Chords for Left Banke Interview Part 1
Tempo:
138.75 bpm
Chords used:
C
G
Ab
D
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Can I say something [C] before we start?
Let's not cross talk or everything [D] because we really,
it's going to be hard to hear everything.
[G] Okay, just let him ask the questions and answer
them.
All right, so I guess let's just be honest.
[Ab] How does it feel to be playing Left
Bank songs [G] once again, 40 years after?
What was your, basically your first instinct when
you first thought of the idea, you know, getting back together?
Tom?
Tom [Fm] Finn's Facebook page
[E] blew me away.
I couldn't [Ab] believe it.
He saw my Facebook page.
I'm just Tom Finn.
George
saw my Facebook [Eb] page and he got inspired.
So he and Paul over there, the guitar player,
started jamming with Charlie, our lifetime friend there.
And they put, where did Charlie,
Charlie left, huh?
Anyway, they, they started jamming downtown and Lower [A] East Side.
And
then George invited me and I [C] brought in Mike Cornetell.
And then we, we had something that
sounded halfway decent.
And then we got Rick here on the drums.
Good find.
You know, so
we, we put it together and we kept working toward the idea that, yes, we're the Left
Bank and we're going to do these songs.
First, the first order of business is to sound like
the records because that's what the people want to hear.
You know, they want to hear
the way the records sound.
As we get more down the line, we'll, we'll experiment more
and do more new material and new albums and, you know, make it the Left Bank, but it may
be a [G] little more up to date, whatever.
How long did the actual process take to get all
the score down, practicing until you guys felt [N] like you were polished?
That's Mike.
That's Mike.
[D]
Mike Cornetell is going to answer this.
No, I want to hear you.
I [Eb] listened to
the records and I [C] said, how, how can you make this orchestra sound with the least number
of people?
And I came up with three, one violin, one cello and a keyboard.
And so I
wrote the charts over a period of about four [Cm] months, I guess.
[D]
They had never played most
[N] of those songs.
They'd never, they had never played anything from the second album live.
[C]
Right.
Back in the sixties, we never played one song live from our second album.
And they
were going, oh, you don't want to do that one.
You don't want to do that one.
I was
like, you know, [E] he was like sort of the taskmaster there for a while telling us, you know, convincing
us that we should do everything from the first and [Ab] second album, which we pretty much did
tonight with the exception of maybe one or two songs.
We did everything.
Exactly.
[A] And
does, does the reissuing of like Left Bank One, Left Bank Two, does that coincide with
this kickoff [G] tour?
Did that come after the [D] fact?
That was a coincidence.
Yeah.
[C]
And, you
know, you can see all this support we're getting from the [Ab] record company.
It's amazing.
It's
wonderful.
So what have you been up to these last decades?
I know you do a DJ.
Yeah, I
do parties.
[C]
I'm a live DJ.
I have a very good record collection and CD [G] collection and I
go out and, you know, being that I'm, you know, I have a long history in music, I'm
able [C] to like look at a crowd and, you know, see what they look like and figure out what
type of music they like and play it for them.
And a lot of other DJs can't do it [Ab] because
they're a lot younger than me, number one.
They don't have the same point of reference
that I do.
And I've been able to make a good career for myself over the last 30 years doing
this [Ebm] now.
And I've done [Am] the White House, [Bb] you know, I did Whitney Houston's wedding.
I mean, Robert De Niro's wedding.
It just goes on and on and on, the type of gigs that
I've done, you know.
[C]
And I'm lucky.
I'm lucky that I was able to, you know, have the ability
to do that stuff.
Are you always good at music?
Thank you, George.
He's like, you [D] can name
a song from the 20s, time to pick it up and find out.
Get it to you.
This guy's incredible.
I'd be good at the college radio [Eb] station, you know, I'd really be good.
Oh, I bet.
[Ab] They got rid of all of our records.
You should pull me in there.
Really?
Tom wants a [C] job.
How about yourself, George?
