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My name is Nori Guthrie from the Woodson Research Center at Fond Library and Rice University. I am reviewing Lou Andre Matthews. Today is June 28 2018. This is part of the Houston Folk Music Archive, oral History project. Can you tell me about your early life, early

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life? Well, I grew up, um, my father was in the Air Force, so I grew up traveling the world every year or two. We moved between France, Okinawa, different parts of the US, Kansas, Texas quite a bit, you know, a couple of times in Texas. Um

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South Dakota. Gosh. Anyway. Um, and when we were in France, it was Christmas and my parents gave me, I was probably nine, gave me this toy Roy Rogers guitar which really had nylon strings on it and plastic frets. And I started playing that and singing the

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little song book that came along with home on the range and wore that guitar out in three weeks. So my dad, uh, broke down and bought me a, a, a real classic guitar, a classic style acoustic guitar and, and that was a little bit large for

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me at the time. So, but I, I kept that up until I was probably 16 when I bought my first electric guitar. We were stationed in Kansas at that time around Selina. And, uh, a high school friend of mine, we started a little, uh, surf music

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band because that was popular in the early sixties. So we did pipeline and wipe out all that kind of stuff. And, uh, and that was neat. And then, uh, we went our separate way, separate ways. I moved to California and my senior year in high school

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in, and, uh, which is next to Travis Air Force Base in Northern California. And I got in a band there and I can't remember the name of it. I think it was called These Times or something like that. Um, and, uh, we played high school dances

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and stuff so it was a lot of fun. No, I worked, uh, after school at a grocery store, saved up money and bought a real guitar and a real AMP and a then went to, uh, college in Alabama. So I moved to Alabama and got in

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a band there and then, uh, decided to drop out of college after about a year. Me and the drummer headed back to California, putting together another band with some people we knew out there. So, and that goes on and on, you know, as you travel and,

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and grow and, and, uh, I was living in Phoenix, um, and, uh, got offered a job because I couldn't support myself playing music. Back in those days, I was offered a job in Houston. So in 72 I moved to Houston with my, the girlfriend who became

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my wife, Nancy. Um, and, uh, within, uh, a few months I had met some people. Actually, my next door neighbor, we rented a home in northern Houston, north side of Houston just outside the loop and I, my neighbor, Jim was selling a Jeep and the guy

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that bought it was turned out to be Vince Bell. So I got to, I met Vince and they told me about Anderson Fair and, uh, and, uh, told me to check out the Old Market Square. And so I did and I found, ran into some people

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there and I got a gig with the band at Square and we played, uh, down at Willis Pub, which was kind of subterranean right on the bayou. And, um, did that for gosh, a year or two before they closed all the head shops and whatever was

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down and it was kind of like a crazy mall underneath. It was painted weird and the hallway wasn't straight and it was kind of cool, but Willie's Pub was at the end of it and there were other little head shop type places down there, but that

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was sort of the end of the old Market Square scene. It was dying out about that time. Uh, what was that band? Um, what kind of music. Did you guys? The band? We did cover music and some original music, the band was called Sweet Peter. Uh,

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Larry Glass was the band leader and I think Lynn Delgado was a lead singer. Um, Don Becker was the bass player. And, um, and I actually worked with Don quite a bit over for a few years with other bands and groups and different things and, and

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Don became a bass player for Vince Bell uh for a while. Yeah, I remember my first time going down to Anderson Fair. I took an old guitar that my uncle had. My grandmother gave it to me. It was my uncle's guitar. He had brought back from

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Hawaii. He was in the navy during World War two, went down with a submarine attack on his, his shit. But um she gave me that guitar and I, I used it to learn slide because it had a resonator on it like a little Hawaiian slide. So

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I learned how to play slide on that thing. I remember taking that down there one night and, you know, I can, I play a couple of songs. Yeah. After Don Sanders takes a break, you know, he was uh in the main room. So I played a

