Chewing the Gristle with Greg Koch
Larry McCray
When Larry McCray's soulful voice and fiery guitar licks join the fray, you know you're in for an electrifying episode of Chewing the Gristle. Season 5 ignites with a homespun blend of stories and strums as Larry details his incredible shift from the assembly lines of GM to the main stages of blues music. We wander through the quirky streets of Smackover, Arkansas, Larry's own stomping grounds, and unearth its peculiar place in the annals of oil history.
Strap in, gear enthusiasts, because we also crank up the conversation about the tools of our trade—guitars, amps, and the almighty pedalboard. From the early days of worship at the altar of a first beloved red-knobbed Fender Twin to the zenith of the Soldano amp roar, this journey of sound is one for the books. Discover the evolution of our live rigs and how the "Greg" Koch amp head and a trusty 2x12 cab bring my music to life. Plus, don't miss the scoop on the latest collaboration with Reverend Guitars and the insights gleaned from years of touring, including an upcoming escapade with the Allman Betts Band down under.
The episode wraps with a look at the bonds forged through music, like my kindred spirit connection with the Allman Brothers and the prodigious talent of Josh Smith. We navigate the twists of creating a new album during these pandemic times, a testament to the resilience and creativity of musicians like Reese Wyman and Travis Carlton. And it's not all stages and studios; we explore the unexpected, like an adventure in the world of Nickelodeon, and the familial joy of sharing the touring life with my son. It's a heartfelt nod to the unpredictable, yet rewarding, journey of a musician—packed with anecdotes, life lessons, and the unceasing thrill of chasing the next great gig.
Dedicated to helping musicians achieve the truest sound possible whenever they plug-in.
Wildwood Guitars
One of the world’s premier retailers of exceptional electric and acoustic guitars.
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
When Larry McCray's soulful voice and fiery guitar licks join the fray, you know you're in for an electrifying episode of Chewing the Gristle. Season 5 ignites with a homespun blend of stories and strums as Larry details his incredible shift from the assembly lines of GM to the main stages of blues music. We wander through the quirky streets of Smackover, Arkansas, Larry's own stomping grounds, and unearth its peculiar place in the annals of oil history.
Strap in, gear enthusiasts, because we also crank up the conversation about the tools of our trade—guitars, amps, and the almighty pedalboard. From the early days of worship at the altar of a first beloved red-knobbed Fender Twin to the zenith of the Soldano amp roar, this journey of sound is one for the books. Discover the evolution of our live rigs and how the "Greg" Koch amp head and a trusty 2x12 cab bring my music to life. Plus, don't miss the scoop on the latest collaboration with Reverend Guitars and the insights gleaned from years of touring, including an upcoming escapade with the Allman Betts Band down under.
The episode wraps with a look at the bonds forged through music, like my kindred spirit connection with the Allman Brothers and the prodigious talent of Josh Smith. We navigate the twists of creating a new album during these pandemic times, a testament to the resilience and creativity of musicians like Reese Wyman and Travis Carlton. And it's not all stages and studios; we explore the unexpected, like an adventure in the world of Nickelodeon, and the familial joy of sharing the touring life with my son. It's a heartfelt nod to the unpredictable, yet rewarding, journey of a musician—packed with anecdotes, life lessons, and the unceasing thrill of chasing the next great gig.
Dedicated to helping musicians achieve the truest sound possible whenever they plug-in.
Wildwood Guitars
One of the world’s premier retailers of exceptional electric and acoustic guitars.
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Lo and behold, ladies and gentlemen, season five of Chewing the Gristle is upon us. It's been a little while, folks, but it's going to be worth the wait. We're going to be featuring a lot of convivial conversations with various musical potentates, most of which you've heard of. Some are going to be some new discoveries. That's why I'm here to bring forth the chewable gristle matter to you via the Information Superhighway, brought to you, of course, by our friends at Wildwood Guitars in beautiful Louisville, colorado, and our friends at Fishman Transducers of beautiful Andover, massachusetts. Both I've had great longstanding relationships with, and continue to do so, and we're very grateful for their continued support in this endeavor of giving you the highest quality and chewable gristle possible. Now, without any further ado, folks, let's get down and dirty with some Chewing the Gristle, season 5. Buckle up, buckle up.
Speaker 1:This week, on Chewing the Gristle, we've got the mighty Larry McRae Blues man, powerhouse, extraordinaire, sings like a doggone bird and plays the guitar with the intensity of a thousand suns. We've had a good time over the years Jamming here and there, and we had a good time chatting this week here on Chewing the Gristle, larry McRae. Ladies and gentlemen, boys and girls, once again we convene for another juicy rendition of Chewing the Gristle with yours truly, gregory Cock. I'm here with the mighty Larry McRae, blues man extraordinaire, hailing originally from Arkansas, by way of Detroit, michigan, or vice versa. And where are you coming from? Where are you from right now? Where are you at right now?
Speaker 2:I'm at home. I'm at home in Bay City, michigan. I live in Bay City, now Bay City, Bay City, michigan, right on Saginaw Bay. We jump in the bay and we in Lake Huron, in a matter of you know, a few miles a few miles up the bay.
Speaker 1:Excellent, yeah. So how you been doing. What's the latest, what's happening?
Speaker 2:Man, well, I've been doing pretty good. You know, we saw each other back in the winter doing the Devon Almond, what they call it, the Almond.
Speaker 1:Betts Family Reunion or Family Revival.
Speaker 2:That's right, family Revival. So since then I came home and I've been working some with my own band and I just come back from Georgia. I was in Atlanta, georgia, working with some musicians down there and the drummer was the son of the great Candy Staten vocalist you know from the 70s and R&B music, yeah, yeah. So it was a lot of fun. Excellent, I was making it in Atlanta. Sorry, sorry, man.
Speaker 1:I was going to say we sure had fun with the Allman thing. I mean I was only on a few of the dates, but it was always a highlight getting to play Soul Shine with you and to rock out.
Speaker 2:Man well, I'm always flattered, uh, on it anytime I can share the stage with you.
Speaker 1:So I mean, that was that was great for me too, oh, it was a blast that's, that's a good time, that whole thing is is really an interesting, interesting collection of folks and there's just such a uh, a cool vibe about everything. I I think that you know Devin and Dwayne are so cool in the fact that they have no problem sharing the spotlight with everybody and lets everybody do their thing and it's.
Speaker 2:And the diversity.
Speaker 1:Yeah, exactly, exactly.
