June 23, 2025 • 54 mins
Sam Stewart of Flagman returns to discuss Filipino Ray, an acrobatic bass jaunt that comprises the penultimate track of Of Whales and Woe. The bass lines go hard, but there is a lot of open space as well, which can be tricky for many musicians. Sam helps us with those intricacies, and regales with his own tales of whales and woe around procuting and hearing this record for the first time. We also share what we know about Ray Wing, the lyrical subject of the song, who Les played with in the Tommy Crank Band in the 1980s. Plus, can we borrow your old iPod cable? Thanks.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It's Josh Freaky with a couple of dump shits.
Speaker 2 (00:18):
Hello, Primates, you found Primus Tracks. Congratulations.
Speaker 3 (00:23):
There are so many places to find Primus tracks, but
you found the best one. I am Josh. I am
one of the hosts of Primus Tracks. He is on
the thirty ninth floor of Primus Tracks Towers, overlooking the
punch bowl. It's Frankie Berestein. Hey, Josh, Frankie. Today we
are talking about Filipino Ray. And as you know, Frankie,
(00:44):
this track is a certified banger. We can say that upfront, right,
there's no mystery about that. And when you have a
certified banger, you have to bring in somebody who's just
his banging. And he brought his fore banger today. I
just like saying the word bang and derivations thereof. And
what I do I think of this man? He is
(01:08):
the basis of Flagman. He is Sam Stewart, Welcome back
to Primise Tracks.
Speaker 4 (01:13):
Thank you for having me. It's great to be back here.
He's your favorite energy drink bang.
Speaker 3 (01:18):
You know what, Speaking of energy drinks that are horrible
for you, I found in my garage just a couple
of days ago a four pack of sparks, the old
sparks that had the caffeine and touring and along with
the alcohol before numerous lawsuits threatened to destroy the manufacturer,
and they removed the caffeine and the touring from it
(01:41):
and have fun anymore.
Speaker 2 (01:43):
Exactly.
Speaker 3 (01:43):
Yes, So that was the drink of choice of my
pals and I in about two thousand and five. I
bought a four pack of that about twenty years ago
and held onto it, only to discover in my garage
that this drake is so acidic that there were pinhole
leaks at the bottom of the cans and they were
(02:04):
all empty.
Speaker 2 (02:07):
So aluminum is not indestructible, is the lesson there? I think?
Speaker 3 (02:13):
And the stuff that we put in our bodies probably
not the best for us.
Speaker 2 (02:18):
But when you're young's an invincible. It doesn't matter.
Speaker 5 (02:22):
It's true you made it this far.
Speaker 3 (02:24):
That's right. Rip Sparks. How things going for Flagman Sam?
Speaker 4 (02:30):
They're going, well, we're in a bit of flux.
Speaker 5 (02:34):
Is not the right word? Is that the right word?
Where you're kind of like we're sort of in between things.
Speaker 4 (02:39):
I'm making all kinds of music I moved across the country.
Speaker 5 (02:43):
Is that flux you could call it Flus. We're in flux.
That's what we're doing.
Speaker 4 (02:48):
I'm going to say that we were working on something
secret and then we have like a bunch of new
demos we're working on about sixteen.
Speaker 5 (02:57):
So wow. Yeah, try to get something out this year
if we can.
Speaker 4 (03:02):
But as you know, everything takes a thousand years longer
than you think it's going to so we'll see. Hope
fingers crossed for some more Flagman this year.
Speaker 3 (03:12):
Uh yeah, that's right, you guys. And you guys just
pass the one year mark for Tasting Credible.
Speaker 5 (03:17):
We did that was yesterday on Flag Day.
Speaker 2 (03:20):
Yeah, Now was that intentional?
Speaker 5 (03:24):
It was? Indeed, we saw it.
Speaker 4 (03:25):
We were so when we were doing the last rollout,
we were trying to figure out when it was going
to come out, and we saw Flag Day on the
calendar and we were like, wow, you got it laying
it on Friday, and it was like, well, come on
new Music Friday, It's Flag Day.
Speaker 5 (03:39):
Come on, guys, it makes sense.
Speaker 3 (03:42):
You've you nailed it. Congratulations, Thank you very much. No
Wonder tastes incredible is so popular with the kids these days.
Speaker 5 (03:49):
Everybody that's their favorite holiday.
Speaker 4 (03:51):
Surveys amongst seventeen to fifteen year olds Flag Day.
Speaker 5 (03:55):
You would never guess favorite holiday.
Speaker 2 (03:57):
Go fucking nuts, man, Yeah, waving their cloth around. They
love it.
Speaker 5 (04:01):
It can't get enough of that type of thing.
Speaker 3 (04:02):
The nylon, the ray on, doesn't matter what the flag's
made of. The kids want to wave the flags. Good
for them. Well, thanks for being here today. Sam. We
are talking about Trek eleven on your of Wales and
Woe disc and mine it's called Filipino ray.
Speaker 2 (04:19):
Before we get into that Trek.
Speaker 3 (04:21):
Sam, I'll want to ask you about your relationship with
the of Wales and WOA record.
Speaker 5 (04:26):
Oh man, this one was, this was a big one. Yeah.
Speaker 2 (04:30):
I think this is.
Speaker 4 (04:31):
The one where I slowly convinced my dad to get
back in because he had lived in the Bay Area
in like the early nineties, so he was like I remembered, like,
you know, hearing like Jerry was a race car driver
on the on the local radio station and stuff like that.
But he never got super far into it. But it
was one better. I was like, Dad, you got it.
I'm checking this guy out. You gotta check out this song.
(04:53):
And I downloaded it to his iPod.
Speaker 3 (04:57):
Oh wow.
Speaker 4 (04:57):
And then like you know, a couple of weeks later,
he was like, this is really good. We should we
should check out more of this, and then I was like,
don't worry, I already bought the rest of the album
on iTunes with your credit cards, so way ahead of you.
Speaker 5 (05:09):
Pop.
Speaker 2 (05:11):
Yeah.
Speaker 4 (05:12):
I listened to this to death and actually going back
once we started talking about doing Filippine Ray, I went
back through the record again, and it's just like banger
after banger after banger, Like I would fall asleep listening
to it. Yeah, this one and uh uh oh what
is it? Nothing ventured is great. I had the iTunes
(05:35):
digital version with the live these yes, with the super
long bass solo at the end.
Speaker 5 (05:42):
Yeah, I loved it.
Speaker 3 (05:44):
So that's on your dad's iPod, which is in a
drawer somewhere at this point somewhere. Excellent. Hopefully you can
get back that D's Diner track.
Speaker 5 (05:54):
I need it. I listened to that was it live
in Philadelphia?
Speaker 2 (05:58):
I think so? Yeah, I hear. It's hard to get
those songs off the iPods these days.
Speaker 4 (06:04):
I don't even know if that cable exists anymore. Yes,
like the wide mouth cable that would go into the
bottom of the iPod. Yeah, I don't even know where
you would get one of those anymore.
Speaker 3 (06:14):
I believe I have one in a drawer because my
wife still has her iPod and it still works.
Speaker 4 (06:20):
That's the best. It's better. I think it's I think
it was a better process.
Speaker 3 (06:26):
We're talking about Filipedo and Ray, of course is three
minutes fifty one seconds, Track eleven, the penultimate track. And
I love.
Speaker 2 (06:33):
These episodes because I get to say.
Speaker 3 (06:34):
The word penultimate. We have less Claypool on bass, vocals
and drums, Gabby Lala and sitar, and once again uncredited
in your liner notes, Mike Dylon on viabera phone. As
you may recall, Skerrik performed unrumbled the diesel but is
not credited in the notes. Once again, one hundred percent
(06:57):
in oversight, these things happen, Frankie, this is a big one.
