Chewing the Gristle with Greg Koch
Dave Scher
Strap in and let your ears savor the melodic tales of Dave Scher, an Austin guitar luminary who's strumming his way into our hearts here on Chewing the Gristle. Dave unpacks the chords of his musical voyage, from sharpening his skills at the esteemed Berklee College of Music to his current jam-packed tours with rock legends Fastball.
Strap in and let your ears savor the melodic tales of Dave Scher, an Austin guitar luminary who's strumming his way into our hearts here on Chewing the Gristle. Dave unpacks the chords of his musical voyage, from sharpening his skills at the esteemed Berklee College of Music to his current jam-packed tours with rock legends Fastball.
Lo and behold, ladies and gentlemen, season five of Chewing the Gristle is upon us. It's been a little while, folks, but it's going to be worth the wait. We're going to be featuring a lot of convivial conversations with various musical potentates, most of which you've heard of. Some are going to be some new discoveries. That's why I'm here to bring forth the chewable gristle matter to you via the Information Superhighway, Brought to you, of course, by our friends at Wildwood Guitars in beautiful Louisville, Colorado, and our friends at Fishman Transducers of beautiful Andover, Massachusetts. Both I've had great longstanding relationships with, and continue to do so, and we're very grateful for their continued support in this endeavor of giving you the highest quality and chewable gristle possible. Now, without any further ado, folks, let's get down and dirty with some Chewing the Gristle Season 5. Buckle up, Buckle up, Ladies and gentlemen.
Speaker 1:Once again we gather around the Gristle Campfire to converse with another six-stringed warrior of the day and of the night this week, Dave Scherr. You've seen him on stage with Eric Johnson playing guitar, playing keyboard, singing. If you've been in Austin, Texas, you've seen him and heard him terrorizing various stages in that mighty community of musical activity. This week we are chewing the gristle with Dave Scherr. Come on y'all. Ladies and gentlemen, boys and girls, once again we convene on the internet superhighway of convivial guitar conversations. Here at Chewing the Gristle, I'm your host, Gregory S Caulk Esquire. I'm here with Dave Scher, legendary axeman, sanger, songwriter, sideman. You've seen him with Eric Johnson, You've seen him on his own, causing all kinds of trouble from down there in Austin, damn Texas, Dave how the hell are you Fantastic?
Speaker 2:Thank you for having me, Greg.
Speaker 1:A pleasure. Thanks for waking up early. I know this is in musician time, although, let's be honest, to be a musician these days we can't be affording to sleep in till afternoon. You know the stereotype that we're out all night partying, raising hell, waking up at the crack of dusk and then going out and doing it all over again no, we have to wake up early and learn how to use TikTok or all sorts of new amazing things that we do for our careers as guitar players.
Speaker 1:Technology. So what's happening with you these days? What's on the docket for right now? What are you doing? You're down there in Austin, you're doing the do.
Speaker 2:Doing the do. I'm down here in Austin, texas, south Austin. I've been here for well. I'm born and raised here, but I've been back this time for 15 years, since college.
Speaker 1:Where did you go to Kaleegi?
Speaker 2:I went to Berserkly College of Music in Boston.
Speaker 1:Oh, you did. Yeah, a Berkeley lad, a Berkeley lad, a Berkeley lad.
Speaker 2:So this is why I'm so broke and uh, as I'm going to Berkeley and uh well it's not a cheap. It's not a cheap place to go. Not at all. I think I spent most of my time at Berkeley, either looking for gigs and learning, you know, getting in in the Boston music scene, and then also figuring out how to get more scholarship money. So I just my whole time where there was learning how to pay for it well, not a bad way to prepare yourself for life as a musician.
Speaker 1:Am I right?
Speaker 2:That's kind of true actually, but I've been home now for a little less than a week. I was out on the road for a little over two weeks with another band from Austin called Fastball Uh-huh, and I played guitar some keys with them.
Speaker 1:Fastball. They're the ones that had that hit. Da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da. The Way, the Way, yes, today, the way I always enjoyed when that song came out, because it's like, oh my God, there's an actual rock pop tune on the radio that involves people playing instruments. Not that I want to sound like some kind of you know, them, get off my lawn, them, damn kids. Oh yeah.
Speaker 2:That's okay. No, they all sound like that. Everyone in that band kind of sounds like that, but they're cool and it's a rock and roll band. It's certainly a 180 from playing with Eric Johnson. They're both incredible experiences, you know. But they're a rock and roll band and they the bass player plays with a pick and a guitar player seldomly steps on his tuner.
Speaker 1:Oh, so there's a, there's a natural phasing going on at all times with the guitar At all times, oh yeah.
Speaker 2:A chorusing. I was going to say a chorusing.
Speaker 1:The two of us took places with.
Speaker 2:Leslie.
Speaker 1:So where did you all go on this particular voyage of touring?
Speaker 2:We played in Fredericksburg, texas, during the eclipse. That was pretty cool. I got to see the eclipse in a less cloudy area than Austin, because we missed out here in Austin. As far as he goes.
Speaker 1:Well, you weren't in the path of totality, were you? Or was the?
Speaker 2:gig. The gig was, yeah, it was. Yeah, Austin wasn't no, but the gig was, and that was very cool. And you know what? It was still cloudy, so I didn't see a whole lot of the ring of the eclipse, but I didn't really care about that. I wanted to see nighttime, at 4 PM or whenever it was, and it was. It was completely dark for about four and a half minutes. That's wild, it was super wild. But that was the beginning of the tour technically. But we drove home, had another four days at home and then flew to Florida and went from Florida up to the northeast, up to New York City, and came out to the kind of, I guess, Midwest area. We ended in Chicago.
Speaker 1:Chicago, right down the street.
Speaker 2:Yep. And the last song I heard on the radio at my gate at Chicago to fly home was Sweet Home Chicago.
Speaker 1:Isn't that apropos? Yeah, it was fitting. Where'd you guys play in Chicago?
Speaker 2:Oh goodness, it was called Robert's West Side, robert's West Side or Reggie's. It was called Roberts, but before that and it's been Roberts Westside, maybe since I don't know 2019, or maybe the pandemic, but before that it was called Healy's Westside.
Speaker 1:Oh, interesting.
Speaker 2:And it's in Forest Park. Forest Park. So what's that? It's in Chicago, right? Yeah, it's a suburb, suburb thereof, there you go, yes there's so many Chicago's huge Doggone it.
Speaker 1:There are so many things down there to play at. We're playing at Fitzgerald's next week down there After we see you in Texas, that's right.
