Sputzy Sparacino, Pittsburgh's Soul Provider

From: http://www.sputzy.com/bio.html

​No matter what name you know him by, this former lead singer of "Gigolo" & "Modern Man" will make sure you don't forget him. This becomes evident when you listen to his first solo CD entitled "Not Just Any Love Song", and album entitled "Too Much Too Soon".

After his departure from Gigolo, Sputzy went on to perform with "Modern Man", who had national dance chart success. Sputzy's vocal performance with Modern Man was also featured on the soundtrack of George A. Romero's film, "Day of the Dead".

When the members of Modern Man parted ways, Sputzy's unique vocal style landed him numerous national radio commercials. Sputzy has built and maintained a loyal following, and regularly packs clubs throughout Pennsylvania, Ohio, & West Virginia. His current touring band is called "Soul Provider".

Episode Transcript

(00:00):
Yah knows that this is an nonvideo and you are bless your heart.
This is the code of podcast.Call it in Pittsburgh Music scene. Welcome
in. No I'm Johnny hert Well, your host along with Andy Pugar.

(00:22):
Today we talked to Pittsburgh's soul provider, the one and only Spotzy. So
that's what this is. Part ofyour part of this is your lives Spotty.
All right, So maybe maybe thisis going to be an odd place
to start. But when did whendid you make the transition from Jim to

(00:45):
Spotzy? How long? How inyour life? Well? I mean I
was like in shift grade when theystarted calling me Spotzy on a continuous basis.
I mean even when I was inschool, I used to just write
Spotzy at the top of the page. I mean seriously, the teachers all
knew me by that, you know. So I'm more familiar with Sputzy than

(01:07):
I am Jim. Somebody called Somebodycalls me Jim, and I think it's
like the I R S. Yeah, yeah, well isn't isn't that what
your last name means? So Sparsino, Well no, no, Sparsino literally
means small shot. Oh okay,okay, But Sputzy is a German word

(01:29):
for those little sparrows the bird,right right, That's how they derived that.
So how did you get the namespuzzy? Then? Well, my
father was called spots when he wasa child. He was a child,
and then it kind of like gotonto me. When I was like three
or four years old, they wouldcall me three little sputzy, you know,
and this and that. But Imean people started calling me that slutzy

(01:52):
when I was like, I don'tfort to fifth maybe sixth greade, I
don't know, you know, butyeah, so it became my name.
Which came first the name or yourlove of music? Well, probably the
love of music. I yeah,I was five years old I picked up
a guitar, So yeah, youknow, my love of music started with

(02:15):
Ray Charles. I mean I remembermy father putting on that album on the
big stereo, you know, andon Sunday mornings, and I just couldn't
believe the feeling that I got fromhis music, you know what I mean.
And so yeah, I was thelove of music. Yeah, So

(02:37):
how old were you when you heardRay Charles? And when when did that
corpse with the with the guitar?And who gave you the guitar, give
us that story, all right.See. So okay, So first of
all, I had older cousins.H two girl cousins that were older,
and they you know, they havethe record players and the forty fives and

(02:59):
all that stuff, and they wereat that time it was James Brown.
They loved James Brown. And Igot turned on to James Brown when I
was young. Well, I waslike three or four years old. And
no, I remember this because againfeel the soul that was coming out of
that man's mouth was just you know, it just it moved me. And

(03:20):
then again with the Ray Charles thingI was. I got a guitar when
I was five years old, andI used to go down to I lived
in DeNora, and I would likenot like today where you could walk down
to a guitar lesson, but Iwould take my guitar lesson. I'd go
down and there was a record storetwo doors down from the place where I
was getting guitar lessons, and Iwould go in and buy Ray Charles's records

(03:45):
with some money gave me for thelessons. You know, man, I
just I just still to this day, you know, on my breaks,
I play music and when Ray Charlesis on and I'm coming up on stage,
I can't turn it off. Itseems like disrespectful, you know.
Yeah, Ray was the man,all right? So did you were you
ever tempted to play piano because ofRay? Or was it? No?

(04:10):
No, I was jigglow and modernman. I did play some keyboards.
I was a music student at Iup at Jackson, Tennessee Union University,
and I had to I was avoice major, so I had to take
piano minor. So I did playsome keyboards. But it was all about
the guitar. It was just youknow, I mean, come on,

(04:33):
guys, like, don't get mewrong. I was never really a big
eldest fan, but I mean theguitar work. You know, now we're
jumping in. We jumped around alittle bit ahead of ourselves. But so
because I want to start with whenyou discovered music and you were buying records,
and what was the radio like whenyou discovered music for yourself? What?

(04:57):
Well, the radio the radio wastransistor, you know, up to
my ear, and you know therewere guys like Spranky Valley and Motown was
happening and all that stuff, andyou know, I was I was never
really a big fan of Motown.Uh. It always seemed odd to me,
you know it listening into Ray Charleston'sfinding the soul in the meat,

(05:20):
like he would bring the meaning ofthe song out. Motown was like way
too happy for me, you know, the bay Sweet Darling, That's just
that's not how you would sing.That's not how I would sing that song,
you know. So yeah, that'syeah. I was. I was
young. I used to walk aroundwith that transistor radio glued to my ear.

(05:41):
So what was the first record youbought at that that that record shop?
Do you remember? Oh? Itwas I don't remember the exact record,
but I know it was a RayCharles record. I mean it was
probably say can Tell Feather, becauseI think that's the one tune that uh
that got me like sold on Ray. You know, that's a good one
to start with, right, youknow. All right? So when did

(06:05):
you start? So you took guitarlessons? What was what did you want
to get out of that? Well? You know, well, I definitely
wanted to learn to play the problemwas is that some of the teachers that
I had when I was young,I really didn't know how to teach a
young person. You know, theywould try to treat you as you were

(06:30):
like older and understood, which kindof was like deflating to me. You
know. I'd get there and I'dsit down with my guitar and I try
to remember what he told me,and it was just too much. But
as time went on and I foundTony Chancelon senior, Yeah, Tony opened
up my Yeah, he opened upme. He opened up my guitar.

