Guitar and Grit With Blues Great Boogie Long

GUITAR AND GRIT WITH BLUES GREAT BOOGIE LONG 

[Speaker 3]

Coming up next, straight from Baton Rouge, Louisiana, it's Jonathan Boogie Long. This guitar-slinging blues rock powerhouse grew up on gospel. One Guitar Center's king of the blues back in 2011, and got inducted into the Louisiana Music Hall of Fame.

His latest album, Courage in the Chaos, packs raw energy, and right now we're kicking things off with the killer track, Hell or High Water. Get ready, this interview's about to crank up the volume. Now here's The Trout with Jonathan Boogie Long, enjoy.

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[Speaker 2]

I'm going to ask you something, you've probably never been asked before. That's what I try to do when I talk to people. What's it like growing up?

People keep saying you're a child prodigy. Did that affect you? Do you feel like it is something that you've got to keep up?

I mean, we were talking about, I mentioned Joe Bonamassa a while ago, he was a child prodigy. How does that, how did that make you feel when you're, when you're growing up and everybody goes, oh, you're a child prodigy and you started playing so young and you became a great player young? Is it something that has, does it, something you have to think about and keep up with or does it even affect you?

[Speaker 1]

I mean, not really. Uh, I mean, I, I won't say that I didn't go through my ego phase, but, but I got slapped down to reality pretty quick, you know, cause I mean, I, I got a touring gig when I was 14. So, I mean, I was on the road, I kind of had to grow up fast, you know, um, but I mean, it's just a phrase.

I mean, I spent, I locked myself in a bedroom for a lot of hours. So when people were out there playing football and this and that, I was in a bedroom shedding guitar and I mean, yeah, I, I was a prodigy in the sense that, um, I could feel the music pretty quickly. Like I always had like a innate ability to, um, to kind of feel the flow of things, but, but, uh, it still took work.

[Speaker 2]

You know what I mean? So like, what I'm saying is it's kind of a, almost a burden on you to a certain degree. I would think only for the fact that you, you know, they're expecting something special out of you because you're a prodigy.

You know what I mean?

[Speaker 1]

Right. Well, I mean, um, I don't know. I mean, I always, like when people, when people would say that about people that I would go watch growing up, I always would keep my, um, I would always try not to have my hopes too high.

In other words, I would always like, you know, just try to let that person, uh, speak for themselves, you know? Yeah. Um, and, and it loses its, I mean, by the time you're 18 or 20 or whatever, it loses its pizazz anyway, you lose the, you're no longer a child prodigy.

Now you're a grown, you're a grown man and everybody expects you to play like a grown man, you know?

[Speaker 2]

Yeah. That's exactly right. Well, and did your, did your parents, were they into what you do?

Not the playing, but the music?

[Speaker 1]

Yeah, they sang gospel growing up. That's where my, that's where I really came up. Right.

It was in a gospel. Uh, my, my grandfather was a minister. My mom and dad sang gospel music and I would go and play prison, like, uh, prisons and, and, uh, nursing homes and stuff and minister with them.

You know, I would always play kind of little leads and stuff behind my grandmother growing up. So that's where, like, uh, like, like my family being into gospel music is where I got my start, like as a musician and, you know, uh, you know, my, my introduction into blues was a little bit different, but that's where I got my start as, you know, just coming up.

[Speaker 2]

While you're playing that, and you know, a lot of people I've visited with in the South cause I'm from the South, it's nine times out of 10, they started doing something in church. Yeah. Whether, whether they're singing in church or playing in church, uh, they got that.

And if they grew up in the South, it's going to be more gospel based than more modern than modern stuff.

[Speaker 1]

And I played it all. I mean, I've played it all. You know, I was on a, I was on staff at a church for 15 years playing, I played all the contemporary stuff too.

[Speaker 2]

But you started playing young and started playing a lot. And I think, imagine, and I, and I have worked with about four players now that three, two of them are blues players, both of them under eight, well, both of 18 now. And you know, when you're in that business, your parents know nothing about it.

You know, you get into it, but you grew up in it, you got to be exposed to it. Did you kind of take the, the standard, um, you know, standard trip where you started playing around town? You know, you said when you went on tour, I mean, at 14, I mean, you had already been playing that they wouldn't ask you to be on tour unless you'd already been, they'd heard you play.

