December 5, 2024 • 47 mins
Nick Gusman of Nick Gusman and the Coyotes joins us for a vibrant discussion about his latest album, "Lifting Heavy Things," which showcases the band's unique sound blending elements of country, rock, and folk. He shares insights into his musical journey, revealing how personal experiences and observations inspire his songwriting. Gusman emphasizes the importance of collaboration with his band members, highlighting how their chemistry leads to a cohesive and evolving sound.
The conversation also touches on the band's upcoming performances, including a highly anticipated show at the Old Rock House on December 13th. Listeners will gain a deeper understanding of the creative process behind the album and the dynamic between Gusman and his talented bandmates.
[00:00] Introduction and Guest Welcome
[00:59] Return to Civility: Donate to Charity
[02:46] Nick Gusman: Musical Journey and New Album
[03:46] Band Formation and Evolution
[05:33] Upcoming Shows and Mini Tour
[08:04] Songwriting Process and Inspirations
[09:16] Recording the Album: Lifting Heavy Things
[15:36] Band Dynamics and Future Plans
[20:22] Quick Break and Upcoming Live Performance
[21:00] About St. Louis in Tune
[22:35] Dred Scott Heritage Foundation
[23:48] Live Performance by Nick Gusman
[28:49] Nick Gusman on European Tour
[31:18] Songwriting Process and Band Dynamics
[37:24] Upcoming Shows and Final Thoughts
Photo by Ryan Stanley
- Nick Gusman Instagram
- Nick Gusman and the Coyotes Linktree
- Nick Gusman YouTube
- Nick Gusman and the Coyotes music | SoundCloud
- Bandcamp Music | Nick Gusman and the Coyotes
- Nick Gusman - Apple Music
- Nick Gusman | Spotify
- Facebook Nick Gusman and the Coyotes
- Nick Gusman and the Coyotes
This is Season 7! For more episodes, go to stlintune.com
#music #nickgusmanandthecoyotes #oldrockhouse #indiemusic #stlouismusicscene #guitar #vinylalbum #nickgusman #songwriter #songwriting
Links referenced in this episode:
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:05):
Now, if you have cable TV andit's at and T, you may know our guest
and maybe you sat in a bar ora booth that he constructed and put
together, but now he's amusician. Nick Gusman is in studio
and he's going to be talkingto us about his new album that's
coming out. Welcome to St.Louis in Tune and thank you for joining
(00:40):
us for fresh perspectives onissues and events with experts, community
leaders and everyday peoplewho make a difference in shaping
our society and world. I'mArnold Stricker along with co host
Mark Langston and Mark is onassignment today and I'm going to
have to give him a test fromhis assignment because he's really
missing a great interviewtoday. Before we get into to our
(01:00):
guest Nick, I want to read ourreturn to civility. At least once
a year, donate your unusedgood condition household items to
charity. Now this is somethingthat a lot of people do along the
way, especially at the end ofthe year. They've got a little time
between Christmas and NewYear's and they donate. And sometimes
if you donate enough, you canactually get some deductions. If
(01:22):
you're one of those deductionpeople, maybe those items will just
be what someone else needs andyou'll have a great excuse to go
shopping for something new. Soat least once a year, donate your
unused good conditionedhousehold items to charity. It also
helps you clear out things. Iknow my wife is on me about some
of those things, you know, whydo you have that? Do we really need
that? She doesn't say thosethings. I say those to myself because
(01:45):
she's a really good man. She'sa minimalist. And I have a little
too many things. So I want tostart this out by doing this.
Here we go.
(02:24):
You can't shortcut themountain. It's just up or down in
mother nature gotta be lost orfound. There's nobody to lean on.
There's no go way around. Youbetter watch your steps down in a
footstool town.
(02:46):
That's a song from the newalbum Lifting Heavy Things with Nick
Gusman and the Coyotes. Nick,welcome to St. Louis in Tune.
Hello. Good morning. Happy tobe here.
When I heard your voice and Iread this after the fact, I thought,
you know, kind of HankWilliams Jr. Growl a little bit every
(03:06):
once in a while. And then Iread something that said about, gosh,
Bob Dylan and okay, I can getthat. You got your own groove and
vibe and that's great.
Cool. Cool. Yeah, that's whatI'm hoping for. You know, definitely
hoping for having that now.
This is the third album, isthat correct?
This is the third album I'vereleased. Yeah. Second with my current
(03:30):
band lineup.
Okay. Because I thought.Didn't you do a solo album?
Yeah, that first one, it was.Yeah, there was probably 21 musicians
that played on there.
Wow.
But it was considered, yeah,my first solo album because I didn't
have a band.
Okay.
Put it together.
All right.
And how did you get the band together?
I got the guys togetherbecause I had put that album out,
(03:54):
something I had always wantedto do, and finally finished that.
And it was about to come outand I realized that I needed a band
to play the release show. Andso that's how that started. I ended
up reaching out to people thatI knew, and it was pretty easy. A
guy that I worked with at thetime, I was working on Windows and
(04:15):
things like that. And he. Hewas an older guy. He's about 60,
60 something. And he was like,I'll be your bass player. And I was
like, okay.
Really?
There's my bass player.
Yeah.
Dave Werner. He's a greatsongwriter, bass player. And he's
since passed, but. So that wasfirst band member. And then we got
the other guys I just knewfrom around town, and they were just.
(04:36):
They wanted to be a part ofit. They're like, we want to be in
your band. And so I was like,that was easy.
Were they playing in otherbands at the time?
Yeah, they're all playing inother bands.
And a lot of times they playin multiple groups or just one.
Multiple groups, usually.
Yeah.
Yeah. And we've gone through acouple lineup changes since then,
but that was in 2018.
Okay. Okay.
We have a lot of the same guysin there, but yeah, we went through
(04:58):
a lineup change, whatnot. Butthe fiddle player, Sean, and the
keyboard, just Tony andGarrett, really. Our lead guitarist
has been there for a long time.
Okay.
He's the one that does the TomPetty riffs.
Yeah, those wild solos. Yeah,he's great. He's top notch guitar
player. I'm really lucky. Weare lucky to have him in the band.
(05:18):
Really enjoyed listening tothe album. And by the way, folks,
the album comes out tomorrow.This is 13 some Saturday the 7th.
Okay, so this is December 5th,when we're recording this, and it
comes out the 7th. And you'regoing to be playing December 13th
at the Old Rock House. That'sat 7:30pm Gonna be a great show.
(05:43):
I'm so excited for this. AlHoliday. Are you familiar with El
Holiday?
I'm not, no.
Oh, man. Check him out. Checkout all his, all his stuff. And he
has an amazing band. I mean, Ithink I want to say maybe it's like
a eight or nine piece band or something.
Wow.
With horns, horn section. Andit's real, real hard driving, like
(06:04):
roots, soul rock stuff. Funkyand kind of like tower power group.
Oh, maybe a little. Yeah. Buthe, he's gonna blow us out of the
water. I don't know what elseto say. But we do our own thing,
so that's good. But we're justso lucky to have him agree to do
the show with us because he'sjust great. So we're really excited.
(06:25):
That's cool.
And tonight you're headed toUrbana, Illinois. Then Friday you
go to Louisville, and thenSaturday you're in Madison, Tennessee.
So you're doing a mini tourhere before the end of the year?
Yeah, we do a lot of thesethree day, three day, four day kind
of things like that. It's goodto. St. Louis is a really good base
(06:47):
to be able to do that from. Sowe'll either go out towards Oklahoma
and hit some places on the wayout there or do what we're doing
here up to Chicago, looparound. Something that we have found
works good for us.
Now, do you haul all yoursound equipment or do they have sound
equipment that's there and youjust plug into it?
It depends. Most of the timewe're playing at a place that has
sound equipment, so we don'thave to bring that, but we got to
(07:08):
bring all of our stuff.
Right.
But not the PA and stuff like that.
Okay.
Now, how long you've beendoing this? This is. You started
out, you brought yourgrandfather's guitar. I know he loved
play and he was in a band,wasn't he?
Yeah, he was in numerousbands. They were like country and
western bands. And I gotpictures of him playing on the radio
and I'll. And I might pullthat out and show you.
(07:30):
Wow.
Really cool. Him in a radiostation. They got the outfits on
the old country and westernband outfits. Pretty wild to find
out that out later becausewhen I first picked up the guitar,
I had no idea that any of myfamily members had been musical at
all. But yeah, so I've beenplaying now for about 20 years.
(07:51):
Yeah, you picked it up late inhigh school, didn't you?
Relative to some of my peersand stuff. Yeah, it was pretty late.
I was like leaving high schooljust about when I actually got a
guitar.
Okay.
Yeah.
And so you started. What wasthe. The songwriting process that
all of a sudden you were. Youhad all these ideas in your head
or stories in your head, oryou wanted just. Your head was going
(08:13):
to explode and you needed towrite these things down.
I didn't know that existed,honestly, in. In my, I guess, skill
set or whatever. I. I don'treally. Because I immediately started
writing songs right when I wasable to learn chords. Somebody had
taught me the song House ofthe Rising sun. And that has, I don't
know, five chords in it, fiveor six chords and really essential
(08:36):
chords. And once I blewthrough that song, I loved the song.
It really got me hooked onplaying guitar and I learned the
words for it and really rightaway I was already. I started composing
my own songs right away, and Ididn't think it was anything weird,
but I showed back up to mybuddy's house and I was like, hey,
check this out. And he's. Youwrote a song? What are you talking
(08:58):
about? I was like, I don'tknow. It just happened. And so I've
just been on that train eversince and just leaning into that.