(06:51):
Yeah, he just he kind ofput it right right in the pocket.
He knew where I was supposed tobe and how I was to get there.
You know. Yeah, he helpeda lot of people in the area.
Oh man, Yeah, Tony Tamflon'ssenior was shouting, boy, did
you do you come from a musicalfamily? No, not at all,

(07:12):
not one person. They don't evensing naked in a shower. That So,
tell us about your the formation ofyour first band. Were you the
leader? And how did that go? And who what was the band called?
Well? Okay, there were okay, what I was like, I
don't know, nine or ten.I was in a band with some guys

(07:32):
from Scholeroy. It was called theRoyal Court, and uh, I was
not the leader. As a matterof fact, I wasn't even the singer.
I was just a guitar player.The drummer, uh, his name
is George Dodie. George had somethingwrong with his throat. They needed.
We were going to play a gig, believe it or not. I mean,
of course we didn't get paid,but we're going to play a gig.

(07:55):
And we're sitting around and I saidI can sing the songs. They're
looking at me like, yeah,right, And so after that I was
pretty much the lead singer. Afterthat. You know, this is before
your voice changed. Oh yeah,oh my goodness, and you were saying
Ray Charles before your voice changed.I was trying to be Ray I was.

(08:20):
Do you remember your first paid gigand do you remember the set list
any of the songs that you played? Well, As a matter of fact,
my first paid gig, I wassolo and I played at Saint Philip
Neary's, a bizarre that they had, you know, in the summer,
and one with Michael Rose the BoatAshore. The other one was I'm Henery

(08:46):
the eight. That was my firstpaid gig. That's great. Do you
remember how much do you got?How much did you get paid? I
have no idea. I'm sure itwasn't a whole lot, you know,
but but but I remember it wasmy first paid gig, you know,
and my sister actually saying with meon Michael Row the Boat Ashore. I

(09:13):
don't think she's ever been on stagesince she was two years younger than me,
so, you know, but yeah, it's funny. I don't know,
it's funny how you remember those kindof things, you know, those
early days, because it leaves suchan impression. So were you were you
hooked on performing at a very youngage? Oh yeah, I mean you

(09:37):
know, any kid with that uh, that recognition you know, they you
know, and that attention that yougot when you were young, you know,
I mean it helps develop It helpeddevelop the musicality because you know,
you can get up in front ofpeople and be able to show what you've
learned and uh, you know,and you always wanted to do better then

(10:01):
they kind of thought you were goingto do, you know, so you
worked hard to do that. Andyeah, I think it had a lot
to do with beta. Yes,being on stage was I've been on stage
my whole life, you know.I mean it's a different feel on stage,
Johnny, It's a. You know, I look back at times now

(10:22):
that you know, we partied.Yeah, we partied hard in the eighties
and nineties and for the past,I don't know, twenty five years,
twenty eight years, something like that. The music became important again. It
was all about the music. Itwasn't about partying, meeting girls and you

(10:45):
know, doing that. It becamemusic again, and you know, I
kind of lost sight of it fora while, you know, it was
all about being on stage and thisand that. But you know, every
day now, I mean I'm pushingseventy and I get up in practice every
morning, you know. So it'suh, yeah, it's you know,
life changes for us all. Youknow. So well we're going to get

(11:09):
into the eighties eventually. But Ireally want to kind of focus right now
in your high school days when you'reformulating, you know, high school bands
and things like that. Tell usa little bit about those formations of those
early bands. Okay, well afterthe Royal Court I had was the name

(11:31):
of that band? Was it highSchool? And no? No, this
is great School. I think that'sthe name of the band. Wow of
Peace. I can't even remember.Sorry, the time piece, that's it?
Hell? Hello, Yeah, thatwas it anyway. Uh, yeah,
we started playing. We were doingI was like thirteen years older,

(11:52):
fourteen years old, and that wasmy band, you know, along with
Dave Krosky, Ricky Durantis and JoeLombardo was the main know, the main
characters and have been in. Yeah, we were playing you know, outdoor
things, pole parties and you know, things like that. And you know,
even back then we were doing youknow, people. It was funny

(12:13):
because everybody was you know, tryingto learn different souff. We were heavy,
heavy into rock. I mean thatwas like you know, waking up
like turn putting on the albums thatyou know, just were as heavy as
they could get, you know,but that was back. Yeah, that
was back when I was about thirteen. And then after that I went with

(12:35):
a band called the Holidays, whichI was fifteen and the closest person to
my age was thirty something. Yeah. We played at the Belvern and Moose
Club for you know, like threeyears, I think, yeah, you
know, and that's I mean,we started making money. I was making

(12:56):
seventy five dollars a night. Iremember that. Well damn well, damn
yeah. So this is we're talkingthe mids mid to late sixties. Now,
so what when you said you playedrock, what kind of were you
influenced by the Beatles or was itit was more the Kinks. You know,
we were into that bad boy kindof like, you know, just

(13:18):
at raw, you know, andthe Beatles were Don't get me wrong,
the Beatles are incredible, but youcouldn't the only thing you could do from
the Beatles was like the first coupleof years that say, after that when
they got into you know, justbeing in the studio, you couldn't.
You couldn't replicate those songs. Itwas just impossible. And during that time,
I actually with the we're playing withthe Holidays. I had a band

(13:43):
called the time Piece that we wewere in and that was sixteen fifteen sixteen.
We were doing Santana, you knowand things like that. And yeah,
and then Dave and I, DaveKrosky and Ricky Durnis and I put
a trio together. Uh sputsy DavidRick How about that for a name.

(14:03):
But it's kind of like Crossby Stillsin nash Uh yeah, but uh yeah,
we played Seven Springs and all thatstuff. We were like sixteen years
old. Our parents were driving usaround. You know, and what kind
of music was the trio playing wasWas it cross Nash Or was it was
it Folky? Was it was?What? What kind of music was it?
Yeah, it was it was aCrossy Stills in Nash. It was

(14:24):
uh Doobie Brothers. Uh, youknow, the acoustic stuff that we could
do. So three of us,all three of us saying, you know,
Ricky played bass, they played guitar. I played guitar, and we'd
switch off playing lead or electric ratherand you know, just back and forth.
It was. It was a funlittle thing. You know. Now
let's okay, Now let's move intoyour college years. So so where did

(14:46):
you go to school? Well withi EP first, Uh, and up
there it was Uh, I wasstill playing with the Holidays. I'd come
home on the weekends and I playedwith the Holidays on Friday and Saturday nights,
sometimes Sundays too. But yeah,in college it was more jam sessions

(15:07):
up at I up, you know, you the music department. The guys
would get together at night, youknow and sit around and play in somebody's
living room or something, you know. But then I went to Union University
in Jackson, Tennessee, which therewas a band called handmade. We were

