WALSTIB Productions Presents: Mark Karan Gears Up For Spring And Summer, Ratdog And Jemimah Puddleduck - March 2001
WALSTIB Productions Presents: An Intimate Look Into Mark Karan's World - October 2000
MARK KARAN INTERVIEW – 11/9/99
by Valerie Stevenson
VS: How is the tour going?
MK:
Great.
VS:
Is there a conscious rotation of songs from gig to gig?
MK:
Yah definitely.
VS:
How far in advance are the set lists planned?
MK:
Normally the same day, but there may be times when Bobby works on them on a day
off.
VS:
When you were rehearsing Weather Report Suite and Terrapin, what approach did
the band take to these GD classics?
MK:
We listened to live and studio versions; learned how the songs went and just started playing them.
VS:
Are you trying to stay true to the originals?
MK:
No, not particularly.
VS:
How did you get together with Bobby & Ratdog?
MK: Spillover from The Other Ones.
VS:
When was the first time you played together and what did you play?
MK:
It was after Furthur & they were looking at several possible guitar players. We all got together at Bob’s house in his studio.
I think we played China/Rider, Sugar Mag….GD stuff.
VS:
What is your musical connection with Bobby? Is it blues related?
MK:
I think it’s deeper than that. Certainly
blues is one place we have in common, so is classic R&B, the bee bop era, the
Beatles, well crafted songs in general. I’ve
always enjoyed jamming and for a while it seemed like Bob didn’t, but it seems as though
he’s really getting into it on this tour so we’re making a connection there too.
VS:
When is the new Ratdog CD expected to be released?"
MK:
Spring 2000.
VS:
Will it be all original material?
MK:
Yes.
VS: Who was involved in the writing of "Two Djinn?" What can you tell us about it?
MK:
I think that one started out with a piano jam that Jeff was doing and the band rallied
round and started making music with that. The
lyrics are Bobby & Garrett Graham.
VS:
How many of Ratdog’s new tunes did you co-write and with whom?
MK:
That’s a hard question to answer. In
general we haven’t talked about how everything is getting credited.
We all had creative input on the music.
Most of the lyrics are Bob & Barlow and Bob & Garrett.
VS:
Are you planning any collaborations with Robert Hunter?
MK:
Not that I’m aware of, but like anything else in this scene, all things are
possible.
VS:
Will you ever sing lead with Ratdog?
MK:
[Laugh….laugh….] See previous
answer.
VS:
Why isn’t Ratdog playing Detroit on this tour?
MK:
It’s not a conscious decision. It’s
what bookings make themselves available; who offers the most attractive package
to the band and the routing.
VS:
How are you going to balance Ratdog and Jemimah Puddleduck?
MK:
Ratdog takes priority…that’s my main gig and JP is the thing that I’m
privileged to be able to do in addition to it.
Any in roads with JP are based on the fact that John & I have been
playing in the GD scene. I love my
work with Ratdog and would never presume to place JP over the thing that brought
me into this family in the first place.
VS:
Would you share some comments on maintaining recovery and still being both a
musician and in the ‘Dead’ scene.
MK:
Recovery is a very personal thing. I don’t know that my particular experience
is of much value to anyone other than me except to say that when I made the choice to
alter my relationship to alcohol and drugs, I had a total shift in my
consciousness and my quality of life without drugs and alcohol became of primary
importance. It’s been easy for me
to be around people that use. It’s
not about worrying about slipping. I’m
very comfortable with being sober. Sobriety
is a complete commitment to yourself that you need to follow through on whether
you’re a musician, an accountant....[laugh] or a tour kid.
I’m not a hard line AA person and like the tired old phrase: ‘All
roads lead to Rome,’ everyone needs to find their own path, although AA is a
tried and true format that works for a lot of people in need of recovery.
VS:
The hollow-bodied guitar you’ve been playing with Planet Drum is not the same
one you were using last summer with The Other Ones.
Is it a new edition to your arsenal, or has it been kicking around for a
while? If it's new... It plays some
beautiful tones... how do you like playing with it?
MK:
It was new as of last fall’s Ratdog tour.
The people at Paul Reed Smith sent it to me to check out and I haven’t
let it go back!!! It’s gorgeous. When I first opened the case I thought it was the ugliest
guitar I’d ever seen. Then I
picked it up and played the first few notes and I knew I was in big trouble.
If they
want it back they'll have to pry it out of my cold dead fingers.