I kind of gave up on music for a long time, you know.
I just happened to meet Paul one
day.
I was carrying a mic, [D] he was carrying his guitar.
I don't know, we just looked at
each other and we just sort of clicked and, you know, Paul brought me to his rehearsals
and we started jamming.
And then, like I said, I got into Facebook and one day I approached
Paul.
He just says, I want to play.
We just played.
This is a musician right here, this
kid, he lives by it.
So, man, he was like Mickey Finn in this gig, which is really great.
We started working with Charlie.
[E] Yeah, we started with Charlie.
Charlie, are you on any of the records?
Yeah, I'm on the third album.
I play Seven
Songs on [G] the train.
[C]
The [Eb] Strangers on the Train LP is really interesting.
I read that
you released it many [G] years after the fact you recorded it.
What was the whole
That was because the person that we signed it to, Victor Benedetto from Cam, a music
publisher, he's a publisher.
In the contract that I [C] negotiated with my lawyer, our lawyer,
we stated that if he doesn't procure a record deal for us, we get the rights to all our
songs back from the publishing.
So his contract was running out and his time limit.
So he
got the first record company that would put it out.
He basically just got some [E] Grateful
Dead reissued label to put it out.
Relics.
Relics Records, which we'd never heard of.
No, [C] it's because he just wanted to make sure he didn't lose the publishing.
That's the
thing.
Were you satisfied with that record?
No.
No, because out of the 12 songs that are
on that record, only two or three of them were done as right [Eb] and proper masters in a
studio with the proper producer and engineer and everything else was a demo.
That's interesting.
Yeah.
I was surprised to even read about the third record.
Yeah.
It was a demo.
The whole
thing was a demo album and the other stuff, it came out terrible because they used studio
musicians and it sounded like crap again.
There's some great songs in there.
There's
some really good songs in there and it could have been a lot better than it was, but
I almost [Bb] feel like doing it all over again.
[A]
Reissuing down.
Yeah.
Only our way.
And I guess here's the inevitable question that is the white elephant in the room.
I
Martin Caro's singing ability and it's spot on.
Thanks.
Has there been any contact with
Michael Brown or Steve Martin?
Yeah.
Any interest [C] from them?
Yeah.
They're always interested.
Our opinion is here that there's always a chair for them if they want to sit in or do
a song or two or whatever, but neither one of them are in the position to be able to
play music right now just because of physical reasons and other things.
That's the official
answer.
The truth is they're tied in the trunk of my car.
You know, I would love to be honest
with you.
I would love for Michael to come up and play a song or two and Steve to come
up and sing a song or two, [A] but that's about as far as it's going [Ab] to go as far as I can
see right now.
All right.
Well, I mean, there's always hope for that in the future.
Yeah.
Yeah.
Of course there is.
[N]
Let's not cross talk or everything [D] because we really,
it's going to be hard to hear everything.
[G] Okay, just let him ask the questions and answer
them.
All right, so I guess let's just be honest.
[Ab] How does it feel to be playing Left
Bank songs [G] once again, 40 years after?
What was your, basically your first instinct when
you first thought of the idea, you know, getting back together?
Tom?
Tom [Fm] Finn's Facebook page
[E] blew me away.
I couldn't [Ab] believe it.
He saw my Facebook page.
I'm just Tom Finn.
George
saw my Facebook [Eb] page and he got inspired.
So he and Paul over there, the guitar player,
started jamming with Charlie, our lifetime friend there.
And they put, where did Charlie,
Charlie left, huh?
Anyway, they, they started jamming downtown and Lower [A] East Side.
And
then George invited me and I [C] brought in Mike Cornetell.
And then we, we had something that
sounded halfway decent.
And then we got Rick here on the drums.
Good find.
You know, so
we, we put it together and we kept working toward the idea that, yes, we're the Left
Bank and we're going to do these songs.
First, the first order of business is to sound like
the records because that's what the people want to hear.
