

01:04:58.050 --> 01:05:00.670
of when the opportunity is presented to us and

01:05:00.670 --> 01:05:03.250
be able to do it and pull it off the amount of

01:05:03.250 --> 01:05:05.630
lead up time for stuff like this to ticket sales

01:05:05.630 --> 01:05:08.010
and announcements and get you know getting the

01:05:08.010 --> 01:05:10.889
venues ahead of time and all this stuff making

01:05:10.889 --> 01:05:13.570
sure the production is good and the on -site

01:05:13.570 --> 01:05:15.909
teams are good and everything it's a lot of work

01:05:15.909 --> 01:05:21.849
and you know we we've always been basically what

01:05:21.849 --> 01:05:23.889
you'd consider just a family -owned business

01:05:23.889 --> 01:05:26.510
we don't have a ton of muscle behind us it's

01:05:26.510 --> 01:05:29.630
always us and it's always on us to do it both

01:05:29.630 --> 01:05:33.630
you know financially and logistically so at this

01:05:33.630 --> 01:05:36.250
point it's difficult to make commitments to a

01:05:36.250 --> 01:05:40.869
yearly thing but any time that we can bring it

01:05:40.869 --> 01:05:43.210
back like i said any opportunity we have to do

01:05:43.210 --> 01:05:47.090
it it will be done um because we love we love

01:05:47.090 --> 01:05:51.860
doing them and we love going to them And I will

01:05:51.860 --> 01:05:54.579
say for Snowdown, as my bones get older, sleeping

01:05:54.579 --> 01:05:57.039
in the hotel across the street in Rutland, Vermont

01:05:57.039 --> 01:05:59.699
from the arena, I'm not going to lie, was a nice

01:05:59.699 --> 01:06:02.079
perk to have a nice, comfortable bed to sleep

01:06:02.079 --> 01:06:06.940
in. I can absolutely relate. So the last sets

01:06:06.940 --> 01:06:09.559
of new Mo material came out in 2020 in the form

01:06:09.559 --> 01:06:11.960
of two albums. We talked about This Is Not We

01:06:11.960 --> 01:06:15.530
Are and Not Normal. Is the band currently working

01:06:15.530 --> 01:06:17.989
on any new studio material now that Chuck is

01:06:17.989 --> 01:06:20.190
back in the fold and with Nate there? And maybe

01:06:20.190 --> 01:06:22.889
can you share some information on when fans can

01:06:22.889 --> 01:06:26.349
expect a new Mo album? We have, well, we have

01:06:26.349 --> 01:06:29.150
four songs that were already have been playing

01:06:29.150 --> 01:06:33.329
live to Nate songs and to Rob songs. All of them

01:06:33.329 --> 01:06:36.969
are super solid songs and you know, we're, we're

01:06:36.969 --> 01:06:38.829
getting the legs on them and we're, and we're

01:06:38.829 --> 01:06:41.929
getting them to gel and just solidifying them.

01:06:42.460 --> 01:06:45.860
We will be going into writing sessions coming

01:06:45.860 --> 01:06:49.400
up, hopefully by the end of the year. We're already

01:06:49.400 --> 01:06:54.059
kind of booked through till March. And then after

01:06:54.059 --> 01:06:58.440
that is we are reassessing, you know, what we

01:06:58.440 --> 01:07:02.119
need to do for the next year and stuff. But the

01:07:02.119 --> 01:07:06.900
goal is to include studio time to start getting

01:07:06.900 --> 01:07:12.119
stuff recorded. And then the biggest thing is

01:07:12.119 --> 01:07:14.239
we have to figure out the most effective way

01:07:14.239 --> 01:07:17.079
to release an album in the music environment

01:07:17.079 --> 01:07:20.900
today because it's really difficult. It's hard

01:07:20.900 --> 01:07:24.300
to spend a boatload of money to go into a studio

01:07:24.300 --> 01:07:28.239
and do recordings and not know how you're going

01:07:28.239 --> 01:07:31.500
to recoup any of it because streaming's not going

01:07:31.500 --> 01:07:34.119
to do that for us. We have to release something

01:07:34.119 --> 01:07:38.710
physical. Nobody buys CDs. Vinyl is doing pretty

01:07:38.710 --> 01:07:42.849
good. I was going to say, I own 4 ,500 CDs, so

01:07:42.849 --> 01:07:46.889
I can promise you that if CD sales ever come

01:07:46.889 --> 01:07:50.809
back, it's because of me. I wouldn't mind seeing

01:07:50.809 --> 01:07:53.610
them come back, actually. It was a great way

01:07:53.610 --> 01:07:56.150
to release a really good sounding physical medium.

