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Unsigned518 - Episode 157 - Oobleck · 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 am here with members of Oobleck. How's it going?
• 0:32
  Speaker C: Pretty good, Very well.
• 0:34
  Speaker B: And. And I think what we want to do is we want to start right here to my left. I love doing visual references on an audio only podcast. But we're going to start to my left and introduce yourself and what you do in the band.
• 0:46
  Speaker D: Sure. I'm Josh Ratigan, I play bass for Oobleck.
• 0:51
  Speaker E: Sam Parker, I play guitar.
• 0:53
  Speaker C: Audrey Vangonekten, cat wrangler and trumpet player.
• 0:58
  Speaker F: Kevin Vanguekten, drummer, now that you know.
• 1:02
  Speaker B: The last name is unique enough where I'm assuming there's a relation there.
• 1:07
  Speaker C: Indeed. Yes, we're married.
• 1:11
  Speaker D: So before we go on, we also have to mention there's Scott Vorwald who's just not with us today. Saxophone player.
• 1:16
  Speaker B: All right. So we do have to. I always forget that like sometimes like that there's. That there's other members that aren't right here in front of me. I do that.
• 1:24
  Speaker E: We've got Calvin Van connected and filling in space on the couch for Scott though. Yes, he's very enthralled with his YouTube on an iPad.
• 1:32
  Speaker B: Yeah, yeah, it is. He is the youngest member that has. Has ever been on an episode of unsigned 518so.
• 1:39
  Speaker D: But he hauls equipment with the best of them, I promise you.
• 1:43
  Speaker B: I don't think he's even. He's even paying attention.
• 1:45
  Speaker E: Absolutely not.
• 1:47
  Speaker B: So, you know, we were talking a little bit before we got recording, but essentially we met out in my driveway about 10 minutes ago or so. And you know, we were saying that we just want to start where you want to start. The story of Oobleck.
• 2:04
  Speaker C: Yeah. So we've been around for a while, officially since 2008, I would say. I had been living in the city for a while and I was moving up here to live with. With Kevin here and really wanted to start a band. That was like one of my big goals. And so I did and we had various members out of the crew that we have now. I think Scott was actually technically in the band before you were Kevin. So Scott, our sax player and I, we got together through Craigslist and I had various members of the band. And then. Do you Want to tell how you got into the band, Kevin?
• 2:49
  Speaker F: Yeah, I was playing to one of the songs that you guys were working on and the. The drummer couldn't keep any time, so. So I volunteered to be a temporary fill in. So it's been about 15 years now.
• 3:11
  Speaker B: They'll find somebody soon.
• 3:12
  Speaker D: Yeah, I'm sure. Yeah. I just thought it was like, you're my husband, you're going to play.
• 3:18
  Speaker F: No, no. There was no force, there was no violence. It was all voluntary.
• 3:23
  Speaker E: Blink twice if you need help.
• 3:27
  Speaker F: We're on a podcast. No one could see.
• 3:29
  Speaker B: Right. For the record, there was no blinking. Just for legal purposes. He is here on his own free will.
• 3:39
  Speaker C: And then Sam's story, I think is next.
• 3:43
  Speaker E: Yeah, so I joined the band in fall of 2013 as the new bass player and was in the band for a while until I ended up moving to Bangor, Maine with my now wife for her job.
• 3:57
  Speaker B: Home of Stephen King.
• 3:58
  Speaker E: Yes, the Stephen King house is a pretty weird place.
• 4:02
  Speaker B: Yeah, I'm gonna have to check it out.
• 4:04
  Speaker E: They got a cool gate out front. And so we were up in Maine for several years and then we moved back to the Albany area in 2021 and hanging out with these guys again. And they said, hey, do you want to come play rhythm guitar? I said, yeah, that sounds fun.
• 4:20
  Speaker C: Sure.
• 4:20
  Speaker E: So.
• 4:21
  Speaker C: So Sam's been in the. In the band twice.
• 4:24
  Speaker E: Yeah.
• 4:25
  Speaker D: And then Josh, I had. All right. So I was. I answered an ad on Craigslist because I was looking for a band exactly how it was described on that on Craigslist. I'm like, this is perfect. And so I reached out, went through the auditions, and ended up getting accepted into the band. January of 2020.
• 4:49
  Speaker B: I feel like there's something significant that happened around the globe, around then, somewhere around.
• 4:54
  Speaker D: So then it was in March, lockdown. And, you know, Scott works for a school district. Audrey's with the New York State Health Department. So it's like we took it very seriously. And so, you know, we were trying all these ways and methods to rehearse together, you know, over the Internet. And then there were these programs that the schools were using that we were trying to test out. And at this point in time, I had a whole repertoire of their catalog to learn. And Audrey was like, let's write a whole new album. I was like, this is great. So we wrote a whole new album during COVID lockdown while learning all. Me learning all the old material. And. And yeah, once lockdown got out, then, you know, we got to rehearse more often. But I do really appreciate that story. I was like, hey, we're in the band, but we're never gonna see each other.
• 5:45
  Speaker B: I feel like there was, like, two camps of musician types when the lockdown hit. Those that, like, shut down creatively and those that, like, a fire lit. And, like, because there's so many bands that either launched during COVID or, like, had enough of a change where they launched during COVID So it's. I love stories of people that are like, well, I'm locked in. It's time to. I need out, you know, I need output. I need to put out something and be creative, you know?
• 6:16
  Speaker C: And, like. And we played. We played, like, outside a lot.
• 6:20
  Speaker D: That was one of the things that really impressed me. I don't know if I've mentioned this to you guys before, but the absolute dedication to still creating music, whether it was working on existing material or learning more, playing outside in 40 degree weather on the back deck or, you know, playing outside down at Scott's house when.
• 6:39
  Speaker C: It was with the ants.
• 6:41
  Speaker D: Forgot about the ants.
• 6:44
  Speaker C: He, like, had this, like, ant Armageddon that happened when we were playing. And so, like, we were, like, pretty much took, like, a quart of cinnamon, and we're just like, sprinkling the cinnamon everywhere because they would just, like, crawl up. You saw, we'd be in the middle of a song and somebody would just, like, be like, smacking their legs and stuff trying to get all these ants off of them. That was good times.
• 7:10
  Speaker B: Yeah. I mean, we practice in here and I mean, this is a garage, you know. I mean, I know it looks cool and it has lights and carpets and everything, but for all intents and purposes, it's a garage. So there's been a mouse issue from time to time that has popped up in here that is. That has broken the facade of the desert. You're like, oh, it's a. It's a mouse. Yeah. So I know all about. About that. So, you know, we're going back starting 2008. I did see you've got music going back on Spotify to 2012.
• 7:45
  Speaker C: Yeah.
• 7:46
  Speaker B: Is that. That's correct. So that's, you know, a band of any, you know, stature or style to go that long is super impressive. And in the local SC have that kind of longevity. To me, like, I almost, like, was, like, looking at. I'm like, 2012, that's. Wow. Am I looking at the. Oh, yeah. No. And, you know, it goes back to back that far.
• 8:14
  Speaker C: So we're babies.
• 8:16
  Speaker B: So how do you, like, how do you navigate going from that Pre Covid world as a band in the 518 to going through Covid to now that it's on the other side. Because like I said, a lot of the bands that I talk to have were formed within the last five years.
• 8:36
  Speaker C: Yeah.
• 8:36
  Speaker B: Like, so to have a man going back as far as you, it's a interesting perspective, I guess.
• 8:41
  Speaker C: I mean, it's, it's interesting too because I feel as though our, our members for the most part, like we have like a really solid core to the band and we're all kind of dedicated. Right. We all have full time jobs, but we're all professional about the way we try to go about playing and we, we try to practice a lot, which helps the cohesion and we kind of check in periodically too, you know, like, you still, you still good? You still good with this? You know, like this is still what you want to do? Yes. Okay, great. You know, and I think we, we jam a lot and a lot of our songs come out of the jams that then we put a lot of, you know, we try to. There's some things that are scripted, there's some songs that are very improvisational and it's sort of a mix. And I would say from before COVID through Covid to now, the scene has definitely changed. I mean, I think it's interesting to be in the area for a long enough time to like see a lot of clubs change, to see sort of like the style of music has changed. I think, honestly, I feel like it's for the better. I feel like there's a larger diversity of bands that are out here now. Like when we first started, you were kind of either like really in the jam band camp or you're really like in the indie camp. And if you weren't in those two camps, like you had an uphill battle and Oobleck was definitely not in either of those camps.
• 10:13
  Speaker D: Well, to build off of what you're saying right there, this, this group has varied backgrounds in it. Kevin is definitely a heavy metal, death metal style drummer who's. Who's been brought to the Afro funk. You know, the, the classic joke of dub that we have together. I'm definitely jam band like Massive Fish Head. I know Sam is big into the jam. Bam. Audrey is straight up funk. And you know, Scott, he has such a wild palette of just, you know, music appreciation. It's not like we're all just a jam band or a metal band or a punk band or whatever. It's a great coalition of all sorts of styles.
• 10:56
  Speaker E: How much can we make fun of Scott right now since he's not here?
• 10:58
  Speaker B: You know what?
• 10:59
  Speaker D: I'm gonna stand up for Scott, but you can make fun of him as much as you want. I'll just stand up for him.
• 11:04
  Speaker E: I mean, he's. He's the. He's the legit music major in the band who, you know, he. He counts like a nerd. He doesn't just do 44 time.
• 11:11
  Speaker D: Right?
• 11:13
  Speaker B: Yeah.
• 11:13
  Speaker D: I'll never forget the time Scott wasn't there, and Audrey's reading sheet music that Scott had prepared, and she's just like, halftime. Halftime, Scott. She just starts screaming, and all of us are looking at each other like, cut time. Sorry, Excuse me. Cut time. And we're all looking at each other like, what? What's going on? Why is she so mad, dude? And Kevin's just like, just.
• 11:39
  Speaker F: You also keep the band going by cycling out the bass players, and there it is.
• 11:47
  Speaker B: They're. They're. They're expendable anyway. You know, I'm. I'm. I'm the bass player.
• 11:51
  Speaker D: I get it.
• 11:52
  Speaker B: I see one over there.
• 11:53
  Speaker D: I see the spectrum.
• 11:54
  Speaker F: They're always weird.
• 11:55
  Speaker B: Yeah, we are. Yeah.
• 11:57
  Speaker D: Am I the longest running bass player at this point? Because that will make me terrified for the spring for a gardening accident.
• 12:03
  Speaker F: Yeah, gardening accidents do happen.
• 12:06
  Speaker E: I think he got one more year to be the longest running bass player.
• 12:09
  Speaker D: And that would have been you?
• 12:10
  Speaker E: That would have been me.
• 12:11
  Speaker D: All right.
• 12:14
  Speaker B: Don't worry, Josh.
• 12:15
  Speaker F: You can come back as something else.
• 12:21
  Speaker E: Has anyone else rejoined the band?
• 12:24
  Speaker D: That was a quick now.
• 12:30
  Speaker B: So I think we should probably, at this point, hear an Oobleck song. So tell me a little bit about the first tune that we're going to hear.
• 12:39
  Speaker C: Well, I think we're first going to play our newest song that is just released January 8th, I think is the release date from when we're recording a couple.
• 12:53
  Speaker B: A few days from now, Bones, that this is not live or anywhere near live. Like, as we're recording it, it's a couple days from. But as it's released, it'll have been released a month.
• 13:04
  Speaker C: So the song is called Purse Candy, which we've been playing out for a little while and has. Honestly, out of all of our songs, probably is the one that is most loved right now by some of our fans. It's fairly catchy. It has a nice little chorus, which Oobleck is usually mostly instrumental. So this is a little different than some of our other songs. It's really fun song that essentially came out from our friend Judy Jarnfield. Was sitting with us at the bar and she set her purse down and out rolled like a bonbon. And she was like, oh, my gosh, is that my Purse Candy? And I looked over to Scott and I was like, man, that's a song. And so Purse Candy was born.
• 13:48
  Speaker B: Awesome. All right, well, let's check out Purse Candy Oobleck, and then we'll be right, right back.
• 15:14
  Speaker A: And your peppermint stripes girl Whatever you hand me will make us feel alright I like your butterscotch rhymes and your lemon drops girl the way you smile at me no, it just can't be touch Give me some of that Give me some of that bur candy Give me some of that Give me some of that purse candy Give me some of that Give me some of that Purse candy Give me some of that Give me some of that Purse candy I like your red bubbles I like your peppermint stripes girl Whatever you add me will make us feel all right I like your caramel greens and your cherry buns I wanna be the one girl that makes you come undone It's Give me some of that give me some of that first candy Give me some of that Give me some of that first candy Give me some of that Give me some of that Purse candy Give me some of that Give me some of that purse candy all.
• 19:53
  Speaker B: Right, so that was Purse Candy Oobleck. And you were saying before that, you know, you'll jam around and ideas will kind of come out of that jam and form songs. Did Purse Candy kind of come out of that same method?
• 20:09
  Speaker D: Yeah. So when we get together and we jam and it's like, all right, pick a key, pick a style. Just go. And we could record 15, 20 minutes. And we're constantly changing. You know, Audrey or Scott will just yell out B part. And so we'll force ourselves to change. And we could end up with, you know, two hours, three hours of recording from a creative session. And then Audrey is the one who will sit there for a week or two listening to all those and picking out individual, like, just segments that she'll end up, you know, chopping up, putting together and saying, I think this could be a song. And, you know, and then I. I.
• 20:52
  Speaker F: Am tortured also to listen to these hours and hours of jams.
• 20:58
  Speaker E: But you love jam music.
• 21:04
  Speaker F: To reminder, I wouldn't pick Oobleck for.
• 21:07
  Speaker D: The death metal drummer, so. But no. And. And as a result. So once we get the A part, B part, C part, Q part, it's all right. How do we mesh these Together. And, you know, we'll focus on, you know, refining each of those until it becomes, you know, a great, cohesive song. And it's. I applaud it for that, and I thank you for that. I certainly don't have the patience to do it, so. And you hear things that other people don't.
• 21:35
  Speaker C: And how did Purse Candy come out of that?
• 21:40
  Speaker D: Okay, so every once in a while, we can't get all the band members together. So this was a Friday night rehearsal, and I think it was just myself, Audrey and Kevin at a Friday night rehearsal. And it was. We just indulged ourselves because it was supposed to be letting loose, right? You know, we were, you know, tipsy, whatever. And so this was at the end of writing our last album, down the Rabbit Hole, and Audrey says, start working on new material. And Kevin and I just lock eyes, like, oh, dear God, no. So I. In my head, I said, always onward. I'm gonna write the worst baseline I ever can. And so I just start doing just this. Which apparently she ended up liking and then evolved into what it is today. So trying to write the worst bass line ever turned into a pretty darn cool song.
• 22:39
  Speaker B: And, you know, that's almost like a forensic way of looking. You know, you're going through the tapes and picking out, like, different things. Like, and when you're jamming, you're not necessarily jamming with the intent of coming up with riffs or songs. You're just jamming.
• 22:59
  Speaker C: I think for the horns especially. I mean, sometimes it's just, like, open, you know, cathartic jamming or whatever. But I think that Scott and I will kind of set an intention of. We'll take turns essentially, like, seeing what we can come up with within a song that's, like, riff based, that's repeatable, that is kind of catchy, you know, and so sometimes that may come out of something Scott plays in a solo, like, for example, Chucklets, which you'll hear later. Some of that song actually came out of. It's a mixture of lines that I came up with. It's a mixture of lines that I pulled from Scott's solo that I essentially transcribed. And it turned into this, like, you know, kind of crunchy, fun song. So. And also, like, some of the things that I'm looking for when we are jamming are like transitions that just happen spontaneously that feel really organic, you know, because there are times where some things feel forced and, you know, that just doesn't really make for a good song. Like, you want it to breathe. You want it to just, like, go naturally to the next to the next bit.
• 24:10
  Speaker B: And so, like, when you're pulling things, you're not necessarily pulling as a whole. You can pull, like, a little bit out of it and then build something, you know, like you said, like, you'll hear, like, the horn something, and then be like, oh, I could turn that into this. So, like, it's not necessarily the entire composition, but you're like, let me take that little piece from this. Let me take that little piece from that. And, like, that's interesting. And, like, I. You know, we've talked about recording our practices for, like, the same reason, but we never do. But, like, I think that's really good to do. Yeah, that is a good.
• 24:42
  Speaker C: Yeah. And I mean, like, sometimes it falls completely flat. Like, sometimes I'll. I'll try to, like, ABC a song, you know, be like, I think these are the three parts that will come together. And then we go to put it back, and we're just like, no. Falls totally flat. But sometimes magic happens, you know, and you're like, oh, like, this is. This is a thing.
• 24:59
  Speaker D: Well, some of the most successful ones that we've had is, you know, we're working on that a B part, whatever. And then, you know, one of either yourself or Scott will get into a solo. And I'm like, yeah, I don't want this solo then. So I kind of just work a jam in and kind of transition it up, but I keep a foundation. And then the horns evolve, and, you know, Sam, with all of his effects and everything that he brings, and I also want to make it important to note that the horn section has more pedals than the guitars. The bass and the guitar are put together. So this is one of those few bands where they have an extensive array of effects. And actually, I really believe that's something that you should discuss. I wish Scott was here for this, too.
• 25:45
  Speaker B: And now for. How many horns do you have?
• 25:47
  Speaker C: We have two, and sometimes we'll have folks sit in with us, but for the most part, the foundation is two horns. A trumpet and a tenor sax.
• 25:54
  Speaker B: And for, you know, because we have a trumpet in our band. So, like, just out of curiosity, like, when you're miking them and you're using the effects, because I've never even really thought about using, like, pedals and effects on anything other than, like, guitars. Is. Is it just like a regular horn mic?
• 26:12
  Speaker C: It's a regular horn mic, but then you have to switch from, you know, XLR line to line level, essentially. So there are. There are parts Involved in that to make it go from horn right into what essentially is. Is like a guitar or bass line into the effects.
• 26:28
  Speaker B: And you could just XLR to quarter inch adapter. Or is there more to it than that?
• 26:35
  Speaker F: You got to go through a preamp first and then send it through an effects loop.
• 26:39
  Speaker B: And is that because of, like, the phantom power needed with the.
• 26:42
  Speaker F: Well, if you need phantom power, then that's something you have to deal with. But you also have to balance the signals, right? Yeah, impedance match, basically. So, yeah, that's pretty much it. So you go through preamp, go through send effects loop and then back in.
• 26:59
  Speaker D: The effects loop is crucial because you also need the clean signal. The clean signal from both. Yeah. And so, you know, on Audrey's board, she's got. I know she's got octave, she's got the envelope filters, she's got. Oh, what's that new octave pedal with all the. The different pitches?
• 27:18
  Speaker C: I picked up a Keely Octasi, which is a polyphonic and a fuzz pedal.
• 27:23
  Speaker D: She got sand Sam, she's got everything. She's got the volume pedal. And then you get to Scott's board and, yeah, cheers to him. He's got it all rigged up. There's a ton of digital stuff on there, a ton of Eventide, but he's also got it mixed with electroharmonics, but he's got the Eventide stuff all controlled by an iPad or whichever tablet he's using connected to his microphone stand. So he's manipulating everything while he's going. And he can emulate organs. So he's using his sax to play the sax line while also hitting a repeater to get the organ sounds going underneath. And it really just layers so well. And there's been a couple of times where Audrey has, like, what's this pedal do in the middle of a song? And we just start cracking up because we all of a sudden we just start hearing or whatever.
• 28:17
  Speaker B: So, yeah, the guitarists of my band are both pedal nerds. And, like, they have some wild stuff. The only one that I use is that Poison Noises one that we designed, which is basically a. It's a big muffler and then a big muff pie all in one. And you can switch, like a toggle switch between the two of them. But basically, and you'll appreciate this because I was like, hey, we need a. You know, I need distortion. I needed to be. But, like, all the distortion pedals, if you're playing with the bass, they sound like shit.
• 28:52
  Speaker D: That's right.
• 28:52
  Speaker B: And Jordan from Poison Noises explained. Because I didn't know, but he explained to me, well, yeah, that's how they achieve that sound is they cut out the low end, which gives it that over, you know. So he goes. Because Jordan's a bass player too, the guy from Poison Noises. And he was like, this one keeps all the bass and just gives it the fuzz on top of it, so it loses none of the low end. It just gives it.
• 29:20
  Speaker D: Funny you mentioned that. I've got a creation audio pedal where it's got an overdrive and a distortion. I have the distortion knob taped to zero. Like, I can't move it because. Exactly what you're talking about there.
• 29:32
  Speaker B: Like, so, yeah, it'll cut all. Cut all the low end. Well, you know, maybe I'll. I'll show you the pedal before you guys take off.
• 29:38
  Speaker C: Like, with the horns, too, is interesting because it's, you know, it's not like you could just go to Guitar center and, you know, bring out your horn, right? You have to bring your whole pedal. And so there are things, like we've learned over the years, like, for example, like a tremolo pedal sounds like absolute garbage on a trumpet, because essentially what happens is you sound like shaky old man trumpet.
• 29:59
  Speaker B: I was just gonna say it sounds like you can't get a full breath.
• 30:02
  Speaker C: Like, adjusting pitch on a horn is not really, like, great. And things like some. Some pedals, like some of the polyphonic pedals and like the distortion pedals, like, very easy to run on something like a tenor sax that has, like, a much kind of thicker sound. But a trumpet has, like, a very, very focused sound. It doesn't have, like a super wide range of. Of harmonics within a sound. So if you just run a distortion on a trumpet, it sounds very thin. So like, I run. I usually will run like. Like an octave. And the.
• 30:36
  Speaker D: To be clear, it is the Bass Octave Deluxe from mxr. Bass pedals sound better on the trumpet.
• 30:42
  Speaker C: Yeah, bass pedals. Bass pedals. Do they. They track better. So like, having some sort of, like, harmonic or, you know, polyphonic pedal plus an octave will make any of those sound. Sound better.
• 30:55
  Speaker B: Yeah. I gotta get Abby into the pedals and get her. Get her to get, like 30 petals so that she'll have more than the other.
• 31:01
  Speaker C: So one of the things that we try to do with Oobleck is we try to make sure not to, like, overuse the pedals too, because it's like, you know, we're a horn band. Like, people want to hear what the horns actually sound like. But it is. It is nice, like, when we get heavier to use those pedals, like, we can kind of join in with the rhythm section a little bit more. And I also think we use, like, a lot of reverb and a lot of delay to add sort of, like, atmospheric and texture things behind stuff. So that. That does help with some of the. The jams. Just kind of like making it. Because as soon as the trumpet plays, like, you're in the forefront, right? So if you want to be, like, in the background, you know, it helps to kind of layer that in.
• 31:40
  Speaker D: And Sam has never showed up to a rehearsal or a gig with the same pedal layout once.
• 31:47
  Speaker E: That's a lie.
• 31:50
  Speaker D: Why you lying every time there's something different?
• 31:53
  Speaker E: It's been pretty consistent recently. I took that broken heavy metal back off.
• 31:58
  Speaker D: So you've proven my point.
• 32:01
  Speaker E: It's the same board I've had.
• 32:02
  Speaker D: Just because you don't hit it doesn't mean it's not different. But, no, another thing, too. Sam, coming from the bass and also having a similar background and taste in music, the sonic scapes that he brings allows me to really become adventurous. So I really appreciate the way that he approaches the guitar and plays with the band and.
• 32:24
  Speaker F: Too adventurous sometimes. Most of the time.
• 32:29
  Speaker E: I'm absolutely a heck. Guitar player. I'm a. I'm a bass player who was told to play guitar.
• 32:35
  Speaker C: Thanks, Sam.
• 32:36
  Speaker E: Well, Paul McCartney. I mean, I. I feel like the past couple years, just from being out of my comfort zone, I'm. I'm almost. I'm almost an asset now.
• 32:49
  Speaker C: You are an asset. Sam, stop it.
• 32:52
  Speaker D: I appreciate you.
• 32:56
  Speaker B: So I think at this point, we should probably hear another Oobleck song. So you had already mentioned it earlier, but what was the name of this one?
• 33:04
  Speaker C: Chocolates.
• 33:05
  Speaker B: Chocolates.
• 33:06
  Speaker C: Chocolates. Yep.
• 33:08
  Speaker B: All right, awesome. Well, let's listen to Chocolates from Oobleck, and then we'll be right back to wrap it up. All right, that was Chucklets Oobleck. And I want to thank you so much for taking time out of your day to come up here and do this with me. It was really cool. And before we go, I want to give you a chance to say what I refer to as your gratitude. So go ahead.
• 36:37
  Speaker D: Well, first, want to say thank you to the members of Oobleck for just letting me be a part of your band and really love being a part of it. And I'd also love to say thank you to my wife and daughter, Jennifer and Amelia, for putting up with me and allowing me to do this awesome gig with Oobleck. So thanks.
• 36:58
  Speaker E: Yeah. I had a music teacher in junior and high school, Aaron Odette, who really inspired me to kind of get into this guys at the Music Shop in Rutland, Vermont. B music I used to work at Brian Hobbs, Jeff Peremsky, Jared Johnson, my parents for, you know, putting up with it, learning all these things as a kid, and my wife for supporting me on all the crazy stuff, and these guys for helping me grow as a musician.
• 37:25
  Speaker D: How many guitars and bassists do you have?
• 37:27
  Speaker E: I don't want to talk about that. It might be over 20.
• 37:34
  Speaker C: I just want to thank these guys. I want to thank, you know, our fans because I feel as though we've been really growing in the past couple of years and I love seeing all of their faces out there and getting to say hi to everyone. Thank my husband for continuing to be our temporary drummer. Thank my son for being a really cool band kid and all of the. The babysitters and wives over the years that have helped us to continue being in a band, because when both parents are in a band, it is pretty challenging. So, yeah, thanks. Thanks to the bandmates and the listeners.
• 38:15
  Speaker F: Yeah, I guess I have to thank my son for putting up with all the practices and the shows and the carting around and luckily there's YouTube, so he's entertained. I also have to thank my parents for putting up with all the awesome drumming that I have still not yet learned how to do, but someday maybe, and my wife for making me continuously play in this band constantly, every weekend and listen to all the jams that we have. They're excellent.
• 38:52
  Speaker D: This is the most heartfelt Kevin has ever been.
• 38:55
  Speaker C: Kevin is also our recording engineer as well. So he. He really gets to listen to Oobleck.
• 39:01
  Speaker F: Yes, yes, More times than I would choose to. But, you know, it's fun to record the band because then, you know, when somebody plays something you don't like, you're in charge and you just bring it down in the mix and problem solved.
• 39:15
  Speaker D: My favorite text, Josh, when do you want to come over and fix all those mistakes you made?
• 39:22
  Speaker B: All right, so they are Oobleck. I am Andy scullin. This is unsigned 518 and 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 would like to 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@unsigned518mail.com and to be a guest on the show, reach out to me through Instagram signed 518 take care of one another and I'll see you next week.