The Sheepdogs

Part 1

0:07Hey, it's Matt Schichter with MSN.ca. We're gonna be chatting with the sheepdogs this afternoon They just got back from Nashville recording a new disc with hat Carney the black keys what we'll find it all about that So you're just back from national like the record literally is done as a couple of days ago besides mixing like you were saying yeah, it's all tracked and Kind of sent it away to a fellow in England and hopefully it comes back sound and even better than it does Was it analog recording? No, we recorded we recorded digitally But we I don't know we use some pedals, but typically like just straight into the amp

0:53Yeah, I like the way the Rick and Walker sounds it's cool You don't see many Rick and Walker bases in rock and roll these days and I love it No, and they're actually really hard to get a hold of like I got mine like four or five years ago And I it's a newer one and it took something like 18 months to get it's hard again But now I really like it. It's like I record with it. I play a lot of it It's so it's the base that I've been able to get the best sound for me out of it Nice did you guys buy a new gear when all this stuff happened last year where you're like, oh yes now we got to get new stuff No, I mean I was thinking about buying a guitar when I was down in Nashville, but my guitar that I've had for a few years is it's like I don't know it just does everything I needed to do and So we haven't gone crazy with the gear yet. No one really has kind of done Yeah, I bought anything really we've kind of been too busy just traveling around playing shows I mean, you haven't really had much downtime to spend any money

1:40I bought an amp plus your It's from a guy in small town, Saskatchewan and it's a great amp But not that expensive anything but I never get to play it because it's the end of Saskatchewan and we like you know We've traveled around so for our Canadian to our head up But you know you fly out here, you know with a drink here and stuff We're some bands you guys are still on the road You guys dig these days we I mean we listen to a lot of old music, you know, so it's a lot of like old rock and soul You tell me really yeah, I'm not surprising But you know new artists I've been into this band the stepkids kind of for a bunch of months now and like Canadian acts like Sam Roberts is going out the black keys, you know stuff like that, you know bands that keep the old

2:28Music kind of in mind right the old rock traditional live old sort of the good elements of music kind of like we're we think we're trying to do You know I was gonna ask you the same question Ryan, but he mentioned the black keys and Pat Carney I saw

Part 2

0:00You can do that anyway. I don't want to do like a track, a track for this thing. Okay. I don't know. I just feel like, why don't you just enjoy the show at that moment instead of like trying to capture it and that's when all the entire society like people trying to tweet Facebook so all the time. All it is. Everyone just wants. I gotta tell people what I'm doing. I enjoy what you like. Like people would take photos of their food like just like, just like, just like, enjoy it. Well, like with the videos and concerts, like it's not like you ever watch that again. Like it sounds awful. Yeah. Like standing like 100 feet away. So it literally is just to show people that you're there. Yeah. Well, and that's how it is even for bands now. Like you guys need to be tweeting constantly. Yeah. And social media. So let's start there actually. Why don't we start talking about that? Because in Zeppelin's day, everything was a little bit steep.

0:47It was all, we don't know the band. Stay away and that's how it needs to work to keep the stories going. Right. But you can't do that anymore. Do you guys wish it was that way or are you happy with being able to connect all the time? I think you can still have a mystique. I mean, you look at like, you know, Jack White is always like, why and telling lies, you know, brothers sister. I think there's still room. You just don't have to put everything onto it. Like you can like, you could tweet. Like I imagine if Bob Dylan was hearing man right now, maybe he'd be like sending off false tweets or some shit like that. I don't know. Also, you know, Zeppelin was able to do some of that stuff once they established themselves as one of the biggest bands in the world. Like they started off doing some key performances and they just hated it so much. They were just next to that and they were able to do that because they were big.

1:35Whereas now there's 10 million bands and you've got to try and stand out. You've got to try and stand out and you also try and get on people's radar anyway you can. So maybe that's the difference as well. Talk about radar, funnier dye. Yeah, start with a single shirt. So where did that idea come from? Because it's funny, it's hilarious. It worked. Yeah. It basically, like we kind of became friends with the Squar Brothers comedians from the US and we just, that's how Brian and I are having a beer with one of them in LA and we're just like, what do you think about making this a video? Because like, when you get these video treatments it's always like, like the ideas that people have for videos are always so musical. Yeah. It's like, you know, the one of the bands, like these are all for ideas.