Speaker 2:Really, really cool. Yeah, it was really diverse man, because within many artists, everybody's style is definitely going to be different, but they found something to accommodate everybody and I thought they really do a good job with that, absolutely.
Speaker 1:You know, I remember the first time we hung out was back at Summerfest. That was a while back, woo.
Speaker 2:You know what I think about. I think about them days now and I tell that story all the time. I didn't know what kind of head whooping I was in for that day, man, but I discovered Greg Cox and I was glad because you know it was just the right vibe man and you know we've been friends a long time now, so I happen to know that we still out here doing it. You know?
Speaker 1:yeah, absolutely. Well, it's good to be alive, isn't it step one, exactly, exactly correct? Well, it's good to be alive, isn't it Step one, exactly, exactly correct. So tell me a little bit about how you ended up from Arkansas up into the Michigan area. And what was your playing situation? Like I know, you worked for a while for GM. I mean, when did you just say I'm just going to play and that's that? Or was it kind of off? Again, on, again, okay.
Speaker 2:Well, I started, started to bottom. First, I, um, I come from a little town man in arkansas called smackover, and so the reason I I did some research on it just recently to find out what smackover was all about or what that was, or whatever. So, you know, with the, the different dialects of English that we have from different areas of the country, and especially you want to, you know, put 100 years or a couple hundred years on to it, it's no telling what it was like then. Right, but the smack over came from some French derivative of sumac. Ah, you know so, I guess, in which I do know it was a lot of sumac.
Speaker 2:Ah, you know so I guess, which I do know it was a lot of sumac. And they have a, you know, they call it poison ivy, right, poison oak, you know. So it was a lot of that stuff going on. But what? I also find out that it had the country's largest oil deposit. That was over, yeah, that was over, 60 square miles big. They found a pool over 60 square miles big in Smackover, arkansas, where I come from.
Speaker 2:So it's just another example of you know the big, the powers that be, the big money come in and clean up all the money and then the people that live there remain the poor folks.
Speaker 1:Oh, of course, Absolutely. It's the American way.
Speaker 2:That's right, right, so in 1972, my parents decided to pull up and come to Michigan, and I'm one of the formerly nine siblings and at the time, you know, when I come to michigan, it was one, two, three, four, five of us boys, all working for general motors. Okay, so it was a whole, whole different thing than what it was in arkansas in 1960, right, so you know, it was kind of a a liberation or a heavy burden lifted when we left, although that's where our hearts still remain. You know, you never forget where you come from, right, but sometimes change is good, you know.
Speaker 1:Now as far as your musical formation, did that start when you were younger or did that come later on? Or was your family musical? I mean, did people in your family play?
Speaker 2:Well, I come from a family that's all my family did besides work you know, came from my, my dad, my grandmother, my big sister. I have three brothers that play. You know so many of us play and all the ones that didn't play same. Okay, you know that's that. That's kind of a um, that was a kind of a getaway or a family way of having fun. Like I said, you know it was in a real depressed area and you know it was no financial way to make money other than hard, hard labor. So you know hauling puck wood, you know working in the field. You know doing all this crazy stuff was still going on in 1960. Doing all this crazy stuff was still going on in 1960. And you know, so I'm the last of. I think that my generation is the last of that old way. So by this time my sister, who was 18 years, my eldest, she was a guitarist. It just came from our grandmother and from my dad, but her name was Clara. So Clara had a band. She was the first one that had a band in the 60s, when I was just a baby. So the late great Michael Burks you know Michael Burks, his dad and my sister had a band together. Michael was from Camden, arkansas, which was just down and around the bend from Smackover where I came came from, and so that's how him and my sister got hooked up and joined forces and became a band. So I was too young to experience it, other than sometimes it would be a gospel rehearsal at my house where these ladies would come over and sing and my sister would play guitar. So I seen that.
Speaker 2:But she moved away in 65. She came to Michigan. So after she left every summer she would come home and visit the family and bring her guitar and play for the family. So when my little boy was five or six years old I saw that and heard that man. You know it put a fire in me from right there and so, as the powers would be, would have it In 72,.
Speaker 2:When she came home for the summer she told my mother. She said, mama, I'm going to take Larry back with me and let him spend the summer up there and you know I'll send him back, you know, by the time it come time for school. Well, little did I know that. You know the whole plan would change after a couple months. I got into it and my mother decided that the whole family was leaving and about six months later they all came and joined me in Michigan. She told my sister put him in school and that was that. So I lived with my sister. She had a guitar. I could put my hand on it, you know. I could touch it, you know.
Speaker 1:And what kind of guitar was it? Do you?
Speaker 2:remember it was a SG. I believe it was somewhere in the early 60s, a red SG Gibson guitar, cool Double pickup. Yeah, uh-huh, sg Gibson guitar, double pickup. It's still in the family. Her daughter has it. I wanted to get my hands on it but I didn't make a fuss about that. I guess it was due to her because it belonged to her mom. You know what I mean. But see, her three children were raised up just like brothers and sisters to me. I'm only like five, six, seven years older than all of them, and I'm their uncle.
Speaker 2:So they were more like little brothers than they was nieces and nephews. So we all at one point we all had a band together. We were the McCray brothers of the McCray family, and it was two nieces and a nephew and three brothers Wild.
Speaker 1:And what? Kind of material was your sister doing.
Speaker 2:Oh, she was doing stuff like Freddie King, albert Collins, mississippi, fred BB King. She was a picker. She basically played kind of like how I play, but you know, with more of a bluesy thing. You know, I think I as a modernizer I took it a little further than what she did, but the root core of the blues music that I play, all my embellishments in blues, came from her Wild, you know. So after I got into General Motors, I worked for General Motors for almost 13 years and I had got contacted. I got involved with Point Blank Records. You remember Point Blank back in. I think they had their first release in 1990. Well, I was contacted by them in 87 so in 88.
Speaker 2:I recorded my first record in 1990. It came out and I had been on that line and I had been wanting to get off and do something else and I just said, well, I just, I just jumped out the window, man, and I one day I left out of there. I never went back and, uh, I started playing music and my first tour was in UK and I was Gary Moore's support band oh nice, got the blues tour Awesome, and that you know. That's from my childhood, all the way up to the beginning of when I got started playing.
Speaker 1:Now, were you always a flying V guy. Was that your thing from very early on?
