RL207 - Spectacularly, She Schleps

This week, Merlin and John talk about:

The Problem: You couldn’t find steel drums in Alaska, referring to John’s dad briefly thinking of getting steel drums together with his vibraphone, but that would have required more work than he was prepared to do.

The show title refers to vibraphone player Erin Jorgensen who plays spectacularly and she schleps her vibraphone, a giant instrument, all over town. John used many words that were hard to say in one sentence, which led to this show title.

John was late, but that happens… literally every week. Time is a flat circle! John had stuff to do.

Raw notes
The segments below are raw notes that have not been edited for language, structure, references, or readability. Please do not quote these texts directly without applying your own editing first! These notes were not planned to be released in this form, but time constraints have caused a shift in priorities and have delayed editing draft-quality versions to a later point.

Episode 207, Merlin’s laundry number and mailbox number from school (RL207)

This is episode 207 and that was Merlin’s laundry number in military school. He also remembers his mailbox number when he was in college which was 289. He stole the door from it when he left school and has it right here in his office. It still has the J. R. ”Bob” Dobbs sticker on it and the Columbia House sticker for U2’s War. The lesson is to steal things that mean something to you. 289 (4.7l) is also a great Hot Rod Ford engine. It doesn’t seem like a big engine compared to a 350 (5.7l) or a 456 (7.4l). Merlin throws around a couple of automotive terms, and there is a Hemi and a Hemmings. A Hemmings (magazine) is where you would sell a Hemi (engine with a hemispherical cylinder head).

The area code of Seattle is 206, and 207 is an area code that periodically comes up on John’s phone when someone is phone-spamming him. It is in Maine, but it is just close enough to 206 that John is periodically fooled to at least almost answer it, but as soon as he realizes what it is he doesn’t. Did his daughter go to Maine and is in a well? ”You want us to follow you, Lassie?” - ”What? The coffee is done brewing?”

Belle and Sebastian (RL207)

John remembers when Belle and Sebastian took over the world, the first Twee band, but Merlin would call them more Mopey because Twee is more Cub or The Raincoats. He doesn’t know why he would sing a Cub song as John Flansburgh, but they are the ones who originally did that song ”Everyone’s Your Friend in New York City” (song called New York City by They Might Be Giants), it is virtually tuneless. That song is a big feature in their set. It is a good-ass song!

Merlin got in on Belle and Sebastian’s green album, but he got to love the grey and the red one. John was only adjacent to that music. Merlin loves a mid-tempo Power Pop song, but if you do it too much above mid-tempo it becomes a Cheap Trick song. He loves a good Teenage Fanclub song that is a mid-tempo song like Everything Flows. If it was any faster it would not be his favorite song of the 1990s. Belle and Sebastian do something different, something propulsive, like a downbeat Arthur Lee’s Love. The song If You’re Feeling Sinister (by Belle and Sebastian) is basically Alone Again Or (by Love). John can not keep up with Merlin dropping all this Pop culture vocabulary, but Merlin probably had too much coffee. To John this all sounds like word salad and he doesn’t know any of those songs.

Merlin came right out of the gate, like: ”Music Episode!”, but then it was like he was waving a dildo in John’s face and John thought he can’t be in this music episode that is only 3 minutes long and he just wants to talk about Led Zeppelin. Belle and Sebastian seems to Merlin like a band that Sean Nelson would like. In the early 2000s there was a lot going on and at one point John felt like he was behind the curve and everything got way softer and prettier, but the soft-prettiness didn’t convey either softness nor prettiness, but it was aggressively quiet and aggressively soft and pretty and he didn’t know where to go with it.

Merlin has the same feeling about Post-Rock. He never understood it, although he tried. It was the Jazz of the late-1990s. Post Rock is going to make Indie Rock look like College Rock. He tried Tortoise or the car band, but it is just vibes (vibraphones) and brushed drums and motor noises. Merlin is describing The American Analog Set minus the motor noises.

Vibraphone players, John’s dad buying a vibraphone and thinking about buying steel drums (RL207)

The Vibraphone player on The American Analog Set plays the Vibraphone on The Long Winters song Nora. Merlin thinks that Vibraphone looks hard to play because you have two mallets in each hand playing different intervals. The thing about being good at a musical instrument is that it is almost universally hard to do, no matter which one you pick, and you just pick one and go for it!

