Whispering Pines' Joe Bourdet
From our archives in 2012:
Joe Bourdet of Whispering Pines joins Country Fried Rock to discuss his musical influences, songwriting process, analog recording philosophy, California music scene, band formation, and the creation of the band's self-titled album.
Chapters
- 00:09 - Introducing Joe Bourdet and Whispering Pines
- 06:05 - The Formation of the Band
- 08:15 - Starting From Scratch: The Journey of Forming a Band
- 19:21 - The Evolution of a Song: Broken Spoke
- 23:19 - Festival Adventures and Spontaneous Shows
Mentioned in this Episode
- Amy Blaschke
- Beach Boys
- Beatles
- Black Apples
- Blues Brothers
- Capricorn Records
- Chad Brown
- Cowboy
- Dave Bain
- David Barton
- David Burdon
- Echo Park
- Elliott Smith
- Entrance Band
- Everest
- Full Tones
- Guitar Center
- Jason Soto
- Joe Zabielski
- Jonathan Wilson
- Mark Raines
- Mike Stinson
- Neil Young
- New Monkey Studio
- Nuci's Space
- Ozark Mountain Daredevils
- Pete Townshend
- Station House
- Steve Soto
- The Who
- Twisted Hearts
- Whispering Pines
- Werner Herzog
Recommended If You Like
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Don't Click Those Old Links!
These podcast episodes are from 2009-2020. Links are probably dead. Half these places do not exist any more.
Mentioned in this episode:
Don't Click Those Old Links!
These podcast episodes are from 2009-2020. Links are probably dead. Half these places do not exist any more.
Transcript
Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity.
Speaker A:Country Fried Rock music uncovered.
Speaker A:My guest today on Country Fried Rock is Jo Bourdet of the band Whispering Pines.
Speaker A:Welcome.
Speaker B:Hi, Sloan.
Speaker A:Great to have you with us.
Speaker B:Thank you very much.
Speaker B:Great to be here.
Speaker A:How did you get interested in music originally?
Speaker B:I think through family.
Speaker B:Family and maybe I had foster brothers.
Speaker B:They were interested in music.
Speaker B:My dad and my uncle were very formative, as maybe the music indicates.
Speaker A:What were they into?
Speaker B:They grew up in the 60s nom era and they were into rock mostly and still have their record collections and kind of turned me onto that.
Speaker A:What kind of thing did you find appealing that they were listening to?
Speaker B:I'm not sure what exactly appealed to me.
Speaker B:I suppose it's just maybe as simple as the guitar.
Speaker B:Somehow I was drawn to that.
Speaker A:Any particular bands?
Speaker B:So many.
Speaker B:The first one that I really loved as a kid was the Beach Boys, and that was definitely my dad's influence.
Speaker A:Well, so I hear you on the.
Speaker A:Having a rich musical sound background for growing up.
Speaker A:At what point did you then get into wanting to play some music?
Speaker B:That happened, I think, in high school or maybe before.
Speaker B:And I'm not sure.
Speaker B:I wasn't particularly social, and this was something that I could lock myself away and do.
Speaker B:And at a certain point, you know, that flipped.
Speaker B:Flipped poles and I became very social.
Speaker B:I initially picked up the guitar trying to learn Beatles and, you know, like Off Hard Day's Night.
Speaker B:But I was mostly interested in, you know, looking like the Beatles or something, which was really odd for me.
Speaker B:I was alone in that.
Speaker B:But Beatles early on, I think I gave up, came back to it and began.
Speaker B:I was interested in guitar, a lot of Pete Towns, and it was mostly classic rock.
Speaker B:I just loved the guitar tones.
Speaker B:And I started.
Speaker B:This was the era of downloading Cabs, I think was the new thing off the Internet.
Speaker B:And they were all wrong, awful.
Speaker B:The tabs are not accurate, and it's a terrible way to learn music.
Speaker B:But if you're just starting well, it works.
Speaker A:So which one did you first get that?