Speaker 2:No, what happened was I went to Europe, like I said to open for Gary, and I had a Stratocaster. Okay, and the might that he got out of that Les Paul and the Fury and the Tone I know. I said, oh hell, that's the sound. I want to play humbuckers. I wanted a bigger sound, you know Right. And so At that time I didn't even know I liked Les Paul because I never played one, right, but I wanted humbuckers. And I come home and I saw a Tobacco Brown V guitar that was hanging up in my local music store and it had humbuckers and all this stuff. And I was a huge fan of Albert King, so it almost came like me calling myself paying a tribute to him, and I want to be like him, so I'm going to get a guitar like him. You know, absolutely yeah, yeah, awesome. So that was in. That was in 91, I think 91, 92.
Speaker 1:Now, are you writing your own tunes at this point? Are you doing covers or kind of a mixture of the boat?
Speaker 2:Both are kind of a mixed bag, got it and that's, and that's still kind of where my bag is at today. Although I try not to do covers anymore, I try to. If I want to do a cover, I try to write something in the vein of a similar but not the same. You know, but do their style. If something is gnawing at me that hard, you know what I'm saying, sure.
Speaker 1:Now, as a guitar player and as a band leader, do you prefer a smaller band or do you like a bigger band in terms of being free to play and do your thing?
Speaker 2:I'd like to have slightly more than just a core rhythm section. I mean, you know, some people can go out with a three-piece and sound full, but if you haven't developed that style or focus on it for a long time, it's hard just to do that. That's something you have to work at. Sure Well for me and for my style and for my vocal style for original music. I like to have a little help in the rhythm section, the rhythm department the comping.
Speaker 2:Yes, because I know a few chords, but I'm not one of these guys that know a million chords and just can sound broad by myself.
Speaker 1:I think I've got a good sense of rhythm and I think I can play funky if I want to, but I'm a self-taught player and I don't have the theory that I think it takes that a lot of players out here have so when you're, um, you know, back in the day when you're, when you're going over and playing, did you have like a tone that you were like a particular amp setup you like to use, or were you just kind of like I just plug in and turn it up and let the good times roll?
Speaker 2:Well, I was always fiddling around, feeling for it, trying to find it. Like I said, gary was a big influence on me in that when I seen how that he was running his stuff. So when I came home I got me. I was playing. What they provided for us on tour was the pink knob, fender Twin the hybrid called the Twin.
Speaker 1:Oh yeah, the red knob, twin Red knob yeah yeah, yeah yeah.
Speaker 2:So I was playing one of those. So I wanted to go a little bit beyond that. So when I found out what a sawdust was, gary was the first person I'd ever seen one of those. Right, and I come home and I ask about it and nobody had it. Well, I was in Memphis, tennessee, and at the Strings and Things I went in there one day and there I said a purplehead saw down, it was a Hot Rod 50. Yep, it's what it was, and it was benchmark number 50. But at the time this was in around about 1991 or two.
Speaker 1:They wanted like 900 bucks for it.
Speaker 2:That was a good penny, you know back then. But I dug a little deeper and I found it right and I I got that amplifier man.
Speaker 1:Yeah, those slo 100s were really expensive, the, the big daddies man those were.
Speaker 2:But for me. You know that was a step up from using, you know stop fenders, you know anything else. You know that I never had nothing like that and when I felt the power of that 50 watt amp, it had 30, selection 30s, okay, yep, Four of them 12 inches, yeah, and they were wired both ways. They were wired in series and parallel, got it. So you know you could play it four-on, 16, or eight-on. But that cabinet man, you know, with all that power and a little sustained help right there, it was really great, it was a nice experience.
Speaker 2:Nothing like I've ever had before.
Speaker 1:Yeah, the Saldano or something else. I'm actually looking at a little Saldano amp right here that I'm trying out. They got this new 20 watt one called the Astro the little one yeah. Excuse me. Yeah, it sounds great, they're making those amps again. Yeah, you know, it's interesting because back then, you know, I was talking with a buddy of mine today and I was, like you know, back in the day, Saldana, that was the amp, I mean you know, Clapton was using one.
Speaker 1:You said Gary Moore was using one, Warren Haynes was using one. I mean Dave Edmonds, Mark Knopfler everyone used Saldana's back then, Cause it was like the, it was like the new Marshall. Yeah yeah, yeah, hot rodded up.
Speaker 2:And do you find it to kind of be that way like a beefed up Marshall kind of thing going on I don't know so much about? Yeah, it's definitely Marshall. Yeah, that Marshall vibe.
Speaker 1:Yeah, yeah, warren still uses one. Yeah, yeah, you know, as far as like Clapton's ladder tones, I mean that 24 Nights record, that live record, that's like I had back in the day and they reissued it not too long ago kind of a longer, all of the recordings, and he was using that Saldana on that stuff, and that was a solid tone. Yes, it was yes. Yes, it was yes, it was solid, viscous sounds. But yeah, they weren't I, I had a. I bought a little soldano, uh, back then. Uh, well, yeah, mid 90s, uh, it was just, uh, I think it was a rocket. Or was it another astro 20? It was a little like 30 watt combo amp, but it did that real overdrive-y. I mean, the overdrive of a Soldano is like nothing else. I mean it is a singing, thick, glorious sound.
Speaker 2:Oh man, I had mine upstairs at the apartment once when I used to hang out with Paul and him in Chicago. And I'm up there I got that Soldano just going for everything it was, and that door popped open and it was Luther Tucker and he said, hey man, what you got you know like that. And I explained it to him and I showed him the app and everything. But you know they really I'll never forget it. You know I'm just up there doing my thing and it caught his attention. He wanted to see what kind of amp that was putting out that sound did you miss reverb at all when you were playing those amps?
Speaker 1:because I'm now getting back into amps without reverb and I might put just a little bit of delay on it. But it's weird because for years it's like I always just needed a little bit of reverb. And on those amps where you have no reverb, it's weird because for years it's like I always just needed a little bit of reverb. And on those amps where you have no reverb.
Speaker 2:it's kind of like well, what do you do? But then when you're playing big places, you don't really miss it.
Speaker 2:No, and I found out something else, even if you want to dial it for the bluesier tone when you find your clarity and everything and have your mids right to whether they're not cloudy, but you still hear your tone. You don't really need it Right. So once I got used to not having it, when I would go in different places and play like you said, then you'll find that in most rooms there's a natural reverb anyway, exactly, and you end up not missing it.
Speaker 1:Exactly. So what are you using these days? Do you still use that old Soldano or no?
