Interview with Greg MacPherson - Podcast 7

Thanks for tuning in to Sound Scene Revolution. I know we've been out for a week or two, but I hope you guys enjoyed the holiday seasons. If you're here in America, if you're across the world, I don't know what to wish you, but I'm glad you're here and listening. All right, so today we get to bring you guys our first interview who is not a local artist. He's not from the Bay Area or from even California, but he's an underground artist. I think all you guys should hear, and I'm talking about Greg McPherson of the Greg McPherson Band. And he came through a couple days ago when he opened up for Propagandhi on their first West Coast tour in over two years, and he took a couple of minutes before the show to sit down and talk with us about his music and about kickball and everything else that is Canadian or could be considered Canadian.

So before we get into the interview, you guys get a chance to listen to one of the tracks off of his latest album. It's called Night Flares, and it's available from G7 Welcoming Committee Records. Of course, which is a collective run by members of Propagandhi and other well-known Winnipegians.

You're going to listen to the second track off of this album. The track is called Kingston. The album, again, is called Night Flares, and the artist is Greg McPherson.

♪ song played ♪

We're sitting here with Greg McPherson. Say hello. How you doing? So I guess first off, let's just, because like we were talking earlier, you're not really, you know, America doesn't really know you too well. If you could just tell us, you know, about yourself, how you got started in music and what brings you here. Um, I, I'm from Canada. I'm from a city called Winnipeg in Canada. And, uh, I started playing music about maybe 12 years ago. Mm-hmm. Um, but, uh, America terrifies me. So I don't come here very often. No, that's not true. Um, we should. What? We should terrify you. You Americans are so frightening. You two in particular are really spooking me out. I can't even believe I'm down here in this dark basement with you two characters.

Uh, no, I don't know. I just, uh, I do most things DIY and I don't, um, I'm not so good at, uh, booking, booking shows in the States. It's tough. There's a lot of bands down here. Oh, yeah. A lot of competition. And, um, yeah, I, I get easily, uh, uh, sidetracked. I've been really busy the last number of years too. Um, I haven't really, uh, gotten out of Canada too much. I've just been crisscrossing that country over and over again. And then, but it gets to be kind of boring because Canada is so massive that half the time I just drive and drive. So I'm starting to branch out and I've been to Europe this year. I've been to the States a couple of times and, uh, that should start to increase in frequency. You become a more regular thing.

Yeah, yeah. I want to start touring like south of us is Chicago and Minneapolis and Duluth and Fargo and all those cities. So probably hit that a bunch more. And, uh, in the wintertime, try to get out of Canada and go down the West Coast. Get somewhere where it's warm. Yeah, exactly. So I'll be back. I'll be awesome. I'll be starting to, uh, hit the States like, you know, like a dirty shirt. Right on. Was that, uh, when you went to Europe, was that your first time going there? It was, yeah. I've never been to Europe before. Where did you go? It was a pretty amazing tour. Um, we went to about 10 different countries, actually. And, uh, I think we started off in Germany. We went to Czech Republic, Italy, France, Holland.

Oh, man. Um, yeah. Uh, Spain, uh, Luxembourg. Uh, some other ones, too. Some weird countries with names. Yeah, people with foreign languages. They're speaking other languages and, um, they dress a little different, you know? Some of them are really good at making coffee and others aren't. Some are really good at making, uh, cheese and wine and baked goods. The Germans, in particular, I think, are particularly, um, adept at making delicious baked goods. You know, I think the French, as well, are, they excel at pastries, but the, the, the British, or the, sorry, the Germans make, Germans make great bread. Yeah. Yeah. Like, pretzels. Uh, the French are mostly known for, like, the real light, flaky stuff, like the croissants.