Speaker 1:We're coming down to Texas. We were actually routing down there and we played in St Louis on Saturday night or just outside of St Louis, and then we had Sunday, Monday and Tuesday off, before we have to be in Tulsa and we were just going to kind of bum around and then we're like you know, it's only about five, five, six hours to drive home. Let's just drive home for a couple of days. So that's what we did. So that's why I'm at home here before we leave actually today, to kind of split the drive and to probably go back down to St Louis area and then make our way down to Tulsa and rock their brains. That makes sense. So when you're out with your with fastball, are they busing it or what kind of transportation are they using for this particular activity? They're in a sprinter.
Speaker 2:And they're not in a done up sprinter, they're in a sprinter with benches and uh, it's pretty. It's pretty hard to sleep in. I've tried, but you know it's nice. It's and I've tried, but you know it's nice. It's 2020, 2022. Sprinter it's a brand new Sprinter Nice leather benches, but you can't stuff. The seatbelt buckles in to the seat, so you just constantly are watching your back and the cushions are really firm, you know. Oh yeah, because they're for butts.
Speaker 1:That's right. Well, you're going to see the new Gristle Missile when we get know?
Speaker 2:Oh, yes, because they're for butts, that's right. Well, you're going to see the new Gristle Missile when we get down. Yeah, I can't wait. I thought it was going to be a bourbon but it's transit, it is.
Speaker 1:I was going back and forth. As you well know, we my niece's husband works for this car empire up here that has many different branches and dealerships, and he's like I know a guy at a Ford dealership that does the fleet vehicles. I'm like wicked. So I'd been talking to this guy. But the big problem was is that you can get them that are Trent, that are um, for passengers, and then you can get them that are for cargo. But to get one that does both is a little tricksy. So I talked to him about getting one initially. He's like well, I can get your benches, but it's going to take like, uh, 12 weeks to get the benches after you buy the vehicle. I'm like well, I'm not going to buy a vehicle and not use it for months, you know. So that didn't really make much sense. So then finally, he calls me like right towards the end of the year, and says hey, I found a new person that can get benches and a bulkhead into this vehicle in two weeks. I'm like awesome.
Speaker 1:So on December 18th or whatever it was, went in and bought it, and then our next tour was starting on the 19th of January and I told him. I go, listen, I need this thing ready to go by the 19th because the other gristle missile is out of service. And so a week before we were going to leave, I got the call that, uh, in fact oh yeah, I don't know who told you that was going to be ready by then. But there's no way. And I said, well, here's the thing, you're going to find something for me to use. And so then with, and they weren't pleased about it, but they conjured up a vehicle for us to use and anyways it was. It was really a comedy of errors. That continues to this very day. But, yeah, uh, what are you going to do? So, but now that we have it, it's awesome because everything fits in one vehicle.
Speaker 1:Can you and Dylan stand up in it? Uh, not quite, but almost. If we would have got the uh transit three 50, we could have stood up, but I didn't want the. It already blows around plenty. When, oh Lord, have mercy On the way, dry on the drive back here was really, really windy, have stood up, but I didn't want to. It already blows around plenty. Oh yeah, oh Lord, have mercy. On the drive back here. It was really, really windy and that thing. Ooh, it was like a sail, a sail out in the wind.
Speaker 2:Yeah, the end of the tour in the Windy City. We're headed up there, the Sprinter that they rented was tall, headed up there, and you know their, their sprinter that they rented was tall and uh, it has this, uh, anti, anti-wind system. No kidding, I don't know what it, what it uh, it's not good. All it does is apply the brakes, oh nice, and you don't even, you're not applying the brakes, brakes, so you don't know what's going on. Yeah, so I was just trying to sleep and every now and then, just nearly rolling off the bench because it would just that's.
Speaker 2:That's just not good dog and I could hear it on the other side of the frame. I could hear just terrible wind. I'm like we're going into it. No, you know what? It's coming at us in a sideswipe, isn't it? We're about to topple over, I bet.
Speaker 1:Yeah, it was a little unsettling. A little unsettling Well, let's talk about the fact that you know. So you went up to Berkeley, so what was your initial moment where you knew you wanted to be a musician for full time? And then what was your vision of going to school and what did you want to get out of it in terms of whatever you perceived as your end goal? And has your end goal changed as from that initial kind of a lot of questions in one question here, dave oh, that's good.
Speaker 2:I had time to think of how to answer the first one and I'll probably ask you what was the second one. But I I knew what I wanted to do very early on and I'm pretty sure I know know that when I saw for the first time my parents were, they put on PBS. They said you should watch this. Austin City Limits is going to show Stevie Ray Vaughan, this guitar player. So the first thing that came on was the 83 concert where he's wearing the blue kimono.
Speaker 2:Right the 83 concert where he's wearing the blue kimono right and uh, he's probably uh heavily influenced on all sorts of things. And then medicines, yeah, if you will. And then, uh, directly after that, like probably three or four songs I remember it was like texas, flood, pride and joy, voodoo, child and love struck, maybe that's. It might have been four songs that they broadcasted. And then it just like Texas, flood, pride and Joy, voodoo, child and Love Struck, maybe that's it. It might have been four songs that they broadcasted. And then it just went right into the 1989 show when he's all clean Right and all black he's got the black leather vest and black with a white cactus's kind of image on his shirt, you know and he's all cleaned up and he looks better and he's playing better.
Speaker 2:He's playing more clean. I don't know, he's different, he's playing different. And so that was an incredible intro, not only to Stevie, but seeing a person, let alone a guitar player, in two stages of their life, in two variances of themselves yeah, but both of them combined did in fact make me want to be a guitar player. Aha, and at this point I had been taking some piano lessons, as you do in a family, you know, that's kind of what the kids did sometimes, but I don't know if that's a normal thing anymore.
Speaker 1:I think it is, I think, well, I don't know about, I mean, with our kids we did it. They hated it, but we tried.
Speaker 2:I wasn't a big fan of it. There was something about it I liked. I couldn't figure it out, but I was frustrated. But I will say that because of piano lessons, that's how I know how to read. Applying it to guitar was a whole different thing, but at least I understood where everything was.
Speaker 1:Right what the notes meant, and so on, and so on yeah.
Speaker 2:So, but I had been playing piano and I heard Stevie Ray when I was gosh. I must have been eight and a half or nine years old, and maybe seven and a half eight, because then my dad taught me the first three frets. He had a guitar and taught me C, g, d, a, minor E, the dreaded F, yeah. And then actually my dad doesn't play anymore, but he is the one who showed me. Like you know, you don't have to put your first finger over that entire fret, you can just play these notes. And then I don't do it. But I think I've seen some people wrap their thumb around.