[Speaker 1]

So I had a, so, uh, a local artist named Dixie Rose, that was a songwriter. She found me when I was about 10 or 11 at Mark's Music, which is where I was taking lessons growing up as a kid. And, and she saw something special and, um, gave me my first gig.

You know, I was, I was a kid, so my first kind of gig at a place called Tony's Tavern was when I was like 11 years old. And then I started going and rehearsing with Dixie and I started playing her songs and she had a band that I would go play with at certain places. And then, uh, she introduced me to the Blues Jam, you know, to Swamp Mamas, uh, and, uh, I would go there on Sundays, you know, and as long as I had a guardian, I could go in because they were, they were serving food.

They cooked pizzas and they were serving free red beans and stuff. So it's kind of like a way to circumnavigate the law, you know, because it was a, it was a nightclub. So, uh, I played there for a long time.

Many players. I grew up around Kenny Acosta, Sundance Dunstan, Kenny Neal, Little Ray Neal, Larry Garner, just a lot of the Baton Rouge guys, you know? So I grew up, uh, playing with those guys.

And then, you know, when I was 14, uh, kind of what, what was the catalyst of it was Kenny Neal kind of came to me and said, Hey, man, you know, maybe, you know, you're good. Maybe I'll take you to Japan with me or something sometime. And I was thinking to myself, like, man, I could really do this, you know, you know?

So I, so I dropped out. My band director, uh, me and him got into it over some stuff and, and I ended up telling him like, if you don't change your mind, I'm dropping out. And so I dropped out and got a tour and gig and I mean, I've kind of never looked back since then.

You know, I've had like, uh, I've had ups and downs and, and, but, uh, music is, you know, it's always kept me grounded and, um, you know, I don't know where I am.

[Speaker 2]

I think it's interesting because I don't think you realize that everybody's going, why are you so good? I'm just playing guitar. It's what I do.

[Speaker 1]

You know? Yep. That's right.

And I can't explain it either. People ask me to explain it all the time, like, man, how can you play like that? Like, how do you hear the music so fast and how do you internalize like where to go so quickly?

And it's like, I don't, you know, it's like, it's, uh, it's kind of like breathing at this point. Like some people could call it, you can say it's muscle, muscle memory, uh, and I'll, I'll agree with that to an extent, you know, but, but, uh, at some point it becomes such second nature that it just like, it becomes a part of you. Like, it's like, it's like another language.

It's like learning another language, like it's just another way to communicate, you know? And then everybody has their own way in which they do so, you know? And my way happens to be, uh, I approach licks and stuff more from a singer's standpoint, you know, than I do like from a guitar, like from approaching it like a guitar player.

[Speaker 2]

So you, you think of, so when you're doing like your, the album getting released, released next month, you look at it from a song instead of like lead guitar, but we look at it and go, okay, where's our eight bars or our 12, you know, I'll sing, but I can't wait to get in there and play. So you kind of look at it the other way around. I'm going to sing.

And then if I add this, it's going to be an addition to it to make it better.

[Speaker 1]

Yeah. Well that, and, and it's just a, it's an extension of my voice. So the guitar on this record is mixed just like my vocal track, like in the four, very much so in the forefront to where it kind of mimics the vocals, you know, because that's how I play.

Like, that's how I, uh, I'm always thinking like melody and, and thinking like from a vocalist sort of standpoint, because I grew up more on like black gospel and fusion, uh, then more so than like classic rock and like that kind of stuff, you know?

[Speaker 2]

So like you're in a genre that is very selective in a certain way, the thing I like about what you do, and a lot of players like what you do is the fact that you can keep doing, I mean, I know, um, Buddy Guy's guitar tech, well, Buddy's going on his 90th birthday tour. Now if you were playing Taylor Swift music, you would never hit 90 playing because they wouldn't listen to you after 40, which is probably going to happen to her too. But when the genre that you and I both like, and you get to play all the time, people don't care.

[Speaker 1]

No.

[Speaker 2]

You know, they don't care. It's like, it's, it's a, it's a different feeling. People don't care.

There's like, get up and do your thing. And I grew up listening, uh, to the Stones. The Stones were the ones that kind of got me involved because their first album had Little Red Rooster on it.

And I went, what is this? You know? Yeah.

The real deal.

[Speaker 1]

Yeah.

[Speaker 2]

And I went, okay. And when, when the album came out, Tommy and, uh, Electric Ladyland came out the same year. All my friends were getting Tommy.

