Get Offset Episode 127: Going Back to 1982 With Greg Gilmore

Episode Transcript

Note: a machine made this, so it’s not perfect, but if you’re hearing impaired and have any questions about what we said, please feel free to ask us in the comments or send us an email with the form below. 

Andrew: [00:00:13] Welcome to the get offset podcast. My name is Andrew

Emily: [00:00:16] and my name is Emily and we are here today with Greg Gilmore. Hi Greg. Good morning. Good morning. Um, if you, uh, where do you think people are most likely to know you from

Greg Gilmore: [00:00:33] a mother love bone? Yes. Yeah.

Emily: [00:00:39] Yeah. So, uh, listeners, Greg was the drummer for mother love bone and a bunch of other projects, kind of Seattle rock legends. So that’s really, really exciting for us as most of our listeners know, uh, Andrew and I are both based in, based in Seattle. So thank you so much for joining us bright and early on, uh, uh, Sunday morning.

Has he recorded this?

Greg Gilmore: [00:01:01] Thanks for the invitation. Had my coffee treat.

Emily: [00:01:07] Nice. So, um, let’s, let’s kick it off. Uh, Andrew, what’s new with you. You have a different background.

Andrew: [00:01:15] Do you have a different background? Did this one isn’t nearly as interactive, but much easier to clean up. This is actually I’m now touching my background.

It’s a green screen.

Greg Gilmore: [00:01:32] That’s pretty

Andrew: [00:01:32] great. All these guitars, literally right here next to me, but the angle, the way that my desk is set up, um, I’ve been recording what for a few months now with my camera over here and just a weird Sinai side angle where you can see my laundry room and whatnot. See the cats going in and out to.

The litter box area that has a tendency to bombard my senses. And, um, so yeah, no, I picked up the green stream from a coworker a couple of weeks ago. Finally. Got it set up and. Yeah, no, it’s, it’s neat. I think my favorite part of it has to be, I don’t have to clean my room anymore, uh, much to the chagrin,

Greg Gilmore: [00:02:09] Melissa.

That’s pretty cool. So it is, it’s a photo, it’s just a photograph of a wallet. You’re

Andrew: [00:02:16] like, yeah, just a photograph of the wall. That’s right next to me, if I just turn. I’m going to turn it off. Oh,

Emily: [00:02:21] wait. Whoops.

Andrew: [00:02:25] I’m in San Diego at 60 cycle. Hum. And then, well, I guess now you can see the, the area that’s all black is actually green.

I’ve just got a chroma keyed out. So there we are. That’s a, a little bit of fun that I’ve been having.

Emily: [00:02:40] Yeah. Good for you. I’m glad that you had fun with that. So what’s, what’s the former office now. That’s not an office anymore.

Andrew: [00:02:49] Um, I’m sorry, what’s the question?

Emily: [00:02:53] What, uh, so nevermind Greg, what’s the view?

Greg Gilmore: [00:03:00] Uh, well, I don’t have a green screen. That’s all real.

Emily: [00:03:05] Is that a CD collection back there?

Greg Gilmore: [00:03:09] Turn, is that what it is? Yeah. And what’s left of what we used to be a lot of vinyl.

Emily: [00:03:18] Yeah, last time we moved. I was like, damn, I miss. I miss just having a lot of CDs and not a lot of vinyl records because they are easier to move than vinyl.

Greg Gilmore: [00:03:28] Yeah. You know, I realized CDs are not really cool, but I actually, I enjoy, I appreciate them in many ways, affordability and, and, uh, Also a bit of contrary, I suppose. I think they sound fine.

Emily: [00:03:51] I think they sound good. I still buy CDs when, um, especially if it’s like, I want to listen to in my car. Cause I though I can connect the phone to the Bluetooth, to the radio.

I’m never going to do that.

Greg Gilmore: [00:04:08] Yeah. Yeah. I, um, same for me. I would all buy CDs if. Uh, if it’s something I want to have, I have, it took me quite a while to come around to paying for a streaming service, but I’ve been absorbed now. And, uh, you know, even if I have something as CD or a record, if I’m sitting on my couch, it’s just so much easier.

Pretty much my stereo, my phone, but, uh, but the, uh, paying, like buying MP3s, like I can’t go there. I can’t imagine. It’s just, it seems it’s not a, it’s not a thing.

Emily: [00:04:58] It’s not, it doesn’t feel like ownership. It doesn’t feel like having the thing at all. Yeah. Yeah. And apparently it really isn’t because you can’t, you can’t will your digital MP3 collection to somebody like it’s.

And I feel like that’s a pretty clear indicator. That’s not really ownership. It’s just like a long-term rental.

Uh, yes, you get my digital collection. The whole of it really leans heavily into the mid, mid two thousands. Indie rock hope. Hope you still like MGMT.

Andrew: [00:05:34] Best thing I did with all the, uh, iTunes gift cards I got from birthdays and whatnot was a purchase logic. Off the app store. I like having physical CDs on the other side of the green screen.