But Germans, I picture, like, hearty stock bread. It's exactly, you hit the nail on the head. There you go. Bread that you could have in your back pocket for a month. While you're, you know, climbing a mountain in the Alps or something like that. Which I do, actually, fairly regularly. It's funny you mention it. Really? Yeah. Wow. You guys are totally creeping me out. Americans are so frightening. So, um, how's the tour? You've been doing this for, what, now? Eight days here in Prescott? Uh, we've been, well, this, I think we left, we left Canada on the 16th. Oh, okay. So a little longer. That was when we left Winnipeg, actually. Okay. Yeah. So we left, and then, yeah, we left Canada that day. That's about twice what I said.

Yeah. Well, a lot of it's just been driving time. Uh, it took us a couple of days to get out to the West Coast from Winnipeg. It's about, um, I think it's over 3,000 kilometers, so. Oh, wow. You guys drove out? Yeah. Wow. We drove out, and we started in, in Billingham, which is just north of Seattle, and we've been just going down the coast with Propagandy. Um, I guess we've done about seven shows so far, so we're about halfway. That's cool. Now, did you guys drive out of just an economic thing, or was there? Oh, okay. Strictly economics, yeah. Totally. That makes sense. I imagine it's... And the border, too, is tough. Is it? Yeah. We crossed, um, we crossed without papers. Really? We don't make any money, so it's a difficult one for us, because if you make money in the States, it's illegal, right?

I respect that, but we don't really make any money. So they won't let you come back with, like, money? Uh, they won't let you into the States to make money. Really? Unless you have papers. Yeah, yeah. Huh. But it costs, yeah, in Canada, it costs about, I think, Propagandy, for one, paid probably $2,500 American. Wow. Just to apply and get their papers through. To get those papers. Yeah. Wow. So we, we aren't looking at making enough profit to make that worthwhile, so we went down illegally, you know, um, which can be kind of, uh, uh, quagmire. It's pretty, pretty nerve-wracking. Luckily, I don't think Border Patrol listens to the show, so I think you're alright. Yeah, I hope not. If anybody out there, um, is thinking about turning us in, you know.

It's not enough reward. Please don't. Yeah, we're a really small time, so, but yeah, it was tough. So we, we left a little early, and that's why we went, uh, that's why we drove, too. That's cool, though. Yeah. Do you guys, was it like, I don't know, is it hard to be like, well, in all honesty, we're probably not going to make any money off of this. You're just doing it to get down here, is it? Yeah, well, we're doing it, it's like a vacation, too, you know, and I love playing music. Uh, I've never really, you know, made much money at it. Yeah. Some, some shows in Canada I do, I do well now, but it's not, uh, certainly overshadowed by the shows that I, I'm paying to play. Yeah. But I just, I just love seeing new places and traveling and, uh, spending time with interesting people.

Oh, definitely. Music, uh, is really, um, one of the true loves of my life kind of thing, so it's, you know, I get to play my tunes. It's pretty great. That's got to be a great deal. Whether I make money or not. There's an audience there who actually want to hear your stuff, that's got to be kind of cool. Yeah, yeah, it's, it's pretty deluxe. I'm surprised, actually, coming down to the States, I've, I've been running into people who've actually heard of my music before, which is, uh, always kind of exciting. Yeah, seriously. Well, like, art, or, or, music is one of the few art forms that you have to pay, like, hundreds of thousands of dollars just to, to do, I mean. Yeah, it's a weird one. I, I think you can, there's different ways of going about it.

Some people, um, treat music as, uh, means to an end. Yeah. And some people make music because they're compelled to, or because they love it. Yeah. Um, some people, if they're really, really lucky, I think, can do both. Like, you're, you have someone who's talented enough and, and maybe just gets lucky enough that they can make what they consider is something, uh, uh, beautiful with integrity and still make a bunch of cash off it, you know. But a lot of us, um, are uncompromising in terms of our, you know, our values or whatever. Yeah, yeah. Me, like, I, I won't do a lot of things that probably would help me make more money. Yeah. You know, but I get to make the music that I like and do it in my own way.