I was getting Jimi Hendrix because I just, I said, I want to hear that. I like Tommy. I like Pete Townsend.

But, so I think in what you do, you can do it forever, you know? And that, I think that's what makes it great. And you've, you've already traveled enough down the road.

I guess the great thing about it, the good and bad news is you've been through all the crap. You know what I mean? You already know the good news, the bad news.

You know what's good. You know what people are good. You know people you can trust, you know, and now you can just concentrate, which I'm sure when did you, well, let's just talk about the album real quick.

When did you start this project for the album?

[Speaker 1]

I'm going to say we kind of started talking about it around January of last year. You know, so it took us a year to put together, you know, my friend, a friend of mine said, you know, Hey man, you know, Jim Odom had mentioned wanting to do a record on you. So I said, Hey man, try to hook that up.

And after four or five meeting, you know, lunch meetings, we made it happen.

[Speaker 2]

Yeah. And it's all recorded all in one spot or did you move around?

[Speaker 1]

No, I did two, two sessions. I did a, I did one session in Mandeville, Louisiana with Terrence Higgins on drums, David Ellis on bass and Nelson Blanchard on keyboard. And then I did a session in New Orleans with Doug Belote on drums, Alan Maxwell on bass and John Papa Grow on, you know, keyboard and organ.

[Speaker 2]

So did you, I have to ask just from my own edification, what did you use for amps on most of the time when you played?

[Speaker 1]

So I used my two rocks, I'm endorsed by a company called Two Rock. And so I have a Bloomfield drive and I have a mini SIG. And then, and then we had a, I had a Dumble overdrive special and I had a, I had a Matchless DC 30 that was a Samson Air that was a number 11, Matchless DC 30 number 11.

Uh, I used the Matchless and the Two Rocks mostly. Uh, I didn't use the Dumble at all because it just didn't. Yeah.

I mean, it just didn't, uh, you know, it, it, it does this mid rangy thing really good, but it's not a good, it's not like the greatest pedal platform.

[Speaker 2]

Yeah.

[Speaker 1]

So like when I needed pedally stuff, I would use the Two Rock stuff. And then when I just wanted like, just get like amp grit, I would go straight into the DC 30 because like the, the Matchless stuff doesn't take pedals very well either, you know, what, what, uh, what does it have speaker wise?

[Speaker 2]

Just one, 12, two, 12, four tens.

[Speaker 1]

I was using a four 10 cabinet with that, which is like the magic spot, you know, it's like the magic spot with it. So when you go on tour, what do you take? Uh, well, I'm using a one 12 cabinet and a, and a hundred watt head.

Okay. Generally like a, or, or sometimes I'll cut it down to 50. I it's switchable between 50 and a hundred.

Right.

[Speaker 2]

And, and so the thing about it though, is I, since I listened to so many records, well, not records, but I listened to people, uh, I listened to this and I'm a producer, so I listened to the drums and everything. Sure. And I go, okay.

Cause everybody has a different feel to it. So when you're involved in a project like this, how much do you get involved with the final mixing and all that? I don't, you don't, you just stay back and let them do their thing.

Okay.

[Speaker 1]

Yeah. You got to put like, like, like when you're over, when you overlisten to it, you get so burnt out on it. Oh yeah.

That's true. And then at some point, at some point, like suggestions that you're making aren't even good suggestions anyway. You know what I'm saying?

Like at some point it's just like you're, you're, uh, what's the old ad is you're beating a dead horse, you know, so it's always good to have that extra, that, uh, those multiple sets of ears on it anyway, and whenever you're, uh, whenever you're paying somebody that has, uh, for instance, like Darryl Thorpe mixed this record and he has 30 Grammys, most of them for the Foo Fighters. You know what I'm saying?

[Speaker 2]

So he would know what to do. Well, I mean, it's like, yeah. What am I going to do?

[Speaker 1]

Yeah. What am I going to tell this guy? So like, that's what we're paying.

And it's the same thing with Jim Odom. I mean, Jim worked on Kansas records and, and mixed, you know what I mean? So like, yeah, it's like, man, like, what am I going to tell these people?

You know?

[Speaker 2]

Well, they know how, which is nothing. Yeah. It's like a producer.

Producer's job is to get the best out of you. Right. So Jim hired an engineering and they're sitting there and you got a producer in there, they're supposed to get the best out of you, right?

