DS Exclusive: Jason White on reissuing Pinhead Gunpowder’s catalog on 1-2-3-4 Go! Records…and what’s coming next!
In addition to continuing to make music and regularly tour all corners of the globe as one of the bands that helped propel punk rock into the stratosphere three decades ago, one of the more unique and, frankly, impressive things about the Green Day camp has been their simultaneous maintenance of a seemingly unlimited network […]
In addition to continuing to make music and regularly tour all corners of the globe as one of the bands that helped propel punk rock into the stratosphere three decades ago, one of the more unique and, frankly, impressive things about the Green Day camp has been their simultaneous maintenance of a seemingly unlimited network of side projects featuring some – if not all – of the band’s core members (Billie Joe Armstrong, Mike Dirnt and Tre Cool, obviously) and a cast supporting cast of friends and musicians. A quick and probably incomplete synopsis of all of the band members’ projects reads as less of a Green Day “family tree” and more like a Green Day “family wreath”: Armstrong and Dirnt and Cool appear alongside longtime “fifth Beatle” guitarist and collaborator Jason White, longtime touring guitarist Kevin Preston and longtime jack-of-all-trades Jason Freese in Foxboro Hot Tubs. Armstrong and Dirnt and White and longtime Green Day crew member Bill Schnieder and American Idiot/21st Century Breakdown/Uno!/Dos!/Tre!/Revolution Radio/Father Of All... engineer/producer Chris Dugan in The Coverups. Armstrong and Preston are joined by Jeff Matika and David Field in The Longshot. Armstrong and Cool and Dirnt and White definitely do not appear together in The Network. White and Schnieder and Schnieder’s brother Greg and Johnnie Wentz and Willie Samuels had The Influents up and running for a bit there too.
Perhaps the oldest of these projects – and undoubtedly one of the coolest – is Pinhead Gunpowder, a band that traces its roots back to the early 90s. The Berkeley-based iteration of the band featured Armstrong and Schnieder and Sarah Kirsch teaming up with the creative force that was former Crimpshrine drummer (and occasional Green Day roadie) Aaron Cometbus. The band played sporadically and recorded a couple EPs and a handful of tracks for various compilations and they all got combined on a quasi-full-length called Jump Salty that became one of the coolest records of 1994. It was released a few months after Green Day’s genre-defining Dookie, and yet, because it came out on Lookout Records instead of a major label, ownership of Jump Salty in your collection felt like a ticket to an exclusive club. While the masses were listening to (and buying, because it was a different time) Dookie and Smash and a smaller but still substantial group of people went as far as listening to Stranger Than Fiction and Punk In Drublic and Let’s Go!, listening to albums like Jump Salty felt like you were part of the cool punk rock kids club, whatever that even means at this point.
Kirsch would leave Pinhead Gunpowder during that ground-breaking year but the band wouldn’t have to look far to find a replacement. Enter the aforementioned Jason White. The Arkansas transplant had been friendly with the band’s members for years, having befriended Armstrong after an ill-fated Green Day tour stop in Memphis earlier in the decade. Upon relocating to the Bay Area, he also joined Schneider as a member of East Bay pop punk band Monsula until that act disbanded in 1993. The Pinhead quartet of Cometbus, Armstrong, Schneider and White would put out another handful of EPs and compilations and, in 1997, their first-and-only full-length, Goodbye Ellston Avenue, all in a sound that remained true to the band’s East Bay, “Gilman Street” style and sound. (White, as you probably know by now, joined the Green Day ranks on the Warning tour in 1999 to fill out the live sound, making this his twenty-fifth year at stage right.) The band put out their last new material, the West Side Highway EP in 2008 and played their last show to date at 924 Gilman Street in 2010. They never really officially disbanded as much as they just focused on other projects: White and Armstrong and Schneider on the Green Day Family Wreath and Cometbus primarily on his writing and his consortium of independent bookstores in New York City.
