Speaker 1:0:05Hi there and welcome to a special bonus episode of self inflicted or on the stone that guided by voices podcast. My name is Jeff Gomez and I recently talked with Scott Records', founder Robert Griffin. We discussed Gbv scat and the role he played in the making of an indie rock masterpiece. I am of course talking about 1990 4,000. It was a wide ranging and informative discussion and I think in profusely for his time visit Scott records.com to order some amazing Gbv releases on vinyl and CD. And now here's our conversation. Cool. Okay, so I am talking with scat records label founder Robert Griffin. How are you doing today? Very well, thank you. So I want to go back to 1992 for a second and talk about your introduction to the band. What did you think when you first heard Gbv? What were your impressions? I couldn't believe it.
Speaker 2:1:02From note one of propeller, which was the first thing I heard is like, oh my God, this is the shit I played that record so many times. And the first three days it had been years since I've listened to a record like that. So. And when he instantly converted.
Speaker 1:1:18And what do you think drew you in? What about that record? What about their sound?
Speaker 2:1:23Uh, it was, I think the, that they were pulling from so many different directions but also production wise, just that record just really, it sounded great. Loud. Yeah. And um, it's so emphysemic and well sequenced but varied and in spots even totally strange and you know, there was just, there wasn't one part of it and I did love.
Speaker 1:1:49Sure. And then how did you go from being a fan to wanting to get involved with them? Like did you just know, well I've got to sign these guys or was it more of like a hey, let's put out an app and just kinda see what happens?
Speaker 2:2:01It was the latter to be honest, because I had already put out a decent number of records and had learned to not get too gung Ho to fast, but I was really excited about the band so I got in touch immediately, although I had the record in fairness, been sitting around for three weeks because they lose with promos between a doing a fanzine and running a distributor ship as well as the label. Sure. So I mean 30, 40 records a week was typical. Wow. I wrote to Bob and he was psyched and I think within one week he delivered the master cassette for the grand tower.
Speaker 1:2:49So when you cite them, when you signed to them, did you have any sort of contract? Was it a handshake deal? Was it just kind of like a, hey, let's put it out kind of thing? Or was it more formal than that?
Speaker 2:2:58It was initially sort of at
Speaker 1:3:01a handshake deal, but I believe either shortly before or after the release of empire and titus, we got it all done in writing just so everything would be cool. Okay. Um, so that, I know when you received that a cassette, a vampire and titus, you're sort of taken aback. It was the band's most low fire record and though it, even though finally it clicked for you, did you ever consider saying to Bob, I think you should redo these songs? Is this really the way that that's supposed to sound?
Speaker 2:3:29Actually, no, and I'm not shy about that kind of, um, it was a surprise at first, but I wouldn't say I disliked it. I was, I was definitely taken aback by it. Not just the low fineness but with Bob playing the drums, you know, there wasn't the same sort of arena rock vibe as propeller, so it was quite a departure. But I think the moment for that record with me, like really getting it was probably the third or fourth listen in a, it was staying with my girlfriend for a couple months and she only had a tub and I would take the boombox in there and played the vampire and titus tape and uh, something about the acoustics in that room in association with recording techniques at like, okay, this is really weird. But there are songs here and I can't think of anything else that sounds like this. Like, yeah, you know, let's do it. Let's out.
Speaker 1:4:32Um, so that's a good way that people should probably listened to that record is in the tub on a boombox.
Speaker 1:4:39Um, and that records now considered a classic. Do you feel vindicated that you kept it the way it was where you were even though you'd got it, were you nervous about sending it out in the world? Like maybe other people wouldn't get it the way that you did?
Speaker 2:4:52I wasn't because there was really, you know, almost immediately with the release of the grand tower, there was a whole lot of support, especially from, you know, God, I, I don't know what awful term I can use for movers and shakers, hipsters or whatever, but people from the beastie boys and sonic youth getting behind a seven inch, you know, people are gonna notice. So immediately in New York City there was an acceptance of the band and a lot of enthusiasm when it. And then what do you think? So I knew we were going to sell some but funny thing about them titus is that was a point where my label was starting to do well and I really didn't have the funds to do these several albums that I promised to do. So I entered into a pretty short term agreement with caroline records to release a. my van prison shakes the roaring third and my dad has dense, uh, out sight, out of mind. And I also approached them with vampire and titus, which I thought was like, okay, if these three records, this is the one that's probably going to sell the most. And they pass it on band parent titus took the other two. It's like, oh, okay, you know, but I got to find a way to get this record out. So fortunately the singer in my band worked for a friend of his, this couple that had some money and we're a few years older and I basically jives them into investing $8,000 into the label. And I got a vampire and titus out.