VS:
What are some of your favorites from your ‘arsenal’ and why?
MK:
My 1952 Les Paul is one of my favorites for obvious reasons if you’re a
guitar player. It sounds nice and
fat, plays like a
dream and gets those sweet old Eric Clapton, Muddy Waters, Duane Allman
and Jerry Garcia sounds.
My
1967
Gretsch is also a big contender on the list. It’s
an old Nashville with a wide variety of tones that’s good for lots of different
kinds of music and has a very unique sound.
I
have a 1952
Tele reissue that I’ve chopped and souped up quite a bit.
It’s a great one for the old Roy Buchanon type stuff.
I really got a kick playing that on Box of Rain with The Other Ones
because it’s got that old Dave Nelson sound like on the original record.
VS:
What are you playing on this tour?
MK:
The Les Paul, the Gretsch and the PRS.
VS:
What is your favorite place to play?
MK:
I don’t have a specific place. I like the smaller more intimate settings where I
feel like a real connection is made between the audience and the band.
I still really get a kick out of going into a smoky, greasy bar room and
playing four sets of music.
VS:
Who are your influences today?
MK:
My current influences have much more to do with production and songwriting than they
have to do with guitar playing. I
listen to a lot of things put together by Mitchell Froom & Tchad Blake and
Daniel Lanois. I have a studio in
my home so I’m really intrigued with the whole sound thing.
As far as guitar influences to they’re mostly older players:
Amos
Garrett is brilliant and one of my all time favorites.
Duane Allman, Eric Clapton, early Jerry Garcia through the 70s, early
Santana, Cipollina with Quicksilver, Terry Haggerty from his Sons of Champlin
days. I’m heavily influenced by
Cornell Dupree and his work with the Memphis soul stuff and Aretha Franklin.
George Harrison, Keith Richards, B.B. and Albert King. Curtis Mayfield was a huge influence on my rhythm playing and
melodicism. As a jazz guy I love
Joe Pass. David Bromberg is an
incredible guitar player/songwriter that gets far too little recognition and I
think Richard Thompson is absolutely brilliant.
I could go on…….
VS:
What are "your" plans for New Year’s Eve?
MK:
At this point it looks like we’re playing at the Warfield in San Francisco.
VS:
What is Jemimah Puddleduck about?
MK:
I’m a singer; I’ve always been a singer and I don’t have that opportunity
with Ratdog at this time. JP offers
me an opportunity to sing and write my own stuff with my friends and play in a
situation where there are considerably fewer musicians and therefore less
information being tossed around. There’s
a lot more musical room for us all to explore and I have a lot more freedom as a
guitar player. It’s also a chance
to take some music forms that I really really enjoy like blues and R&B and
push them to their limits in terms of taking a normally more structured type of music
and deconstructing it, making it more jam based music.
VS:
Will JP try to get up in the Bay Area regularly?
MK:
I don’t know about regularly, but we’ll certainly play there.
VS:
Will you be playing the NW with JP?
MK:
Yes, at least Portland and Seattle, but to make it worth doing we’re going to
have to do a few cities. Feel
free to send in
suggestions to mksworld@pacbell.net.
VS:
Are you working on more JP originals?
MK:
I haven’t had time….I’d like to be.
VS:
Any plans for a JP tour?
MK:
Not a tour per se. Because of all
of our schedules with other bands, what we’re probably going to wind up doing
is quick stabs into an area. We’ll
pick Colorado and play a few places there….or the NW or the East Coast.
VS:
Any plans for a JP CD release?
MK: Yes, probably a couple. I imagine the idea would be to do something fun and down and dirty like a live release or a live studio release and then being the studio person that I am I’d like to experiment with more of a studio oriented record, play with cool sounds, maybe some loops and fun stuff like that.
VS:
In the 30 years the Dead played together, they had an almost telepathic
connection with each other. They
could stop on a dime or fluidly float into a jam. Did you feel the
improvisational vibe that the dead are known for on Furthur ’98?
MK:
Glimmers of it occasionally and I felt like the potential was there for it, if
we had pursued it with that combination of players.
VS:
Do you feel it now with Ratdog?
MK:
It’s getting there, it’s constantly improving.
The jams are getting better, reading Bobby is becoming more intuitive,
Bobby is becoming more open to us cueing things and him following that…..so
it’s getting there.