That means a lot, you know. Yeah. Yeah, it does. And it's, you know, if you, if you're comfortable with that, like, if you know that's what's going on, if you're not, like, um, if you don't let it frustrate you. Yeah, yeah. If you just accept the fact that, you know, you're not in it to make a bunch of cash, you're just making music because it's important, then, um, it's, yeah, it's very rewarding. I'm sure, man. Hopefully, more people will get in music for that. It just doesn't seem like it so much later. I think there's lots of people out there doing, doing that, but yeah, it's, you have to dig a little deeper. They always get a little bit more interesting, too. You know, I think some of the music being made right now, um, is very much commodified and boring.

You know, really, uh, the mainstream music is, is, um, formulaic and, and it appeals to people, um, for reasons that are kind of disappointing to people like me and maybe you, too, you know, people who might have a deeper appreciation for aesthetics or for, uh, um, you know, the meanings behind what people are saying or lyrics or, um, individuality versus conformity. You know, I think rock and roll music's about, about, um, doing something exciting or different or fashion, you know? I don't think it's about, uh, um, wearing the right clothes or, you know, uh, doing sports jumps and making your, turning your band. You should be playing football. You shouldn't be in a band. You know what I mean? Yeah. You want to be part of a team and jump around like a goof, you know?

And, uh, the last thing you're worried about is what you're saying. I think that's, that's a shame. Yeah. Well, unfortunately it does appear, especially now it's more about certain genres, not all, but it's more about how you look and how you sound and what you're trying to say. Seems like it is a lot of the time, eh? Yeah. I guess that's kind of always been how the more popular sound has been. It's just now that it seems like it's tapping into kind of, it's taking from, you know, the subculture. Exactly. Yeah.

Anyhow, since we're, uh, on the topic of music, which is good, because you're a musician, uh, I've wanted to ask, you do, um, your styles through albums have been a little bit different. Like your older albums have been a lot more like acoustic and stuff and your new album, uh, Night Flares, right? Excellent. I got the name right. It's like almost all with like a full band. Is it a totally different process to approach recording that kind of stuff as opposed to like, uh, Good Times or something? Well, I think that, um, on Good Times there was a band as well, but, uh, what was different about Night Flares as opposed to Good Times is just that, um, I had a lot more control over things and we approached it more as a band.

Yeah. Um, instead of doing a lot of separate tracking, we tried to track everything at the same time. Um, a lot of the songs that were written for Night Flares were written with my band as opposed to Good Times where I was, you know, kind of going on as a songwriter. Um, yeah, well, yeah, like my, I am, I'm just a solo act and the people who play with me are usually, I, like I hire them. Yeah. Um, I've been doing that with the same group of people for a long time. So we're all, you know, collaborative, uh, we work together and I think often, oftentimes we function as a band, um, but, uh, I also quite enjoy playing by myself. Yeah. I tour a lot alone. I can sing pretty much, I'd say 80% of my songs by myself.

Yeah. So, um, but I think in Night Flares, I've been really excited about playing with my band for a long time and Night Flares was a recording that was reflective more of what I do with my band than it was with what I'm, what I'm all about on my own. I think my next record might be a bit more a solo act kind of endeavor. That'd be cool. Yeah. Do you ever get the urge to be like, listen, you see that? It's the Greg McPherson band, me. Like just overrule anyone, whatever they have to say. No, no, no, not at all. Um, no, I feel like these guys are giving me their time and I don't pay them so much that it's, you know, I can be a jerk. Yeah. They're not making six figures to, you know, it's not really worth it for them, I don't think to put up with me being an ass, but, um, no, I, I'd way rather play music with people that I respect and have them respect me and, and, you know, um, have relationships that are based on, on, uh, mutual, um, benefit, you know, and I don't think that anyone really needs to be a leader.

I think that, you know, in my case, it's my project, so, um, they probably defer to my aesthetic more often than not, but I've picked people to play with and develop relationships with them based on their aesthetics and our mutual kind of interests in music and, you know, so it helps a lot. We don't really disagree about a lot of things and if we do, we got, you know, we get through it, very reasonably, yeah. Arm wrestling or something. Yeah, mostly leg wrestling is very popular in Canada. It would, it would be, I don't know. Yeah, have you done that leg wrestling? It would be totally different, so we would, I would imagine leg wrestling being big. Yeah, we do the two-legged kick up there a lot too, where you hang, like, there's a ball on a string about five and a half feet off the ground and you have to kick it with two legs.