2:20Yeah. One idea was that we were supposed to be playing in a bar to a room full of aliens. That we're like fighting here. I don't know. It's just like, it's always like the band is playing like lip syncing and I don't know. We just said like, what if we just make a funny video, it's got some funny dudes who've made a lot of TV and web shorts and all kinds of stuff. Yeah, it's not like a performance piece with the band at all. Randy Lubbia did. Next day he calls me, we were going somewhere for Coachella I think. He's like, here's the idea. You're playing baseball against the team of the little readers and you're kicking the shit. And I was just like, I was laughing and like, that's perfect. Like it was just, I can just immediately see it.

3:05Yeah, it's good. I like, you know, simple concept videos like, you know, spike, we can't get Spike Jones or or, you know, I think the squad is awesome. Yeah, well wait for the second single. I mean, get gone. That'll be Mark Romanak. Yeah, there you go. Tony's got, you know, he's doing, he's doing, he's doing, he's doing, he's doing, he's doing, he's doing, he's doing, he's doing, he's doing, he's doing, he's doing that. So two and a half weeks in the studio to record this. I mean, we've talked about this before, but for the sake of this piece, let's do it again. So were all the songs written before or did you, did you write them, did some come out in the studio? They're all written, but like, different stages like Summer Complete, others were still like, you know, Bruce Corus riff, but still needed to be like, arranged and kind of like

3:51fleshed out. So it was a mix. Like it was definitely, like we weren't like cruising in with like, we've got these 12 songs from there. Like it was a bit of Up in the Air. Like we didn't really know exactly what we were gonna make. Yeah, there was like all kinds of little ideas and songs kicking around. Right. There's a lot of like, Pat going, what's next, well, what else do you guys go? What else do you guys go? Because he would like him or because it was okay, but needed more. I think he was very, you know, he wanted to make sure that you know, we had enough off beats on it. You know, you want to, you know, you need one of the albums to be like too slow or? No, it's certainly all on beats. It is pretty up. Yeah. Which I mean, it's good. Like rock album. You can have a couple of slow songs by like, you know, it should be rock and then it should be, it should be a drama on the go on.

4:38Yeah. Well, let's go through track by track. Alright, cool. I'm gonna write this thing. So laid back. I'm just like, well, I'm just gonna write you my thoughts. Okay. So I was writing, so I talked with this groove kind of like the weight and you have the distortion vocals, the vocal chorus is when the group, I guess everyone's saying it must be nice to be able to have a band that everyone can sing. It's, yeah, I'm surprised that that's such a rare thing. I shall. He's, he does more like Robbie Robertson like, oh my god. No, I mean, like, like one of the best is our Islamic County Stones band because they all sing and they all have like super awesome different voices in the band all sing. Like it's just sounds awesome. People sing. So talk with the tune laid back dealing with issues being chill. I didn't really get a chance to listen to lyrical content.

5:24So when I listen, I listen more to grooves and melodies and then I eventually get to lyrics and I had a time yet, but so talk about that too. It's just, uh, it's basically what we're gonna do. Sure. It's basically just like an Ode to like, to just not stay to mind. Like, I'm a big fan of like a laid back lifestyle. I don't know. Like I, I like to like chill and get stoned and listen to music and relax. And I just, I don't know, but it's also like a way to look at like life, you know, to stress everything or you rush around, you know, it's not a very enjoyable life. Like it's just a little like, here's my philosophy and I enjoy stuff. Is it easy to be laid back now if there's all this pressure on you guys and it's popular and it makes it a little more difficult? Yeah, it's, uh, it can be tricky.

6:09So it's kind of like, you gotta write a song about it, I guess. I don't know. Yeah. Well, because they're all kind of like that feeling good's the same thing and you gotta free download. Oh yeah, fucking dirty organ. I love that. Yeah, I think it's like a Farfiza. Is it your brother playing? Uh, it's me playing it. Okay. But yeah, he rocks it when we play live and then Lee has got this super fuzzed out guitar dirty distortion. Yeah. Yeah. It's like a pre-sweet pedal you got. And you know how it's hard for me to work with. Yeah. Yeah, but it's on it's on. It's a good stuff to go like. That's the tune I thought sounded most like Blenke. Especially because of the way you're playing the guitar. The sort of the drum beat? Yeah. The Gary Glitter. Yeah. Yeah, exactly. It sounds like it could be at sporting events.