You know, they want to hear
the way the records sound.
As we get more down the line, we'll, we'll experiment more
and do more new material and new albums and, you know, make it the Left Bank, but it may
be a [G] little more up to date, whatever.
How long did the actual process take to get all
the score down, practicing until you guys felt [N] like you were polished?
That's Mike.
That's Mike.
[D]
Mike Cornetell is going to answer this.
No, I want to hear you.
I [Eb] listened to
the records and I [C] said, how, how can you make this orchestra sound with the least number
of people?
And I came up with three, one violin, one cello and a keyboard.
And so I
wrote the charts over a period of about four [Cm] months, I guess.
[D]
They had never played most
[N] of those songs.
They'd never, they had never played anything from the second album live.
[C]
Right.
Back in the sixties, we never played one song live from our second album.
And they
were going, oh, you don't want to do that one.
You don't want to do that one.
I was
like, you know, [E] he was like sort of the taskmaster there for a while telling us, you know, convincing
us that we should do everything from the first and [Ab] second album, which we pretty much did
tonight with the exception of maybe one or two songs.
We did everything.
Exactly.
[A] And
does, does the reissuing of like Left Bank One, Left Bank Two, does that coincide with
this kickoff [G] tour?
Did that come after the [D] fact?
That was a coincidence.
Yeah.
[C]
And, you
know, you can see all this support we're getting from the [Ab] record company.
It's amazing.
It's
wonderful.
So what have you been up to these last decades?
I know you do a DJ.
Yeah, I
do parties.
[C]
I'm a live DJ.
I have a very good record collection and CD [G] collection and I
go out and, you know, being that I'm, you know, I have a long history in music, I'm
able [C] to like look at a crowd and, you know, see what they look like and figure out what
type of music they like and play it for them.
And a lot of other DJs can't do it [Ab] because
they're a lot younger than me, number one.
They don't have the same point of reference
that I do.
And I've been able to make a good career for myself over the last 30 years doing
this [Ebm] now.
And I've done [Am] the White House, [Bb] you know, I did Whitney Houston's wedding.
I mean, Robert De Niro's wedding.
It just goes on and on and on, the type of gigs that
I've done, you know.
[C]
And I'm lucky.
I'm lucky that I was able to, you know, have the ability
to do that stuff.
Are you always good at music?
Thank you, George.
He's like, you [D] can name
a song from the 20s, time to pick it up and find out.
Get it to you.
This guy's incredible.
I'd be good at the college radio [Eb] station, you know, I'd really be good.
Oh, I bet.
[Ab] They got rid of all of our records.
You should pull me in there.
Really?
Tom wants a [C] job.
How about yourself, George?
I kind of gave up on music for a long time, you know.
I just happened to meet Paul one
day.
I was carrying a mic, [D] he was carrying his guitar.
I don't know, we just looked at
each other and we just sort of clicked and, you know, Paul brought me to his rehearsals
and we started jamming.
And then, like I said, I got into Facebook and one day I approached
Paul.
He just says, I want to play.
We just played.
This is a musician right here, this
kid, he lives by it.
So, man, he was like Mickey Finn in this gig, which is really great.
We started working with Charlie.
[E] Yeah, we started with Charlie.
Charlie, are you on any of the records?
Yeah, I'm on the third album.
I play Seven
Songs on [G] the train.
[C]
The [Eb] Strangers on the Train LP is really interesting.
I read that
you released it many [G] years after the fact you recorded it.
What was the whole
That was because the person that we signed it to, Victor Benedetto from Cam, a music
publisher, he's a publisher.
In the contract that I [C] negotiated with my lawyer, our lawyer,
we stated that if he doesn't procure a record deal for us, we get the rights to all our
songs back from the publishing.
So his contract was running out and his time limit.
So he
got the first record company that would put it out.
He basically just got some [E] Grateful
Dead reissued label to put it out.
Relics.
Relics Records, which we'd never heard of.