I’ve got my CD collection. Um, it’s not nearly as large as that, but it’ll get there. Eventually. I just like having, like, I like having the physical copy. I’ve got the Hi-Fi system over here. Just set it into the tray and. Yeah. Oh yeah,

Greg Gilmore: [00:06:02] for it. That way don’t worry. Time will fill up your precious space.

Emily: [00:06:10] You know, I remember my dad used to, to, he had a big baseball hat collection.

He would keep them in like a milk crate. And I remember once he was like, Oh, You know, you’re thinking about how it, as you buy one a year and then next thing you know, you have like 50 hats, like red, like Cincinnati reds gap.

Yeah. I’ll say way about guitar pedals right now.

Greg Gilmore: [00:06:36] It’s all the same. Anything I think is a thing he does that just came on and it’s loud here. Is it?

Emily: [00:06:46] I can’t hear the furnace. I don’t think, I think we’re good. Well, nice.

Andrew: [00:06:54] What’s new with you this week.

Emily: [00:06:56] Well, I have some new friends that you’re going to be very jealous of.

Andrew. You’re going to be very jealous of these walrus. Is it Macko cause I’ve been calling it Macko series pedals. I think

Andrew: [00:07:08] it’s Mako based on the Mako shark, but

Emily: [00:07:12] what the fuck do I know? So these are, uh, I have the three Mako.

Greg Gilmore: [00:07:24] I think

Andrew: [00:07:24] so I’ve got, I’ve also got a friend named Mako, so that might be, what’s a color, the way that I pronounce that.

Greg Gilmore: [00:07:33] Oh,

Andrew: [00:07:34] that’s a neat graphic

Emily: [00:07:37] different than the other graphics, uh, on the, on the old one, the D one, I think the new graphics a lot better. Um, yeah, so, uh, I filmed the demos for all of these yesterday.

And they’re good. They’re really good. They’re really very versatile. Um, I don’t think, I don’t think the, so this ACS one is an amp cab simulator in a box. It sounds really nice, but I don’t think it’s going to replace the radium for what I use it for.

Andrew: [00:08:10] I’ve heard that the fender model is pretty on par with the Iridium fender model, but the Vox model sounds worlds apart from what everything I’ve been told.

Emily: [00:08:19] I liked the Vox model with the fender or the Marshall cab, because they’re just a little bit darker and I find box to sound really brittle in general. It’s like, so I’ll play a Vox model and I’ll think I don’t like this at all. Then I remember I just don’t like boxing amps.

Andrew: [00:08:36] I’m slowly coming around on him for me over the last five years.

I’m finally starting to get there. Appreciate the sound.

Emily: [00:08:44] Is it just like the, the ears die a little bit? So you can’t hear the band as much.

Andrew: [00:08:49] That could be it for the listeners that might not remember. I’ve only mentioned this a handful of times with my first instruments, actually drums, which to that end, it’s great to have a tremor on the show.

Emily: [00:09:03] You can talk about drums. Oh, he stops talking about trumps, just like that.

Andrew: [00:09:12] No, I, I, my first instrument was drums. I picked it up when I was, uh, when I was a kid and grew up listening to, um, a whole bunch of stuff. It just, I, I remember sitting in the garage and listening to grunge albums and trying to play through as best as I could just along. So, uh, so that end, it’s super exciting to have you I’m.

I’m very optimistic on the show. A lot of Pearl jam, a lot of Nirvana, uh, let’s see here Jane’s addiction was, uh, was always a tough one for me to wrap around as a, as a rookie drummer. So those are the sorts of things that my dad would just slip me behind my mom’s back.

Yeah. My dad was into it. Um, definitely. Uh, so he had all those CDs on his rack and that someday I would like to inherit those.

Emily: [00:10:03] Oh, you just buy them, buy them.

Andrew: [00:10:08] It does have a, uh, um, vinyl press of bleach Nirvana’s first record on pink marble. And one of these days I’m like, Hey, if you’re not going to, if you’re not going to listen to that, I’ll take that off your hands.

Emily: [00:10:22] There was the, the second guitarist, Jason. Jason, Jason, Jason Everman. Jason. Yeah, I know his sister. I liked her a lot. Mimi. You haven’t heard a shout out. Hey, maybe. I don’t know if she listens from her beautiful farm and, well, I’ll try

Andrew: [00:10:43] not to get, I’ll try not to jump the gun too far. Um, but I did just listen to the, to the 1982 record and the drum sound phenomenal on that.

So, yeah.

Emily: [00:10:54] Cool. Yeah, it was, I was listening to that thinking the drums are really good. I was just doing it again this morning. I’m like, Oh yeah. I always forget. I feel like when it comes to like punk records, I’m always like, the drums are really good. Everything else is sometimes good and not, not on, not on the living’s record, but just in general.

Sometimes I was in the punk and I’m like I said, I feel like you can’t fake it with the drums the way some people could kind of fake it with guitar and bass. You have to really hit those things.

Greg Gilmore: [00:11:25] Uh, yeah. Yeah, that’s true. You can get away with as much, um, Because it’s yeah. Yeah. There’s nothing not much to hide behind.