So would your music teacherand English teacher from high school
be surprised at your prolificwriting career here?
Yeah, I think so, for sure. Iwasn't the shining star at school.
They'd be quite surprised.
I want to play the main trackfrom the title song of the album.
(09:20):
And it's called. The album'scalled Lifting Heavy Things. Give
us a little background on thissong and why it's the title song
for the album.
It's the title song for thealbum. We voted on that. And we realized
that out of all the songs thatare on this album, that song thematically,
like, lyrically, and the soundof it, everything, it shows mostly
(09:44):
who we are, what our sound is.If you maybe choose a different song
on the album, it might leanmore rock and then one might lean
more almost indie folkycountry stuff. And. But that one,
we feel is really what oursound is.
In your groove.
Yeah, it's a little country,it's a little rock, it's a little
folky. It's lyrically a lotthere, which is. I love that part
(10:10):
of it. And yeah, it justreally showcased our sound. But that
song came about as I came homefrom work one day and I had all my
tools, I was dragging them upthe stairs and I.
Was this the AT&T job or wasthis the building?
This is job. Yeah, this is.This is post AT&T, big company work,
stuff like that. That was wayafter this and. And I've been working
(10:32):
for Myself for years.
Okay. Okay.
And. But I was dragging all mytools up the stairs and I. They came
loose and they all fell downthe steps and Rol. Everywhere. And
I'm like. I was so pissed. AndI was trying to figure out what I
was exactly mad about in thatmoment. And I just yelled out. I
was like, I'm so tired of. Icursed. Of lifting heavy things.
(10:54):
And that was my immediateproblem as I was just lifting too
many heavy things and I wastired of it. And then I laughed a
little bit after I said thatand I was like, that's just funny
sounding. And then it stuck inmy head for then.
You can't get it out of yourhead. Yeah.
And then it turned into that song.
So did the lyrics come first?Did the melody come first? Did it.
All the lyrics.
I mean. Main line came first. Yeah.
(11:15):
Okay.
Yeah.
All right, let's catch some ofthis here.
Okay.
Well, I woke up in the middleof the night. It was a bad dream
I had. I dreamt I was a babyboy crying for my dad. As soon as
(11:38):
I learned to walk, they put ahammer in my hand. Said, learn to
talk. You better keep up quickif you're gonna be a man. So I shook
the sleep out of my eyes andwalked into the cold Ran into a hole.
He said, if I may be so bold Isaid, I'm off to work, I ain't got
(12:02):
no time. He said, man, thatdollar ain't worth a. When you're
getting by on pennies. Andthen you sang me this whole rhyme.
Lifting heavy things. Liftingheavy things all day long, every
night, even in my dreams. Idon't do it because I wanna but when
(12:25):
I feel I say.
I love the yippee ki.
I had always wanted to putthat into a song. Yippee ki yi.
(12:49):
And it's the perfect one to do that.
It turned out to be the onethat worked. Yeah.
One of the things I reallylove about your music is both music
and the lyrics is I listenedto some of the stuff last night and
I was. When I got up thismorning, I was singing some of the
songs in my head. And it'samazing how different kinds of music,
when it hits you and gets youin a groove or it gets you in a certain
(13:14):
mood. And I didn't even needthe lyrics to follow your stuff because
I can understand exactly whatyou're saying now. That's a little.
That's a great compliment fromme because I'm half deaf anyway.
Okay, that's one thing. Butsecondly, it's I don't want to have
to go to an album cover orwhatever and find the lyrics. I know
(13:35):
you guys have that on yours,which is great.
Folks.
I'm holding up his new albumand you open up. It's a. It's a big
double album and all thelyrics are there. And that's great
because I remember I told youbeforehand that in. Back in the day,
it was always on the. Thesleeve cover.
I like same thing. I reallyenjoyed having the lyrics on the
album or in a booklet.
(13:55):
Yeah.
And we've done that with acouple of these.
But I don't need that becauseyou are. You really enunciate very
well.
Yeah. I don't know. I've hadpeople tell me that too. Live. Even
about the live shows that Idon't really know what that is. I
guess it's just. I don't know.I can't really explain that. Yeah,
sure. I've heard that before,though, that they can hear exactly
(14:17):
what I'm saying because I'malways enunciating so well, I don't
know. I guess I just want tomake sure that if I'm singing that
people are hearing exactlywhat words I'm saying.
Yeah.
Because otherwise it's like,what is the guy saying? And we get
these mondegreens, which are.I thought I heard this, but it's
actually. These are the words.There's a bathroom on the left. No,
that's not what the words weresaying at the time.
(14:39):
I think it must be boiled downto really, that I find lyrics to
be incredibly important. It'swhat I really enjoy about songwriting.
And so it's. When you'rewatching me, it's not so much about
the singing. It's not as muchabout the singing. It's more about
what's the content of thesong. That's probably why I lean
(15:00):
into enunciating really hard.
Yeah, that's good. This isArnold Stricker with Mark Langston
of St. Louis in Tune. We'retalking to Nick Gusman of the. Nick
Gussman and the Coyotes. Andyou can get more information on them.
Go to Nick. It's NI Gusman. GU S M A N and A and D the Coyotes.
C O Y o t e s.com nickgussmanand the coyotes dot com. They're
(15:24):
going to be playing December13th at the Old Rock House. You can
get tickets@bandsintown.com.that's a 7:30 show, also with Al
Holiday and the east sideRhythm Band will be there. And Nick,
when you do you write foranybody else, or do you write just
strictly for yourself?
I don't. I don't write foranybody else. I'd love. I'd love
(15:46):
to. If you're listening outthere and you want to collaborate,
let me know. I'd love to. Loveto collaborate. Yeah. Just writing
for us. Yeah.
So how long did it take to getall the songs together for this album?
Didn't take long at all. Allthose songs, we were already playing
out. We have. We have abacklog of many songs that we've
(16:09):
learned and that we've playedout. And we. At the time when I was
like, we need to put a recordtogether now. Let's do this. We gathered
the best 10 that we thought wewere playing really well at the time,
and we went right into thestudio at Native Sound Recordings,
which is my favorite studio.I've recorded three albums there
(16:30):
now.
It's down on Cherokee Street.
Mm.
Why do you like that place?Shameless Plug for them?
Yeah, no, I would. I directeverybody to there. It's just. So
the look and vibe of a placematters. Absolutely. The look, the
vibe, the lighting. Well, wecould start there. It's really warm
and nice and comfortable andfeels like a little. And other studios
(16:52):
I've been in, they don't allfeel like that. So that's a good
point. But also the engineersthere that I've worked with, David
Beaman, I've worked with on alot of things. David and Ben, they
both own Native Sound, butDavid Beaman engineered this last
one. He's just so calm andkind, and he's very skillful at the
(17:13):
same time. It's always a vibekill. If you go into any studio and
you work with an engineer whomaybe isn't as patient and whatnot.
David Beaman, ultimatepatience. Really talented, really
cool. So it just makes youmore creative. So that's why I keep
going back there.
So you guys recorded that. Howlong was the mixing or things like
(17:34):
that?
This one was easier than anyrecord I've done because, like I
said, we picked the 10 bestsongs that we thought. We got these
down really good. Now let's gointo the studio. And we maybe had
a couple rehearsalsbeforehand, and we went in and we
cut them all live. So I thinkit only took us two sessions.
That's great.
Maybe two and a half, I think.Yeah, more like two and a half, because
(17:58):
we went right in and we justdid live takes. Those are the original
vocals, too. We didn't replaceany. Anything.
That's great.
Everything that you Hear isstraight from us right into the board.
Do you have somebody videotapefor YouTube so you can do those live
things and then put that on YouTube?
We didn't. We had some photostaken, though. But yeah, so Native
sounds great. That's why wekeep going back there. And that's
(18:21):
how we did this record. We didit live. So it came right out of
our instruments into theboard, then onto that vinyl.
Wow.
Wow. Now people can go and getyour stuff at Bandcamp. They can
get it at SoundCloud, ourwebsite, too.
NickGustman and theCoyotes.com youm can. We've been
updating that to try to haveeverything on there. There's some
(18:44):
new merchandise we got. We'rerevamping it. But right now the vinyl
is on there. You can orderthat online.
So where the. Where theCoyotes Come from, is that going
to be like a logo on some ofyour shirts or hats or something
like that?
Oh, yeah, it already is. Wegot hats coming. The hats are really
cool. They're like a truckercap with the sort of naval sort of
fringe on here.
The eggs on the top there.
(19:04):
Yeah, right here. You know, onthe bill, right then it says, Nick
Gusman, the coyotes in St.Louis, Missouri, right on the COVID
there.
So what's. Where did theCoyotes come from? Where'd that name
come from? Why?
And you know, our. So we had alead guitarist for a while in the
band Nigel. He's amazing, anda best buddy of mine. He lives in
Nashville now, and he's doinggreat. He came up with that one.
(19:26):
I think that was him. We weretrying to come up with all sorts
of names a while back, and heended up saying the Coyotes. And
I was like, that's prettycool. And we were all like, why?
The Coyotes and the coyotes.Coyotes, they're like, they're resilient.
They're out there. They're hungry.
They're howling.