There was an ill-fated attempt at reissuing all of the Pinhead Gunpowder material in 2010 under the same record label, Recess Records in this case. (Earlier versions of their works appeared on Recess and Lookout Records and Adeline Records and Too Many Records and maybe a couple of others whose names escape me.) After laying dormant for the better (worse?) part of a decade, the project found itself resurrected a couple years back. Beginning two years ago this week, the band announced plans to team with Oakland’s own Steve Stevenson and 1-2-3-4 Go! Records to reissue their entire catalog in five two-part installments. Like everyone, the team behind the reissues ran into supply chain issues and vinyl production delays (thanks Adele!?!) but the close of 2022 brought with it the rerelease of Compulsive Disclosure and West Side Highway, marking the completion of the project, and meaning that for the first time, the band’s entire discography lives under the same roof.
Yours truly had the distinct honor and privilege of catching up with the one-and-only Jason White to look back on the process of revisiting and reissuing the Pinhead Gunpowder catalog. As per usual when we conduct an interview on these pages, the conversation tended to meander in a lot of the best possible ways, covering ground that includes but is not limited to: meeting Pete Townshend; revisiting early Pinhead material after Kirsch’s 2012 death; White’s personal place in the annals of punk history; the neverending changes in the musical spectrum; the Little Rock, Arkansas, music scene; going to high school with Ben Nichols; 1-2-3-4 Go!’s importance to the East Bay arts and cultural landscape; and so much more. Scroll down to keep reading!
Surprisingly, the following Q&A has been condensed and edited for content and clarity.
Dying Scene (Jay Stone): First and foremost, thanks for doing this. When I saw that the email came in saying “do you want to talk to Jason White from Pinhead Gunpowder and Green Day?” I thought it was a joke. (*both laugh*) Then I realized it was from Chris Hnat – shoutout to Chris – but I’ve been a fan of yours for a long long time, so this is a really cool thing, one of those bucket list items to check off. So thanks!
Jason White: Cool! Cool! Thanks for having me, I appreciate it.
I was talking to a couple of the guys who help run Dying Scene the other night, and we talked A) about how good the reissues have come out. One of our guys – Dylan – is real big on tracking a lot of the vinyl reissues and different variants of things that come out, and he was super stoked about them. And we were also talking about B) how cool it is that, at least for me and where I grew up, Pinhead Gunpowder was kind of like a secret handshake band. Like, a few of us kids were listening to punk rock before ‘94, listening to Bad Religion and Fugazi and especially the Lookout Records bands. And then ‘94 happened and so everybody liked Green Day, and we did too, but Pinhead Gunpowder was like the “secret handshake, oh you don’t just listen to Green Day, you listen to punk rock” band.
A little more under-the-radar, yeah, I hear you. It felt like it was a little more underground and you had to dig it up.
Yeah and you felt like you were part of something, and like you knew more. It felt like a special thing. Anyway, I know we’re sort of at the end of the reissue cycle for the Pinhead records, so it can be kind of tough to figure out where to sort of start and how the story will go, but I wanted to actually talk about 1-2-3-4 Go! Records for a little bit, because that seems like a really cool place. For people outside the Bay Area, and I’m certainly one of them, 1-2-3-4 Go! Records isn’t just a cool underground label, it’s a record store as well.
Yeah, and it actually had two locations for a bit. (Owner Steve Stevenson) had one in San Francisco as well. But yeah, it started in Oakland, and I believe he’s had it over ten years now. It might even go back fifteen. He started off on 40th (Street), between Telegraph and Broadway in Oakland, which used to be a little bit of a dead zone. He wanted to start a store, so he rented what essentially was a closet of a place. I always said that if there were three people in the place, it was crowded. (*both laugh*) He just had a few racks of records and it was just him in the back. We were just excited to have this new store, and it was small, and we were used to the only stores that stuck around were of course Amoeba Records and then one called Rasputin. They’re both great; Amoeba I kind of prefer. But anyway, it was kind of the start of having a small record store again. Now there’s several around, but he started in that closet of a place, then he ended up moving next door because he was doing well enough and he needed the space, obviously. Then he ended up across the street, where he is now. Then he expanded into the room next door too, so he’s occupying two retail spaces. It’s great; it’s awesome, and before Covid, he was having shows in the back. There was a stage, and he was having art shows and events, and it’s kind of turned into a whole crazy thing in addition to the label that he started with.