What do you have on Philipino Ray?
Speaker 6 (07:06):
I'll start off with a quote from the man himself
goes like this. Many years ago, I was a young
fellow playing in a band with other people that were
quite a bit older than me, and they played all
these songs by people that I really didn't know much about,
you know, people like the Meters. I learned quite a
(07:26):
bit about motown and all these different things. Little did
I know, being a young, rebellious bastard that wanted to
do stuff like this. At this point in the interview,
Less begins playing the bass very quickly. I was actually
gaining quite a bit of knowledge both mentally and threw
my body from repetitive motions. I was in a band
called the Tommy Crank Band, and we used to play
(07:48):
biker bars up and down back when bikers were really bikers,
none of these weekend Harley Davidson bullshit. And we played
Hells Angels bars in northern California. Like I said, I
was about ten years younger than most of these guys.
Speaker 5 (08:01):
In the band.
Speaker 6 (08:02):
And there was one fellow in the band in particular
who was a very interesting character, and I learned a
lot from him. His name was Ray, real name Ray
Wink Trivia. Les borrowed raised guitar to record the first
Primo song, Too Many Puppies, when the band was still
called Primate. Ray passed away from cancer a few years ago.
(08:23):
Filippine O Ray was premiered on June eleven, two thousand
and six, at the Quest Club in Minneapolis. It was
performed only fourteen times, perhaps due to its technical difficulty.
Speaker 3 (08:34):
I would think it would be performed more. I wanted
to add a note there about Ray's guitar, as Les
said that sometime after Ray's passing, Les bought that Gibson
guitar from Ray's widow, so less has it at Rancho,
that all important guitar that is described in the lyrics
(08:56):
as well.
Speaker 2 (08:56):
Fantastic It's primus history.
Speaker 3 (08:58):
Sam, Yes, Filipino, Ray Man, You've got that bass, You've
got that smile on your face. What is this tune
for you, especially as a bass player, And I wonder.
Speaker 2 (09:11):
If you can recall the first time you heard this
one in.
Speaker 3 (09:13):
Your reaction to it.
Speaker 4 (09:15):
I mean, this is the one for years. Actually I didn't.
I couldn't figure out what was being played for the
longest time, and I actually have to figure out what
I was trying to google. There is a cover on
YouTube and the profile is Andre Bellamy.
Speaker 5 (09:31):
I think is how you pronounce it.
Speaker 4 (09:33):
I actually use that as a kind of a jumping
off point for this because I was as I started
listening to it, I was going, like, but so, and
as I'm listening to that, like the actual record, I'm
slowing it down and everything like these that's not right. Yeah,
(09:55):
like that's does that just doesn't sound right. So this
guy Andre Bellamy, thank you from four years ago, uh
Filipino ray main Rift tutorial if you're trying to find
that out on YouTube. But yeah, I mean the first
time I heard it, that first rift, it's.
Speaker 5 (10:18):
Like start to track over what was that? You know?
Speaker 4 (10:22):
And this also has a couple of my like all
time favorite licks that he does. There's one it's actually
after the big old jumbo fret.
Speaker 2 (10:34):
He goes like.
Speaker 5 (10:38):
This is cool like chromatic thing. So it's like, uh yeah,
yeah that one. And then at the very end he's
got that pentatonic that.
Speaker 7 (10:55):
Thing.
Speaker 5 (10:56):
So he's all over it this whole song. And also
so that like.
Speaker 4 (11:00):
Chorus bit, it's like this weird kind of like loop
he's doing. That one took me, honestly, that was what
I felt like. I spent the most time trying to
like what's going on here because the second chorus he
(11:21):
kind of just loops it forever, but ah, you know,
and it's like I don't know, it's this weird hypnotic rhythm,
you know. And since I heard it like fifteen twenty
years ago, I was like always kind of hypnotized by
(11:43):
this song. Yeah, and also Wales and Woe some of
his best bass Towne. It's so like, I don't know,
some some tone tone heads out there, let me know,
how do you get this sound? Sounds like real compressed
and like super crisp.
Speaker 5 (11:58):
I don't know.
Speaker 2 (11:59):
It's great.
Speaker 3 (12:00):
Is a really good sound, especially on this track. And
I wanted to ask you about that because in the
left channel I hear some fuzz that's on his bass,
but you only.
Speaker 2 (12:10):
Hear it in the left channel.
Speaker 5 (12:12):
I haven't noticed that.
Speaker 3 (12:13):
All right, I'm gonna play the first part of this
here and see if you can hear it in those
cans I've heard.
Speaker 2 (12:21):
I remember when I first heard this record.
Speaker 3 (12:23):
Just in that left channel I heard this, but it's
on the bass, and of course it's when he's playing notes.
It's not just an ocean sound, but it's a really
interesting fuzz. But I only ever heard it in the
left channel.
Speaker 2 (12:38):
Here. Let's see if you can hear it in this moment.
Are you hearing that?
Speaker 3 (12:55):
Man?
Speaker 5 (12:56):
I'm not hearing it really, not specifically in the left channel.
Speaker 2 (13:00):
Okay, that's where I've heard it for years, and I've
heard it there again.
Speaker 5 (13:05):
I'll have to tell I'm going to take a deeper list.
Speaker 2 (13:07):
Yeah, for sure.
Speaker 3 (13:07):
It's really it's a really cool distorted fuzz that he's
got going on, and it seems to be hard panned
over here in my left channel, and then the cleaner
tone that he's using is in both channels, and you can,
you know, just really enjoy that. But that's something that
was always a mystery to me, that he had that
hardpan to the left channel, at least to my eyears.
Speaker 4 (13:30):
I wonder what that would be. Have you all gotten
any I want him to do it like a tone
reveal for this album, Oh my gosh, last hey man,
do you want to do a rig rundown for a
record that came out twenty years ago?
Speaker 3 (13:44):
Has answered me, I don't remember what I was doing then,
you know. But but he's also been, as we know,
fairly secretive of his settings and how he achieves certain
aspects of his tone, and that's part of the mystery.
We just talked to. I'm gonna mess with our timeline here.
We just talked to a photographer named Jordan Kravitz, who's
(14:08):
that episode will air after this, but he talked about
that they have intentionally He mentioned that they have intentionally,
you know, kept this air of mystery around the band,
and we have certainly detected that ourselves. And that's sure
in a lot of ways is by design, and I
guess it extends to gear and settings from time to
time too.
Speaker 2 (14:29):
So we may never get a straight answer.
Speaker 5 (14:32):
That's okay, we'll just have to I love pondering too.
Speaker 3 (14:35):
So absolutely, what you know there will be maybe there
will be a tell all book, you know in twenty
sixty two that there's all these notes from the studio
and board settings will be revealed.
Speaker 5 (14:49):
They'll finally get those centerfolds in the book.
Speaker 3 (14:53):
Yeah, I've been saving Do you see that space on
the wall right up here? That's what I'm saving it for.
Speaker 5 (14:58):
It was a little tag underneath it.
Speaker 3 (15:02):
I used my wife's label maker.
Speaker 2 (15:08):
Whatever.
Speaker 5 (15:08):
She'll get on board once they finally when she sees them, I.
Speaker 3 (15:11):
Think she'll appreciate them. She she's, you know, one for
fine art. Of course, it's all right that you don't
hear what I hear in the in that fuzz. It's
just something that's always mystified me. The So the two
parts that you played there, of course, the main lick
is signature claypool and that he he does something really
acrobatic and then leaves space for other instruments or improvisation
(15:37):
or what have you. And then that that second lick
I didn't realize he was doing just doing so much
hammer on and pull off action there. And so when
when you were doing that and just kind of looping it,
it sounded like something that somebody would just mess around
with and then think, like unconsciously right, just be hammering on,
pulling off and then thinking, oh, this would work in
(15:57):
a tune.