People are shooting at them.They're sickly, but they're scrappy,
and they get stuff done. And Iwas like, that's exactly us. Yeah,
(19:50):
that's us.
That's cool. That's cool. Andall the guys, they looked like they're
all having fun in the process.
Yeah, we have a lot of fun.That's the key to us doing good together.
For sure. We get along. We'regonna have a lot of fun this weekend.
We don't go out. There's somebands, I hear that they travel together,
and some have big egos or theydon't get along or someone's always
(20:14):
causing trouble, but ingeneral we have a great time. We're
just best buds and so I'mlooking forward to this coming up
trip.
Yeah, that sounds good. We'regonna take a quick break and we're
gonna go out with one of thesongs and we'll be right back because
Nick's gonna play some guitar.Live in studio and Arnold Stricker
(20:34):
with Mark Langston of St.Louis in Tune. Don't go away.
When the echoes of last nightWake me up at dawn.
(20:59):
Thanks for listening. St.Louis in Tune on each and every show,
we strive to bring youinformative, useful and reflective
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(21:20):
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(21:42):
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(22:10):
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in St. Louis. Our websiteagain is STL intune.com STL in tune.com.
(22:32):
This is Arnold Stricker of St.Louis in Tune on behalf of the Dred
Scott Heritage Foundation. In1857, the Dred Scott decision was
a major legal event andcatalyst that contributed to the
Civil War. The decisiondeclared that Dred Scott could not
be free because he was not acitizen. The 14th Amendment, also
called the Dred ScottAmendment, granted citizenship to
all born or naturalized herein our country and was intended to
(22:55):
overturn the US Supreme Courtdecision on July 9, 1868. The Dred
Scott Heritage foundation isrequesting a commemorative stamp
to be issued from the USPostal Service to recognize and remember
the heritage of this amendmentby issuing a stamp with the likeness
of the man Dred Scott. But weneed your support and the support
of thousands of people whowould like to see this happen. To
(23:15):
achieve this goal, we ask youto download Sign and share the one
page petition with others. Tofind the petition, please go to dredscottlives.org
and click on the Dred Scottpetition drive on the right side
of the page. On behalf of theDred Scott Heritage foundation, this
has been Arnold Stricker ofSt. Louis in Tune.
(23:47):
Welcome back to St. Louis inTune. This is Arnold Stricker with
Mark Lent Langston. Mark is onassignment and he will be back for
the next show. We have NickGussman of Nick Gusman and the Coyotes
here in studio. And he has sograciously agreed to play a song
from the album here. And it's.Nick, which one are you going to
(24:09):
do?
I figure I'm going to do onecalled Magic 8 Ball and send this
one out to Sean, our fiddle player.
Okay, Sean, this is for you.
This is for you, Sean. Istarted writing this one for him
when we were on tour inGermany last year.
Wow. We'll have to talk aboutthe European tour.
(24:30):
Oh, the year before last.Sorry. No warm up, you guys. So no
judging. I just had biscuitsand gravy. Yeah, that's all the warmup
I had this morning.
And this isn't the greateststudio in the world.
Pretty nice. All right, herewe go.
(25:09):
Well, it seems like a waste tosit and worry about my fate could
be glory, it could be truth itcould rain right through the roof
Shake my heart, swing it allaround Lift me up, slam me down Win
(25:35):
or lose, just don't let medraw Magic eight Ball well, it gets
lonesome all the time butnothing's empty in my mind Reaching
(25:59):
out and holding on it don'tcome easy like the dawn Shake my
heart, swing it all aroundLift me up, slam me down Win or lose,
just don't let me draw Magic 8ball sitting high up on the.
(26:42):
Wall.
Might be here to take a fallcould you put me back? Oh, one more
(27:04):
time? Shake my heart, swing itall around Lift me up, slam me down
Win or lose, just don't let medraw Magic 8 Ball. Magic E Ball.
(27:31):
Magic J.
(27:53):
Wow.
Not bad.
You.
You had. The pistachio Gallerywas screaming in the background at
the end of that song.
Pistachio Gallery. I neverheard that one before.
Yeah, we left the peanutsbehind and we went to the pistachios.
Wow. That was great, man.
Thank you.
Now you've got. And I watchedthe voice and it's always, man, I
love your natural raspinessthere. That's going on. Then people,
(28:16):
they. Sometimes they put thatin there, and you naturally have
that.
Yeah, I think So I don't knowif it's the.
The early morning or maybemore of.
The years of abuse.
You're not getting nodes, are you?
I don't know what those are on your.
On your vocal cords it willcause from not warming up or straining
(28:39):
your voice.
I don't really mean that. Latenights and.
Oh, okay.
Stuff like that.
Okay.
I've down in my time now, Ifeel like. But yeah, years of that
maybe in the past now.
Talk about that European touryou guys did. What was the stimulus
for going overseas?
We had some friends do it andactually Al Holiday went. The guy,
his band went, I think acouple of times. And some other friends
(29:04):
have went over specifically tothe Germ, to Germany and the Netherlands.
And they talked about howamazing it was and how great everybody
treated them and how well itwas received. And we're like, let's
look into that. And so we gotthe booking agent's number that they
used and he immediately waslike, you are the type of band that
(29:27):
we like. Somebody who's nottoo big, someone that's relatively
unestablished over here. Andwe bring American bands over here
all the time and you're rightup our alley. So come over. And we
did and it was awesome. We'vebeen twice.
Okay.
Two different years, full bandand it was amazing experience. It
was so great. We had some soldout shows. It was just so wild. They're
(29:51):
just really craving this musicright now over there.
And it's really. I would sayit's an eclectic style because some
of it's bluesy and some ofit's more.
If you want.
I don't want to put people in.In a bucket because you guys are
all over the place, which is nice.
Yeah. I feel like I've alwaysbeen that way and that's the way
(30:15):
all my records are probablygoing to be forever. Just because,
I don't know, it's in a waythat might hurt you. In the terms
of what a record label mightsee, I don't really know. But I think
it's more just forging yourown sound. And I never particularly
want to stick to anythingbecause I. When the songs come, I
(30:37):
realize that I don't want tobend them into a certain box. I'm
like, they should just blossomand you write them this way and then
it should be a more soulsounding song or it should be a rock
song. This one's country.
Right.
Or. And that's just. Youshould let them live where they are.
Right.
You guys do covers of other songs.
(30:59):
Yeah. We do. Yeah, we do.
And you put your own spin on it.
Yeah, I'm sure. Yeah. With ourinstrumentation and the way we like
to do it, it has our own spin.We cover everything from the Doors
to, like, Hank Williams andBob Dylan, and we're all over the
place. We're in thatsongwriter genre there still.
So where do you see thisevolving to? Or where do you want
(31:21):
it to evolve to? Or do youjust. Are you, like, content with
where you are, or do you wantto be known more nationally, more
internationally, or.
I think, you know, you don'tget into doing this stuff normally
unless you. You. Everybodywants to be known a bit more, you
know. Of course. Yeah. I wantto be more successful with the music,
(31:42):
releasing and touring, andhave more of an audience. So that
is a goal, but it's not themain goal. I guess it probably should
be, but I guess I am. I'mhappy making music, and I know that's
the main thing that's gonnakeep my career alive. I want to just
keep making records like this,putting them on vinyl if I can. And
(32:04):
I want to. That's one of mylife goals, is to go out with 30
albums out there for everybodyto listen to after I'm gone.
And you're young enough to dothat, too.
I think I could do it. I gotthe songs. Most of them are. There's
a lot of songs that I need torelease now, still in the coming
years. It's great. I justreally love it. So I love recording
(32:24):
with the band, performing withthe band and writing songs, and so
that'll never stop. And that'sthe most important thing, I think.
So all these songs, do youstill have some in your head or.
There's some that are, like,on the back burner that you guys.
You've played, but they didn'tmake it to the album.
There's a lot that we playlive that we know that is unreleased.
Okay. Okay.
(32:44):
Yeah, yeah. So they just floataround and one will get replaced
by a new one. And then if wedon't record it, it just gets lost.
But they're not lost forever.They're still there.
Do you ever change them alittle bit?
Maybe?
Yeah, Maybe the lyrics willchange a little bit. Maybe some chord
progressions or how the bandmembers are handling a certain portion
(33:05):
of the song or something like that.
So the band really helps outwith that. Evolves. A song will evolve.
I usually bring a song in tothe band completed. And the chords,
that. The general structure isall there. The music's there. But
for six people to play, it hasto be arranged. And we all take part
(33:27):
in that. Everybody, we. First,we just learn the core of the song
and we're able to play it. Andto be quite honest, I'm always excited
when that happens. I come inwith a new song and everybody learns
it. And the first couple runthroughs. I'm like, this sounds good,
you guys. And they're like,no. They're like, this sounds horrible.
And I'm like, I'm excitedbecause you.
Heard it in your head.
(33:48):
And they're playing it, andI'm like, this is amazing. And they're
like, no, we got a lot ofstuff to, like, change about this.
And I got to figure out mypart here.
Yeah.
And then that happens, andeverybody settles in somewhere and
has ideas like, oh, maybe weshould do this stop here. Maybe we
should cut this instrumental.Maybe we should change the chord
here. Maybe, you know,everybody has an idea. And then after
(34:10):
maybe, you know, a month or soof rehearsing a song, we're usually
are able to dial it in.
That's the beauty of workingwith really good musicians, is that
they bring their portion ofthe puzzle to make the whole puzzle
fit together. And they'reobviously the bass player. It's not
(34:31):
the main thing. Or thedrummers. It's not the main thing.