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few songs and, and uh that sort of introduced me to the folk scene in, in Houston. And what was, um, and so this was 1972 72 73. Um What did Anderson Fair look like at that time, pretty much the same as it looks now, except I

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think some of the doorways have moved and the expansion of the studio was added in later. Um, but, uh, it was beginning, it was, they had the room, the big room where you listen now and they were still working on modifying that. Uh, but, um, there

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was the spaghetti lunches and, and I actually played the first time you played in lunch time, you didn't play in the big room because they're doing construction or whatever and there to make it a listening room and you played right there by the front door. So

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that was, that was, that was interesting. And, uh, get to meet some of the folks. Walter Spas and fancy files who were working there running in the club. Tim Leatherwood came a little bit later with Roger Ruffcorn. Got to know, got to know the folks and,

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you know, it was fun because I was actually working a straight job too. So, uh, if I could, I would come down for a Spaghetti lounge once a week if I, if, if I could find time zone leave North Houston to get a swing by there

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for lunch and it would work out great. What was it like, kind of being in both worlds during that time? Well, it was tough in, in, uh the artistic way because you have to kind of stop with, you get in artistic mood and you have to

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stop and go to work. I mean, you got to get up and go to work every day. So that's kind of difficult but it's doable. Um, if you have steady gigs or stuff like that, it's doable. I liked the money was great because I was making

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really good money. And, uh, most of the folks around the fair didn't have jobs or had other jobs. But, uh I was doing engineering work and drafting the and design work for the bell companies, the phone phone systems. And, uh, so I was making good money.

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And then after a few years of that, I started taking six months off because there was so much work in Houston, I could take six months off and play music and then go back to work for six months, take six months off, go back to work

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for six months. Um But after a while the, the, the, the free range jobs started drying up and I started, uh going out of town, uh, we moved to California and I ran uh an office there for a company and, um, and got in a little

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band there. Everywhere I went, I would join a band because I was primarily an electric guitar player. But the thing about the fair through like the early seventies is I, it, it was my first experience of just people with acoustic guitars doing their music and it

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really, really pulled me in to the songwriter aspect of it. And, uh, although, you know, I was more of an electric player. I, I bought a Martin guitar from Bianca de Leon and I, I still have that guitar today. I still play it and, uh, I

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got into the acoustic thing, open tunings and all of that. And it was, I did that for a couple of years just as a solo artist and that was a lot of fun and that was actually easier to kind of like do my day job thing

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and do my solo thing because bands are always confusing, trying to get people together and they come and they go and material changes. But uh that was cool. So when did you, um what were the years that you did the solo? Probably like uh 74 76

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along through there was after Sweet Peter broke up. I mhm. I started playing with the acoustic idea and writing my own songs and it was, it was interesting. Uh It was a new thing for me. So, did you induce, did you enjoy songwriting? I still do.

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Um What other clubs did you play at during that kind of um solo period? Uh Theaters? I can't even remember the names of some of these gloves. Uh I should have boned up on, on, on this. There's uh Carvings Carnegie. Yeah. Played there. Hoolihan's number two.

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Oh, gosh. Uh a couple of places up on Richmond. Avenue that, that are long gone. And then, uh, you know, like I said, I went to California for a while and worked for about a year and a half out there and came back to Houston. And,

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uh, that's when I, I met Danny EPPS band. Danny hired me as a guitar player and he had gigs going. So we were kind of on the road around Texas, um, play in different places and the Texas Opry House was a, a big happening spot during

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that period. The late seventies, um we played there multiple times open for David Alan Coe. Now, the uh I did a couple of openings with Willie Nelson out at Gillies. No, we landed a shot uh a day gig for the band was, uh you know, we'd

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work from in, in the studio out of Sugar Hill for four hours every day, four or five hours from noon to five. We'd show up the studio and lay down tracks for whatever they were producing for whoever. Yeah, that included, ended up being on a couple