Speaker A:You were like, yes, I'm playing something.
Speaker B:I recognize that might have been a who, you know, maybe can't explain or something with big chords.
Speaker B:Yeah.
Speaker B:And it just starts sounding well to your ear.
Speaker B:It starts sounding good after a while.
Speaker B:It's a big breakthrough.
Speaker B:Hey, this is Joe Bourday of the Whispering Pines, and you're listening to Country Fried Rock.
Speaker A:So then how did original music come into play for you?
Speaker B:I think original music for me came into Play.
Speaker B:Once I started to get serious about music but still found myself kind of isolated in what I wanted to do specifically.
Speaker B:Although I found out now that there are many people doing what I wanted to do, I just didn't have access to them at the time.
Speaker B:I figured I'm gonna have to learn how to do everything because I'm by myself.
Speaker B:I guess that was healthy because then I found a whole community down here in Southern California that is on the same page as me to a large degree.
Speaker A:Is that where you were from or did you relocate there?
Speaker B:No, I'm from Northern California, Bay area.
Speaker B:And then I moved to Nevada City with my mother and grandmother.
Speaker B:Grew up mostly there since the mid late 80s.
Speaker A:And so once you kind of found a community of like minded musicians, how did that impact what you were doing?
Speaker B:Well, it gave me confidence to press on.
Speaker B:To not go as a pay for hire kind of route.
Speaker B:Play some music that's still rock or something or country, but wouldn't really be satisfying artistically.
Speaker B:Maybe it allowed gave me confidence to do that and certainly a lot of help in developing which was mutual and stuff.
Speaker B:We grew and also it exposed me to a very vast, vast catalog of all kinds of music that I now turned onto that I knew nothing of before and have allowed that to influence me too.
Speaker B:All of this music is all from probably 60s through 70s somehow.
Speaker B:We're endlessly mining.
Speaker B:I haven't quite tired of it yet.
Speaker B:Not run out of records to buy that era.
Speaker B:There's still thousands that I've never heard.
Speaker B:And so essentially I feel like an archaeologist.
Speaker A:What were some of the few that you discovered that really have become like prized?
Speaker B:Prized for the Pines are bands that are not very obvious because you don't hear them much on radio.
Speaker B:They really gave us a vibe that we wanted.
Speaker B:And that's bands like Cowboy, Capricorn Records band from the early 70s, late 60s.
Speaker B:Ozark Mountain, daredevil is something we got heavily into and those bands are pretty eclectic.
Speaker B:They're not playing just country music.
Speaker B:They could be country rock bands.
Speaker B:But they have all kinds of flavors and we like the atmosphere and the production.
Speaker B:The production is very special.
Speaker B:It's not overproduced, it's not under produced, it's not overly reverb y.
Speaker B:It's just.
Speaker B:I don't know, it's just an atmosphere.
Speaker B:I don't know what that is besides analog.
Speaker B:Analog equipment and nothing too fancy, kind of honest musicianship.
Speaker A:As you were delving at the same time into finding this music that had been around but was new to you.
Speaker A:How was that influencing what you were then creating?
Speaker B:Well, it was stretching our abilities as songwriters, which when the band was formed, we were green.
Speaker B:And as singers too.
Speaker B:We had always, I think everyone in the band, with the exception of David Barton, hadn't been writing or singing or essentially being the front person of any project we had done.
Speaker B:And this, although we could share the responsibility, we did have to step up to the plate and we had to learn how to do that.
Speaker B:Studying this music, the song structures, gave us some direction, what could work, and how effective simplicity was.
Speaker B:We're still learning that lesson, of course.
Speaker B:We're learning all of our lessons.
Speaker A:Several great musician friends of Country Fried Rock generously donated songs for a free music sampler.
Speaker A:Download it at noise trade.com countryfriderock 19 songs to help raise awareness and money for Nucci Space, a nonprofit serving the mental health needs of musicians in the Athens, Georgia area.
