WEBVTT 1 00:00:19.480 --> 00:00:21.399 Hello, Primates. 2 00:00:21.480 --> 00:00:25.519 You found Primus Tracks. Congratulations. There are so many places 3 00:00:25.519 --> 00:00:28.199 to find Primus Tracks. The podcast is probably the best. 4 00:00:28.480 --> 00:00:30.239 I am doctor Josh bald I am one of the 5 00:00:30.239 --> 00:00:32.359 hosts of Primus Tracks. He is coming to you from 6 00:00:32.359 --> 00:00:35.799 the thirty ninth floor Primus Tracks Towers Encyclopedia. Frankie Beristein, 7 00:00:36.280 --> 00:00:40.240 He's going fine. It's just it's going fine. While I 8 00:00:40.280 --> 00:00:42.439 have great news for you. Frankie, your day is about 9 00:00:42.479 --> 00:00:46.240 to improve dramatically because we are talking about mister Wright 10 00:00:46.640 --> 00:00:50.840 from the Monolithophobos record as we continue our deep dive 11 00:00:51.159 --> 00:00:55.479 into the first CLD effort and we have help. He's 12 00:00:55.560 --> 00:00:59.359 fresh off the road from a brief tour of North America. 13 00:00:59.679 --> 00:01:03.280 He is a base wizard that we call upon numerous 14 00:01:03.280 --> 00:01:08.239 times for his insights. The Funky Diva himself, Ko Gonzalez, 15 00:01:08.280 --> 00:01:09.640 welcome back to Primus Tracks. 16 00:01:10.359 --> 00:01:13.079 I'll add to that I was fresh before going on. 17 00:01:14.640 --> 00:01:17.760 Oh tour did not freshen you up. You were pure 18 00:01:17.799 --> 00:01:20.920 driven snow before and after. That is wonderful. 19 00:01:21.239 --> 00:01:23.719 But thank you for the for the Funky Diva, the. 20 00:01:23.640 --> 00:01:32.159 Title is yours just this, so tell us about the 21 00:01:32.200 --> 00:01:33.280 tour you were just a part of. 22 00:01:33.920 --> 00:01:40.680 It was a very great weather infused journey through the US. 23 00:01:41.159 --> 00:01:46.400 So went through I guess all seasons in these three weeks. Uh, 24 00:01:46.599 --> 00:01:50.319 some snow, some snow in uh in New York, rain 25 00:01:50.439 --> 00:01:57.280 in Dallas, some humid, windy climates in Orlando. I was 26 00:01:57.280 --> 00:02:00.359 also in the mid of a cartel uprising. 27 00:02:01.439 --> 00:02:04.120 Like yeah, I was worried about you when I heard 28 00:02:04.120 --> 00:02:04.519 about that. 29 00:02:04.599 --> 00:02:09.439 So it was lots of things happened. Everyone's safe, but 30 00:02:11.240 --> 00:02:16.039 it was a great overall tour. Is the composer for 31 00:02:16.120 --> 00:02:23.840 the music Silent Hill, right, and I was fortunate enough 32 00:02:23.960 --> 00:02:26.879 to be invited to be a bass player doing this 33 00:02:27.000 --> 00:02:34.560 tour and fingers crossed Huron right. Yeah, So we have 34 00:02:34.800 --> 00:02:38.639 we have talks of more dates coming in. We'll do 35 00:02:38.680 --> 00:02:41.560 some Mexico City later in the year. We'll do some 36 00:02:42.319 --> 00:02:49.240 other US Europe Asia dates later. So it'll be nice. 37 00:02:49.360 --> 00:02:54.280 It'll be a nice trip, a nice journey through his music, 38 00:02:54.439 --> 00:02:59.240 and uh, we'll see what comes next. But it was 39 00:02:59.319 --> 00:03:03.360 great in regards to wed all sold out dates. 40 00:03:04.039 --> 00:03:10.120 Kay, I am, I am flabbergasted. So you you're you're 41 00:03:10.240 --> 00:03:15.800 heavily on the road. You also record uh solo albums, 42 00:03:15.919 --> 00:03:20.719 You also record with Parasit. You perform a ton of shows, 43 00:03:21.240 --> 00:03:24.840 So when do you even engineer. 44 00:03:27.520 --> 00:03:34.919 In between wow, in between all that. So it's yeah, 45 00:03:34.919 --> 00:03:37.599 it's it's a it's a juggling as as I call, 46 00:03:37.599 --> 00:03:44.560 it's a juggling effort between family, work, music. 47 00:03:44.960 --> 00:03:48.680 And all the the care that goes towards your facial 48 00:03:48.719 --> 00:03:49.879 hair as well. 49 00:03:49.919 --> 00:03:54.400 That takes care of itself. Actually it takes care of me. 50 00:03:58.319 --> 00:04:00.520 I mean, and I see Josh is. 51 00:04:02.000 --> 00:04:03.400 On his way working on it. 52 00:04:04.759 --> 00:04:11.479 Indeed, I saw Chaos interview. One quote that stood out 53 00:04:11.560 --> 00:04:15.479 for me particularly is that Chaos said if there were 54 00:04:15.759 --> 00:04:20.839 a top one hundred bass players list from Mexico, he 55 00:04:20.920 --> 00:04:23.560 wouldn't even be there. And I was like, get the 56 00:04:23.600 --> 00:04:24.120 hell out. 57 00:04:24.000 --> 00:04:31.160 Of here, Like, technically speaking, I'm not the best bass player. 