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Unsigned518 - Episode 173 - Josh Clevenstine · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in 73 he loves punk rock music fighting the 13 jabbing the dazzle Jazz rock Now on the beats Guitar with a short quick radio bass his motherfucking envy scrolling look at motherfucker cuz here he comes Andy Sculling wearing his orange hats.
• 0:27
  Speaker B: Welcome to unsigned 518. I'm here with Josh Clevenstein. How's it going, man?
• 0:32
  Speaker C: Good, Andy. Thanks for having me.
• 0:33
  Speaker B: Yeah, of course. And. And you know, we had discussed the pronunciation of your last name and. And I got it right first time and, and as you can tell by the shelf behind me, it's because of my love for Frankenstein. My default to anything that could be Steen or Stein is to always go with Stein. So that's how I just happened to get in, get it right. But you know, we wanted to talk about obviously your music. And we were, we were shooting the. A little bit before we got rolling, basically. I just want to kind of go back and hear about your relationship with music as you want to tell it. You know, you don't have to go as far back as, you know, as far back as I go when I was 2 and I heard my first Beatles record. But you can probably. Yeah, all right, cool. Well then, then I guess just kind of, kind of start us off.
• 1:27
  Speaker C: Yeah, man. If you pull up my, my, my Apple music, there's a shameless plug for how I stream. If you pull up my Apple music and hit shuffle, the variety would probably. You'll find something there that you'll like, that you'll hate, that you love, that you're offended by, you might be turned on by. You name it. It's a pretty wide variety. But one of the big cornerstones of it is Adirondack folk music. It's a genre that most people hear about. They go, what? What kind of music? What kind of folk music? But it's a music that I got turned on to when I was probably younger than 2 years old. My parents took my brothers and I up camping near Speculator in New York. And on one of those trips to Moffitt beach, we stopped at one of those little touristy kind of all in one shops. It's called the Indian Trading Post. And she found a cassette tape by a guy named Christopher Shaw. The cassette tape was called Adirondack. She picked it up, put it in, and my brothers and I took to it. If you go to the Library of Congress today, that, that album Adirondack came out in 88, is the example of Adirondack folk music.
• 2:38
  Speaker B: Oh, wow.
• 2:39
  Speaker C: And I have been hooked on it since then. We talked before about core memories and nostalgia and those songs by Chris and his catalog very much can take me back to that place of being camping with my brothers and my parents. But while that is a big cornerstone of what I listen to, really anything that, as you can just tell, is honest and authentic, you know, it can be, you know, the heaviest stuff you can think of. It can be country, it can be rock, be reggae. If it's. If it's honest and it's genuine, I'm probably gonna like it quite a bit.
• 3:13
  Speaker B: Yeah, I like that. And I mean, I've. Since I've been doing this show, I've been able to expand my genres mostly because, like, you know, things like this, where I am face to face with the. With the artist I'm talking, you know, meeting them on my grounds, and I get to know the human being behind the music. And then as I listen to the music more, it doesn't matter what genre it is. If I'm like. If I've connected with that person, then I connect with their mu. And I mean, I. You know, I do like all sorts of music, but I'm not as diverse as I want to be.
• 3:58
  Speaker C: We could all expand the palette.
• 4:00
  Speaker B: Yeah, yeah, yeah. And I'm trying, but I love that, like, that's just. Your fucking default is to take it all in and. And find that you like.
• 4:09
  Speaker C: It also helps when you get the chance to catch things live, I think, you know, like. Like. Like we have mutual friends in the band called the Sugar Hold. Right?
• 4:16
  Speaker B: Sure do.
• 4:17
  Speaker C: And, like, if someone has told you there's a. There's a party band from Schnectady. Okay. But then you see those guys live, like, they have so much fun. They sound really, really good. And there's good dudes, like, that combination. Like, how can you not by default suddenly become a fan of parties connected to your rock and roll?
• 4:34
  Speaker B: Yeah. And again, it's. It's a lot of it. Is that. That human connection? Because, like, you can.
