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My name is Norie Guthrie from the Woodson Research Center and Library at Rice University. I am interviewing Sean Walters. [Audio description: Sean Walters is wearing khaki-colored button down shirt and gray jeans. He is sitting in a blue chair in front of a black background.] Today is November 1st, 2019.

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This is part of the Houston Folk Music Archive Oral history project. Can you tell me about your early life? Early life? I was,

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Air Force kid. I was born in Japan and then lived in, quite a few places in the US and lived in Bermuda

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and, in Bermuda. I guess that's where I got my, you know, where I like music. You know, we listened to top 40 radio,

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buddy Holly, that, stuff, and, doo wop was big for me. So was this music coming via the,

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Armed Forces radio, or was it just the regular? Yeah, I think so. I don't know if it was Armed Forces Radio, but, it was probably, Yeah, something like that.

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Or we like to call what the station was about. So, when did you first start, like, picking up an instrument? It was when we moved to,

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Massachusetts at age 14. And, my mother and father got me, Guitar for, my birthday. So did you did you take formal lessons or.

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I took a few formal lessons, and, when much to, And then I just sort of learned on my own and

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just concentrated on chords. So I learned six, eight chords. And that's about all I know now. Were there certain songs that you liked to play

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at that time? Probably, you know, songs, or folk songs, maybe 500 miles and that kind of stuff.

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Greensleeves. Just, folk music. Where were you at that time?

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Were you doing things like. Like watching and then some of the folk music that was on TV and stuff? Yeah, it's a little on TV. I would watch it to

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see, I don't remember any thing that particularly stood out to me. Peter Palmieri probably. I don't know.

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Did you amass a record collection or. Well, yeah, we have records. You couldn't really buy that many in Bermuda during my formative years, but,

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my father would go back to New York or whatever, Air Force base, and he'd bring us back, records, 40 fives that we've listened to. And a lot of the records were,

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they weren't the original versions of the song that was popular, say, in the U.S. they had make a copy of it, and those are the records that they tuned.

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Listen, on. One example was Music and Blues, which tune? The. It was been done a million times,

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but we got one particular version. And to me that's the only version there is. So, yeah, we got records and stuff.

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It was good. What has to happened after, Massachusetts? Moved to Oklahoma. 67 or 68

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and finish out, my junior and senior high school there and formed a little band, a little high school band. I played some guitar and sang,

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that, couple guys, Ron and Don Dixon, they played guitar and one of them played drums and bass player. So we do, you know, the song,

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the top 40 hits, you know, like Midnight Hour and I Had Too Much to Dream last night and different, tunes that were kind of exploding on the charts, which, topped you.

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Was there any pushback or anything with the band, or were you able to get like, little gigs or play? Yeah, no, we well received their they liked us, you know, they they all dance.

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Everybody remembers so on Facebook. Oh, I remember you playing Brown Eyed Girl. That was so great. But, Didn't do, really too many original songs.

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And I'd written some, but we didn't do them there. Well, yeah, I had a band in Massachusetts, too. I forgot about that. We did,

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we did some original tunes of that band I can't remember the name of, but we were. On, a little,

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TV show that came on 2 or 3 in the morning or something, and it was a battle of the bands, and our band,

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one for this song or was I think we got a second place and, they thought my name was Stan Walters. And just putting us together on a metal statue, it,

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So that band then, and I played a couple of little folk gigs there at churches in Massachusetts

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and then, in Oklahoma and that little band. And I didn't play too much, solo there. That was about it in, Burns Flatt.

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And then we moved back to Massachusetts. Okay. So I got it mixed up a little bit. We moved from Massachusetts, where I was doing the coffeehouse gigs to Oklahoma.

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I had a little band there, and then we went back to Massachusetts, and then I had a band there, and that was where the contest was. And, after that, we moved to Houston.

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So did you moved to Houston because of your parents or just on your own? Well, I was buried by then. Got married at 18, and, we did live

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with my folks in Massachusetts for a little while, and we had an apartment J. And it was my wife's name. And we had a little girl up there.