58 00:04:31.319 --> 00:04:35.800 That's the thing, technically speaking, Because I think we talked 59 00:04:35.800 --> 00:04:38.439 about this, but when I when I was in the 60 00:04:38.519 --> 00:04:44.439 San Diego Primus Masterdon tour, I did the VIP thing, right, So, 61 00:04:44.680 --> 00:04:48.839 and we're talking and someone asked them and in between 62 00:04:48.879 --> 00:04:51.199 everything that Lass said, one of the things that I 63 00:04:51.439 --> 00:04:54.600 noticed from his comments is he didn't see himself as 64 00:04:54.680 --> 00:04:57.439 a very good bass player, right, And I think I 65 00:04:57.560 --> 00:05:04.399 relate to that because I'm also a self learned bass player. Yes, 66 00:05:05.399 --> 00:05:11.600 and we learned from our heroes listening emulating playing organically. 67 00:05:12.399 --> 00:05:14.519 So that's how I feel like about my playing. I 68 00:05:15.839 --> 00:05:19.360 love what I do. I like that I can basically 69 00:05:19.959 --> 00:05:25.040 make those sounds inside my head a reality. But it's 70 00:05:25.079 --> 00:05:29.680 not as I'm not your what would you would? You 71 00:05:29.720 --> 00:05:34.120 would say, a common, basic, normal bass player. 72 00:05:34.519 --> 00:05:39.839 You know, I could equate that to an artist or 73 00:05:39.839 --> 00:05:45.319 an illustrator who is very technically proficient, but they're only 74 00:05:45.439 --> 00:05:51.360 good at doing what people ask them to do or 75 00:05:51.639 --> 00:05:56.120 copying something, whereas some illustrators might not have the most 76 00:05:56.160 --> 00:05:59.000 refined or the best technique ever, but their imagination is 77 00:05:59.040 --> 00:06:03.199 mind blowing like less. Yeah, certainly. 78 00:06:03.480 --> 00:06:07.399 Yeah, but now now I appreciate your comment, Frankie, and 79 00:06:08.240 --> 00:06:11.759 I thank you for that. In the end, it's about 80 00:06:11.839 --> 00:06:15.399 doing what we love, how we love doing it right. 81 00:06:15.439 --> 00:06:18.279 So here we are, beautiful. 82 00:06:19.680 --> 00:06:21.879 Let's amend the list. Then let's put you at number 83 00:06:21.879 --> 00:06:26.839 one oh one. Okay, easy, there you go. 84 00:06:26.879 --> 00:06:30.439 You made it here on the list. 85 00:06:30.759 --> 00:06:32.439 You're one of one, that's for sure. 86 00:06:33.800 --> 00:06:34.000 Man. 87 00:06:34.040 --> 00:06:37.560 Well, it's great to have you back talking mister Wright today. 88 00:06:38.560 --> 00:06:43.279 This is track four of the Mono Phobos record. It's 89 00:06:43.319 --> 00:06:47.480 four minutes twenty one seconds music by Claypool Lennon. Of course, 90 00:06:47.879 --> 00:06:51.360 lyrics by Claypool. Less is on vocals, bass and melotron. 91 00:06:51.399 --> 00:06:56.279 Sean Lennon is on vocals, guitar and drums and Frankie. 92 00:06:56.319 --> 00:06:58.920 I have a feeling you know all about this tune. 93 00:07:00.480 --> 00:07:08.199 Mister Wright is a Lenom Delirium staple. It's always performed 94 00:07:08.240 --> 00:07:11.800 live at their shows and you can tell it's one 95 00:07:11.800 --> 00:07:15.680 of their favorites. They really enjoy playing it, mostly because, 96 00:07:15.720 --> 00:07:20.160 whereas other tracks they tend to stay within the norm 97 00:07:20.399 --> 00:07:24.360 of the record. With mister Writer, there's always that little 98 00:07:24.360 --> 00:07:28.079 space for jamming and improvisation, which you can tell Les 99 00:07:28.120 --> 00:07:35.319 really enjoys. I get some Mister Wright trivia here courtesy 100 00:07:35.360 --> 00:07:39.959 of a friend of the podcast, Matt Weinegar, who was 101 00:07:40.000 --> 00:07:45.959 there for the creation of monolitha Phobos. Matt confirmed the 102 00:07:46.000 --> 00:07:50.360 song was called Creeping in