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of Freddie Fender songs and 10 other people. I don't even know that. Ok, so you're kind of, so you're in a sense like the, like the house band for the studio, studio band, the house, studio band would work in both studios, studio A and studio B

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mostly studio B. Um that's where they would work up projects when it got to a point, then they'd move it to studio a, so what was um what was that experience like? That was kind of cool. That was my first real studio work. And uh I

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learned a lot about how to record and different ways of making things and how to build it with tracks, layering things. Did you find it difficult to um pick up on someone else's music and be able to spit that right out or not really? You either

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have a feel for it or you don't. And, uh, I found that people would come in and just start playing a song. It would either fit with what I can do or it wouldn't. And, and I just take a quick shot at it and most of

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it worked. Certainly, I could do rhythm tracks all day long for anybody, you know, but for like doing instrumental leads and things like that, they were into a lot of steel guitar and stuff at that point which I didn't play. So we just build the tracks

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for the other cats coming over to, uh, the singers did two albums with Freddie Fender. Never saw him at the studio. Well, I'd see him in the hallway sometimes, but we'd build things up, then he'd come in at some point and lay down his vocals and

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it would get mixed and we get to hear the mix, sit around for that. That was fun. Work with Mickey Moody. He was a excellent engineer and I learned a lot from him, how to mix, how to make blend sounds and punch things in, punch things

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out. So did you, so it's interesting. So does that mean that most of the artists that were having that, that were doing, that were recording pieces didn't take much of a role in kind of thinking about their sound, like kind of crafting it or they just

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kind of like let Mickey Moody do that work on his own. The, the way Huey Huey, these were artists, artists that Huey Moe signed and he would want to do certain songs and in a certain way, and we were able to do that rhythmically and set

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it up and then he would have the artist record the vocals on it and he put it out. So it was really his show and um we did one off the books project that was really great. Uh Rex Bell, Mickey White and I was, I think

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along with Pete Gorsh and Billy Block, we did, uh and after closing sessions, a few of them at night over there with Lucinda and uh that was her first CD. And uh they laid down the rhythm tracks, I think they gave, I took about 30 minutes

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and put my guitar leads on all the tracks. They were talking about 10 songs. So, and that was pretty fast, went right through them just basically one take because I knew her stuff pretty well. So it was, and it worked out, it worked out fine. Did

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you know her stuff from playing with her previously or from just being at Anderson Fair? Um, around the fair? The fair was the hub of the folk scene in Houston and I had met Lucinda and other other deals because we're playing the same clubs at different

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times. And, ok, so the session work would have taken place in this. So that would have probably been in the mid to late seventies, right? Late seventies, late seventies, right? And then, um, when did you end up? Um, some other things I have on here are

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playing with like Light and Hawkins and the Hemorrhage Mountain Boy that was in the late seventies. Um, Owen Cody who, who played with the Danny EPPS band was a violin player and he and Afro Hair, I got to here and, uh, he was quite an interesting

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character, didn't wear shoes ever. And, uh, he was gonna sit in with the Hemorrhage Mountain Boys and they were playing a show at Fitzgerald's and a Mickey wanted. He, he asked me if I would lend my guitar to Mickey and I said, ok, well, I, I'll

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do that, you know. And, um, so I had something else to do another gig or something somewhere else. And then I got the Fitzgeralds later, kind of like in the middle of their opening show. And, um, and, uh, Cody introduced me to Mickey and Rex and

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Mike Edwards was playing drums and he said, Mickey let him sit in. So Mickey gave me his old guitar to play because he was playing mine and it was, wasn't strong. Right. It was no wonder he needed a guitar. But anyway, I played the heck out

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of it and, uh, they, they loved it and, uh, I joined the band thereafter, you know, and, and we played together for four, maybe five years as a four piece. I think they started out as a two piece, the backing up Towns and then they added