Speaker 4 (15:58):
Yeah, you know, yeah, And it seems like it's kind
of I'd be interested to check out some of the
live cuts that they have because it seems like it's
a very kind of open part.
Speaker 5 (16:11):
You've got that setar flowing then do.
Speaker 2 (16:13):
Do do Do Do Do Do Do Do Do do do
do do do do?
Speaker 4 (16:15):
You know kind of I feel like it would be
an easy tune to get lost.
Speaker 5 (16:19):
During, you know, when you're playing it live.
Speaker 4 (16:24):
And also just the lyrics are so like his delivery
is so like dramatic as it always is. I do
feel like it'd be real difficult to get all the
intricacies of both sets right to give your give a
good performance on the like the really theatrical vocals and
(16:46):
then also do all the acrobatics in between, you know.
Speaker 3 (16:50):
Yeah, because he is doing that radio commercial voice Filipino
Ray like that.
Speaker 2 (16:56):
And I don't recall if it was either Gabby.
Speaker 6 (16:59):
Or Mike who told us that they had to rehearse
this one a lot because it was very hard to play.
Speaker 5 (17:06):
Yeah.
Speaker 3 (17:06):
Ah, so not just for the bass player, but everybody
getting lucked in on this one. Okay.
Speaker 4 (17:13):
Yeah, it's certainly busy, and then there's also a lot
of space.
Speaker 5 (17:17):
Like you said, they leave tons of space in between
things too.
Speaker 2 (17:20):
And so that's a question I had for you, Sam.
Speaker 3 (17:22):
I guess it's just as easy to get lost in
a busy tune as it is with a tune that's
got a lot of open space.
Speaker 4 (17:30):
I honestly find it easier to get lost when you've
got all that open space, because I'm I'm like, I'm
hyped up, I'm drinking five cups of coffee. I'm like,
I'm always like want to be up in front of
the beat, you know, So I'm naturally kind.
Speaker 5 (17:44):
Of rushing through stuff.
Speaker 4 (17:46):
So for me personally, when there's all that like space, now,
that becomes almost harder, you know, because you want to
go again, wanting five cups of coffee.
Speaker 1 (17:59):
Right.
Speaker 4 (17:59):
I want to play every single note, you know, and
I find stuff that's like really busy. Is kind of
easier to keep for me going because you don't have
those pauses starting and stopping kind of thing.
Speaker 3 (18:13):
Okay, yeah, sure that makes sense, you know, and it's
not just counting, but you just have to be able
to hit the post. I suppose when you come back
after that sure amount of space whatever it might be.
Speaker 4 (18:26):
Yeah, and that's like what I was talking about where
it seems like it could be a tune where it
could be easy to get lost because it's so tight
right where the riff is.
Speaker 5 (18:38):
Starting and stopping.
Speaker 4 (18:39):
And then that the high hats or which is crazy
that it's less on drums. I would have guessed like
Jay Lane or something, you know, but I guess that
makes sense.
Speaker 5 (18:47):
He says. He steals all of his drum legs from Jay.
Speaker 1 (18:50):
Yes.
Speaker 3 (18:50):
Yeah, and this is probably one of his best pieces
of drumming ever laid.
Speaker 2 (18:55):
Oh to record, for sure, it's really good.
Speaker 5 (18:58):
The high hats are just like, you know, you're so good.
Speaker 2 (19:02):
And that's it.
Speaker 3 (19:03):
And of course, so he's he's communicating with himself as
opposed to communicating with Jay. But it's it's it's an
interesting place to put yourself into, you know. He I
would imagine he recorded the bass first and then built
the drum track off of that, and so he's communicating
with himself while pretending to be Jay Lane.
Speaker 5 (19:21):
But I was just wondering.
Speaker 4 (19:23):
I was like, I wonder in that situations is like
are you laying the drums down first? Or like where's
where are you starting from?
Speaker 8 (19:30):
Yeah?
Speaker 2 (19:31):
That's now. That's another question.
Speaker 3 (19:32):
I would love to ask him about this album in
particular because Frankie, you've found that quote where he said
this is my megaalomaniac album where he did almost everything
on his own. Maybe he had the bass lick in
his head and was just able to lay down the
drums first and then the bass part after the fact.
Speaker 6 (19:48):
Good.
Speaker 2 (19:49):
That's a good question.
Speaker 3 (19:51):
So with your experience writing recording with Flagman hearing Filipino ray,
this certainly is not a.
Speaker 2 (19:59):
Flagman type tune with the open space.
Speaker 3 (20:04):
What are so while you're learning this tune and modeling
the bass parts are what are some things you can
take away from it or apply to your own development
as a player.
Speaker 4 (20:16):
Well, first, of all, just learning all those little licks, right,
the especially that chromatic one is fun to kind of
like he's my favorite player, right, so it's it's cool
to hear those like little intricacies right where he's he's
putting things in. I mean, I think it does with
(20:39):
all the space. It is a classic like rhythm section
lesson of like you can leave space and that accounts
for just as much of the groove as all the
notes you're playing. I say it's a classic example. I'm
sure most like classic bass players wouldn't think they wouldn't
(20:59):
think of that is like you know, traditional baseline, right.
It's a little busy for some people. But I think
the juxtaposition between the two things like it's kind of
like a dynamics thing, you know, like Nirvana is really
good at the loud quiet loud thing. It's sort of
the sure same thing, but he's leaving the space, you know,
(21:21):
and it.
Speaker 5 (21:22):
It grews super hard. I mean, it hits you right
in the face.
Speaker 3 (21:25):
With the yes right.
Speaker 5 (21:28):
At the top, you know, with that kick drum and
high hat. You know.
Speaker 4 (21:37):
I think it's like it's sort of something that he
does in a lot of his work too, where he
comes out busy, but then it's the spaces in between,
sort of the way like even Lure fits.
Speaker 5 (21:51):
In, you know, Oh sure, yeah, these spaces, right.
Speaker 2 (21:54):
He does the same kind of.
Speaker 4 (21:55):
Thing with with lyrics or or even just the other
band members.
Speaker 3 (22:00):
And this song, you know, I wonder, because this tune
is about Ray Wing, who Less played with in the
Tommy Crank Band way back in the eighties. I wonder
if there's any musical, not a direct reference to anything
in particular, that they would have played, but stylistically because
(22:22):
like you said, giving the space, because they did so
many R and B covers, it just reminds me of
a lot of you know, tunes where the rhythm section
has their moment, but they also have to dial it
back so that the horn flourish can happen, or so
that the organ can play its part, or that sort
(22:44):
of thing. So I wonder if that with the bass
just falling out, you know, he's just giving that space.
And he had to learn to do that, I think,
and he also had to learn to have just keep
a really tight groove in the Tommy Crank Band. He
says in the Grapevine Book that the drummer that he
worked with in Tommy Crank Band, was just on him
all the time, like keep it tight, you know, you know,
(23:06):
or whatever it was, but certainly just keeping it on time,
I imagine, and just grooving.
Speaker 5 (23:13):
Definitely. Yeah.
Speaker 4 (23:14):
I remember he said somewhere that they would get pissed
at him because he'd be improvising a little too much
through the tunes.
Speaker 3 (23:22):
Oh that's a good one, yeah, because he says, you know,
I was playing in blind Illusion, I'm playing all this
newdly nudeley stuff. So I've got all this, you know,
I'm very energetic and playing all these things. And you
don't do that in the Tommy Crank Band. You don't
do that in an R and B band. You just
you groove and I and as he's gotten older throughout
(23:43):
these decades, I think you see him leaning back on
that more and more and just grooving and you know that.