the early stages when it 103 00:07:50.519 --> 00:07:56.279 was being demoed. He said that Les pretty much arrived 104 00:07:56.319 --> 00:07:59.800 with the song finished and it was just a matter 105 00:07:59.839 --> 00:08:03.639 of recording it. Now, this makes perfect sense to me 106 00:08:03.759 --> 00:08:08.120 because it harks directly back to that comment Let's made 107 00:08:08.160 --> 00:08:12.319 recently about how Sean tends to make these beautiful songs, 108 00:08:12.480 --> 00:08:16.079 and then let's brings the words into the records. You 109 00:08:16.120 --> 00:08:18.319 can totally tell this is a Lescliple song. 110 00:08:18.800 --> 00:08:21.439 Agree, well, this could have this could have been in 111 00:08:21.480 --> 00:08:22.759 any of his solo records. 112 00:08:22.879 --> 00:08:28.160 Exactly Yes. I asked Matt what his reaction was to 113 00:08:28.240 --> 00:08:31.800 the lyrics, and he said he was cracking up. He said, 114 00:08:31.920 --> 00:08:35.159 as disturbing as the subject matter is, hearing less sing 115 00:08:35.200 --> 00:08:42.840 the word p is hilarious. Here's something that I didn't know, 116 00:08:43.080 --> 00:08:49.200 and it was highlighted by Matt. They were having conversations 117 00:08:49.480 --> 00:08:53.200 about Chuck Berry being posted for setting off cameras and 118 00:08:53.279 --> 00:08:58.840 that seems to be some of the inspiration for this song. Now, 119 00:09:00.039 --> 00:09:04.000 Jock Berry was accused of secretly videotaping women with cameras 120 00:09:04.000 --> 00:09:07.480 installed in the restrooms of his restaurant, The Southern Air 121 00:09:07.919 --> 00:09:11.799 in Missouri in the late nineteen eighties. Lawsuits and settlements 122 00:09:11.840 --> 00:09:15.639 from nineteen ninety said that over two hundred women filed 123 00:09:15.639 --> 00:09:19.480 actions against him allegend they were filmed using the restroom. 124 00:09:19.759 --> 00:09:23.000 While the charges were never proven in court, Chuck settled 125 00:09:23.000 --> 00:09:26.440 a class action lawsuit with fifty nine different women for 126 00:09:26.600 --> 00:09:29.759 one point two million dollars plus legal fees. 127 00:09:30.600 --> 00:09:34.720 Wow, so that's possibly the impetus for that's. 128 00:09:34.519 --> 00:09:38.919 Possibly the real life mister right. Yes, Matt said that 129 00:09:39.080 --> 00:09:43.279 showplay drums along with Les playing bass live in the studio. 130 00:09:43.440 --> 00:09:47.639 That's how this song was recorded. Then vocals and guitars 131 00:09:47.679 --> 00:09:51.960 were overdubbed. He didn't remember if the song had metotron 132 00:09:52.080 --> 00:09:57.879 or not, which it does now. Musically, I think one 133 00:09:57.879 --> 00:10:00.600 of the reasons this song stands out well. Of course 134 00:10:01.120 --> 00:10:06.120 the baseline, that galloping, amazing bassline, which is center and 135 00:10:06.200 --> 00:10:11.159 front stage on the song. But some people have highlighted 136 00:10:11.320 --> 00:10:17.120 that it's also very melodic and very very musical for 137 00:10:17.320 --> 00:10:21.120 less standards, and some people even compare it to tax 138 00:10:21.200 --> 00:10:24.919 Men by the Beatles. Another small piece of trivia for you, 139 00:10:25.080 --> 00:10:29.320 Josh and Ko, if you, if you would please open 140 00:10:29.519 --> 00:10:33.639 your monolitha Phobos gatefold, you can see mister Wright right 141 00:10:33.639 --> 00:10:35.320 there in the collash. 142 00:10:35.399 --> 00:10:37.679 Here's my monolitha Phobos gatefold. 