• 4:40
  Speaker A: You.
• 4:41
  Speaker B: You get that. And I don't want to say, like, safe, like, in like, a trite way or, like, you know, but, like, they have a feeling of safety about them. Like, you know, you can have fun and let loose and dance, and they're going to encourage it because that's what they're doing. And you can. Can feel free to, like, let loose and.
• 5:00
  Speaker C: Absolutely.
• 5:01
  Speaker B: And I think you're right. Like, people even outside of that genre get into it, you know, And I Love that. So, like, having that diverse background and, like, pulling everything in, but, like, focusing on, you know, the Adirondack folk music. Do you find that it gives you, like, I guess, a unique edge to, like, most folk, you know, Because I know a lot of genre musicians tend to, like, hammer that genre home. Like, a lot of folk musicians study folk music. And so do you find that gives you, like, an edge, having all that diversity?
• 5:43
  Speaker C: Yeah, edge is a. Interesting way to think about. I really hadn't thought of that. But maybe because I also. I love history. I. Going back to being really young, my folks would take us to the Adirondack Museum. It's called the Adirondack Adirondack Experience now. And I would be very much captured by the exhibits up there that talked about how folks made their living, you know, in the 1800s and early 1900s. And to find out there was music that told those stories and told it really well in an interesting way that also was very sonically pleasing. It really captured me. So, like, the music that I play now, Adirondack folk, it's also just stuff that I have been listening to and enjoying, really enjoying for a long time. And also now I'm starting to try my own hand at writing it while covering songs that are well over 100 years old. Right. So I think. I think that love for history and just my desire for a day of work to sit down with my guitar and see if I can figure out these old songs, that's kind of what you see coming through. And I guess. I guess maybe it does give me a neat edge. But I also. When I play this stuff, I'm also trying really hard to carry on through the tradition that guys like Christopher Shaw, Dan Bergren, Roy Hurd, Bill Smith, Bridget Ball, Dan Dugan, Peggy Lynn worked really hard to lay down and. And when I say work, I mean work. Like, Dan Berggren's a good friend and mentor of mine. It's really been in my corner. When he got out of the military back in the 70s, he actually went back to his hometown in Minerva, and he went on his grandfather's old mail route. And that he. His grand. His grandfather walked that mail route back right after World War I, and he would walk around all different stops on it, asking people, had any Adirondack folk songs? A lot of people would say, what the heck are you talking about? But some people brought him in, said, absolutely, we sure do. Come on in. And he'd bring his little tape recorder and learn songs that way. And Dan has Taught me those songs. I've picked those songs up and, you know, they're. Those guys are excited that a guy that's, you know, in his 30s has a true love and drive to keep playing this stuff. So edge, maybe, but it's also more of like a drive and a calling, I would say.
• 8:07
  Speaker B: Well, I mean, that's interesting to think of that, you know, having this deep rooted music that's rooted in tradition and rooted in history in, you know, the area. And to play it, you know, obviously traditional music is played. It's traditional, that's why it's called a traditional. But like, I guess I'm almost looking at the opposite. Like, do you have to shut out like some of your modern influences and you know, cut out the noise when you're focusing on traditional stuff because it, you know, it might veer too far away from it or something.
• 8:47
  Speaker C: Interesting question. You got me thinking.
• 8:49
  Speaker B: Thanks, man, that's good.