Speaker A:Find out more about Nucci's at n u c I.org well, so then how'd the band get together?
Speaker B:Well, I met two of the guys when I answered a Craigslist ad for a slide guitar player, and that was for a different band altogether that I didn't end up joining for one reason or another.
Speaker B:But when I met them, we kind of hit it off.
Speaker B:And then we were in touch a little bit later again, and we started playing with a guy who is of a record producer, a songwriter, multi instrumentalist, dude named Jonathan Wilson.
Speaker B:Yeah, so we played with him and essentially kind of his live backing band.
Speaker B:I think he had just moved back to LA, NY or something, and we had mutual friends, so he was starting to play.
Speaker B:And then we were kind of formed.
Speaker B:Three of the Pines were in that band, and we called ourselves the Whispering Pines, kind of unofficially.
Speaker B:So the band essentially existed then.
Speaker B:And we had notions then of starting a band.
Speaker B:We attempted and failed at that time.
Speaker B:But then when we found Joe Zabielski, our drummer, we knew we could have the band again started and shortly afterwards, Dave Burdon, harmonica vocalist, additional songwriter, percussionist, we added him and then that was that.
Speaker B:Then it was done and he was a friend.
Speaker B:Oh, here comes a helicopter.
Speaker A:Cool.
Speaker B:This is.
Speaker B:This is what living in LA is like.
Speaker B:You have to pause.
Speaker B:At least helicopters if you're outside like I am.
Speaker A:Once you felt like you all had gelled a good group of people to form some music.
Speaker A:Where did it go from there?
Speaker B:It went very quickly to trying to learn how to write songs, learn how to sing, which we.
Speaker B:I mean, we could all sing, but learn how to sing to a Level that we found satisfactory and also learn how to interact, which was very tough in the beginning.
Speaker B:Trying to figure out the dynamic of having what really is 5 type A personalities in one band.
Speaker B:And so, you know, it works because we all like each other quite a lot.
Speaker B:We had to really start from scratch.
Speaker B:I mean, I came in with, you know, an early song.
Speaker B:I had only written four songs in my life up to that point, so I came in with this song.
Speaker B:Everyone else was, I think, in the same boat.
Speaker B:We felt like starting from scratch and rehearsing a lot.
Speaker B:Pretty quickly decided to make an album which was bold.
Speaker A:Yes.
Speaker B:But figured it was the best way to jump start would be to throw ourselves into the fire.
Speaker B:And that was our first album which was called Family Tree.
Speaker B:And we did that within a year of forming.
Speaker B:So we were just really trying to get something to present the people that we could be proud of.
Speaker B:I think we've come a long way in that regard, especially with this new record.
Speaker A:Forming a band and putting out a record within the first year is really bold and ambitious.
Speaker A:What then changed for you all as it led up to deciding, okay, we're ready for another record?
Speaker B:Well, we were always ready for another record.
Speaker B:What happened was us being crazy dreamers, assumed that as soon as we put out a record, money would be being thrown at us and offers would come flowing in and we could easily finance and record a record and we would just wait for that benefactor.
Speaker B:So we did a little waiting and then quickly realized that it was DIY or die, which is fine because now we own it all.
Speaker B:So we realized that we would have to do virtually the same thing again.
Speaker B:We wanted another record.
Speaker B:Our business arrangement was not going to be substantially different.
Speaker B:So what we did do was we used this website called Kickstarter.
Speaker B:And it is a way to pre sell albums and it is a way to get donations from friends, fans, whoever, family.
Speaker B:It ends up being family, by the way.
Speaker A:But it's better than them giving you a loan or something because it's that whole like official level and third party ness of it.
Speaker B:Yeah, that certainly adds something to it that is more dignified.
Speaker B:And also it is an exchange.
Speaker B:It's an exchange more along the lines of PBS pledge tribe.
Speaker B:You know, at the X number level you receive this and this and this.
Speaker B:But you know what, that makes sense.