Speaker 2:No, you know, I got old and got tired of toting gear. I understand, I got a friend that do a pretty good mod on the Deluxe Reverb Okay, the Defender Deluxe and the only thing that he does is he changes the speaker Right and instead of six V6s I play six Ls in mine. Oh nice, and he does a thing with the bias that.
Speaker 1:So it's a little louder.
Speaker 2:Just a little louder and just a little less breakup so I can get up to probably five or six before my Deluxe start breaking up, got it? You know what if they on a regular value time?
Speaker 1:day four you already got RAS. Exactly, it's RASping up. Yeah Interesting, so you just use the one amp.
Speaker 2:Two of them, but mostly I use that and I use a Blues Junior a lot too, because you know I'm playing smaller rooms a lot of times. So that little amp has got a big enough bite that when they put a mic on I don't need no more. Yeah, yeah, I hear you A lot of people say man, you playing through that little amp right there? I'm like yep, that's what I'm using right there, that and a clone.
Speaker 2:Yeah, that with a clone or anything, to give you just a little breakup and sustain and you're good.
Speaker 1:Yep exactly.
Speaker 2:And that's the other thing that I'd like to speak about that I'm happy that I learned that breakup and tone is not about so much preamp game. Right, it ain't about that. You got to have enough clarity to hear what you're doing, but you know you want it to sustain and hold a note too. So you know, as you age you learn a lot of things, and that's what I'm really trying to do. What I've tried to do is clean up my tone and play with more clarity, but also don't forget the character of sustain man. You know, yeah, yeah, yeah, absolutely yeah.
Speaker 1:Yeah, but, as, as we all know, it's like how we play is how we play in, in, in, in gear.
Speaker 1:We're always going to sound like ourselves, no matter what we play through but, it's like you know, gear is kind of the sonic enabler and it can inspire to do different things and, as you said, you can do like little variations of of, like refining your tone and so on and so forth. But you know, if you had to play a different guitar and a different amp every night, it'd still sound like you, and that's just.
Speaker 2:That's just the way it is right, right, and that's the main thing, that's what's most important.
Speaker 1:Absolutely.
Speaker 2:What are you?
Speaker 1:using these days? Man, well, that's a good question actually. You know, for guitars I have my Reverence. You know, I have my T-style guitar, the Gristlemaster, which is this little rascal here, which is a slightly larger bodied Telecaster. But I developed these pickups with Fishman that are totally quiet and there's a little button in between the volume and the tone control. That gives me just a little bit a second voice to the pickups. That's a little hotter and a little meatier. So I can go straight into an amp a lot of the times and then if I just want a little bit more gas, I hit that and it's just away, I go. And so that's been my main guitar now for about five years. And then I developed another one with them.
Speaker 1:That's more of kind of a Gibson scale, so a little the shorter scale ebony fingerboard it's a set neck as opposed to a bolt-on.
Speaker 2:That's a nice one, Dan.
Speaker 1:And then I developed these pickups with Fishman as well. These are my signature P90s, which are also noise-free and again have a second voice that gives you a little bit more meat.
Speaker 1:And then I have this really cool out-of-phase thing as well that I can do in the middle position. So that's been a lot of fun. So those have been my main guitars Amp wise. I developed an amp with a Dutch company with my same last name Cock Amps and so that's been my main amp that I've been using for a while. But I've been toying around with some different things lately. I've been messing around with this little Soldano. I've got this little Tone King amp behind me I've been having fun with. I've got this little Tone King amp behind me I've been having fun with, which is basically like two Marshalls in one, but instead of having a preamp distortion, it's power amp distortion, so it has an attenuator on it, so I can run one channel which, as I've been doing, which is like an old JTM 45.
Speaker 1:Yeah, and put the volume of the power amp up on about seven, which is like an old JTM 45, and put the volume of the pre of the power amp up on about seven, which would be rather loud, and then I can. But then I can go back on the um attenuator so it isn't quite that loud.
Speaker 1:And then the second channel I have more of like a 1967 Plexi, and then I crank that all the way up, and then I of course go back on the attenuator so I have the sound of power amp gain, but I can bring the volume back because of the attenuator and so. I'm sorry, go ahead, you have two transformers uh, and that just has the one, but you got two uh two power soaks, exactly, okay, and uh, that's a good sound of the lamp.
Speaker 2:So we'll see I'm just touring around with.
Speaker 1:I have two power soaks Exactly, and that's a good sound of the lamp. So we'll see. I'm just touring around with some different things lately. We'll see what happens Right. But I've got a ton of others. I mean I've got super reverbs, vibraluxes, I've got little Marshalls, I've got all kinds of stuff. I did an amp with the caulk amplifiers that we call the little gristle, which is a little, a little 12. Actually it's a. Is it 12 Watts? Yeah, 12 or 15. Yeah, somewhere in that neck of the woods, but it's loud. I mean, it's a loud little amp but you can go down to four Watts as well. It's kind of the same, same controls as like a blues junior. But my favorite amp back in the day was the Pro Junior. Remember the one that was just the volume and the tone.
Speaker 2:Yeah.
Speaker 1:Yeah, and I love the way those sounds, but I love cranking the power amp on those. But those little amps just have a tendency to sound boxy when you overdrive them.
Speaker 2:So with this, amp.
Speaker 1:the cabinet is actually a little larger so it breathes a little bit more, so it just doesn't sound as kind of nasally when you crank it. So that's a cool little amp as well. But when I go out my band is so freaking loud that my son hits and Toby the organ is roaring and he's playing left-hand bass so he needs that crank so he can hear it. And then when he does leads with the Leslie. I mean it's loud. So I found that I need at least 50 watts and two 12s in order to get over the.
Speaker 2:To compete to be in the right range. Exactly, Rick. What is that little silver combo on top of that? Saldana, right there.
Speaker 1:This one right here. Yeah, yeah, that's the Tone King. Oh Uh, this one right here. Yeah, yeah, that's the Tone King. Oh, okay, okay. So on the far left are those two knobs. Those are the attenuators.
Speaker 2:Oh, okay, and so that's a single 12, and then I've got it going through that Saldano cabinet as well.
Speaker 1:Yeah, it's a pretty mighty sound, and what's great about power amp distortion is that you can back off on the volume and you don't lose any highs, you know so it sounds magnificent, so that's been a lot of fun using that. I haven't used it on a gig yet though, so that's really going to be a thing, but that's always kind of the.