Emily: [00:11:40] No, that’s true. Um, awesome. Well, I normally, we, we do a lot of chitchat, but I feel like it’d be fun to really just kind of get into the record, get into everything. But, um, before we thank our sponsors, I do want to point out that, um, if you’re listening to this on Apple podcasts and you could like subscribe, review, Reviews really helpful, uh, free to do freeway to support the show in the channel.

Uh, we also have a patriotic patrion.com/get offset. So if you want to support us, uh, the $5 and above level, you get access to our super secret discord server. And, uh, you get to do things like watch, watch our videos, some of our video content early, um, get input on topics, questions we might ask guests.

And, uh, fun, fun stuff like that. We also have a website get us@podcast.com. If you throw the slash shop at the end of that, we have some, some merge. So if you, for some reason, want a hat that says get offset or a onesie for your baby that says get offset we make and sell those. I don’t know why I thought that would be a good idea.

Greg Gilmore: [00:12:50] How are these the ones he only come in baby sizes or the stuff that I could look for?

Emily: [00:12:58] Oh, man. I don’t know if the website has like full human body suit

Andrew: [00:13:03] type of situations. We should fix that though.

Emily: [00:13:06] We should fix that. I sent the drummer for chart from Charlie bliss. I get off set onesy when, when he and his fiance had a baby.

I never heard back about it.

I think I sent it out. I’m like, I don’t know why I thought this would be a good idea to make these onesies, but I have them. So

Andrew: [00:13:26] sending unsolicited, onesies, I suppose that’s all the worst unsolicited thing one could send, but.

Emily: [00:13:32] Oh, that’s true. The worst is advice. Um, cool. So do you want to thank our sponsor,

Andrew: [00:13:39] Andrew?

Oh, I think our sponsor real quick. I want to thank Lamber tones pickups based out of Yakima, Washington. And, uh, Curtis is a friend of mine, friend of the show. He makes phenomenal guitar pickups. If you’re in the market for upgrading your tone, 100% recommend, go check it out. You won’t be disappointed.

Emily: [00:13:58] Nice.

That was a good spot. Short and

Andrew: [00:14:00] sweet. Well done. I know. I like, I like to ramble sometimes because I do like Curtis and like to talk about what a cool guy he is and his cool stuff. I’ll keep it short at this time.

Emily: [00:14:09] Cool. Nice. So, um, let’s talk a little bit about, um, what brought Greg onto our show. Um, so. As we mentioned, Greg was in, he drummed for, um, mother love bone.

That’s a Seminole Seattle rock band. Um, really, really well-respected and appreciated. Um, you also were in a band with, um, Duff McKagan from guns and roses back in, I assume, 1982 called the living. So, um, You were, it sounds like you were, you want to tell us a little bit about how you found these recordings and how they sort of came to life and how you all decided to re release them for, I assume the first time.

Greg Gilmore: [00:14:57] Yes. The first time ever. Um, uh, It’s a, it’s a project that’s been in the works for, uh, I don’t know, eight years, maybe he’s just started. Wow. Um, God, how to be succinct about this. Let’s see a one, two, three sort of four Oh four. Um, so for the it’s loose, grew was, uh, Regan and stone. That’s the fourth label that have been interested in this, that her, uh, starting with the bands.

Um, we had a manager at the time. Uh, we also big fan. He likes these recordings as we all do. Since they were made, he had some encounter with a couple of kids from Portland who were wanting to, uh, where they are already. They were either already doing it or wanted to start up a boutique-y record label.

And so there came the idea to, for them to, uh, make a record out of his seven tunes and, um, For reasons that didn’t work out. And then through another friend of mine, ironically also important, uh, he hooked us up with another deal and, uh, that was happening until, for reasons it wasn’t. And. Then, um, I went to

spend an afternoon, uh, with my old friends at sub pop and that was happening and then it wasn’t. And then, uh, Regan and stone came along and that’s happening. Uh, the tapes, the originally it’s a. Well, eight track multi-track the tapes have been sitting in, uh, they were in John copy’s custody all this time.

So when the, when the first deal came up, um, you just have them digitally transferred and like got the files and mixed the record myself.

Emily: [00:17:49] Oh, wow.

Greg Gilmore: [00:17:51] I have, I guess I have been the one sort of spearheading this thing for all these years. Yeah. And so relieved that it’s finally happening and I can stop. Now. I can just, it’s already, this, this situation is bigger than any of the others would have been.

Uh, it’s already got more attention than I. Uh, expected what it was. And so now on five, just get to hang out and talk about it and wait, and watch to see, uh, see what happens with it being furious.

Emily: [00:18:34] Yeah. So it’s, it’s, it’s going to be released in like three weeks or a month. It’s a mid April, right? That sounds, that sounds right.

Andrew: [00:18:46] Yeah. So that’s just shy of four weeks from now three and a half weeks. When this episode comes out, that’s coming up quick, especially in the world of last year, where time just no longer exists, big river imagination. Uh,

Emily: [00:19:03] no, that’s true Lincoln. And I’ll be, we’re going to blink and it’ll be may

Andrew: [00:19:08] right. Oh, totally

Greg Gilmore: [00:19:11] true.