And that's why he's looking for drummers with insane pockets
so he can just groove and then other musicians can
lay it down over the top. Definitely, so it seems
like he's going you know, it's one of those things
(24:03):
where all these uh, it just reminds me of all
these you know, famous guitarists that started listening to old bluesmen,
and then they become hard and hard rock and metal superstars,
and then they hit a certain age and they're cutting
blues records again.
Speaker 2 (24:20):
Yeah, you know, it comes full circle, right.
Speaker 5 (24:23):
Yeah exactly.
Speaker 4 (24:23):
You're like, wait a second, maybe they maybe maybe there's
something to that.
Speaker 5 (24:27):
Yeah.
Speaker 2 (24:28):
Yeah, you're going back to your roots at some point,
you know.
Speaker 5 (24:30):
Sure.
Speaker 3 (24:31):
So I don't know, you've got you've got what thirty
forty years before you come back before.
Speaker 4 (24:37):
I'm coming back around. But see the thing, this is
what I'm coming back around to. This is where I started.
I started with primus, So.
Speaker 3 (24:42):
You're a little early.
Speaker 5 (24:45):
Yeah, it's true.
Speaker 4 (24:46):
I got I have to find something else and come back.
I'll come back to to more primus.
Speaker 5 (24:50):
I gotta. I'll switch to blues for the next thirty years.
Speaker 3 (24:54):
Yeah, you can do the inversion of that. You can
become an old grizzled bluesman and then.
Speaker 2 (24:59):
Go back to come back as that'd be great.
Speaker 3 (25:06):
So this, yeah, this one to me is it sounds
like it's a fun one for you as a working musician,
and then it's certainly fun for the listener as well.
I wanted to play right around the three minute mark,
because you showed us the two main parts, and it's
it's a relatively straightforward ABA B until about the last minute.
(25:28):
This is near the tail end of the sitar solo
where things get pretty interesting. I like that interlude there.
Speaker 4 (25:50):
Yeah, it's nice. He's playing on that, like, so every
riff ends with the so it's like a so he
gives it that nice sound and then.
Speaker 5 (26:06):
He starts doing the UH.
Speaker 4 (26:14):
And there's a couple other parts in it where I
think it's before one of the verses he does the like, yeah,
you know, just moving that shape around, and I think
at the end too, so yeah, he's just for that
part he kind of hits that before going back to
(26:36):
the UH the main raft, and I wonder if that's
like a, Okay, how are we gonna signal to get
out of the solo? You know?
Speaker 3 (26:44):
Oh?
Speaker 2 (26:44):
Sure, because that's.
Speaker 4 (26:46):
When you're just stuck in the.
Speaker 5 (26:52):
How many times are we gonna do that?
Speaker 4 (26:53):
Like I was talking about, you could get lost if
you're up there grooving and you're you're in your head right,
and then you go did we play it six times?
Have we played it seven times? Are we getting to eight?
Is that the number, we're going to Are we going
to twelve?
Speaker 2 (27:05):
Where are we?
Speaker 3 (27:06):
You know?
Speaker 5 (27:07):
Yeah, And I've definitely done that a time or two.
You're like, yeah, we're here in the song.
Speaker 2 (27:14):
So it's a lot easier to signal that transition.
Speaker 3 (27:16):
With bona bell because.
Speaker 4 (27:18):
That's that's what I would think, you know. And then
you can turn around to the drummer and give them
big you know, here we go, we're going, we're going back.
You know.
Speaker 3 (27:29):
That's a world class of moting too. On the bass
and in the face. You've got to give them the
that's the band leader transition.
Speaker 4 (27:39):
Yes, exactly, just move just when I do this, that's
the downbeat.
Speaker 3 (27:45):
This is real professional, very yeah, and it's you see it,
you see it?
Speaker 2 (27:51):
That just that guitar neck down. Yeah, you know everybody
knows what that means.
Speaker 5 (27:57):
It's the unspoken language on stage.
Speaker 3 (28:00):
The other thing I wanted to point out there in
that interlude is Less is really letting the crash cymbals
have it when he normally doesn't, even when other drummers
are playing, he doesn't keep him high in the mix,
but there he does, so he kind of goes ham
a little bit there and let's movement. Yeah, yeah, and
(28:23):
it's not a you know, it's not a dramatic moment,
but it is particularly percussive and somewhat heavy, and then
moves us, you know, back to the main lick and
careening towards the end of the track, I suppose where
the vocals get just a little bit more cartoony and
you know, all over murdered in coke and.
Speaker 2 (28:47):
We're out.
Speaker 3 (28:48):
So I was surprised too when I looked at the
timestam three minutes fifty one seconds. I for some reason
in my head, I had this as at least five
minutes on the record.
Speaker 2 (28:57):
But it's fairly brief.
Speaker 3 (28:59):
Yeah, pretty tight, Yeah, yeah, And I know Flagman songs
barely crack the two minute marks, so you must really
Actually I'm just making that up. I don't know if that's.
Speaker 5 (29:10):
True, but it's very true for the most part. Yeah.
Speaker 2 (29:13):
Do you guys keep it fairly brief?
Speaker 4 (29:15):
We try to, Yeah, you know, in the uh, in
the war for people's attention, when you're like, hey, do
you want to check out my fourteen minute long prog song, they're.
Speaker 5 (29:25):
Like, hey, pass.
Speaker 2 (29:30):
So yeah.
Speaker 3 (29:31):
The kids, kids, they say, you know, they're they're they're
not the young folk aren't listening to the Iron Maiden
epics like they were forty years ago.
Speaker 5 (29:40):
There's too many things vying for people's attention.
Speaker 2 (29:43):
Yeah. Yeah, there's the TikTok, the TikTok version of music.
Speaker 5 (29:48):
Scrolling through it. You know, Well, it's signing it.
Speaker 2 (29:51):
For your responsive to that trend though, And that's important, sure, I.
Speaker 5 (29:56):
Mean it's the it's the classic. You hear the legacy
bands when they're.
Speaker 4 (29:59):
Like, nobody wants nobody listens to albums anymore.
Speaker 5 (30:04):
And it's like, well, people do.
Speaker 4 (30:06):
They just don't want to hear your nineteenth album of
twenty two songs that's two and a half hours long,
twenty five years past your prime.
Speaker 3 (30:15):
Yeah, well, and that's it's funny you raise that point
because Less has even said that, you know, we'll just
do a few songs a year and tour on those
because out the album is more or less done for.
And then he said that around the Conspiraenoid time, and
then around the Decenturating seven he said, you don't need
to make an album that's fifty five minutes. All my
(30:37):
favorite albums are half hour long, and he made a
thirty four minute record. So there's a couple of different
points of view there or perspectives that one could take.
And yeah, I.
Speaker 5 (30:48):
Think not to get too far into it, but I
think the CD is what did us end. The CD.
I think started the because everybody started.
Speaker 4 (30:56):
Putting out like the tool was like, we've got to
we can put eight nine minutes of music on the CD.
Speaker 5 (31:02):
We're gonna put eighty nine minutes of music.
Speaker 4 (31:03):
And that's great when you have latter Alice, right, but
not everybody was putting out ladder alice.
Speaker 3 (31:08):
Yeah, And I think it's the human urge just to
fill space. If there is space, a person will fill it.
So if there's an empty room, it will have all
you know, the next day it's full of furniture.
Speaker 2 (31:19):
If if you.
Speaker 3 (31:21):
Have seventy six minutes and fifty nine seconds or whatever
it used to be for the limit of a CD,
a band will fill it. Metallica just reissued Load, which
went all the way to the end of the CD.
It went, it went to capacity, and that's a great example.
I think of a record that you could fill the
(31:41):
entire thing, but you don't have to.
Speaker 5 (31:43):
What should you.
Speaker 4 (31:44):
Yeah, it's actually kind of the same thing that we
were talking about with the spaces in the song or
like being a bass player, right, that's typically.