6:55Well, that was sort of, yeah, I mean, Blackies have had a lot of success with that drum beat specifically. Yeah. And we thought about it and, you know, it's just one of the, you know, some people think it sounds like Blackies, but it's just one of the styles that we do on the album. Sure. It's a song that I had come up with a long time ago and then just like made a little demo where I kind of did like a, like a, like a, I did it like on my, the percussion on my lap or whatever. And then we were just talking about in the studio and I was like, I was like, what if we put the rock and roll to part two's drum beat on it? He's like, oh, that works. You know, I think he's like, he's like, that's right. That's right. I know about that. Yeah.

7:40I don't know. We also like, I kind of was obsessed with the rock and roll part two song for a while when we were in Europe. I would just like be played on my phone. We were rocking around like Amsterdam and stuff like that. I don't know. It's just like good. A lot of that drum beat. It's just a pump up like, like everybody loves that song. Like you said, it's like perfect for sporting events. So, you know, if you get people singing along to your song at a hockey room, you know, there's something wrong with that, right? Yeah. Well, I mean, like how sweet is that? Like, yeah. Like when we found out we were getting played at hockey rooms, we were like, that's like, it was awesome. That's cool. Like it'll be like sports. So it's cool to be pumped to that. Right. How do you get the kit to sound like that? Uh, what's that? It's a shut blade. Yeah. I mean, it's the same kit and everything and basic tuning is for all the rest of the songs. But I think there's a little sort of, uh, alter, not altering, uh, but, uh, modifying

8:28those sounds. You go back in and double up the songs or anything? Uh, yeah, I double the songs, I guess. Yeah, like you beefed it up a bit. Yeah. The album is heavily under the influence of the mixer Chad Blake, who is really great to work with. I mean, we didn't mean him, but we exchanged him out as well. Where's he? He's out of London. He's an American guy. He's got a crazy resume. He didn't, the Black Keys, um, but just like, he really, like, I think there were certain songs where he like, oh, I know what to do here. Like he right away was just like, I know what to do. You guys get tired of all the Black Keys questions. It must be like non-stop. It's, it's, uh, currently all the time. Yeah, it's not like, well, you know, when it builds the story, right? It's a good story. I get it, man.

9:13If I was interviewing us, I would ask something similar. Yeah. It's a lot of stuff. It would probably be foolish if they didn't ask something. You know who made her? Yeah. Um, take loops or reverse guitar. I don't write okay. What is that? Yeah. Yeah, it's a commercial guitar. It's like a commercial guitar. Yeah. It's a reverse guitar. Oh, you feel all that Apple Plucks? But I didn't use any on that style. I don't think. Um, it was some kind of reverb unit that I was, I was sitting on the floor and controlling it and Leo was playing. Really? Yeah. I'm just kind of, yeah. Going for sort of like a big sort of wall sound. Yeah, it was a cool gear, like, some vintage stuff. That Echo Plucks, like from the 70s, like all taped to the end.

9:58It was just like, it sounded so awesome. Yeah. It was a whole clunky thing. You had to clean it like every other cake or anything. But yeah, it just sounded awesome. So I used it actually on, I think, a few songs on the old. Yeah, what other ones? Um, in my mind. You use blues. Well, that's the, it's a great sound. It's like, like, Echo E. All we got are guess sound that's just, it's really cool when you used to monitor it now. Mm-hmm. Never going to get my love. Yeah. You start your vocal really low. I know. It's so hard to say a lot. Yeah. Well, and then it goes high. Yeah. It's like all over the place. You have the guys doing the Queen kind of harmonies. Yeah. Yeah. Yeah. That's like the oldest song on the album. I made a version of that song like three and a half, four years ago. Like, overboard it and riff it.

10:46And I don't know, I think it's just one that we all kind of liked, right? Like, and uh, gee. We just, you know, just brought it back and did a new version of it. It's cool. It's definitely different than the other version we did. It's got more, you know, it's obviously a bit sheet-dun version. Right. Uh, yeah, I don't know. It's kind of a weird, like, low, it's as good as like low energy to it or something like that. Kind of dark. It's almost like a reflective of my, uh, I don't know. Is it an empathy or what? It's a good word. Yeah. Well, wasn't he no care? Yeah. I did. Yeah. Was that it? Okay. Why won't you give away your love? The songs about never, you're never gonna get it.