VS:
What were your impressions of the crowds and people on Further ’98 from the
milling about you did in the parking lots?
MK:
Great people….I felt like I was coming home.
I was fortunate enough to start life as a kid in San Francisco in the hey
day of the Haight Ashbury and like the song goes....it’s been a long strange trip.
I hadn’t been around a lot of hippies in a long time and it felt really
really good to find myself in that scene.
VS:
It seemed like you and Steve were really enjoying playing with and off each
other, was it as much fun for you as it was to watch?
MK:
Yes.
VS:
What do you think of the whole Dead vibe?
MK:
The thing that I’ve always loved most about the Grateful Dead was the musical
freedom in a context of musical tonality that I grew up familiar with like rock,
blue grass, country and blues. They
had an approach that was more kindred to the exploration of jazz and the freedom
of jazz, but utilized that more traditional tonality.
Their music is one of the only examples that I can think of that offers
that.
VS:
Do you feed off of the audience?
MK:
Absolutely. If I’m not feeling
the energy coming back off the audience, then I’m not putting anything back
out. On a good night it’s a
totally circular and synergistic thing.
VS:
In what areas do you see seeds of change and evolution in the culture of your
followers?
MK:
Unfortunately, one thing that I do see is a somewhat of a steering away from
some of the cultural and spiritual values and social and spiritual exploration
of the original counter-culture and the focus more on the party than the total
experience. I would love to see
more people getting back to the self exploration, the seeking, the looking for
deeper expressions of love and spirituality in their lives in addition to the
party.
VS: What would you consider the best piece of learning that you
took home from being on the Furthur tour?
MK:
It probably wouldn’t have been expected, but that’s a fairly deep question. The whole experience of getting The Other Ones gig and going
on Furthur, the confusion of whether it was going to be Steve or me on guitar
and winding up with both of us. It
helped develop a sense in myself that I didn’t need to control everything that was
happening in my life that I didn’t need to have all of my ducks in a row and
that I would be okay. I'm
really coming to believe that the universe
will take care of me if I get out of my own way.
VS:
The best piece of advice you received?
MK:
I can’t honestly say I received much advice.
VS:
The best advice you have to give?
MK:
The best advice I can think of, if anyone gives a shit about my opinion, is to be true to yourself at all times and
trust yourself. Allow yourself to
make mistakes and learn from them and don’t feel like you have to be in
control. The universe will take
care of you.
MARK KARAN INTERVIEW - 6/23/98
by Valerie Stevenson
VS:
When did you first hear the Grateful Dead?
MK:
When their first album came out all my friend in Junior High were raving about it and I had to run out and get a copy.
My first show was at the Fillmore in 1966, a Sunday afternoon, with the Doors, whom no one had heard of then and Junior Wells and the Grateful
Dead. The Sunday afternoon Fillmore shows were free for those under 12 so I went to a lot of Sunday afternoon shows there.
VS:
How has Jerry influenced your playing?
MK:
I have had a lot of different influences and have gone through chapters of different influences in my life. Jerry Garcia was a major
influence from the mid 60s to the mid 70s. I got a lot from Jerry's tones and melodic ideas, freedom of expression and song writing. One of
my favorite album was Jerry's solo album.
VS:
How has Jerry influenced your approach to music?
MK:
I went through a period where I used to jam on Dead songs when I was young. That approach to music has stuck with me throughout my life.
Other bands that had a similar influence were Quicksilver and Sons of Champlin. There was a sense of spontaneous creation for each song no matter what night it was. It stuck with me through rythm and blues
songs as well as with other bands. Not knowing whether or not it's going to come together or not, trusting and doing that comes from that
whole era of experimentation.
VS:
What's it like to step into those shoes?
MK:
I wouldn't know. I'm not doing that.
VS:
What qualities in the Dead's music appeal to you the most?
MK:
Freedom of musical expression. The Dead got off on the tonality of the music, the notes and chord changes were rock and folk and all those
kinds of music, but the approach to playing the music was from a jazz POV, not choosing jazz notes but the ability to reinvent the music
nightly. The Dead took that and applied it to rock/Americana non-jazz types of music.
VS:
What impact did 8/9/95 have on you?