143 00:10:38.440 --> 00:10:41.159 Let's see if you can spot mister Wright. Is it? 144 00:10:41.440 --> 00:10:43.240 Is it this unsavory character right here? 145 00:10:43.720 --> 00:10:48.600 That right there is mister right yeah, top middle on 146 00:10:48.639 --> 00:10:50.600 your gatefold on the image page. 147 00:10:50.759 --> 00:10:53.159 Very nice. You sure it's not the guy in the 148 00:10:53.159 --> 00:10:57.480 glasses holding that piece that makes it's really confused, but. 149 00:10:57.399 --> 00:11:01.639 Not fair enough, you know, it could be that the 150 00:11:02.360 --> 00:11:10.480 melodic element is brought in by the pairing Less with Sean, 151 00:11:10.519 --> 00:11:15.759 you know, because if you strip it away again going 152 00:11:15.799 --> 00:11:19.200 back to it, it is a clipbal song, right. I mean, 153 00:11:19.679 --> 00:11:23.600 it's not like he's singing more or less yeah than 154 00:11:23.639 --> 00:11:28.360 any other Less clippal song. It's more the how the 155 00:11:28.440 --> 00:11:37.919 Lennon Clappole pairing adds melody to to Less weird the music, you. 156 00:11:37.879 --> 00:11:41.720 Know, That's exactly their dynamic. Less pushes Sean to be 157 00:11:41.879 --> 00:11:46.200 more technically proficient, whereas Sean pushes Less to be more 158 00:11:46.320 --> 00:11:47.679 musical and more melodic. 159 00:11:48.440 --> 00:11:50.240 Yeah, and we get a lot of elements in that 160 00:11:50.440 --> 00:11:53.519 and of that in this tune, certainly. And it's only 161 00:11:53.519 --> 00:11:55.440 the fourth track, like we've really seen. 162 00:11:55.200 --> 00:12:00.279 It, and this this first album is very psychedelic. Yeah. Yeah, 163 00:12:00.279 --> 00:12:03.440 but this song is the more reminiscent of. 164 00:12:03.679 --> 00:12:07.240 Less work certainly. Yeah, Frankie, when you said the it 165 00:12:07.320 --> 00:12:10.440 was essentially brought fully formed by Less, like that didn't 166 00:12:10.440 --> 00:12:13.159 surprise me one bit, No, because this is one of 167 00:12:13.200 --> 00:12:15.879 those tunes where Less likes to tell the story of 168 00:12:15.960 --> 00:12:18.679 Sean joining them on stage for the first few times 169 00:12:18.679 --> 00:12:21.399 on that tour in twenty fifteen, and Sean saying what 170 00:12:21.440 --> 00:12:25.000 do I do And let's say, let's make whale sounds. 171 00:12:25.159 --> 00:12:28.320 There's some whale sounds on this one, this one feeling 172 00:12:28.440 --> 00:12:31.559 more fully formed by you know, Claypole bringing to the table. 173 00:12:32.000 --> 00:12:33.639 It's one of those where all right, I'm going to 174 00:12:33.679 --> 00:12:36.279 fill in around the edges. And I think that's what 175 00:12:36.679 --> 00:12:39.039 Sean decided to do with this one. 176 00:12:39.360 --> 00:12:41.919 I mean from experience, I can tell you it's not 177 00:12:42.120 --> 00:12:47.600 the same to compliment already complete song than to add 178 00:12:47.639 --> 00:12:51.159 to it. So I can see where songs as Sean 179 00:12:51.240 --> 00:12:54.919 probably brought brought in less had to exercise a different 180 00:12:56.639 --> 00:12:59.399 way of working with someone because he's very much used 181 00:12:59.440 --> 00:13:03.360 to bring it in everything right, right, I mean, Prime 182 00:13:03.519 --> 00:13:06.399 is his his own stuff any other project, I mean 183 00:13:06.759 --> 00:13:11.559 he's basically he does most of the compositional work right, 184 00:13:11.639 --> 00:13:14.799 So here there will be instances when he'll need to 185 00:13:14.960 --> 00:13:19.879 add base, add vocals, harmonies to something that's already done, 186 00:13:20.320 --> 00:13:24.159 which is for him different than what he's used to doing. 187 00:13:24.600 --> 00:13:27.120 And I don't want to ask you, Ko, I would 188 00:13:27.159 --> 00:13:29.919 imagine for him it's somewhat refreshing, and so for you 189 00:13:30.679 --> 00:13:34.159 because you are there the heart and soul of so 190 00:13:34.279 --> 00:13:38.960 many bands. When when when your band members or bandmates 191 00:13:39.000 --> 00:13:42.279 are bringing bringing stuff in, or you're working with somebody 192 00:13:42.360 --> 00:13:45.879 new and finding new pathways. How's that for you? 193 00:13:47.000 --> 00:13:53.240 It exercises a different creative area from your brain. I 194 00:13:53.240 --> 00:13:56.320 can see from less perspective. It basically takes him out 195 00:13:56.360 --> 00:14:00.440 of his comfort zone and it'll exercise a different creative development, 196 00:14:00.519 --> 00:14:03.600 which I think I'll appreciate. I use that as a 197 00:14:03.639 --> 00:14:09.519 resource to not repeat myself, right, because otherwise I'll enter 198 00:14:09.639 --> 00:14:14.600 into like a auto pilot. Yeah, we're working creatively. But 199 00:14:14.639 --> 00:14:19.480 if you work different areas of how you can compose 200 00:14:20.360 --> 00:14:26.600 or or trigger creativity, then it may catch you off guard. 