It seems like it’s sort of a hub, and a lot of scenes don’t really have that kind of space anymore. I live just north of Boston and so I’m tangentially tied to the Boston scene, which is much different than it used to be. But we don’t have a lot of those sorts of places in the immediate area anymore; everything has sort of been gentrified out, so it’s cool that that sort of thing exists and seems to be thriving.
Yeah! I’m just shocked that he did as well as he did because when he started talking about opening a little store, I was like “well, he’s got little overhead in that space,” and I’d worked at record stores in the past so I kinda knew how it worked. But then the vinyl – I don’t know if I’d call it a resurgence, but it became a thing again, right? So he kinda rode that wave and it’s still a thing – I don’t know if it’s peaking or not, but it seems like it’s still a thing.
It seems like it’s been peaking every year for the last decade.
Yeah, and it keeps climbing up, and with Record Store Day and all this craziness. It’s great.
It’s almost turned in the other direction with Record Store Day now, but that’s probably a different conversation for a different time.
Right, that’s the one day to not go to the record store! (*both laugh*)
I used to love it, man. I used to love standing in line in front of the record store, but then it turned into having to stand in line in the mall, because the major record stores around here all moved into the mall, which is a weird thing because malls are dying around the country, yet that’s where our Newbury Comics moved to.
I was going to say, yeah, I remember the Newbury Comics stores.
They’re still alright, and the one on Newbury Street is next door to where it used to be – and smaller than it used to be – so I appreciate the 1 2 3 4 Go! Records has expanded a few times, and the original Newbury Comics is not only much smaller but most of it isn’t music anymore. It’s kitschy things and Pop dolls…
Yeah, t-shirts and posters. I went into that (Newbury Street) location within the last five years when we were on tour, and I peeked in and yeah, it didn’t seem like there were many records anymore, it was more paraphernalia.
They had standalone locations in suburbia, where I am, but they’ve all moved into malls now. So to have to go into the mall to buy records now, it’s like things went full circle a second time… Anyway, so I know that Recess Records had reissued the Pinhead records years ago, and that’s a whole other thing, but when did the idea to reissue them for real under 1 2 3 4 Go! Records come about? Was that during Covid?
It was before that, because I think it had just been long enough where we felt like we could talk about it or address it again. The Recess thing kinda just didn’t work, and we were like “well, it seems like everything’s a little bit hard to find, a lot of it is out of print at this point, and we kind of need to do something besides just having the records that are already out there and then having everything on streaming services.” And it was really easy – a no-brainer, really – because Steve is local, he’s right down the street, he’s a friend, we see him all the time, and he said he’d love to do it. And he said we could do it in these phases, so that it wasn’t just ten records at one time and everything gets lost in the shuffle.
I was going to ask where that idea came from, because that was really neat to do basically five two-episode installments.
I think it became like a 7-inch and an LP at the same time, and then a shirt. And we had never done shirts, so I was kind of more excited about that than anything! (*both laugh*) I do think that financially, it would have been hard to pay for everything right away, so it became “put phase one out, and then as money starts coming in you can pay for phase two” and so on. And that way it would keep things on people’s radar, like “oh, a new Pinhead thing will be out every six months” or whatever it was. It seemed like an okay idea. We wanted to kind of do what we tried to do with Recess, which is to have one home for everything so we don’t have to think about it anymore. It’s all under one rough and it’s easy to manage. That was the thought behind it really.
And this is the first time it’s really been under one roof. I guess it sort of was for Recess, but that didn’t work out.
Yeah, that’s true. Everything came out on different labels.
Did that mean buying rights back or anything? How involved was that process?
No, Pinhead always owned everything. That was not an issue, really.