No, [C] it's because he just wanted to make sure he didn't lose the publishing.
That's the
thing.
Were you satisfied with that record?
No.
No, because out of the 12 songs that are
on that record, only two or three of them were done as right [Eb] and proper masters in a
studio with the proper producer and engineer and everything else was a demo.
That's interesting.
Yeah.
I was surprised to even read about the third record.
Yeah.
It was a demo.
The whole
thing was a demo album and the other stuff, it came out terrible because they used studio
musicians and it sounded like crap again.
There's some great songs in there.
There's
some really good songs in there and it could have been a lot better than it was, but
I almost [Bb] feel like doing it all over again.
[A]
Reissuing down.
Yeah.
Only our way.
And I guess here's the inevitable question that is the white elephant in the room.
I
Martin Caro's singing ability and it's spot on.
Thanks.
Has there been any contact with
Michael Brown or Steve Martin?
Yeah.
Any interest [C] from them?
Yeah.
They're always interested.
Our opinion is here that there's always a chair for them if they want to sit in or do
a song or two or whatever, but neither one of them are in the position to be able to
play music right now just because of physical reasons and other things.
That's the official
answer.
The truth is they're tied in the trunk of my car.
You know, I would love to be honest
with you.
I would love for Michael to come up and play a song or two and Steve to come
up and sing a song or two, [A] but that's about as far as it's going [Ab] to go as far as I can
see right now.
All right.
Well, I mean, there's always hope for that in the future.
Yeah.
Yeah.
Of course there is.
[N]
Key:
C
G
Ab
D
Eb
C
G
Ab
_ _ _ _ _ _ _ _
_ _ _ _ Can I say something [C] before we start?
Let's not cross talk or everything [D] because we really,
_ it's going to be hard to hear everything.
[G] Okay, just let him ask the questions and answer
them.
All right, so I guess let's just be honest.
[Ab] How does it feel to be playing Left
Bank songs [G] once again, 40 years after?
What was your, _ basically your first instinct when
you first thought of the idea, you know, getting back together?
_ _ Tom?
Tom [Fm] Finn's Facebook page
[E] blew me away. _
I couldn't [Ab] believe it.
He saw my Facebook page.
I'm just Tom Finn.
George
saw my Facebook [Eb] page and he got inspired.
So he and Paul over there, the guitar player,
started jamming with Charlie, our lifetime friend there.
And they put, where did Charlie,
Charlie left, huh? _ _
Anyway, they, they started jamming downtown and Lower [A] East Side.
And
then George invited me and I [C] brought in Mike Cornetell.
And then we, we had something that
sounded halfway decent.
And then we got Rick here on the drums.
Good find.
You know, so
we, we put it together and we kept working toward the idea that, _ yes, we're the Left
Bank and we're going to do these songs.
First, the first order of business is to sound like
the records because _ that's what the people want to hear.
You know, they want to hear
the way the records sound.
As we get more down the line, we'll, we'll experiment more
and do more new material and new albums and, you know, make it the Left Bank, but it may
be a [G] little more up to date, whatever.
How long did the actual process take to get all
the score _ down, practicing until you guys felt [N] like you were polished?
That's Mike.
That's Mike.
[D] _
Mike Cornetell is going to answer this.
No, I want to hear you.
I [Eb] listened to
the records and I [C] said, how, how can you make this orchestra sound with the least number
of people?
And I came up with three, one violin, one cello and a keyboard.
_ And so I
wrote the charts over a period of about four [Cm] months, I guess.
_ _ _ [D]
They had never played most
[N] of those songs.
They'd never, they had never played anything from the second album live.
_ [C]
Right.
Back in the sixties, we never played one song live from our second album.
And they
were going, oh, you don't want to do that one.
You don't want to do that one.
_ I was _ _ _
like, you know, [E] he was like sort of the taskmaster there for a while telling us, you know, convincing
us that we should do everything from the first and [Ab] second album, which we pretty much did
tonight with the exception of maybe one or two songs.