Speaker 1:You know, it's been kind of the struggle of, I think, like most people would agree on nothing sounds better than a power amp section cranked right, but the problem is is that it's way too loud in most rooms and then in some rooms it's not loud enough.
Speaker 1:Then you got nowhere else to go. And then there's some rooms where it sounds really good and there's other rooms where not. I I find that even though pedals don't necessarily sound as good as the actual amp overdrive, they feel better when you're playing. You know what I mean. It's like you can viscerally feel when you hit that pedal and you get that boost. It's like, yeah, now I can, I can dig in. So yeah, lately I've been, when I've been gigging, I've been using my uh, caulk head, which is called the greg, and I use the head with the 212 bottom and I just set it clean. There's a nice reverb on the amp and then I use my pedals to to overdrive it, get a little bit of clean boosts, a little hairier boost on top of that and then, like a go for the jugular boost.
Speaker 1:Right right, three stages Exactly. Yeah, yeah, yeah, and that's what's been working for me as of late, so that's what I've been using. And then I just bring an extra head along just in case something goes awry. I see, but yeah, we just got back from, we were on the West Coast doing a tour, and I and uh, but yeah, we just got back from, we were on the West coast doing a tour and and um, I just, you know, I set my stuff up, lickety split man, I put the head up there, the cabinet, I get my pedal board out and put that out and I put the cabinet on the pedal board.
Speaker 1:So it was just up a little bit and and I kind of know where the safe spot is in every room. I mean, I know it's going to have to be a certain amount of volume, but I've kind of got it down where I know where it needs to be. But, that being said, I'm not opposed to trying new things In terms of maybe I'll use this amp now and see what, because I just find gear inspires you in different ways. As you well know, it's like you try something new. You just sometimes, you know overdrive, on a particular amplifier, different notes take off than other amplifiers and they just have a different feel and so it can be inspiring in different ways. So we'll see.
Speaker 2:Well for sure.
Speaker 1:We interrupt this regularly scheduled Gristle Infested conversation to give a special shout out to our friends at Fishman Transducers, makers of the Greg Cock Signature Fluence Gristle Tone Pickup Set Can you dig that? And our friends at Wildwood Guitars of Louisville, Colorado, bringing the heat in the shadow of the Rocky Mountains.
Speaker 2:You know I got another question. I want to ask you yes, sir, when did you meet Joe Naylor?
Speaker 1:Joe Naylor. I met through Ken Haas, who's the current owner of Reverend Reverend. So what happened was when I started doing those videos at Wildwood and out in Colorado. They were Reverend dealers and when I would you know, first of all, ken would come out to Wildwood and do videos with me out there about once or twice a year, and then, when we'd go to NAMM, I would do videos out there as well, and both Ken and Joe would be there.
Speaker 1:That's really where I, where I met those guys, and then, after many years of just knowing them and hanging out with them and I was doing that stuff for Fender for about 15 years. But then when I stopped kind of doing the Fender thing and I was just kind of free to do whatever I wanted, those guys are like hey, you know, no pressure because we're pals, but if you ever wanted to uh, you know, do a guitar with us, we'd love to talk to you about it. And one thing led to another, and away we went. Joe's, he's just brilliant. I mean, he knows he knows how to put a guitar together that looks good and sounds great.
Speaker 2:So he's got the the touch. I met them guys years ago here too, you know they used to be from Naylor. I haven't seen Joe in 20, 25 years, yeah. But I remember when he first started out and when he had the first Naylor amps they used to look kind of like matchless in the day. If you didn't know anything about it you would have thought it was a matchless, until you take a good look and it's old, nailed, you know, like that. I was just curious, you know, when y'all had met and how y'all got hooked up and stuff.
Speaker 1:Yeah, he's a good dude and he knows his stuff. Man, I'll tell you what. We've got another guitar coming out later this year and he knocked it out of the park again. You know, I tell him what I want, you know, and and he comes up with a design. I'm like, yep, we're good. So that's, that's been a good deal. So I see that you're going to go to Australia with the almond bets thing, you and you and Allie are you the only ones from from the current lineup that's going out there?
Speaker 2:I think from the current lineup. I don't know how it happened. I mean, you know, anytime I get picked, you know, I'm awfully happy, you know, because there's so many choices out there, you know. But you know, sometimes being an old dog can work in your favor, I guess, as long as you ain't too old.
Speaker 1:Exactly yeah. So how much stuff are you doing on the road these days, you reckon?
Speaker 2:Well shoot. I don't know, probably about 100 days, okay, yep, something like that, probably about 100. Maybe one or two more, but I'm out there pretty regularly, you know which is a good thing, so.
Speaker 1:So when you were just down in uh in Georgia you played at the old Allman brothers haunt. So were you, I mean prior to cause I remember Oteel was hanging out, uh at that gig where I sat in with you at Summerfest and you and you kind of knew those guys for a while at least, that incarnation of the Allman brothers. Now I was just going to say how, how far back were you like a fan of the Allman Brothers and kind of knew what they were all about and maybe knew them and all that kind of stuff.
Speaker 2:Well, I was a fan of their music in the 70s and 80s, you know, but I didn't really know a whole lot about the band, you know. Just you know, like I would come to know later in the year, right, but you know, of course, when they come out with the Midnight Rider, right. And then I used to listen to my Girl made it to the jazz stations in my hometown the instrumental when they did my Girl Instrumental. Okay, I'm trying to think of Whipping Post and Elizabeth Reed.
Speaker 2:Yeah, you know I learned about them songs in the earlier days. And then how I got a chance to meet the Allman Brothers was, you know, rest his soul. Paul Calk was my guy at the time, taking me around different places. That's right. Yeah, so Albert Collins and the Kinsey Report opened for the Allman Brothers at the World Theater I forget what town it's in, just outside of Chicago. We're in Chicago.
Speaker 1:Okay.
Speaker 2:But it used to be a theater there called the World.
Speaker 2:Right so they were playing at the World, and I went out there with them, me and Lucky Peterson it's a strange story, man, but me, lucky Peterson and Russ Wheeler all hanging out together with Paul, and we went to the Allman Brothers show. So when we, paul and Bert Holman, were friends, okay. And so when we got there, he hey, fatso, you want to meet Greg. And I'm like, no, I'll get on here, you big baby, go on in there and meet the man. So I got a chance to say hello to him for the first time and that was 1992.