Speaker 1:Right.
Speaker 2:And now that's all I do. I never bar, but yeah, he taught me the first three frets, all the cowboy chords and uh, and at this point I'd seen stevie. Uh, I'd seen stevie on video and was completely blown away and I wanted to take guitar lessons from from someone who talked guitar, you know, and I wanted an electric and I wanted to figure out how to bend the strings because what I was playing on was my father's cat gut guitar, you know, classical guitar. So that wasn't cool looking, you know Right.
Speaker 1:You wanted to electrify.
Speaker 2:Exactly, I wanted to plug in, but yeah, and I wanted to be a guitar player. I'm pretty sure that I knew that I wanted to do that, if anything, being here in Austin and having parents that liked to go out to hear music in all ages places and being immersed in everything. And then also all the guitar teachers that I well, the three guitar teachers that I had growing up, one of which was Van Wilkes.
Speaker 1:Oh, it was. Yeah, oh, man bless him.
Speaker 2:I took lessons from Van maybe for a month, month and a half, but you know he was always in France or something you know Right from van, maybe for a month, month and a half, but you know he was always in france or something you know right, uh, but he, uh, he taught me some cool licks and he taught me some really cool things that made me like the guitar a lot nice. Then I moved on to another fella that I took lessons predominantly for a while, you know, like until I. This was probably until I was 17 or something, right before leaving high school, and he showed me playing changes and playing jazz and that was it intrigued me, but it made guitar less fun for a teenager. I understand, yeah, but I'm glad I went through it. I understand me, think I can do this. This is what I want to do.
Speaker 2:I don't just really dig stevie and I like playing guitar. I think I want to do this for life. You know, yes, pretty early, you know, and my parents were supportive. They were. They were like that's fine, you know, get a job, but right, you know, that's okay did you have siblings?
Speaker 2:at all, or no yeah, I. I have an older brother and he's a big live music buff. He loves going. He goes out every night here to hear bands. He's not a musician, but he will be the one guy in the audience clapping in time he's got a good pocket.
Speaker 1:I thought it was awesome your parents came out to our gig when we were down there. That was cool.
Speaker 2:That's right. I said you got to check them out.
Speaker 1:Thank you for doing so. That was nice.
Speaker 2:They were like well, okay, that sounds like fun. I said his kid plays drums with him. Well, we got to see that that was the selling point.
Speaker 1:Yes indeed. Yeah, they were very nice. Glad they had a good old time yeah we all did. I was there, yes you were, yes, you were.
Speaker 2:Fantastic.
Speaker 1:So when you decided to go to Berkeley, what was the mindset of going there and what did you want to get out of it?
Speaker 2:Well, I started going to a high school here in Austin that was very football oriented and, uh, it just kind of wasn't for me and I think I didn't stay. But I was there for two years. Had I stayed I probably would have been discouraged at the idea that I could go to a place like Berklee. I just wasn't. All I was doing was jazz band on just like half of the year and I was in orchestra, I played violin and I found some joy in that. But it was still that the music programs at this school were kind of more interested in uh, winning awards and things like that and going gotcha. You know what I mean. But I was so unhappy at this high school that I ended up, uh, moving to dallas, texas.
Speaker 2:I moved in with my grandmother because I got accepted to an arch magnet school called Booker T Washington. Aha, much smaller, far less kids. It was the first African-American high school in the South, or maybe just Texas, in Texas, I think, and predominantly that, and four clusters. It was music, dance, theater and theater and visual, no sports. I said that and uh, amazing place, made some really dear, dear friends awesome. They also kind of made it more accessible, made the idea of going to berkeley or juilliard or, uh, us USC or any of these kind of prestigious music art schools more possible, and they set up meetings for representatives of these schools to come down and hold not auditions but chances to be awarded scholarship, to be awarded scholarship.
Speaker 2:So I got a little bit of scholarship to go to Berkeley in my senior year of high school because they came to Dallas and set up at the Sammons Jazz Center and had people come in one by one to show them what we got. Yeah, yeah, so that was okay. Well then, that I can do that, you know. And uh, the whole time I was at Berkeley like I said I was, I was trying to get more and more scholarship through the school because I really did enjoy being there. I wasn't the best student but, uh, I enjoyed it and I wanted to keep going there. So I knew we couldn't afford it, so just kept going for more and more scholarship and then I ended up getting more and more as I was there. Excellent, I went for four years but I never did graduate.
Speaker 1:Yeah, that's what I did at school too. I went for four years but never did graduate Really.
Speaker 2:Yeah, I chose two majors and that was the problem. I had a five year plan. Oh, that's what it was. I had a four-year scholarship. So fifth year came around I said can I audition for some more scholarship? There's no, you're a senior or whatever you're. You know you've been here which time for you to move on or pay up.
Speaker 1:And what were your two majors?
Speaker 2:Guitar performance and music therapy, which was pretty funny. I mean that's basically it was really interesting. It was really really interesting. But the whole reason that I went into that major was because that's where the.
Speaker 1:But the whole reason that I went into that major was because that's where the 17 or 20 females that attended that school went over to Follow the herd. Yes, well played, sir, well played. So then did you stay out in Boston for a while after that?
Speaker 2:I stayed out for another year, maybe six months, a little over six months, I know that, so I was not a cheap place to live.
Speaker 2:No, no, but I had gotten established in the community of of uh cover bands and wedding bands and a couple of original artists, but nothing that really paid my rent. But you know it was, know it was. It was uh, I was working and I was uh either taking the tea to gigs or I was using uh I don't know if it's around still, but I think it was called zip car, which was like an hourly car rental thing to go to to either gigs or uh students houses, you know.
Speaker 1:So I made it work, excellent, but it's very cold yeah, well, yeah, it's uh about the same weather we have here in beautiful scotty, so I uh, I understand it gets. It gets a little nasty, oh yeah so then, you returned to beautiful Austin, Texas, and what started transpiring at that juncture in time? What year is this, by the way?
Speaker 2:This was the day after Christmas of 2009. Okay, all right, it was when I arrived in my car with my brother. My brother flew up one way to Boston to help me pack one of those what are they called? Pods or movable storage, and then he drove with me back down to Austin and I arrived, lived with my folks for maybe four months or something like that, and then moved in with a buddy, a guitar player friend, in South Austin in a little house and and started to do the same thing that I was doing in Boston. I was involved in a lot of cover bands you know that was the quick, easy money, sure, and I was pretty, I wasn't too jaded about it, I was pretty, I was enjoying it, excellent, and what?