• 8:51
  Speaker C: That's why I'm on the podcast. No, you know, I think, you know, part of, part of the of Adirondack folk is also telling how the mountains and you interact with. And my story with it isn't just being a kid going camping. You know, my day job, I'm a truck driver. And for quite a few years I was blessed enough to have my job be delivering livestock feed all in and around the Adirondacks. I was driving for a big, huge mega carrier fleet that had a small dedicated outfit and most of the guys in it didn't really want to drive in the mountains because mountains in the wintertime are a little sketchy. But I was kind of up for it. I love the challenge. And I said, I'll drive him in the winter time if I can drive him year around. They said, deal. And I also was in a truck because life had kind of not gone where I want it to in my twenties. So my time trucking, when I was living in the sleeper truck and being gone Monday through Friday, wasn't just me enjoying my mountains and making a living. It was very much me just kind of thinking through why life hadn't gone where I wanted it to. And. And I think that process of kind of finding what really matters to you while being in a place that's always been there for you, I think that comes across in my music. I would listen to my friends and mentors music while I would drive the mountains, but when I wouldn't be in the Adirondacks, I'd listen to other things I enjoy. It's kind of hard to not break into country music when you're a truck driver. A good friend of mine always said if you didn't, if you don't like country music, you just have fun to write country music yet. And I thought it was full of crap until I found stuff I really liked. So I think you see some of those influences coming through as I sing about being a trucker in the mountains. You know, you might hear also you, you for sure hear Johnny Cash and stuff in my, in my music. I, I, I love the man in Black. You definitely hear that influence in like my song Hammer down or my song Connie and Rodney and some of the new stuff I'm working on too. But you also hear the cross picking self accompaniment, of course, Christopher Shaw. So it kind of goes in the Clevenstein blender and goes through the beard and comes out the mouth.
• 11:01
  Speaker B: And you know, writing your own songs and, and like sticking to that tradition, like, I guess, I guess I'm not quite past what makes something Adirondack folk music is like, is it like mostly lyrically and storytelling based or are there like musical structures that kind of, you have to stay within the framework.
• 11:25
  Speaker C: Great question.
• 11:27
  Speaker B: That's why I have the.
• 11:28
  Speaker C: Exactly, exactly. It's a professional at work here, ladies and gentlemen. No, so I think good answer to that question. We gotta go back a ways to back when lumberjacks lived in the woods. This is before log trucks. The only way you can get the lumber out of the Adirondacks was to cut the trees down, wait till it was wintertime, drag them out onto a frozen lake, wait till the lake thawed, and then run the logs down the raging rivers in the spring to Glens Falls, Ticonderoga, wherever else the mill might be. These guys lived in the woods. There weren't jukeboxes, there weren't TVs, there were nothing yet. So these companies, these lumber companies would actually make sure they had at least one guy paid on staff that was a decent singer. He might have been a crappy worker, but if he could sing, he would really keep morale up. This is something that these companies truly sought after. That's, you know, that's documented history right there. And that is very much the genesis of Adirondack folk music as from the traditional sense. And guys like Chris, like Dan, like really anyone, Bill Smith, they would do a mixture of taking those old songs and putting them in the records while also writing about how, you know, the Adirondacks are parts of their life. So it's kind of mixing both regularly When I play out, when I record, I try to make sure I'm hitting songs that are well over 100 years old. I also try to make sure I'm writing, I'm playing and writing songs about how, you know, my story with the Adirondacks. Their story. And as songs that Chris and Dan in the early 90s, late 80s might have called their, their new stuff back then. It's traditional now as far as I'm concerned. I mean I can play Adirondack Blue by Roy Heard and most folks can sing along to it that I've even heard it once or twice. It's a catchy tune, but has that kind of answer that question for a little bit. Like.
• 13:21
  Speaker B: And like the, the, you know, because like the songs are telling about like the hard hardships or like the, the how they settled like while it was like the contemporary music, like while these dudes were like in the lumber camps, you know, well over a hundred years ago, the songs that they were singing, were they like kind of singing about like current?
• 13:43
  Speaker C: Yeah, absolutely. Yeah. Yeah, it's. It's kind of fun. I was, I was just, I was just playing last night and I was saying how most of the. Of the lumber related songs are either real happy ones, that good day on the river, real bad ones because I had a friend die.
• 13:58
  Speaker B: Right.
• 13:59
  Speaker C: Or they're missing women. You know, that's a pretty common one too. But yeah, you can see that those common themes of either missing people or a good day at work or a bad day.