Speaker 1:6:35Oh Wow. That's amazing. Because you were still kind of a young guy, right? I mean Pollard was I think 36 and you were 27, you were still kinda late twenties at the time, weren't you?
Speaker 2:6:45We're talking [inaudible] 93. Twenty seven. Okay. Twenty six during half of the year. Twenty seven during the other hand.
Speaker 1:6:53Sure. And so, you know, I know that the response among, as you said, sort of the hipsters was pretty immediate and you had um, you know, Thurston Moore and Matt Sweeney and stuff. But how about like mainstream publications like entertainment weekly magazine gave vampire and titus and a plus like that's Kinda of,
Speaker 2:7:10well, you know, part of the reason I needed $8,000 was I wanted to hire a good publicity crew because being a touring musician myself, I couldn't be there 24 slash seven to, you know, get people to pay attention or follow up on things. So, uh, we hired this really cool, uh, indie publicity company. Um, God, what were they call it, but it, it's a vicky and Dan Macta, um, 2:30 publicity was the name, but anyway, uh, they were very connected, had worked in various aspects of the independent music industry for a few years and we're very cool people and only represented shit that was cool, you know. So there were a believable publicity agency which was part of their success anyway, I hired them. So that's how shit like reviews and entertainment weekly haven't.
Speaker 1:8:08Oh, they did a great job too because that's, I think, you know, just getting the record out. And again, it's not necessarily an easy sell. So going into a thousand, I know you worked with the band a bit on the
Speaker 2:8:21one other point to that. Yeah. So say that, you know. Yeah, there was the whole hipster thing, but like I said, I was also doing distribution at the time and we were selling to maybe 50 or 60 record stores around the country, but I would say at least half of those were like the record store in that town. There was also total groundswell support from people on that front and them turning people walked in to the store or onto this crazy new bin guided by voices and it was a really, you know, organic kind of thing. Like just about anybody with taste who heard the shit knew it was brilliant. Sure.
Speaker 1:9:03So yeah. So then going into a thousand, you started to work a little bit more with the band where I kind of like on selecting the songs. Um, did.
Speaker 2:9:11Yeah, it wasn't on purpose. That just happened. I'm, Bob had gone through six versions of the album, all of which I would have released as is. But then he sent a seventh one and I couldn't tell you offhand which songs were left off, but it was very much focused on shambling first take, make it up as we go along. Versions of the songs are like, it could totally pass for a night walker album. Sure. Uh, and um, and I was just a gasp. Like, okay. Then this album has gone through all these different versions and they're all really cool in their own way and along the wall along the way, there are at least 12, 13 completely insanely brilliant songs and hardly any of them are on here. So that was the point where I just said it to myself to just try to make up some kind of sequence out of the 60 odd songs that Bob had considered at one point or another. And I was pretty much terrified to bring it up with him because I had been around them just enough and listen to his music enough. It was like, this is somebody that genuinely want to just let do their thing. Sure. But you know, when all the songs that people sing along to it guided by voices shows these days, we're not on the album or you know, 80 percent of them were not. So I worked out a sequence and a, like I said in those directors cut of liner notes.
Speaker 2:10:52I was trying to think of Abbey road of the first side being fleshed out songs for second being vignettes.
Speaker 1:11:00And how did you deliver that to Bob? So you sort of put together your own version. Did you send it in the mail? Did you have
Speaker 2:11:05phone conversation? I made a cassette mix with that sequence and um, and some of it just had to be sketched out because to really do these sort of cross fades, but snippets of other songs that aren't really even credited on the record. Um, you needed protools. And this was a really new and expensive technology at that time. So he had to sort of use his imagination because there'd be blank spots in our sniff something. And then. And I had to explain to them. So I wrote a letter with it and told them how I felt about it and you know, would you please consider this just as an option and was he not let, let's think of another sequence that maybe includes more of the songs
Speaker 1:11:52and did he, uh, he obviously was open to that because it seemed to take some of those suggestions. Did you guys have any major or minor battles over things that he wanted in and you rent it out or.