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Mike and they were doing the Hemorrhage Mount boys. Then they head at me and it was a lot of fun. Crazy times. A wild bunch. Did you end up um playing with talents at all during that time is the not during that time, it was probably

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86 or 87. Um Danny and the wild crew, I was, I had moved to Austin and um we went out to uh Danny and Jeff and Tom myself. We all went out to harass towns at his little blue house boat out at cliff. So we had

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a case of beer and we got there. We were joking around and talking and having fun with Townsend. Danny decided he was gonna throw him overboard. So Danny picked Towns up and he was throwing him overboard and Towns grabbed the rail to try to hold on

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and I must have dislocated a finger in his left hand and he had a gig that night. Yeah. And I reset it in the house. Both. I, I reset it back into place but it, there's no way he could play a show that night. So I

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actually played four towns, not with him playing acoustic guitar. And fortunately, Mickey White was there to really, he knew towns material much better than I did at that point. But, uh, when we played the show that it was on South Congress, I can't remember the name

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of the club. It was a big, had a big glass tall ceiling place. It's gone now. But, uh, that was the only time I actually worked on stage with Towns, but I had met him at the old quarter when we were playing with when I was

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playing a Sweet Peter down at the Old Market Square and he was working at the, uh, oh quarter and I would go down and see him, uh, after we would get off or on other nights when I wasn't working. Um, so, yeah, that's, that's the story

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of me playing with Towns. Um, and what's the, what's the story behind? Um, working with Light and Hawkins? Well, that is a story. I never really did. I did some shows with him where I played with the Hemorrhage Mountain Boys. Yeah. But, uh, Rex was the

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only one in the group that actually played with Lightning. And, um, well, Mike may have two, the drummer because I think, I think Mike played it a couple of shows with him as his drummer because lighting would just come and show up, have his guitar. So,

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you know, we'd have the band, there would be drums in the bass kit and, and he would just plug into the app and do his thing and Rick said, watch his foot because he'll move it back when he's gonna change the card. So, uh, but lightning

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is, uh I got to hang out with him, you know, and uh more than more than once, several times. Um And he was an interesting man. He liked Imperial Beer, which was code for Pearl. Ok. Um But lightning, yeah. Yeah, I went over to Miss Irene's

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when I first moved here back in 72. And uh I've heard about a place called Miss Irene and uh there were some blues cats there and so, um Rocky Hill was playing and I don't know who he was playing with because it was, um I didn't

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know or recognize and I can't remember. It could have been his brother Dustier. I don't know, but he was playing there that night. So that intro introduced me to the blues scene for electric guitars. And later on Rocky Hill played with me because I had, I

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was doing my solo thing. But I was also using drummers and other cats. And Tony and Terry and Rocky would come and, and play my gigs with me because when they were in town and not on the road, that would be fun. Uh, I got into

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blues after I sort of faded out of the folk. I never really completely faded out. I mean, I still do folky stuff but, uh, if you give me an electric guitar, I know what to do with it but it doesn't matter where or when or why.

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Um, was I, I have heard stories about Rocky. Was he, was he pleasant when you were working with him? He was, well, he was a great guitarist. Um He just wanted to play, he wanted to take this, he wanted to steal the show and, and if

00:25:39.550 - 00:26:06.609

you let him, he would, yeah, he was, he was quite a character and uh he was already a Houston legend when I moved here. So yeah, he had a had some monkeys on his back. So he went through the that up and down with the drug

00:26:06.619 - 00:26:32.300

scene and that's, that was a shame because he was really, really uh talented man. Um So, so the Hemorrhage Mountain boys would have gone into almost like the mid eighties, early eighties. So they probably like up to about 85 85. Ok. And then what came next

00:26:32.310 - 00:26:54.780

after that? Well, or if you were also somewhere in there, I got separated from my wife, Rick, separated from his wife. We're now together. Um And so we left uh Sharon and I moved out of Houston and moved to Austin and, um, we were going to