201 00:14:27.240 --> 00:14:30.639 Oh I love that. I love that way of saying it. 202 00:14:30.799 --> 00:14:33.759 You catch yourself off guard because you're doing something you 203 00:14:33.799 --> 00:14:35.600 wouldn't normally do. 204 00:14:36.159 --> 00:14:39.279 And you react, you react to it differently. Now, this 205 00:14:39.399 --> 00:14:44.240 is another Claypal quote from from this v P San 206 00:14:44.279 --> 00:14:46.919 Diego Get Together. But someone asked me, how how do 207 00:14:47.000 --> 00:14:51.279 you how do you do it to sound different primus 208 00:14:51.320 --> 00:14:55.240 than you do with lenin than you do with everything 209 00:14:55.279 --> 00:14:55.639 you do? 210 00:14:55.840 --> 00:14:56.039 Right? 211 00:14:56.279 --> 00:14:59.159 And what he said, you don't talk the same way 212 00:14:59.240 --> 00:15:03.840 to your mom than you do to your boss, and 213 00:15:03.960 --> 00:15:08.399 you do to your girlfriend or your dog. I mean, yeah, 214 00:15:08.519 --> 00:15:13.440 depending on who you're talking to dot. Conversation's different, the 215 00:15:13.480 --> 00:15:16.919 way you talk, with the inflection in your voice, the 216 00:15:17.120 --> 00:15:20.440 I mean, everything changes. So when I play with Lair 217 00:15:20.639 --> 00:15:22.960 is different than when I played with Sean, than what 218 00:15:23.080 --> 00:15:27.200 I played with each and every member from the different bands, 219 00:15:27.240 --> 00:15:30.679 because it's a conversation, so the conversation goes differently. 220 00:15:30.960 --> 00:15:34.759 Yeah, that makes perfect sense. I'm Frankie's boss, so you 221 00:15:34.759 --> 00:15:39.840 can imagine how I talk to him. Well, you do 222 00:15:39.919 --> 00:15:44.039 have that beautiful bass there and this this track is uh, 223 00:15:44.279 --> 00:15:47.919 you know, the foundation of this track is that really 224 00:15:47.960 --> 00:15:50.639 cool lick that that starts things off. I'll play it 225 00:15:50.679 --> 00:15:53.080 from the record and then I would love to hear 226 00:15:53.200 --> 00:15:56.440 your rendition of it, Ko and what you're hearing in 227 00:15:56.480 --> 00:15:59.000 there besides tax Man of course, because everybody hears that. 228 00:16:17.720 --> 00:16:19.799 That's a nice opening right there. 229 00:16:20.440 --> 00:16:24.480 From from a bass perspective, it's classic Claypoo song where 230 00:16:24.519 --> 00:16:28.480 you have the same lick over Robert the whole song, 231 00:16:28.639 --> 00:16:35.120 but he adds small things to spice it up. And 232 00:16:35.240 --> 00:16:40.360 let's the vocals on the on the melody that he 233 00:16:40.519 --> 00:16:44.799 goes through with with the lyrics guide the song, right. 234 00:16:45.039 --> 00:16:47.159 But if you listen to it, it's basically the same 235 00:16:47.240 --> 00:16:51.480 lick over and over again, even through verses and choruses. 236 00:16:51.879 --> 00:16:54.440 It sounds like a very complex bassline. 237 00:16:54.679 --> 00:16:58.399 Is it the tricky part on the bassline or the song? 238 00:16:58.720 --> 00:17:09.279 It's it's the the metric element on it, because if 239 00:17:09.319 --> 00:17:12.759 you see his his he starts off and then everything enters, 240 00:17:12.960 --> 00:17:15.880 So it's it's kind of it's kind of crooked, right, 241 00:17:15.880 --> 00:17:18.839 it's crooked and and and the bass like kind of 242 00:17:19.400 --> 00:17:25.559 it's kind of swerving through through the four four uh 243 00:17:25.839 --> 00:17:29.039 time signature in the song, So it makes it it's 244 00:17:29.079 --> 00:17:36.279 it's one of those psychedelic pragy elements that that are 245 00:17:36.359 --> 00:17:41.559 infused in the song. But it's really a four by 246 00:17:41.640 --> 00:17:45.799 four song. Just the way it is approached to make 247 00:17:45.880 --> 00:17:48.519 it makes it sound like it's more complex than it 248 00:17:48.599 --> 00:17:49.240 actually is. 249 00:17:49.680 --> 00:17:53.480 Yeah, they do some sneaking to make it sound and 250 00:17:53.519 --> 00:17:56.559 feel off kilter, like coming in on the and as 251 00:17:56.559 --> 00:17:57.319 opposed to the. 252 00:17:57.200 --> 00:18:01.160 One correct correct, but only he does it. Yeah, right, 253 00:18:01.759 --> 00:18:04.400 So that that's what kind of gets you kind of 254 00:18:04.400 --> 00:18:07.400 a little bit what happened there or or makes you 255 00:18:07.519 --> 00:18:14.119 think that it is from a from a metric perspective, 256 00:18:14.240 --> 00:18:15.960 a little bit more crooked than it is. 257 00:18:16.440 --> 00:18:19.839 Yeah, it's a nice illusion just to like you shift 258 00:18:19.880 --> 00:18:22.079 one thing and then everything feels like it's falling apart. 259 00:18:34.400 --> 00:18:36.160 So that's that's that's that's the leck. 260 00:18:38.720 --> 00:18:39.599 Right there in the box. 261 00:18:42.000 --> 00:18:42.799 And then he does some. 262 00:19:03.960 --> 00:19:06.920 So there's some when you well you'll hear it life. 263 00:19:06.960 --> 00:19:08.799 It goes all over the place. 264 00:19:09.640 --> 00:19:12.680 It does, which but it but it makes sense because 265 00:19:12.680 --> 00:19:18.200 the song structure is so straightforward that it keeps way 266 00:19:18.480 --> 00:19:20.440 to being able to kind of open it up because 267 00:19:20.480 --> 00:19:23.000 it's all I mean, it's pretty basic and it's in 268 00:19:23.079 --> 00:19:27.400 its structure, so it allows for that openness and I 269 00:19:27.400 --> 00:19:30.160 can see and I can see that, yeah. 270 00:19:30.000 --> 00:19:33.359 Uh. And then with the pattern there, it's it's largely 271 00:19:33.400 --> 00:19:35.599 in a box. We've talked about. He keeps some of 272 00:19:35.640 --> 00:19:38.720 his riffs in a box physical box. Uh. And it's 273 00:19:39.480 --> 00:19:42.079 kind of looking you know, it looks a bit peditonic, 274 00:19:42.079 --> 00:19:45.799 and then there's the chromatic uh shift downwards. There's some 275 00:19:45.839 --> 00:19:49.119 cool stuff going on there. But it's it's bouncy. Of course, 276 00:19:49.119 --> 00:19:51.559 it's so reminiscent of tax Man, but it's its own thing. 277 00:19:52.440 --> 00:19:54.079 It's it sounds like a lot of fun to play, 278 00:19:54.119 --> 00:19:55.599 It looks like a lot of fun to play. 279 00:19:55.759 --> 00:19:57.920 It is it is a lot of fun. And now 280 00:19:58.559 --> 00:19:59.640 he's singing on top of this. 281 00:20:00.119 --> 00:20:02.720 Yes, that's the hard part, right, the hard part. 282 00:20:03.160 --> 00:20:05.680 And it's one of it's another of another, one of 283 00:20:05.720 --> 00:20:10.000 those songs that have a chance to breathe new life. 284 00:20:10.759 --> 00:20:13.200 On the second leg of the tour, when Liz finally 285 00:20:13.240 --> 00:20:17.079 decided to start playing the pachyderm because on the record 286 00:20:17.160 --> 00:20:19.319 and on the first leg he used to play mister 287 00:20:19.359 --> 00:20:21.279 Wright on the resonator. 288 00:20:21.160 --> 00:20:22.839 That would sound strange. I don't think I've heard any 289 00:20:22.880 --> 00:20:27.400 of those first leg recordings of them playing any of 290 00:20:27.400 --> 00:20:29.839 these tunes on the resonator with money Mark. 291 00:20:31.440 --> 00:20:33.920 I don't think it's strange. If you listen to the original, 292 00:20:34.079 --> 00:20:37.279 you can see the mid rangee timber from banking. 293 00:20:37.799 --> 00:20:39.680 Yeah, I'll buy that. 294 00:20:40.200 --> 00:20:43.960 It's worth highlighting that Liz has introduced this song multiple 295 00:20:43.960 --> 00:20:48.519 times on stage as a song absolutely despised by his daughter. 296 00:20:48.720 --> 00:20:54.279 That's right, Yes, that's right. She says she really doesn't 297 00:20:54.400 --> 00:20:59.079 like this one for the lyrical content it is. It 298 00:20:59.160 --> 00:21:02.079 is pretty creepy, and so that it was called creeping, 299 00:21:02.279 --> 00:21:05.160 and that the word creeping is used numerous times through 300 00:21:05.200 --> 00:21:09.640 the song. I mean, it's it's very much like the 301 00:21:10.039 --> 00:21:13.039 that bass lick ko that the word creeping and that 302 00:21:13.119 --> 00:21:16.880 bass lick are probably they occur so often in this 303 00:21:17.000 --> 00:21:19.799 tune that now I cannot extricate them from one another. 