01:07:56.530 --> 01:08:00.289
Amen. And not everybody has turntables or even

01:08:00.289 --> 01:08:02.889
the system to make a turntable sound really good.

01:08:03.690 --> 01:08:05.949
it's that's just they're really expensive these

01:08:05.949 --> 01:08:09.650
days man you try to put together like a old 70s

01:08:09.650 --> 01:08:13.349
hi -fi rig and it's you're in deep all of a sudden

01:08:13.349 --> 01:08:15.349
you better start buying albums because you just

01:08:15.349 --> 01:08:18.409
invested a lot of money yep so we need to figure

01:08:18.409 --> 01:08:22.189
out a really good way to release a record and

01:08:22.189 --> 01:08:24.149
something that's going to have a lot of push

01:08:24.149 --> 01:08:26.810
behind it and we are the source of that push

01:08:26.810 --> 01:08:30.649
we have so much social media and stuff at our

01:08:30.649 --> 01:08:34.569
fingertips but you know we're gen xers man we're

01:08:34.569 --> 01:08:38.250
not like the slickest social media people we

01:08:38.250 --> 01:08:41.750
do what we can and a little bit of what we're

01:08:41.750 --> 01:08:44.210
told by people who know a lot better than us

01:08:44.210 --> 01:08:47.050
but that's going to be have to be a really major

01:08:47.050 --> 01:08:50.229
part of pushing this album so it is in the forefront

01:08:50.229 --> 01:08:53.630
of our mind recording especially since we have

01:08:53.630 --> 01:08:57.050
nate and you know anytime you have kind of a

01:08:57.050 --> 01:09:00.970
new you know when i came back into the band recording

01:09:00.970 --> 01:09:02.970
was on the front of the list like we need something

01:09:02.970 --> 01:09:05.729
with the new guy kind of mentality you know this

01:09:05.729 --> 01:09:07.510
is a whole new thing we need to get something

01:09:07.510 --> 01:09:11.670
out so it's definitely on the forefront of our

01:09:11.670 --> 01:09:14.630
mind and we're looking at next year to be able

01:09:14.630 --> 01:09:17.930
to release something at some time next year but

01:09:17.930 --> 01:09:21.229
that being said we also have to learn all our

01:09:21.229 --> 01:09:24.630
old material and do that at the same time as

01:09:24.630 --> 01:09:27.170
writing new material and it's a lot on both ends

01:09:27.170 --> 01:09:30.399
to do We're going to do our best. You know, one,

01:09:30.460 --> 01:09:33.920
either the release of new material might get

01:09:33.920 --> 01:09:36.319
pushed back a little bit or the amount or, you

01:09:36.319 --> 01:09:38.640
know, our worksheet won't grow as fast as we

01:09:38.640 --> 01:09:41.020
want. One or the other is going to happen. We're

01:09:41.020 --> 01:09:43.579
going to really do our best to hit a happy medium

01:09:43.579 --> 01:09:46.699
of those two things and have old material and

01:09:46.699 --> 01:09:49.180
be able to offer up some type of new content

01:09:49.180 --> 01:09:52.680
next year. That's the goal, at least. All right.

01:09:52.800 --> 01:09:54.800
And for my final question, I'm going to do something

01:09:54.800 --> 01:09:57.229
that might. come across easy for me but i've

01:09:57.229 --> 01:09:59.470
been painstakingly thinking about this for the

01:09:59.470 --> 01:10:02.029
last i don't know two weeks leading up to this

01:10:02.029 --> 01:10:03.770
interview so it might be a tough question for

01:10:03.770 --> 01:10:07.489
you but if i had to sum up mo's musical legacy

01:10:07.489 --> 01:10:12.569
in three songs it would be mexico four and rebubula

01:10:12.569 --> 01:10:15.529
giving props to al chuck and rob across the board

01:10:15.529 --> 01:10:19.939
so jim as a member of mo I'd like to pose the

01:10:19.939 --> 01:10:23.039
same question to you. If you had to sum up the

01:10:23.039 --> 01:10:27.079
band's musical legacy of 30 plus years in three

01:10:27.079 --> 01:10:30.380
songs, which three would you choose and why?

01:10:31.359 --> 01:10:38.579
Oh, wow. Well, Spine, really for all the reasons

01:10:38.579 --> 01:10:43.659
I had mentioned earlier, it was our first kind

01:10:43.659 --> 01:10:47.890
of big hit, as it were. It was the first song

01:10:47.890 --> 01:10:50.310
that people really latched onto off that first

01:10:50.310 --> 01:10:54.590
record. The other songs were fun and everything,

01:10:54.810 --> 01:10:57.510
but Spine just, it hooked, man. It has a great

01:10:57.510 --> 01:11:00.829
hook. It's catchy. It kind of got us forward.