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Christina. And, then. We moved to Houston, and, Jan and I had our own place there, and,

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I was going to, u of age for a little while, and, I. I got a little solo gig at, a place called Huber Beer Garden in Market Square.

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It's my first gig. And, Think I played with a fellow named Dave Rainwater and, A woman named Patty

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that was an opera singer. And we did, you know, the old folk songs. And I threw a few original songs in there, and the market square was really pretty lively in, 71, 72.

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So I did a bunch of gigs around there, and, it was Willie's Pub, and, Ruby Red's leather bottle.

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A lot of the old quarter wasn't in Market Square, but it was down the street played there. And, let's see Sand Mountain and Anderson Fair.

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Any place you could play. You know, I tried to get in there and do it. Well, what was one of your favorite places and those? Well, I like the Willie's Pub, and,

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Ruby Ridge Ruby, which is pretty good. Place had a nice following there. They'd come up and see us and added, a guitar player named,

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Scott Chambers. And so Scott, chambers and myself and Dave Rainwater, we found ourselves,

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Jason, me and the island. We played Ruby Ridge for a year or so. We did it. Crosby, Stills and Nash, you know, helplessly hoping stuff from

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that kind of business. And I did a duet with, a girl named Beth Carter. We played at Papa's Pizza Parlor on Westheimer.

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And other little gigs. I can't remember the names of the Giants, but I did quite a few old. And, I auditioned for, part in superstar JC superstar.

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And I got it and kind of went on the road for a little while and didn't do the, do too many gigs and so lower and bands after that for 8 or 10 months.

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Then after that, I did more, land chasing me and the island, I guess, got me a job playing guitar and superstar.

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So I, I would like to explore the Jesus Christ Superstar a little bit more. Oh. Why did you decide to go that route after kind of doing, you know, solo gigs and small group gigs?

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Well, I like to record and, you know, like, I just felt like I wanted to do it. I thought I could sing the part. Okay. They thought it was all right, but, I was just kind of looking

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for any other opportunity, and, you know, being, in on stage and, sure, like, that was pretty appealing. I like doing that kind of stuff.

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So where did the tour? Where did the tumor go? Well, we were, band organization. The fellow named Louis Gavril from the West Side.

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Here, put it together. It was we were call the American Touring Company, and, we would sort of get away with it by, and call him that.

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The concert version of Jesus Christ Superstar. We were in. We were to do the songs, but no real stage movements

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or anything like that were supposed to happen to because Robert Stigwood, who produced, superstar and all that stuff, he was he has been determined to get all the little band

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aid organizations, and they were really all over the country. And, So we, we never we a we always did stage stuff. It didn't matter, you know, to us.

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No thinking, you know, they never really get close enough to us. And that's the beginning. But we did some pretty big shows, Coliseum and awesome Coliseum here.

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And, we play stuff in Oklahoma and, Louisiana. We do like, seminaries sometimes. And, did a lot in Texas

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and in and around Dallas and San Antonio, did a few Air Force bases. But, it was a lot of fun. And we were going to, have our biggest show

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wherever everybody was going to get paid big money in, New Orleans. We had sold out the Coliseum, but Stigwood had

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come up to us by then, and they nailed the little poster on the door that said, you guys ain't playing here. So after that, I think, the show went on for a little while.

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I did a couple of dates in Oklahoma with them, but by then, you know, we didn't didn't want to run around too much anymore. And one real big money and to host

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and that was that was about it. And then I the split up. Was that about like six months or.

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Probably, six, eight months. It would go kind of on and off. We'd be off for a month or so until, you know, they'd get a couple of gigs for us and tomato salad.

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And so would you be stationed? Kind of. Was Houston still your home base? And then you would just go to them. And then,

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yeah. So when you were playing around town, did you prefer doing the solo gigs or did you like playing with other people?