(15:31):
the pride of Jackson. I meanwe there's actually a Jackson Museum, music
museum. Carl Perkins is from Jackson, Tennessee. And a guy the name
is Wes Henley, who uh,I forget how many number one hits he's
had on yacht Rock. He's aguitar player but also a producer and owns
the studio. So that was partof the band. And we're actually in

(15:56):
that that museum, you know,which was the kind of cool yeah yeah,
so, uh, but that wascollege. Yet after that it was
mayhem. I got done with that, ended up with the with Artistry out
of Monroeville, Pa right, Mcaluso, his brother Tony and a guy by

(16:18):
name of Jack Darrow and the girlssinger by the name of Debbie Demola and
uh yeah bright out of college,I came back to Pittsburgh and uh I
joined that band and we played,uh five days a week. It's a
hospitality motor and in Pennhills. Uh. You know that was during the days
where you had holiday and bands andwe're traveling you know, a lot a

(16:41):
lot of over the country. Youknow. Uh, there's the same the
same regional you know, Ohio,uh, West Virginia things in the Eastern
PA, Northern Theater. But uh, yeah, it was. It was
a good bear. And so whatof music were you playing at that time?
Oh man, that that was aHodgepodge. I mean we were doing

(17:03):
on a clear day, Who GoneIt Last? By Phoebe Snow And it
was all over the place that band. You know, I wouldn't want to
be like you Alan Parsons Project.I mean it was all over the place
playing with that band, which wasgreat because you know, you go through
these stages of you know, whenyou're young, you want to play this

(17:26):
music, and when you're gettle olderyou're playing this music, and then you
get a little older and now allof a sudden everything started coming together,
you know, all the different styles, you know. So yeah, that
was that was artistry until I thinkit was seventy four, No, seventy
four the band started. Yeah,yeah, it was seventy four, Phil

(17:47):
seventy seventy nine, I think,yeah, seventy nine. And then I
ended up playing with a guy bythe name was Tom Swossone and Millie Swasson.
They had a band called Breakaway.And the thing with artistry is,
you know, I got frustrated becausewe were always the band that was playing

(18:10):
up the street from the hip place. You know, we're playing in hospitality
motor ins or holiday ins that wereoff the main drag, you know,
things like that. And he usedto get me frustrated because well, what
as good as these things, whyare we playing in those places? You
know? So when Tom came alongand asked me to join the band,
yeah, I jumped at it becauseI thought, you know what this is.

(18:33):
This is the kind of band becausewe were playing at that time,
we started playing Clapton, we wereplaying you can ring my bell, you
know, stuff like that that youknow, was dance music. And that
band was very short lived. Tomhad a heart attack and he was the
leader of the band, so itwas it was kind of tough. Then
then the Coins came along, thefour Coins, and asked me to join

(18:56):
that and I put the guitar down, which blew my mind. I didn't
know. I didn't know what todo with my body, you know what
I mean. No, so seriously, I always had a guitar in my
hands. Now they want me todance and sing, do a show?
Come on? You know? Thatwas that was never my Forte. But

(19:17):
that leads me to a question.You have such a distinct voice style,
and I'm wondering, was that thepoint that you started to hone in on
your style when you put down theguitar or did you have it before that?
I had it before then. LikeI said, I was trying to
mimic Ray Charles and STEVIEE. WhenI was I thought Stevie Winwood was Ray

(19:41):
Charles when I first heard Getting Sick. You know, he sounds so much
like him. But no, Iwas. I was trying to hunt that
voice and I was again it was. It was the thing about Ray Charles.
The thing about him is you knowhe could sing anything, any thing
and make it Ray. You knowhe did. He wasn't trying to sound

(20:03):
like you know, anybody. Hewas Ray. And every song that did
he covered, the Beatles, hecovered, country, he covered and everything
was Ray. You know. Itwas that soulful you know you have that.
I think you have that. Ithink you wus in every song you
sing, right, Well, that'sbecause of that Ray Charles thing. I

(20:25):
mean I realized that, well ata young age, I don't want to
sound like anybody else. Anything comeup to me man, you sound like
Tom Jones. You sounded like TeddyPendergress. He sounded okay, cool,
but you know I wanted to soundlike me, you know. But yeah,
it was that Ray Charles thing.And again I keep going back to
that because he was very important inmy life. He still is. I

(20:48):
mean I still listen to those recordsand or the you know, the whatever.
But I listened to the Ray Charlessing some of these things and I
go wow, you know, likeand then he was mister one take you
go in and sink it the firsttime through? Are you kidding me?
You know? You know. Soyeah, he's definitely like the biggest influence

(21:08):
that I've ever had. All Right, So with artistry and the four coins,
was there any aspirations to record?Was there any aspirations to write music?
Well? Yeah, when I wasin Tennessee, Uh, when I
went's college down there, we uhthe band was called Handmade and uh we
ended up doing a Battle of theBands and uh it was a recording contract,

(21:37):
uh with CBS Records, and wewon the thing. We beat out
Confunction how about that? But uhyeah, we so we you know,
uh, it was always about recording. I mean, you know, you
always wanted to be having that hitrecord. But you know, again,
as time went on, you startrealizing, yeah, I'm not going to

(22:00):
be a hit, you know,but you know you try to. Yeah,
you just tried to, you know, to the best you could and
try. I mean again, I'verecorded so many songs. I've been signed
three times to record companies, anduh, it's just it's part of growing
up in the music business. Youknow, there's some people again. You

(22:21):
know, when you cut a record, you think it's, man, this
is really good. It sits onthe desk in New York at CBS Records,
and next thing you know, MichaelJackson came out with a new song.
So you forget everybody else. Youknow, you went into the pile,
you know which I mean, Iunderstand that, you know now I
do. And then I was alittle upset. But you know, now

(22:42):
I understand. You know, Michael'sMichael. All right. So let's move
into the eighties where things get crazy. Yeah it gigglow Yeah. Uh.
That idea came about when I gotback from uh, from Vegas. I

(23:06):
ended up going to Vegas for acouple of years. In between there,
I was with a girl by thename of Robin Lewis, and we did
the Lounges and you know, inVegas for two years plus and I and
what was that? It was interesting, I'll give you that. You know,
it's hard to be a twenty oneyear old guy in a town that
never sleeps. You know, it'sjust you know here, you don't I

(23:32):
don't know what it's like. Iwant to know what is it like to
be in twenty one in a townthat never sleeps? Well, I mean
it's crazy. I'll give you that. There were a lot of stuff to
do, you know. I thinkthe first three months that I was there,
I said, I'm never going togo to bed until the town closes
up. I just grow up,you know. But yeah, it was,
uh, it was a great experience. The thing is is, you