MK:
That hit me on a lot of levels certainly musically it was an enormous loss and we've lost so many of the greats....Lennon, Marley, Janis, Jimi
and they are always sorely missed....their flame burned brightly in our world of music.... Since I grew up in the Haight scene as a kid, Jerry
gave me a sense that that scene had lived on and was somewhat of a father figure. He was a
representation of the mentality, spirituality and social fabric of the 60s. 8/9/95 gave me a
sense of the fear and of the mortality of it all. I'm 14 years clean
and sober. The pain of knowing what Jerry had been doing for so long and knowing that if things had been different a lot of it might have been
avoided.
VS:
You've had a lot of new ‘stuff'' to learn in a very short period of time. How comfortable are you with it now?
MK:
Not real comfortable....I just trust it. It's the nature of the beast that the music plays the band. It's about trusting the music and
knowing that it's going to be okay whether or not it's rehearsed. That was always what made the Dead so special. There are those moment where
you fall down and then those where the magic occurs.
VS:
The boys have been talking to each other with their respective instruments and reading each others minds musically for a very long
time. At this stage of the game, how plugged into that part of it are you?
MK:
There are moments where it feels so natural I can't believe it. Then there are moments where it's more of an effort. Even though I haven't
been a Dead Head continuously throughout the years, I have a lot of
background and love for it and that allows me to plug into that energy pretty regularly.
VS:
Will you be stepping out and leading with a tune from your past?
MK:
Not that I'm currently aware of, but all things are subject to change.
VS:
Is there a driving force or person behind the new arrangements [is everyone contributing/are you]?
MK:
The new guys contribute a little here and there, but predominantly it's the old guard. They are clear on what they want to do and change at
least as a starting point.
VS:
You said that you felt that Bruce has been giving the band a lot of its focus. Is the fact that he has an intimate knowledge of this band and
the music a factor in him being a driving force now?
MK:
This is not the big picture, but he has kept the rehearsals focused on what we're doing....Bruce has very good organizational skills and reins
us all in and says...."let's do this."
VS:
Do you feel any pressure to perform a certain way or have a certain sound?
MK:
A certain sound - no, a certain way....only in as much as I'm being asked to step up to the plate and I'm not used to having as much freedom
as I've been given.
VS:
Are you being encouraged to play your parts the way the band has played them through the years, or are you encouraged come up with original
leads?
MK:
Original leads yes...to do our own thing....parts about 50/50...certain things are inherently "the song" and then there are other things where
there is room to experiment and try new stuff.
VS:
What's it like playing with 3 guitarists?
MK:
Runs the gambit from the sublime to the totally chaotic. My normal expectation would have been that there would have been fighting for
space to play,. If anything it feels more like all of us are overly polite....like "No, you go...."
VS:
What's it been like so far rehearsing with the boys?
MK:
Cool, very loose, very casual...it's not what I would call a high pressure situation. Everyone's looking to play music. The big
difference from my LA experience is that it's a lot more human, less of a business and I love that.
VS:
What elements of the "Mark Karan style" do you feel attracted the Other Ones to choose you?
MK:
I had a familiarity with the music and I felt pretty relaxed, natural and comfortable playing that music with them. They probably liked the
fact that I can stretch but I'm also a song kind of guy. I can play
parts too, it doesn't all have to be stretching for me.
VS:
What aspect of your individual style meshes best with the Other Ones?
MK:
I'm not as technically trained a player as Steve is...I follow my ear and I have a strong sense of melody and of the song. I bring that out
in my playing. I get a sense of where the music is going and I follow my ear and my sense of where the music is going and where we're all
going together.
VS:
How do you see your role vis a vis Kimock and Dave Ellis?
MK:
There's certainly enough stylistic difference between our playing...Dave comes from a strong jazz
background...Steve comes from a more experimental background; and although I'm experimental, I'm more of a
raw rootsy player and I add that to the mix. If you were to look at it in terms of Garcia...my playing is more like his earlier stuff...which
would make sense because that's when I was listening to the band. That's where the rootsy blues stuff of mine comes from
that...my playing speaks to his younger playing and maybe Steve's playing speaks more to
the musician JG became over the years.
VS:
I have read so many different reviews of The Other Ones' benefit show at
the Warfield and each one described your performances differently. How do YOU feel it went?
MK:
I thought it was good it was a mindfuck to play those songs and turn and see Bobby and Phil there next to me. There is room for improvement
there were technical difficulties that night, which hopefully were not
noticeable. I think it went well, everyone had fun and that's what it's supposed to be all about.
VS:
What's your take on future possibilities?