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Would depend depending on, you know, if I could get the gig or not. Really, a lot of them were a lot of gigs. And I played for happy hour gigs to, like,

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oil business guys, happy hours. It was pretty hellacious. I used to wear a wig to those gigs so I could get a job,

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but they would pay a little money and, I played, you know, Anderson fair and send them in those places. But, I had to make more money than that.

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I had a kid and jeans and I couldn't hang out after, you know, 1 or 2 and fly. So, I would come home and, do, you know, just little gigs around town. It really didn't

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keep me up too late. I reckon. So during this time, you were just straight up a musician. You didn't have any other kind of day job to.

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Oh. Right. Yeah. Okay. Then, you mentioned the kind of,

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the Jason me in the island, and then I've read of that. There was also a group that you would work with your, wife at the time, I think, spend the night with Sean and Beth. Yeah, that was Beth Carter. She would. My wife.

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Not your wife. Yeah, but, I think I met her when I was doing lunchtime things and was fair.

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That's where we met. And, we played. Played a little while. We went for about, I don't know,

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a year or so seemed. It seems like. But she was, you know, she was real nice. You real homey.

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She could sing good, harmonize like the ringing the bell. And, that I said we got pretty popular there. Yeah.

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Yeah. From Sean and Beth. As in, we broke that little group up, and I went to superstar. Okay. And it after superstar, I was playing little places

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in the Montrose, like Damien's and Corner B's Grand central and I met, my partner, Michael Hickman. And we performed a duet,

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and we, did steakhouses and Steak in Hell and the refectory and, probably 73, 74, 74 and,

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so he, he he was a good guitar player is one now. And, he can sing. Great. So we are a duo

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in, He started playing colleges. I had met Vince Bell. I guess a year or so before that.

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And we had a little thing going there with, we'd called it Oracle Productions, and we had big, big plans on doing a bunch of stuff. Concerts like.

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But we we ended up going to the more university, not as students, but to play some music. There. And I think Vince, took that and

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built himself up a pretty good college tour from that idea. And, that's what me and Dickman did, too. We started doing the college campuses because it was pretty good.

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Cash and gas was cheap at the time, so we just travel around up and down it, and it seemed like doing colleges. And while we were working at the refectory here in town, they had other,

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Steakhouses and places out on the West Coast and San Francisco. And Hickman and I went up there and lived for,

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again, a buddy and, did, did some gigs around. There was a great place.

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Wow. How would you describe the difference between California scene and Houston scene at the time? Well, you know what? It paid more money in California.

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You know, wouldn't you know, we didn't hit the places that were really down home and, and folk music venues, and we did more of the steakhouse thing and, and, there was a few places Andy Capps and,

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in Sunnyvale and stuff that you could do your own stuff, but, So, yeah. When was laid back, I guess.

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But it was, it was nice. We blues, steak and ale and Billy Joel would play beer the month before we got there. These guys at steak, it was great.

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They always gave us the money at the end. We didn't really deserve anything. Nice food out there and had a good.

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We lived in the Varsity Motel and then, our wives joined us. My second wife

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and my son came out there for a while. We lived there, and then we moved to, Tucson, Arizona. And on our college

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tours, Hickman and I would stop into Tucson. My daughter from my first marriage lived there, and she was young, so I wanted to stop and visit her as much as I could. And, so we ran into a joint,

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hippie type place, in Tucson on sixth Street. They're all on sixth Street. And and,

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it was called Merlin's with, great time there. And then we, Started living in Tucson and we did other little gigs,

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and we got a band so we can play, you know, the clubs in there with the pawnbroker and the neighbors and places like that.

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And then in 78, I think when I broke up and then I moved to Fort Worth and in Fort Worth, I played, you know,

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a bunch of little stupid gigs there, and, I was also a picture framer. At the time, so, To, to a lot of stuff.

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I played at one place for two years, every Monday and Tuesday night. I could do anything I wanted to there. And people, you know, that I knew from around town would come in and they'd play a song or two.

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Some. And then in 1981 or 2, I guess it was 82. Moved back to Houston.