Are you kidding me? No, it's a great game. It's not, yeah. I would break my ass if I tried to play that. People hurt themselves often, yeah, it's a tough one. I'm one, I'm a regional champion in that game, actually. Really? Yeah. Yeah, I've competed. Are you just, you're putting me on, right? Yeah. Okay.

And tax. Canadians are liars. All of them. Yeah. See, we picture you, we're like, Canadian, oh, they're all quaint and they have their taxes and really, you're just putting us on. It's all lies. Our taxes. You're high taxes. Is that what Canadians are known for? We're known for high taxes. In America, we look at you, we're like, oh, they have health insurance and high taxes and the funny $2 coin that they must throw at strippers. It's got to be hard. Yeah, it's true. It's a pain in the ass. But we have a dollar coin that we can put in our parking meters, which is awesome. We have dollar coins, too. We just don't use them. Really? Yeah, we have like, they're- What do you call them here? They're silver dollars and then we have the Sacagawea dollar, which is named after the Indian who helped Lewis and Clark, I believe, explore the West.

And then we raped and pillaged her tribe or something. So we're like, here's a coin. That's yours now. She probably actually explored the West for them. Yeah, and they just kind of made sure they didn't die. They hung out in Denver and just asked her to write reports. Yeah, let us know how that goes. Yeah. We'll give you a coin when you get back. It'll be awesome. I don't really remember. They just hung out at the hot springs drinking something. Whatever they drank back then. But no, it's nice to know that you can lie to me and get away with it. Not a lot of people get that. No, I'm really interested in what people think of Canada, though. It's really weird to come to the States and have people find out you're Canadian and just ask them, like, get their impression of that.

Yeah. You know, it's good. Mostly. If you have a good impression, I think it's pretty accurate. We picture you as peaceful people. Maybe. I don't know. Maybe it's because your revolution and independence didn't involve the slaughter of people, did it? Ooh, it did, though. Did it? Yes. I thought Canada had, like, a peaceful, like, voting-type revolution. Well, we never had a revolution. Well, not revolution, but, like, sovereignty-type deal. But we did have, yeah, we had a lot of wars between the French and the English. And a lot of that, as we moved west, too, we had a lot of battles with First Nations people, and a lot of them, people died. A lot of Native people died, which is sort of our kind of skeleton in the closet is the treatment we've had of our First Nations people over the, you know.

We don't have that. Yeah, we gave them gambling, and we were like, yeah, we're square, right? The whole genocide of the whole people, the ability to put up casinos. We're even now, right? Somehow it totally gets overlooked. Yeah, I know. I think that it probably doesn't in some, in, like, the Native circles. Yeah. They probably haven't. They're probably still stinging a little bit about things, you know? They hold a little resentment. Yeah. We let them sell fireworks, too. We assume. Whoa, that's lucky for them. Yeah. Oh, boy. It's almost worth having your entire history wiped out for that. It's got a privilege of being able to sell fireworks to hillbillies, for sure. I think the politically correct term now for hillbilly is sportsman, though, isn't it?

I went with red state, personally. Oh, okay. Sportsman works, too. That's pretty good. Anything that requires, like, the flannel shirt and the orange hunting cap. Oh, I don't know. I think we saw, on the way down here, actually, this is why America frightens me. On the way down, we were driving through Montana, which I guess isn't so shocking, but we were driving through Montana, and we saw a man in a flatbed truck ahead of us with a bunch of stuff tied down, like a mattress and a cooler, and as we got closer and closer to it, we were worried that things were going to fall off, because he was driving really fast up a steep mountain hill. Of course. But on the back, he had two deer, two dead deer, beautiful deer, all strapped down with their antlers sticking out and stuff.