Speaker 1:kind of cover bands are we talking?
Speaker 2:Well, everything from Top 40 to sometimes they'd just be focusing on, you know, 80s glam, hair metal. I wanted to do I think I really wanted to play a lot of country and there wasn't that in terms of a cover scene, but there was tons of country artists. A lot of them were pretty fixed up with a guitar player they liked. But I got a little bit into that scene too at some point Because, unlike Boston at least for me, unlike Boston coming back to Austin, there was more opportunity to play with original artists of every genre, instead of having to always be in a cover band.
Speaker 1:Right, I got you.
Speaker 2:I still do it every now and then I still play with a cover band because it keeps my chops up, it keeps my songbook extended and up to date. You know I just, you know, use a mindset to to make my, to keep myself happy. It has to be, has to be a uh, profitable and easy and fun. And profitable is actually last in priority, just easy and fun. If it's that, I'm pretty much in Excellent.
Speaker 1:So you did your first solo record around 2012, right?
Speaker 2:Yeah, I had another solo record in 07. Uh, I don't know if it's still online or if it's just physical jewel copies, but that was under the name David share, uh-huh and uh, I might have a copy of that somewhere, I don't know. But yeah, my first, uh, I would say my debut solo record. Yeah, that was 2012. We cut it in Boston. Oh, you did yeah, and uh it. Yeah, that was 2012. We cut it in Boston. Oh, you did yeah, and it's called Porch Talk. That's on Spotify.
Speaker 1:Yeah, there's pretty monstrous guitar tones on there and you're singing like a damn fool. Sounds awesome.
Speaker 2:Well, thank you. Wow, that means a lot. Appreciate you. I haven't really released another record since then, other than just a non-digital physical copy of a live record. I'll get that to you sometime. Yes, uh, but I did sort of recent. Well, a couple years ago I released a four song ep, so that's fun and that's up on the on the webs on the intergoogles.
Speaker 1:So tell us how you got involved with eric johnson and in that whole thing and how that and how. That's where I've seen it now a couple of times. I had the pleasure of sitting in with you guys here in town here and it's just a great show. It was very entertaining and there were my non-musician wife and my son's girlfriend were also. Like we really like this. You know, which is not usually the case when they go to you know guitar oriented things not all the time, but you know they they really enjoyed it. The the the point is they enjoyed the show.
Speaker 1:That's great and so how did you first get hooked up with Eric, and how did that all transpire?
Speaker 2:Well, both of us living here, uh, initially what happened? What happened was well, so my father started an air conditioning business here in town and, uh, he has put an air conditioner in the home of tommy taylor back in 91 and he put an air conditioner in the, I believe, in the home of joe priznitz uh, eric's manager. And then everyone was like Eric you ought to, because he was probably complaining about the temperature or humidity of his studio or his home and he had to call Michael Scher. And so they did. And you know, somewhere in there my dad, I'm sure, said you know, my son's a guitar player and you ought to check him out. So I think he did.
Speaker 2:I think he came out to the Saxon at one of my trio shows and and eventually met him. And you know, we have a lot of mutual friends. You know David Grissom and and Tom Brecklein and Roscoe, the boys oh, yeah, the boys and actually Eric's now manager, who has also done all of Eric's graphic design for his albums, I believe, venus Isle and on oh, okay, so before he was his manager he was his graphic designer, his photographer, his web designer and he's a really talented artist. But also he's a real close friend of Eric's and has been since late 70s I think. But I was using him. His name's Max. I was using Max for my stuff. He did my 2012 album cover and he's done, he's helped me out with my show flyers and stuff. So we've worked real closely.
Speaker 2:And you know, I think Eric was doing the uh hendrix tour, which he does every year, and he was on the bus with max, uh, saying I really want to do this tour, coming up with a fourth member, but I just I don't need a keyboard player and I don't need a keyboard player and I don't need a single guitar player. I just need someone who kind of does both or a number of things and maybe can sing backgrounds and can just kind of lighten the load for me so that the show can not only sound bigger and a little closer to the records, but also maybe I can play some more piano on songs that have, you know, signature guitar riffs on it and stuff like that. And he suggested Max suggested me and Eric and I had met and he goes oh, wow, okay, yeah, that sounds great. So I came over to the studio one time and jammed with him and Tom and Roscoe and that was it. That was probably a month and a half, two months before the tour we went on in 2020, right before the pandemic.
Speaker 1:Right before the pandemo.
Speaker 2:That's right Pandemolition.
Speaker 1:Now, how was learning all that material? Were you already familiar with most of it, like most guitar players, or did you have to do a deep dive?
Speaker 2:I did a deep dive in applying it to my hands. But, yes, I was a big fan of Eric's. So much of the material I had already heard and it rang a bell as I listened to it. I just had never applied it to the fretboard or to a keyboard, right. So I did my homework in a sense of, where I learned all the songs in a real book sense. I learned the changes, the overall groove and a lot of the signature parts and stuff and then showed up to rehearsal. And then the reason I did that is because I had heard about Eric and how he is during rehearsals and how creative it is.
Speaker 2:It's involved I mean, a lot of the stuff I do rehearsals are. Here's the Dropbox folder learn the material material. Maybe we'll rehearse and if we do, we're just going to run the tunes, everything's there. But with eric it's it's more romantic. With the music it's more like yeah, this is how the song goes, be familiar with it and we'll make some changes. That's exactly what we did, and that was was the most fun part of it was coming up. He was coming up with things on the spot. He was saying what do you think and what do you think we should do and I would try and come up with stuff. We'd all try and come up with stuff on the spot that maybe wasn't necessarily on the record, right, but it made the song translate as a four-piece on a stage better than the record could have, you know, or so to speak. Well, that's very cool, yeah. Well, I've had a blast with it.
Speaker 1:It's definitely been a big pinch me moment we interrupt this regularly scheduled gristle infested conversation to give a special shout out to our friends at Fishman Transducers, makers of the Greg Koch Signature Fluence Gristle Tone Pickup Set Can you dig that? And our friends at Wildwood Guitars of Louisville, colorado, bringing the heat in the shadow of the Rocky Mountains. Now, how bad is your guitar appropriating affliction. Are you a? Uh? Are you always on the prowl? Are you okay with, with what you have? And it's only under rare occasions do you go. I gotta have that I'm on the prowl.