There is a woman in Seattle named Erin Jorgensen, a very small human who is small in statue and small in all dimensions, with very short red hair and very good tattoos, and she plays the Vibraphone spectacularly and she schleps her vibes, which are a gigantic thing, all over town. She will play a show with somebody and then schlep her vibes over and play another show. She also has marimbas, which are vibes made out of wood. Vibes also have an electrical component, a thing that is spinning underneath that you can turn on or off and as the sound travels down the pipe this spinning flap will make it go ”wobwobwob” like a Leslie speaker.

At one point in the 1980s when he was 67 years old John’s dad, who had always been a huge fan of Lionel Hampton, decided that his new and first instrument was going to be the vibes. He put them in the TV watching room behind the TV watching couch, imagining that he was going to play them while watching the TV, which makes so much sense on the face of it. He was only watching TV at night and he liked to watch classic war movies. He touched them to bring them into the house, but he never touched them again.

Of course John would sit there and play the vibes to everyone’s massive annoyance. Like he has always done with any instrument he refused any instruction or any information about them and he just sat at them and made up his own technique. They were fairly loud. John never got the two mallets per hand business at all, he just had one mallet per hand, but he would do rapid stuff and boy did he have a time! His dad later said that he has always been intrigued by the steel drum and there was a brief moment where John was super-excited that he was going to get a set of steel drums behind the couch because short of the bagpipes that is the instrument that if you don’t know how to play it you cannot imagine how annoying it can be!

In the late 1980s there was a lot of Reggae Rock music and the idea that John could get into that scene through the back door by being the one white guy who could play the steel drums. But then his dad abandoned the steel drums idea and it was never spoken of again, and the reason is that he couldn’t find steel drums in Alaska without putting in more work that he was prepared to do. One day also the vibes just disappeared, he probably gave them to John’s niece, and that was no small feat because they weighed as much as a Honda Civic. To scratch that itch he realized he just needed to listen to Lionel Hampton tapes, which is what he had done before.

Merlin and his friends in college watching 120 Minutes, MTV (RL207)

It was a modern jazz quartet, and Modern Jazz Quartet was also one of John’s favorite Indie Rock bands of the late 1990s (no, that didn’t exist, it was a literal Jazz quartet in the 1950s), he liked the brown album, but not as much as the grey album. Like Jimmie’s Chicken Shack (which does exist) was the Alabama version of Martin’s First Wheel (which is made up).

Was Ned’s Atomic Dustbin an Emo-band? Merlin would always turn it off when they came on 120 Minutes, and he remembers Dave Kendall pronouncing their name and that would be Merlin’s signal to turn it off. Back in 1989 when Merlin was in college the three of them (Nigel, Dan and Merlin) in their house would watch 120 Minutes every Monday when they came back from class, which they had taped the night before, and there were rules. Who is Nigel Dormer? He invented the window, and John Crapper invented the floor. (that is just banter. John Crapper actually invented the flushing toilet).

There were certain things that you must fast-forward over, and other things you can’t. The show was pretty good, but it didn’t hurt that there was so much good music. In the late 1980s and in the late 1990s there was such an explosion of music that felt to Merlin like it was for him. It might have been ”the lates”, maybe John should put out his next banger album in 2018, and two years prior to that he can put out his Beach Slang EP, the one that gets people excited. The EP that My Bloody Valentine put out before Loveless was the Glider EP. Isn’t Anything is still head and shoulders above most Shoegaze, but Loveless is on a totally different level.

They would usually watch the beginning because that is where they would say who all the guests were. John thought that 120 Minutes had the kid with the mullet whose name was Frankie, but first you had Kevin Seals, then you had Dave Kendall, and later you had Matt Pinfield.

The rules were that if it was a song they had not heard, even if it was Ned’s Atomic Dustbin, they had to at least listen until the first chorus and then by consent the three would vote whether or not to listen to the rest of the song. This was not yet the era of the super-long intro, that was more a 1990s thing, the heyday of MTV. When MTV came along it was for hobbyists and you really had to sit there and wait for a video you liked because they only had 200 videos and they all seemed to be The Motels - Only the Lonely or Oliver’s Army (by Elvis Costello).