They’re not necessarily remastered or remixed or anything; was there talk of doing that as well?
For the Recess thing, I might be wrong, but when we were moving forward with it, we kinda did remaster everything, so everything was kinda done. This is actually kind of a funny story, but I think we had mastered it for CD maybe at that time, so everything had kinda been done, and we were like “well, let’s listen to it and if everything is fine we don’t have to do anything to it.” We ended up having to redo a few things for vinyl, and the mastering person we used – I worked at Adeline Records years ago when Pinhead did the records there, and this guy Ken Lee, who was in Oakland at the time, he’s still working and mastering stuff, but he had moved, and unbeknownst to me, he lives five houses down from me, on the same side of the street.
(*both laugh*) That’s pretty wild!
Yeah, it’s really strange! Bill had to come to my house to pick something up, because I had some of the original source material maybe, and he was here and he was like “well, Ken Lee is actually in El Cerrito now” – which is where I live – “and he’s actually on this street” and I’m like “that’s my street” and we looked at the address and I was like “that’s that house right over there.” It ended up being an even smaller world than it already was.
That’s really bizarre, yeah.
It made things really easy to get him materials. So I became in charge of that.
So you’re ultimately happy obviously with how everything came out? Like I said, our record radar guru, Dylan, was saying they came out awesome, and he’s pretty discerning about that stuff.
In terms of sound quality, it was a little hard to approve the test pressings, because I kept A/B-ing stuff, and when we first started, I was like “I don’t know if it’s as good as the original.” And you had to consider how things used to be mastered twenty or thirty years ago versus how they’re mastered now, or how hot they make (the vinyl) now. Initially, I didn’t think it was hot enough, but then they sorta don’t do that anymore because you end up with records that skip and all kinds of things like that. And they sounded fine, I just had to maybe turn it up a little louder than the old version. But it didn’t distort or anything like that, so yeah, I was happy that it all came out great. And Aaron is very detailed. He does all the art, and everything I thought came out awesome. And Steve worked with him and other people and they got it done. They came out great.
Did you run into any of the almost comically long vinyl production issues that people were running into during Covid? Because I feel like the originally-scheduled end of this project was like nine months ago or something like that?
Yeah, we did, all over the place. I think as early as Phase Two, we were like “well, it’s going to take a little longer.” (*both laugh*) Anybody who’s making records now knows that it takes forever. You’re on a waiting list and it’s just a mess. We definitely ran into some of that. He gets them pressed in England somewhere, so we didn’t run into a lot of the usual stuff for the US plants that I’ve heard about. United in Tennessee is very backed up, I think. And honestly, I don’t even know what’s left down in LA from when I used to work at labels and stuff.
I don’t know either, but there aren’t many in my very limited understanding of it.
There used to be a ton but they all pretty much went out of business. Now I think there’s a bunch of new ones, I’m just not familiar with them.
I don’t know of any new ones, truthfully, but then being tied to the punk rock world, I feel like so much stuff gets produced in the Czech Republic by Pirates Press.
I have heard that too. And I have friends with smaller labels that’ll press stuff at a small place in Chicago, and then there’s one in Australia that’ll do like one-offs of like 50 or something.
That’s gotta cost a fortune.
It does, but if you’ve got somebody that has a record that’s not going to sell a ton, you’ve got a cool artifact. It might cost six bucks a 7-inch or whatever, but it seemed worth it, I guess.
It didn’t really dawn on me before, but the last new Pinhead Gunpowder stuff is like fifteen years old now. I think West Side Highway was ‘08.
Yeah, that sounds about right. Going back and listening to everything, the way we did it, since we did the phases, I started with the oldest stuff first and got to the most recent stuff at the end, so it was like riding the arc again. Listening to the first record, I was a fan of the band before I was in it. And (Sarah) Kirsch, who was in the band before, has passed on, so it was sentimental to hear that stuff, because I hadn’t listened to it in so long. But everything made me happy to listen to, still. Some stuff stuck out to me that used to not.