We did everything.
_ Exactly.
[A] And
does, does the reissuing of like Left Bank One, Left Bank Two, does that coincide with
this kickoff [G] tour?
Did that come after the [D] fact?
That was a coincidence.
_ _ Yeah.
[C] _ _ _
And, you
know, you can see all this support we're getting from the [Ab] record company.
It's amazing.
It's
wonderful. _ _ _
_ _ _ _ _ _ So what have you been up to these last decades?
I know you do a DJ.
Yeah, I
do parties.
[C]
I'm a live DJ.
I have a very good record collection and CD [G] collection and I
go out and, _ you know, being that I'm, _ you know, I have a long history in music, I'm
able [C] to like look at a crowd and, you know, see what they look like and figure out what
type of music they like and play it for them.
And a lot of other DJs can't do it [Ab] because
they're a lot younger than me, number one.
They don't have the same point of reference
that I do.
And I've been able to make a good career for myself over the last 30 years doing
this [Ebm] now.
_ _ And I've done [Am] the White House, [Bb] you know, I did Whitney Houston's wedding.
I mean, Robert De Niro's wedding.
It just goes on and on and on, the type of gigs that
I've done, you know.
[C] _
And I'm lucky.
I'm lucky that I was able to, you know, have the ability
to do that stuff.
Are you always good at music?
Thank you, George.
_ He's like, you [D] can name
a song from the 20s, time to pick it up and find out.
Get it to you.
_ This guy's incredible.
_ I'd be good at the college radio [Eb] station, you know, I'd really be good.
Oh, I bet.
_ [Ab] They got rid of all of our records.
You should pull me in there.
Really?
Tom wants a [C] job.
How _ about yourself, George?
I kind of gave up on music for a long time, you know.
I just happened to meet Paul one
day.
I was carrying a mic, [D] he was carrying his guitar.
I don't know, we just looked at
each other and we just sort of clicked and, you know, Paul brought me to his rehearsals
and we started jamming.
_ And then, like I said, I got into Facebook and one day I approached
Paul. _ _
_ _ _ _ _ He just says, I want to play.
We just played.
This is a musician right here, this
kid, he lives by it.
So, man, he was like _ _ Mickey Finn in this gig, which is really great.
We started working with Charlie.
[E] Yeah, we started with Charlie.
_ Charlie, are you on any of the records?
Yeah, I'm on the third album.
I play Seven
Songs on [G] the _ train.
[C] _ _ _
_ _ The [Eb] Strangers on the Train LP is really interesting. _ _ _ _ _ _
_ _ I read that
you released it many [G] years after the fact you recorded it.
What was the whole_
That was because the person that we signed it to, Victor Benedetto from Cam, _ a music
publisher, he's a publisher. _
In the contract that I [C] negotiated with my lawyer, our lawyer,
we stated that if he doesn't procure a record deal for us, we get the rights to all our
songs back from the publishing.
So his contract was running out and his time limit.
So he
got _ the first record company that would put it out.
He basically just got some [E] _ Grateful
Dead reissued label to put it out.
Relics.
Relics Records, which we'd never heard of.
No, [C] it's because he just wanted to make sure he didn't lose the publishing.
That's _ _ the
thing.
Were you satisfied with that record?
_ No.
No, because _ out of the 12 songs that are
on that record, _ only two or three of them were done as right [Eb] and proper masters in a
studio with the proper producer and engineer and everything else was a demo.
That's interesting.
Yeah.
I was surprised to even read about the third record.
Yeah.
It was a demo.
The whole
thing was a demo album and the other stuff, it came out terrible because they used studio
musicians and it sounded like crap again.
There's some great songs in there.
There's
some really good songs in there and it could have been a lot better than it was, but_
I almost [Bb] feel like doing it all over again.
_ _ [A]
Reissuing down.
Yeah.
Only our way.
_ And I guess here's the inevitable question that is the white elephant in the room.