Or the keyboards. It's not themain thing. It's. Everything is the
main thing. And it's what theybring to the table. And your song
is like the. The support ifyou're. I like to do puzzles. So
if you have a table, like,that's the song. And then everybody
puts their piece of theirpuzzle onto that. And then now we
(34:53):
can put a puzzle together.Otherwise, they're putting a piece
of puzzle onto air and itwon't support itself. So it's just.
It's really great that youhave wonderful musicians to work
with that.
I'm so grateful to haveeverybody in the band. It's truly
a blessing. It's just sogreat. And this album is a good example
of that. Like, this is reallyour sound. We didn't bring any outside
(35:15):
players in here other thanMaddie Schell saying some backup
vocals on three songs, right?And she played some tambourine, too,
which kicked it up a notch. Itwas really cool, but that's it. So
this is exactly what we soundlike. And this album, if I would
have just went into the studiowith other musicians, not a group
of guys that works togetherall the time, it would sound completely
(35:38):
different and not have thiscohesion. I Don't think we're all
really proud of how it turned out.
Yeah.
And it's. The more it's liveand it's us.
The more you guys worktogether, the more you know and you
can anticipate that somebody'sgoing to be doing that. So I'm going
to have to do this here or.You don't even have to. It's a non
communicative verbally. It'smore of a musical communication.
(36:01):
I know where he's going to gowith this, so I'm going here with
this.
It's crazy how that happened.It is really. And it's. We see it
on stage all the time. Ithappened at a show the other day
or at practice the other day.Someone does something and it's like
milliseconds that you analyzeit and you naturally catch on to
what they're doing. And thenit changes what you do.
(36:21):
Yeah.
Yeah.
Or you're just not playingyour part. You're listening. So you
can accompany the other parts.
Yeah. You're always trying toaccompany each other. At rehearsal
the other day, it was just agood example. Like Jeremy, I think
he was goofing around and hechanged the ending of the song to
be really. These reallystaccato hits and stops. And I didn't
(36:44):
even think. But somehow I wasable to. I caught on even on the
first hit because he hit itdifferent. And then the stop came
and maybe I was a millisecondbehind, but I was right with him.
Wow.
But he didn't tell me. Butit's just. I just. I know what he
sounds like when he plays. SoI caught on immediately. And it was
just kind of wild. I was like,dang, we're locked in here.
(37:04):
That's great to see yourevolution of not only your personal
talent of writing and guitarplaying, but how that grows within
a group and how the maturityin a group can grow of the sound.
And then that really refineswho you guys are as a group.
Yeah. It is reallyinteresting. I've never experienced
(37:26):
it. I've experienced it now.
Right.
But never before. I neverreally evolved with a group of guys.
And what I think is. Createdour own sound. I think it's really
getting there. It's finallygotten there. And I think it's still
evolving and it's gonna getthere further. And that's reason
why I put the album coverthere with the big St. Louis on it.
(37:47):
I just really think that if Ithink that our sound is very St.
Louis, it's become really St.Louis and I wanted to make sure that
was known on the COVID Yeah.
So I'm looking at the COVIDright now, and he does have Saint.
Where were you standing infront of that.
That's an old auto partsstore. That's on the corner of Gravoy
and Cherokee.
(38:08):
Okay.
It's right there.
Oh, yeah, yeah, yeah.
And I ever. I was driving byit for years, and, like, I was always
like, dang. I just love thelettering on the side of this building.
You don't really see. It saysSt. Louis Auto Parts full, but you
don't really see a good St.Louis stencil like that. Real big
on a building.
No, you don't.
There. And looks pretty. And Iwas like, dang. I just want to take
(38:30):
a picture of that one day. Andthen that was the coldest day of
the year this past winter.
It looks like it.
It was, I think, negative 7degrees outside or something like
that.
It looks like it.
And it was on a Sunday, andhalf the guys were at work or a couple
of the guys were. And I waslike. I was. Today's the day. I was
like. I told them about, Iwant to get this picture for the
album cover for a while. And Ibugged them on a Sunday and was like,
(38:52):
can you get here? And let'stake this picture. It's just going
to take 30 minutes. And we gotit if that long.
Because we're all cold.
Yeah. It was freezing.
Want to catch another song here?
(39:14):
There's people all around meBut I don't know where to stand the
sound of a broken heart thesound of a broken heart the sound
of a broken heart Is really something.
(39:41):
Now, one thing I notice aboutyour lyrics, personal experience
comes into these things.Personal life situations.
Do you.
Or do you draw from thingswhere you observe other people? I
know you.
Oh, yeah.
You were talking. I watched aninterview that you did. Maybe it
(40:01):
was down in Lafayette park,and you were talking about the Tokyo
Hotel.
Yeah. Benton park over there.
Okay.
Benton Park.
Yeah.
Yeah. A lot of the songs are amix. They're often a mix of myself
and then other people. I thinkwhen the ideas maybe come, sometimes
(40:22):
there may be probably morespecifically me.
Mm.
But then after thinking aboutit for a while or putting it on the
back burner, other things willcome up, and then you'll be able
to kind of patchwork this morerich telling of what you want to
say.
Gotcha.
Because. And that's what'sgood. Then it relates to more people.
(40:42):
And then.
Yeah.
Some songs will bespecifically just me, but I Think
a lot of times, yeah, it'smore of like a mixture. Even fantasy
comes into play. I think it'sall important in order to create
a good song. If you just were,like, factual about yourself all
the time.
Right.
Boy, those would be reallyboring, mundane, just songs, colorless.
(41:02):
But if you include more andyeah, it just gets richer that way.
So when you take the lyric,these lyrics. Some people. I ask
this question to musiciansthat we have come in. Is it the lyrics,
then the melody? Is it themelody, then the lyrics? Is this
combo together? How do you. Oryou sit down and you plunk around
on the guitar? Oh, I like thatchord progression.
(41:24):
It does always happendifferently. But I would say more
times than not, the melodycomes to me first. So the music will
come to me because the musicalready has a mood. And so if you're
always. If you're alwaysplunking around on the guitar or
the piano and creating moodsand melodies, depending on what mood
(41:46):
you're in, depending on whatmindset you're in.
Right.
You'll have this. I gotendless notes of just music on my
phone and stuff that I'll takeit take down after I create them.
And they all have differentfeels and vibes, and they all have
a different. What you wouldwrite to them would be different.
So then comes the words.Usually. Sometimes the words do come
(42:07):
first, but mostly it's likethis. And then. So then later I'll
have time to write an actualsong and I'll look through my notes
of music and I'll be in themindset of how I want to write, like
the mood. And then I'll findthe mood of the music, the melody
that I like, and then I'lljust start writing to that. I'll
usually just start playing it.And then words will start coming
(42:33):
to my brain as I'm playing itthat kind of fit with the mood. And
then once I get a couple ofwords that I like, then I'll maybe
look through my notes oflyrics and I'll find an idea I had
or a snippet of somethingsomebody said or. Or a few lines
of a poem that I was writingor something. And then something
(42:54):
usually fits. As long asyou're constantly accumulating all
these things.
Right.
You can use them at different times.
Interesting. You playkeyboards also?
I play piano.
Okay.
Yeah.
Back from when you were likeknee high to a grasshopper.
No, no, piano came. Actually,I did get a keyboard for Christmas
early on, and I played thatthing for sure. So I learned some
(43:16):
stuff back then. Then Pianofell off for a while and then I bought
a real piano years back andI've moved it all around since I
got a baby grand. George Deck,Baby grand piano. I love playing
that thing.
Good sound.
Yeah, it's nice. It's old andbeat up, but it sounds real cool.
It's a lot easier probably tomove than an upright.
(43:37):
The baby grand.
Yeah.
You just turn it on its side,get the piano, I guess.
I don't really know. They'reall hard to move. To me, it looks
expensive, too.
Yeah. Other than a portablekeyboard. Wow. Folks, you gotta go
see Nick Gusman and theCoyotes. They're going to be at the
Rock House. The old Rockhouse. And that's December 13th.
Friday the 13th. What a greatday for a show. 7:30pm Tickets you
(43:59):
can get at bandsintown.combandsintown.com Art Holiday, Al Holiday
and the east side Rhythm Bandwill also be there. Don't Forget
Nick's website. NickGussmanand the Coyotes. Dot com. That's
n, I C K G U S M A N D T H E CO Y O T E S. And I do that because
(44:20):
Nick can be spelled severaldifferent ways. I'm sure Gusman can
be spelled with two S's andtwo n's, but it's only one S, one
N. And it's not the ampersand,Ann, it's the A N D. So that's why
I did it like that, folks.Thank you, Nick. Thanks for coming
in. We really appreciate it.
I had such a blast. I hope wecan do it again.
I would love to. Please feelfree. When you guys are going to
(44:41):
cut something new, you'regoing to be going on tour or something.
I'd love to be able to comedown and talk to all the band members
and give them all the dirtthat I learned on you.
Let's do it. Yeah, I wouldlove to do that. Yeah. I'll give
a quick shout out to the wholeband. Mr. Tony hall on the keys.
Thanks, Tony. Jeremy Reedy onthe drums, Garrett Ronji on the lead
guitar. Sean Camry on thefiddle. And Justin Haltmer on the
(45:03):
bass guitar. Thanks, guys. Iwish you could be here with me, but
next time.