I mean it’s already. Yeah. I’m already having that experience with March. That we’re most of the way through, yeah. March,

Emily: [00:19:20] March, March can Marsh can end. I’m not a, not a fan of this March, but it doesn’t care

Greg Gilmore: [00:19:26] about in that particular or marches.

Emily: [00:19:30] Uh it’s it’s not a great month for my allergies, so just, yeah.

March in general, but, um, it’s, it’s really interesting to listen to two older records like this, especially records that that did feature people who would come to prominence within this supposedly grunge scene or other rock scenes. So it really is, uh, this, this interesting stepping stone because we think about, um, Andrew, especially thinks about grunge, grunge as a genre.

And, and just like how, how these bands that became so huge and so prominent effected so many of us. There, they didn’t just, they were just burst fully formed, like Athena from Zeus’s head, there were stepping stones and there were, uh, projects that if they didn’t exist, who knows exactly what would have happened.

Uh, with, with the rest of, um, the scene and the bands that and how they came to be. So it’s really cool that to listen to these things that maybe otherwise never would have been released, I think that we all have these bands that we’d like, and we would love absolutely love to hear more of the, the people who were behind it.

So I think that’s really, I think a lot of people are gonna be really excited and have a lot of fun, fun with this record.

Greg Gilmore: [00:21:07] Yeah. Yeah. We’ll see. I don’t know. I don’t know what to expect. It’s um,

it has a quality of things that I like, but I wish like to imagine that you’re involved in it just it’s it’s I think it’s really good. So that makes it easy to. Put it out into the world and

Andrew: [00:21:38] yeah, I really enjoyed

Greg Gilmore: [00:21:40] what,

Andrew: [00:21:42] yeah, no, I think it’s a great record. And I think what’s striking to me is you guys were so young when you recorded this?

I mean,

Emily: [00:21:49] I know Duff McKagan was 17. How old were you?

Greg Gilmore: [00:21:54] Um, my, I must’ve been 20.

Emily: [00:21:58] Wow. I

Greg Gilmore: [00:21:59] don’t know. Good stuff.

Um, Duff had a birthday. He might’ve been, he might’ve turned to 18. By the time we recorded, whatever. Yeah. We were 17 or 18 to 20. Yeah,

Andrew: [00:22:20] it’s definitely better than the music I was making when I was 17, 18. Um, I getting I’m now getting flashbacks to a terrible talent show that I did with my, my high school band rainy Thursdays.

That went absolutely nowhere, but

no, those are some of the best

Greg Gilmore: [00:22:37] memories. The talent shows.

Andrew: [00:22:42] Memories some best remembered some best for guidance. It’s hard to say, but I mean, you’re, you’re coming back around listening to this album decades after it was recorded, listening to this youthful, angsty Venus that you guys just put on tape. What is that like for you to revisit that decades later and, um, ensure you’ve got through the process of a few different labels and finally come around to working with stone on getting this released.

Um, or working with stone to get this released, which is, uh, which has got to be a great experience for you. Uh, talk about Seattle royalty, but uh, I mean, what is this like for you listening back to this? I mean, having mixed it from the digital digital’s, uh, conversions and revisiting that, uh,

Greg Gilmore: [00:23:29] yeah. You know, it’s not, there’s not, it doesn’t feel so much.

Like revisiting. It was, um, it was, it was very familiar and still pretty fresh in my mind. I mean, I, I really, this was the, this was the first real multi-track recording I had ever done as a musician. Um, and it turned out really good. And so, yeah. Everything about it, the sound and the feel of it was pretty, pretty well embedded in my memory.

And, um,

you know, pulling up the tape, there were no surprises, I guess, or it didn’t even sound that new to me, or I wasn’t even reminded of much because I still was so familiar with it. Yeah, it was something I, I just, uh,

I just loved it so much from a timely made it, now that I just, what I had carried it with me all those years, you know, it was always there somewhere, even though you don’t have long that one, because that copy I had of it was long and listened to well, I still do. I still knew what it sounded like.

Emily: [00:25:07] Yeah.

As someone who recorded and recorded an EAP in college, and now like 10 years later, I, I still go back to listen to it. I’m like, I’m proud of that. I’m proud of what it was. I still like it, there are definitely things I would’ve done differently, but, um, it really does for me, I can relate having that. It’s not even the style GIA for me, when I go back to the older music I wrote, it’s just, I’m proud of it.

I liked it. Then I like it now. And I think that if nothing else, um, if no one else listens to the music I create, if I create something that I personally like, I feel like it was a success.

Greg Gilmore: [00:25:44] Yeah, I know exactly. Yeah. That’s kind of a feeling I have had with this and the, to say that, uh, It’s not a feeling of nostalgia.

I guess that’s what I meant when I said it was still kind of current to me. Like there were no surprises and so yeah, listening to it, isn’t so much, uh, no wistful feeling.

Emily: [00:26:15] And telling the staff has to have those little pings of sadness. I feel like that’s just the word. Yeah. Like, Oh, those were the days or some of their feelings

Greg Gilmore: [00:26:31] that way for me so much. It’s still just, I, I think it’s the coolest by this Allison I ever did. That’s kind of almost do it.

Emily: [00:26:42] And it really sounds good. It doesn’t sound like a demo. And you know, I, I feel like with early eighties recording, sometimes the tape quality there are struggles we just had. Um, I think it was Steve who was on the show.

Andrew, who’s talking about early eighties, late seventies tape and how it would just shed. You can make it enough, but this was recorded on an app. It tracks, you said yeah. You tape. Yeah. Yeah.

Greg Gilmore: [00:27:09] Nice.

Emily: [00:27:10] It sounds really good.

Greg Gilmore: [00:27:11] Yeah. The recording. It was well done. Yeah.

Emily: [00:27:16] Do you remember where it was recorded? I’m sure the studios are different, but

Greg Gilmore: [00:27:20] yeah.

Um, you’re familiar with American music.

Emily: [00:27:24] Oh yeah. I used to live right up the block from there. Yeah.

Greg Gilmore: [00:27:28] Yeah. The, um, and the sort of a wing that side of the building that is now the drum shop. Yeah, that was the studio. It was a studio. That was it. That’s cool.

Emily: [00:27:42] I had no idea. I’ve been there a hundred

Andrew: [00:27:43] times. Yeah.

I’ve walked right through exactly where that space is to check out the drums,

Emily: [00:27:51] that door, they keep closing.

Yeah, they would, uh, I just remember being in there and I’d be looking at the guitars and they all said you were at the district and then right after you hear the door running over and closing the door, like, no,

Andrew: [00:28:17] Yes.

Emily: [00:28:26] I really liked that story. In part, one of the reasons I liked that store is because the amps are all in a different room, unlike a guitar center, where you go in and it’s just like a thousand people noodling in this big open space. And it’s all bouncing off the walls. And I like American music that. It’s just like, you gotta go through there.

You gotta close the door. All the amps can fight with each other. And I feel like every time I’m trying out a rebar, a puzzle, a pedal there’s somebody else trying out a big

Greg Gilmore: [00:28:53] volume that

that place is an institution it’s been there since the beginning of time. As far as I know, I don’t, that’s just remarkable, but it’s still. It’s like

Emily: [00:29:11] since 1962 or something

Greg Gilmore: [00:29:15] could be my first experience with that. It was three

Emily: [00:29:23] 73. Yeah. Yeah.

Greg Gilmore: [00:29:25] Yeah. That makes sense. It had to be, um,

Late seventies. First time I went there became aware of it. Um, yeah, it’s just remarkable and great where they’re still there.

Emily: [00:29:46] Yeah. Yeah. I, I really have a very intense love. It has since childhood for, uh, independent music stores. I always felt like the people there were better than going no offense.

Andrew who worked at a guitar center, but

Andrew: [00:30:03] no offense taken.

Emily: [00:30:06] Yeah. Uh, the guitar center, every time they’re going to assume I’m not the customer, but, uh,

Especially if I go with my husband. Oh, that’s a great feeling. Um, yeah, Andrew, what questions you got? We, you wanna talk about,

Andrew: [00:30:24] I’ve got a lot of questions of curiosity, some of which might be answered. So, which I don’t understand, not getting answers for, but I be just so curious to pick your brain on this.

So, I mean, she, you guys record this record and it sounds great. It never gets released. And then you, you and Def goes at a 10 minute warning, right?

Greg Gilmore: [00:30:42] Yeah, definitely first and played drums. And then they made some really some changes after it could work in a very long weeks, months, short months, you don’t have time in retrospect, so condensed.

Um, but yeah, he went in play drums and then they, they might’ve made a complete and he started playing guitar. Uh, so anyway, yes.

Andrew: [00:31:20] So, I mean, so that happens. And then you guys moved down to LA, which is, I used to live in LA as well. And. I mean, what was, what was that like to go from this record? That so clearly, like there’s a very primal human connection that is just very apparent listening through the record.

I mean, that’s, you guys are bearing your heart and soul in that and then moving onto the next project so fast.

Greg Gilmore: [00:31:47] Well, at the time it didn’t, um, you know, it didn’t seem like we’re moving on to. Something so fast, you know,

uh, at that age, it’s just what you just, what you do, you know, they’re living, I’m working this out with the aid of, uh, her blocking his, some calendars or some kind of some documentation dated that he had and the living apparently lasted.

I must’ve joined in January, say

82. And, um, by we played our, our last show in July and it probably just in, I don’t know, I don’t remember weeks, short weeks, a couple of weeks. Yeah. You know, then what was probably really was just a couple of weeks when you think about it, it’s, you know? Oh yeah. It’s months, but no, I’m sure it was just a couple of weeks before we, we called it quits.

Um, and why, who knows? Why? Just because we came to that point, maybe where I’m at. I don’t know. It’s not so fun. So that’s how you do things when you’re. 20.

And so, uh, then moving on to Tim 10 minute warning, it doesn’t, um, you see already, it’s only, you, you would only use expressions like that. And when you’re talking about history and you’re dead, you’re telling the story of history, but while you’re. Just doing stuff that you do every day with your friends, you didn’t think of, okay, we’re going to go ahead and end this thing.

Now let’s document that and then we’re going to move on to our next project. Sure. It’s just, just, it’s a bunch of guys kind of doing the stuff that they do with no longer view than. You know the rest of this day or maybe the end of the week.

Emily: [00:34:27] Yeah. So a lot of people do is, is try a bunch of projects and see, see what sticks, what works.

I mean, that’s, that’s the time to be experimenting and trying new things too.

Greg Gilmore: [00:34:39] Yeah. Yeah, but even that, you know, while you’re doing it, you’re not, you, don’t not at least I wasn’t. And as far as I could tell the rest of us, weren’t feeling like, well, we’re, we’re, um, experimenting with we’re going through the experimental phase of life now and looking for something that will stick just, and more, um,

It’s uh, you just put, just winging it, just stay by to do and whatever seems, whatever seems fun right now. So yeah, Duff starts playing drums with these guys and then they decide they want to another drummer Duskin to play guitar. So. I come over and start playing. And that’s the thing for, um, I dunno, for a year, year and a half or so before go to LA.

Andrew: [00:35:58] So the reason why I asked that question is Andrew. That’s the reason why I’m asking these questions is. Part of the, the appeal of listening back to 1982 now is kind of just seeing this. Kind of a, an earmark on the history of Seattle rock and protocol engine, uh, punk, and just getting a feel for what the scene was kind of listening to.

Some of the origins is that would have influenced her. Given us a window into what the music scene was like at that point. And so I guess the point of me asking some of these questions is to dig in a little bit and just get a little bit more of the context just it’s directly from the source. Yeah. To that end, I guess my next question is, so you record this album and then over the next few years of of projects, um, including mother love bone, and seeing your other former band mates go on to other projects as well.

I mean, I guess it’s gotta be, I see it looking back, um, from my perspective, as you guys are kind of pioneers to a large extent, uh, and influences for a lot of the other bands that were up and coming, um, that also Rose to prominence. And what does that feel like for you and watching, uh, bands like guns and roses, takeoff watching the Seattle grunge scene.

Takeoff. I just, it’s a very open-ended question, but we’d love to hear your thoughts on that.

Greg Gilmore: [00:37:21] Um,

Uh, wow. I didn’t know what a, it’s fun to see my friends, I guess. Uh,

you know, go on to other, or have such successes in their endeavors. Um,

I don’t.

Um, yeah, I don’t really, I don’t think a lot about it sort of. It’s just like, it’s just normal. I don’t know if that makes sense. It just normal to me, sort of a like, well, of course, or. Sure. Yeah. Other people are doing what they do. I don’t know. Um, it doesn’t,

it’s great. And at the same time, it doesn’t matter so much to me

that, that they’re my friends. So I’m happy. Forum happy about it, I guess, you know? Yeah. Uh, yeah, I dunno. I know it seems like kind of a weird, but almost nothing, but I don’t, um, I don’t have much of a philosophical perspective on. Yeah,

I, uh,

I could say I was surprised. I maybe that’s one thing I could say. I was surprised a little bit surprised when not so much the GNR thing, but it was the Seattle-based fans. Um, maybe I’m thinking a lot of Nirvana that it, they blew up, like, um, because you know, at that time, right at that moment, that was a pretty big deal.

If you recall that, that kind of suddenly, Whoa, that music previously was not. Right.

Emily: [00:40:06] Yeah. I think that was probably the first, like the heaviest music that was actually heavy and gritty and not like hair metal to do well. And so long and Nirvana kicked Michael Jackson from the chart.

Greg Gilmore: [00:40:21] Yeah, that was kind of the, the first thing that sounded like, wow, you could call that punk rock and what’s going on.

It’s all over the radio. Suddenly it’s made a certain, certain thing. Okay. That hadn’t been before.

Emily: [00:40:37] Occasionally you’d see, like the replacements on Saturday night live or something, but number one record. Yeah. I always think that was, I don’t even know if that was possible back then, because that was around the time SoundScan was introduced and they get took a more mathematical versus a guest summit approach to the charts, right.

Based on sold versus shipped.

Greg Gilmore: [00:40:58] Right. Right. No,

Emily: [00:41:02] it was very interesting. I was very interesting. Like I actually said music business in college. So we did talk about, talk about that quite a bit. And the different factors that led to, um, this music really, really taking off, especially in that age, because it was the first time that had happened in a very long time.

Yeah.

Andrew: [00:41:23] I mean, it was zero to 60 in 3.2 seconds. I mean, that was, yeah. D explosion seems like the right word there. I guess my curiosity is a drummer myself in listening to some of your records. And as I’m listening through to the style that you had and the, the, the sorts of drum styles that would have been heard throughout Seattle than the years upcoming to the Seattle grunge, uh, outbreak is I I’m hearing a lot of the same things I would have heard later from like Dave Grohl.