The band from New Zealand that was fronted by the brother (Tim Finn) of the young kid that ended up being the Crowded House guy (Neil Finn) was called Split Enz. John would wait for hours to see their videos. They were not in heavy rotation and by the time they would come along John would have seen I Ran (by A Flock Of Seagulls) 6 times. By 1985 MTV was absolutely a thing, they were still showing videos, they had good shows about music videos, they had Headbanger’s Ball, the one with Riki Rachtman (John first says Riki Franky, and Merlin adds Ricky Jay and Rick Savage and Ricky Rocket) Merlin’s favorite was MTV Raps, and he calls 1989 the banner year for MTV.

Fab 5 Freddy did not have a lot of telegenic presence, although he is a legendary character. He was the one from the Blondie song Rapture. Then it was hosted by Ed Lover and Doctor Dré, but it is a different Doctor Dré than the Dr. Dre. John thinks that the reason there are so many Dr. Dre is that Dre is short for Dreyfus, which is a very popular name in the African American community. Matt Pinfield was doing 120 Minutes in the 1990s when Merlin was still taping it when he moved to Tallahassee. He always liked how interested he seemed in the music, but he didn’t have the showbiz feeling. Dave Kendall used to drive him a bit crazy, there is a Tumblr that is just about what he was wearing on 120 Minutes, and it is tremendous.

Kevin Seal (RL207)

Back in the day John was in an Alternative Nation musical with Kevin Seal where there was fire breathing and a funicular. John played the harmonica at some point. Merlin saw Kevin Seal in the audience of Torch Song Trilogy. John did quite a few plays in the 1990s. He was the guy in Seattle that you would stunt-cast, he was just a hanger-on and they put him in roles where would just walk on and play a guy named Tiny. At one point he was Cool Hand Luke (see RW149). ”Funiculi, funicular? Funiculae, funiculum. Romans who are here go to their house?” (reference to the movie Life of Brian)

Kevin Seal was such a hero to John (see RL66 and RL287)! His sense of humor was so great and he was the first person on television where John thought: ”OMG, that guy would be my friend!” He was so thrilled by him that if he was on TV John would drop everything and just watch him because he seemed like such a friend. He never had that experience with anybody else. John didn’t want him to do anything else, like go into film, but he just wanted him to stay on MTV and continue to play Were Are The Kids In America and have funny things to say about it. He never wanted anything about that moment to change, except he wanted to stop looking like an uncooked scallop.

He is two years older than John, he wasn’t that old, he had wife and kids, he moved to Seattle, he is still super-nice, he is exactly in person like he was on TV. A lot of the people who were on TV in the 1990s now have careers as comedians, like Michael Ian Black continues to be a character in the world, but Kevin Seal didn’t make that transition and he is now a stay-at-home dad. Merlin is also almost a stay-at-home dad, or more like a phone-it-in dad.

Having an electric organ in the 1980s, how John and Merlin got into learning an instrument (RL207)

For some reason in 1980 Merlin’s mom who had taken piano lessons as a kid wanted to get a Sirus organ (?) that had a drum machine, two manuals, drums, Foxtrott, and a little button keyboards that played chords (it is called a Chord organ). It came with a bench that had some books in it. This was in the Hall & Oates era and Merlin had absolutely nothing to do to fill his time and he would sit down and try to play songs from the Fiddler on the Roof book (Musical by Joseph Stein), and he would write little songs using the buttons and he learned stuff like G - e - C - D, or C - F - G - a. This was 2-3 years before he had a guitar. They had a Reader’s Digest book with religious music, an American classic songs book.

Merlin would just sit and play terribly on this organ and turn the Rock’n’Roll beat up very fast so it sounded Punk Rock. He had been through accordion and trombone lessons, none of it stuck, he hated it all, and it wasn’t until he was on his own with the organ that he would beat out some little tunes. John’s mom had the same organ and she bought it for the same reason, but John’s game on it was that every once in a while he would turn on the Marimba beat, set the tempo to mid-temp and start at the top of the button series and go down the row, push each button for 16 bars while on the piano he would play a little 2-3 note melody and then he would go to the next button and do the same thing, all the way through 3 rows of buttons, which probably took 15 minutes. His sister would hear him doing it and come in and dance.

What Merlin was doing he would never do in front of other people because it was so dorky, but it actually probably was the single biggest thing that got him to figure out enough about music to fumble his way around. Eventually you power through it to where you know the patterns. With a guitar your body and your brain are not able to process the music part of it at first, but you are thinking about the mechanics of moving your hands around and fret properly and keep it in tune, but with the organs and the buttons he could just figure out pure chord changes. The thing about having a sibling is that she is close enough to you that you cannot avoid doing dorky things in front of your sibling. John isn’t even sure that he ever sent her out of the room when he did his little organ jam.