11:31Why don't you give it away? For some reason I have like a lot of them. I'm gonna question you on everything. Sure. I, I, I never have an answer. I love the idea of like telling somebody not to do something in a song. For some reason that's like a very satisfying subject matter. Like, you know, please don't lead me on. Yeah. You know, baby, I won't do you no harm. There's a lot of like, no, like, I don't know. For some reason that's fun. The finger wag in a song or something. Cool. You and Blue's. Trippy, organ driven. Yeah. What weird. Kind of. Yeah, we are. I don't know what it sounds like. We're all electric piano. Yeah. It's a, a world-set. Right. There's lots of organ. Leah, it's got the echo plex again. Sam's doing like a. Extra touching groove. There's some bongo. We're sort of like, I don't know, maybe influenced by some like the buddha span for that song.

12:17Like, some of the styling of it. So, it's like one of our favorite bands that we all like together. Who are they, where they from? So, it's not that balanced. Yeah. It's like, sort of like that. Well, how crazy. It's awesome. Well, how if you drink and throw that on, we'll just look. It's really good. It's pumped in the air. So this is kind of like our clunky, wider version of it. Yeah. It's like our rock version of it. But again, it's cool that we can do, there's stuff that's all instrumental too. So obviously it has lyrics. And then I always wanted to- So that's why I went into my next one with the instrumental. Oh yeah. Nice. I always wanted to, it's very conceited. But I always wanted to put my name in a song. And I like, like jazz guys and like soul guys that have like, you know, raised blues or miles.

13:02Yeah. I don't even deal into it too. I'm sure he does. No, he's a dream, Bob Dylan's dream or something like that. Bob Dylan's 115th dream. Yeah. He's got my favorite lyric. Okay. Well, it's like, he goes, she asked me for collateral so I pulled down my pants. He's got another line in that one. I love your deal though. Oh, it's just that song is insane. You talk to it. Wait, I told her that. No, she said that. And the whole, like three lines of him move back and forth. I'm like, just make a decision. I'm like, um, but you said jazz. You said instrumental. So that takes his javelina. All right. It's like what? That's five quarters. I said, I thought it was in five four, but somebody before me that it's in five eight, although it's a pretty weird time. Well, Chris, matter of order. It's five eight. Are you used to playing stuff like that?

13:47No, because my first time. I'm not really. No. I mean, I played like saxophone in a jazz band before, but I never drums. I don't know. I was like familiar with the concept of five four, but I'd never really played anything in that time signature before. And then it made it really fun. It basically comes out of a lot. They prove that take that. Sure. And that's when you start to groove it. Do do do do. Just ripped off of that stupid, like, he's a kind of, I always hear it. They are important to understand. I just love that groove. And then it's obviously got sort of almonds. You like guitar harmonies going on. Yeah, you guys, I call that octave guitar. I don't know if that's right, but you're playing it. I'm not octaves because it's third.

14:33Yeah. So it's gotcha. So it's octosong. Octosong cool, but when you got like thirds or fifths or something, it's like a little different vibe. Well, I can't hear. You guys do that a lot back and forth. Yeah, and the last record too, right? It's like just an awesome trick that I don't think enough bands do. It's a lot of guitar harmonies. Let them not do it. It keeps it unique for you guys. That's cool, man. Yeah. There's plenty of bands out there that I used to do. We don't want to do it all the time, but it fits in certain spots, right? It's basically. Yeah, yeah, for sure. And then time changes again. It doesn't in the middle. Yeah, it goes into 4-4 and then it's sort of like a shuffle 4-4 and then back into 5-4. So it's actually a really fun song to play.

15:18Can you pull it off live like well in a minute? Yeah, we'll be in person and it's only good. Well, we kind of started playing it before we even went in to record the album, so we kind of We had rehearsed it back in 2016 and it's kind of kicking around. I'm glad we did because now it's kind of ready to go on the road. We want to play it alive once so far and it's when we were playing a gig at the SaaS Jazz Fest. So we figured out. Are we played it there? Yeah, we did. Oh, that's great. That's back when we still caught it jazz-autacy. Yeah. It's totally like a jam. It's like a jam. It's like, yeah, we don't want to think that we think we're jazz or anything. We're not. But at the very least we can give you sort of like rock music spice to a little something else. I just hope people also don't have any trouble kind of dancing to it.