304 00:21:19.839 --> 00:21:23.359 It's a creeper, creeper riff. It's a creeping riff. 305 00:21:23.440 --> 00:21:25.160 Yeah, it really is. 306 00:21:25.599 --> 00:21:25.799 You know. 307 00:21:25.880 --> 00:21:29.440 You can just you can just see the guy setting 308 00:21:29.519 --> 00:21:32.640 up the little cameras everywhere in his airbnber whatever in 309 00:21:32.640 --> 00:21:35.839 his rental property. And with that, you know that he's 310 00:21:35.880 --> 00:21:38.680 just jaunting through the house because with that bouncy bass 311 00:21:38.759 --> 00:21:41.400 riff behind him going, he's setting up these cameras. I'm 312 00:21:41.440 --> 00:21:41.880 a pervert. 313 00:21:42.720 --> 00:21:47.960 I just want to mention that before this album dropped, 314 00:21:48.319 --> 00:21:51.920 I did hear Creaking and the Genie because I was 315 00:21:52.119 --> 00:21:55.039 just too curious about the collaboration. I couldn't help it. 316 00:21:55.200 --> 00:21:58.200 So I heard that song many times. But then, yeh, 317 00:21:58.519 --> 00:22:04.400 before the record, they also released Mister Wright as another 318 00:22:04.519 --> 00:22:10.480 teaser for the album, and I remember hitting the plate 319 00:22:10.519 --> 00:22:14.759 bottom and I heard just the opening bars of the 320 00:22:14.839 --> 00:22:18.559 song and I stopped it because I thought, this is 321 00:22:18.599 --> 00:22:21.160 too good. I need to I need to save this 322 00:22:21.359 --> 00:22:23.920 for when the album is released so I can hear 323 00:22:24.000 --> 00:22:26.279 everything back to back. I didn't want to spoil any 324 00:22:26.319 --> 00:22:29.559 more tracks. So the opening grief of Mister wright was 325 00:22:29.599 --> 00:22:32.599 so compelling I decided to wait for the record. 326 00:22:33.039 --> 00:22:37.480 I am impressed that you demonstrated such restraint, Frankie, because 327 00:22:37.519 --> 00:22:41.440 we know that if you are given a morsel, you'll 328 00:22:41.440 --> 00:22:45.480 take the entire cookie. So you'll just you'll just gobble 329 00:22:45.559 --> 00:22:48.039 up whatever's put in front of you. That's that's impressive 330 00:22:48.519 --> 00:22:54.400 And and something so inviting as this lick that starts 331 00:22:54.400 --> 00:22:57.279 the tune that Kao is just hammering away on in 332 00:22:57.319 --> 00:22:57.960 the background. 333 00:22:57.960 --> 00:23:01.200 Man, I mean, I tell you something, the more I 334 00:23:01.240 --> 00:23:03.599 play it, the more it flows, you know. 335 00:23:04.039 --> 00:23:06.799 Oh certainly, yeah, So you're getting some practicing while we 336 00:23:07.000 --> 00:23:09.559 While we speak, I'm going to forward to about a 337 00:23:09.599 --> 00:23:11.640 minute and a half into the tune because there it 338 00:23:11.799 --> 00:23:15.680 wants it's going. I will say, like in the first 339 00:23:15.720 --> 00:23:18.079 minute we get what we're going to get. There are 340 00:23:18.119 --> 00:23:21.720 no dramatic shifts, and that's totally fine. We've talked about 341 00:23:21.759 --> 00:23:25.079 the all A songs and Kay you mentioned it. There's 342 00:23:25.119 --> 00:23:28.680 the foundational lick. We get that for about four minutes 343 00:23:28.720 --> 00:23:31.720 with some variations. It's I think it's solid enough to 344 00:23:31.799 --> 00:23:35.559 carry carry through. But it is a pretty cool groove. 345 00:23:36.200 --> 00:23:39.480 As the tune is well established, I'll just play a 346 00:23:39.519 --> 00:24:08.720 little bit more here weal sound Less was getting ready 347 00:24:08.759 --> 00:24:10.839 for that Tribute to Kings tour with that melodar. 348 00:24:11.599 --> 00:24:14.640 I need to do something, not just because. 