Not the other way around. It's just, and I find it's about, I don't know, 50, 60%. Don't get involved.

I mean, someone get involved. They want to be involved more. A lot of people I interview, not so much the major stars, the major acts, they just want the people to like, you know, like you, it's like, why am I going to tell these guys?

[Speaker 1]

Yeah. Well, it's like, gee, there were there, we hired them because we trust them to do the job.

[Speaker 2]

Right.

[Speaker 1]

Like, that's the reason that we asked them to do it. So like, if I'm like, I, if I knew I'd be doing it, you know what I mean? We wouldn't be paying them however many thousands of dollars to do it.

So it's like, uh, so yeah, I, uh, my, my answer to that would be trust the trust in the people that you hired to do, to do it right, you know?

[Speaker 2]

Well, and I think the thing about it is it there's, there is amazing difference. Most people that listen would not know it, but just listen to all the different people. I listened to their sound quality.

You know, I have friends in Nashville. They obviously have a different sound than somebody like you that has the blue sound or somebody that's playing rock or whatever, and I'm a drunk. I'm not a drummer, but I list the drums.

Cause I like the particular sound of drums and everybody has a different sound. Yeah. And the last time I was in a studio, they spent all day just setting up the drums, you know, cause you wanted to get that sound of the drums.

And he said, well, once you get that, then you're done. You can get, get the rest of the stuff. That's right.

And, and, and we did it the same way.

[Speaker 1]

We, that's, that's, we approached it the same way. The rhythm tracks are the most important thing on day one. Right.

And then once you have that, everything else can be embellished, you know?

[Speaker 2]

Well, so let me ask you about your process a little bit. I, a lot of people don't like this, but I do. When you go in and you're ready, so you've got the tune, you probably have a scratch done that you've already done.

So this is the song I want to do. You sit in with a drummer and a, how do you do the scratch to get kind of the basic foundation of the song?

[Speaker 1]

We sent them, we sent them the scratch tracks. Like I would, I just kind of like went through it, uh, um, with the, with like an acoustic guitar and vocals.

[Speaker 2]

Okay.

[Speaker 1]

And then that way, you know, we try not to, um, on this particular project, we tried not to push them in any particular direction because we wanted people to have their, uh, kind of their feel or their input on, you know, like how it's supposed to feel.

[Speaker 2]

Uh, musicians are like your, uh, your engineer, right?

[Speaker 1]

You hire them to do what they want.

[Speaker 2]

Yeah, exactly. And you, and you may have something in your mind and you're like, well, I wouldn't have played that way. Of course not.

You're not them, right? That's, that's what brings out the best when you get together, you know, and when I hear the energy and it's like your album, I listened to it some more this morning is I know people that don't go into the studio very much, it's, it can be a very boring experience to a certain extent if you're just sitting there.

[Speaker 1]

Oh yeah. Yeah. Yeah.

[Speaker 2]

So you have to get, I used to stand in front of the microphone. I was singing or doing a leap. I was saying, okay, I'm in front of 16,000 people.

I had to do something to try to pump me up because you're standing there and there's people standing there looking at you while you're trying to lay something fancy little thing down. So it's, it's not easy to do, but to me, I hear a lot of, on this record, a lot of energy coming out of you and the band.

[Speaker 3]

Yeah.

[Speaker 2]

And I like the fact there was some doubling up, um, of your vocals.

[Speaker 1]

Yeah.

[Speaker 2]

And of course your, your guitar came through all the time, but, and also the fact that you changed it or they, whatever you did, there was some different, used to be in the old blues day. If you're listening to Freddie King, Freddie's guitar sounded the same way through the whole album.

[Speaker 1]

Yeah, that's right. Yeah.

[Speaker 2]

That was Freddie.

[Speaker 1]

There's some changes in it. Yeah. Yeah.

[Speaker 2]

They might be in a different key.

[Speaker 1]

I had fuzz, you know, I had like different. Yeah. I use different stuff, you know what I mean?

[Speaker 2]

And I think that makes, that makes it different and also makes it sound better.

[Speaker 1]

It's a journey.

[Speaker 2]

You're not listening to the same. Is it? Yeah.

And what do you, what do you, and I was watching one of your videos. You were playing something there in new Orleans. It was last year.

You're playing this funky looking guitar. Look like half of Les Paul. You know, you know what you want to talk about?