Next time, guys. And we'regoing to dispense with our normal
laughter time and go right toour ending. And folks, I want to
really thank you for joiningus and listening to this hour. If
you've enjoyed this episode,you can listen to additional shows@stlntune.com
(45:26):
consider leaving a review onApple Podcast Podchaser or your preferred
podcast platform. Yourfeedback helps us reach more listeners
and continue to grow. I wantto thank Bob Berthesel for our theme
music. I want to thank ourguest Nick Gusman and co host Mark
Langston, who will bereturning from Assignment. We thank
you all for being a part ofour community of curious minds. St.
Louis in tune is a productionof Motif Media Group and the US Radio
(45:49):
Network. Remember to keepseeking, keep learning, walk worthy
and let your light shine. ForSt. Louis in Tune, I'm Arnold Stricker.
Now, if you have cable TV andit's at and T, you may know our guest
and maybe you sat in a bar ora booth that he constructed and put
together, but now he's amusician. Nick Gusman is in studio
and he's going to be talkingto us about his new album that's
coming out. Welcome to St.Louis in Tune and thank you for joining
(00:40):
us for fresh perspectives onissues and events with experts, community
leaders and everyday peoplewho make a difference in shaping
our society and world. I'mArnold Stricker along with co host
Mark Langston and Mark is onassignment today and I'm going to
have to give him a test fromhis assignment because he's really
missing a great interviewtoday. Before we get into to our
(01:00):
guest Nick, I want to read ourreturn to civility. At least once
a year, donate your unusedgood condition household items to
charity. Now this is somethingthat a lot of people do along the
way, especially at the end ofthe year. They've got a little time
between Christmas and NewYear's and they donate. And sometimes
if you donate enough, you canactually get some deductions. If
(01:22):
you're one of those deductionpeople, maybe those items will just
be what someone else needs andyou'll have a great excuse to go
shopping for something new. Soat least once a year, donate your
unused good conditionedhousehold items to charity. It also
helps you clear out things. Iknow my wife is on me about some
of those things, you know, whydo you have that? Do we really need
that? She doesn't say thosethings. I say those to myself because
(01:45):
she's a really good man. She'sa minimalist. And I have a little
too many things. So I want tostart this out by doing this.
Here we go.
(02:24):
You can't shortcut themountain. It's just up or down in
mother nature gotta be lost orfound. There's nobody to lean on.
There's no go way around. Youbetter watch your steps down in a
footstool town.
(02:46):
That's a song from the newalbum Lifting Heavy Things with Nick
Gusman and the Coyotes. Nick,welcome to St. Louis in Tune.
Hello. Good morning. Happy tobe here.
When I heard your voice and Iread this after the fact, I thought,
you know, kind of HankWilliams Jr. Growl a little bit every
(03:06):
once in a while. And then Iread something that said about, gosh,
Bob Dylan and okay, I can getthat. You got your own groove and
vibe and that's great.
Cool. Cool. Yeah, that's whatI'm hoping for. You know, definitely
hoping for having that now.
This is the third album, isthat correct?
This is the third album I'vereleased. Yeah. Second with my current
(03:30):
band lineup.
Okay. Because I thought.Didn't you do a solo album?
Yeah, that first one, it was.Yeah, there was probably 21 musicians
that played on there.
Wow.
But it was considered, yeah,my first solo album because I didn't
have a band.
Okay.
Put it together.
All right.
And how did you get the band together?
I got the guys togetherbecause I had put that album out,
(03:54):
something I had always wantedto do, and finally finished that.
And it was about to come outand I realized that I needed a band
to play the release show. Andso that's how that started. I ended
up reaching out to people thatI knew, and it was pretty easy. A
guy that I worked with at thetime, I was working on Windows and
(04:15):
things like that. And he. Hewas an older guy. He's about 60,
60 something. And he was like,I'll be your bass player. And I was
like, okay.
Really?
There's my bass player.
Yeah.
Dave Werner. He's a greatsongwriter, bass player. And he's
since passed, but. So that wasfirst band member. And then we got
the other guys I just knewfrom around town, and they were just.
(04:36):
They wanted to be a part ofit. They're like, we want to be in
your band. And so I was like,that was easy.
Were they playing in otherbands at the time?
Yeah, they're all playing inother bands.
And a lot of times they playin multiple groups or just one.
Multiple groups, usually.
Yeah.
Yeah. And we've gone through acouple lineup changes since then,
but that was in 2018.
Okay. Okay.
We have a lot of the same guysin there, but yeah, we went through
(04:58):
a lineup change, whatnot. Butthe fiddle player, Sean, and the
keyboard, just Tony andGarrett, really. Our lead guitarist
has been there for a long time.
Okay.
He's the one that does the TomPetty riffs.
Yeah, those wild solos. Yeah,he's great. He's top notch guitar
player. I'm really lucky. Weare lucky to have him in the band.
(05:18):
Really enjoyed listening tothe album. And by the way, folks,
the album comes out tomorrow.This is 13 some Saturday the 7th.
Okay, so this is December 5th,when we're recording this, and it
comes out the 7th. And you'regoing to be playing December 13th
at the Old Rock House. That'sat 7:30pm Gonna be a great show.
(05:43):
I'm so excited for this. AlHoliday. Are you familiar with El
Holiday?
I'm not, no.
Oh, man. Check him out. Checkout all his, all his stuff. And he
has an amazing band. I mean, Ithink I want to say maybe it's like
a eight or nine piece band or something.
Wow.
With horns, horn section. Andit's real, real hard driving, like
(06:04):
roots, soul rock stuff. Funkyand kind of like tower power group.
Oh, maybe a little. Yeah. Buthe, he's gonna blow us out of the
water. I don't know what elseto say. But we do our own thing,
so that's good. But we're justso lucky to have him agree to do
the show with us because he'sjust great. So we're really excited.
(06:25):
That's cool.
And tonight you're headed toUrbana, Illinois. Then Friday you
go to Louisville, and thenSaturday you're in Madison, Tennessee.
So you're doing a mini tourhere before the end of the year?
Yeah, we do a lot of thesethree day, three day, four day kind
of things like that. It's goodto. St. Louis is a really good base
(06:47):
to be able to do that from. Sowe'll either go out towards Oklahoma
and hit some places on the wayout there or do what we're doing
here up to Chicago, looparound. Something that we have found
works good for us.
Now, do you haul all yoursound equipment or do they have sound
equipment that's there and youjust plug into it?
It depends. Most of the timewe're playing at a place that has
sound equipment, so we don'thave to bring that, but we got to
(07:08):
bring all of our stuff.
Right.
But not the PA and stuff like that.
Okay.
Now, how long you've beendoing this? This is. You started
out, you brought yourgrandfather's guitar. I know he loved
play and he was in a band,wasn't he?
Yeah, he was in numerousbands. They were like country and
western bands. And I gotpictures of him playing on the radio
and I'll. And I might pullthat out and show you.
(07:30):
Wow.
Really cool. Him in a radiostation. They got the outfits on
the old country and westernband outfits. Pretty wild to find
out that out later becausewhen I first picked up the guitar,
I had no idea that any of myfamily members had been musical at
all. But yeah, so I've beenplaying now for about 20 years.
(07:51):
Yeah, you picked it up late inhigh school, didn't you?
Relative to some of my peersand stuff. Yeah, it was pretty late.
I was like leaving high schooljust about when I actually got a
guitar.
Okay.
Yeah.
And so you started. What wasthe. The songwriting process that
all of a sudden you were. Youhad all these ideas in your head
or stories in your head, oryou wanted just. Your head was going
(08:13):
to explode and you needed towrite these things down.
I didn't know that existed,honestly, in. In my, I guess, skill
set or whatever. I. I don'treally. Because I immediately started
writing songs right when I wasable to learn chords. Somebody had
taught me the song House ofthe Rising sun. And that has, I don't
know, five chords in it, fiveor six chords and really essential
(08:36):
chords. And once I blewthrough that song, I loved the song.
It really got me hooked onplaying guitar and I learned the
words for it and really rightaway I was already. I started composing
my own songs right away, and Ididn't think it was anything weird,
but I showed back up to mybuddy's house and I was like, hey,
check this out. And he's. Youwrote a song? What are you talking
(08:58):
about? I was like, I don'tknow. It just happened. And so I've
just been on that train eversince and just leaning into that.
So would your music teacherand English teacher from high school
be surprised at your prolificwriting career here?
Yeah, I think so, for sure. Iwasn't the shining star at school.
They'd be quite surprised.
I want to play the main trackfrom the title song of the album.
(09:20):
And it's called. The album'scalled Lifting Heavy Things. Give
us a little background on thissong and why it's the title song
for the album.
It's the title song for thealbum. We voted on that. And we realized
that out of all the songs thatare on this album, that song thematically,
like, lyrically, and the soundof it, everything, it shows mostly
(09:44):
who we are, what our sound is.If you maybe choose a different song
on the album, it might leanmore rock and then one might lean
more almost indie folkycountry stuff. And. But that one,
we feel is really what oursound is.
In your groove.
Yeah, it's a little country,it's a little rock, it's a little
folky. It's lyrically a lotthere, which is. I love that part
(10:10):
of it. And yeah, it justreally showcased our sound. But that
song came about as I came homefrom work one day and I had all my
tools, I was dragging them upthe stairs and I.
Was this the AT&T job or wasthis the building?