Speaker 5 (31:52):
The traditional thing.
Speaker 4 (31:53):
Right, They want you to same reason the drummer is
getting on lest because hey, keep it tight, keep play
only what you need to play, right, Yeah, serve the
song whatever.
Speaker 5 (32:02):
It's the same kind of principle.
Speaker 4 (32:04):
It's very easy as a yeah, to fill the space.
Like you said, well, we can put an hour of
music on the thing, so we should put an hour
music on it.
Speaker 5 (32:14):
Well, but is it all? Is it all good?
Speaker 3 (32:17):
Is it worthwhile? Yeah?
Speaker 6 (32:18):
Right?
Speaker 5 (32:18):
Is it going to capture people's attention?
Speaker 4 (32:20):
And I think that then, Plus, you know, everybody's got
a billion things going on all of a sudden, it's
becomes less attractive to be like, cool, the album's eighty
minutes long.
Speaker 2 (32:30):
Yeah, for sure.
Speaker 3 (32:31):
And it makes me wonder how many of these records
that you know came out in the vinyl era that
were thirty five to forty minutes long. Did any of
them actually have filler on them? I can't think of
too many examples off the top of my head where
there was just a forty minute album that had a
(32:52):
bunch of skippable tunes.
Speaker 2 (32:53):
Plus it'd be a lot harder to skip them on vinyl.
Speaker 5 (32:56):
Yeah. That's the other thing too, is it's hard to skip.
Speaker 4 (32:58):
Yeah, to think about like the longer it gets, the
less quality you have. Right, your base response goes down
the higher you go, uh lengthd wise and then also
U people back it was less to do, Right, It's like, Okay,
I said, I'm this is what I'm doing. Now, I'm
gonna put on an album and I'm gonna sit down
and I'm gonna listen to it.
Speaker 5 (33:18):
Hell yeah that sounds now, it's doesn't it. It's it's great.
Speaker 4 (33:22):
We I try to do it as often as I can,
you know, but yeah, once it gets relegated to like
I put on Spotify shuffle on my commute to work. Yeah,
and that's like the space that it, you know, music
occupies for a lot of people than the demand for
or even the demand for like cohesiveness of an album.
Speaker 3 (33:40):
Starts to kind of drop off, and I think.
Speaker 5 (33:43):
I'll get off my soapbox and we can go back
to Yeah.
Speaker 2 (33:46):
That's all right.
Speaker 3 (33:46):
No, I think it loses a little bit of the magic.
One is just in the car, you know, like being
able to sit down, even with the digital album, just
being able to sit down and listen to it without
any distractions or minimize distractions is rare.
Speaker 5 (34:01):
I was.
Speaker 6 (34:02):
I was thinking that in the nineties, a lot of
what a lot of bands were doing is that they
were filling the CDs. But some of the tracks were
not even actual songs.
Speaker 2 (34:13):
They were just like, uh.
Speaker 6 (34:15):
Vignettes or snippets that farm that amounts to fill it, right, Gosh.
Speaker 3 (34:21):
A lot of the nineties rap and hip hop records
I liked all had skits and interludes, and I was like,
all right, they're kind of funny the first time through
or entertaining the first time through, but I'm like, I
already know the punchline click, I want to hear the
next song, like, yeah, for sure.
Speaker 4 (34:37):
I would hate when they would be in the like
it's not a separate skit from the song. It's like, okay,
the first two and a half minutes of this track,
is you gotta like slide it to the right spot
to like, I just want.
Speaker 5 (34:49):
To start the song.
Speaker 2 (34:50):
Yeah, I like the song. This skit sucks, please.
Speaker 3 (34:54):
For sure.
Speaker 2 (34:55):
Yeah.
Speaker 3 (34:55):
The the acts that were kind enough to make them
separate tracks have my eternal gratitude and respect. Let's talk
about these lyrics. Frankie Filipino Ray. They're about his pal
Ray Wing, so we know that in the Grapevine book,
Less says some of the kindest.
Speaker 2 (35:14):
People that he ever met were the dudes and the.
Speaker 3 (35:16):
Tommy Crank Band, and he he speaks glowingly of Ray
Wing here, which certainly shows his respect and admiration for
the guy. But he, you know, he mentions always has
a blonde, freckle faced lady Danglin from his sleeve. Tommy
Crank Band very popular with the ladies. Less mentioned in
(35:38):
the book, and Filipino Ray played an old Less Paul
big old jumbo fret. We've got a photo of that
on the Instagram and I'm going to recycle it for the.
Speaker 2 (35:51):
Post for this episode as well.
Speaker 3 (35:52):
There's a great photo of Ray playing that jumbo fret
and Less right next to him, a very young Less
standing next to him that I cribbed from the Tommy
crank Facebook page. Then biker girl squealed when he flip
his hair back, step up to the mic and kroon.
So this is a lot of This is obviously Less's experience,
but also raise quick with the tailor a joke lend
(36:15):
you his ear, especially if you buy him a fresh
bourbon and coke, so that that bourbon and coke must
have been his favorite drink, must have been always in
his hand before, during, and after the show, I imagine. Which
is a great image. And I like that that's a
repeating symbol or a motif in this in this set
of lyrics, that bourbon and coke.
Speaker 2 (36:34):
I like this.
Speaker 3 (36:36):
Ray had seen his fair share of demons in many
days of black but when he picked his guitar and
sang back to the bar, he pissed the monkey off
his back. I think that's a great set of lines.
Speaker 2 (36:47):
Just like everybody else, he's.
Speaker 3 (36:48):
Got his problems. When he's performing, he's happy as hell,
and that's you know, a lot of people use music
every day. People use music to do that, but even
musicians use music to do that too, which is certainly
I think what he's getting at here, and and.
Speaker 2 (37:06):
He's just less. Just loves this guy. It calls him
a smiler, quick with a tailor, a joke. He must have.
He must have been something else to behold on stage. Obviously,
there's very little video footage of the Tommy Crank Band
that's made his way to the internet, and most of
it is from the nineties and beyond. So I don't know.
Speaker 3 (37:27):
If there's cam quarter footage of the eighties Tommy Crank
band out there, but I would.
Speaker 2 (37:31):
Love to see it, just because this is the second.
Speaker 3 (37:33):
Guy Less as utilized for lyrics, and uh, you know,
of course Tommy Crank is Tommy the Cat and Tommy
Crank was quite the ladies man too, so there's that connection.
And then here's Ray Wing that the next guy in
line here. So I do wonder if anybody else in
the band is going to get the lyrical treatment at
(37:55):
some point.
Speaker 2 (37:55):
I can't remember the name of the drummer.
Speaker 3 (37:57):
It's in the book, Dave Heyte, I think is the
drum that Less references that's was always getting on him
to do.
Speaker 2 (38:04):
It right, Yeah, tighten up.
Speaker 3 (38:06):
Or just groove on it, don't go crazy. Certainly formative
experience for Less in a lot of ways. You know,
when when we have these lyrics about real people, I'm
always fascinated with how Less interprets his interactions with them
or his perception of the person. And it's clear to me,
(38:26):
it's clear to me it's got nothing good but good
things is about Ray. And that's about all I have
to say about that. I would love to see video
footage though, of ray Wing. It is really difficult even
to find information on this ray Wing through internet searches.
There's there's very little out there, and apparently there are
dozens of ray Wings, so you have to be really
(38:49):
specific with your search terms, I suppose.
Speaker 2 (38:52):
But I would love to know more about ray Wing.
Speaker 4 (38:54):
I want to check out some of that Tommy Crank
footage from the nineties and the and beyond imagine the
same kind of kind of thing, Yes.
Speaker 2 (39:03):
Like a lot of the lot of the similar music. Yeah.