Speaker 2:Okay, when I met Greg and him, but I had met Warren before because I had did my follow-up record for Point Blank Records. Yeah, and I needed songs and Paul Colt knew Duck Fields, which was Warren's first manager, and that's how I got them songs I got you. Yeah, warren was Warren's first manager, and that's how I got them songs I got you. Yeah, warren was I think it was Warner Brothers, he was writing for One of them labels, he was a writer, you know, and everything, and he sent me some songs and then, after doing it, you know, I got a chance to go down to Memphis and hang out a few days with Warren and blah, blah, blah, blah, you know, and we became buddies.
Speaker 2:So he and I was hanging out this one day and so I said, hey man, how old are you? And it was the same numbers, man, yeah, yeah, oh yeah. I said what month you born. He said April. I said oh no. I said what day? He said April 6th. Well, my birthday is April 5th. We born one day apart, same year, same month same, everything One day is different Yep.
Speaker 2:So I always I had a good connection with him. You know he was more versed in rock and stuff like that and I come up with the blues. But he liked the blues and played some blues. I liked the blues and tried to rock it up, tried to play. So it was a good thing that we met and I know I learned a lot. I hope he picked up something too, but it was a good experience for me. Nice.
Speaker 1:Now, did you open some shows for the Elvin brothers at some point, or or no, you sat in with them though, right?
Speaker 2:I sat in with them on numerous occasions and I did uh two different uh road tours with Greg. Okay, and I did. I did a tour with Dickie also after the band broke up.
Speaker 1:Got it.
Speaker 2:So I toured with them three times.
Speaker 1:That's pretty cool. That's pretty cool.
Speaker 2:I'll never forget it, brother.
Speaker 1:So tell me a little bit about the record you did with Joe Bonamassa and with Josh Smith and kind of how that all came about and that experience Wow.
Speaker 2:Well, first of all, I knew Josh when he was about 14 years old. Josh Smith, right. Josh Josh Smith was from Florida, I think he was from the West Palm area, right, and his parents. Josh was one of them, little playing kids, you know, little big kids that started out playing. He probably started touring when he was about 12, 11, 12, something along in there, right, so by the time, well, he told me he put his first record out when he was 13. And it was called Woodshedding.
Speaker 2:So he was on a blues festival one time. I didn't know him from Adam, and when it was all sitting down, when the festival was over, you know, I met him and got a chance to talk to him and shook his hand and everything. Then, after that, a lot of places, I would pray, here come Josh, the same little kid, you know. He planted this same. Wherever I was working at he was working at too. So we got a chance to, you know, get acquainted and know each other, and so I knew him all the way up until he was about 19 years old. Then, when he turned 19, he left the Midwest and went to California.
Speaker 1:Right.
Speaker 2:And when he went to California, that's when his whole life and demeanor kind of changed. He ran into some kind of jazz cat or jazz head out there somewhere that taught him how to play through changes and stuff like that, and Josh ain't been the same since.
Speaker 1:Yeah, he's a playing fool.
Speaker 2:Yes, he is, yes, he is he's a good man, and so you know that's how I met Josh.
Speaker 2:I met Joe B on the road and one night I was at BB King's in Nashville. Eric Gales and Joe B came into the room and so after I finished my gig upstairs, I went downstairs to Eric's gig and watched them play and you know, we talked and hung out that night and everything, and so I really didn't see Joe much until years later. But as it was in 20, this is 24, in 21, paul Cook passed away and I had been working with him for 30, 30, some years, right, and so I was just a lost cause. You know no direction. I was just a lost cause. You know no direction.
Speaker 2:And some friends of mine had been told me that Joe was doing things and why don't you try to contact Joe and this and that and nothing. I'm like man, joe don't want to. You know, hear nothing. What I got to play or anything like that. You know, joe is such a player, you know, and it took me a long time to come to it, to get my nerve up, to try to, you know, try to contact him. So they got me with a number and I sent a text and he responded back. And when he responded back. You know, it was just one thing to the next. And about probably a year later after the first take, we went in the studio together, man, crazy, yep. And so him and Josh. They came to my house in Michigan and they came with the intentions of writing songs. Well, I had been off on the pandemic and I already had all the songs, and so they said this is going to be a lot easier than we thought, because I had been off on the pandemic and I already had all the songs.
Speaker 1:And so they said this is going to be a lot easier than we thought, because I had music, you know, and so they listened to them and we got some arrangements on the song.
Speaker 2:It was a couple of things that you know. They had interjection. They interjected some ideas and stuff on some of the songs. So some of them are in total original form, but I had the whole song, the changes you know, the outros, all that stuff. But they put some heads in and polished it up a little bit and we went into the studio man.
Speaker 1:And bing bang, boom. Now, did you use your band or did you use kind of a bunch of ringers?
Speaker 2:Joe had some musicians out there in California. I got a chance to work with Mr Reese Wyman on keyboard, who works in Joe's band every night. Reese was on keyboard, travis Carlton was on bass Larry Carlton's son Yep, he's great. Lamar Carter was on the drum, who works with Joe right now and come to find out. He's a Michigan boy and I asked him how he got started and he told me that his mother taught him how to play drums. Oh no, kidding. Yeah, he said mom was a hell of a drummer. So you know, lamar was on drums and Josh was on the second guitar and.
Speaker 2:Josh was on the second guitar Crazy, so Joe was behind the console. But Josh pretty much worked with us on arrangement and charted out everything for the band and everything and it was really a pretty smooth idea. We did the whole thing in about eight days. Seven days, seven or eight days, you know, cut it, sang it, put all the dubs on it, out the door, you know ready to go All of the rhythm section. Now they added horns later, got it, yeah, but all the core work was done in seven days, excellent.
Speaker 1:And so did he put it out on his label then.
Speaker 2:That's right. That's right. Ktba Okay, cool On Joe's label Excellent, yeah. So that's the. I had been doing self-produced records for quite a bit and let me see what you're there. So I hadn't had a record probably for about seven years, seven, eight years. So it was long overdue and I'm glad that they got involved because you know the promotional factor and just to have some help and the more ears you got on a situation you know that's the cleanest it's going to be. Sometimes, when you're trying to do everything yourself, it's too much.
Speaker 1:Right, that's true, absolutely, yeah, awesome. So that's been a couple years ago now, right, it's been. Yeah, yeah, yeah awesome.
Speaker 2:So that's been a couple years ago now. Right, it's been.