Speaker 2:I'm always on the prowl, but uh, mine is more about gear rather than just specifically guitars or amplifier. I have a lot of snare drums. I have a lot of drum sets Well, I have a few drum sets, but I have a lot of snare drums. I have a lot of recording gear and outboard equipment. I have some PA stuff too. That's pretty cool.
Speaker 2:That makes things easier when I want to, uh, spend less, keep more of the money up a gig to myself and run the show, as opposed to hiring someone to make my life easier, right, right, right. So I'll, you know, I'll make a little more money on on a gig that I need to bring sound to, but but I'm still debating whether it's worth it or not, because it's hard work, but I find it fun. I still find it fun. So I have all sorts of knickknacks. My guitar collection is medium and some odds and ends. I don't really have anything vintage or super valuable, like a black guard, like that or anything like that, but I got some custom shop stuff and I plan on bringing one or two instruments with me to the show to see if anybody's interested in trading up or trading sideways. Uh-huh, and I'm very cool with coming home after the show with said guitar and and not getting anything new. You know I have a bug, but it's not like I gotta have something new in order to feel good.
Speaker 1:It's just uh, I just like being around it, not like talking shop, you know I get it, I understand I I have, I'm to think, I think I've only purchased one guitar when I've gone down there, and I've probably been going down there last I don't know four or five years, and so.
Speaker 1:I've been, I've been, I've behaved myself. You know it's, but it's it's. I don't know about you, but for me it's a very it's a not impulsive thing, but it's one of those things where I know right away if I'm going to buy it, if I, if I'm on, if I'm on the fence of like I think I'm going to get it. And then I say I'm going to wait on it, I I'll never get it. But if I, if I, if I like, sometimes I just play one chord and I'm like we're done. You know the price is, you know it hits, hits me in the fields, the price is right, whatever, I'm just like we're done.
Speaker 1:Let's take it, you know, uh. But a lot of times I've had a hankering for this. Uh, I've always wanted like a white big headstock, like 68 strat, like Hendrix's, you know. And of course the actual ones are ridiculously expensive now, which is bullshit, uh. But at a local store they've got a custom shop version.
Speaker 1:It's really light, sounds great, and I went in there one day and I played it and I was like I think I'm gonna get this. And I was like, no, I got taxes to pay coming up here. I should. I should probably be more responsible, right. So then I go home and I was like I got so much extra shit around here that I don't really play anymore. So I thought, well, maybe I'll take some of those over there and see if we can make a deal. And and I know damn well how trade-ins work, you know what I mean and I know you're going to and so I went over there and I was like, yeah, no, I'm not going to do this In the deal. What they were doing, I mean I understood the numbers. It's not like they were being, you know, overtly advantage-taking.
Speaker 2:No, they were just running a business.
Speaker 1:Exactly and I just thought, nah, I don't think I'm going to do that. So away I went. But other times I'll go in. Literally I'll just pick up a guitar, as I said, hit a chord and be like how much is this? And they'll say like we're done, and then away we go. But that's maybe once a year that happens. Yeah, yeah I.
Speaker 2:I know that if I think about, if I'm going to have to think about this for a while, then I'm probably not going to get it Right. You know. Uh, you know, just because I'm more likely to talk myself out of it if I wasn't hit in the face at the beginning with the instrument, literally.
Speaker 1:Well, going out to Wildwood it's very hard, oh yeah, because I'm always playing something that's really nice. And I got a thing for Les Pauls, even though I I don't even bring one on the road with me most of the time, sometimes I do, uh, but I just love them again and that's like Les Paul central yeah, that's what I've seen. And uh, and I'll get one and I'll be, you know, a Tom Murphy, aged and paid, uh, painted, uh, you know why would spec, uh, lester is a thing to behold. And I'll get one and I'll start playing. I was like, yeah, but that's a lot of money. And then I'll let me take it back to the hotel and I'll play it for the three days I'm there, and then I hand it back and realizing that in a month, when I come back, there'll be another one.
Speaker 2:That can have as my surrogate friend. That's right. I mean, yeah, I recently got myself a little. You know, my birthday was last month. This year was my birthday, you know.
Speaker 1:Excellent. How old are you now, Dave, if you don't mind me asking.
Speaker 2:This year, this year's birth year, I turned 38.
Speaker 1:Oh bless you, You're a youngin'.
Speaker 2:Youngin' yeah, 38. Oh, bless you, you're a young'un, Young'un, yeah. And I decided to wander into Austin Vintage Austin Vintage Guitars here in Austin, and it was just me and my stupid credit card and just walking around and I found this 335 that I really did fall in love with. Found this 335 that I really did fall in love with. It's not super vintage, but I mean it's 40 years old, it's from 84. And those early 80s 335s were kind of going up in value, especially if, like one of these, this, has the Tim Shaw.
Speaker 1:Oh yeah, that was my main guitar. I saved up my junior year in high school, uh, so that was the summer of 83, and I bought a blonde dot neck uh, brand new, and that was that and that was my main guitar for years on it, until it got stolen. Oh no, yeah, but now I've got another one from like 85, which is almost the same thing, okay good.
Speaker 2:Yeah, well it's. I've never had one. I mean, I've had a Sheraton and I've had a Casino, and no, that's not true. I have had a 69 335 with a little tiny neck and I traded that and got a little tiny neck. I traded that and got a little cash as well for a 73 355.
Speaker 2:I had to figure out how do you make this work with one cable, with a regular cable, because of the stereo pickups. Someone was like, oh, you just plug it in, not all the way, or you don't. Yeah, exactly. Yeah, it's a hassle, yeah, it's a hassle, but you get a special cable, you know a TRS to TS or something like that. But that was a fun guitar too.
Speaker 2:But I, just as I started to play my own music and was doing less Sideman stuff, doing less Sideman stuff and I was I realized that my trio is very, very driven from a power trio type of sound, like Hendrix or Stevie or Phil Sace or things that are kind of hard hitting for a solid body Fender. I just never played these semi-holos because I was playing loud and trying to keep I was actually sort of trying to keep the feedback low, you know, like a grownup, right, and so the solid body thing worked out and it was just. It was also. I mean, come on, looks are important. So I just you know this thing it's a strat or a telly, mainly a strat made me look like a normal person and then I try and stand and sing and play a 335, and I seem, you know, four foot eight.
Speaker 1:I don't know, as opposed to myself, when I play a 335, people go. Is that a 339?