Speaker 3 (39:07):
There there is an anecdote in the book where one
of the guys in the band was pushing them to
play more contemporary tunes and they had to play John
Cougar Mellencamp songs every once in a while unless was
not thrilled. But the footage of the Tommy Crank band
that's on YouTube is uh. The quality is hit and miss,
(39:30):
but the musicianship is great.
Speaker 2 (39:33):
Good band.
Speaker 5 (39:35):
So in that.
Speaker 4 (39:35):
Last verse, I always took it when he says it's
been five years since his guitar mansity rolled up his sleeve.
Speaker 5 (39:43):
Yeah, is that? Do you think that's? Like?
Speaker 3 (39:46):
Uh?
Speaker 4 (39:47):
Since I always took it as like did he have
to quit doing music. It sounds like he kept doing
stuff with the band. I always interpreted it as there
was some kind of you know, cause he mentions he'd
give you the shirt off his back over the bourbon
coke at the end. I was always wondering, you know,
when I heard it as a kid, it was like, okay,
So what happened to Ray was it did the bourbon
and coke get the better of the of the musician
(40:09):
or I didn't know if that's what the where those
lyrics were going.
Speaker 3 (40:13):
And I'm not clear on it either, And I don't
want to speculate because when I hear Les Claypool's lyrics
say somebody rolled up their sleeves, I'm thinking, uh shit,
they're going to inject something into their arm.
Speaker 5 (40:25):
That's what I mean.
Speaker 4 (40:25):
It's like something's gone and he's giving is the shirt
off his back for the bourbon and coke.
Speaker 5 (40:30):
I'm like, oh, have things gone wrong here?
Speaker 4 (40:33):
But it sounds like yeah, it sounds like things were
okay at least into the nineties and two thousands.
Speaker 3 (40:39):
I think they give you the shirt off his back
is you know, I'll help you out, Just buy me
a bourbon and cokes because I always my line, I
have a truck.
Speaker 2 (40:49):
I'll say that again.
Speaker 3 (40:50):
I own a truck, and so my line for years
was yes, I will help you move, just by me
pizza and beer. Right, So I think that's the spirit
of that Stanza.
Speaker 2 (41:01):
Uh.
Speaker 3 (41:01):
And yeah, the rolled up his sleeve is a mystery
because we know so little about Ray.
Speaker 4 (41:07):
And in the way uh like Less talking about it
and mentions him in the book, it sounds, like you said,
more like it's admiration than like sort of a tragic figure.
Speaker 5 (41:19):
Yes, but again, like you said when in.
Speaker 4 (41:20):
Claypool lyrics, when you hear like, oh there's a there's
a character, you know, it's centering around a character. What's
there's probably some sort of tragedy.
Speaker 3 (41:28):
Yeah, yeah, you're just bracing for that next that next
part or.
Speaker 5 (41:33):
The other shot dark turn.
Speaker 3 (41:36):
Yes, there usually seems to be one.
Speaker 2 (41:39):
Yeah, and this one not so much, which is great.
Speaker 3 (41:42):
And I think he's uh, he's worthy of a song
just given his you know what he did for Less
uh over the years, musicians, you know, musicianship wise loaning
him the guitar so Less could record too many puppies,
which is fascinating in and of itself, it's.
Speaker 2 (42:05):
Time for Primemates takes.
Speaker 3 (42:06):
If you would like your take on the track up
for discussion, read on the podcast. All you have to
do is go to patreon dot com forward slash Primus tracks.
There are many tiers of support there, but the universal
constant is this feature right here. Let's see what the
Prime matrons have to say today about Filipino Ray. Marcus
Mayol says, since the bass is obviously rad let's comment
(42:28):
on the great drumming with excellent high hat work by Less. Also,
the bass drum tone is really something to be envied,
not an easy drum track to play. If you listen closely,
there is really complimentary ambient vibe playing by Mike Gabby
sitar always ties everything together. I really enjoy this jam.
Matt Ray says, one of Less's best base lines. It
(42:48):
has the same chaotic vibe as the girls for single
Men Riff. Eric and Australia are resident Curmudgeons says I
like bass and this song has bass.
Speaker 2 (42:58):
Thank you Eric.
Speaker 3 (43:00):
And finally, John Shreeve says, it makes me want to
get sick from eating too much Lumpia fun song sneaky
Filipino cuisine reference. John and those are our primates takes
for Filipino Ray. Live cuts from a Jim Vehicle, Live
cuts from the Jim Vehicle, live cuts from what's going
(43:22):
on here?
Speaker 2 (43:23):
I'll tell you what's going on here.
Speaker 3 (43:24):
Disembodied voice of Tim Soyer.
Speaker 2 (43:26):
It is live cuts time.
Speaker 3 (43:28):
Frankie has gone through his trove. He has rifled through
thousands of hours of recordings, and he has found two
exemplary performances of Filipino Ray out of the fifteen, so
that so he actually, Frankie, you destroyed the mystery when
you revealed that there are only fifteen performances. I wanted
(43:50):
everybody to believe that you were just combing through thousands
of hours of couch but actually he just picked two
out of fifteen.
Speaker 2 (43:56):
But they are quite nice.
Speaker 3 (44:00):
Our first live cut of Filipino Ray is from Frankie's
fictitious box set Whales Live Sessions. I have no metadata
on this, please directly.
Speaker 2 (44:12):
The metadata is Primus please.
Speaker 3 (44:15):
Yes, it does say artist Primus, which is actually irritating
to me, and then the people listening that want to
know where this is from are even more perturbed. But
we're going to hear a lot of parts of this cut,
including a little story about a hot dog.
Speaker 8 (44:33):
So that's got to be the guy.
Speaker 3 (44:36):
It's not the sausage Queen or duke or.
Speaker 5 (44:40):
You know, Prime Minister.
Speaker 3 (44:42):
It's the sausage King.
Speaker 9 (44:43):
So I got me a sausage King dog and it's,
you know, just this big phallic looking thing stuck.
Speaker 3 (44:50):
In up bun with a bunch of onions on it.
Speaker 9 (44:53):
I covered it with all kinds of shit, and I
hate that son of a bitch right down. And I'm
not trying, you know, I don't want to, you know,
imply anything, but I think there may have been peyote
in that dog because.
Speaker 8 (45:12):
I'm feeling a little unusual to see.
Speaker 3 (45:17):
So now you know that it's a super special performance
of Filipino Ray.
Speaker 10 (45:22):
Let's hear a part of it, Bullet Michael, we don't
(45:42):
want to.
Speaker 2 (45:47):
Be already. Is he cheated a little bit?
Speaker 5 (46:02):
It sounds like it.
Speaker 4 (46:03):
It sounds like he's kind of approximating some of the parts,
kind of like when they do when they've done DMV live. Yeah,
you know, he's kind of it's the vibe, you know.
Speaker 3 (46:15):
Right, Yeah, it sounds like he's leaving something out or
playing a more simplified version of it.
Speaker 6 (46:21):
Yeadbook the hood look story gave it a weight. This
is Roxy two thousand and six.
Speaker 3 (46:27):
Good the actually the mob with the torches is turning
around and going home. Thank you, Frankie. Let's move forward
to and Frankie put this in all caps via borophone.
This is a nearly eight minute rendition, but that includes
the hot dog story.
Speaker 2 (46:45):
But they still jam it out. Let's here's some Mike d.
Speaker 3 (46:51):
Oh. They brought it down.
Speaker 2 (47:02):
Lounge version.
Speaker 3 (47:37):
This is like the Bob Cock and the Yellow socc
version of Filipino Ray. That's outstanding.
Speaker 5 (47:42):
I love that.
Speaker 4 (47:43):
I was actually when we were first talking about it,
I was like, you know, I wonder if they're gonna
jam on this at all, or if they're just gonna
play it straight.