[Speaker 1]

Half of Les Paul.

[Speaker 2]

Well, no, it was weird. It looked like a violin. Looked like a violin.

[Speaker 1]

Yeah. That was just, that was, uh, I just got this guitar. Tell me about this.

What is that? This is a JH guitar. It's a company called JH.

Right. And, uh, they, uh, it's a, it's like a custom builder and he, he's a fan of mine on Tik TOK and he said, uh, he said, man, I build these wonderful guitars. Sent me some pictures of it.

I was like, man, that's the coolest thing I ever saw.

[Speaker 2]

It's pretty cool.

[Speaker 1]

You know? Uh, and he said, you know, I'd love to send you one if you'd be willing to play it on Tik TOK. And I said, yeah, I said, send it to me.

I said, I'll only keep it if it's something that I know that I'll be willing to play. Yeah. But if it, but if I like it, I'll keep it and play it, you know?

And I loved it.

[Speaker 2]

And I don't know where, where is he located?

[Speaker 1]

Uh, man, to be honest with you, I truly don't even remember. I don't remember what state he's in.

[Speaker 2]

I assume he's in the States.

[Speaker 1]

Yeah. He's in the States, United States. Yeah.

J H it's like Minnesota or something like that. But so what's the body made out of? Um, it is, uh, this is Cedar.

Okay. I want to say, yeah, I want to say it's Cedar and five. Five a, uh, maple flame maple.

Okay. Let me see. Um, cause I have it right.

I have it right here. Uh, somewhere I just got to find it. Um, so yeah.

Uh, hang on.

[Speaker 2]

How does the neck feel? What does it compare to? It's like, it's pretty wide.

[Speaker 1]

Oh, Cyprus, not Cedar.

[Speaker 2]

Oh, Cyprus.

[Speaker 1]

Okay. Cyprus. So this is a Cyprus top.

I think Cyprus is pretty tight. Flame maple back and it's got a mahogany center, rosewood and maple neck. Okay.

Carbon fiber truss rod.

[Speaker 2]

So all this fancy stuff and who makes the pick? Who's the pickups by?

[Speaker 1]

Mojo Tone. They're hand-wound Mojo Tones.

[Speaker 2]

Yeah. And what do you, I got to ask, cause I'm a guitar, but what's your strings as far as height, you know, low?

[Speaker 1]

I don't know what the height is, man. I don't know.

[Speaker 2]

I mean, do you play nine stands? What are you?

[Speaker 1]

Oh, I'm endorsed by Ernie Ball. So I play a lot of, I play 11s, purple slinkies, power slinkies. Okay.

[Speaker 2]

That's a cool looking guitar when I saw you playing it.

[Speaker 1]

Yeah. It's different. You know, I like that one a lot.

I've been playing, uh, I've been playing this West Paul special a lot with the P nineties, you know?

[Speaker 2]

Oh yeah. That's the old P nineties.

[Speaker 1]

So I like, I like this guitar a lot. I got a telly that I travel with a lot. Uh, you know, so if you got a, if you got a three 35 back there behind you or something, that's a three 35, that's a Harker custom shot guitar.

And then this one's made of aluminum. Uh, it's a mercury labs made, uh, by my friend, Michael Caine in new Orleans, who's a crazy good artist. Uh, so that, that guitar is made of metal and it's really, it's amazing too.

It's super light.

[Speaker 2]

And there's some guys over in England. I interviewed about two or three years ago, maybe three years ago. That's all they make their guitars out of.

Oh, nice. They call it aluminium, but they do them on. They're all aluminum.

Yeah. Aluminum. Yeah.

Yeah. And I thought, well, what does that thing sound like? And I thought, oh, that's kind of interesting because you know, it's not, I'm a, I'm a, well, you see what I, this one's warm.

[Speaker 1]

This one sounds warm. Believe it or not.

[Speaker 2]

Yeah.

[Speaker 1]

It's not, it's not super tinny. He's crazy.

[Speaker 2]

You think metal would be that way?

[Speaker 1]

Yeah. Well, he sprays it on the inside with spray insulation foam. It's ugly.

It's ugly as, as all get out on in there, you know, but it works. I mean, it works. And, uh, I don't know.

I mean, it works.

[Speaker 2]

So, well, and you're at the point now that you get all these people that want to give you stuff that helps. I mean, I was mentioned about Walter Trout earlier. He's playing, he's a strat guy.