MK:
It's impossible to say...I would love this to be an on-going thing and I want to move back home, but I have no idea how the guys are going to
feel about it and that's what's going to make or break that.
VS:
Does what happened with Stan Franks give you any feelings of insecurity?
MK:
Anyone that would answer no to that question would be bullshitting. We all go through that. If I'm having a moment of doubt, or questioning my
role, I just have to shake myself and get back into the music and when I
do that it feels mo better.
VS:
What experiences in your past enable you to play this kind of loosely structured music?
MK:
The whole way I grew up musically having grown up around the Haight scene, etc....I grew up with Mom & Dad listening to jazz and me
listening to jam bands. I spent a lot of time as a kid doing interesting things to my brain and jamming.
VS:
Who are your musical influences?
MK:
The Beatles, Ray Charles is huge, Clapton, Curtis Mayfield, Billy Holliday, Delaney & Bonnie (I played with Delaney sometimes in LA) and
Leon Russell is also a huge influence.
VS:
Any possibility of a European tour? [crossed his fingers and smiled]
MK:
One can only hope. I have yet to have the good fortune to go to Europe.
VS:
Tell me about some of the blues bands you've played with in Marin.
MK:
A lot of different, mostly local unknown people both in Marin and Los Angeles.
MK:
Theresa James in Los Angeles, I play with her whenever I can. A lot of different people that worked with Bonnie Rait.... There is a huge pool
of great musicians in L.A. and there are a lot of great gigs that unless you're in L.A. you don't hear about. They just get together and play
four sweaty sets in a bar....4-5 friends that put together a group and play on the spot. In the blues sense it has some of the same
sensibility that the Dead/TOO had/have....a combination of people that don't play regularly together, kind of an on the spot deal....
VS:
What was or is your role in the Rembrandts?
MK:
Definitely a was. After the Friends fiasco one half of the duo that was the Rembrandts called it quits. Danny, the other half, wanted to keep
making records so he started looking for another guitar player and aside
from the Friends song I always liked the band and thought they did great
songs....Everly Brothers/Beatles influenced 3-4 minutes songs...for me it was a gas. A band on a label asking me to play on a record and
playing music that I have always enjoyed. That came to a close when I got this call.
VS:
I understand you'll be working on your own album after the tour....tell me about that.
MK:
Yes. I have a decent home recording set-up and had decided to take the opening recently made in my personal life to spend some time doing my
own thing and recording some of my own music. Getting together with friends, recording and doing something musically that would mean
something to me.
VS:
Do you have a pre-show or post-show ritual?
MK:
No.
VS:
You had a Les Paul at the 6/4 show, was it the same one you had many moons ago?
MK:
No it's not that one I haven't had that one in years....I'm an old American guitar freak. That's one of my passions. I played the same
one on 6/4 as the one I went to Marin with to do the audition.
VS:
Compare & contrast this musical scene to the gospel spirituals of the slavery era and the ability or lack thereof to transcend music, uplift
and set the listener free.
MK:
HUH????? That delves too deeply into the intellectual pursuits of music I like it to be more from the gut and below..
VS:
Boxers or Briefs?
MK:
Neither.
VS:
Are you related to fashion designer Donna Karan?
MK:
No, not to my knowledge.
STEVE KIMOCK INTERVIEW - 7/7/98 - Hartford, CT
by VALERIE STEVENSON
The following interview parallels the interview done with Mark Karan in that similar questions were used.
VS:
When did you first hear the Grateful Dead?
SK: I first listened to the Dead when the Europe '72 record came out in about '72-'73.
VS:
How has Jerry influenced your playing and your approach to music?
SK:
Jerry seems to have influenced more than my playing. I can't imagine how it's influenced my music or pushed me around. It's influenced me as much to do
stuff as not to do stuff. I began listening to the Dead because people told me that there were similarities between my playing and his some 20-25 years
ago. I came to the same conclusions musically which validated my ideas on
how I wanted to play or sound. It also made me self-conscious about my playing and made me try not to sound like Jerry. I've been simultaneously moving
towards and away from sounding like Jerry. I like working in modal rock 'n roll in a small band, like Zero, and trying to find ways to make it
uniquely my own. I came to the same conclusions on how to deal with spaces in the
music as the Dead did. I'm not trying to sound like Jerry, it just sounds that way sometimes.
VS:
What's it like to step into those shoes?
SK:
I'm not. I'm firmly planted in my own shoes.
VS:
What qualities in the Dead's music appeal to you the most?