John not knowing the name of the chords in his own songs, time signatures (RL207)

The guitar is still a mystery to John, the way all the music overlaps itself and interacts with itself, and he routinely discovers some thing where he is: ”Oh, wow! Wait a minute? That thing is that thing?”, where he will have been playing something for years and he will stop doing it for a second to figure out what it is, even things that are on his albums. For a long time he couldn’t have told you what the actual chords to the song Stupid were. Someone asked him on the Internet the other day what the drum pattern to the song It’ll be a Breeze was, and John’s initial response was just put the pick in your hand and strum it!

John walked around for a couple of days, wondering if he was mean, but he didn’t even understand the question. John picks up a guitar during the recording and demonstrates the part he is talking about. John turned his phone on himself, strummed it into a little video and sent it to the guy. On a few of John’s songs the arm does almost a gesture that you would do if you were pretending to be the conductor of an orchestra, a fake fluidity of a hand that is swinging around with an imaginary baton. As he is strumming his hand is swinging around, which Merlin thinks is one of John’s trademark moves.

John doesn’t think about it, it just feels like a very natural strum and the hand just naturally did that. It is a thing that he can’t describe, he doesn’t know he is doing it, and he did not learn it. He doesn’t even want to know it because if he is thinking about it he might get all screwed up.

Merlin knows just enough about music theory to be dangerous and he can’t for example tell the difference between 3/4 time and 6/8 time. The time signature in The Beatles song We Can Work It Out is not super-complex, but still. There is a lot of 3/4 in The Long Winters, like in Cinnamon and 6/8, some of it not where you expect it to be. For years John would just explain it as being Waltz time. John knows 6/8 when he feels it, it feels different than 3/4, but he doesn’t know how to talk about it. It has something to do with math because music is math and math is science and science is nature and nature is love.

John started love, and he got to music, but it is like chutes and ladders and he might go from love directly to song through a chute while the guys in Rush are climbing up the ladder. They arrive at 21/12 and John gets somewhere where he can’t tell other musicians how his songs go. Merlin has a look at the Wikipedia page of Turn it on Again (by Genesis), which is in 13/8 time signature and it is so good. Merlin can listen to that song on repeat, and that is how you know a song!

John has a new song called Not Moving to Portland which is about not moving to Portland that has been around for a long time and John gets letters on scented stationary asking him where that song can be found because people want to listen to it, but the only thing John can tell them is to look for it on the Internet. Now John wants to record i properly so that all the people that don’t listen to Long Winters songs on YouTube. That song goes 4/4, 5/4, 7/4, 6/8. He wrote the 5/4 part first and really liked it and staying in 5/4 is fine, but if you want something to jazz it a little bit then going from 5/4 to 7/4 feels amazing because it is just two more.

Merlin says that with higher numerators you notice the weirdness less. Listening to Take Five (by Dave Brubeck), the official Jazz song of white people everywhere, that feels a little wonky, but the higher ones like Turn it on Again you could not notice that it is such a crazy time signature. The thing about 13/8 is that it is 6/4 twice plus one, or 4/4 three times plus one, and that added beat is easy to throw in and the rest just feels like 4/4 99% of the tune, if that is how you are playing it.

Soundgarden, Mudhoney, Temple of the, Mother Love Bone Dog (RL207)

Then you go into Soundgarden land, which is Merlin’s least favorite part of Disneyland. Merlin sings some inaudible lyrics in a mocking way, but makes it sound like Pearl Jam instead of Soundgarden, he was doing Pretty Noose to the tune of Eddie Vedder. He sings backup on that and Merlin thinks that is because he was in the Green River band, but Eddie Vedder was never in Green River and neither was Chris Cornell.

The guy with the hat and the bass (Jeff Ament) was in Green River and Stone Gossard was in Green River. It was Pearl Jam + Mudhoney. Genius + Loves = Jackie Rogers Jr. Merlin is thinking of Temple of the Dog! They sing a bit from the song Reach Down. That is a confusing rat king, it is very difficult to figure out all these bands, but this is the introduction that the world had to Eddie Vedder, that music video standing on a beach around a campfire, the Hungry song (called Hunger Strike by Temple of the Dog). Merlin thought it was the one before Jeremy, called Even Flow.