Speaker 2:Yeah, that's right, it never ends. I'm sure it doesn't. But I will tell you, even though it's not really my thing as far as the sound for my trio and my music my thing, or even the look, or even just not naturally knowing to go reach for both volume knobs that are kind of far away compared to the Strat, which is just your pinky there I mean my Tele. I flipped the plate so that I could make the volume pot be closer Right, so that I could make the volume pot be closer Right. But the Gibson is just unnatural. My Les Paul is the same way. It's just unnaturally over there and I got to think what pickup is this? Oh, so it's that knob. Well, I might hit the switch.
Speaker 1:I better get both. I haven't looked at it, but I did a talk with Andy Alidor the other day and he said that Dickie Betts, you know, when he played that 61-335, that he switched because he loves to do volume swells, obviously, and on a 335, it's hard Not for me but because I'm a Sasquatch but he moves the volume, the rhythm pickup volume, and swaps it out with where the toggle switch is, so then you can reach it easier, which I thought was cool. And I haven't really looked at, you know, since he said that. I haven't looked for pictures of it to see what that looks like, but I'd never noticed anything weird about Dickie Betts' 335, but I guess I wasn't looking that close, but I think that's what he said. He said he swapped it out so that it was more reachable.
Speaker 2:And that doesn't require any drilling.
Speaker 1:Well, apparently Dickie didn't care about there was no drilling, but Dickie didn't mind messing around with the electronics because he's Dickie Betts, so was Dickie Betts, yeah but that does all sound pretty reversible.
Speaker 2:Yes, exactly. Bets, yeah, but that, but that does all sound pretty reversible. Yes, exactly exactly. If you gotta sell the guitar and you've been having the volume knob up here where the switch is or down here where the switch, then you're just like, oh well, I can just move this stuff around and put it on the marketplace, so that's a good idea. If that's what I'm thinking.
Speaker 1:Yes, and an interesting thing I remember do you know Guy King, a blues guy from? He lives in Chicago, he's a 335 guy, great singer and guitar player, and he loves those early 80s 335s as well and one of his pickups went bad and I said, well, you know, I know Tim Shaw from back in the Fender days. And I saw Tim Shaw and I said, hey, tim, a buddy of mine is a big fan of those you know mid 80s or early 80s 335s and your pickups in them. Is there anything out now or do you make those pickups anymore? And he goes and he kind of, you know, intimated, without giving, divulging too much verbatim information, but he's like you know those humbuckers that we've been using in the strats for the bridge position. He goes. That's basically the same pickup, so good to know if you need a replacement that you can.
Speaker 1:Whatever that pickup is, I used to know the name of it, but now I'm, I'm spacing it, but, um, that is the same device, apparently, that is the same device, apparently.
Speaker 2:I know nothing. It's. It's the same wink wink, nudge nudge pickup, but oh yeah, but not official. I know that, okay, so I don't know the I'm not I'm. This is my first uh dive into the early 80s 335s and the tim shaw pickup, so I don't know much about them. I just I think they sound great they sound good.
Speaker 1:Yeah, I I always I love the way that guitar sounded. And what happened was is that that guitar got stolen? I was still in college at the time and it got stolen from my car. And then I went back home and my dad's like well, we have homeowner's insurance for that, so we'll just get another one. So, sure enough, I got another at that point, a 1988 335, but it was not the same and I don't know. At the time I couldn't tell you. You know I couldn't. Well, the pickups are different and yada, yada, yada, the lacquer seems different. I didn't know any of that shit. I just thought it's not the same and I ended up, believe it or not, I ended up pawning that guitar for a down payment on an apartment for my lovely girlfriend at the time, now wife. So that worked out, oh same girlfriend.
Speaker 1:Yes.
Speaker 2:Oh, wow, yeah, then that was worth the pawn I suppose yes.
Speaker 1:But yeah, it was kind of an interesting story about how I bought the 335 because prior to that point, you know, I played a Tele and it wasn't because I always wanted a Tele, it was because it was the Fender guitar that was available to me. I love the neck pickup on a Fender guitar, particularly because of Hendrix and um, you know just I love that sound. And then I got a Tele and then ergonomically it just worked out for me. It's like oh, neck pickup is where you kind of build your solos up and then when you want to go for the jugular you go to the bridge pickup. If you want kind of a snotty or chunkier sound, that's in between, you go in the middle, we're done. But I always wanted a strat, yeah and uh. And then when I finally got a hold of a strat I it didn't play all that great it was, it was like a 65 strat or so that a friend of mine let me use and uh. But the neck pickup was just harder sounding to me than the neck pickup on a telly and so I kind of preferred the that sound.
Speaker 1:But at the time I thought I was like the only one, because everyone who was my age, I was born in 66. So by all rights, I should have been a metalloid. You know what I mean, because most of the people that I was around, they were the oldest in their family, as opposed to I was the youngest of seven and I was an oops. So I was, you know, uh, exposed to all of my brother's records, or Hendrix and cream and almond brothers and all that shit. So, um, everyone around me was into metal shit. You know there, if I, if I had friends that were, oh, they're really into music, they were all into rush and I was like that's not a power trio, cream is a power trio, it's a power tree, you know. And so I remember one day I heard the David Bowie tune let's dance. Now, you got to remember. I think I'm the only person in my age group, or anyone that is even around, that even know who's Albert King is right. And I'm hearing these Albert King licks. I'm like who the fuck is doing that? Because that was my whole thing. It's like trying to do this Hendrix, albert King. You know this amalgam into my own. That was my vision and of course you know you're young and delusional, so you think you're the only one, you know, and I hear this record. I'm like who's that playing these Stevie Ray licks? Or who's playing these Albert King licks?
Speaker 1:And so I open up a guitar player magazine and there's an article about let's Dance and I'm reading into this and there's a picture of Nile Rodgers and he's playing a Strat. It's like, well, that's got to be him, because it's definitely a Strat. And then I'm reading on it no, no, no, we brought in this guy Stevie Ray Vaughan, cause I didn't know anybody named Vaughn Right. And I'm reading this and I'm like, oh anyway. So I remember I got that first record and I brought it and I couldn't believe what I was listening to. I was like the coolest shit that no one else knew. This guy has taken it and codified it with the greatest tone in the history of man. And you hadn't heard of him. No, I had no idea.