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That's where I am now. But in 82, I did, I had another band called The Movers, and we played around town a lot,

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and I did solo gigs. That, again, beloved steakhouses. And then, you know, other joints just, do it.

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So when you came back in 82, did you see was the Houston's music scene the same, or had it changed? Well, it seemed to have changed. You know, there seem to be more bands around and,

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But basically, no, not really, but this, I guess. Can you talk a little bit more about the loopers? The louvers?

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Well, my brother had lived here while I was traveling around, and, and he, had a softball team called the clowns, and, Andre Matthews and Rex Bell and,

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Mike Edwards were on the team, and and, I had known Andre from Willie's pub way back when, in the early 70s.

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And I knew Mike Edwards from, he was like, house drummer at a place called the Green Apple in Durham. And, they had a big podium, and he gets up there and whacks a drum.

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So all the popular songs. And that's how I met him. And, Rex. I think I met Rex, he was with the clowns.

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And then I think he moved to, California for the Olympics in 84 to sell stuff. So when the lovers got together,

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we practiced in Edwards house with Andre on guitar and, a guy named Clark, I can't recall his last name. His playing bass. And, Edwards was playing drums.

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And Mike Edwards had another friend. He was an electrical guy. And, yeah, another friend named Jimmy Jones. And Jones came to practice with us, and he was great.

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So we had, two guitars. Plus I try to play a little bit, but not that much. Bass and drums. And then we started playing around a lot.

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We played Wayne's World is Club on? It was in Leinster Plaza. I think it's Richmond, but,

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We play there seven nights a week. We play 4 or 5 hours a night. So we got a lot of practicing in there. And then we just, you know, did the regular kind,

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Houston area, venues that they had for bands. Yeah, we hustled. How would you describe your sound?

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Well, they were my tunes. And, there was, no. Yeah. Pretty rocky,

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I guess rock and roll. That's what Jones would come. But, Yeah. Good time.

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We we played a couple of years ago at Andre's house, and by this time, of course, Rex had come into the band in late 84.

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And then he took over playing bass. So Andre moved to California. Jones and me and Rex and Mike Edwards, and we, we played around a bunch and.

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Then what happened? Oh, Rex got, you know, on the other side somehow after his divorce and. Sure.

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And so he kind of quit the band. He says he got fired, but he, we went to, Fort Worth and played at the place that I used to play in for two years.

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We took the lovers up there and Rex was in, like, another key on most of the list. It was a it was a nightmare.

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And, so anyway, he quit. He says he got fired, but he did. And, and so we got Nicky Williams to play. He plays with, Herschel Berry. Now,

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Nico, he's got a little solo gig. Two. He calls himself Variety Jones. That's Nicky Williams. And so, Mickey and Jimmy.

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And then by that time, Andre had gotten back here and, yeah, this is early 2000. We played a couple of gigs, so Lou was really great. You know, I wrote songs and I got up there and, you know,

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got to dance and move around and emote. For. Our room. Then you. I won't run.

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Things, Things of the. Country. I mean, up.

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To the light in the morning. Echoes. The war left the sun to me I don't know.

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I would run. Oh. That. Morning. I'm free.

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Nobody here. Are you. Up? All empty lovers never came true.

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You know, for you. For all the. Street. Right till. It's like lingering on the other end.

00:31:24.470 - 00:31:40.730

For your way. I won't go, oh, no. I love.

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La la la la la la la la la la. I love, love, love I love.

00:32:04.400 - 00:32:24.300

I will love. I will run. I know. I. It'll be there.

00:32:27.230 - 00:32:40.270

In the mail. I will present. Anything? Yeah.

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I got used to. Say be gone. If they. Through the light of war.

00:32:52.770 - 00:33:10.330

Echo for love. The something. Oh. I. Will.

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Oh! Run! Away will run. Back in a room. I'll run.

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I run. I will love. So he take a moment and talk about your songwriting process.