_ _ _ _ I
Martin Caro's singing ability and it's spot on.
_ Thanks.
Has there been any contact with
Michael Brown or Steve Martin?
Yeah.
Any interest [C] from them?
Yeah.
They're always interested.
_ _ Our opinion is here that there's always a chair for them if they want to sit in or _ do
a song or two or whatever, but neither one of them are in the position to be able to
play music right now just because of physical reasons and other things.
_ That's the official
answer.
The truth is they're tied in the trunk of my car. _
_ _ _ You know, I would love to be honest
with you.
I would love for Michael to come up and play a song or two and Steve to come
up and sing a song or two, [A] but that's about as far as it's going [Ab] to go as far as I can
see right now.
_ All right.
Well, I mean, there's always hope for that in the future.
Yeah.
Yeah.
Of course there is. _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _
_ _ _ _ Can I say something [C] before we start?
Let's not cross talk or everything [D] because we really,
_ it's going to be hard to hear everything.
[G] Okay, just let him ask the questions and answer
them.
All right, so I guess let's just be honest.
[Ab] How does it feel to be playing Left
Bank songs [G] once again, 40 years after?
What was your, _ basically your first instinct when
you first thought of the idea, you know, getting back together?
_ _ Tom?
Tom [Fm] Finn's Facebook page
[E] blew me away. _
I couldn't [Ab] believe it.
He saw my Facebook page.
I'm just Tom Finn.
George
saw my Facebook [Eb] page and he got inspired.
So he and Paul over there, the guitar player,
started jamming with Charlie, our lifetime friend there.
And they put, where did Charlie,
Charlie left, huh? _ _
Anyway, they, they started jamming downtown and Lower [A] East Side.
And
then George invited me and I [C] brought in Mike Cornetell.
And then we, we had something that
sounded halfway decent.
And then we got Rick here on the drums.
Good find.
You know, so
we, we put it together and we kept working toward the idea that, _ yes, we're the Left
Bank and we're going to do these songs.
First, the first order of business is to sound like
the records because _ that's what the people want to hear.
You know, they want to hear
the way the records sound.
As we get more down the line, we'll, we'll experiment more
and do more new material and new albums and, you know, make it the Left Bank, but it may
be a [G] little more up to date, whatever.
How long did the actual process take to get all
the score _ down, practicing until you guys felt [N] like you were polished?
That's Mike.
That's Mike.
[D] _
Mike Cornetell is going to answer this.
No, I want to hear you.
I [Eb] listened to
the records and I [C] said, how, how can you make this orchestra sound with the least number
of people?
And I came up with three, one violin, one cello and a keyboard.
_ And so I
wrote the charts over a period of about four [Cm] months, I guess.
_ _ _ [D]
They had never played most
[N] of those songs.
They'd never, they had never played anything from the second album live.
_ [C]
Right.
Back in the sixties, we never played one song live from our second album.
And they
were going, oh, you don't want to do that one.
You don't want to do that one.
_ I was _ _ _
like, you know, [E] he was like sort of the taskmaster there for a while telling us, you know, convincing
us that we should do everything from the first and [Ab] second album, which we pretty much did
tonight with the exception of maybe one or two songs.
We did everything.
_ Exactly.
[A] And
does, does the reissuing of like Left Bank One, Left Bank Two, does that coincide with
this kickoff [G] tour?
Did that come after the [D] fact?
That was a coincidence.
_ _ Yeah.
[C] _ _ _
And, you
know, you can see all this support we're getting from the [Ab] record company.
It's amazing.
It's
wonderful. _ _ _
_ _ _ _ _ _ So what have you been up to these last decades?
I know you do a DJ.
Yeah, I
do parties.
[C]
I'm a live DJ.
I have a very good record collection and CD [G] collection and I
go out and, _ you know, being that I'm, _ you know, I have a long history in music, I'm
able [C] to like look at a crowd and, you know, see what they look like and figure out what
type of music they like and play it for them.