Speaker 1:But I read this article and I went into the record store and I said, do you have anything by this guy, stevie Ray Vaughan they go, you mean Vaughan. And there were two copies of Texas Flood in the store and I bought one of them and and it was a Saturday and we went back to my buddy's house and we drank beer and we listened to that record and I I came back home you know, I had a little bit of a swerve on because we had been drinking some, some beer and I said to my parents you're listening to this record right now and they're like what? And I go, and I forced him to listen to it. I go, this is what I want to do, this is, this is my whole thing. And then the more I listened to it, the more I listened to it. I was like I can't play a Strat. Now it's been fucking done. This guy has just defined what the Stratocaster everything I thought was cool about the unique things of the Strat he had already done. So then at that time I was really uh, I had seen the Allman brothers, like a couple years before that, and Dickie Betts and Danny Toler Gibson on the neck pickup sound. I thought now there's something that you don't really hear a whole lot of these days.
Speaker 1:So then I went to this jazz camp when I was a junior in high school and while I was there this guy was cool because he wasn't like you. You know, as I like to call them jazz Nazis, who are like you know, you got to play an ES three, 35 with Ramon strings through a polytone amp and if you bend a string you're a heretic. You know. He was very inclusive and cool and I was playing my telly and he's like man, I'm really enjoying this. You know the, the, the blues thing you got, and you know you, you swing in and and and and you got those country chops he goes. If you wanted to add a little bit more jazz to your stuff, you should check out these guys.
Speaker 1:And I remember he had this little phonograph in the little you know camp classroom that we were in and he played me Larry Carlton and he played me Robin Ford and I was like well, here we go, this is cool. And there was another camp guy there with a 335 and he always wanted to play a telly and now I had a Jones for a 335. So we kind of swapped for the duration of the camp, yeah, uh, and I was like I got to get a 335. So then that summer I went back and I worked at this factory all summer, uh, and saved up my dough and I bought that 335 and that was my main guitar for for a good um well, at time it seemed like an eternity, but it was probably five years, wow, how about that.
Speaker 1:But then it got stolen.
Speaker 2:Yeah, and then I mean I've kind of always known you as a Tele guy and maybe you get that all the time. I don't know.
Speaker 1:Well, at one point I, I, I constantly, I always had a telly in the arsenal. I always use tellies for recording and I'd play them on gigs and hear that. But then I forced myself to wean myself off the three, 35, uh, because I wanted to get some of the more of those single coil sounds. I, I played a telly at me. I got an American standard telly at that time, so this is probably 1989. And I put together a cause. I wanted a humbucker in the neck, cause I was, so that was my thing at that point. So I got a Seymour Duncan stag mag, a humbucker, and I put that in the neck. I had a reverse Alnico in the middle and I had a broadcaster pickup and back and I put a five-way toggle switch in.
Speaker 2:Oh, this was like a Nashville telly.
Speaker 1:Yeah, so it was kind of my. I was weaning off the three 35 going back into Fender land and so and that that, that guitar sounded great. And I had this Jim Kelly amp which just fucking roared. I got one of those, yeah. And I had this Jim Kelly amp which just fucking roared. I got one of those, yeah. Did you have the two channel one with the attenuator?
Speaker 2:I could have gotten the attenuator, but no, it's a one channel with a gain switch like a gain boost.
Speaker 1:This was one of the old ones from back in the day where it had it came with the E120 JBL in it, so it was heavy as shit but it was basically two Deluxes in one and the one channel you could set regularly. And then it had this special attenuator with this weird cable in it that was specifically for the amp and then you could overdrive and it sounded awesome. And that bridge pickup on that tele with that broadcaster pickup in it through, that thing just sounded like the word of God. But because I was gigging all the time and you know sub zero weather and a lot of times I'd come home and I'd have a little bit of a snoot full and I'd leave my shit in the car. I kept on getting my pickups kept on going microphonic because, you know I was, the wax was getting compromised or whatever the case may be. The wax was getting compromised, whatever the case may be.
Speaker 1:So then I forced myself to play a Strat, and Strat was my main guitar for quite a period of time until I just got tired of trying to keep them in tune, because for everything I did on them I liked doing some whammy. I didn't go crazy with the whammy bar, but I used it and then I did all my country stuff and all my other and it just wouldn't stay in time. And every time I play a telly I was like why didn't I just force myself to do this? But I think I don't know about you, but there's this mentality of well, if I play a telly, I can't do all that cool shit that I know how to do on a strat. And at some point I was like, yeah, but fuck it, I'd rather just stay in tune and use this kind of more restricted canvas to do all of that stuff as opposed. You know what I mean. So I did that in like 2005, 2006. I just said, screw it, I'm going to play tellies and that's it.
Speaker 2:I play a Strat and all I do is tune. I mean, in every song. I've gotten really good at tuning quickly, or at least starting to tune. I always put my reverb on trails so that I can hit the last thing let the trails go mute for the verb. And the trails are still going and I'm already on the B. You know, just like that's I had. I had to, I had to get good and I wasn't going. I haven't been going crazy with the whammy, even though I've been going through for the last. You know. Well, my whole life I've gone through a whole. I've gone through a Jeff Beck phase, but uh, well, my whole life I've gone through a Jeff Beck phase, but recently I've kind of gone back through it and revisited things and been like, oh, this thing is really cool. It's like bending flat instead of sharp. It's the same concept of bending, you're pushing.
Speaker 1:But the problem with the Jeff Beck thing, I mean there's no problem with it, it's a glorious thing. But he at the same time he was just most of the time playing melodies and playing parts with chunks of chords. But you know, when you're the only guitar player and you don't have a keyboard player, and you're, and all of a sudden you got to do oh, this next section, I've got to do an arpeggiated thing with open strings. You know what I mean? It's like the chances of it being out of. I mean, that was I'm sure you're the same way. There's this constant dialogue going on. If I grabbed the whammy bar in verse two by the time I have to do that arpeggiated passage at the end of the song, there's a good chance I'm fucked.
Speaker 2:Yeah, right, no that's true, that's true. But I've been. I've been real experimental with you know how many springs I keep on the claw in the back and where I set everything to make it to where I'm going to let go of that bar and I'm going to feel good about strumming this open G or E chord. And it's been pretty good, especially if I don't keep my strings on too long. I really like old strings. I'm kind of a weirdo like that. I mean, I'm a bass player too, so I love old strings, you know. And even on guitar it's just like.
Speaker 2:I like opposites. I like taking, when I'm recording drums, I like taking my overhead mics and having them be dark ribbons because all the stuff that is recording is bright and noisy, right. I like taking a real sibilant, large diaphragm condenser mic that you would maybe record a female vocalist with and putting it on an Ampeg B15 for bass, female vocalist with and putting it on an Ampeg B15 for bass, and you know it's just they you're going to. The results are just. They're always what I'm looking for when I, when I put opposites together and when I play dead guitar strings through a Fender with the bright switch on, you know what I mean.