And, um, but he's got, he said, I don't use, I have a strat that I bought back in 1970, something. But he said, I got a guy that I play so-and-so kind of like you. And I go, who's that?

He goes, guys in, in Texas, make some for me. Cause it's, and I said, well, why do you use it? He says, well, he's figured out how to make them lighter.

After 50 years of playing my shoulders, killing me. So it somehow has made it lighter so I can play it longer on stage. Yeah.

And as you get, you know, you get older, you're like, I don't need a 15 pound less Paul, which is the lightest.

[Speaker 1]

I'm the same way. I want the lightest possible. Like, you know, you give me a, you give me a six pound telly and you'll have a happy man, you know?

[Speaker 2]

I mean, that's what, as long as we could get the sustain out of it. And of course we can, I guess just pushing everything now you can do that, which makes a big difference now.

[Speaker 1]

Yeah. I have, uh, my buddy, Jeff Richard, Karanda let pickups, he makes pickups and he is absolutely incredible, man. He's super incredible.

Um, so yeah. Uh, Karanda let pickups. That's who's that's the pickup company I'm endorsing now.

And then he, he nailed, he, he recently just nailed the 59 humbucker. The, the, the PAF and, uh, Carter Carter vintage made his pickup, the official replacement for a 59, like if a real Les Paul comes in, he, they, he made them people turn white as a ghost with his pickup. They couldn't believe how he, a beat it with a half million dollar car.

He had it in an Epiphone Les Paul that was cut in half so that you could pull pickups out and put them in.

[Speaker 2]

Oh, wow.

[Speaker 1]

That's and they, they, a beat it against a half million dollar Les Paul. And you couldn't tell the difference with your eyes closed. It was, that's, that's amazing.

[Speaker 2]

It was insane. Do you get people come up to you and go, what do you play? You know, do you have your genre?

[Speaker 1]

Oh, what do you tell them? Um, I tell them, um, you know, everything that I write has a little bit of blues rock in it, but I'm, um, I'm, um, you know, I'm, um, multi-genre. I mean, I, I write Americana, I write adult contemporary, you know, I write blues rock, I write country.

I try to write a little something for everybody. Yeah. That's why my record's kind of a smorgasbord.

You know, I've got, I've got some bluesy shuffley stuff. I got some stuff that feels more like, uh, adult contemporary. I got some stuff that feels poppy.

I got some stuff that feels like more Stapleton. Like, so it's like, you know what I mean? Like drinking, drinking through is kind of like a Stapleton.

Uh, insanity could be adult contemporary. Uh, a fool can seize blues rock baby. I'm through is straight up Baton Rouge blues.

So, I mean, I try to like have, um, something for everybody because, uh, music's consumed that way now. Like, oh, sure. Very rarely does a beam ever, you know, you're going to listen to the record and find the songs that you like, but you know, the whole record's not going to make it on your playlist anyway.

It's only going to be a couple of them. Yeah, I know what I'm saying. You know, it's only gonna be a couple of songs and it's that, you know, uh, you're going to have your Bonamassa and your buddy guy and you're this on there and then your couple boogie long songs that you like, and you know, you're going to throw them on your playlist, you know?

So, I mean, that's, uh, I, I don't, I accidentally write that way, you know? So it's not like, I just, I just feel like I'll start writing on something and then it'll take a turn of, of a pop song. And then I just roll with it.

It's not, I don't try to reign it back into like, oh, it's all gotta be blues. Like if my baby don't leave me early one morning on the freight train, leaving the station, then it ain't, it ain't music. You know what I mean?

And I don't have that mentality, you know?

[Speaker 2]

Well, but I like that. Tell me how you're going to support this new project. What are you going to do?

You going on tour?

[Speaker 1]

I want to go on tour. I want to play as many places as possible. Uh, it's hard to put tours together now.

Cause it's like, there's so much drama in it, but, uh, yeah, I'm going to take a trio on the road in my suburban to anywhere that wants to book me to come play. And I want to sit down in front of people and just be a positive light. Cause I mean, that's really all I try to do is be inspirational.

You know, I just try to inspire in some way, you know, and, and, uh, when you start playing people go, okay, I'm inspired. Yeah. Well, well, I mean, I, it's not about me.

It's about everybody else, you know? And, and, uh, that's really all I want to do is just bring.

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