Speaker 1:Yeah, yeah, the record is going to be three in April so when you're going out these days, I'm just thinking a lot because I'm going out again next week and it's just so wild how, how quickly CDs have become obsolete. You know, and you got all these cds lurking. But everyone wants vinyl, but it's almost like they'll buy vinyl even if they don't have a record player, just because they want to buy it. You know what I mean. Yeah, and sometimes they'll buy my.
Speaker 1:My modus operandi is with merches and we sell a lot of different stuff. Is that? You know? I always tell people I was like well, if we run out of this, this and this, they'll buy whatever you have. You know, whatever you have, they're going to buy, which is great, which is, you know, you appreciate the support. People come out and and, uh, and they want to support you by buying stuff. But do you find that? Are you of the mindset, cause I I'm to the point now where I'm not going to print up my old library anymore. It's like I'm selling through what I have and if I come out with new stuff I might do a limited run of CDs, but then it's going to be vinyl. Do you find that you still sell CDs at gigs or not really?
Speaker 2:I'm still selling CDs, brady. Yeah, yeah, yeah, I'm still selling CDs and they sell them. But you know I have CDs and vinyl.
Speaker 1:Right but.
Speaker 2:I sell more CDs, so it's still a lot of people that still have them. But I think what they do is are taking, transfer the music to their JPEGs or whatever they use, you know, flash drives or whatever they're using, right. That way they're still able to support because as a musician you only have so many options Sometimes what you can get your hands on, unless you're doing everything yourself, right. So you know, I do make sure that I got albums when I go out, but I definitely have CDs.
Speaker 1:Yeah, yeah, uh-huh, yeah. I find myself like I'm leaving next week. I go. I got to make sure I got my instructional books. I got my beanies yeah, that I wear. I got t-shirts, I got cds and I sell my gristle king pedals and, um, what else we got? I'm gonna have stickers and refrigerator magnets and I mean it's. It seems so weird to say all that stuff, but, as you know, it's like whatever you got to sell, that just makes it can make a mediocre night really good.
Speaker 2:That's right, merch is the worst man. Yeah, it's the thing. I want to ask you, man, how do you find one of them? Gristle King pedals, oh, I can set you up.
Speaker 1:Okay, it's a great pedal. I mean I still, you know it's interesting how it's been great to use my pedal board because I can just I can go in front of any Fender amp. I know what it's going to sound. We're in Italy one time and they, you know, we had to take a train down to one particular and all they had for me was a like an orange half stack and I set it clean. You know it's a little bit over and I use my pedals. Sounded great and I set it clean. You know it's a little bit over and I used my pedals. Sounded great. But it's interesting how pedals interface with different amps differently. You know what I mean, that's exactly the case.
Speaker 1:It's been really a good thing. It's not a real. I mean, there's a clean boost on it and then there's an overdrive Right and the clean boost, you know, I boost up a little bit, then I hit the overdrive on top of it and it's pretty massive sounding. It's not, you know, it's not a ton of distortion, but it's a nice amount of gain.
Speaker 2:Well, you know, that's what I was speaking about earlier. I don't need, I don't want distortion, I want sustain and I want the right amount of gain, you know. But I don't want to cloud up my signal so much you know exactly.
Speaker 1:Yeah, you want to clean, but you want it to sustain.
Speaker 1:It's basically yeah, and bite, bite, just a little, exactly a little bit of that sass. That's right, that's right, yeah, yeah. So we're gonna go out for a couple three weeks again. I think it's two and a half weeks and, uh, you know, I gotta say I do enjoy doing it. I mean I just you know when I gotta say I do enjoy doing it, I mean I just you know, when you have people always ask, I'm sure they ask you as well. Don't you get tired of traveling? And I'm like, listen, when, when you get to go to a place and you're, you're playing at clubs, where it's not a bar, where people are like, oh look, there's a band here, you know it's, it's you're going to places.
Speaker 1:The only reason why people are going there that night is to see you, and you get to play early in your a lot of times. You're on stage at eight o'clock. You know by 10 o'clock you're done, You're packing up your stuff and you eat wherever you want, you stay wherever you want, you get to drive around and see cool stuff and with with our situation, it's just me and you know the two other guys, one of them being my son, which is awesome, yeah, and it's great. I mean, are you still having fun traveling? Do you enjoy doing it as much as you ever did?
Speaker 2:Well, I'm getting ready to start doing like what you're doing, because I have a 24-year-old that's ready to get out here. He's a great singer, Nice. He's a great singer, Nice. He's a real strong player and you know I waited his whole life for something like this opportunity. You know that's the same thing I'm waiting for is to go on the road some with him. Yeah, and as far as the traveling stuff, man, I love playing. I still love playing, you know. So I'm happy to be able to do what I'm doing, but by the same token, it makes me appreciate home even more too. So when I get home, you know, my baby's well into my hip and we, you know, we spend. It's important for me to have good days at home and to do quality things with her.
Speaker 1:Yeah, yeah, absolutely yeah, yeah. Does your gal go with you on trips very often or no?
Speaker 2:Oh yeah, we get a chance to do a lot of things together and the biggest thing that just happened to me lately I don't know how these people got a hold of me, but through the power of the Lord or something, man, but I believe it was from the Omen, best Revival I believe they had to have. Maybe they just saw me at a gig, but anyway, somebody knew my music and somebody got a hold of me from Nickelodeon.
Speaker 1:Oh nice.
Speaker 2:Yeah, I got a character role on one of their programs. No way, oh nice. And I got a. Yeah, I got a character role on one of their programs. No way, yeah, it's a little comedy sitcom and I played the role of this old blues guy named Buddy Perkins, old grumpy blues man with a hat and some glasses and all this stuff, you know.
Speaker 2:So when I, it was shot in Albuquerque and so when I went out there I spent 12 days out there and, you know, peg got a chance to go. We were out there together for 12 days. She was right there to help me you know what I'm saying when I needed stuff and it was just. It was a great experience for both of us, awesome yeah.
Speaker 2:Has that come out yet? No, it won't be out until they say August, september. I'll talk to you about it when we finish up the cast, because they don't want you to say nothing, you know, until they tell you it's time to say something oh, I got you no problem.
Speaker 1:Yeah, yeah, but.
Speaker 2:I'll tell you it on everything Awesome. Yeah, well, that's just fun right there. Buddy Perkins, I told him to call me Smack Over Kid.
Speaker 1:So you reckon you'll be doing another Omen Bets thing this fall again, or what do you think? Well, if I get the call, I will you know I know they have to rotate their musicians and stuff like that.