Speaker 2:I can typically get what I'm looking for and I don't get too much of something that I'm looking for. If that makes sense, it totally makes sense. So when I have old strings, I can usually get the tone I need. But when I'm diligent about okay, these haven't broken, but it's time, I'll change the strings. You know, five days before a gig that I want to play a lot of Wang Bar on, yes, yeah, and I'm typically safe, I'm typically good, as long as I don't do some Whitesnake, you know, dive, bop and stuff like that.
Speaker 1:I should preface the fact that I had a particular problem with keeping Strats in tune, because I'm like the, I'm like the anti MacGyver with my guitars. It's like I don't, I don't futz around with them, so you know anyway. So I actually have an S style guitar coming out with our friends at Reverend. I suppose I can say it now on this. I don't know when this is going to air. Is it bigger than a?
Speaker 2:Strat because it's you. Yes, oh good, yes.
Speaker 1:But I also mess with the pickups too, because that was the other thing. It's like, you know, I'm so used to now if I'm playing my you know, especially my Gristle Master with the pickups that we developed and that if I grab a Strat, in comparison you know it's a little wimpy and, and so I did pickups that are a little bit more um, uh well, they're higher output, but yeah, I've kind of always had a love hate relationship with that Clapton preamp. There's some things I like about the clean aspects of it that are less really kind of stereophonic gorgeous thing, but that also there's a few frequencies that I'm just like, yeah, but it's a little this. And then I like a little bit of that preamp when you actually put it on. But if you, you know he's got that 24 dB boost and I don't know if you've ever messed with one of those, but you crank that thing up, it gets all muddy and really mid-rangey.
Speaker 2:So that's the thing where, when his signature strat was, lace pickups and all that.
Speaker 1:Correct. And now he's got their other noiseless pickups. But initially it had the lace sensors which I thought worked better with that preamp in there than the other pickups. But that's just my weird geeky shit. Opposites yeah, exactly, exactly correct. So I worked on pickups that I wanted to have all the cool things I thought about that preamp but get rid of the things I didn't like. And we nailed it, I think. So I'm going to have a new set of pickups with Fishman that are going to be coming out in this new guitar later this year. So I found that the Wilkinson tremolo that they use stays in tune pretty damn well. So you know.
Speaker 1:Plus, I just learned things, usually like when I used to. I don't know about you, but when I played a strap back in the day I always had a problem keeping it tuned. Uh, because I didn't realize that well, you want to keep the the uh, the pressure on the neck as consistent as possible. But I used to do a thing all at string changing day and I was kind of the same way. It's like I changed. I usually thought, well, you change strings and you break them, and then I got to the point where I was like, no, you need to do that a little bit more than that or you're going to break strings. So I all at string change day and I would take all the strings off and then I would my special goop and, you know, my special towel and put on a ravishankar record and do this therapy, get rid of all the nougat and stuff on the guitar and then put strings on it.
Speaker 1:It took forever for it to get back in tune because I like the floating tremolo. And then when it when I realized, well, keep the guitar in tune and just change one string at a time and yank on that fucker until you take the next string off so it stays in tune, I was like, oh, now I can change strings like 10 minutes before gig and it'll stay in tune. Uh, so I learned that kind of later on in the game and um, but prior to that it's like I was like I can't keep this guitar in tune for love nor money, so then I wouldn't, I wouldn't want to change strings. Yeah, and to your point too, it's like you change string. I'll never forget what I, because I was always that way when I was younger. I mean, I was playing the 335, it's like, well, you change strings when you break them right, and then I would change all of them. I was like God, this guitar sounds awful, it's all bright.
Speaker 2:It's not what I wanted.
Speaker 1:It's crazy the things you learn by Jimmy.
Speaker 2:I mean, I'm not a MacGyver either. I mean, I don't know what I'm doing. At least you put your own pickups in. I don't know how to do that. I'm not really good, oh no, I don't know how to do that.
Speaker 1:Somebody else did it for me. Okay, I have the ideas, dave, I don't have the know, although you know, it's one of those things I always say because I was the youngest of seven kids. It's like I can figure shit out pretty well, but I realized early on that claim ignorance and people will do shit for me, oh yeah, and I'm, I'm down for that.
Speaker 2:But uh, I do want to get into, uh, not, not MacGyvering my own instrument, but I do want to get into soldering. I'm, I'm interested in, uh, making my own pedal boards and making them really clean. And yeah, you know, like that, for some reason that kind of interests me. It's a little weird therapeutic, like it satisfies my, my, uh, you know, eric and I have some things in common as far as you know, being neurotic, and I think that would satisfy my, my isms, if I got into soldering and you know, be like, ooh, go from this pedal to that pedal and I can't see the cable, that'd be nice, the clamp it down real tight. Then people will call me hey, you want to make a rig for me? No, this is for me.
Speaker 1:Leave me alone.
Speaker 2:Awesome, leave me in my shed.
Speaker 1:Well, listen, my friend, it's been an absolute blast shooting the breeze, or chewing the gristle, as it were, as it were. Thank you, and I look forward to seeing you this coming weekend at the Dallas International Guitar Show. Are there any things you'd like to mention, like things you got coming up or records coming out or anything like that?
Speaker 2:Not too much. I mean, if you're listening and you're in Austin, I've got some stuff going on at the Saxon.
Speaker 1:Club and stuff. So check out Dave's website. What's your website? Just DaveSharecom.
Speaker 2:It is, but I am going to need to get that website an overhaul pretty soon. It's pretty outdated. It's like pre-COVID. I haven't even you know.
Speaker 1:So follow you on social media is what you're saying. Then you'll know where you're playing.
Speaker 2:That's the way to do it. I like what you've done. Yeah, be social with me.
Speaker 1:That's right.
Speaker 2:Yeah.
Speaker 1:All right, my friend Pleasure as always. Thanks so much for doing this and I'll see you this weekend.
Speaker 2:Yeah, thanks for having me, Greg, it's a pleasure. Take it easy, take it easy. Bye-bye.
Speaker 1:Folks, thanks so much for tuning in. We certainly do appreciate you stopping by and partaking in the most savory chewable gristle this side of Cucamonga. Gregory Koch, looking forward to seeing you again next week, even though I won't actually see you, but I'll sense your presence.