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Yeah. On a song I sometimes I think of the lyric, and try to adapt it to a chord progression, but usually it's just,

00:34:06.500 - 00:34:22.630

fooling around with a chord progression, then, so see what sort of spontaneously my subconscious will summon up for me and, might give me a passable lyric or two

00:34:22.630 - 00:34:35.500

and then I'll, you know, try to craft it from there. And it inspired it first and then try to work on. So do you

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do you like to write songs that are a little bit more biographical, or do you usually have some distance from what you write about? I think I I've done both, you know, they're probably all autobiographical and.

00:34:51.900 - 00:35:03.570

Not really. Just, yeah. You know, it's from an idea, you know, that maybe turn into, you know, self-examination.

00:35:05.370 - 00:35:16.970

So can you tell me about how this John Walters showcase began? Yeah, in Houston.

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We had, I had a little gig at a place called the Heights Diner on Wall. And, up

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to that time, you know, people would come in, to my gigs wherever they were in Fort Worth or wherever, and, you know, I'd let room sit in, you know, for 2 or 3 songs and, and, kill all time.

00:35:44.670 - 00:35:59.970

And that, continued when I was in Houston, I met, met some people, I met my sound man at the Art bar.

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I think that was on Montreal somewhere. His name was Gary Watashi, and he'd take care of the sound for,

00:36:12.370 - 00:36:27.630

the showcase. And, And these, met Gary Burgess and, guy named Gordon Greenleaf and

00:36:28.470 - 00:36:47.300

played at, few places on Lower Westheimer and, the Fowler brothers and, actually, Diane Feller

00:36:47.300 - 00:37:02.430

was really pretty instrumental in sort of organizing the showcase. We kind of made it official, by spirits and he did a lot of, you know, the promotion, writing up of stuff and

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about it. And I would do a little call, different musicians that I knew, see, if they wanted to play for three songs.

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So a sort of really official, Blithe Spirit. On Stanford and, Dallas.

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And, it just it kind of grew from there. And, we after about a year and a half or so, we took it to the Chelsea area to for and, that's where we, did quite well there.

00:37:49.730 - 00:38:02.830

And we played, couple, art festivals in town. Houston, first of all. And it was time for arts festival and different places

00:38:02.830 - 00:38:16.230

where you might just call up people and they would play, so that's kind of like kind of how it got sort of was, the blithe spirits that,

00:38:17.100 - 00:38:28.170

started, you know, taking ads out in, the public news, got to deal with shiner, shiner beer.

00:38:28.170 - 00:38:43.230

People that paid for the advertise made us a big banner and stuff like that. And, so we would, Chelsea, we had two little stages, one for bands and another one

00:38:43.230 - 00:38:56.670

for little solo things with, you know, the lighting on either one. And, Yeah, we do. We did a lot of, stuff,

00:38:58.100 - 00:39:07.230

Chelseas. And then, we branched out to other little places and people liked playing it.

00:39:07.230 - 00:39:18.970

People like seeing their name in the paper, you know? So, that was it. We had a kind of, spotlight performer and a late night star and, main star.

00:39:20.130 - 00:39:29.400

All of this cast, there's a lot of fun. We thought we were some. So you did.

00:39:29.400 - 00:39:41.600

You did enjoy it. I was panicked, and I never saw an act. I was always in the back room filling out a kind of book for next week, getting some of these telephone number.

00:39:41.730 - 00:39:53.070

I couldn't relax enough to really, you know, until I heard the tapes that, it would Toshi had done over the years that, you know, you know, I never heard. Who was that?

00:39:53.070 - 00:40:02.030

Never heard that before. He did a great song. Hum. Which has a scene. It. But yeah, yeah, I know I enjoyed the process of,

00:40:02.030 - 00:40:18.700

you know, I enjoyed the panic, you know, the last minute stuff and the try and, rearrange people that wouldn't get through to any get the look and, Yeah, well, I had a great time

00:40:18.700 - 00:40:32.670

until it once a week, every Sunday night. And, But, man, was I glad it was over. You give us a we'll do a Sunday. And on Monday.