(23:55):
know, time goes on and therewe were doing uh, you know,
show tunes. But the show,the show that we put on was she
was saying, the girl was saying, come to my window that whatever that
girl's name is. And I wasdoing Michael McDonald. I mean, so
it wasn't a show like you know, New York, New York and stuff

(24:17):
like that. It was it waspretty hard edged. You know, and
I mean we worked, we workedfor good two plus years and I just
had had enough. I couldn't takeVegas. It was just it was just
too much for me, you know. So I came back home and Joe
Rdureau, wait when I'm not donewith Vegas. You didn't, you know,

(24:44):
you promised us of the party indays? Was it was was was
it was Vegas pretty much. Youknow, well, yeah, it was
a party. I mean, youknow again, you're twenty one years old.
You're in a town where I mean, well you want law stir at
four o'clock in the morning, goget it, you know. So,
you know, yeah, it wasa part of it. It was just

(25:06):
you know again, and especially beingin a band, it was doing the
you know, the lounge circuits.You know, you had a bunch of
the rest of us, you know, we called themselves lounge lizards. You
know, there were I mean,there were a bunch of us playing the
lounges. And at the end ofthe gig, we'd all go meet somewhere
and sometimes there'd be you know,jam sessions, and sometimes they just be

(25:26):
a drinking party. Sometimes we gotMexican food at El Hardine's at three o'clock
in the morning, you know,I mean it was you know, it
was. It was fun for twentyone years old, you know. All
right, So what was Vegas likewhen you were there? I mean,
now it's almost like it's almost likea Disney World. But what was it
like when you were there? Well, this is pre Howard Hughes. Okay,

(25:48):
they were finding people in the desert, you know, I mean people
wore cowboy hats for real, youknow, I mean, uh, yeah,
it was it was not the townit is now. That was Howard
Hughes, you know, when hecommercialized everything. Before then it was just
rampant, everything was. I mean, it was just it was a cowtown.
I mean that's what you know.You were there. When you were

(26:11):
there, you were with the rowdy's, you know, because that's that's who
came. You know. It wasYeah, Johnny, it was a lot
of fun, all right. Nowwhen you come back to Pittsburgh, did
you sober up or did things continueto be because yeah, well no,

(26:33):
no, but you know again hereI am now, I'm like, yeah,
twenty five, twenty six years old, and Joe Argirou, Ray Delicio
and Gary Corolla. It was ErniePontier. You know, we put the

(26:56):
bands ino together. Here's what itwas. You know, I was looking
around town when I came back toPittsburgh. I didn't know what I wanted
to do. I didn't know ifI was going to quit playing. I
didn't know if I was going togo back to school to be something else.
I didn't know what I wanted todo. But what Georgrow said,
man, we got to do this. We gotta do this, we gotta
do this. So what we didwas we'd get together and we'd drive around

(27:19):
and go listen to other bands,you know. And the one thing that
I found was in the like nineteeneighty most well, almost all of the
bands in Pittsburgh were rock bands exceptfor the black bands, and they were
playing dance music and people were dancing. Like I'd go to these black clubs
and the whole place is dancing,and I'd go, Wow, dude,

(27:41):
this is this right here is working. You know, this this is what
we need to do if we're goingto be in Pittsburgh. We got to
be the white dance band. Wehave to be, you know, because
again here you know, Jigglow,six Italian guys on stage and uh,
you know so and then the jiggleof connotation, you know, such things

(28:07):
girls want to dance. And whengirls would get out on the floor and
there'd be five and six and acrowd, you know, dancing, the
guys were following. They were chasingthat. You know, I just guys
just to come up to me.Go, man, I love your band.
Every time i'm you know, Isee your band, I find a
woman to take home. You know, they didn't hear a word we sang.
You know, they didn't care,which which I understood, you know.
I mean it was just that time, you know, but we we

(28:33):
were playing, I mean, wewere playing songs like, uh, you're
talking out the side of your neck. I mean, we were playing all
these cameos songs. We were doingthat really dark, funk, nasty.
If if it wasn't funky, Ididn't want to hear. I didn't want
to have anything to do with it, you know. I mean, because
again, we're trying to pack clubs, because the more you pack clubs,

(28:55):
the more money you make. Andyou know, and again the party continues,
you know, especially when you gotyou know, five to one girls
in the audience. You know,all right, I got a question that
I've been waiting to ask for thisone. George Romero. Yeah, okay,
So that was Tom. That wasTom Causey h. Thomas Worker,

(29:18):
producer had well, you got toexplain what I'm talking about. So you
know, you guys, go ahead, go ahead, I'll let you tell
you, yeah, because I'm gonnastart you where it began. Tom,
Tom Causey had when uh Jig wasthe other towards the end of jigglo uh,
the guys the problem with that bandis they wanted to stay in that

(29:42):
funk era, which but the musicwas changing, you know, the crowds
were changing. So my idea wasto get it to the white dance music.
You know. Don't don't get mewrong. I I still wanted to
play the black dance music, butI wanted to put in some of that,

(30:03):
you know, that uh uk musicthat was coming out that was really
strong dance stuff. And the guysdidn't want to hear it. So Tom
Causey came up and approached me andsaid, hey, look, I have
a band in town. They're calledModern Man, Gary Homan, Jimmy Blazer,

(30:26):
and Buddy Hall. And he said, I want you to join his
band. He said, and thisis the kind of music play. So
I went to hear him a coupleof nights and they were playing the exact
music that I wanted to do,you know. So anyway, I joined
Modern Man. Well that band endedup breaking up, just attitudes and egos
and things. But Tom retained thename Modern Man and we put another band

(30:52):
together with Cal Pearsall and uh,some of the guys left over from Jigglow.
And Tom came up to me oneday and said, hey, we
have a we have a chance toget some music in a movie. It's
called Day of the Dead. Andhe was in touch with the you know,
the movie company, and uh,he said, can you write some

(31:15):
songs? Well know, sure,let me try it, you know.
So anyway, we wrote three songsfor the movie and they took one and
put it in the movie. Okay, they took the scene that we had
and used it throughout the movie,which kind of upset me a little bit.
But well why why why did don'tyou think that's a little bit of

(31:37):
a compliment. Now, well,no, I didn't get paid. Okay,
all right, okay, now thatmakes sense. Yeah, it kind
of like upset me a little bit. But Tom, you know. His
thing was this, Hey, thisis just the beginning of this we got
you know, we're gonna be doinga lot more of this, so you
kind of like the bullet But anyway, yeah, Tom said, uh,

(31:57):
here's the script, here's the scription, and they want you to write a
song about At that point in themovie, there was a a point where
Glory Cardill or card Belly whatever itis, at and the guy that was
the lead uh yeah movie, theywere sitting in a like a trailer and

(32:22):
they were talking about how they wantedto, you know, fix what was
going on with the world, andhe wanted to go to an island and
just start all over again, youknow, and she wanted to fix the
problem, you know, with thezombies. And so I wrote a tune

(32:43):
take Me to the World Inside yourEyes, because it was like, I
mean, like begins, like ends, you know, I mean here we
are to start again, you knowwhat I mean. So that's not happening
then, as you know, theyoh, it just started something over here
anyway, not on my bacon,did you hear that? Yeah, it's

(33:06):
okay, that's all right. Ithink I think I'm gonna go in because
that's gonna get loud, I thoughtzombies. Yeah. So anyway, so
Tom calls me up and says,hey, we need one more song for
the album. This was like teno'clock in the morning. I said,
okay, I said, what doyou want it to be about? He
said, I don't care. Ineed the songs quick. I said,

(33:29):
all right. So, you know, I went on about my business during
the day and he calls me atlike five o'clock. He says, well
you ready, I said, forwhat? He said, I have studio
time book tonight. Okay, forwhat he said, the song you're writing?
What? Okay? So now I'mbrightening a song as I'm in the

(33:50):
shower. I get in his car, I'm writing lyrics on I have no
music, I have no idea what'sgoing to happen. I got to the
studio Blazer's already they're writing, doingsome track. I'm sitting on the other
side of the wall and Jerry's studioand New Beaver Falls and listening to the
track, trying to get you know, ideas together and melodies together against what

(34:14):
he's doing it. And we hadthat song out by seven am. It
was in the mail, you know. And that was one other one that
hit the album. You know,were you were you happy with the result
though, you know what at thattime, No, at that time I
wasn't. But you know, ifyou if you watch or you listen to
anything that you know, every nowand again, I get this day of

(34:37):
dead ages and all that stuff,and they all talk about so highly about
the songs that it kind of like, you know, and I listened to
him now and I go, oh, it's too bad. It was just
not I mean, it was fora movie, so it wasn't a dance
tune. It wasn't you know,it was kind of just it was about
the movie. So yeah, I'mokay with it now, you know,

(34:59):
it's that point. I just thoughtit wasn't enough time to really do what
should have been done. But again, Tom liked it, Uh, donnye
Garzan liked it, and obviously thepeople liked it, you know, George
and Mera liked it. And soyeah, it was cool. I mean,
I'm cool with it now. Andhow did modern Man end? Okay?

(35:23):
Uh? Here we are playing uhdance music, you know, uh,
and that band played like a youknow, the white dance and the
black dance we were I mean,it was it was a dance band,
but we were you know, switchingover you know, different charts. And

(35:44):
toward the end of that band,I started seeing the crowds diminish. They
it just seemed like everything got soh commercialized. I guess what happened was
is that people couldn't afford to comeout. It was it was their eighties,

(36:07):
you know, and the late eighties, and it was, you know,
they couldn't afford to come out.The crowds were diminishing, and so
I thought, you know, Ineed to get out of this. I
get because I wanted to make moneyat that point, you know, because
I already have a child, youknow, and I got to I got

(36:28):
to bring home that money. SoI started thinking, you know, I
guess corporate is the way to go. You know, people is using credit
cards, you know. So Itold I brought it up at one of
the meetings to you know, kindof change some music, kind of get
some of the oldest things in that, but you know, change them,
you know, make a muss andjust to put that dance fill to it.

(36:50):
But you know, doing like classicyou know, uh, Science Field
Delivered and stuff like that, youknow, and they didn't want to hear
anything about it. They wanted nothingto do with it. So I thought,
you know what, I guess it'stime, you know. And I
mean we had a good run.It was between Jigglo and What a Men.
It was nine years. You know, it was a good run.

(37:13):
And you played, you played alot of you know, the well known
VIP and the Confetti's and those biggeryou know, dance party. You know,
it was like it was like postdisco. But you know, there
were big clubs and then towards theend of the eighties that kind of lost

(37:34):
team. The economy started to turnand get get a little dicey, and
so those bigger clubs, you know, because they needed they needed a thousand
people in the club to make theirtheir coin, and it just you just
didn't have that many people to getinto the clubs at that point. Well
that's what I was just saying.You know, the times changed, and

(37:58):
I wanted to change what kind ofbecause like I said, you know,
the only people that had money withcorporates, you know, So I thought,
who's you know, who's in thecorporate It's not the twenty five year
olds, it's not the twenty twoyear olds. It's the thirty five forty
year old, right, And Ithought, you know, change some music.
Let's you know, to make amove here, you know, to
get into that corporate market. Maybe, like I said, they didn't want

(38:20):
to hear anything about that. Sothat's why I put the Soul Provider band
together, you know, because itdid that stuff, you know, I
mean we you know, the SoulProvided. Man. I had never done
anything like Matt Cole or Sinatra orTony Bennett or any of that stuff prior
to this, and I thought,you know what, man, if you're

(38:43):
going to play corporate party, ifyou got to do some of that,
you know, some of it,you know, but you know, I
didn't want it to be all night, you know. But so that kind
of opened up my ears to doing. And then I was I said,
when modern uh full Provider first started, were doing Ray Charles tunes, which
I was in my glory, andthen I found out that nobody knew any

(39:06):
of the songs, so uh,you know, so I had to change
that. But again we went anddid the you know, the the the
hits from yesteryear, you know,the uh, Tony Bennett, the Sinatra
things like that. We do thoseand then we did you know, for
corporate parties, you're doing Shout andthe Twists and Mustang what's her name?

(39:28):
Salad? Yeah, I have afunny story about that smoke too, but
you know, oh oh, let'shear a funny story. All right.
So when when I finally decided thatI was going to get rid of a
ten piece band because it was justtoo much. I mean that soul Provider

(39:52):
ended up be called rent provider,you know, uh it uh, you
know, it just got to betoo much. I was going through a
divorce and my personal life was becominguncluttered, and I'd go to work and
it would be like, come on, guys, they're at a bar drinking

(40:14):
four beers on a fifteen minute break. You know. I just you know,
and I'm getting heat from the corporateYeah, and they're giving me a
check. They're telling you, guysare drinking. They're drinking. I can't.
So I thought, you know what, I'm done with this. I
got to do something else. SoI decided I was going to do solo.
Well, and then I found thissite that I started doing. You
know, they have their own tracksand all this stuff. Anyway, so

(40:36):
I was playing up in Green TreePark and I played my first couple of
songs and there were about maybe onehundred people there. It was kind of
cool, and it's like my firsttime going out in front of that many
people as a solo. And somewoman in the back screens play Mustang Sally.

(40:57):
I had seriously, I was overthat. I mean, I played
that song more than Wilson Pickett,all right, and so I over them.
I said, I don't know thesong, and so I started the
next song and I played that.As soon as it was done, people
are playing and he heard his voicein the play my fank, Sally.
I said, listen, I don'tknow what you're talking about. I never

(41:20):
heard the song. Don't know whatyou're saying, okay, And I started
the next song, and at theend that I saw people were played.
She screams, play my fank,Sali. I said to her, I
said, I don't know the song. She streams up. I've heard you
sing it a thousand times, andwasn't that enough, you know, I

(41:44):
mean, you have been other songsthat have been recorded, you know.
And don't get me wrong, Iget the ideas you guys want to scream
bride Sally right, I get that, I understand that, but that's not
what I'm here to do today,you know. And so but that's my
funny story about well, I gotta, I gotta. I know where you're
coming from because the first disc jockeyI ever met was a guy by the

(42:07):
name of Mark Elliott, and hesaid, Johnny, you better love the
music that that that you start offwith, because it's gonna it's gonna follow
you for the rest of your career. It's like, yeah, so,
yeah, I've been playing the samesong for forty years, you know.
And you know, and it's funnytoo, because you're in the You're in

(42:29):
the same position that I was in. You get to a point where you
can't hear it anymore. You justdon't. It's like greats on me now,
you know some songs that I've doneforever and ever and ever, you
know, you just yeah. Somy new thing, though, is uh,
my new thing is very cool.I'm doing like stuff like Chris Stapleton,

(42:52):
Santana, Johnny Cash. I mean, I'm doing songs that I enjoy
and I love, and you know, I've gotten to a point where this
is gonna sound terrible. My That'swhy I used to say, I hate
when you say that, but Iused to say, this is about me.
This is all about me. I'mgonna play what I want to play.

(43:12):
Like it, hire me, don'tlike it, don't hire me.
That's how simple it is. Andyou know, I play all kinds of
stuff now. I mean I'm playingNeville Brothers playing, you know, I
mean just stuff that I really enjoyplaying as a guitar player and singing,
you know. And I do someTom Jones, you know. I have
nothing in Delilah and stuff like that, the crowd pleasers, you know.

(43:36):
But yeah, music's come all beingin all those different bands and all the
different types of music that I hadto learn. And you know, you
give your quick story down here.I like my first year down here,
a guy came in to see meand he said, hey, I'm the
president of the Snowbirds Club, theWalton County Snowbirds, and I'd like you

(43:58):
to come and sing one of ourmeetings. I said, okay, I
could do that. Well, youknow, I didn't know what a snowbird
was. I mean, I'm fromPittsburgh, what do we know? But
we don't have snowbirds in Pittsburgh.So I called the guy that is here
and he's been it was here foryears and years and years, and he
was a big thing with these snowbirds. And I said to him, I

(44:19):
said, so what I got toplay at this thing? He said,
listen, they love Tony Bennett,they love Sinatra, they loved this,
they love that. All right.So I didn't want to do it,
but I went back and I startedlearning of relearning those songs again. You
know, the score changes, andas I'm sitting there and I'm learning these
songs. After about day three,it hit me, these are the people

(44:42):
that went to Woodstock. They're notone hundred and ten years old, you
know, listening to Sinatra. I'msure some of them did. But I
thought, you know what, no, so I'd go to the meeting and
the first song I played was BlackMagic Woman, Right, yeah. I
got a standing ovation on the firstfall, and when I got done,
people were coming up to me,going, man, thank god, you

(45:06):
know you want to playing all thatold stuff that these people keep playing when
they get here, you know,And I thought that was okay. Now
I got a grip, you know, I got a grip on these folks.
And you know, down here wehave you know, Snowbird season,
they start coming into November and theyleave in March, the end of March,
beginning of April. And it's funnybecause you know the guy that I

(45:30):
talked to down here that was tellingme about Snowbirds season. Yeah, they
come down from Canada with a twentydollars bill and one pair of underwear and
they don't change either. But youknow, the Snowbirds has been great to
me. I mean, they reallyhave. I'm and it's funny too because
you know here during the summer,during the season, you know, some

(45:51):
places have three three acts of day, like you have somebody playing from twelve
to three, somebody the same placefour to seven, and another one eight
to eleven. You know. Imean, that's that's the way this runs
down here. During his tour.Well, during Snowbird season, everything becomes

(46:12):
earlier. You know, I playedfrom four to seven. When the Snowbirds
are in town them, I mean, hey, they aged four o'clock,
they're ready to go home to seven, you know, And I get that
too. I understand I do too. In fact, I really wish some
of the rock bands, you know, the Eagles aren't coming to town.
They don't start they don't hit thestage till nine o'clock. I'm old,

(46:34):
get start, get on the stageat six o'clock. I have to get
up in the morning for crying outloud. Absolutely. And you know it's
funny because when Annie told me about, you know, the slow conversation at
nine, I think, you know, I remember a time when I couldn't
be up at nine having a seriousconversation. But now six thirty is like

(46:55):
if I'm just dead by, andif I'm out of bed at seven o'clock,
that's like late. All right.I got a couple of questions.
So what made you go to Florida? Why destined? Okay? So I
was playing downtown in Market Square atNola and a guy came up to me

(47:15):
and he said, hey, man, I own a bar in New Orleans,
and he said, I'd love foryou to come down and play.
I said, sure, you know, so I give him a card.
You know, you know how thatis, here's the card, and then
you don't hear from him. Well, he called me and he wanted me
to play for Halloween, and Ithought, well, Halloween in New Orleans
and that'd be fun, you know. Yeah, so we made it.
Yeah, we made a deal,and uh so I started calling, you

(47:39):
know, for the airline tickets andhow much it was gonna cost. And
I'm thinking, I can just godown and rent equipment rather than you know,
carrying all my stuff. And soI called. I was called different
music stores in New Orleans and everythingwas booked for Halloween. They booked a
year in advance. I was like, well, now what do I do.

(48:01):
Well. I had a buddy thatused to come to Deston to golf.
You know. He used to sayto me, spots, you got
to go to Destin. Yeah,I don't golf, Okay, So I
don't know. I didn't know whatDeston was. So I was looking on
a map and I saw DestinE.It was four hours from New Orleans.
I thought, okay, let mecheck. And then I checked the airlines

(48:22):
and it was like a quarter ofwhat I was going to play pay on
American for Allegiance. I thought,you know what, wait a minute,
this might work. So I calledDeston. First place I called. I
asked him for you know, aboat sound system, and he said,
oh yeah, I got that.I said, can I rant it?
Said sure, put it, here'smy credit card, you know, So
I lit into Destin. And itwas funny too, because I left Pittsburgh

(48:45):
it was gorge the middle end outof fifteenth or something of twenty if I
don't know, in between there somewhere. I left to go to New Orleans,
and I left it fleeting. Iwas driving to the airport at five
the m and it's crazing cold.There's fleet on my windshield. And got

(49:07):
sub standing at the airport, youknow, all bundled up and get inside,
get to the air you know,get the plane, come down to
Destin. I got here it waseighty four degrees. I was, oh,
what did I just come into?You know? And this said,
I don't know if you guys knowanything about Destin, but Dustin has because

(49:28):
of the the shelves. There's noshells on the beach hair. That's all
you know. It's it's powdered andit's just gorgeous. His white sand.
I thought it was snow. Youknow, I'm driving in my car going
it can't be snow. I'm justtayty four degrees. How could this?
How did this be? The whitesnow? I mean, the white stands.
And I was like, whoa man? So I got got my hotel,

(49:50):
stayed the night running the equipment brokein New Orleans. Beautiful, sunny
all the way down to the coast, you know, and I played there.
I played for a week, Ithink, or ten days, whatever
it was. And I came backto death and and I thought, why
am I going back to Pittsburgh rightnow? I'm not as well, just
just stay a week and have avacation. I'd had a vacation in years,

(50:15):
you know. And I started goingaround seeing you know, bands play
and talking to people. I thought, man, this is this is a
great area, you know. Youknow, not only do you have the
sunshine, but you actually have afall that they call it winter. But
it's for us, you know,being from Pittsburgh, you know, like

(50:35):
fifty degrees. You know, Iwear a sweatshirt. People down here they
were first, so it's true.I mean, you know, boots,
snow boots and spurs and has.But anyway, yeah, so I stayed
here for another week. I wenthome. I went back to Pittsburgh.
It got to my car and Iwas scraping two inches of heights off of
my windshield, going, what areyou doing here? What? What is

(51:00):
what is holding? And my kidsboth of them were in different states.
I'm thinking, just as stupid.I'm not why am I here? My
mom had left, he moved downto Atlanta to be near my sister,
And uh, I said, youknow, what if I was fifty years
old, I said, I'm tryingto sixty one. What if I don't
do this now, when am Igonna do it? You know? So

(51:22):
I just said, put the houseon the market and loaded up to U
haul and came down. You know, now, when you played Destined,
do you still see pittsburgher's now?And again last night there were four of
them? Yeah, yeah, everywell, let's put it this way,

(51:43):
every different time of the year,like during tourist season. You see some
right after tourist season because which isright now, because during during tourist season,
they jacked the prices up for thehotel rooms and all that stuff,
you know, and then it becomesnormal, like right about now until the

(52:06):
snowbird's coming in, they drop pricesagain because these people are staying for months,
you know. And yeah, Isee people from Pittsburgh all the time.
Like I said, there was atable of four people in there last
night. They were from Pittsburgh.And you know, they kept calling out
play Donnie Irish, must Day Sally. I know you know it, I

(52:30):
know you know it. No man, they leave me alone with that song
because I just you know, Istill use that thing. I never heard
the song. Don't know what you'retalking about. You know. It's the
same with week Caroline. People justwant to do Bob okay. But you
know I'm not going to be here. That's not what I'm here to do.

(52:50):
You know, I'm only going tokeep you a couple of more minutes.
But I am curious about what's youropinion of Pittsburgh music, the music
scene, you know, growing upand maybe as an older musician looking back
in the in the in the thehistory of Pittsburgh music, what you first,

(53:12):
of all, Pittsburgh was really goodto me. I mean, you
know, it gave me a jobconstantly. I mean I was never without
work, you know, and uhthat you know, that's like a feather
in my cap. I mean,because you know, I'm Me's you know,
of course I know a lot ofmusicians in Pittsburgh and tell me we
ain't work and we ain't doing thisor doing And I did very lucky because
I changed bits of times. Youknow, and I think Pittsburgh, per

(53:37):
capita has the best musicians in thecountry, even yeah, even Vegas,
Uh yeah, they're good. Butyou get guys in Pittsburgh and she's I
mean what you know, I tellyou know, some of my friends who
are this you know, when duringCOVID, when they weren't working at all,
I said, come here, youmake a living. I mean,

(53:59):
you know, and especially guys JoeMonroe. It's a prime example. Joe
is incredible. He's just an amazingmusician and down here, I mean,
you know, he'd make a veryvery good living just playing solo piano and
singing. You know. But again, I think I think Pittsburgh has a

(54:22):
because of the music that we grewup listening to. You know, three
ws was a lot, had alot to do with everything that we were
doing, you know. I meanthree WUS allowed me to open up for
James Brown. Are you kidding me? You know? I mean, you
know, so when you're listening tothat music all your life and you know
that this is what these people wantto hear, and you're, you know,

(54:44):
holding your skill, and you knowit's your education, your college and
music learning these songs, you youknow, you have a good idea of
what music's about. And that's whatPittsburgh is. It's been so diverse,
and guys are just so good attheir craft. I mean, I,
in my opinion and my humble opinion, I think that they're per capita.

(55:06):
I think that's they're the best musiciansin it that I think, you know,
I'm But then again, what doI know? Well, you know,
maybe that work ethic that we havein Pittsburgh translates over to wood shedding
and making sure that you're the bestyou can be might have something to do
with it. Annie, I agreewith that. They you know, we

(55:30):
grew up with our fathers working inthe steel mill, and our fathers were
like, you don't work, you'renot going to eat. You know.
My dad used to say, Idon't care what you do, but try
to be the best at whatever itis you're doing, you know. And
I mean he was always you know, he always wanted me to play,
you know, because you knew Iloved it. But like he said,

(55:52):
you know, if you're going todo this word job, you better make
it your job, you know.And so you know, those dollars of
wood setting and all that time thatyou spend learning this and learning that and
hanging out with this guy. Hangout. You know, it helps build
you as a musician and the person. But the people in I gott to
tell you, you know, doI miss Yeah, I missed some of

(56:15):
the I missed the people like Isaid earlier, you know, I missed
the guys that I you know,I was running around with and playing music
with and being able to go seethem perform, you know, and enjoying
it. You know. Don't getme wrong. There's there's some good players
here, but not like Pittsburgh.I mean really not like Pittsburgh. I

(56:37):
mean, you get people like Sherrycome on, you know, I mean
she's good, you know, andyou got Barbara Blue coming up from New
Orland. Yeah, you know,I mean, you know, we all
have our roots there, you know, because how we grew up man,
you know, like I said,the music scene, you know, and
I felt so bad that those guyswere telling me they weren't working. See

(56:59):
we in Florida, we were onlyclose a month. Yeah, Florida had
different rules during COVID. Oh yeah, you know, we all survived it,
by the way. But you know, but again, after a month,
we were at fIF there are twentyfive a month later fifty. Then
after that we were wide open andyou guys weren't they weren't even working there.

(57:20):
Yeah, And there was a coupleof years everything was virtual every yeah.
Everything. Yeah, that was like, you know, well, like
I said, you know, downhere, the guys there are some really
good players, like I I knowa lot of the players that played with
big country acts. You know.I mean where I live, Dustin,

(57:42):
there's down on thirty eight. Youknow, you have Alabama some of the
guys from Alabama living there. KeithUrban lives there. I mean, you
know, yeah, I mean youhave some good you know music here.
You know. But one of theguys here was Trace Actons guitar player for

(58:02):
six years. His band they're calledthe Pickled Pickers. I mean, this
is a strong band. I meanthat when I go to listen to a
band, that's who I go tolisten to, you know, because I'm
playing that New Orleans funk, youknow, country rock blues kind of feel.
I mean, that's the kind ofstuff that you're here here. I
mean, but don't I don't getmany requests from Mustang Sally. I get

(58:25):
them every none, boy, Iget a lot of requests for free birds,
you know. Yeah, one lastquestion other they mustang Sally, what
what what is Spuzzy's legacy here inPittsburgh. I'm sorry repeat that. I'm
not sure I understand the question yourlegacy? What is? What is?

(58:49):
What is your legacy here in Pittsburgh? You know, I think it's probably
that I always work. I thinkthat my legs see if people know me
because of all the the gigs thatI played, I mean, we were
playing seven nights a week, someyou know, months, and you know,
I think my legacy is that peopleremember, you know, when you

(59:14):
hear songs that they bring back emotions, Yes, absolutely, you know,
and they bring back the time whereyou know, like okay, people in
their forties and I remember and whenthey were twenty you know that way it's
a party of that song, youknow. And I think that's the legacy
because they you know, I rememberthat song. I remember you guys playing

(59:35):
it, you know, if theconsetti or you know, one of the
VIPs or you know, so youknow, I think that's the legacy.
I think that people recognize the name, you know, because I can't.
Who's going to remember Jim Sparissina,they remember Sputsy. You know, it's
a lot easier, and not verymany people are named that, you know,
and so they'll remember that. Theyremember the songs that I played,

(59:57):
they remember being out in the clubs. And I think that's, you know,
the legacy that I can take awayfrom there. You know, it
got to be a little hard attimes, you know, don't get me
wrong. I love when you know, I'm talking to people that you know
from up Hey, you don't rememberme, but you know I remember you
and this and that. But whenyou get somebody When I'm in Giant Eagle
trying to get out and somebody comesup to me, Hey, man,

(01:00:21):
do you remember saying Happy birthday tomy wife in nineteen eighty three, it's
a no, I don't, youknow. I'm sorry, you know,
but no, I can't remember thatstuff. You know. It's just but
they remember you and how they feltwhen you say that song, you know,
And I mean, you know,that's like I said, you asked
me about the legacy. I thinkthe legacy has just known so many people

(01:00:44):
that had heard, you know,one of those bands at one point or
another, you know. And Imean people when I go back. Like
I said, when I go back, you know, the first thing is
you're still thinking, yeah, yeah, I'm a one tirt pony man.
You know, I'm blessed to beable to still be saying. I mean,
my voice is, believe it ornot. And I'm going to say

(01:01:06):
this without hesitation. My voice isstronger now than it ever was in my
life, you know, because I'mnot working a whole lot. I'm working
two three guys a week maybe,you know. And you know I am
pushing seventy, so you know,a lot of people can't sing it's seventy,
you know. But like I said, my voice is getting stronger as

(01:01:28):
times going on. You know.I guess it's from all the years of
leather, a leather throat, youknow. But well, it's a gorgeous
voice. I have a lot ofyour songs in my ear and I have
really no really spots beautiful, beautiful, beautiful renditions. Well, and I'm

(01:01:49):
going to say something that I haveto say. Tonny Cougar was probably the
he was up in the top threedrummers I've ever had in my life.
That man, he knew what itgroove was. He stayed at home and
played drums like Charlie Watt. Imean he played the basics. He played
you know, he was just oneof those guys with finesse. He knew

(01:02:13):
how to play more he chose notto. Yeah that's true. Yeah,
he played with the units, andI mean I think about him all the
time when I hear drummers. That'smy when I go hear a band.
If the drummer ain't good, Ileave. There ain't no sense. I
mean, it's gonna it's not gonnabe good. Drive the band, oh

(01:02:35):
between them and the bass players.If there's nothing there, I'm not listening
to the band. I can't.I'm not gonna waste my time. I'd
rather listen to the radio on myway home. Well, thanks for saying
that makes me feel good, andI'll pass it along to Ben and John
too. Oh yeah there. Youknow it's so funny. Like I said,
you know, the musicians in Pittsburghare some of the best musicians I've

(01:03:00):
ever heard. I mean, Iyou know, listen, you got Donnie
Irish still saying in his age thatnote Noliah. Come on, come on
now, who does that? Well, that's Pittsburgh people do that. That's
the work ethic. You know,you don't quit, you know, Donnie
and God rest your soul. BTaylor, Yes, yeah, you know.

(01:03:23):
And then you have Jeff Jimmison.That voice right there, gorgeous voice.
That voice is just get chills whenI hear. Yeah, you know,
oh man, I just you know, there are just so many people.
I can go on and on andon about Pittsburgh, you know,
because I mean, like I said, that's that's musicians in this country as

(01:03:45):
far as I'm concerned. I mean, there's just so many of them.