Speaker B:You know, we're making art in a terrible economy and we're making not mainstream art.
Speaker B:I think Werner Herzog says we're the secret mainstream.
Speaker B:He didn't say that about us specifically, but I'm Going to steal that.
Speaker B:We're the secret mainstream.
Speaker B:But as long as we're a secret, we need help.
Speaker B:But Kickstarter worked.
Speaker B:That gave us a little less than half of our budget for the record rest.
Speaker B:We invested happily because we like to record all analog.
Speaker B:Okay, maybe not 100% analog.
Speaker B:There are exceptions.
Speaker B:We sometimes run through a digital tuner.
Speaker B:The sound, essentially, that's what we go for.
Speaker B:And that requires.
Speaker B:And we like to take our time in the studio.
Speaker A:That's the money.
Speaker B:If you want to find out more about Whispering Pines, go to our website, inthewhisperingpines.com we have some very good friends that own fantastic analog studios.
Speaker B:By the way, Echo park is loaded with wonderful, the most greatest home recording studios, if you could even call them that.
Speaker B:They're technically in homes or rehearsals spaces or small businesses.
Speaker B:But there's fantastic vintage equipment here.
Speaker B:It's perfectly suited the sounds we want to get.
Speaker B:And we have friends.
Speaker B:And so we recorded in three different locations.
Speaker B:Elliot Smith's old studio, which is out in Van Nuys, his project studio.
Speaker B:And his project studio has some nice equipment.
Speaker B:Then a place called the Station House, which is run by a guy named Mark Raines.
Speaker B:And it's a studio that's been in Echo Park.
Speaker B:My understanding, it's been there for about 30 years.
Speaker B:A small, small but comfortable rock and roll kind of studio, but, well, not gross, but tuned for rock music.
Speaker B:And Mark Rains is an excellent engineer, wonderful to work with, totally unflappable.
Speaker B:You can't upset him.
Speaker A:That's great.
Speaker B:That works wonderfully.
Speaker B:When everybody else in the room is really upset, you know that somebody's gonna be an anchor.
Speaker B:So to anybody recording in la, Mark Raines.
Speaker B:And then the other gentleman is Jason Sota, who is the guitar player in the band Everest.
Speaker B:Everest can see them on tour with Neil Young.
Speaker B:You can see them do all the coolest stuff that you could do.
Speaker B:Jason is a fantastic engineer and co producer as well.
Speaker B:He helps us with ideas through dilemmas, tracking dilemmas, parts, all kinds of stuff.
Speaker B:He has no shortage of ideas, and they're very welcome.
Speaker A:How did you determine those places to use?
Speaker B:Jason Sota has been a friend of David Burden's for years, and they had been coworkers too.
Speaker B:So we knew of them and basically we had access and.
Speaker B:And then Mark Raines, I can't remember how we know about him.
Speaker B:Probably also through our friend Rob Douglas.
Speaker B:And Rob Douglas was also helped with the production of this record.
Speaker B:Great bass player a lot.
Speaker B:With a guy named Mike Stinson, where he Moved away and a bunch of others.
Speaker B:Must have been word of mouth.
Speaker B:But the station house in Echo park is.
Speaker B:I could probably throw a rock.
Speaker B:If I had a better arm, I could throw a rock and hit it from where I'm sitting here.
Speaker B:So location that's very convenient.
Speaker B:It's like wonderful, right?
Speaker B:That close to a studio.
Speaker A:Well, so you hinted a little bit about the benefit of having someone else in on the production and you know that rock or the be calm in the storm or whatever.
Speaker A:What else is it that you all found beneficial from working with an external producer?
Speaker A:As external as in someone not in the band?
Speaker B:Yeah.
Speaker B:Well, I should preface that by saying that we claim, and rightly so, to be at minimum co producers.
Speaker A:Sure.
Speaker B:And I think we credit ourselves as the producers of this with help.
Speaker B:That being said, I think essentially Jason Soda really does co produce us and the benefit of that is that someone can bypass the ban dynamic.
Speaker B:Somebody is above that and if they're trusted by everyone, it doesn't work if they're under suspicion.
Speaker B:You can't have somebody because it becomes territorial when you have people pushing and pulling and trying to, you know, everyone wants to hear themselves loudest and clearest and all this kind of stuff that sounds very petty but you know, when you're making a record that's that important to five people, you better believe that is going to be a factor.
Speaker B:Stupid as it sounds gets a little tense and a producer can be objective when everyone else is thinking kind of about their own part.
Speaker B:And so that the more helped the merrier because the tensions do arise with.
Speaker A:Working at the three different locations.
Speaker A:Were those spread out over time as well?
Speaker B:There were no big breaks, there were no big stop starting things.
Speaker B:You know, maybe there was a week off here and there and work wasn't every day.
Speaker B:Basically we recorded discount rates, sometimes known as bro deals.
Speaker B:And so we record when our bros when it's convenient.
Speaker B:So sometimes it's not convenient.
Speaker B:But we chose our locations based on cost efficiency.
Speaker B:We did a lot of overdubbing at a smaller studio that had Jason Sota's little studio where his vast collection of vintage amps are there, beautiful guitars and also very importantly his electric pianos and his Hammond organ.
Speaker B:And Leslie set up and ready to go there.
Speaker B:So perfect overdubbing.
Speaker B:That was our third location.
Speaker B:We used the Station House and New Monkey to get basic tracks and not only did we do basic tracks, we kind of pushed towards finishing.
Speaker B:Then inevitably, you know, we want to re record things and touch up.
Speaker B:Jason Sota is great at doing great analog punches.
Speaker B:He's doing analog acrobatics for us so we can fix notes.
Speaker B:Anybody else with Pro Tools, we're not splicing up tape or anything, but we're doing all kinds of punches.
Speaker B:And so that we did at a smaller place.
Speaker B:Bill had the same tape machine, actually, which I think was an MCI 24 track.
Speaker B:Gearheads and I might be wrong.
Speaker B:Whispering Pines new self titled album is available on itunes and through CD Baby.com.
Speaker A:What was the development of the songs as you went in to record this second time?
Speaker A:Were those already existing songs or were you coming in with fragments and making them happen in the studio?
Speaker B:Because the studio is so expensive, we do everything in our power to come in with songs completely finished and then have nothing more to do than to just knock them out.
Speaker B:That never happens.
Speaker B:That's the ideal.
Speaker B:I can't think of a song where we've played it as arranged partially to do with our friends, our co conspirators in the studio, Jason, Rob Douglas and Mark Rains.
Speaker B:They'll listen to us running down the song and then they'll have little suggestions.
Speaker B:And frequently they were fantastic ideas.
Speaker B:And then we'd have our own ideas.
Speaker B:So we'd make all kinds of adjustments.
Speaker B:And then, you know, when you're listening to the shell of a song, you know, we still record live all in the same room.
Speaker B:We don't build the tracks.
Speaker B:We record at least four pieces at a time and often five.
Speaker B:But one thing we did different on this record is we didn't take as many solos live as we did on the first album.
Speaker B:Just so we could.
Speaker B:I don't know, we wanted to do something a little different.
Speaker B:We may change that and go back to a full live jam atmosphere for our next record, but this one we wanted to see how far we could take concise arrangement.
Speaker B:But we did a lot of part writing in the studio, a lot.
Speaker B:Even though our intention was to not do stuff like that.
Speaker B:But it's just too much fun and you get excited and you hear things.
Speaker B:When you hear your music up on the monitors, you get ideas and it sounds different.
Speaker B:So you want to allow room for that.
Speaker A:In the period of time from when you finished recording to now, have you been out with the songs?
Speaker B:We have.
Speaker B:And in fact we've been playing those songs.
Speaker B:We don't keep our songs secret.