And some other drummers that, um, now you’re stepping away from guitar from, uh, for drums. I mean, I, I think it seems very clear to me listening in that your drumming influenced so much of that sound and I think that’s really neat. And I guess, is that something you’ve thought on really taking credit for?

Greg Gilmore: [00:42:14] Um, yeah, I don’t know now. I don’t know. I, um,

In general. Uh, it’s not all grunge bands sound the same first for starters. So

Emily: [00:42:39] yeah, I’m not sure

Greg Gilmore: [00:42:40] what the rest of the way I was talking about when they talk about grunge fans, but to the extent that there is such a thing and what I. How I interpreted that was that what was happening in Seattle was a certain kind of infusion of, of the hard rock into the punk rock. And I will, I can say definitely.

That’s how, that’s, how I played it. That’s how I heard it. I was never really thought of myself as a punk rocker.

Definitely listened to more than my share.

So yeah, that’s, that’s what I was playing.

Emily: [00:43:35] So that’s, you would say that that influenced your, your drumming more than like these New York punk bands? Probably.

Greg Gilmore: [00:43:41] Totally. I don’t guess there wasn’t. Um, in terms of, um, slaying, you know, like a players kind of playing with, not that much of it coming from our block.

Emily: [00:44:00] Cool. So, um, I know we’ve talked about, um, the Seattle rock scene kind of in the early eighties and the early nineties. Uh, do you have any thoughts on like what the Seattle Roxy music scene is doing doing today? Is there anything in it that you’re really excited about or do you feel like it’s kind of fizzled in, in certain ways?

Greg Gilmore: [00:44:26] Yeah, you don’t sadly, I don’t, I don’t know. I don’t, um, it’s sad.

I don’t pay. I don’t know that I don’t pay that much attention to what’s happening right now. I don’t go out so much. Um,

Emily: [00:44:59] well, nobody does anymore.

Greg Gilmore: [00:45:00] Yeah. Especially for the last year. Uh, yeah. My more and I cannot name much. I’m more interested to me. Seattle has a, a kind of a cool Jess thing going on. That seems more interesting to me.

Experimental thing, for lack of a better word. Gotcha.

Emily: [00:45:37] Yeah. Yeah.

Greg Gilmore: [00:45:40] I can roll with that. Yeah. Yeah. Rock music. I don’t, I mean, I don’t even, I, I don’t listen to that much ladle rock music. Of course. I still love it. You know, it’s a, or what I am, but I don’t, it’s not what you get up in the morning. Yeah,

YouTube music. How does it work?

Emily: [00:46:10] That’s fair. Um, if you don’t mind, I do have a couple of questions from our Patriot supporters. Uh, they just kind of threw out there and, uh, one is from our Patrion supporter, Noah, and he says, quote, I want to know what sort of weird experimental percussion shit you like. Oh, yeah.

Like any weird experimental percussion shit.

Greg Gilmore: [00:46:36] Uh, yes, not, um, not a lot of focus on percussion specifically for me, but, uh, there’s a band. They are Austrian and it’s been a while since they made a new record band called Radian. Yeah, that’s a good shift. That’s nice. Um,

um, right now it’s the most

pouch,

just an interesting, otherwise, um,

Indian music, Moroccan music, really stern stuff. I’m going to do quite a bit. Um, but playing a lot of bass in recent years. Cool. So, um, and that hasn’t necessarily that thing. So. A couple of records, everyone here listening to you. It seems now for a year or two constant rotation, there’s a bill last record.

That’s mostly by himself. And, uh, Jones, Helberg another bass player.

Emily: [00:48:09] Okay.

Greg Gilmore: [00:48:14] But, uh, yeah, for more sort of experimental stuff that.

Radiant the thing that comes to mind, uh, big Radiohead fan.

Emily: [00:48:35] Yeah. Cool. Right. Uh, another question we had was are there really cool instruments that you don’t get to use much, but you like to play around with constantly. Or instruments, noise makers. They find stuff that you wish you could shoehorn into a project, but haven’t been able to no,

Greg Gilmore: [00:49:05] that’s all, that’s all there is to that. There’s no proper or, or improper place for anything. You know, you just play it, make it happen. So, uh, but, uh, something that I do play a lot, but don’t end up, um, incorporating into much recording is displaying countertops, tops and steering wheels. You know, whatever’s at hand in your daily life.

Andrew: [00:49:43] Oh, I drive my coworkers nuts, uh, doing the exact same thing. I’ll just mindlessly be at my desk at work, thinking about it,

just tapping away, just not even realizing it either was my fingers or it was my feet clapping on the floor.

It’s incessant,

Emily: [00:50:04] man. I’m glad I don’t work in an office.

Someone like that, throw my LaCroix’s at you from across the room.

Andrew: [00:50:16] Stop it. Uh, she already puts up with me for an hour or two, a week of podcasting. I think that’s that’s enough.

Emily: [00:50:23] I think early in the podcast, it was, especially when we were audio only occasionally you would like hit the desk or something.