• 14:09
  Speaker B: Was there any like the bomb boss songs or whatever?
• 14:11
  Speaker C: I was just gonna say making fun of the boss or sometimes liking a boss or their, their skills as woodsmen were often. Or lack thereof, or good. Good.
• 14:21
  Speaker B: That's just so interesting that like it was, you know, the, the company was sanctioning musicians because they understood that like these dudes will go crazy if they're not all sitting around like singing songs.
• 14:36
  Speaker C: You know, I, I was surprised to read that too, but it totally makes sense.
• 14:40
  Speaker A: Sense.
• 14:40
  Speaker C: Yeah. You got these guys, you're gonna live in the woods and live in lumber camps. Like they need something to keep them busy, you know, both working and after work, you know, keeping morale up on the job, you know. And they would bring that to bars too, you know, when they would go to the, when they would have some time off, they go to taverns. People enjoyed going to the bars here to lumberjack sing their songs.
• 15:01
  Speaker B: Right.
• 15:02
  Speaker C: That, that carried on pretty much until jukeboxes started going into the bars. People will always not be Crazy about change. But there are a lot of people that were. Didn't really want the jukeboxes at first because they just liked when people would just sing their songs.
• 15:16
  Speaker B: Yeah, I mean, it's almost like the. The. The pre. Not even almost. It's like the precursor to the local music scene.
• 15:22
  Speaker C: You know what I mean?
• 15:23
  Speaker B: It's. It's people that are. That are doing it because they love doing it. And like, you know, they're. They're gathering and just doing it on their own, on their own accord.
• 15:32
  Speaker C: I guess what's been fun is, as word is getting out that I like digging through history and, like, grabbing these old songs, people are starting to give me books and stuff that have lots of these poems and stuff in it. I should mention, even though I've got, you know, a degree in history and all, that I'm a pretty doggone slow reader. So my stack of books to read through and dig through is getting pretty tall as I slowly read through it. But it's special that my friends, you know, Dan and Chris and. And even people are recognizing that I have a heart for this. That they're giving me books here means my songwritings haven't been good enough so far. Or they trust me to tell more stories.
• 16:17
  Speaker B: Probably trust you. I. I'm going. I'm going. That one. Well, I think we should probably hear Josh Clevenstein's song. So what do you. What do you think?
• 16:27
  Speaker C: Yeah, man, it sounds good.
• 16:29
  Speaker B: Which one do you want to hear or play?
• 16:30
  Speaker C: I think it'd be appropriate to start with an original one that we did on my second album, By My Fire Again, an Adirondack album, in the name of carrying on tradition. This one. This song is called Tradition Bears. I had the idea for it when I had a drive that took me to stop in Ogdensburg, Messina and Malone, starting in Gilderland, New York, pulling feed. And it was kind of a foggy, misty March day. Not too bad, but not too great either. And I hadn't seen my friend Chris Shaw in some time, and I was kind of missing him. And, yeah, on that drive, I was trying to think of the difference between Chris and Dan specifically and their music. And I had the idea that I feel like Dan's songs kind of teach you to hear the mountains whisper and Chris's songs teach me how to hear the mountains sing, you know? And, yeah, I actually pulled the truck over one point during that day and started writing lyrics based off of that. And what turned into kind of describing the difference in my head of the Two pickers styles turned into kind of a salute to all the guys and gals that I could think of in that moment, right, that I played Adirondack folk music before me. And when we recorded by my fire again, Chris Shaw, Dan Berger and John Kirk Roy heard, they all pitched in and tracked with me on it. So it's pretty special, those guys recording with me, but they probably got a little sick of hearing their names in that song as I gave them the salute. But I stand by it because it's. They deserve it, right?
• 18:03
  Speaker B: So awesome. All right, well, let's hear. Tradition bears Josh Clevenstein right back.
• 18:14
  Speaker A: Sam Dan Bergen showed us how to hear the mountains a whisper. John Kirk would serenade us with his bow and his string Bill Smith would capture us with his songs around the fire and Chris shots us near the adirondack City driving 4:58St. Regis down towards Paulsmiths the cold winds of a March day seem to distance the coming spring Been so long since I've seen it. But his voice will soon come calling the high peaks in the distance since called the mountains for his city cause Dan Burden showed us how to hear the mountains whisper. John Kirk would serenade us with his bow and his strings Bridget Bo capture us with darling Rosie by the fire and Chris shouts Dallas, you're the Adirondack sea Mountaineer joins me in harmony as I sing down 73 Cold River Waltz takes me to another time to an old friend's fishing camp where he taught me how to cross pick to find my voice Tell my story now find yours while I sing my honey cuz Dan Bergen showed us how to hear the mountains whisper. Jungkook would serenade us with his bow and his strings Roy, Dan and Peggy join their voices in the choir and Christ the shark songs, you're the Adirondack. Did a young boy from a big porch know his greater calling Way to listen to his uncle his father telling lies. I pray I do my duty to carry on tradition to see. Sing your songs, tell your stories and add a chapter or two of mine. Cause Dan Durbin showed us how to hear the mountains a whisper. John Cook would serenade us would his bow and his trace. Uncle Walt would capture us with his lies around the fire and crisp shots of us near the Adirondack city. So come listen with me to the Ipines as they whisper you're the seven river Serenade in my picks and these strings Capture your loved ones with these songs around the fire Teach the next generation you're the Adirondacks because Christians on me. You're the Adirondack.
• 23:40
  Speaker B: All right, that was tradition. Bears Josh Clevenstein. And that one's off the album By My Fire Again. And while we were listening to that last track, you were telling me a story of. Of another song on that album, and I actually kind of. Kind of had. You had you put the story on hold so that you can tell the story while I was recording. So I guess tell me the story of the second song that we're gonna hear.
• 24:04
  Speaker C: Yeah. So it's kind of funny. I try to avoid cliches where I can. Maybe it's because I had enough professors in college that were like, hey, stop being cliche. Okay. And I didn't want to do the whole, like, title track, you know, super obvious, big chorus hook. So this next song is called Mason. It's got the chorus By My Fire Again. But now whenever I say I'm playing Mason, known as what Clue, what song it actually is. So, you know, what can I say? I'm a musician, not a marketing guy. Whatever. Not a big deal. Yeah. Mason is a real special song for me and a real spot. It's named after Mason Lake, which is about 15 minutes north of Speculator, depending on how far, how fast you drive up on Route 30. And the idea with Mason slash, the concept of the album name By My Fire Again was I wanted to capture a special feeling that a person can get when they've got a place they've been going to for a very long time. Kind of going back to that core memory conversation we were having earlier. The place that you can go to. Shut up, shut the world out, shut the bad things out, and just kind of refocus and re. Center yourself. For me, that's Mason Lake, a certain campsite you gotta paddle across the lake to. You're not bringing a lot of stuff with you. Just you, you know, your. Your tent, some firewood maybe. You know, it's simple kind of rustic camping. And I've been going there since I was a kid. So I've got memories from, you know, before being a teenager. A teenager, you know, young, twenties. My old dog was named Mason after Mason Lake. That's his paw right there. That's Mason Lake around the paw, you know, that's where my wife and I got tattooed.
• 25:49
  Speaker B: On his leg.
• 25:50
  Speaker C: Yeah, on my shin. He was a big dog. I felt that paw print going on the. Yeah. So that. That. That idea of going back to a place, it's always right, and you can look around and, like, you Know, the rocks are in the same place. The tree might have gotten a little taller, the moss might have gotten greener, but it's. It's always right, it's always steady, it's always constant. I figured that was a theme that people could relate to. So that's where the idea of the. The phrase by my fire again came from. Like, you're back, you're safe, you can breathe. When I wrote that song, I had just come off of the road of living in the truck. We talked before about how, like, that was kind of safe space for me for a while. And honestly, I'd gotten real comfortable there. You know, I'd found a way to make a decent living. I started playing music again, doing that. I met, dated, and married my wife while I was doing that. So, like, life worked in that situation. When I came home and became a local driver, honestly, I was scared because, you know, quote, being home before didn't work out so great. And it's like, how this is going to work now, being home again, like, life's gonna be different. And, like, pretty much the first weekend I was back, you know, I went. Went up north and got to that place by that fire again and started writing. You know, days are long, years are short, you know, one step at a time. It's really all I'm worth. And that's, you know, the beginning of that song. But, you know, sitting by your fire, hearing the loons call around the bend, Just. It's always right, it's always good. It can be winter, it can be summer, it can be fall. And yeah, just you catch a glimpse of heaven doing that, right? And that. That. That is that song. That's the chorus, that's the verses. And having John Kirk put fiddle over it, having Dan Berger and sing with me in the choruses. And my good, good friend Rob Fleming, who records me, also adding harmonies.
• 27:43
  Speaker B: I know, Rob.
• 27:44
  Speaker C: Shout out Roseway. Yeah, yeah. Is everything right Is. Is in that song. And I hope when folks hear it, if it's not Mason Lake, wherever that place is for them, I hope they can kind of get to that place and just breathe, you know, That's Mason for me. That.
• 28:01
  Speaker B: That place is this room.
• 28:02
  Speaker C: Yeah, I can tell it's a good room.
• 28:05
  Speaker B: I've surrounded it with pieces of my childhood and, like, just so for that same reason, you know, like, I can just look over and be like. Like, oh, yeah.
• 28:12
  Speaker C: There's no better place to discuss Adirondack V music than next to the Ms. Pac man machine.
• 28:18
  Speaker B: Yeah.
• 28:18
  Speaker C: And the horror action. Figures. I mean that with all seriousness.
• 28:22
  Speaker B: Yeah.
• 28:22
  Speaker C: That is a. You got to get a good place here.
• 28:24
  Speaker B: Yeah. And. And what I like about this, like, there's times, like, where I'll just, like, stay up late and just come in here and just be in here, you know, being here, like, looking. Even if I'm just, like, listening to music and, like, dicking around on the guitar or, like, getting a couple games of his Pac Man. Absolutely. But, like, there's something about it that recharges.
• 28:47
  Speaker C: Yeah.
• 28:48
  Speaker B: Recharges me. So, like, I. I understand. It's a different thing for me, like, because I'm not an outdoorsy dude. Like, I was. I'm an indoor kid. But, like. But yeah, I get it. I get the. I get the sentiment for sure. The recharge, like. Yeah, the recharge. The. The mental recharge. Like, we all. All need them.
• 29:08
  Speaker C: Yes, we do.
• 29:08
  Speaker B: Absolutely. Yeah. So. But I guess if there's nothing else to add about the song, maybe we should hear the song.
• 29:17
  Speaker C: I think we have warmed it up thoroughly. Let's eat.
• 29:19
  Speaker B: Yeah. Awesome. So it's. It's called Mason. You know what you should do? You should add, like, the parentheses with the. You know, by my fire. Okay. There's an idea, know, so that you could be like, the song's call Mason, because they've done that with, like, some popular songs.
• 29:34
  Speaker C: Green did that, didn't they?
• 29:35
  Speaker B: Yeah, Life good.
• 29:36
  Speaker C: R. Correct.
• 29:38
  Speaker B: Yeah, they're like, oh, no, the name of the song is Good Ridden.
• 29:40
  Speaker C: So Green Day.
• 29:41
  Speaker B: I don't get it. And then like, no, yeah, time of your life. Like, oh, I get it now.
• 29:45
  Speaker C: I got to order more CDs soon.
• 29:47
  Speaker B: Anyway, so just add that in parentheses and be like. Yeah, it's fine.
• 29:51
  Speaker C: Thank Andy from Unsigned for that one.