This is job. Yeah, this is.This is post AT&T, big company work,
stuff like that. That was wayafter this and. And I've been working
(10:32):
for Myself for years.
Okay. Okay.
And. But I was dragging all mytools up the stairs and I. They came
loose and they all fell downthe steps and Rol. Everywhere. And
I'm like. I was so pissed. AndI was trying to figure out what I
was exactly mad about in thatmoment. And I just yelled out. I
was like, I'm so tired of. Icursed. Of lifting heavy things.
(10:54):
And that was my immediateproblem as I was just lifting too
many heavy things and I wastired of it. And then I laughed a
little bit after I said thatand I was like, that's just funny
sounding. And then it stuck inmy head for then.
You can't get it out of yourhead. Yeah.
And then it turned into that song.
So did the lyrics come first?Did the melody come first? Did it.
All the lyrics.
I mean. Main line came first. Yeah.
(11:15):
Okay.
Yeah.
All right, let's catch some ofthis here.
Okay.
Well, I woke up in the middleof the night. It was a bad dream
I had. I dreamt I was a babyboy crying for my dad. As soon as
(11:38):
I learned to walk, they put ahammer in my hand. Said, learn to
talk. You better keep up quickif you're gonna be a man. So I shook
the sleep out of my eyes andwalked into the cold Ran into a hole.
He said, if I may be so bold Isaid, I'm off to work, I ain't got
(12:02):
no time. He said, man, thatdollar ain't worth a. When you're
getting by on pennies. Andthen you sang me this whole rhyme.
Lifting heavy things. Liftingheavy things all day long, every
night, even in my dreams. Idon't do it because I wanna but when
(12:25):
I feel I say.
I love the yippee ki.
I had always wanted to putthat into a song. Yippee ki yi.
(12:49):
And it's the perfect one to do that.
It turned out to be the onethat worked. Yeah.
One of the things I reallylove about your music is both music
and the lyrics is I listenedto some of the stuff last night and
I was. When I got up thismorning, I was singing some of the
songs in my head. And it'samazing how different kinds of music,
when it hits you and gets youin a groove or it gets you in a certain
(13:14):
mood. And I didn't even needthe lyrics to follow your stuff because
I can understand exactly whatyou're saying now. That's a little.
That's a great compliment fromme because I'm half deaf anyway.
Okay, that's one thing. Butsecondly, it's I don't want to have
to go to an album cover orwhatever and find the lyrics. I know
(13:35):
you guys have that on yours,which is great.
Folks.
I'm holding up his new albumand you open up. It's a. It's a big
double album and all thelyrics are there. And that's great
because I remember I told youbeforehand that in. Back in the day,
it was always on the. Thesleeve cover.
I like same thing. I reallyenjoyed having the lyrics on the
album or in a booklet.
(13:55):
Yeah.
And we've done that with acouple of these.
But I don't need that becauseyou are. You really enunciate very
well.
Yeah. I don't know. I've hadpeople tell me that too. Live. Even
about the live shows that Idon't really know what that is. I
guess it's just. I don't know.I can't really explain that. Yeah,
sure. I've heard that before,though, that they can hear exactly
(14:17):
what I'm saying because I'malways enunciating so well, I don't
know. I guess I just want tomake sure that if I'm singing that
people are hearing exactlywhat words I'm saying.
Yeah.
Because otherwise it's like,what is the guy saying? And we get
these mondegreens, which are.I thought I heard this, but it's
actually. These are the words.There's a bathroom on the left. No,
that's not what the words weresaying at the time.
(14:39):
I think it must be boiled downto really, that I find lyrics to
be incredibly important. It'swhat I really enjoy about songwriting.
And so it's. When you'rewatching me, it's not so much about
the singing. It's not as muchabout the singing. It's more about
what's the content of thesong. That's probably why I lean
(15:00):
into enunciating really hard.
Yeah, that's good. This isArnold Stricker with Mark Langston
of St. Louis in Tune. We'retalking to Nick Gusman of the. Nick
Gussman and the Coyotes. Andyou can get more information on them.
Go to Nick. It's NI Gusman. GU S M A N and A and D the Coyotes.
C O Y o t e s.com nickgussmanand the coyotes dot com. They're
(15:24):
going to be playing December13th at the Old Rock House. You can
get tickets@bandsintown.com.that's a 7:30 show, also with Al
Holiday and the east sideRhythm Band will be there. And Nick,
when you do you write foranybody else, or do you write just
strictly for yourself?
I don't. I don't write foranybody else. I'd love. I'd love
(15:46):
to. If you're listening outthere and you want to collaborate,
let me know. I'd love to. Loveto collaborate. Yeah. Just writing
for us. Yeah.
So how long did it take to getall the songs together for this album?
Didn't take long at all. Allthose songs, we were already playing
out. We have. We have abacklog of many songs that we've
(16:09):
learned and that we've playedout. And we. At the time when I was
like, we need to put a recordtogether now. Let's do this. We gathered
the best 10 that we thought wewere playing really well at the time,
and we went right into thestudio at Native Sound Recordings,
which is my favorite studio.I've recorded three albums there
(16:30):
now.
It's down on Cherokee Street.
Mm.
Why do you like that place?Shameless Plug for them?
Yeah, no, I would. I directeverybody to there. It's just. So
the look and vibe of a placematters. Absolutely. The look, the
vibe, the lighting. Well, wecould start there. It's really warm
and nice and comfortable andfeels like a little. And other studios
(16:52):
I've been in, they don't allfeel like that. So that's a good
point. But also the engineersthere that I've worked with, David
Beaman, I've worked with on alot of things. David and Ben, they
both own Native Sound, butDavid Beaman engineered this last
one. He's just so calm andkind, and he's very skillful at the
(17:13):
same time. It's always a vibekill. If you go into any studio and
you work with an engineer whomaybe isn't as patient and whatnot.
David Beaman, ultimatepatience. Really talented, really
cool. So it just makes youmore creative. So that's why I keep
going back there.
So you guys recorded that. Howlong was the mixing or things like
(17:34):
that?
This one was easier than anyrecord I've done because, like I
said, we picked the 10 bestsongs that we thought. We got these
down really good. Now let's gointo the studio. And we maybe had
a couple rehearsalsbeforehand, and we went in and we
cut them all live. So I thinkit only took us two sessions.
That's great.
Maybe two and a half, I think.Yeah, more like two and a half, because
(17:58):
we went right in and we justdid live takes. Those are the original
vocals, too. We didn't replaceany. Anything.
That's great.
Everything that you Hear isstraight from us right into the board.
Do you have somebody videotapefor YouTube so you can do those live
things and then put that on YouTube?
We didn't. We had some photostaken, though. But yeah, so Native
sounds great. That's why wekeep going back there. And that's
(18:21):
how we did this record. We didit live. So it came right out of
our instruments into theboard, then onto that vinyl.
Wow.
Wow. Now people can go and getyour stuff at Bandcamp. They can
get it at SoundCloud, ourwebsite, too.
NickGustman and theCoyotes.com youm can. We've been
updating that to try to haveeverything on there. There's some
(18:44):
new merchandise we got. We'rerevamping it. But right now the vinyl
is on there. You can orderthat online.
So where the. Where theCoyotes Come from, is that going
to be like a logo on some ofyour shirts or hats or something
like that?
Oh, yeah, it already is. Wegot hats coming. The hats are really
cool. They're like a truckercap with the sort of naval sort of
fringe on here.
The eggs on the top there.
(19:04):
Yeah, right here. You know, onthe bill, right then it says, Nick
Gusman, the coyotes in St.Louis, Missouri, right on the COVID
there.
So what's. Where did theCoyotes come from? Where'd that name
come from? Why?
And you know, our. So we had alead guitarist for a while in the
band Nigel. He's amazing, anda best buddy of mine. He lives in
Nashville now, and he's doinggreat. He came up with that one.
(19:26):
I think that was him. We weretrying to come up with all sorts
of names a while back, and heended up saying the Coyotes. And
I was like, that's prettycool. And we were all like, why?
The Coyotes and the coyotes.Coyotes, they're like, they're resilient.
They're out there. They're hungry.
They're howling.
People are shooting at them.They're sickly, but they're scrappy,
and they get stuff done. And Iwas like, that's exactly us. Yeah,
(19:50):
that's us.
That's cool. That's cool. Andall the guys, they looked like they're
all having fun in the process.
Yeah, we have a lot of fun.That's the key to us doing good together.
For sure. We get along. We'regonna have a lot of fun this weekend.
We don't go out. There's somebands, I hear that they travel together,
and some have big egos or theydon't get along or someone's always
(20:14):
causing trouble, but ingeneral we have a great time. We're
just best buds and so I'mlooking forward to this coming up
trip.
Yeah, that sounds good. We'regonna take a quick break and we're
gonna go out with one of thesongs and we'll be right back because
Nick's gonna play some guitar.Live in studio and Arnold Stricker
(20:34):
with Mark Langston of St.Louis in Tune. Don't go away.
When the echoes of last nightWake me up at dawn.
(20:59):
Thanks for listening. St.Louis in Tune on each and every show,
we strive to bring youinformative, useful and reflective
stories and interviews aboutcurrent and historic issues and events
that involve people, placesand things. Hey. We cover a wide
range of content in the arts,crime, education, employment, faith,
(21:20):
finance, food, health,history, housing and humor, justice
and sports. And that's just toname a few. While St. Louis in tune
originates from the GatewayCity and covers local topics, we
connect to what is going onnationally as well. If you missed
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(21:42):
visit STL intune.com that'sstlintune.com There you'll find every
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(22:10):
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and many great stations aroundthe US and of course, right here
in St. Louis. Our websiteagain is STL intune.com STL in tune.com.