Like, on the mattress or under the mattress? It was on top of all that stuff. Both of them were kind of sticking out, but they were hidden. They were obscured by the cooler, so we didn't get to see them until we got close enough. But that guy was wearing, like, I think, a pair of coveralls or something like that. He wasn't wearing, you know, a bearskin hat or whatever. Or whatever you guys call those. He was totally, he just blended in almost. Yeah, so I don't know. The sportsmen, they don't just wear the flannel anymore. You would think. They're trying. But look who wears flannel. I think, you know, Mike Watt and the guy from Creedence Clearwater Revival, they wear flannel. I don't know if they're, they're not sportsmen, I don't think.

No, I wouldn't think so. And Ted Nugent's a total sportsman, but he wears, like, black hoodies and metal shirts. Yeah, he's also a homophobe. I don't know if that plays into anything. I don't know. Maybe that's his fear of flannel. I'm not sure. We've strayed from our team. Okay, we have, we have. But I do, I appreciate your opinion of Canadians, though. Oh, no. I'll take that back and let some people know that we're doing okay. Just let them know where they could find the interview and where they could send their hate mail and all the other fantastic stuff. Canadians don't send hate mail, I don't think, actually. No? No. No. No, they, they're too polite, honestly. I'm sure we could find a couple of Canadians who would send me hate mail.

Anyway, I'm sorry. I am deviating from your questions here. All right, well, we're going to cut away from the interview just for a second to bring you some more music. We're going to play you a track right now of one of Greg's older albums, or Mr. McPherson, if I should call him. We're going to play something off of the Good Times Coming Back Again album. We're going to play track number six, Slow Stroke, which, if I remember correctly, after the interview, I was talking with Greg, and he said it was one of the songs he was most proud about writing. I hope. Otherwise, I'm just fucking it all up, and he's going to hate me later. But don't go anywhere, because when we get back, the interview continues, and Greg and I talk about everything from James Brown to what he did to celebrate the high holy holiday of Thanksgiving here in America for his very first American Thanksgiving.

So be sure to hang out and check that out. But again, I'm going to give you guys Slow Stroke from the Greg McPherson Band right now. We'll see you next time. You're actually the first person we've interviewed who's been well out of the California region, so I'm excited, yeah. Is that right? Yeah, every other band and person we've interviewed thus far, it's primarily local. But, so you're the first one from Canada, so there you go. Well, this is my first time here, so there's lots of unison. There we go. Lots in common. So you got your first interview here in America, and I feel proud. I can claim that. It's true, yeah, man. This is my first American interview ever, I think. You owe me now for the rest of your life.

Okay. Every time someone asks you how America was, you've got to tell them about this interview and tell them how amazing it was. He was the one nice American that I met. The only one that didn't curse at you. All right. I'm just, oh, there are two of us here. Yeah, and Katie, who's running soundboard tonight because Nerman's at a Warriors game. Fucking Warriors. Anyhow. No, Americans, you should scratch that because I have met mostly very nice Americans. I think that we're fortunate in the music world to be amongst maybe a bit more culturally interested people or more tolerant folks. Well, I imagine the people coming out to these shows are, you know, they're probably like-minded people. You're not going to find a lot of, you know, the bigots and the Zell Millers coming out to you.

Yeah, we're doing okay. So far, it's been pretty nice crowds. Awesome. People are interested. Propagandry has a really great reputation and they're saying things I think that people are excited to hear and talk about right now. Well, I think now it's stuff we need to hear, so it's good that they're here. But back to you because you're the one I'm talking to. Okay. What would you say is the difference between you've performed solo and you've performed like with a band and a live audience? What would you say is like your preference and what do you think like the differences are? I think that I like both equally. There's different aspects of playing by myself or with a band that, you know, obviously one lacks.

Let me think. How can I explain this? I play by myself. I have a lot of control over everything. I can kind of pick my songs. I can take a show in any direction I want to. I can play to any kind of crowd. I can play, you know, shows where it's primarily people sitting down, maybe older people. I play folk festivals, that kind of thing. But I can also play in basements and play, you know, more DIY punk type shows, hardcore shows. And I don't feel out of place. But with my band, we're pretty loud. We're a loud, cutting rock band. And although at the same time, like we do a lot of really, really mellow, slow material too. So both of those kind of avenues offer their own benefits, I think. And I find them both very interesting.