John’s understanding of that era is pretty comprehensive. Andrew Wood was a guy in Seattle who fronted the band Mother Love Bone. Mudhoney is also from Seattle. ”Keep it out of my face! Keep it out of my face!” (from the song You Got It), ”Touch me I’m sick! Touch me I’m sick!” (from the song Touch Me I’m Sick). The lead singer of Mudhoney works at Sub Pop records, they are all still around because: Seattle. Everybody is down with the cause.

Andrew Wood was a very flamboyant lead singer of Mother Love Bone during an era where it was unclear whether Seattle was going to be a Hair Metal town or a shitty grungy town, which is what it ended up being popular. They were hair farmers and they were wearing scarves and eye makeup, it was very super-glam coming out of the poison put-a-cherry-on-it LA scene. In 1989 everybody was wearing Paisley Shirts with big poofy sleeves and ”look what the cat dragged in” teased-up hair. They were one of the big bands in Seattle at the time and Stone Gossard was also in that band, as was Jeff Ament.

They went from the one band with Mudhoney where they were pulled in different directions… Green River is half Mudhoney because Steve Turner, the guitar player of Mudhoney is in Green River. John calls it Green Apple because there was a band called Green Apple Quick Step. Those guys were Punk and Stone and Jeff were Glam and in Seattle at the time you could just do that, you could have a band that was half-Punk, half-Glam, but then it turned into Mother Love Bone, which was all glam all the time, all glam no sham is what they used to not say, and Andrew Wood was a David Lee Roth-y kind and he was Chris Cornell’s room mate and best friend, who was in Soundgarden.

Soundgarden was not especially Glam, they weren’t Punk either, they were Zeppelin-y Metal. The Melvins were not from Seattle, they were from Olympia, Washington, and they repped South sound pretty hard. For Merlin they are more of a Punky Sabbath, and they were very influential because they were the band that Kurt Cobain wanted to be in, they were the cool band that Nirvana was always like: ”Hey you guys, can we carry your amps?” They were the Godfathers of that vibe, but the Melvins had no time for any of this bullshit, they weren’t into Glam, they were doing their own Olympia South-style, they had moss growing in their nostrils and stuff.

There is no equivalent to that style in California, but there is in Oregon. It is like a college town full of Anarcho-Hippie, but not Santa Cruz because that is too clean and too surfer, while the Olympia-Aberdeen nexus is also oriented to the water, but you go out there and you are harvesting sea life and you bring it back and sell it in order to pump up the tires of your mobile home because you keep thinking you are going to put it behind the truck and trail it somewhere. It sounds like a Springsteen song.

”One day sweetheart we are going to get out of this town, as soon as I can get the tires on this thing pumped up! I will go out to sea one more time, I am going to get a license to harvest Geoduck and sell them to Japan, get new tires on this rig, and we are getting out of here all the way to Sequim” Gorton’s Fisherman meets Of Mice and Men, except the colorful characters are like Old Gregg from The Mighty Boosh (British comedy TV series). Merlin is impressed that John knows about Old Gregg who turns out to be Kurt Cobain’s uncle.

Temple of the Dog was Chris Cornell’s record that he wrote in tribute to his best friend Andrew Wood who had recently died of a Heroin overdose, he was the first big Rock star of the Seattle scene to die of heroin, but he was not the last. In some ways he set the tone, which was: ”If you want to be a big deal in this town you have to die of heroin!” Stone Gossard and Jeff Ament, the other members of Mother Love Bone formed a new band and put out a call for singers and that is how they met this kid from California named Eddie Vedder and right at the last minute very generously Chris offered Eddie to sing on his tribute record to Andrew Wood, a guy Vedder had never met and he took the lead on the tune that became the big MTV smash that touched off the Pearl Jam / Soundgarden / Metal side of MTV Grunge.

Jason Finn getting a tattoo of his old band Love Battery, why Jason can’t be in The Long Winters (RL207)

All those bros knew each other and were all bro pals back in the day and Merlin’s good friend Jason Finn also knew all those bros. It all comes back to Jason Finn, whose band Love Battery was not very good. One time John and Jason Finn when Jason was probably 33 years old were walking down the street and Jason said he was going to get his first tattoo, although he was already in his 30s, and it was going to be of Love Battery, his band that broke up 10 years ago.