Oh, you’re like,

Greg Gilmore: [00:50:31] what the hell’s going on over there.

Emily: [00:50:34] I will kill you. You are making this an editing call for me. So then I’m still screaming to the microphone, someone knocking

Andrew: [00:50:42] on my door, or yeah. And I’ll have no idea that I’m doing it just

Greg Gilmore: [00:50:49] completely. Yeah. Yeah. That’s you’re right. That’s the thing, isn’t it?

That you’re doing it all the time and often not even aware of it.

Emily: [00:50:58] We were interviewing someone and their jewelry kept hitting their microphone.

No. I think we started the interview were like, are you wearing a necklace or a brace?

Andrew: [00:51:09] Oh, I do remember that. Yeah. Yeah.

Emily: [00:51:12] That was a great interview though. That was really fun. Other than like editing, I’m like mute when they’re not talking audio duck 25 decibels was very loud, very loud. Well, um, thank you so much for joining us on this early, early Sunday morning.

Uh, we really appreciate it. It’s been a lot of fun. Um, the killing I’m skosh. I’m sorry. That’s a TV show.

Greg Gilmore: [00:51:40] That’s a good one. The opposite of the killing. That’s my next, that’s my wait till you see what I dig up next.

Emily: [00:51:49] Killing the living. Uh, the killing I was, I was reading. One of Patti Smith’s memoirs and she keeps talking about how much she likes the killing, that TV show that was based in Seattle for a while.

And I remember thinking of all the shows that Patty Smith is really into it’s the killing. Well, I’m like I watch that show. When

Greg Gilmore: [00:52:07] was that?

Emily: [00:52:10] Oh gosh. Um, probably like 2015, they had three or four seasons. Including one, I think was just on Netflix or something, but, uh, it was one of those shows where they made the mistake of like, you think that they’re going to solve this crime at the end of the first season.

And then there’s this big, stupid red herring. And you’re like, Yeah, I think sometimes you do those cliffhangers. You think they’re going to be good and cool and fine. And then sometimes people just really respond badly to them. And people responded really badly to, um, a cliffhanger at the end of season one.

And just didn’t come back for season two. No, no, yes, yes. Um, so the living 92 by the living. I, I fucking knew I was going to do that. Um, it’s out on April 16th, uh, which was the record label. Oh my Lord. Yeah. It’s a new imprint, right? Is a new loose groove, not

Greg Gilmore: [00:53:11] brand new. I think recently returned. This was, um, kind of style kind of, or totally stones.

Project from, uh, the, I guess, quite a way to Spanish,

Andrew: [00:53:27] 30 seconds deal with the kiddo. Hang on a second. All

Emily: [00:53:30] right.

Greg Gilmore: [00:53:38] Did they do the first Queens of the stone age? I think that’s, it goes back. It goes back to that. Then that was 88. No 98 98.

Emily: [00:53:50] Yeah. I don’t think that, um, Josh home homey is that, I don’t know how old he is. Never. I’ve actually never thought about it. I know. All I know about it is that his wife was young.

Well, his, I guess separated wife was like very young when she started dating the guy from rancid. Tim Armstrong.

Yeah. She’s kind of a bad-ass. Uh, yes. So sorry. We were talking about Brody doll and Josh, homie. I didn’t know. They separated.

Greg Gilmore: [00:54:30] I had no idea. I didn’t know they were together. I don’t know who she, no.

Emily: [00:54:39] He was just punk rock.

Greg Gilmore: [00:54:41] He has to be not that far from my age. So he

Emily: [00:54:47] was because he’s only he’s 47.

Greg Gilmore: [00:54:51] Oh, Oh, Oh, well, relentless. When was wasn’t he part of Kayas?

Um, I

Emily: [00:55:06] don’t, I don’t see that. I don’t see that one listed. He’s got a ton of associated X though. Oh, Kayas yeah, actually he was, I’m sorry. That’s right in there. 87 to 95. When he was 14 years old, he formed a punk influence heavy metal band with. Schoolmates.

Greg Gilmore: [00:55:25] Are you kidding me? He was 14 during Kayas.

Emily: [00:55:29] Yeah.

Wow.

Greg Gilmore: [00:55:32] That gives me a whole new perspective and respect. That’s pretty cool.

Emily: [00:55:39] Wow. Yeah, I did not know that.

Greg Gilmore: [00:55:45] So that’s why I thought he was my age.

Emily: [00:55:49] Wasn’t that? Um, I think that we actually need to wrap, thank you so much for giving us an hour of your time. Um, if there’s anything else you want to, you want to end on?

Greg Gilmore: [00:56:03] Um, I can’t think of anything else I need to. Drone on about, um, prompted. So

Emily: [00:56:16] everybody listening, please, please check out the record, buy it in a physical format, ideally. And, um, thanks for watching Andrew. Thanks for listening. Thanks for understanding until next time. My name is Emily. My name is Andrew and that’s uh, and that’s Greg Gilmore.

Uh, goodbye everybody.

Greg Gilmore: [00:56:35] Bye bye.