Like you play with people, you interact, and it's, you know, exciting to hear what other people will do to the songs you've written. Or if you're collaborating, you get to, you know, it's a pretty interesting process. But by yourself too, you only have yourself to blame or yourself to thank for your success or your failure. So it's pretty, it can be pretty rewarding or pretty educational. You learn a lot about yourself or the way you react to people. So like when you're playing with a band, you can be like, it was his fault right there. You totally screwed that up. Yeah. No, I don't do that too much. I wait till after the show. After the show, you're like, shut it up. He's like, what? I'm like James Brown.

I just kind of give them the five finger sign, meaning that they lost their 50 bucks or whatever they were getting paid. Which is, to do that, someone would make a mistake. You need to swing around and go like this with his hand, like five. And that meant you just got 50 bucks knocked off. You're paid tonight. Yeah. And probably with as much as you guys are making, they couldn't take a lot of those five fingers. I don't even think they could take four fingers. Maybe three or four fingers. Well, I don't know. Maybe like the half. You're like half a finger. It's all right. Hopefully, they won't screw up too much. No, they screw up plenty, but it's mostly exciting. That's the whole joy of it. That's what makes it good.

Yeah. If it went off without a hitch. Oh, yeah, man. You don't want to go see a live band and have them just play everything perfectly and just like it is off the record. I love the risk of going to a show and having people fall on their face. So, you know, my band is, we're not, we don't have the privilege of being able to rehearse together all the time. So it's, it can be pretty, pretty exciting, but it can also be, you know, very frightening. We'll get up in front of a crowd after not having played for three months together because I've been touring for three months by myself and we'll practice once and go and play a show. And you all start on the different, a different song. Yeah. Oh, God. Yeah. Then you just tell everyone it's a new song that they haven't heard yet.

Yeah. It's experimental. Yeah. That's my, yeah, I always fall back on that. It's interpretive. It may show up on the next album. You guys keep listening. Exactly. Well, no, it's, it's, you know, I like doing both though. I like playing by myself and I like playing with my band and it's fun to play live, but I also enjoy recording. It's, it's like completely rewarding experience to make music. Oh yeah. I'm sure. Sometimes it can be frustrating. Sometimes touring can be, you know, lonely or thankless, but ultimately it's the learning experience and, you know, it's very rewarding. Like right from the start, learning to play guitar or learning to sing or whatever, learning to write a song, whatever you do, you're, you're winning, you know, it's, you're only going to get better.

Yeah. You're never going to get worse. Unless you're just sitting around and you don't practice for yourself. Yeah. Yeah. I guess so. Some people expect that though. That's, that was my method towards getting better at music. Yeah. I'm waiting. I'm giving it about 10 more years to see if it pays off. It's the gestation period. Yeah. It's just, it's fermenting. It's like wine. So we'll let you know in 10 years when my album comes out. Well, I'll hold you to it. Don't, I don't think you want to hear how that one goes, but anyhow, do you remember you're talking about, you know, growing as an artist and everything? What was the, like, was there a moment where you decided you wanted to become a musician where you thought this is it?

But yeah, I was in university, um, and I didn't enjoy myself there very much. Um, I was, I found myself playing music more and more at the time, just spending more and more time by myself playing guitar and, uh, trying to learn how to sing a little bit. Um, and, um, I got out of school, uh, the degree I got was a labor studies degree, which is kind of like the history of, of working people, history of the industrial revolution kind of thing. And it's not really practical in terms of finding a job, you know? Um, so I found myself working at a variety of different jobs and none of them are fulfilling to me. I didn't feel like going back to school and the only thing in my life that was really exciting was music.

And it had always been that way. Like I've always gravitated towards art and, and, and making, making things. And I was getting better at making music at the time. And I thought, wow, I'm going to give it a shot and try to play, you know? And after a couple of years, I realized that that's just, that's what I was all about. And that's what I was doing. And, you know, it was, it wasn't really a moment, but I think over the span of a few months there and about 1996, 97, I was like, oh, I guess I'm a musician now. And I'm like, well, I'm not working. I don't have a place to work. No, no, no. I've always been working, but I don't, I don't have any other real career, you know? This is my career, I guess. If you want to call it that.

Lots of people who are doing the same thing, man. Yeah. They tend to put out the best music. People who have to, I find people who have to like work and, you know, kind of like nose to the grindstone all the time. They put out the best music, I find. Yeah, maybe. I think it might have something to do with people who don't depend on their music for a living are less tempted to alter their music for more money. Yeah, exactly. You know, so you make music that you don't depend on, and I think that it's probably more reflective of your, your tastes. Yeah, for sure. Well, it sounds like they're going to, they're starting in the background. I think we're kicking into it. Yeah, so we're going to, we'll wrap this up in a few minutes.

But I know, as many American listeners must want to know, you guys were here for Thanksgiving. Yeah. What did you do for Thanksgiving here in America, the American Thanksgiving? We were invited over to some people's house. Some friends, friends of Propaganda have a house in, in Oakland, I think, near Oakland. And we went up there and they made us vegan turkey. Oh, wow. And, yeah, it was amazing. That's excellent. Yeah, it was really nice. They were super good people. Right. Yeah, I'm trying to remember the fellow's band's name. It's a band called All You Can Eat. Oh, yeah. You guys, you played with them at, I can't remember. In Berkeley, I think we played with them. Yeah, Gilman Street. Thank you. Yeah, that's right.

I'm going to get crucified for forgetting that. Oh, whatever. It's easy. It's just a fact.

Oh, yeah, it was one of the best shows we've had so far, I think. It's supposed to be a real DIY, like, you know, like. Pretty old school. Yeah. Like, Jello by Afro was there and stuff. Oh, yeah? Yeah. Oh, dude. Fat Mike, all these kind of luminaries were hanging around. Old school, crusty old dudes were falling out of the woodwork for the shows. So, that's always a good environment. Oh, yeah. Sounds great, man. Well, real quick, before we take off, is there anything you want to plug? Website, new album, anything like that? Uh, you can check out www.g7welcomingcommitteerecords.com. They just updated their website, and Derek, my drummer, is one of the two people who are in the collective now. Okay. And he designed the website and stuff, and I think it looks great.

You can find information about my band or Propagandy or, you know, a lot of different subjects of interest. There's things on there, um, maybe about radical politics, about organization, and, uh, links to some really cool, um, information for people to check out, too. So, it's cool. Yeah, it's a great, it's a great website. It looks cool, and they're really funny guys. Read the news blog. As well as informative. Yeah, exactly. Awesome, man. All right. Thank you, guys. Well, thank you for, uh, taking the time to talk to us, Greg. Well, it's my pleasure. Thanks, Kate. All right. Well, in case you missed it, that was Greg McPherson thanking our soundboard operator for the night, Katie, and somehow neglecting to thank me, but I'm not going to hold it against him.

He was a really great guy and a super interview. So, before we leave you guys this week, we're going to give you one last track from Greg McPherson off his latest album, Night Flares. We're going to play the track, The Show Is In The Basement. It's one of my favorite songs by him, so I know that you will like it, because you like everything that I tell you to. That's how this works. Anyhow, be sure to tune in next week to Sound Scene Revolution. We should have a really big surprise guest that I'm really excited about. I just can't tell you who it is, because I know if I say anything, I'll fuck it up. So, be sure to tune in next week, every Tuesday. Shoot us an email if you want, soundscenerevolutionatgmail.com, or leave us a message on our comment section.

We always want to hear from you guys, and if you're in a local band, we always want to take the time to talk to you. So, thanks a lot. Be sure to tune in next week. Big surprise guest. Be there.

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