And a lot of other DJs can't do it [Ab] because
they're a lot younger than me, number one.
They don't have the same point of reference
that I do.
And I've been able to make a good career for myself over the last 30 years doing
this [Ebm] now.
_ _ And I've done [Am] the White House, [Bb] you know, I did Whitney Houston's wedding.
I mean, Robert De Niro's wedding.
It just goes on and on and on, the type of gigs that
I've done, you know.
[C] _
And I'm lucky.
I'm lucky that I was able to, you know, have the ability
to do that stuff.
Are you always good at music?
Thank you, George.
_ He's like, you [D] can name
a song from the 20s, time to pick it up and find out.
Get it to you.
_ This guy's incredible.
_ I'd be good at the college radio [Eb] station, you know, I'd really be good.
Oh, I bet.
_ [Ab] They got rid of all of our records.
You should pull me in there.
Really?
Tom wants a [C] job.
How _ about yourself, George?
I kind of gave up on music for a long time, you know.
I just happened to meet Paul one
day.
I was carrying a mic, [D] he was carrying his guitar.
I don't know, we just looked at
each other and we just sort of clicked and, you know, Paul brought me to his rehearsals
and we started jamming.
_ And then, like I said, I got into Facebook and one day I approached
Paul. _ _
_ _ _ _ _ He just says, I want to play.
We just played.
This is a musician right here, this
kid, he lives by it.
So, man, he was like _ _ Mickey Finn in this gig, which is really great.
We started working with Charlie.
[E] Yeah, we started with Charlie.
_ Charlie, are you on any of the records?
Yeah, I'm on the third album.
I play Seven
Songs on [G] the _ train.
[C] _ _ _
_ _ The [Eb] Strangers on the Train LP is really interesting. _ _ _ _ _ _
_ _ I read that
you released it many [G] years after the fact you recorded it.
What was the whole_
That was because the person that we signed it to, Victor Benedetto from Cam, _ a music
publisher, he's a publisher. _
In the contract that I [C] negotiated with my lawyer, our lawyer,
we stated that if he doesn't procure a record deal for us, we get the rights to all our
songs back from the publishing.
So his contract was running out and his time limit.
So he
got _ the first record company that would put it out.
He basically just got some [E] _ Grateful
Dead reissued label to put it out.
Relics.
Relics Records, which we'd never heard of.
No, [C] it's because he just wanted to make sure he didn't lose the publishing.
That's _ _ the
thing.
Were you satisfied with that record?
_ No.
No, because _ out of the 12 songs that are
on that record, _ only two or three of them were done as right [Eb] and proper masters in a
studio with the proper producer and engineer and everything else was a demo.
That's interesting.
Yeah.
I was surprised to even read about the third record.
Yeah.
It was a demo.
The whole
thing was a demo album and the other stuff, it came out terrible because they used studio
musicians and it sounded like crap again.
There's some great songs in there.
There's
some really good songs in there and it could have been a lot better than it was, but_
I almost [Bb] feel like doing it all over again.
_ _ [A]
Reissuing down.
Yeah.
Only our way.
_ And I guess here's the inevitable question that is the white elephant in the room.
_ _ _ _ I
Martin Caro's singing ability and it's spot on.
_ Thanks.
Has there been any contact with
Michael Brown or Steve Martin?
Yeah.
Any interest [C] from them?
Yeah.
They're always interested.
_ _ Our opinion is here that there's always a chair for them if they want to sit in or _ do
a song or two or whatever, but neither one of them are in the position to be able to
play music right now just because of physical reasons and other things.
_ That's the official
answer.
The truth is they're tied in the trunk of my car. _
_ _ _ You know, I would love to be honest
with you.
I would love for Michael to come up and play a song or two and Steve to come
up and sing a song or two, [A] but that's about as far as it's going [Ab] to go as far as I can
see right now.
_ All right.
Well, I mean, there's always hope for that in the future.
Yeah.
Yeah.
Of course there is. _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _