The Horace Moore Interview: Gatekeeper of Widespread Panic's Archive
The Horace Moore Interview
By James Calemine
Gate Keeper of Widespread Panic’s Music Archive
“Papa Legba,
Come and open the gate…”
For an artist, a certain satisfaction exists in the preservation of one’s art—whether it’s the written page, paint on canvas or music on a tape. Nothing can erase art’s permanence. Widespread Panic, Athens Georgia’s own, a band with nearly 25 years of history of writing songs, recording albums and touring incessantly now begin to dip into their extensive catalogue of live performances to release in their new Archive Series.
Horace Moore, Panic’s official archivist, knew members of the group before they formed the band in 1985. Moore met Dave Schools, Panic’s bassist, at the University of Georgia. Their mutual connection was collecting of Grateful Dead tapes. Moore recorded many of the Panic’s earliest shows.
Volume One (Carbondale, 2000) and Two (Valdosta, 1989) commenced Panic’s new practice of periodically releasing specific live performances throughout their history. The Carbondale show represents the band at a music zenith in 2000. The 1989 Valdosta show proves the power the quartet existed as in the early days. In Volume Two, Horace wrote in the liner notes of the organic approach Panic always took with their music…even in the beginning…and captured the earliest magic:
“Valdosta 1989. The holy grail of music improvisation? Certainly not in terms of what Widespread Panic would become musically. But, in a certain sense, as the 1989 version of the band was improvising their musical career, they took that night in Valdosta to somewhat define both where they had been and where they were going and thankfully took the time to capture it. Given the time and the circumstance, many bands might have paused on taking that night in Valdosta, but not Panic as they wanted to become more Widespread. Mission accomplished that night and for many, many more nights to come.”
In this interview Horace talks about his history with the band, responsibility as archivist, Panic’s practice on recording live shows and the bright future of the group’s Archive Series. We also discussed the process of releasing Volume Three sometime in the summer. I’m proud to present the definitive first of many upcoming interviews with Horace Moore.
James Calemine: So, you grew up outside of Waycross, Georgia—home of one of my musical heroes Gram Parsons. I grew up on St. Simons Island, so we only lived about 60 miles apart way back when.
Horace Moore: I was actually born in North Carolina, but I’m from South Georgia. I grew up there. A little town outside of Waycross called Patterson. In 1983 I made my way to Athens. But yes, I spent a lot of time on St. Simons and Jekyll Island when I was a kid. Great memories and I still love to go back.
James Calemine: So once you made your way to Athens, how did you meet up with the Panic boys?
Horace Moore; My first day of school in Athens, one of my best friends gave me a call. He was living on campus and I was off campus, He told me I needed to get over to the dorm as he had just met a guy across the hall that had a ton of Grateful Dead tapes. Of course, the guy across the hall was Dave Schools. That was the beginning of our friendship. I remember he was a journalism major in school. And I’ve got that tape collection in the archives too by the way.
JC: He’s a literary figure in the band…as well as JB...
HM: Well, one of them anyway. That still carries over today as he still maintains a blog and has offered his take on various things throughout the years. My earliest memories of Dave are sitting around in the dorm playing Grateful Dead tapes and he’d plug the bass into his amp and play over the Dead tunes…that’s when I first heard him play…playing on the top of all that…
JC: Playing over Phil…
HM: Yeah, right on top of Phil. The original bomb dropper…
JC: That must’ve been a special time.
HM: It was a special time. We were all real green back then. We were just total fans of music. In 1984 we did the whole Grateful Dead summer tour. We had a blast. We were very connected with lots of other friends out there that are still seeking the music….Panic or otherwise. That’s around the time when we met the Oade brothers. We used to wait in line with those guys to patch out of their set up. Dave actually made the trip with me to meet Jim Oade halfway between Patterson and Thomasville…where Jim lived at the time…to pick up my first ever taping equipment – the Sony D5. But anyway, we found out what it was like to be on the road and the adventure that goes with it. That’s one thing Dave still enjoys today is that love of adventure, like the rest of the band, crew and fan base. Everybody—if it’s people just now getting into the music or people like us who’ve been doing it for a long time he seems to thrive on the adventure of it all. It’s been a unique experience to watch all that take shape from the early days to where we are now. It’s interesting, the first contact I had with Dave was all based on tapes, recordings of music and the fan side of that; the passion. And here we are today focused on the same thing – archive recordings…and passion.
JC: So all of this was before Widespread Panic came to be?
HM: Yep. I met Dave a little over a year before we met JB, Mikey and several others that became that core group as the band took shape. In late 1984 some different things happened and some different paths and energies began to emerge. By chance, Dave and I ended up playing hacky sack with a friend of JB’s, Neal Becton, who I just saw last fall at the Georgia Music Hall of Fame induction by the way. Well, anyway a week or so before that Dave and I had seen JB do his solo thing and Neal was like I know that guy. And that’s how that began to take shape. Cowboy Neal at the wheel. In all reality, who knows exactly how it all came together back in those days, but that was the genesis of meeting that group of people. Things started taking shape after that…relationships were made and the next thing I knew, it’s the summer of 85. Dave and I are roommates, and I’m thinking we’re getting ready to head out on the summer Dead tour and I’m noticing Dave’s not making any plans like I am. I was like, ‘We’re going right?’ Dave says ‘JB, Mikey and I are going to be playing around Athens while this tour is going on and ‘I’m gonna hang here. I remember it so well….all he said was that the Dead were going to play a great “Other One” in Kansas City…which they did. From that point on Dave took that whole Panic angle and just immersed himself into it like JB and Mikey had already done. Then Todd came on in and in early 86 they had their first official show at the Mad Hatter. In the fall of that year, Sunny showed up from Texas and everything began to click.
JC: You were recording back then, right?
HM: Oh yeah, back in 86-87 when I was at a show or when it worked. I was recording things on my old cassette recorder—that Sony D5. We weren’t too…uh…
JC: …Fiendish about it?
HM: Exactly. Fiendish. Some of those tapes we used sometimes happened to be whichever ones were lying around on the table, and it may have been a tape of the last show. You might get some kind of blur going through there. Those were interesting times because nobody was looking forward as much as they were focused on the here and now--you know, the moment. Then that obviously changed and they really did start looking forward--well, I guess they were the whole time. Then the road came--another four-letter word.
JC: Through those years what was going on with you?
HM: Well, I was doing my own thing too. I figured out very quickly I had to find my own way through college and the real world. So, I ended up getting an accounting degree and a management degree and became a CPA. In late 89 my wife, Chris – who has been with me well before the A-Frame show which was back in early 85--- well, eventually we moved over to Marietta. From then on I wasn’t doing a lot of taping. It became more of a focus on the job and on the family but every spare moment we were taking in shows like the Masquerade in Atlanta, going to Macon and really anything within a 100-200 mile radius. Those were real interesting times too because I was watching the band really grow up…like from playing The Little Five Points Pub in Atlanta to the Fox Theater. That’s when things really started changing. I can recall any number of times standing in the Fox Theater talking to old friends from those old days on King Avenue in Athens or when Dave worked the door at the Uptown Lounge and just being amazed at how things had changed. But our lives were changing too for the better at that time too with our kids being born.
JC: So I bet having kids affected your ability to get to shows.
HM: Yes and no. Over the years I found myself having to miss the weekday shows and do the weekend thing… and of course vacations. To this day our kids, who are 14 and 10 now, go to shows – they have really grown up around the whole scene and it’s been a great experience and education for them. It’s been a family affair ever since, if you will… Madison Square Garden, Radio City Music Hall, Phillips, these past New Years shows out in Denver…Seattle, Kansas City, Oak Mountain…all over the place. It’s been a great education for all of us. We’ve encountered a lot more than music out on the road. That whole time period ties into the archives so much.
JC: How’s that?
HM: In those years I was in Marietta and the boys were on the road 250 days out of the year it seemed like. I always championed the whole taping thing from the beginning and as I said earlier, that was the genesis of our whole relationship. I guess it was somewhere in the early 90s—I can’t remember exactly—93 or 94 and Dave had all these early Panic tapes. I got this notion to say, ‘Hey, all those old tapes need safekeeping. You guys are on the road 250 days out of the year. How are you going to make sure nothing is going to happen to them when you go out of town?' So, one day I drove over to Athens and literally took a garbage bag full of tapes out of Dave’s house. I couldn’t believe it…I did the whole pinch myself thing on the way back home. But, I spent some time looking forward. I made sure those old tapes from 86-87-88 that were included in that original collection were soon part of other collections.
JC: So, that must’ve been quite an undertaking?
HM: Well, I had a few partners in crime out there. We took the old tapes and they got set loose around 92-93-94. In the band’s history that was only 6 or 7 years into it all, but around that time, people became naturally curious to hear what the band sounded like back in the 80’s. It gave the fans a chance—the ones that really have that side of the passion for this band—to hear the tapes. I made sure I got a lot of those 86-87-88 tapes out there. And in doing so I met a lot of great people like Ted Rockwell, Scott Holcomb, Ben Tanen. A lot of those set lists became the early year’s baseline for the Everyday Companion. It was very fulfilling to be a part of that project. At that time, from the fan side, it was a lot of different groups realizing this band was really gaining some legs. We knew their history was going to mean something so we wanted to do what we could to preserve it.
JC: So was all of this music still on analogue cassette tape?
HM: It was…and still is as far as the vault is concerned. But the good news is that I had friends like Mark Kabella from out West that shipped me his DAT deck to make the transfers before I had the capability…and Dave Rapetti of Kynd Veggie Burrito fame from Nashville who did a lot to get those tapes transferred to CD. From a “what’s in the vault” perspective, you have that crossover from cassettes to DATS (digital audio tape) in 90-91 and then you get a few years of just DATS up to late 94 early 95 when you had multi-tracks. It’s been an evolution of technology as the band has progressed with what they do onstage. As they found their game, the technology changed. Eventually, they were able to do the multi-track recordings. And that’s just a whole different ballgame than the old 2-track cassette or DAT recordings.
JC: When did Panic begin recording their shows using the multi-track format?
HM: That would have been back at the end of 1994 and early 1995.
JC: And so you’ve got these great recordings of all the shows since then….
HM: Well, nothing is ever perfect. Every now and then something’s going to happen—some electronic glitch—and obviously everything can’t go right all the time.
JC: Of course…
HM: Part of what I’ve been doing over the past several months as the band’s archivist is inventorying everything, whether it be a DAT tape an analog tape or multi-track. You know create a starting point of what we have available. That’s been a task.
JC: So, I guess that’s the origin of how the archives began…
HM: In a sense, yes. But, there have been some devoted souls through the years who did a great job of making sure things were stored and labeled correctly, so there has been a ton of work accomplished prior to me stepping in to provide some assistance. One of the things I always thought about as time continued on in the 90s and into the 2000’s was when are we really gonna put this stuff out? I’ve always been rapping on the door saying when the time comes for a true archive release I wanted to be involved. I felt like I knew the different sides of the equation – my parallel universe Dead experiences, the analytical CPA side of me and the fact that this music just continues to move me no matter what. For me, that’s what it’s all about. That music. And here we are…
JC: So, when did the band finally decide to become official with the archives?
HM: It was last year in Savannah I think—2008—when Dave and JB showed me the CD sleeve for the 2000 Carbondale release. We had talked about Carbondale a few years before—and a few others felt it was a good choice too, so they eventually went with it. Like I said, fast forward to 2008 hanging out at the Savannah show when Dave and JB came to me and said, ‘Check this out.’ It was the Carbondale sleeve with all the artwork on it. I didn’t even know they were on the cusp of getting it done. I looked at them and said, ‘I guess our time has come’ or something like that. All I knew was I was going to keep a close watch on how it all progressed. As last year came to a close, a bunch of conversations had progressed into me really being involved in getting this project some grassroots orientation.
JC: So that was how Carbondale came to be?
HM: Yeah, from my perspective at least. My first real involvement came with Valdosta 89.
JC: The second release?
HM: Yep. That was one that just had to be a cornerstone of this project. Valdosta 89 captured the band at a different point in time. It was a unique recording. It will certainly be considered an archive project in the truest sense due to it being 20 years ago. Those two shows set the tone for things to come. They provide a great start. Now, we’re deciding what the next one is. We’ve got a few choices for the next release that will be in couple of months or so. We’re all real excited about it.
JC: What are the criteria for choosing a show? Obviously, you don’t want to release consecutive shows from the same year…there must be a lot going on behind the scenes?
HM: That’s one of the things- those guys have so much going on-whether you’re in the band playing or working, there’s a lot of responsibilities that go on a daily, weekly monthly basis that it really takes one person to look at the archive project as a whole to determine what we can really do. So we’ve taken the approach of let’s see what we have. Let’s do it a couple of times and find out what the potential bottlenecks might be…the pitfalls, the successes to make all this come together. We want to do it the right way. It’s not something we just want to slap together and throw out there. We’ve put a lot of thought into it. I’ve got a lot of different angles I want to provide.
JC: Such as….
HM: Well, for example this past Monday we put up an update about where we are in the process of the third release. We also provided a little music player box. I believe it’s a “Pleas>Chilly Water>Aunt Avis” segue from a radio show in Pittsburgh during the fall of 98. I look at it as who’s likely got what tapes. This wasn’t something that circulated a whole lot-no soundboards existed so to speak. So I thought this would be a good way to introduce some of the band’s material that wouldn’t ever be put out in an official archive format, but yet what good is it just sitting on a shelf. So, I'm trying to provide a platform-or develop a platform to share a lot of that stuff. My goal is still to spread this music. The work with this archive project is very important that we do it in concert with everything else that widespread panic has going on but also to give it a life of its own.
JC: So how many releases to you expect for a given year?
HM: Certainly more than one and certainly no more than four or five. How’s that for not being pinned down? Seriously, if we can find a schedule to do at least three a year- hopefully four--then I think we’re doing a great job.
JC: Talk about the artwork…
HM: Well, just like the liner notes I'm going to write for this next release will be a little different from the ones I wrote in Valdosta, some things will stay the same- creatively, artistically-and some things will change over time. It all depends on what we can find in the way of material that fits what we are looking for. Some shows will lend themselves toward full on documentation; others will not. We want to stay low impact on any packaging so I don’t plan on going overboard in that arena. It’s a project that is about getting these recordings out there for the fans.
JC: So, nothing is set in stone. That’s the beauty of it…
HM: Exactly. We’re going into this is in a forward thinking way. There’s no cookie-cutter formula to cover everything. This project needs to be for this community. That’s one thing that’s been really cool. In February we let everyone know I had an official email address – archives@widespreadpanic.com- you know about that- and I'm telling you the floodgates opened. I got more than I bargained for in some ways…but in good ways. Not only the number of emails that I’ve gotten, which are well over a thousand. Every five or ten minutes after the link went live - some people just saying ’Hey, this show is great.' But I’ve got some people who wrote paragraph after paragraph reliving shows that were important to them about what they’ve gotten out of the band personally over the years. I'm reading some stuff from the fans and they’re really pouring their souls out. I'm soaking it up. I sense the responsibility of being the link between what they really want from this archive project, so it’s like being a channeler or a conductor or a catalyst of sorts. I'm very much in tune with what the fans want to hear and see happen. There are some great shows out there--great venues. We’re going to wrap our arms around all of that.
JC: How many shows would you say they’ve played- a few thousand?
HM: It’s close to three thousand I'm sure. One can do the simple math- you’re averaging over the year’s probably a hundred and twenty five shows a year or more.
JC: You really have to be familiar with every show…
HM: There are a couple of things that make it a little easier--having been a true fan of their music- since 85- I’ve always listened to stuff through the years. There are shows from all periods that have meant a lot to me. I’ve always been keeping up with what they are putting out right now. Whenever right now is. The great thing about today--I have to pinch myself, but to be able to go onto the internet and stream a show and or go to livewidespreadpanic.com and download shows that you were just at- for us old timers- it’s amazing being able to do that. It really keeps me up to date with what’s going on and where the band is headed. But yes you pretty much have to be familiar in some fashion with just about every show.
JC: So what’s going on in your mind about this third release?
HM: When you look at what show is going to be next. There are so many shows. You know, for example, Carbondale was in 2000 and had a certain set list. The Valdosta release was a different kind of deal. So, for number three there are going to be some songs that might pop up again, but you don’t want it to be a copycat. If we have a great guest artist on a certain release, we don’t want to have that on the next release...or even a third one maybe. You’ve got an ebb and flow of all those factors going on. So, I’ve gotten it narrowed down to a few now. One of the things I'm very focused on now is exposing myself to a lot different environments while listening to these shows.
JC: On the road is always good…
HM: Yeah, if I'm taking my kids to soccer practice, I'm going to pull some stuff from a show in a certain way…that’s my kind of road on a day-to-day basis. Yet, when I'm in my basement at midnight and everybody has gone to bed and I’ve got my headphones on with that kind of focus then it evokes different emotions and you feel different things from the show. I make sure I listen to a lot of stuff at a lot of different levels and find my way through that and then the whole analytical side to make sure I'm not putting the same songs too close together. I’m trying to a certain extent not to put out something that everybody already has in their collection but the flip side is there might be a ton of support for an archival release of one of those shows that everyone does have. I’ve got so many factors I weigh against each other. Chris Rabold and I are talking at least every other day about ideas.
JC: So, have you guys decided what the next release is going to be?
HM: I’ve narrowed them down to a few. I started off with a mountain full of considerations. I finally came up with somewhere between ten and fifteen shows. I listened to all of those shows and for some even took some stream of consciousness notes in the process. Then I go back and listen again. Every now and then I get an epiphany of why a show wouldn’t be right at this time, but three releases from now it might be perfect. The first part of the process is you’re just not thinking the next one- you’re thinking about number four, five and then it kind of builds itself like a Christmas tree. If it’s something I'm going to listen to, then it’s probably already stood a certain test of time. Like we spoke of earlier, because this band…. they capture emotion of themselves and the audience and that symbiotic, synergistic relationship…for every show, there’s always one person that says, ‘That’s the best show I’ve ever heard in my life!’ So, I'm trying to give myself a chance to experience…um…
JC: The spirit…
HM: Yeah, that’s a perfect way of putting it. It coincides with whatever you have going on in your life at that time. It all plays into it- especially if you apply it to good times or bad times. It’s a contrast or whatever’s going on in life at the time. So, I just try and give myself a lot of different opportunities to listen to a particular show as I make my decisions. It’s my attempt to be objectively subjective.
JC: What’s the time frame for making the decision on the next release…would you say The Fourth of July is a date to shoot for? Around there?
HM: Well as far as an actual release date I think that is a safe estimation. You’re looking at some lead time for the manufacturing of the artwork, the CD’s themselves and then putting the platform up online- which that part doesn’t take that long. The most important ingredient is the engineering time itself, which I would I would like to talk a little bit about. I'm no technical wizard as I’ve been more of a recipient of the technology than I have been a user of it.
JC: It’s an interesting and tedious part of the process…in the old days you’d really have to splice tape…
HM: With the older tapes there are certain things you can do to improve the quality--tapes that are considered two-track recordings. Technically speaking, you’re taking basically every sound that’s in the music and putting it down on two tracks. You can’t separate instruments or use much manipulation to enhance the quality of the recording. There are programs out there that takes hiss out or give it a fuller sound when it’s got a real high-end or vice versa. You can stretch it, but silly puddy will break after a while, but you can stretch it here or there a little bit. That’s really all you can do with the older tapes; then in 94 or 95 with the advent of Panic’s multi-track recordings comes the ability to control the recordings. Here’s what a multi track recording is…you’ve got the microphones, amps, guitars-Sonny’s gadgets- all of which are individually mixed. So, you’ve got 64 possible different lines that all get fed into the soundboard and every night at the shows Chris Rabold weighs the different components of the night’s sound environment- metal, wood, overhang space, etc then he does his thing and it sounds awesome. Now, everything is captured on a hard drive. In the old days, it was on a DAT, Those same 64 signals get captured on the side stage and retain their ability, on an individual basis, to be manipulated. Then Chris is able to - just as he is at a show - manipulate every instrument, every voice or whatever all the way through the show. Rather than mixing it live for the dimensions of the room and the live performance he can now mix it for a CD. Now you have all that dynamic range you’re looking for on a CD. I'm sure Chris hits a point or two during a show every now and then where he would like to have a chance to rewind and mix a certain spot again. Probably nothing we pick up on at the show…just that engineering mindset. You get somebody like an engineer who is naturally a tinkerer--a very analytic minded person--and give others like me the opportunity to tinker - especially with this archive project. It’s a good side bad side kind of thing, but you have to get to a point where you say ‘We’re done.’ That process can take some time – and a lot of it has to do with the tape of the show, or the way the band played or the way things are coming in. Some shows are just easier to mix than others. A lot of it has to do with how the band is conversing with each other or the stage that night. Engineering has its insights that will need to be provided during the process of putting something toward a CD format. You may look at five days or a couple of weeks for the 64 tracks to be back into the CD format. Then you’re looking at lead times somewhere in the neighborhood of 6 to 8 weeks on certain administrative things. It’s almost a flowchart of time where certain things have to happen before anything else can happen. Eventually we set target dates for announcement, presale and release. I get to draw a lot on my business background in that regard. It’s not just, ‘Oh, this sounds good, let’s go’. It’s a real team behind the scenes that is working on these releases. The real thing is the guys on stage are creating history every night. We’re just reaching back with our fishing poles and looking for some of those keepers. But the best part is that even though we have a band that’s been around for 25 years, new fans are entering into this community of ours-- every year, every tour, every show…somebody’s going, ‘I get it.’
JC: That’s the idea…
HM: Exactly. Here’s a quick story for you. I told you about my friend that lived across the hallway from Dave--the guy who introduced us. Well, I caught a ride with him to Orlando this past Monday morning and we were able to catch the first House of Blues show together. It was the first show he’d seen since last year in Atlanta, which was the first Panic show in a long time for him. He called me today and he said, ‘You know, I haven’t been moved by music like that in 20 years. I’ve always said…yeah, I know Dave Schools; we go way back and all that. And I’ve always listened to their music. But that Atlanta show and now this Orlando show it just hit me like a ton of bricks. When’s the next one? Let’s go!’ That’s coming full circle the right way. It’s an undeniable force. It grabs us and pulls us in.
JC: So, this archive project has been good so far in a lot of ways…
HM: Absolutely. It’s been a wonderful experience so far. It made me realize all these years the things I’ve considered important are now coming to fruition in a sense, whether it’s my love for the music and the band or it’s my analytical taping side…
JC: Knobs, inputs, outputs song durations…
HM: Exactly. You find yourself sometimes going I feel like a kid, but it works well. It’s not work. It’s a labor of love. It’s an awesome experience.
JC: We should talk before every release and just keep our saga ongoing…
HM: I agree. I’d love to. One of the ideas I have are there are so many characters that have played in this circus through all these years tend to provide a backdrop. I try to take a broad brush-stroke with the term archives. I don’t necessarily look at it as a tape of a show that’s going to be put out as a multi-track. Like I said earlier, I'm trying to do all this other stuff. That’s one of the angles I’d like to provide. Some of these true individuals and their personalities whether it’s somebody like the Oade Brothers- Doug Oade recorded the Valdosta show that we just put out, or whether it’s a member of the crew that’s been on for a long time that’s got a unique insight.
JC: The Panic saga is huge…I remember those old days- especially living with Danny and Eric for years exposed me to the Panic family.
HM: Yeah, when you were getting into Athens I was moving to Atlanta.
JC: I got to Athens the end of 87.
HM: Yeah, see I left in 89. I'm sure we were passing each other. The 87-88-years were just crazy for me because Panic was playing at the Uptown.
JC: I remember when Dave used to work the door at the Uptown…
HM: There you go, Man, I had all these accounting classes at 7 in the morning. I don’t know how I made it through those days. We ran with a lot of the same characters. I was talking to Todd yesterday, and he told me you were coming to the show and we were drawing lines back to figure out how we missed each other.
JC: Well, you know today is the eleventh year anniversary of the Light Fuse Get Away release party…Panic In the Streets…
HM: Is it? I’ve got a funny story to tell about that. It’s a self-deprecating story. I’m forever trying to find that tape that nobody knows exists—the hidden show, or whatever you want to call it.
JC: The Holy Grail…
HM: Exactly. I had this cassette tape. I have a lot without any labels and about once a week I’ll take five of them and try to figure out what’s on them. Sometimes it’s real easy and sometimes it’s monotonous because they’re not necessarily from shows. It might be sound checks or a radio snippet here or there and so I pop in this unlabeled tape the other day; it came on—I think “Papa Legba” was first and the quality was awesome —here we go through these tunes, and I’ve got the Everyday Companion and I’m referencing to see what show this is—I can always narrow it down pretty quickly, but I couldn’t find the show. All of a sudden I’ve got this energy going and I’m thinking this is cool—I’ve found that show. I’m fast- forwarding through the tape listening to the whole thing to see what the next song is. Where is this show from? None of these songs have been played one into the other—what’s going on here? This is awesome. So, “Greta” is playing in the background and about that time they hit “Barstools”, and I just started laughing to myself because I knew I was listening to Light Fuse Get Away. It does sound pretty good. It was just one of those moments, there I am in the basement by myself…
JC: Can’t see the forest for the trees…
HM: I was all excited. I’d already written an email in my mind with what I was going to say—you won’t believe what I found…
JC: That was a crazy day.
HM: You got it. It’s another example of how these things come together…or sometimes don’t. These archive things are not just something to slap together. It’s ever evolving.
JC: So, the Fourth of July is a good target date for the next release?
HM: I think that’s a pretty reasonable amount of time if we had to throw a date out.
JC: It gives everyone something to look forward to with these summer shows and festivals coming up.
HM: Yeah, let people hit the road with some new tunes and new old tunes…
JC: I appreciate you taking the time to talk to us. We’ll get together soon…
HM: I look forward to it James...
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