Speaker 2:12:02No, there weren't any battles because he just was like, wow, you know, I wasn't sure about this but I listened to it and this is cool, this is better, but I want to do this thing and that thing. Sure. So he added in a yours to keep, which I feel is out of place on that side still, you know, whatever. And then I don't know if it was his idea or toby's, but they wanted to substitute Mansaray for scissors.
Speaker 2:12:33Um, so it's like, okay, wow, you, you mind for my idea and you want to futz around with these two things, whatever. Okay.
Speaker 1:12:40And your influence also extended to the cover, I think you tone down Bob's original design for the sleep. What was your thought about that? And again, had at Bob React,
Speaker 2:12:49I don't know if it was toned down, it's just that he had this spinner thing that he really liked and he also sent me a package of, you know, 30 or 40 different images and I saw that wizard thing and it's like, oh, this is, it just this describes everything that's on the album and um, but also put it in this sort of out of context, graphic design thing and fuck with the type. And, and just, I was just trying to communicate visually what I thought was in the album. So since graphic design had always been really a central thing with the label and arguably in the first year, my releases wouldn't have been noticed if it hadn't been for some of the crazy shit I did. Um, and that's a place where I never felt shy with artists. Like, wait, no, that, that's cool. But this other thing you gave me, this is better.
Speaker 1:13:48Do you have a, do you have a background in that at all or is that just instinctual or how did you learn or know how to do that kind of thing?
Speaker 2:13:55Um, actually I, in college I was for a time a double major in one of them was art, but uh, I kind of drops out but also the label was taking off at the time and, but as a result of just being a music fan and as a little kid just studying the album cover, so it was always just fascinated by that and that later translated into poster art and Wow, the WPA did all this great shit and you know, being part of coming up in a more hardcore punk rock sort of thing of like, Oh, you can do this, don't assume you can't just do it. And experimented with copying machines and lecturer said and making flyers and fanzines and just sort of organically came to it that way.
Speaker 1:14:48So you get the track list in order for a, you start working on the cover. When did you get an inkling that this was going to be like a special record?
Speaker 2:14:58As soon as I put that compilation, sat together to Bob and I listened through it one time before sending it off to make sure I didn't fuck any of it up and say, no, this is, this is the shit. This is not just a really good album, this album for ages. Sure.
Speaker 1:15:17So you felt that, did, did bob fill that too? Or was he just sort of like, hey, this is just, you know, this is just like the other records. Did he have an inkling he was going to be that big too?
Speaker 2:15:30I, I don't initially. I don't think so, but shit started to happen really, really fast before the record even came out. So I would say, you know, during the time the record was in production between March and May of [inaudible] 94. Yeah. Um, there was definitely a sense of this record is gonna do really well and this band is going to do really well.
Speaker 1:15:59And what were the signs that you were getting? Was that just some of the early
Speaker 2:16:04psychic thing? Just being around people and feeling their excitement and seeing reactions to the band once they started playing live again.
Speaker 2:16:15I mean probably that would be the moment. The first time I saw him play live, which was also the first time they'd played in five or six years I think. And they were, you know, very ramones like one, two, three, four, no banner, boom, boom, boom, head after head. And the electricity in that room was insane. There were only maybe two or three other times in my life I felt something like that. Or rocks. Yeah. So let's talk about that. From that point on, it's like, yeah, people thought vampire and titus was cool or the grand our was awesome, but when they played that show at CBGBS, it was like, oh, they're a rock band. Yeah.
Speaker 1:16:55And then you encourage them to do that. Right. So Bob wasn't too into that. I understand that that was a Cmj, a music showcase thing and that. And you said con cajoled him into that.
Speaker 2:17:06Well, he, yeah, he was, I think feeling shy and probably intimidated by playing in front of, you know, a New York audience to our firm from dig since, I don't know, it's not exactly a metropolis.
Speaker 1:17:21Sure. And they hadn't liked him much in Dayton, so why would they like them in New York?
Speaker 2:17:25Right, right, right. I think it became clear to me pretty quick that they liked.
Speaker 1:17:31And then once you got on the road with them, how were they, once they sort of got their chops or had a couple of, you know, shows underneath their belts, did that, this something that you could see that they enjoyed to do?
Speaker 2:17:42Oh, for sure. They immediately enjoy that because they're playing the, you know, good crowds and, and loving ones at that and yeah, there were no bad shows and they played great night after night after night.
Speaker 1:17:56Awesome. Um, so, so be thousand comes out, it's. When did you start to see the response in terms of like sales and things like that? Was it pretty, pretty fast? Was it a kind of a slow build?