00:40:32.670 - 00:40:49.700

Then I was on the phone all day long and people would call, and I tried to squeeze them in here and there. And we used to run 15 different solo groups or something, 15, 20 a night.

00:40:51.830 - 00:41:03.200

We went from. I think 7 to 2 or something like this. And we had a lot of time. And that was just on Sunday nights.

00:41:03.200 - 00:41:12.400

Yeah. Sunday nights. And then I think we did a couple other places, you know, that we'd do it on a Tuesday or Wednesday, but the city

00:41:12.400 - 00:41:27.170

gig was, Chili's for pretty good a while. And so why did it end up coming to an end? Well, he,

00:41:30.670 - 00:41:45.100

got into an argument with, Pete, the owner there. Somebody was screaming for their money. It wasn't me, but somebody.

00:41:45.100 - 00:42:01.300

And and it you know, it was getting on my nerves and so I said some bad words for Pete's cell, and that, regretted, you know, so he said you're not welcome here anymore.

00:42:02.230 - 00:42:13.700

Rightfully so. I shouldn't have been, but. So it kind of came to, abrupt in them and, you know, we did a few little, little plays that

00:42:13.700 - 00:42:26.830

we were never even really building up against. You know, just when it was over was run its course and, I hated to see things reach ahead like that. And, you know,

00:42:27.130 - 00:42:42.070

Sorry, Pete. God. Mr.. So but, yeah, that's, it ended. You, The ridiculous.

00:42:45.000 - 00:42:56.970

So after that came to an end, what happened next? Well, I guess everybody did, you know, the core group people

00:42:56.970 - 00:43:12.930

that I worked with every Sunday, it was Rex Bill, Phil Freeman, Jerry Burgess and the Fowler brothers, and Lloyd and I and Matthews

00:43:13.500 - 00:43:25.200

and, I guess everybody just started doing, you know, whatever they could. And, about that time, I really was getting burned out.

00:43:25.200 - 00:43:38.730

So, I didn't do much of anything between, 90 and 2000. A few gigs here and there. But, you know, I didn't go out and

00:43:40.230 - 00:43:48.000

really hustle very much was about it. I don't know. All of us.

00:43:48.200 - 00:44:03.570

But, You, it was kind of done for a while, and then, I do a few solo gigs here and there. And then the movers would play occasionally.

00:44:08.600 - 00:44:20.230

I recorded a little bit the Rocks studio. Can you talk a little bit more about that? Oh, yeah, 2003,

00:44:20.230 - 00:44:33.300

I think I started it and, we, put together, you know, songs that I had written. You know, for,

00:44:33.300 - 00:44:48.700

my late wife, Celia. So the, seating was kind of a tribute to her in a way, and just, you know, some heartfelt tunes on it for me.

00:44:50.170 - 00:45:01.800

And, of course, rock's the greatest ever. Who makes you sound okay? So that that was it.

00:45:01.800 - 00:45:14.100

And we recorded, lovers record at Andre's house near Austin, and that was just, you know, kind of a fun thing.

00:45:14.930 - 00:45:34.130

We put it out, you know, we give it away at our gigs. But I I'm not crazy about the recording process. I get to unnerved and think I'm blowing it all the time. So, but, you know, Rock was able to make it sound okay,

00:45:34.230 - 00:45:50.100

and he made it sound all right. But, Yeah. Other than, you know, a few solo gigs or charity gigs or whatever, I really didn't do too much.

00:45:51.130 - 00:46:04.100

Much of that up until now. So are you still you still actively write? Yeah. I'll write. I'll try to write a tune if I can.

00:46:06.000 - 00:46:15.370

To you want to share anything that you're working on or that you've written a little bit more recently. I'll try one, maybe I'll get through it.

00:46:24.130 - 00:46:47.900

The. And, and and then. And then. You see

00:46:47.930 - 00:47:04.430

it's mixed up with, Laurie's. You see, he's mixed up. Don't worry.

00:47:04.430 - 00:47:22.370

All the student are then, Let's meet this brief. Your wife, friends home. Good to meet you.