Speaker B:This album was not a big, perhaps revelation for the people who've seen us because we play those songs and that song kind of how we learn how we want them to sound, we work them live.
Speaker B:Now, I think a Lot of people don't do that because they don't want their new songs to be on YouTube, etc.
Speaker B:Etc.
Speaker B:But that's a silly concern for us.
Speaker B:Our music's already available in Russia for free, so it doesn't matter when it's out.
Speaker B:We just want it to be good.
Speaker B:So playing it live is essential for us.
Speaker B:We practice, we rehearse it live and we mess with arrangements.
Speaker B:And then you can tell.
Speaker B:Well, to a certain extent you can tell how it works.
Speaker B:But to another extent, a song that's beautiful, you could think it doesn't work because it doesn't quite translate live when you record it.
Speaker B:It's a wonderful song.
Speaker B:So it can be tricky.
Speaker A:So some songs have a different kind of life on say, a record than they do at a show.
Speaker A:Do you all have anything in particular that has changed a lot as you've continued to play them live?
Speaker B:Yeah, well, there's one song that has never stopped changing.
Speaker B:It's not a song that we play much anymore.
Speaker B:We played it at our record release show a few nights ago, but aside from that, infrequently.
Speaker B:And that's the first song I brought to the band.
Speaker B:It's called Broken Spoke.
Speaker B:That was an outtake.
Speaker B:We recorded it for the first album, rejected it because we weren't happy.
Speaker B:It was probably mostly down to me.
Speaker B:For some reason I keep drastically changing the arrangement of that song as if I'm going to hit some kind of magical formula and it's going to be a better song than it is.
Speaker B:So I think I've stopped now.
Speaker B:But that song has gone through more changes than any song I'm aware of ever.
Speaker B:Maybe they're not drastic, but it's gone from straight time to swung time to straight time and swung time.
Speaker B:And it's gone from acoustic, acoustic with mandolin, acoustic with Hammond organ, two electric guitars, electric guitar and Hammond organ.
Speaker B:The instrumentation is just run the gamut and we've done every permutation of harmony that you can apply to it.
Speaker B:Now we're back with something that it's confused.
Speaker B:It's a song that will never have an arrangement that we played live.
Speaker B:And especially with our friend Amy Blaschke singing on it, which she did at our record release show.
Speaker B:She's a fantastic singer and songwriter and guitar player, finger picked guitar.
Speaker B:I think she's very exceptional.
Speaker B:I'm hoping that she can release some recorded work soon.
Speaker B:She's had a few, a few disappointments and hold ups, but I would really love it if she got some recognition.
Speaker B:If you Facebook you can look us up and follow our ramblings on facebook.com whisperingpinesmusic are there bands that you all.
Speaker A:Purposely try to set up live shows with?
Speaker B:There are.
Speaker B:We have some friends here and we have some friends that we've been trying to set up live shows with and can't quite coordinate.
Speaker B:But our local buds that we work a lot with, well, there's many got our buddy Chad Brown, we play with him.
Speaker B:Dave Bain plays with him, bass player.
Speaker B:We also play in other friends bands.
Speaker B:This is la.
Speaker B:There's everything here and any kind of weird sub genre that you're into.
Speaker B:If you look, you know where to look.
Speaker B:You will find them here.
Speaker B:And that is a really beautiful thing.
Speaker B:Everybody is interested in a multitude of things.
Speaker B:We don't consider ourselves an Americana band purely we like all kinds of stuff and we like our friends that play so called psych music and that.
Speaker B:Oh, that's obviously 60s music too.
Speaker B:In fact, a lot of our friends are in those bands.
Speaker B:Fuzzy guitars, heavy drums and stuff.
Speaker B:We don't quite fit in with that scene.
Speaker B:Seems like we should, but we don't that we love bands.
Speaker B:Like there's a band called the Black Apples that's kind of cool.
Speaker B:I think those guys left town though.
Speaker B:We might be in Portland now.
Speaker B:The entrance band.