Speaker 2:18:08No, it was, it did really well out of the gate and then just kept selling.
Speaker 1:18:12Okay. And then at the time, what did that do for scat the label? What did that do for you personally?
Speaker 2:18:19Oh Wow. That took a really long time because it was done through matador and they had also just, I'm telling you to up with Leah. So a lot of our. So any accounting for my label, the first had to go through the overworked undermanned staff at matador doesn't get translated by somebody at Warner's and then maybe a couple months after that I would get a statement and it's a really difficult thing with the band there because they know they're selling thousands and thousands of records. They're like, where's, where's the money? Sure. I haven't gotten paid yet either. I eventually had to go audit them and uh, and I got paid and, and to be fair, you know, this is no knock on Matador, I'm not saying they fucked me because they totally made good, but they just, you know, shit was taking off for them too. And then they took on my label as well and it's just too much.
Speaker 1:19:25Sure. So, uh, after the record came out, they had the ISS
Speaker 2:19:29scientist, but I didn't really answer your question. Point is I did eventually changed my life, but uh, it took awhile and just finding out basic information, like how many we sold so far. How many of you pressed. I couldn't get answers to those questions. Nobody could answer those questions. Literally endless phone calls and letters. So I had to get an attorney.
Speaker 2:19:55But Anyway, um, for me, I left Cleveland, uh, I had been wanting to for a while. Um, I had accumulated some debts from a distribution business almost $20,000 worth and um, I was able to pay all those off and I still had a couple grand leftover and I was like, okay, that's enough for security deposit. First month's rent, moving van, where am I going to go?
Speaker 1:20:28So I left. And how did you decide? I think you ended up in St Louis, right? That's right. How did you determine that that's where you wanted to be?
Speaker 2:20:36Well, I met a girl here and I'm still married to her. There you go. That's a success wasn't a bad man. Um,
Speaker 1:20:46so then, uh, the, I a scientist, uh, the title song was rerecorded. What was sort of the reason or the story behind that?
Speaker 2:20:54Oh, okay. That's um, well Andy Shernoff, a principal songwriter, bass player and the dictators. He produced my band's album, the roaring third and he was really hot to record, guided by voices. He, he was digging, you know, I gave him tips and stuff and, and he was totally into it and meanwhile, you know, Bob's a lover of all sorts of rock and you name it and you know, hey, you want to go record with this fucking rock and roll icon? Yeah, they're up for it. So they, uh, recorded that and a few takes of it. I think there are three takes of then a scientist and I'm a couple of versions of my valuable hunting knife, which I definitely prefer that version to the alien lanes one myself. And that's the way they were playing. But I was used to it from, that's how they were playing out on tour, you know? Sure. But I guess Bob would always envisioned it as more of a divo sort of inspired thing.
Speaker 1:22:04Um, was there any to have like a producer like that add more of a punk rock background? They didn't want to do something a little, a little rockier and little little faster, like, you know, a shocker and gloom town Kinda fast thing,
Speaker 2:22:17Huh? No, I never thought about it that way so much as you know, I'm a scientist was a standout track. I think Andy expressed interest in recording it and um, I was also into the idea of it just being a two song single with those two tracks. Like I thought that would be a departure and interesting thing. But um, no, he, those are all pretty much live recordings. I don't think there was really no, there were, there were no overdubs so it was mixed separately. Not live, but everything was recorded live and I think he was just trying to capture the band, how they sounded and performance.
Speaker 1:22:58Sure. And then tell me about the making of the video. What, what did you, uh, what sort of prompted you saying I want to get a video for you guys and then the making.
Speaker 2:23:06Oh, I didn't, I had nothing at all to do with that banks. Tarver was a fan of the band and a film maker and he just, you know, the cylinder who's to made a video and it says, okay, sure. And I think somehow he wound up, I did agree to pay him some money. I think matador may have kicked in some money for that too. I don't recall specifically, but it, it just happened.
Speaker 1:23:35And could you believe that then that video actually got played on MTV was on hundred 20 minutes and made the rounds. It was a, must have been big exposure for the band at the time.
Speaker 1:23:46Definitely. Um, it was, uh, it was, I wouldn't say it was a shocker though because there was just already so much momentum and there were just a man that the people we're talking about. Sure. Uh, and then what your thoughts on the breeders becoming such fans, their cover of shocker and balloon gloom town must have been a big help in raising the band's profile, especially when they made a video of that as well.