• 29:53
  Speaker B: Yeah, I like it. Yeah, Add. Add a little. Add a note at the bottom. All right, well, let's. Let's listen to Mason By My Fire again by Josh Clevenstein. They'll be right back to wrap it up.
• 30:18
  Speaker A: Days are long Years are short One sip at its sound Song I'm ever worth Peace of mind so hard to find A spot to rest on this good earth look behind where I've been the path I'm taking Where they've left Here I am safe Sacred ground To find the rest Once before I found out by my fire again the looms come round the bed Mountain breeze Welcomed as a friend this but a glimpse of heaven sat the stone's gotten greener and more water Weather looks the same the surrounding sun look down as they Always have I've been like a night me come and seeking wisdom One more host lead to fire Rest I'm by my fire again the lo. The bend the mountain breeze welcome as a friend this is all the glimpse of heaven Days alone Years are sure One step at times on the marble peace of mind so hard to find A spot to rest on this good earth or look behind Where I've been the paths I'm taking Where they've led it ain't right Sacred ground To find the rest Once before I found.
• 34:02
  Speaker B: That.
• 34:02
  Speaker A: I'm by my fire again the loons call Round the bend the mountain breeze Welcomed as a friend this.
• 35:00
  Speaker B: All right. That was Mason, Josh Clevenstein. And Josh, I want to thank you so much for coming over, taking time out of your day to do this. It was a really cool conversation. And before we go, like I do with all my guests, I want to give you a chance to say what I refer to as your gratitudes. So the microphone is all yours.
• 35:18
  Speaker C: Oh, thank you. This is going to get awkwardly long. No, go for it.
• 35:22
  Speaker B: I've had some that are fucking 14 minutes long.
• 35:26
  Speaker C: All right, so 14 and a half here. Oh, man. Well, first off, thank you for having me in this really, really cool room. This is awesome. And it's appropriately orange.
• 35:35
  Speaker B: You got to get a game of Ms. Pac man in before you leave.
• 35:37
  Speaker C: I'm planning on it, so make it a quick 14 minutes. Yeah. Mikey, Base from the Sugar Hold. I'm pretty sure it's his fault in some way or another. So, Mikey, you're awesome. All guys in the sugar hold, they're awesome. Yeah. The mentors I've talked about, Chris Shaw, Dan Berggren, Roy Heard, John Kirk, Dan Dugan, Peggy Lynn, I love all you guys. Thank you for your hard work. My wife, Ashley, you're the best folks over at ext. Chris and Laura, especially, thank you so much for pushing my stuff. I won't go for 14 minutes, I promise. But everybody at Parkway Music, Madison, Jesse, Johnny, Max, you guys, all the reasons that my gear even works. So they're pretty great. And you guys, man, Metroland and all that. Thank you for supporting local guys like you. You make us all feel like we matter.
• 36:25
  Speaker B: You do matter. That's.
• 36:27
  Speaker C: Appreciate it, man. That's really about it. I'm sure if I sat here longer, you know, my trucking company, Shaker, they're pretty good to me. They. They could just run me to the ground. They don't. You know, they know I play music and they support it very, very much. So that's pretty rare. Appreciate those guys an awful lot now. I mean, they're good. God is good. Great for everybody. He's put in my life. So that's about it, I would say. I sure appreciate you having me out here. Thank you very, very much.
• 36:54
  Speaker B: Yeah, absolutely. All right. So he is Josh Clevenstein. I'm Andy Stone. Unsigned 518 I'll see you on the road. Unsigned 518 is produced and hosted by me, Andy Scullin. New episodes are available every week wherever you stream podcasts. If you'd like to help support the show, please like and subscribe wherever you are listening. Or you could buy me a coffee@buymeacoffee.com unsigned 518 if you would like to advertise on the show, send me an email at untimed518 and to be a guest on the show, reach out to me through Instagram at unsigned518. Take care of one another and I'll see you next week.