Did all four of you relisten to everything and, like you said, A/B stuff for the project?
Yeah, yeah, for sure. And then some of it got a little confusing in the later stuff because we were like “wait, what record was that on? Or wait, we put out live versions of stuff? I don’t remember that…” We had some stuff from KALX, a radio station here in Berkeley, that I didn’t remember at all. I mean, I remembered doing it, but I didn’t remember it being released on anything. It was cool to listen to the different phases, and to listen to it as “a release.” I guess I always thought of it as “we got together and wrote some songs,” and we had bits and pieces we would either leave behind and then pick up later, or whatever. But it was cool to think about it as a release. So when I hear Shoot The Moon, I think “oh, this one’s a little more loose.” But then …Ellston Avenue was tight and well-recorded or whatever. And the other stuff had its own sort of personality. That was the most interesting part about going back to it.
I know Aaron wrote a lot of the material for Pinhead, but when you guys came together to record, was it like banging it out in a couple days, or were there longer recording sessions?
It kinda varied on each record, but most of the time it was “okay, we have this two weeks to put everything together, so let’s hammer out the songs, practice as much as we can, and then go record them.” Sometimes we’d change stuff, especially vocals. You hear clearer when you’re in the studio and you can make a few decisions there. So usually, it was like “this is the allotted time for the project,” and we’d hash it out in two weeks most of the time. Ellston Avenue took a little bit longer, because it was our only attempt at doing an LP’s worth of stuff at one time. Usually it was five or six songs or whatever.
Ellston Avenue is a tight-sounding record, and a big-sounding record as Pinhead records go. Was there ever talk of making it more of a stand-alone thing, and taking it on the road more? I mean, it was always going to be at least number two to Green Day obviously, but the band never went out on the road an awful lot. Was there ever talk amongst you four about doing it as a bigger “thing,” or would that have been almost impossible given how big Green Day was?
Yeah, I think, in my mind, it was always going to be a project that we could do when everybody had time. Obviously, Green Day stayed busy all through the years, so most of the time we’d be like “we just wanna write some songs together, record some stuff, go play a few shows.” We’d done a couple of mini-tours here and there, like we went up to the Pacific Northwest, to Seattle and back years ago. We went to LA at one point and kinda played around there. It was never really “let’s put the push behind this one and tour it” and all that stuff. It was always just sort of a meeting of the minds or whatever.
But they’re such fun records! And I say this knowing that I live 3,000 miles away and would have never had the chance to see the band anyway, but I feel like that’s stuff that people would enjoy hearing live. Do you miss playing some of those songs live, even semi-regularly?
Oh yeah! I mean whenever we got together to play shows, which was more often than we recorded…I mean, Pinhead is super fun to play live with because it has its own feeling and setting and tempos and energy. It was great, I loved it and hopefully we will do it again soon.
Well that was certainly going to be a question, but now that the revisit has wrapped up, does that stoke the fires amongst any of you to play some shows for the first time in ten or fifteen years or whatever it is?
Yeah, I think if all the stars align soon…we’ve been talking about it for the last couple years, even before we were doing the rereleases, like, if Aaron came into town – the rest of us all live here in the Bay Area – we would get together and just jam at the practice space and play these songs randomly, it was always super fun, but it would always be like “oh, we should play a show…but I’ve gotta leave by Tuesday” or whatever. So it didn’t end up working out, but hopefully we’re going to do it soon!
Where does Aaron live? I always just picture him in the Bay Area.
He’s in New York! He’s been there for a while now, and he’s doing great out there. He’s the owner of a collective that has bookstores out there. They’re really cool. He’s doing great out there.
Is that why the rest of you did other projects – The CoverUps, Foxboro Hot Tubs, The Longshot…not The Network, obviously…so with Aaron 3000 miles away, let’s work on some other projects?
Yeah, like “we’re around…what else can we do?”
I’ve always appreciated that about that whole Green Day crew. That it didn’t stay just Green Day, that you did all these other projects that were creative and under different names and done independently, and more traditional to what I think we envision the whole East Bay scene to represent.