01:11:03.029 --> 01:11:07.750
I don't know if I can go by writer or by sort

01:11:07.750 --> 01:11:12.430
of era. Probably Plane Crash would be the next

01:11:12.430 --> 01:11:19.119
one. It was... Probably the first major jam vehicle

01:11:19.119 --> 01:11:23.039
inside and of itself that we had. When I first

01:11:23.039 --> 01:11:24.619
came back into the band and we were playing that

01:11:24.619 --> 01:11:26.899
song, some of Al's solos would hit the 30 -minute

01:11:26.899 --> 01:11:29.359
mark. You just didn't know what was going to

01:11:29.359 --> 01:11:31.279
happen in the middle of the solo once it started.

01:11:31.619 --> 01:11:34.079
It could go literally anywhere. It could turn

01:11:34.079 --> 01:11:37.899
into another song without trying. It used to

01:11:37.899 --> 01:11:39.939
go all over the place in the middle, and it was

01:11:39.939 --> 01:11:43.420
an experience, man. It was like this. big huge

01:11:43.420 --> 01:11:45.920
thing and the song would clock in at that 30

01:11:45.920 --> 01:11:50.539
40 minute area and it was probably a big another

01:11:50.539 --> 01:11:53.680
demarcation that song made was vin and i just

01:11:53.680 --> 01:11:56.300
playing together within a song you know we trade

01:11:56.300 --> 01:11:59.039
off a bunch of fills in that song there's the

01:11:59.039 --> 01:12:01.899
groove of it and everything with that sort of

01:12:01.899 --> 01:12:05.039
latin feel and it has to lock and it represented

01:12:05.039 --> 01:12:08.899
a lot of what was happening at the time and then

01:12:08.899 --> 01:12:14.239
lastly I'd probably pick something off a new

01:12:14.239 --> 01:12:18.720
record like Skitchin' Buffalo. It has that whole

01:12:18.720 --> 01:12:23.119
kind of looking back after all this time. Lyrically,

01:12:23.260 --> 01:12:26.640
it references back to the days that we started

01:12:26.640 --> 01:12:28.859
and everything we went through when we started

01:12:28.859 --> 01:12:33.260
and all the people we knew back then. And musically,

01:12:33.380 --> 01:12:38.979
it is such a far cry from what we were back then

01:12:38.979 --> 01:12:43.210
as to what we actually... do now and how we've

01:12:43.210 --> 01:12:46.510
grown just as musicians and songwriters and all

01:12:46.510 --> 01:12:50.510
of that. So that would probably be the three

01:12:50.510 --> 01:12:54.289
of the bigger songs throughout our career, I

01:12:54.289 --> 01:12:58.329
would think. Well, Jim, this has been truly an

01:12:58.329 --> 01:13:00.770
amazing experience for me. Thank you for many,

01:13:00.949 --> 01:13:04.090
many, many years of amazing live musical memories

01:13:04.090 --> 01:13:07.270
for my wife and I. And more importantly, thank

01:13:07.270 --> 01:13:09.350
you for joining me tonight on My Weekly Mixtape.

01:13:09.960 --> 01:13:12.760
Oh, thank you for having me, man. It was a great

01:13:12.760 --> 01:13:17.300
time being here, and I'm glad I could help. And

01:13:17.300 --> 01:13:19.159
thank you for coming to all these shows. That's

01:13:19.159 --> 01:13:23.199
just awesome. And I'll be coming to many more

01:13:23.199 --> 01:13:25.300
in the future. Don't you worry about it. Right

01:13:25.300 --> 01:13:27.880
on. And I want to also thank, as always, the

01:13:27.880 --> 01:13:30.770
Mixtapers for tuning in tonight. Always remember

01:13:30.770 --> 01:13:33.489
to head to myweeklymixtape .com to hear the full

01:13:33.489 --> 01:13:36.810
catalog of My Weekly Mixtape episodes. And if

01:13:36.810 --> 01:13:38.529
you like what you're hearing on the show, you

01:13:38.529 --> 01:13:41.250
can help me out by either telling a friend, leaving

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the show a five -star review wherever you're

01:13:43.250 --> 01:13:46.390
tuning in, or becoming a Patreon mixtaper at

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patreon .com forward slash myweeklymixtape. That's

01:13:50.550 --> 01:13:52.270
all for this week. Thanks again for listening.

01:13:52.350 --> 01:13:54.649
And until next time, enjoy the tunes.