349 00:24:14.400 --> 00:24:20.640 Frank, are you grabbing your melotron? I'm grabbing excellent, We're 350 00:24:20.640 --> 00:24:49.119 going to hear it on the resonator. That sounds just 351 00:24:49.160 --> 00:24:58.720 like that sounds much rounder. Yeah, fascinating, It does sound 352 00:24:58.799 --> 00:25:02.079 more more like it. I almost prefer that. Now, bring 353 00:25:02.119 --> 00:25:06.599 back the resonator, CLD, let's do it. That's that's fascinating 354 00:25:06.599 --> 00:25:10.400 because we are so used, of course to the packet 355 00:25:10.440 --> 00:25:13.519 term basis. Now it's been many years that he's been 356 00:25:13.559 --> 00:25:17.920 exclusively using those with the resonator sprinkled in for Primus 357 00:25:17.960 --> 00:25:20.559 shows and of course on due to Twang, but we 358 00:25:20.640 --> 00:25:23.680 just haven't seen it since that first leg of the 359 00:25:23.680 --> 00:25:31.920 Cold I know where you're going with that one. So 360 00:25:31.680 --> 00:25:34.640 uh so, the musicality on display, it's really cool to 361 00:25:34.680 --> 00:25:37.160 hear them because we're you know, Less kind of dominates 362 00:25:37.160 --> 00:25:39.839 this tune, and he plays that melotron part too, and 363 00:25:39.920 --> 00:25:43.680 so Sean's making those whale sounds pretty cool. Whale sounds, 364 00:25:43.680 --> 00:25:44.400 by the way. 365 00:25:44.880 --> 00:25:46.480 I just find it. I just find it really mind 366 00:25:46.519 --> 00:25:50.680 blowing that Liz was playing that riff with his right 367 00:25:50.720 --> 00:25:53.559 hand whilst playing the melotron with his left hand. 368 00:25:54.000 --> 00:25:57.200 What are you talking about, Sun, Come on now. 369 00:25:57.960 --> 00:26:00.960 I mean I could see him do that Getty style. 370 00:26:01.640 --> 00:26:06.599 Yeah right, yeah, he could be hammering on that lick 371 00:26:06.640 --> 00:26:13.640 and playing the melotron with his right hand. That's that's 372 00:26:13.640 --> 00:26:14.240 not too bad. 373 00:26:15.160 --> 00:26:15.720 It's doable. 374 00:26:15.880 --> 00:26:18.039 Workshop it a little bit and then make sure you 375 00:26:18.039 --> 00:26:22.200 grab your your little keyboard and go crazy. But it's 376 00:26:22.599 --> 00:26:26.640 fun to hear. It's a fun groove. It certainly is 377 00:26:26.680 --> 00:26:30.759 what carries us through four minutes, and certainly the lyrics. 378 00:26:31.000 --> 00:26:33.519 There's a lot of space for the lyrics and the vocals. 379 00:26:33.839 --> 00:26:39.000 They are on full display. Are I appreciate the chorus, 380 00:26:39.039 --> 00:26:43.519 though I do like the repetition of creeping. The rhyme 381 00:26:43.519 --> 00:26:46.279 scheme in our chorus is A B A C, and 382 00:26:46.319 --> 00:26:49.920 then in our verses it's a B A A. So 383 00:26:50.039 --> 00:26:54.000 like the first versus dance pants dance dance, which is 384 00:26:54.039 --> 00:26:59.519 fun to say on its own, dance pants dance dance, sleep, 385 00:26:59.640 --> 00:27:04.480 peep shower flower p glee. Yeah, it is kind of 386 00:27:04.519 --> 00:27:07.279 fun to hear less single word P. Matt Weininger, you 387 00:27:07.359 --> 00:27:11.160 are correct, uh, And it's all about setting up the 388 00:27:11.160 --> 00:27:14.480 cameras and watching people go about their business when they 389 00:27:14.480 --> 00:27:17.920 think they have privacy. And he does call him, he 390 00:27:18.000 --> 00:27:22.720 does say, good old find upstanding mister, right, so he's 391 00:27:23.720 --> 00:27:28.559 upstanding pillar of community. Actually pervert. That's the headline. Creeping 392 00:27:28.599 --> 00:27:30.680 through the night doing that stuff, peeping on people. 393 00:27:30.960 --> 00:27:31.880 It's a topic. 394 00:27:33.799 --> 00:27:34.680 It's a current topic. 395 00:27:36.160 --> 00:27:38.319 Oh, absolutely it is. It just goes right back to 396 00:27:38.319 --> 00:27:42.400 those privacy concerns. Everybody has has those cameras everywhere, and 397 00:27:42.440 --> 00:27:45.680 now the newest problem now is those damn smart glasses. 398 00:27:46.359 --> 00:27:48.400 So people are wearing those all around and you do 399 00:27:48.519 --> 00:27:51.920 not know when they're recording. Now. They are designed, they 400 00:27:51.960 --> 00:27:54.799 are designed to have a little led light that's turned 401 00:27:54.839 --> 00:27:59.839