That’s how Bill Schnieder and I ended up doing The Influents+, the band that we had for a little while. I’d come back to town – I was out of town for a couple years and I came back to do Shoot The Moon, and then once we finished that, I just stayed here. We were like “well, what should we do now?” That phase of Pinhead was done and everyone kinda went their own ways, and I was like “well, I’ve got a few songs” and he was like “well, my brother’s got a few songs, let’s start another band.” It was just kind of the natural progression of things.
Did you go back to Little Rock in between?
I did, I went home to Arkansas for a couple years, between ‘96 and ‘98. I went back to play with some friends in a band called The Big Cats, and we gave it a shot for a minute, and then my dad became ill and I stayed behind to help take care of him. Then I came back here and stayed.
We talked earlier about the scene that is the Bay Area, and related to that, Little Rock had a pretty cool scene of its own. If people don’t know about Little Rock, Towncraft is such a great movie.
Oh you know of it!
Yeah, I’ve watched it a couple times! I think I stumbled upon it on Amazon one day, and I would watch almost exclusively either live sports or music documentaries, but this was so well done, and it throws back to that underground scene. I knew nothing of the Little Rock scene aside from that you’re from there and Ben Nichols is from there.
Right! Yeah, I went to high school with Ben. He’s great. We had art together; I think I was one year older than him…maybe we were in the same grade, it’s tough to remember. But I knew him. He was in bands obviously and so we were in the same scene.
It’s such a great snapshot of a scene that I’m not sure exists in too many places anymore. That sort of real, underground, junior high and high school kids starting their own scene and then it becomes this beautiful, a little bit incestuous, sort of thing. I don’t know of many places where that sort of thing exists in this country anymore.
I know, it’s tough to tell. I think there probably are, I just don’t know about them. But not in the same way, especially because of the way we consume things or look things up or find out about them, that part has completely changed, so I don’t know if it is even possible. It was a special time, I think. That was my friend Richard Matson who made that documentary about that time. A lot of cool things came out of that scene. I was stoked to find those people when I did.
I had known of Red 40 a little bit – posthumously, of course…I don’t think their influence really made it to New Hampshire where I grew up, necessarily. But I think it was through watching that documentary that I realized “oh wait, that’s Colin from Samiam!” I obviously knew him as playing drums for Samiam but he was the guitar player from Red 40…
It’s funny because Colin is the oldest friend that I have.
Amazing drummer too, by the way.
He’s the best. I’m so glad that he gets recognition through Samiam, because he’s incredible. We were in our earliest bands together. He was the first person I ever played music with. He co-wrote a couple of the Pinhead things that I did. But about the Red 40 thing…Colin was always known as a drummer, because he’s incredible. Everybody wanted him in their band. But Ben wanted to kinda do this new project, he wanted to start a new band, but it seemed like everyone was already in another band, and so in order not to pinch from other bands, he asked Colin to switch roles and play guitar, and then the guitar player in Colin’s band at the time, Substance, this guy Steve Kooms, switched roles and he played drums. Steve was a pretty good drummer, Colin was a pretty good guitar player, and Ben just wanted to do something different, you know? So he wrote these songs and they ended up recording them almost off-the-cuff. Now I think it’s one of the best-known things out of Little Rock, at least from that scene.
I haven’t seen it happen at Lucero shows, but when you go see Ben solo, like, we drove down to New Jersey a couple weeks ago because he does a one-off every year in Jersey, of all places, at a place called Crossroads, and it’s awesome, and people always yell for Red 40 songs. They clearly only know them from the Lucero connection, the same way I do, but people always yell out Red 40 songs and it’s kind of a cool thing. It’s gotta be cool for him.
Does he ever end up playing some?