Speaker 5 (47:51):
I like that. I'll have to check out some of
these other cuds.
Speaker 3 (47:53):
Yeah, I really like that variation. I like that lounge
version for sure. Our second live cut is from July eighth,
two thousand and six, and this one is Mike d Gabby,
Paulo Scaric Less. Frankie's Frankie's notes say we should play
the intro for Uber cringeh.
Speaker 7 (48:21):
Finally, my bag, the reply of you wish.
Speaker 2 (48:44):
Is so satisfying, very good. I got all for my mother.
Oh man, crowd's having a great time.
Speaker 5 (48:53):
Those are the best live cuts.
Speaker 4 (48:55):
There was some Brown album Era one that I was
listening to where whoever was recording their friend or someone
nearby was sounded pretty drunk and they were just.
Speaker 5 (49:04):
Going on and on. They had a full conversation in
the middle of one of the songs.
Speaker 2 (49:09):
Oh yes, Frankie shaking his head.
Speaker 3 (49:11):
It's his number one pet Peeve can't stand it.
Speaker 5 (49:15):
It's always the ones that have great audio quality too,
of course.
Speaker 3 (49:18):
Yes, this is the best sounding recording. So somebody's gonna
scream over Golden Boy.
Speaker 4 (49:23):
Yeah, it's brain playing Nature Boy or like Beaver, like
I gotta hear this.
Speaker 5 (49:27):
I mean some guys.
Speaker 2 (49:28):
Like dude, we gotta.
Speaker 3 (49:32):
We got to hit the parking lot. Let's move forward
to four minutes and twenty seconds Frankie slide Doug for
some gabulola.
Speaker 8 (50:01):
Yeah, is this a later performance?
Speaker 3 (50:09):
This is July eight, two thousand and six, So I
don't know where lands in the Filipino ray chronology.
Speaker 4 (50:17):
I was the earlier recording a little like or I'm
sorry the one you played earlier?
Speaker 5 (50:23):
Was that before this one?
Speaker 2 (50:24):
Oh, Frankie, what's the date on the chronology.
Speaker 3 (50:27):
Yeah, what's the date on the roxy?
Speaker 2 (50:29):
Let me check.
Speaker 4 (50:32):
That one sounded a little a little tighter to me.
I didn't know if it was maybe later in the
later in the tour, very good, could be, I don't know.
Speaker 6 (50:41):
So what you guys are picking up is it less
simplify the baseline for the live rendition?
Speaker 1 (50:46):
Mm hmm.
Speaker 5 (50:47):
Yeah, that's cheating. Sometimes you got to do it to
get those lyrics out.
Speaker 3 (50:54):
That's what That's what I was thinking, is he's got
to do the lyrics. He's got to deliver those lyrics,
and it's it's an odd meter that he's delivering in them. Men,
So I can I can understand, I can he can
justify simplifying the bas lick for that.
Speaker 4 (51:09):
I wonder if it was like a which these things
came first?
Speaker 5 (51:13):
Right?
Speaker 4 (51:13):
Did you have lyrics sitting around and then you match
it to an instrumental or do you have you write
the instrumental and then you write the lyrics?
Speaker 5 (51:19):
Right?
Speaker 2 (51:19):
Yeah, So it could have been.
Speaker 4 (51:20):
At one of the Hey, I've got this thing, and
now I got to put these lyrics over top of it,
and you do it separately, and then you go, oh shit.
Speaker 5 (51:26):
I got to play this live and yeah, these at
the same time.
Speaker 3 (51:30):
He really matches the lyrical cadence to what he's doing
on the bass too, which is which is fascinating because
it's so odd, but it can certainly be rough to
do all that at once.
Speaker 6 (51:41):
So actually the Rocks is July seventeenth, two thousand and six, nine.
Speaker 3 (51:45):
Days later after so is what I know.
Speaker 5 (51:48):
It's here a.
Speaker 2 (51:49):
Little viabraphone to round it out.
Speaker 8 (52:13):
Yeah, that's groovy.
Speaker 3 (52:24):
I'm into that.
Speaker 2 (52:25):
That's fun. Wow.
Speaker 3 (52:28):
Thanks for those live cuts, Frankie. Filipino Ray went in
directions I would not have imagined You're welcome, or I
could say, like you would not believe did this not
break out?
Speaker 4 (52:39):
This tune didn't go anywhere other than two thousand and
six Whales and Mo Tour.
Speaker 6 (52:43):
Two thousand and seven. Those fourteen performances are spread throughout
two thousand and six and two thousand and seven PUD.
After the Fancy Band was done, it was never performed again.
Speaker 3 (52:56):
Well, I guess I just to say this, Filipino Ray,
have another sip of that bourbon and coke because you've
been tracked.
Speaker 2 (53:01):
Sam Stewart, thank.
Speaker 3 (53:02):
You so much for joining us to talk Filipino Ray
in Wales and woe.
Speaker 5 (53:06):
Thanks Sam, thanks for having me all.
Speaker 3 (53:08):
Anytime, pal, you wonderful listeners, Primates, Prime Matrons. You can
find Sam on the Instagram at Sam and Sam Stu
and you can also find Flagman at Flagman Band.
Speaker 5 (53:22):
That's us. Maybe listen to flag Man.
Speaker 2 (53:24):
And that's the slogan, listen to Flagman one small thing.
Speaker 6 (53:29):
Filipino Ray was sound checked in Portchester on June twenty third,
twenty twenty three by the Frog Brigade, but didn't actually
get performed at the show, but kicking that's fascinating. Yeah,
he almost came back.
Speaker 2 (53:50):
Sam's tinting his fingers is anything.
Speaker 3 (53:58):
Oh that would have been a hell of a performance. Uh,
Filipino Ray will be back. I've got a lot of
bourbon and coke mm.
Speaker 2 (54:05):
Hmm, Primates, Primatrons, people have ever.
Speaker 3 (54:08):
Thank you all so much for listening.
Speaker 2 (54:11):
We'll see you next time. Later days. Willies h.
It's Josh Freaky with a couple of dump shits.
Speaker 2 (00:18):
Hello, Primates, you found Primus Tracks. Congratulations.
Speaker 3 (00:23):
There are so many places to find Primus tracks, but
you found the best one. I am Josh. I am
one of the hosts of Primus Tracks. He is on
the thirty ninth floor of Primus Tracks Towers, overlooking the
punch bowl. It's Frankie Berestein. Hey, Josh, Frankie. Today we
are talking about Filipino Ray. And as you know, Frankie,
(00:44):
this track is a certified banger. We can say that upfront, right,
there's no mystery about that. And when you have a
certified banger, you have to bring in somebody who's just
his banging. And he brought his fore banger today. I
just like saying the word bang and derivations thereof. And
what I do I think of this man? He is
(01:08):
the basis of Flagman. He is Sam Stewart, Welcome back
to Primise Tracks.
Speaker 4 (01:13):
Thank you for having me. It's great to be back here.
He's your favorite energy drink bang.
Speaker 3 (01:18):
You know what, Speaking of energy drinks that are horrible
for you, I found in my garage just a couple
of days ago a four pack of sparks, the old
sparks that had the caffeine and touring and along with
the alcohol before numerous lawsuits threatened to destroy the manufacturer,
and they removed the caffeine and the touring from it
(01:41):
and have fun anymore.
Speaker 2 (01:43):
Exactly.
Speaker 3 (01:43):
Yes, So that was the drink of choice of my
pals and I in about two thousand and five. I
bought a four pack of that about twenty years ago
and held onto it, only to discover in my garage
that this drake is so acidic that there were pinhole
leaks at the bottom of the cans and they were
(02:04):
all empty.
Speaker 2 (02:07):
So aluminum is not indestructible, is the lesson there? I think?
Speaker 3 (02:13):
And the stuff that we put in our bodies probably
not the best for us.