Speaker 2:24:08I don't know, honestly, I kind of see that more the other way around, but I see that more as the breeder, like glomming onto guided by voices. I think. Well, it's been said that it helped the band no doubt, but I also think, you know, I think there was some ass kissing going on there.
Speaker 1:24:29Okay. Um, so like to my mind, the year thousand came out in 1994 was the band's like biggest year. They released a ton of material on a bunch of different labels and got a ton of press. Uh, did any of that rub you the wrong way? Like, hey, you're my band, why are you releasing all these eps and split singles and all these other labels?
Speaker 2:24:48It was a point of contention somewhat, but basically that was the compromise because at first there was the possibility of other lps and that I was adamantly against. But you know, hey, you want to do with the seven inch with this guy, that guy, the other guy shared. Go ahead. You know, you've got the songs, they just come out of use of one out. Would he even check with you first or would you like to always. He was very cool.
Speaker 1:25:14Okay. And then how, like what was your relationship with him like at the time? Was this at these phone calls and these letters because you
Speaker 2:25:23at this point we are talking to a couple times a week.
Speaker 1:25:28Um, and were all your relations with the rest of the band through Bob or did they have a manager? Did you know? You know, toby well or Mitch or any of these guys?
Speaker 2:25:37Uh, I got to know him somewhat when we traveled together on the insects of rock tour and uh, yeah, there, there are definitely interesting and fun guys. No, no doubt about it. A lot of very different personalities there. Uh, I'll entertaining or cool in their own way.
Speaker 1:25:54Sure. Um, and even though Bob and the band's story was pretty irresistible, you got this fourth grade teacher, he's married with kids. It's got a suit face full of some suitcase full of songs. Were you surprised by all the press they eventually received? Did they were on MTV news? There were countless news articles about them.
Speaker 2:26:13If you had asked me a year before it happened, I would have said yes. Oh my God, I can't believe that that's never going to happen. But in the moment of it happening, it seemed very natural. Yeah. This is the band. Of course this is happening.
Speaker 1:26:29I'm so beat thousand comes out and it's getting great reviews. Were you thinking about a followup? Were you making more plans with the band? What happened in terms of maybe putting out their next record?
Speaker 2:26:39Well, you know, because of, of this huge groundswell, everyone was interested in guided by voices, including lots of majors and I think Bob was really tempted by a deal with mourners because they had a, uh, a good a and r guy who was as much of a record free kits. Bob was so carefree way. Exactly. So that was really tempting for him, but you know, it, his entire life changed. I mean, that was, that's a complete upheaval. He went from the doing the three week insects of rock tour with us to being on Lollapalooza for unknown 10 days, 20 days, and then go home and, and Oh yeah, do, am I going to be teaching school next year or not? And we know what the answer was at the time. I wasn't sure if it was the best thing for him personally, not that I knew him well enough to make such a judgment, but, you know, it was an older guy with kids and a wife and all that.
Speaker 2:27:43And like, man, what if, what if this all falls apart in a year and you don't have anything to fall back on. But at the same time, um, you know, especially after spending some time with them on the insects have brock tourists, like, oh, this guys, he didn't just accidentally make a couple of great records and music comes out of them and this is what he's got to do. Sure. If he's serious about it. So no regrets today. I mean he's, he's living the dream when you have a 17 year old practicing in your room writing songs or whatever. The fantasy is all wake up every day and I'll write some songs and maybe make some clauses and you know, sometimes I go on tour and make lots of money and everybody sings my songs and it's the fantasy. It's the living it. So yeah. No regrets.
Speaker 1:28:32Real. So you are connected to matador at the time through a p and d deal. So was it awkward when Gbv signed to them? Was that sort of like, you know, your girlfriend breaks up with you and dates your best friend?
Speaker 2:28:43A little bit, a little bit. Alien landscape might have been a slightly different record if it had been released on scap. Um, but at the same time I also felt that even though I was enjoying a lot of success through them and even through some of the other bands on the label, that how big they were getting was really beyond me. And you know, if that's what Bob wanted to do, I wasn't going to say no, I wasn't. Think about it. Sure. And the band was very cool about it, matador was very cool about it, you know, I, you know how to deal with them as well, but they had more staff and they were a great label and that's what Bob had decided on after God knows a plethora of options. So you know, I'm not going to stand in the way.
Speaker 1:29:36So they signed to matador. What are your thoughts about what matador did with the band?