Speaker B:We've known Guy and Derek for a long time, friends.
Speaker B:Very happy to see them cutting records too.
Speaker B:And our buddies, the Ala Laws, who are doing great right now.
Speaker B:They released an album the same day as ours.
Speaker B:They're cool guys, they're surfers.
Speaker B:That's the other thing down here is surf culture.
Speaker B:Although I can't surf and I can only relate to it kind of vicariously.
Speaker A:It's been an exciting short run so far for y', all, which is great.
Speaker A:So what do you have on tap coming up?
Speaker B:Well, we've just finished our record release show and that was a big milestone that we were working towards.
Speaker B:The album's out, done our show.
Speaker B:The show was a big success.
Speaker B:The album seems to be moving.
Speaker B:So now we have yet to decide.
Speaker B:We will be doing our best to organize some traveling, some out of town dates.
Speaker B:It's difficult with this band, but not impossible.
Speaker B:All we need is the right incentive and that's not necessarily even a financial incentive.
Speaker B:The guys kind of have an adventurous spirit.
Speaker B:They can be enticed by beautiful scenery, hiking, camping.
Speaker B:If any of that kind of stuff is involved.
Speaker B:Because winter's coming up, I'll add skiing too.
Speaker B:So we will go where the fun is.
Speaker A:It sounds like y' all need Some really good festivals.
Speaker B:Yes, good point.
Speaker B:We're headed in that direction.
Speaker B:We hadn't done festivals until this summer, and the offers have begun trickling in.
Speaker B:We don't use an agent.
Speaker B:And so for people without an agent, of which there are many, festivals are a little bit harder to book, to say the least.
Speaker B:But we are doing it.
Speaker B:And so far, so good.
Speaker B:We love it.
Speaker B:We camp, barbecue, all kinds of stuff.
Speaker B:It's kind of like being on vacation.
Speaker B:It could be more like being on vacation, but that's how we picture it in our mind.
Speaker B:We have to motivate ourselves.
Speaker B:So everything needs to be an adventure.
Speaker B:And frequently it becomes an adventure.
Speaker B:Our last festival, some strange events happened and we left.
Speaker A:Wow.
Speaker B:And we decided we were cruising through some beautiful country and we stopped at a roadhouse that our bass player knew about and cruised up thinking we were going to have a beer on our way back to la.
Speaker B:And we walk in and it's a little family business and it's like blues afternoon or something.
Speaker B:And there's a band set up and it's.
Speaker B:Oh, it's a jam session.
Speaker B:Within about 20 minutes, we were playing another show on Guitar Center.
Speaker B:Kind of Marshall stacks and drumsticks with no heads on them.
Speaker A:Right.
Speaker B:Strange, strange equipment.
Speaker B:But basically that's what we're looking for.
Speaker B:We'll show up like the Blues Brothers, play a spontaneous show without having to trouble ourselves with promoting or even loading in a single piece of gear.
Speaker B:We walk up, we play, we make a bunch of new friends.
Speaker B:And so when that happens, then we're doing good, we think.
Speaker A:I really appreciate your time, Jo.
Speaker A:This is great.
Speaker A:Take it easy.
Speaker A:Looking forward to seeing where these festivals lead for y'.
Speaker B:All.
Speaker B:Thanks.
Speaker B:Yeah.
Speaker B:I hope to see you soon.
Speaker A:Absolutely.
Speaker A:Take it easy.
Speaker B:Okay, Bye.
Speaker B:Bye.
Speaker A:Bye.
Speaker A:Country Fried Rock.
Speaker A:Find the full playlist from this episode on countryfridrock.org check us out on itunes.
Speaker A:No music, just talk.
Speaker A:Our theme music is from the Full Tones.
Speaker A:Our Country Fried Rock stinger is from Steve Soto in the Twisted Hearts.
Speaker A:Country fried rock.
Speaker A: Copyright: Speaker A:All rights reserved.
Speaker B:Ever he been helping us from Country Fragment.