He does sometimes. He didn’t last time, but sometimes he’s got one worked up and it depends how the whiskey is flowing by the middle of the night. (*both laugh*) But yeah, I really dig that documentary and sort of like I was saying at the beginning, we had like six kids who listened to punk rock. In New Hampshire, we had little pockets of kids here and there around the state who were into the music, but not enough to probably qualify as a scene, necessarily, but I think we all looked at the Bay Area, the Easy Bay especially, as a special thing, because it wasn’t LA, it wasn’t New York and the hardcore scene – frankly, it wasn’t the Boston hardcore scene which was never really my thing anyway, we all kinda gravitated toward the Bay Area scene and that became the music that we listened to. But to know that there were other places where there were these people just a little older than us and putting these organic little scenes together, it was wonderful. People should watch it. I don’t even know where you can get it now.
Yeah, I don’t know? I think it’s probably on Amazon.
Thanks for doing this. It’s been really cool to follow the Pinhead reissues and to have Pinhead Gunpowder sort of trending on a lot of the punk rock social media pages and record websites. To have that stuff trending again is pretty cool.
Yeah, I agree. I used to sort of be of the mindset of “oh, why reissue everything? Everyone that wants those records already has them, or they can get them if they look hard enough.” But I’m stupid and I forget that younger people might just be getting into it now and will be like “well, I want that, how do I get it?” I’m just dumb enough that I never considered that. But I’m very happy that it’s all out there and available and if anyone is getting hip to it now, that’s awesome.
I forget who I heard talk about a similar thing…Jack White, maybe…but about how stuff shouldn’t be out of print. Obviously he’s got his own label and his own printing press and all that, but I think it was him saying that music should be accessible and available. That people are always finding out about music and they should be able to go out and buy it.
Yeah, there’s value in that. I see that now. I used to feel like “well, we made enough.” I figured nobody else was going to want it. I forget that I’m getting old (*both laugh*) and that younger generations might be interested.
I’ve got a fifteen-year-old, and there are kids in high school that are starting to listen to that era of punk rock now, and that didn’t happen really through middle school. There are kids who listen to and love Green Day, and to me, that’s awesome, and it’s really awesome that they’re falling in love with the same band that we did thirty years ago.
Yeah. Everyone has their own entry point, at whatever age they might be at whatever time, and it’s really neat to see how it all works out.
Do you ever think about where you fit into that whole thing? And maybe that’s a weird thing to even think about, or a super ego-y thing to think about.
Gosh, no, not really. A little bit as recently as last night. We played a Coverups show last night out in this suburb called Walnut Creek, and I said goodbye to my kids and I started driving to go play the show, and I was thinking “well, I’ve pretty much been doing this same thing for thirty plus years…is it weird? No, because it just seems normal. But I think of so many people that I’ve known over the years don’t do it anymore or whatever, so I’m like, well, this is what I set out to do. I just wanted to play music and be in bands and it worked out somehow, you know?” I still always look up to the people who came before me, probably way too much.
(*both laugh*) Yeah, I think we all do.
I think I’m still trying to maybe impress them, you know? That’s still on my mind.
Do you have a running list of people that you’ve looked up to and been able to meet that you check off? Like The Stones and people like that?
There’s a few, yeah. That list grows all the time. Sometimes I’m a little shy about it these days, because essentially I’m like “well, I’m just bothering this person.” I’ll say a quick thank you, I appreciate what you’re doing.
I feel like as a guitar player, you can talk to guitar players …
Yeah, you can talk a little shop. There’s a guitar player that’s younger than me that I approached and just made a fool of myself. I was like “you’re my favorite guitar player on the planet” and he just sort of was really embarrassed for me, I think. It was Paul Maroon of The Walkmen. And I just think he’s incredible. But then it goes both ways. I got the opportunity to talk to Pete Townshend a couple months ago, because we played a charity event with them, and I just got like a quick 30 seconds to a minute to say “Hi Pete, how ya doing? Do you remember me?” I didn’t really want to bother him, he didn’t really want to be bothered, so it was a cool exchange and that was fine!
And now I can say I talked to a guy who talked to Pete Townshend! I’ve actually talked to a couple and it’s wild to me that I have even that connection.