Speaker 1:29:42know the matador did anything with the band. I think Bob made lots of decisions and maybe there was some pressure towards certain things. I mean properly with under the bushes a lot. I wish they had done the power, the power of suck instead. I think I've been fucking epic with the perfect album for them to make at that point in their career. If they had stayed on my label long term and my choice had been okay, they want to go to a bigger label, I need to hire five guys to take care of guided by voices and keeps them sure. Like that was an option. But also I think Bob was enjoying his success. And, and would enjoy the, the company, have a lot of the artists on matador. Such a big staple in a lot of really great shit. Uh, after that. Did you ever try to release anything else new from Bob or the band and if not, why did you sort of never pursued doing something else with them?
Speaker 2:30:47I definitely left the door open, but you know, once Bob was able to start doing the fit and captain the series here that not let of his own. He didn't really have a reason to approach me. It's he didn't need any help putting out records. Sure.
Speaker 1:31:02Um, and how has the relationship today with Bob? You guys ever talk?
Speaker 2:31:07No, no we don't on the phone or anything when they play A. I always visited for awhile and it's always great to see him and we have some laughs and a few beers. But um, I think bots are pretty private kinda guy. So I'm just sort of respect that. I mean I'm here, welcome at my house. Anytime I'm happy I think. I think bob enjoys having managers and people who can say no for him because he personally cannot cause he's a gregarious loving kind of good, so he can't say no to pay somebody to do that for him.
Speaker 1:31:48Have you followed the career of the band at all or kept up with his releases or other band? Since the nineties
Speaker 2:31:54I have off and on. I go through because he is so prolific. I'll have a couple of years where I don't pay attention and then I paid very close attention for another three or four years and catch up on what I missed. Sure. And I've vacillated through those cycles. It's Times over the last 20 odd years. Sure. But there's a whole lots of love. Yeah, it'll be really. I hope I live long enough to see what people make of, of his work 20 or 30 years from now.
Speaker 1:32:26And so what do you think of that prolific nature? I mean, you got it from the point of view of a fellow musician and creative person, but then as the guy at the label trying to release these records and get press, like what's your view of what he does and at the rate frequency that he does it?
Speaker 2:32:42Well, there are definitely a lot of different ways to look at that. Um, one overriding observation I've had about musicians in their careers in general is it's the guys who keeps showing up to make a living at it. You can't take years off between records. You can't stop touring. This is your job. You go out and play, you make a record every year. But having been around Bob, I can say there is no more spontaneously musical person we've ever been around. Wow. Guide songs literally pour out of him. He hears some nutty phrase that somebody says or mishear something and he just starts singing. It's a song. So you know, and coupled with his, you know, totally working class work ethic of like, I wake up, I write songs, I had my collages, whatever the fuck he does those two things together. That's a powerful combination and that's why I stopped hundreds of records, don't just take a while for, you know, people who aren't members of the cult to figure out like, wow, there's a lot of genius here, but, but here are the particular biggest diamonds. And I think reassembling all of it into different combinations is a possibility too. I think it would be really interesting to have a sort of a, you know, not so much best of, but a collection of Robert Pollard songs that really spend his career and avoided the obvious tracks. Yeah.
Speaker 1:34:30Um, and then what did you think back in 2003 when the band, when guided by voices first broke up or when laid later sort of got back together, did you think that was sort of overdue? Did you ever. Everything they'd come back once they did a breakup after that electrifying conclusion, Farewell Tour?
Speaker 2:34:47I didn't speculate at the time. Um, I totally understood Bob's point of view. I mean, I think he'd been in the grind for just too long. Um, and I really enjoyed the reunion show and I've really enjoyed some of the reformed material has been great too. So he says it's at least the last time I saw him play, like, you know, I figured out, you know, if I put guided by voices on it, it'll sell more con Robert Paul and you know, calling a spade a spade and it's all guided by voices. It's all Robert Pollard. I mean different people are involved to different extents and some people have some pretty amazing contributions, but uh, it's all, it's all powered.
Speaker 1:35:41And so now that more than 20 years have passed since the release of [inaudible], what are your thoughts looking back on that record?
Speaker 2:35:49I can't believe if you know, almost fell into my lap. I'm just very grateful that it's been great for me, obviously in great band and great for music fans and I'm just honored to have some little piece in it.
Speaker 1:36:17That's it. Thanks for listening. Visit every GBV LP.com for past episodes or to subscribe to future episodes and be sure to check out [inaudible] dot com. Thanks a lot.