00:26:54.790 - 00:27:09.739

a big party out in the country and, uh, this is the full circle of music in France. It's like, um, there's a big cook out, there's like 200 people and there's gonna be a band there. And Sean Walters who I forgot to mention there were, were

00:27:09.750 - 00:27:24.400

in there in those eighties. We can go back to that. Uh, but, uh, anyway, Sean had talked about playing out at Brighton Stars, uh, Big Wingding. They were throwing out in the country and there were a lot of people there and, and, and so I was

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coming up the driveway carrying a sack of groceries or something. We were gonna potato salad. We were bringing as our, our, our potluck thing and I looked across the driveway and there's a circle of guys over there and there's a guy around, I recognize him. I

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put the stuff down in the middle of the driveway of the run and I walked over and Charlie, he didn't recognize me at first. And this was the guy I started playing surf music with back in Kansas in 1965 or four. And, uh, here it was

00:28:01.810 - 00:28:18.939

1986. So it's been like 20 years later and, uh, his band was playing there and then he was in a group called Second time around and my band didn't show up, but I had my guitar with me. And so they they asked me to sit in,

00:28:18.949 - 00:28:37.510

so I sat in with them and, and, uh, they liked it and they hired me. So that's how I got moved to Austin, got in my first band in Austin, but it was amazing. Charlie was a, uh, was a meticulous guitarist. He would note for note

00:28:37.520 - 00:29:07.400

like the record never any different. I mean, I'm more of a freestyler and, and I like to bend things and move them damn. Damn. But that, that was amazing to back up Rex and me and Sean Walters, Jimmy Jones guys were, uh mcnally Johnny mcnally drummer,

00:29:07.410 - 00:29:34.119

um, started the Louver somewhere in the mid seventies or late seventies. And, uh, we were popular a little rock and roll band original music and we played all over the Montrose area continually for many, many, many, many, many months. And, uh, and that was, that was,

00:29:34.130 - 00:29:59.650

uh, a blast. I loved it. So we had two electric guitar players, bass drums and Sean singing. Uh, Sean, just an amazing singer. I love this material to this day. And, uh, so, yeah, was that hard to balance being in two different bands at the same

00:29:59.729 - 00:30:19.199

time? No, no, because I think one has sort of gone defunct by the time one really takes over, they just sort of they bland and then the stronger one takes, takes over the weaker wind goes away or changes later. I mean, you always go back and

00:30:19.209 - 00:30:35.729

you're playing with musicians is like going around through a spider web. You, you always seem to come back in contact with some way or another, whether it's music or just as friends showing up at a reunion and jamming together one more time. It's always a blast.

00:30:36.829 - 00:30:55.989

Um, so then you got into a new band when you were in Austin and you weren't in Austin very long though, right? A couple of years. And then, uh, you know, we had my eldest son, Ray and then, then we had twins and, uh I really,

00:30:56.000 - 00:31:12.239

you know, I was having to travel on the, during the week, working out of town from Austin and then getting back on Friday night, go play a gig Friday night, go play, get, play a gig Saturday night, Sunday with the family. And then I'd have to

00:31:12.250 - 00:31:29.199

leave like Sunday night around midnight to drive back across Texas to check into a hotel and then go to work that day. So I'd work for out of town and come back. That was tough. So I got offered a great job at UCL A and I

00:31:29.209 - 00:31:52.410

took that and we moved out there for almost 20 years and raised a family and had a, had a band out there to a couple of different groups, which it was mostly kind of a combo of folk and rock. And it was interesting, I did a

00:31:52.420 - 00:32:11.020

lot of, a lot more writing out there and recording. I started investing in my own studio equipment and digital recording was becoming available where you could actually track stuff digitally. And I took, took that on and it was fun and I'm still doing that today, uh,

00:32:12.939 - 00:32:34.359

at home and I've done it for several people, but right now I'm just sort of doing that for myself. But to backtrack again, we moved back to Austin after those 20 years. And, uh, we built a home outside of Austin Elgin. And, uh, and it's got

00:32:34.369 - 00:33:00.560

a huge live music room that's our living room in my studio. And, uh, and that's where I recorded, uh, Richard Dobson's, uh, Gulf Coast Tails. He would fly in from Switzerland. And, uh, what we had to tell you about the seventies. I did the Richard Dobson.

00:33:00.569 - 00:33:23.699

We had the Dick In the Dirt Band for about three months. Hey, I don't know. Well, Richard had a new, new record. He came out with, he, you know, he worked out with Buttermilk record records. Um, and, uh, and he was wanting to promote it and

00:33:23.709 - 00:33:41.280

this was sort of while he was right before he moved to Nashville. So it was only together for a couple of months and we were, it was mostly the Hemorrhage Mountain Boys kind of subbing with Richard. So we would do those, those Richard would get a

00:33:41.290 - 00:34:05.420

little gig and we'd back him up but, and he named us the Dick in the Dirt Band. Yeah. Cosmic Cowboys, ok. But, uh, anyway, 10 years ago, I moved back to Texas and I'm loving it. So, um, can you talk about your relationship with Richard Thompson?

00:34:06.640 - 00:34:27.020

Richard? And I knew each other, uh, from the, I met him when he was starting to record his first record. And, uh we had been playing some gigs. I met him through Rex or Mickey. Uh We all sort of ran in the same circle but we

00:34:27.030 - 00:34:52.749

became friends and, uh, uh, he would always ask me to play some guitar parts and stuff for him on different things. And I would always do that and, and, uh, you know, I pretty much had a, just sort of started, well, let me back up. Well,

00:34:52.759 - 00:35:06.469

I started recording them at my place and that over about three years, you know, we, we were just kind of doing it. Finally, he would want to make a demo and I'd just record him and then, then Francy and Steven would come over and maybe add

00:35:06.479 - 00:35:25.790

some bass and accordion and I would add guitar and that we just kind of did that as a off to the side little project with Richard. But, uh, yeah, Richard Richard and I always got along from the first time we met and there was this warmth

00:35:25.800 - 00:35:59.899

and friendship. Richard was a special kind of guy, rough necker on the heart, like a baby. Um, looking back and you're currently in a band now, right? I am in the patrons and um, I love it. It's magic. You know, all this only happens once in

00:35:59.909 - 00:36:22.419

your life or it doesn't happen to a lot of musicians, but Kelly Wilkerson and I got thrown together in a, in a previous band before the patrons, um, and called the Litter Rollers with Jim Wiley was leading that group and, um, we decided to try something

00:36:22.429 - 00:36:41.439

different as a trio, drummer, keyboard player and myself and it was like left handed with the right hand was doing all the time. It was like, we just clicked and clicked and clicked and, and we still click whenever we play. It's just, if either one of

00:36:41.449 - 00:37:00.090

us makes a mistake, the other one picks it up and runs with it. It's like, it's because you don't really ever hear the mistakes. There, there's just not a mistake. It's, we played something different. And uh it's not often that you run into another musician like

00:37:00.100 - 00:37:21.020

that in, in, in your lifetime. But you really, really can say, you know, like Keith Richards and Mick Jagger, John Lennon and Bob mccartney, it's kind of that thing, that style concept. I don't know, it's not style or a concept, but it's just the fact that

00:37:21.030 - 00:37:41.929

we, our, our music tastes merge and we compliment each other so well, when we play together, would you say that kind of not to disparage any of the bands that you've been in? But would that is kind of your favorite band? Right? Now, I would say

00:37:41.939 - 00:38:03.969

yes, because it doesn't matter if it's in the studio or live, it always just comes across, it's just there. It's a unique sound and, uh, it's not often you have a band without a bass player. Kelly's left hand is working all the time and, uh, he's,

00:38:03.979 - 00:38:29.340

he's a marvelous singer. He's got a voice kind of reminds me of Ronnie Millsap. Very powerful. And, um, but he does, we're doing mostly blues and rock. So it's, it's just a little away from the folk scene, but we do some folk music that I write.

00:38:30.090 - 00:38:55.179

Ok. And he has some beautiful ballads. He's written on piano that, uh, that are amazing. So, um, so are you mainly using your studio just for personal recordings or have you been working with anybody outside bands? Well, like I, I have not been working, I, I

00:38:55.189 - 00:39:15.820

worked with two way Radio which is a group out of Austin and I worked with Donny Green. We did a complete album. Um, I did a complete album for The Lunar Rollers and other people would want to come in and I started having to turn it

00:39:15.830 - 00:39:32.159

down a couple of years ago and I just, you know, because I, I didn't have time really to, it takes lots of hours to record and mix and get all this stuff right? And coordinate with people. It takes hundreds of hours and people don't know that

00:39:32.169 - 00:39:48.429

it just seems like, oh, it's only a 45 minute record, but it's hundreds of hours of work anyway. So III I did open it up for a while when I first started it for a few years and then I slowed that down and, and I just

00:39:48.439 - 00:40:15.199

use it for personal use or my bands that I'm currently working with. And, uh, so that's that. So what are your upcoming plans right now? Um Continue with the, with the patrons. We got two C Ds out. We're almost done with our third, um, a friend,

00:40:15.209 - 00:40:34.899

uh, Richard Zar is gonna work with us on a video. So that's up and coming and we're gonna start that next month. I heard that that's gonna coincide with your birthday. Yes. Sharon wants that to coincide with my birthday to get this sing along chorus thing,

00:40:34.909 - 00:40:58.129

kind of like they did and save the world where everybody is there singing a chorus and we'll see how that works out. Have you ever made a video before? Um Yes. Um The patrols have a lot of videos out on our youtube station and, uh, I

00:40:58.139 - 00:41:18.350

did a live show with, uh, with the livers. We had a reunion gig a couple of years back maybe four years ago at my house and we videoed that and um, I used my recording equipment to record the whole thing. So the sound on it is

00:41:18.360 - 00:41:36.310

great. The videos, just one camera kind of stuck up on a, on a thing. Taking pictures of it, but the people are having a blast. It was a big party and, uh, so it's a fun, fun show to watch and the music is great. I love

00:41:36.320 - 00:41:54.939

the Louver. Do you guys plan on doing anything else together? Haven't been talking about one. We get together once in a while. I had to drop out of the last round because the started, it was gonna interfere with my patrols. So, so, but I haven't heard

00:41:54.949 - 00:42:15.600

of anything, another reunion yet, but you never know. We'll try, try it one more time. And then, um, do you also participate in the Hemorrhage Mountain Boy? Um, not much anymore. I did when we first got back from California for a couple of years. Uh, but,

00:42:15.610 - 00:42:37.239

uh, I mean, Mike has passed on the drummer and, um, it's just Rex and Nicky. So Mountain Boy started out as Two Groove and now they're back to two and I don't know if X is really gonna be doing many more shows. I know Mickey's talked

00:42:37.250 - 00:42:59.580

about maybe taking on a second career. I think he's retiring from school teaching this year. So, so he will and he's a great acoustic guitar player and folk singer. So I'll be looking forward to seeing him get out more and hit the scene a little bit.

00:43:01.330 - 00:43:19.350

Is there anything else that you want to cover? That? We have not or probably, but I forgot about it. So, you know, it's, it's gone. Yeah. Well, it's, you know, it's for the, the car ride home, it'll, it'll happen to your head. That's what everyone says.

00:43:21.290 - 00:43:26.760

Well, I want to thank you so much for coming out and being in oral history. Thank you. It was my pleasure.