They walked into a tattoo parlor, John doesn’t even remember why he was there, he just ran into him on the street a lot. It was behind the hair salon up above the Taqueria Express, and he pulled out the cover art to his Sub Pop release from 1990 and got that on his arm. It is his only tattoo to this day. John thought that Jason was revisionist and would now pretend that he had this tattoo on back then, but that was not the case and this band was very important to him and he wanted to commemorate it.

When Love Battery gets together now to play show they get a different drummer, not because Jason isn’t a fantastic drummer, but because Seattle music politics is weird and Jason left them in a lurch when he got cherry-picked to be in the Presidents of the United States of America, and he is not playing that band anymore now because singer Chris Ballew decided he wanted to do kid’s music exclusively under the name Caspar Babypants, and he is a very big deal and his music is very spectacular.

Being in a Rock band playing for grown-ups all the time meant that he had to travel all around and play shows for dummies and everybody is drunk. He doesn’t need the money anymore and he doesn’t want to stay up until midnight to play for a bunch of drunks, but he wanted to sleep in his own bed and make music for kids who really love it. Jason needs a job now and he should probably play with John, he is a very good drummer, but that is not the issue. He was the band manager of the Presidents of the United States of America, the guy who kept the machine rolling because they had fired Dave Meinert for something and he signed The Lumineers and is now a million-billionaire. He got he laugh on everybody in this town.

One time John was sitting with Dave who was trying to figure out what his next project was going to be, and he said that one of these days very soon a cheque was going to arrive in his mailbox over $1 million and he was sitting there talking to John in the state of someone who is working and has x amount of dollars, the small amount that you would have if you owned a business, but he had already earned this $1 million, it just hadn’t arrived in his mailbox yet. It was a pregnant moment.

The problem with having Jason Finn in The Long Winters, he has played with them many times, is because the conversation goes: ”Hey Jason, do you want to be in The Long Winters?” - ”Yes!” - ”Okay, let’s start talking about tour!” - ”All right, but what brand of cables do you use?” - ”Huh? I don’t know, Smith brand?” - ”No, no, no, you can’t use Smith brand, those are bullshit! I will handle that!” - ”Wow, you have been in the band for 11 seconds!” Right away he is managing the band. It is not a musical problem, but Jason can’t not manage John and John cannot be managed.

Jason is a Border Collie or an Australian Shepherd, it is in his breading. He is trying to get John to go through the gate and then turn and go through the second gate, up over the hill and through a third gate and have everybody go into a corral, but John is an Eagle who does not want to work with the Turkeys. So John is in his cubicle and has that sign posted on the outside of the door, which is a real slap in the face to everyone he works with. Instead they end up going to Dim Sum and talking about something else.

Pretty Girls Make Graves, Murder City Devils, Derek Fudesco (RL207)

The other day John got a text from the bass player of the band Pretty Girls Make Graves (Derek Fudesco) who was also the former bass player of the Murder City Devils and he suggested to play some music with John. His history was a pretty cool kid music lineage that had parallel lines with John’s music lineage, but they never intersected. Merlin saw the Murder City Devils at Bottom of the Hill. Their signature move later on was that they hired a piano player, a young woman who was very Rock’n’Roll, and they set their piano on fire.

Keane playing a Yamaha CP-70 electric grand piano, John’s brother Bart gifting him one (RL207)

John’s good pals Keane from England have a very special piano that confusingly no-one else uses, the Yamaha CP-70, which is an electric piano that has strings. On the other hand the Rhodes is like a vibraphone that is hitting little bars. The CP-70 is collapsible. It is their signature piano, and it is on all their songs and Tim Rice-Oxley plays it at every show. They arrive in a town and a piano tuner comes and tunes their piano every night before the show, which is not a small operation and it sounds like a euphemism.

After John was on tour with them he told his brother Bart, who is a professional piano player, about it and he said that he also used to tour with one of those, and ”tour” in his case means travel in a Ford van with no backseat like Black Flag van and play at Ramada Inn’s across the Northwest. He used to tour with a Hammond B3 with a rotating speaker and he would get his hand truck out and load them in and out himself.

Bart took John to his basement in Yakima and showed him his CP-70 that was completely shredded and looked like it had been dropped off a building, like the Toyota Hilux from the TV show Top Gear that they tried to destroy, but the engine would still start no matter what they did. It just took up space in his basement and Bart gave it to John, so John now has a trashed Yamaha CP-70 in the closet of his back bedroom and he doesn’t know what to do with it, but he also can’t throw it away.

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