Speaker 2:But, like I said, you know it's rotate their musicians and stuff like that. But, like I said, you know, it's perfect for old geezer like me because first of all, I get a chance to hang around with some really cool people that I probably never would get a chance to otherwise, you know, and see other musicians that you never get to see because you're always trying to work yourself right, you know.
Speaker 1:So if I get the call, yeah I'll do it again. I had a ball. I had a ball last year, I had a ball this year, and it's just good times it's a good bunch of people, the music's great and it's just so wild. The legacy of that music and how people just love it. You know, and they're out there, they just eat it up.
Speaker 2:Well, look at the Gabba convention. You know about that. Huh, which one Gabba? No, georgia Almond Brothers Association. G-a-b-b-a G-A-B-A Gabba, okay.
Speaker 1:Gabba Gotcha. G-a-b-a GABA Okay, GABA Gotcha.
Speaker 2:Georgia Almond Brothers Association.
Speaker 1:Association, and so what it?
Speaker 2:is every year, once a year in Macon, georgia. I don't know how many days it is, it's a week or 10 days or whatever they have. Bands come from all over the country, all over the world that assemble in Macon Georgia, all over the world that assembled in making Georgia kind of the home base Right the home base yep. And they rent out a theater and they have all these different performances and for them, days that they in town, the whole town is all about Gabba, that's crazy.
Speaker 2:Yep. So last year I ran into Leroy Parnell yeah, there and Sonny Mormon, and you know, I know Leroy and Sonny and you know it was a. Oh, bruce Katz, okay. It was a ton of musicians that ran and they all playing at this theater and they playing Armand Brother music. That's wild and it's to all sold out audiences. That's awesome, that's wild and it's to all sold-out audiences. That's awesome, that's crazy.
Speaker 1:We did the tour of the Big House last year and it was on a day where it was closed but Richard opened it up for us because I called up Devin. I said, devin, you got any pull with the Allman Brothers Museum? He's like hell, yeah, what do you want to do? And I told him he's like no problem, he goes, the guy's a guy knows who you are, he's kind of a fan. You know it'd be no problem to have you, you know, give you a tour of the place. And man, it was, it was awesome. There's, there's, there's definitely vibes in that.
Speaker 2:Well, you know, they're making claim that they invented rock and roll, southern rock and funk, because you know James Brown's supposed to be there from that, but they say he's really from Augusta. But anyway, making claims. So, james Brown, little Richard and the Almond Brothers, you know with the southern rock, right? So who knows you? And the Allman Brothers? Yep, you know with the Southern Rock, you know Right. So who knows you?
Speaker 1:know who knows. Yeah, that's crazy, crazy stuff. Well, I'm looking forward to heading down to that area next week, of course, any time you well know being where we're from any time you get to go down south during the wintertime. I'm all for it, oh man for sure, for sure.
Speaker 2:That's what Peg was saying to me the other day. She said you missed all the bad days. You're always gone when it's bad weather. I feel kind of bad, but I've been lucky for that this year, you know.
Speaker 1:Yeah, I've been lucky too. I mean, I had that cold snap, you know where it was really really cold, and then we got that, that that week where we got pummeled with snow, right. And then it was really really bitter cold, and that's right. When we left town, I remember when I was driving from um, from Omaha, to Denver, when we started off in Denver it was like minus eight, and by the time we drove to Denver we got a little outside of Denver it was 47 degrees, so it had changed that much.
Speaker 1:Yeah, from Omaha to Denver yeah it was crazy, and then it was perfectly fine. And then we went down to Arizona and then we were in Southern California doing a bunch of different stuff for about six, seven days and then we moved up into the Bay area, but we managed to. We managed to get lucky because all those torrential rains came the day after we left LA and so we were up North and then when that second wave came, it was really bad. We were in Nevada city, which wasn't horrible, and then we found our. We found a little place to. We went up to Reading and kind of rode the storm out before we headed north up to Oregon. But we got lucky. And then on the way back, you know, we had to take that northern route. We drove back from, you know, Portland all the way to Minneapolis to drop off Toby and then back to Milwaukee. And we lucked out.
Speaker 1:Man, the weather, you know, there was no ice on the road, there was no snow. It was great. But that's, you know, I get traumatized. I remember this one time when we were driving into Phoenix you know, it was one of those things where it was the same type of year, time of year, excuse me and we were driving south and I was like, as soon as we got into Texas and started, you know, turning west, I'm like we made it no problem and all of a sudden we're getting into New Mexico and I'm and it's kind of getting the nighttime I'm like, is that snow? And then I didn't know that area between, like um, some part of new Mexico, and however, my navigation was sending me through Flagstaff down into Phoenix, and it was, it was, there was a snowstorm, it was absolutely terrifying.
Speaker 2:And to be on the road and then have the pressure of trying to get to somewhere on time. You know that's not a good feeling.
Speaker 1:No, no, but we made it Every time. Now I'm always very conscious of the weather before we start heading out, like, oh, what's the weather going to be like? Especially this time, because my van that I just bought hadn't come in yet, because there was a snag in the modifying the uh, the van to put some seats in it. So they gave me a rental which was rear wheel drive right, and I was like, nope, I gotta go over the Rockies twice. But luckily, both times we had to go there was no snow. Oh, good for you, man, or else that would have been terrifying. Well, listen, larry, thanks so much for spending some time. It was an absolute pleasure.
Speaker 2:And I wish we had got a chance to do this again. You call me again sometime and we'll do this.
Speaker 1:Absolutely Well. I hope we get to play together again soon. That'd be fun. It'd be fun to do some shows. You know I had that house gig at that place down in Chicago where we were having special guests and that is not happening anymore, but maybe we'll find another excuse to get together and do it anyway.
Speaker 2:Okay, well, hey, and if nothing else, you know, maybe if next time we're doing a project, a recording project, if I can catch it right and all that stuff, if the stars line up, maybe you know we could be on a record together.
Speaker 1:So I think that would be great. I'd absolutely love it. That'd be great. For sure, my brother For sure All right. Well, listen, great to see you. Take care of yourself, travel safe, and we'll hopefully see you soon.
Speaker 2:Nothing but love my brother. You take care.
Speaker 1:Likewise. Have a good one, Larry. See you later, Folks. Thanks so much for tuning in. We certainly do appreciate you stopping by and partaking in the most savory, chewable gristle this side of Cucamonga. Gregory Cock, looking forward to seeing you again next week, even though I won't actually see you, but I'll sense your presence.