(22:32):
This is Arnold Stricker of St.Louis in Tune on behalf of the Dred
Scott Heritage Foundation. In1857, the Dred Scott decision was
a major legal event andcatalyst that contributed to the
Civil War. The decisiondeclared that Dred Scott could not
be free because he was not acitizen. The 14th Amendment, also
called the Dred ScottAmendment, granted citizenship to
all born or naturalized herein our country and was intended to
(22:55):
overturn the US Supreme Courtdecision on July 9, 1868. The Dred
Scott Heritage foundation isrequesting a commemorative stamp
to be issued from the USPostal Service to recognize and remember
the heritage of this amendmentby issuing a stamp with the likeness
of the man Dred Scott. But weneed your support and the support
of thousands of people whowould like to see this happen. To
(23:15):
achieve this goal, we ask youto download Sign and share the one
page petition with others. Tofind the petition, please go to dredscottlives.org
and click on the Dred Scottpetition drive on the right side
of the page. On behalf of theDred Scott Heritage foundation, this
has been Arnold Stricker ofSt. Louis in Tune.
(23:47):
Welcome back to St. Louis inTune. This is Arnold Stricker with
Mark Lent Langston. Mark is onassignment and he will be back for
the next show. We have NickGussman of Nick Gusman and the Coyotes
here in studio. And he has sograciously agreed to play a song
from the album here. And it's.Nick, which one are you going to
(24:09):
do?
I figure I'm going to do onecalled Magic 8 Ball and send this
one out to Sean, our fiddle player.
Okay, Sean, this is for you.
This is for you, Sean. Istarted writing this one for him
when we were on tour inGermany last year.
Wow. We'll have to talk aboutthe European tour.
(24:30):
Oh, the year before last.Sorry. No warm up, you guys. So no
judging. I just had biscuitsand gravy. Yeah, that's all the warmup
I had this morning.
And this isn't the greateststudio in the world.
Pretty nice. All right, herewe go.
(25:09):
Well, it seems like a waste tosit and worry about my fate could
be glory, it could be truth itcould rain right through the roof
Shake my heart, swing it allaround Lift me up, slam me down Win
(25:35):
or lose, just don't let medraw Magic eight Ball well, it gets
lonesome all the time butnothing's empty in my mind Reaching
(25:59):
out and holding on it don'tcome easy like the dawn Shake my
heart, swing it all aroundLift me up, slam me down Win or lose,
just don't let me draw Magic 8ball sitting high up on the.
(26:42):
Wall.
Might be here to take a fallcould you put me back? Oh, one more
(27:04):
time? Shake my heart, swing itall around Lift me up, slam me down
Win or lose, just don't let medraw Magic 8 Ball. Magic E Ball.
(27:31):
Magic J.
(27:53):
Wow.
Not bad.
You.
You had. The pistachio Gallerywas screaming in the background at
the end of that song.
Pistachio Gallery. I neverheard that one before.
Yeah, we left the peanutsbehind and we went to the pistachios.
Wow. That was great, man.
Thank you.
Now you've got. And I watchedthe voice and it's always, man, I
love your natural raspinessthere. That's going on. Then people,
(28:16):
they. Sometimes they put thatin there, and you naturally have
that.
Yeah, I think So I don't knowif it's the.
The early morning or maybemore of.
The years of abuse.
You're not getting nodes, are you?
I don't know what those are on your.
On your vocal cords it willcause from not warming up or straining
(28:39):
your voice.
I don't really mean that. Latenights and.
Oh, okay.
Stuff like that.
Okay.
I've down in my time now, Ifeel like. But yeah, years of that
maybe in the past now.
Talk about that European touryou guys did. What was the stimulus
for going overseas?
We had some friends do it andactually Al Holiday went. The guy,
his band went, I think acouple of times. And some other friends
(29:04):
have went over specifically tothe Germ, to Germany and the Netherlands.
And they talked about howamazing it was and how great everybody
treated them and how well itwas received. And we're like, let's
look into that. And so we gotthe booking agent's number that they
used and he immediately waslike, you are the type of band that
(29:27):
we like. Somebody who's nottoo big, someone that's relatively
unestablished over here. Andwe bring American bands over here
all the time and you're rightup our alley. So come over. And we
did and it was awesome. We'vebeen twice.
Okay.
Two different years, full bandand it was amazing experience. It
was so great. We had some soldout shows. It was just so wild. They're
(29:51):
just really craving this musicright now over there.
And it's really. I would sayit's an eclectic style because some
of it's bluesy and some ofit's more.
If you want.
I don't want to put people in.In a bucket because you guys are
all over the place, which is nice.
Yeah. I feel like I've alwaysbeen that way and that's the way
(30:15):
all my records are probablygoing to be forever. Just because,
I don't know, it's in a waythat might hurt you. In the terms
of what a record label mightsee, I don't really know. But I think
it's more just forging yourown sound. And I never particularly
want to stick to anythingbecause I. When the songs come, I
(30:37):
realize that I don't want tobend them into a certain box. I'm
like, they should just blossomand you write them this way and then
it should be a more soulsounding song or it should be a rock
song. This one's country.
Right.
Or. And that's just. Youshould let them live where they are.
Right.
You guys do covers of other songs.
(30:59):
Yeah. We do. Yeah, we do.
And you put your own spin on it.
Yeah, I'm sure. Yeah. With ourinstrumentation and the way we like
to do it, it has our own spin.We cover everything from the Doors
to, like, Hank Williams andBob Dylan, and we're all over the
place. We're in thatsongwriter genre there still.
So where do you see thisevolving to? Or where do you want
(31:21):
it to evolve to? Or do youjust. Are you, like, content with
where you are, or do you wantto be known more nationally, more
internationally, or.
I think, you know, you don'tget into doing this stuff normally
unless you. You. Everybodywants to be known a bit more, you
know. Of course. Yeah. I wantto be more successful with the music,
(31:42):
releasing and touring, andhave more of an audience. So that
is a goal, but it's not themain goal. I guess it probably should
be, but I guess I am. I'mhappy making music, and I know that's
the main thing that's gonnakeep my career alive. I want to just
keep making records like this,putting them on vinyl if I can. And
(32:04):
I want to. That's one of mylife goals, is to go out with 30
albums out there for everybodyto listen to after I'm gone.
And you're young enough to dothat, too.
I think I could do it. I gotthe songs. Most of them are. There's
a lot of songs that I need torelease now, still in the coming
years. It's great. I justreally love it. So I love recording
(32:24):
with the band, performing withthe band and writing songs, and so
that'll never stop. And that'sthe most important thing, I think.
So all these songs, do youstill have some in your head or.
There's some that are, like,on the back burner that you guys.
You've played, but they didn'tmake it to the album.
There's a lot that we playlive that we know that is unreleased.
Okay. Okay.
(32:44):
Yeah, yeah. So they just floataround and one will get replaced
by a new one. And then if wedon't record it, it just gets lost.
But they're not lost forever.They're still there.
Do you ever change them alittle bit?
Maybe?
Yeah, Maybe the lyrics willchange a little bit. Maybe some chord
progressions or how the bandmembers are handling a certain portion
(33:05):
of the song or something like that.
So the band really helps outwith that. Evolves. A song will evolve.
I usually bring a song in tothe band completed. And the chords,
that. The general structure isall there. The music's there. But
for six people to play, it hasto be arranged. And we all take part
(33:27):
in that. Everybody, we. First,we just learn the core of the song
and we're able to play it. Andto be quite honest, I'm always excited
when that happens. I come inwith a new song and everybody learns
it. And the first couple runthroughs. I'm like, this sounds good,
you guys. And they're like,no. They're like, this sounds horrible.
And I'm like, I'm excitedbecause you.
Heard it in your head.
(33:48):
And they're playing it, andI'm like, this is amazing. And they're
like, no, we got a lot ofstuff to, like, change about this.
And I got to figure out mypart here.
Yeah.
And then that happens, andeverybody settles in somewhere and
has ideas like, oh, maybe weshould do this stop here. Maybe we
should cut this instrumental.Maybe we should change the chord
here. Maybe, you know,everybody has an idea. And then after
(34:10):
maybe, you know, a month or soof rehearsing a song, we're usually
are able to dial it in.
That's the beauty of workingwith really good musicians, is that
they bring their portion ofthe puzzle to make the whole puzzle
fit together. And they'reobviously the bass player. It's not
(34:31):
the main thing. Or thedrummers. It's not the main thing.
Or the keyboards. It's not themain thing. It's. Everything is the
main thing. And it's what theybring to the table. And your song
is like the. The support ifyou're. I like to do puzzles. So
if you have a table, like,that's the song. And then everybody
puts their piece of theirpuzzle onto that. And then now we
(34:53):
can put a puzzle together.Otherwise, they're putting a piece
of puzzle onto air and itwon't support itself. So it's just.
It's really great that youhave wonderful musicians to work
with that.