SK:
I've been a fan of small band inprovisational music and the Dead did that -- group improvisation. Some of the songs like Saturday Night are rock 'n
roll tunes that are pretty standard and don't have a lot of jamming, but Estimated
Prophet and Wharf Rat are a couple of the songs that just blew my mind. I haven't had much
exposure to Dead music. My biggest gripe with the guitar thing is that it's such a derivative. I don't want to sound like someone
else. I want my own voice. I've deliberately tried to stay away from the sound of the Dead and now here I am.....having the time of my life....
SK:
There are so many people for whom the Dead were an enormous part of their lives that when Jerry died....it all stopped. The alternatives were
few....to stop playing or to go for it.....we're going for it all the way.
VS:
What impact did 8/9/95 have on you?
SK:
It was a sad day. It made me angry and sad. I wish I could have done something.
VS:
You've had a lot of new 'stuff' to learn in a very short period of time. How comfortable are you with it now?
SK:
I'm pretty comfortable with all of it.
VS:
The boys have been talking to each other with their respective instruments and reading each others minds musically for a very long
time. At this stage of the game, how plugged into that part of it are you?
SK:
As plugged-in as I can be. It increases with every show. It's something you have to do a lot to develop. I'm nowhere near plugged-in enough to even
think
it would or could be like it was with the Dead, but I'll learn. If I can get a dart within ten feet of the target, then that's a bull's eye right now.
VS:
Will you be stepping out and leading with a tune from your past?
SK:
I don't know. It's not my place to suggest material. If they'd like to entertain input on new material, I'd be happy to throw something in there.
If they dig it great, if they don't great.
VS:
Is there a driving force or person behind the new arrangements [is everyone contributing/are you]?
SK:
It's fairly collaborative with everyone contributing. Most of the direction comes from Bob, Phil and Bruce and occasionally someone else will chime in.
VS:
Do you feel any pressure to perform a certain way or have a certain sound?
SK:
The only pressure I feel is from within.....from myself.
VS:
Are you being encouraged to play your parts the way the band has played them through the years, or are you encouraged come up with original
leads?
SK:
There might be a few measures of stuff that are something like it once was, but the rest is off the top of my head. I don't know the stuff that well.
It's developing as whatever need fits the moment.
VS:
What's it like playing with 3 guitarists?
SK:
Kinda far out....carefree....If I can think of something that's working, I can usually get that to stick. If I can't and someone else is doing it, that's
cool too.
VS:
What's it been like so far playing with the boys?
SK:
Lots of fun. I'm along for the ride.
VS:
What elements of the "Steve Kimock style" do you feel attracted the Other Ones to choose you?
SK:
I can't imagine.....I have no idea.
VS:
What aspect of your individual style meshes best with the Other Ones?
SK:
I'm at my most comfortable when everything is completely lost....being in uncharted territory. I'm happiest working there.
VS:
How do you see your role vis a vis Kimock and Dave Ellis?
SK:
I don't know. Everyone's job is pretty much the same: be ready to play something or think of something to play; listen hard and try not to step on
everyone else. There's nothing different about my role, Mark's or Dave's.
VS:
What's your take on future possibilities.
SK:
I have no idea.
VS:
Who are your musical influences?
SK: Everybody that I have ever played with. They have more influence than listening to a record, especially early on.
VS:
How do you feel the shows are going so far?
SK:
It seems to be going great.
VS:
You got a new guitar before you left. How is it and how much are you using it?
SK: I works great and I use it all the time.
VS:
Zero fans are concerned about the impact this will have on Zero. Will Zero continue to play after this run?
SK: Zero will continue to play and there should be no impact on Zero.
VS:
How did the rest of the guys in Zero react to your taking this gig?
SK:
Most of them thought it was a 'No Brainer.'
VS:
Do you have a pre-show or post-show ritual?
SK:
Yes, set-up my gear, play guitar, tear it down, play guitar, get on the bus, play guitar, etc. [Steve played pretty much the entire time I was
interviewing him!!!]
VS:
Compare & contrast this musical scene to the gospel spirituals of the slavery era and the ability or lack thereof to transcend music, uplift &
set the listener free.
SK:
Not now.....maybe later when I have more time!!!!!
VS:
Boxers or Briefs?
SK:
Zero Underwear!!!!
Steve would like everyone to know that he's having a great time and sends thanks to everyone who helped him get
here.
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