16:07I think it's totally, take five is one of the biggest songs ever. I guess so. You gotta just like throw your hands in the air because we've got to get like how it's freaky and hit the shake. There you go. You just gotta do like... I'll show you the camera. Yeah. I need help. I remember that one a lot from the summer. We've got to play it a lot. Yeah. It's really fun to play super simple riff song. I won't point the way it is and I need help for like the same song. Okay. When I performed the... Gee. Just the surgery. And the became two separate songs. Because sometimes you write songs and there's just like too many things in there and you gotta like write. I didn't end up being two songs but I need help just like a fun rocker. It's just really fun. We did all the sudden.

16:53Yeah. I remember you're standing up. It shows me people like really getting into it live. Especially in Ottawa. It's like really on point and the people are big. Pretty much like... That's also a fun solo by Lee Hance on the air. An example of a song that Pat and... Or that changed a lot in the studio I guess. Like it was sort of like we had been rehearsing it one way. That's really... Pat was like, okay this one part you know where you get real quiet. That's where you need to get loud. Then he switched that and then he sort of came up with the idea for... Like Lee came up with the riff for the chorus. And then... Yeah. Pat wouldn't tell you what to do but he'd be like... He'd be like... He'd give you some of the idea and then he would come up with this. Yeah. Was it like that a lot for a lot of songs? Or most of the songs were finished in... Like maybe half an hour. It really varied a lot. Yeah. It's kind of like a song.

17:38Like some stuff was pretty much in place. Right. He's finger prints are definitely on the album. That makes sense. Is your dream we're dying for? It's always track nine. I've noticed. But it's always like the centerpiece of the record. It's that one tune that just hits you and you're like... That's cool man. That's a song. Why is it track nine? Do you guys have the same thing that I have where it's always track nine? Or did you just sit there? No. I don't know. I think this is the way it shook out. That song was originally a weird kind of like... Song where it's at the A section one like twice and then it went to the B section and just ended like a weird like... I really like songs that are arranged irregularly and sort of like almost like a little mini medley's and little ones, suites that kind of...

18:25Sure. But basically we ended up sort of taking it and sort of rearranging it and turning it into more of like a traditional song structure and lengthening it. Just... I don't know. How do you raise barmings like that? How does that... It's pretty common harmony I think the ones we're doing on there. It's just like... They sounded cool to me. Yeah. No. That's the true way. We played it because we liked it. It's pure reference. It's... You know, it's hard to... Sometimes... Like what we talked about doing like five, four and all these are like crazy things. Sometimes the best thing is just people singing in simple harmonies over GCD, which is like the most... the three most common. Yeah. Because our players are like us. A lot of times with harmonies, like for a lot of songs, you and it'll make like a little demo beforehand.

19:11And so... and he's just like recording it like multi-tracks and so he'll like sing the one part and then he'll do a harmony on top of it and do another harmony and have at least kind of layers of harmonies. But sometimes you know, well, if he doesn't have one in mind, I'll just go to the studio and he'll say to me Ryan just go in there and do something like... Yeah, it's usually pretty assumed that at some point in the song Ryan and Sam are going to do a harmony. Like if it's in the hook or you know, or somewhere. It's like pretty much always, like there's not too many songs that you guys don't sing. And I do the low one and he does the high one. And you sit in the middle? Yeah. And now we have Seamus who can kind of feel him and fit in wherever as well. So is he part of the band now? Or is he still... he's like a hired gun right now. But he's... he contributes in a lot of ways. Yeah.

19:56You know, he certainly adds to the live show. It's amazing. Yeah. And even like when we're rehearsing, he's like helping people figure out what their harmonies are. And he's like figuring out like, chord play stuff and that. Is he your guitar solo in that track? Which one's that? Yes. Is your dream or dime? Yeah. Cool. I like that. I wrote it down. You're solo. Any insights on that solo? I like that. Any insights on that solo? We always use this old amp called the Prince Gun in there. And it's just like the thing... It just peeled the paint off the walls. And we use it for like a lot of like the kind of more... ...drashy lead like that or whatever. I remember playing it back stuff. And the awesome was like... I literally like turned it up to fucking eleven. And we just... we're ripping holes on it.