I'm so grateful to haveeverybody in the band. It's truly
a blessing. It's just sogreat. And this album is a good example
of that. Like, this is reallyour sound. We didn't bring any outside
(35:15):
players in here other thanMaddie Schell saying some backup
vocals on three songs, right?And she played some tambourine, too,
which kicked it up a notch. Itwas really cool, but that's it. So
this is exactly what we soundlike. And this album, if I would
have just went into the studiowith other musicians, not a group
of guys that works togetherall the time, it would sound completely
(35:38):
different and not have thiscohesion. I Don't think we're all
really proud of how it turned out.
Yeah.
And it's. The more it's liveand it's us.
The more you guys worktogether, the more you know and you
can anticipate that somebody'sgoing to be doing that. So I'm going
to have to do this here or.You don't even have to. It's a non
communicative verbally. It'smore of a musical communication.
(36:01):
I know where he's going to gowith this, so I'm going here with
this.
It's crazy how that happened.It is really. And it's. We see it
on stage all the time. Ithappened at a show the other day
or at practice the other day.Someone does something and it's like
milliseconds that you analyzeit and you naturally catch on to
what they're doing. And thenit changes what you do.
(36:21):
Yeah.
Yeah.
Or you're just not playingyour part. You're listening. So you
can accompany the other parts.
Yeah. You're always trying toaccompany each other. At rehearsal
the other day, it was just agood example. Like Jeremy, I think
he was goofing around and hechanged the ending of the song to
be really. These reallystaccato hits and stops. And I didn't
(36:44):
even think. But somehow I wasable to. I caught on even on the
first hit because he hit itdifferent. And then the stop came
and maybe I was a millisecondbehind, but I was right with him.
Wow.
But he didn't tell me. Butit's just. I just. I know what he
sounds like when he plays. SoI caught on immediately. And it was
just kind of wild. I was like,dang, we're locked in here.
(37:04):
That's great to see yourevolution of not only your personal
talent of writing and guitarplaying, but how that grows within
a group and how the maturityin a group can grow of the sound.
And then that really refineswho you guys are as a group.
Yeah. It is reallyinteresting. I've never experienced
(37:26):
it. I've experienced it now.
Right.
But never before. I neverreally evolved with a group of guys.
And what I think is. Createdour own sound. I think it's really
getting there. It's finallygotten there. And I think it's still
evolving and it's gonna getthere further. And that's reason
why I put the album coverthere with the big St. Louis on it.
(37:47):
I just really think that if Ithink that our sound is very St.
Louis, it's become really St.Louis and I wanted to make sure that
was known on the COVID Yeah.
So I'm looking at the COVIDright now, and he does have Saint.
Where were you standing infront of that.
That's an old auto partsstore. That's on the corner of Gravoy
and Cherokee.
(38:08):
Okay.
It's right there.
Oh, yeah, yeah, yeah.
And I ever. I was driving byit for years, and, like, I was always
like, dang. I just love thelettering on the side of this building.
You don't really see. It saysSt. Louis Auto Parts full, but you
don't really see a good St.Louis stencil like that. Real big
on a building.
No, you don't.
There. And looks pretty. And Iwas like, dang. I just want to take
(38:30):
a picture of that one day. Andthen that was the coldest day of
the year this past winter.
It looks like it.
It was, I think, negative 7degrees outside or something like
that.
It looks like it.
And it was on a Sunday, andhalf the guys were at work or a couple
of the guys were. And I waslike. I was. Today's the day. I was
like. I told them about, Iwant to get this picture for the
album cover for a while. And Ibugged them on a Sunday and was like,
(38:52):
can you get here? And let'stake this picture. It's just going
to take 30 minutes. And we gotit if that long.
Because we're all cold.
Yeah. It was freezing.
Want to catch another song here?
(39:14):
There's people all around meBut I don't know where to stand the
sound of a broken heart thesound of a broken heart the sound
of a broken heart Is really something.
(39:41):
Now, one thing I notice aboutyour lyrics, personal experience
comes into these things.Personal life situations.
Do you.
Or do you draw from thingswhere you observe other people? I
know you.
Oh, yeah.
You were talking. I watched aninterview that you did. Maybe it
(40:01):
was down in Lafayette park,and you were talking about the Tokyo
Hotel.
Yeah. Benton park over there.
Okay.
Benton Park.
Yeah.
Yeah. A lot of the songs are amix. They're often a mix of myself
and then other people. I thinkwhen the ideas maybe come, sometimes
(40:22):
there may be probably morespecifically me.
Mm.
But then after thinking aboutit for a while or putting it on the
back burner, other things willcome up, and then you'll be able
to kind of patchwork this morerich telling of what you want to
say.
Gotcha.
Because. And that's what'sgood. Then it relates to more people.
(40:42):
And then.
Yeah.
Some songs will bespecifically just me, but I Think
a lot of times, yeah, it'smore of like a mixture. Even fantasy
comes into play. I think it'sall important in order to create
a good song. If you just were,like, factual about yourself all
the time.
Right.
Boy, those would be reallyboring, mundane, just songs, colorless.
(41:02):
But if you include more andyeah, it just gets richer that way.
So when you take the lyric,these lyrics. Some people. I ask
this question to musiciansthat we have come in. Is it the lyrics,
then the melody? Is it themelody, then the lyrics? Is this
combo together? How do you. Oryou sit down and you plunk around
on the guitar? Oh, I like thatchord progression.
(41:24):
It does always happendifferently. But I would say more
times than not, the melodycomes to me first. So the music will
come to me because the musicalready has a mood. And so if you're
always. If you're alwaysplunking around on the guitar or
the piano and creating moodsand melodies, depending on what mood
(41:46):
you're in, depending on whatmindset you're in.
Right.
You'll have this. I gotendless notes of just music on my
phone and stuff that I'll takeit take down after I create them.
And they all have differentfeels and vibes, and they all have
a different. What you wouldwrite to them would be different.
So then comes the words.Usually. Sometimes the words do come
(42:07):
first, but mostly it's likethis. And then. So then later I'll
have time to write an actualsong and I'll look through my notes
of music and I'll be in themindset of how I want to write, like
the mood. And then I'll findthe mood of the music, the melody
that I like, and then I'lljust start writing to that. I'll
usually just start playing it.And then words will start coming
(42:33):
to my brain as I'm playing itthat kind of fit with the mood. And
then once I get a couple ofwords that I like, then I'll maybe
look through my notes oflyrics and I'll find an idea I had
or a snippet of somethingsomebody said or. Or a few lines
of a poem that I was writingor something. And then something
(42:54):
usually fits. As long asyou're constantly accumulating all
these things.
Right.
You can use them at different times.
Interesting. You playkeyboards also?
I play piano.
Okay.
Yeah.
Back from when you were likeknee high to a grasshopper.
No, no, piano came. Actually,I did get a keyboard for Christmas
early on, and I played thatthing for sure. So I learned some
(43:16):
stuff back then. Then Pianofell off for a while and then I bought
a real piano years back andI've moved it all around since I
got a baby grand. George Deck,Baby grand piano. I love playing
that thing.
Good sound.
Yeah, it's nice. It's old andbeat up, but it sounds real cool.
It's a lot easier probably tomove than an upright.
(43:37):
The baby grand.
Yeah.
You just turn it on its side,get the piano, I guess.
I don't really know. They'reall hard to move. To me, it looks
expensive, too.
Yeah. Other than a portablekeyboard. Wow. Folks, you gotta go
see Nick Gusman and theCoyotes. They're going to be at the
Rock House. The old Rockhouse. And that's December 13th.
Friday the 13th. What a greatday for a show. 7:30pm Tickets you
(43:59):
can get at bandsintown.combandsintown.com Art Holiday, Al Holiday
and the east side Rhythm Bandwill also be there. Don't Forget
Nick's website. NickGussmanand the Coyotes. Dot com. That's
n, I C K G U S M A N D T H E CO Y O T E S. And I do that because
(44:20):
Nick can be spelled severaldifferent ways. I'm sure Gusman can
be spelled with two S's andtwo n's, but it's only one S, one
N. And it's not the ampersand,Ann, it's the A N D. So that's why
I did it like that, folks.Thank you, Nick. Thanks for coming
in. We really appreciate it.
I had such a blast. I hope wecan do it again.
I would love to. Please feelfree. When you guys are going to
(44:41):
cut something new, you'regoing to be going on tour or something.
I'd love to be able to comedown and talk to all the band members
and give them all the dirtthat I learned on you.
Let's do it. Yeah, I wouldlove to do that. Yeah. I'll give
a quick shout out to the wholeband. Mr. Tony hall on the keys.
Thanks, Tony. Jeremy Reedy onthe drums, Garrett Ronji on the lead
guitar. Sean Camry on thefiddle. And Justin Haltmer on the
(45:03):
bass guitar. Thanks, guys. Iwish you could be here with me, but
next time.
Next time, guys. And we'regoing to dispense with our normal
laughter time and go right toour ending. And folks, I want to
really thank you for joiningus and listening to this hour. If
you've enjoyed this episode,you can listen to additional shows@stlntune.com
(45:26):
consider leaving a review onApple Podcast Podchaser or your preferred
podcast platform. Yourfeedback helps us reach more listeners
and continue to grow. I wantto thank Bob Berthesel for our theme
music. I want to thank ourguest Nick Gusman and co host Mark
Langston, who will bereturning from Assignment. We thank
you all for being a part ofour community of curious minds. St.
Louis in tune is a productionof Motif Media Group and the US Radio
(45:49):
Network. Remember to keepseeking, keep learning, walk worthy
and let your light shine. ForSt. Louis in Tune, I'm Arnold Stricker.
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