00:47:22.570 - 00:47:37.570

Okay, so, Three. Good Friday. Yeah.

00:47:37.570 - 00:47:50.570

The first two. It's crazy. Now. Yeah. Would I return?

00:47:52.030 - 00:48:08.870

I think, until then, I. I think I'm. In control.

00:48:09.900 - 00:48:23.830

Or about. But, again. No doubt that would. Have you played the.

00:48:38.100 - 00:48:52.200

David Green right last night. Still starring plays. If I. You the strings.

00:48:56.070 - 00:49:09.800

But this time we'll let him go. Let me let it go.

00:49:12.470 - 00:49:29.300

And I'll play the just bigger. The day was done until I moved to Let's Dance.

00:49:30.000 - 00:49:45.900

So I tried to write me. Oh, my. Oh. My dream cake.

00:49:46.470 - 00:50:04.070

I could dream. It. And go on about how I would get. I'm going down the up.

00:50:04.070 - 00:50:16.800

And down the way they they. Told. It up.

00:50:16.800 - 00:50:28.870

And then, I let it. Go down, down and then play.

00:50:31.000 - 00:50:47.270

And then. Looking back over Houston's kind of folk heyday. Why do you think it happened here?

00:50:47.270 - 00:51:04.730

And do you think that the scene changed over time? Well, I think Townes Van Zandt and, people like Rex, I mean, yeah, Rex and, people, like Vince, Bill

00:51:05.170 - 00:51:19.070

and I think Jerry, Jeff played a little bit of Sam Mountain, and, you know, e Street times would shake a little with, yeah, I think I don't know why it converged here,

00:51:19.070 - 00:51:31.970

but I think those people, you know, were, towns, of course, of just, you know, he did something so, Yeah. And the venues were really good.

00:51:31.970 - 00:51:46.200

And this is Kara Gibson now, who was great, and whose son, James. Good guy. So she really promoted that. And, Anderson, fair into

00:51:46.200 - 00:51:59.470

I think they, you know, they in the old quarter, they opened their arms and, you know, the the guys came in and. And do you think that

00:51:59.470 - 00:52:09.730

the scene changed over time? Yeah. You know, I guess so. Just,

00:52:09.730 - 00:52:22.770

for that time and space, it was pretty unique. And I believe, not that I was a huge part of that, but on the periphery for sure.

00:52:23.870 - 00:52:41.270

But to. Yeah, the thing is change, which just, you know, in the focus sort of change and commercialize a little bit more. So what are you working on now?

00:52:41.270 - 00:52:54.600

What do you how do you kind of satiate your music? Oh, well, I have, monthly coffee is getting good. Enjoy playing.

00:52:54.600 - 00:53:10.370

And friends of mine, all, showcase rooms still show up and play and to kill some time for me. Other than that, just, you know, trying to come up with a new song

00:53:10.370 - 00:53:23.870

and trying to figure out a record, that my house. And so, you know, I know. Really care to go out

00:53:24.330 - 00:53:41.670

and bang my head against the wall too much in this? You know, Linda Lowe would ask me to do things, and that'd be great. And, And, I'm really excited

00:53:41.670 - 00:53:54.570

about getting out and playing in too much. It seems like every time I do the monitors wrong and I hate it, it it's just a nightmare for me. And everybody goes, oh, certainly

00:53:55.900 - 00:54:08.170

ID say that anyway. So yeah, I just, I really don't go and bang my head on the wall all the way. Don't really have any ambition

00:54:09.130 - 00:54:20.700

for much, except to write a song, singing occasionally, mostly to myself. My dogs,

00:54:21.300 - 00:54:34.500

and the little Thursday night gig. But, Yeah, that's that's about it to this point. Maybe Hollywood will come call tomorrow.

00:54:34.500 - 00:54:40.870

Maybe. Yeah. Yeah. Never know what'll happen. You know,

00:54:40.870 - 00:54:49.900

I'm too tired to go again. A special dinner to come tonight. Forget it. This bottle of wine. Oh, I'll stay in here.