20:42And it picked off really well. You're getting switched guitars a lot? We had a bunch of stuff in there. We did, but we don't... we never switched just to the sake. We almost... we mostly use the Firebird. Firebird... actually, there's some other things. Use a few other things. Are you that like venture guitar? I think there's a weird variety. A weird variety. I'm sure it gets out. But like we basically use like three amps for the entire thing. It goes up under deluxe that I use. And then like... The custom. This is weird custom amp. And then I just... It's like I really go to cool. So like none of them are very big, all small amps. They're all kind of cool in their own way. It's kind of... Is that just what was around? It's basically like we could have gone and rented like you know whatever we wanted. But part of it was like we had enough like stuff there.

21:27And we just kind of pick from what was there. We had an organ, we had a world, sir. We didn't really need to get anything else. And I think that's part of our... You know, not fixating on like I need to have the keyboard from jump. You know what I need? Like I must have this guitar. Like you just basically... like you make two of what's there. And I guess kind of like... You know, I don't... I definitely don't want to burn myself with the Beatles. But that's what the Beatles do is like they like did or did rather they like... Just kind of use what it was around. Like they didn't have to like have the finest. Whatever. I think just being resourceful and like working it in your means is a part of what we do. We get to the Beatles in a second with a sitar. Yeah, yeah. We're not there. We're how they how long. So why we do that too? Well the different vocal melody it's like slower, faster, the ending is gone. We did it slower. I think basically we just...

22:14We felt that the version we cut. Like that EP was like a... A lot of stuff was made for the competition. So it was like done super quick. And we had just like banging out and like... We just recorded it too fast. We just wanted to slower version. So we just wanted to give that song kind of like a second life because it's a pretty important song for us. It played like all the time. It's a big part of our set. Also, you know, like the... It's like a shorter version on the album. And so we're trying to fool people into thinking that we do this extended jam when we do it live. But it's actually just a series of versions. Sorry, I'm just kidding. But I don't know it's just a little more streamlined but also more groovy as well. Yeah, we just... The song deserved a little better I think than we gave it the first time around. It's because it was done under such...

22:59You know, go go. You know what we're pretty... The first one was? I think... The biggest problem is just way to pass and use. You lost the groove. But also like if you're playing something live, you don't want... People only need that fast version and they come to our show and they're like, why are they playing it so slow? Like that seems... Yeah, well this is not how we do it. Yeah. Cool. I'm just going to just give me a wrap up so I can go through the rest of the... Sharp sounds. Sharp sounds. I just wrote a good tune. So... A little slide from Leah. Just basically it's... That I wrote over our break over Christmas in San Francisco and I was just like thinking about getting headaches from touring. That's the sharp sound of my brain. So it's Citar. Who?

23:44It's learning how to play Citar. Do you get someone to come in? Like how the hell does that? It's a tenor ukulele that's got some weird thing I guess that sounds like Citar and so... Oh. I did. Okay. Yeah, it's not... I didn't learn how to play Citar. It's still cool sounding. It sounds awesome. Yeah. That's great. That's also the last song we recorded for the album and it and have Alina were originally... Oh, have Alina. Good to know? Yeah. Yeah. Yeah. Those were originally supposed to be like sort of extra bonuses but we liked them both so much that we're like a ceremony album. Yeah, that's right. They were going to be set. That's what we're going on. And I like 14 tracks. It's a good... It's more than most people do. So you feel as if you're getting your bang for your... Not quite a rap album. But those are like little skits. Right? Phone messages. Yeah. We're shit like that.

24:29No. They only hit. They only hit. They go full. Alright, talk about Sly guitar. It ain't easy to go. Yeah. Cause that's awesome. Yeah. Could be a good show closer too. It's got a nice sort of a rapping of like a... Yeah. Yeah. I think that was something that I thought was going pretty good when we were missing it on. So it puts the... Yeah. Cool. Yeah. Sly, Sly, Sly, Sly, cool. That's fun where we had... We had sort of the arrangement down before. Like we would practice it like during our sound check for our Canadian tour. We were practicing. It didn't end up changing that much I don't think. No. It's pretty much what it is. It was cool. Like for the solo was using that custom app and it had like a really good like reverb tank in it. So when I was doing a solo I just told Pat to slowly crank the reverb, you know? So I had this solo was on just getting like almost like lost.

25:15I wasn't for that later. Yeah. Reverb, drainage. So it was actually I guess a trip I learned from Steve Miller. Steve Miller, yeah. What is he doing? I know Steve Miller. Go into the country. Yeah. After this song.