Speaker 2 (02:18):
But when you're young's an invincible. It doesn't matter.
Speaker 5 (02:22):
It's true you made it this far.
Speaker 3 (02:24):
That's right. Rip Sparks. How things going for Flagman Sam?
Speaker 4 (02:30):
They're going, well, we're in a bit of flux.
Speaker 5 (02:34):
Is not the right word? Is that the right word?
Where you're kind of like we're sort of in between things.
Speaker 4 (02:39):
I'm making all kinds of music I moved across the country.
Speaker 5 (02:43):
Is that flux you could call it Flus. We're in flux.
That's what we're doing.
Speaker 4 (02:48):
I'm going to say that we were working on something
secret and then we have like a bunch of new
demos we're working on about sixteen.
Speaker 5 (02:57):
So wow. Yeah, try to get something out this year
if we can.
Speaker 4 (03:02):
But as you know, everything takes a thousand years longer
than you think it's going to so we'll see. Hope
fingers crossed for some more Flagman this year.
Speaker 3 (03:12):
Uh yeah, that's right, you guys. And you guys just
pass the one year mark for Tasting Credible.
Speaker 5 (03:17):
We did that was yesterday on Flag Day.
Speaker 2 (03:20):
Yeah, Now was that intentional?
Speaker 5 (03:24):
It was? Indeed, we saw it.
Speaker 4 (03:25):
We were so when we were doing the last rollout,
we were trying to figure out when it was going
to come out, and we saw Flag Day on the
calendar and we were like, wow, you got it laying
it on Friday, and it was like, well, come on
new Music Friday, It's Flag Day.
Speaker 5 (03:39):
Come on, guys, it makes sense.
Speaker 3 (03:42):
You've you nailed it. Congratulations, Thank you very much. No
Wonder tastes incredible is so popular with the kids these days.
Speaker 5 (03:49):
Everybody that's their favorite holiday.
Speaker 4 (03:51):
Surveys amongst seventeen to fifteen year olds Flag Day.
Speaker 5 (03:55):
You would never guess favorite holiday.
Speaker 2 (03:57):
Go fucking nuts, man, Yeah, waving their cloth around. They
love it.
Speaker 5 (04:01):
It can't get enough of that type of thing.
Speaker 3 (04:02):
The nylon, the ray on, doesn't matter what the flag's
made of. The kids want to wave the flags. Good
for them. Well, thanks for being here today. Sam. We
are talking about Trek eleven on your of Wales and
Woe disc and mine it's called Filipino ray.
Speaker 2 (04:19):
Before we get into that Trek.
Speaker 3 (04:21):
Sam, I'll want to ask you about your relationship with
the of Wales and WOA record.
Speaker 5 (04:26):
Oh man, this one was, this was a big one. Yeah.
Speaker 2 (04:30):
I think this is.
Speaker 4 (04:31):
The one where I slowly convinced my dad to get
back in because he had lived in the Bay Area
in like the early nineties, so he was like I remembered, like,
you know, hearing like Jerry was a race car driver
on the on the local radio station and stuff like that.
But he never got super far into it. But it
was one better. I was like, Dad, you got it.
I'm checking this guy out. You gotta check out this song.
(04:53):
And I downloaded it to his iPod.
Speaker 3 (04:57):
Oh wow.
Speaker 4 (04:57):
And then like you know, a couple of weeks later,
he was like, this is really good. We should we
should check out more of this, and then I was like,
don't worry, I already bought the rest of the album
on iTunes with your credit cards, so way ahead of you.
Speaker 5 (05:09):
Pop.
Speaker 2 (05:11):
Yeah.
Speaker 4 (05:12):
I listened to this to death and actually going back
once we started talking about doing Filippine Ray, I went
back through the record again, and it's just like banger
after banger after banger, Like I would fall asleep listening
to it. Yeah, this one and uh uh oh what
is it? Nothing ventured is great. I had the iTunes
(05:35):
digital version with the live these yes, with the super
long bass solo at the end.
Speaker 5 (05:42):
Yeah, I loved it.
Speaker 3 (05:44):
So that's on your dad's iPod, which is in a
drawer somewhere at this point somewhere. Excellent. Hopefully you can
get back that D's Diner track.
Speaker 5 (05:54):
I need it. I listened to that was it live
in Philadelphia?
Speaker 2 (05:58):
I think so? Yeah, I hear. It's hard to get
those songs off the iPods these days.
Speaker 4 (06:04):
I don't even know if that cable exists anymore. Yes,
like the wide mouth cable that would go into the
bottom of the iPod. Yeah, I don't even know where
you would get one of those anymore.
Speaker 3 (06:14):
I believe I have one in a drawer because my
wife still has her iPod and it still works.
Speaker 4 (06:20):
That's the best. It's better. I think it's I think
it was a better process.
Speaker 3 (06:26):
We're talking about Filipedo and Ray, of course is three
minutes fifty one seconds, Track eleven, the penultimate track. And
I love.
Speaker 2 (06:33):
These episodes because I get to say.
Speaker 3 (06:34):
The word penultimate. We have less Claypool on bass, vocals
and drums, Gabby Lala and sitar, and once again uncredited
in your liner notes, Mike Dylon on viabera phone. As
you may recall, Skerrik performed unrumbled the diesel but is
not credited in the notes. Once again, one hundred percent
(06:57):
in oversight, these things happen, Frankie, this is a big one.
What do you have on Philipino Ray?
Speaker 6 (07:06):
I'll start off with a quote from the man himself
goes like this. Many years ago, I was a young
fellow playing in a band with other people that were
quite a bit older than me, and they played all
these songs by people that I really didn't know much about,
you know, people like the Meters. I learned quite a
(07:26):
bit about motown and all these different things. Little did
I know, being a young, rebellious bastard that wanted to
do stuff like this. At this point in the interview,
Less begins playing the bass very quickly. I was actually
gaining quite a bit of knowledge both mentally and threw
my body from repetitive motions. I was in a band
called the Tommy Crank Band, and we used to play
(07:48):
biker bars up and down back when bikers were really bikers,
none of these weekend Harley Davidson bullshit. And we played
Hells Angels bars in northern California. Like I said, I
was about ten years younger than most of these guys.
Speaker 5 (08:01):
In the band.
Speaker 6 (08:02):
And there was one fellow in the band in particular
who was a very interesting character, and I learned a
lot from him. His name was Ray, real name Ray
Wink Trivia. Les borrowed raised guitar to record the first
Primo song, Too Many Puppies, when the band was still
called Primate. Ray passed away from cancer a few years ago.
(08:23):
Filippine O Ray was premiered on June eleven, two thousand
and six, at the Quest Club in Minneapolis. It was
performed only fourteen times, perhaps due to its technical difficulty.
Speaker 3 (08:34):
I would think it would be performed more. I wanted
to add a note there about Ray's guitar, as Les
said that sometime after Ray's passing, Les bought that Gibson
guitar from Ray's widow, so less has it at Rancho,
that all important guitar that is described in the lyrics
(08:56):
as well.
Speaker 2 (08:56):
Fantastic It's primus history.
Speaker 3 (08:58):
Sam, Yes, Filipino, Ray Man, You've got that bass, You've
got that smile on your face. What is this tune
for you, especially as a bass player, And I wonder.
Speaker 2 (09:11):
If you can recall the first time you heard this
one in.
Speaker 3 (09:13):
Your reaction to it.
Speaker 4 (09:15):
I mean, this is the one for years. Actually I didn't.
I couldn't figure out what was being played for the
longest time, and I actually have to figure out what
I was trying to google. There is a cover on
YouTube and the profile is Andre Bellamy.
Speaker 5 (09:31):
I think is how you pronounce it.
Speaker 4 (09:33):
I actually use that as a kind of a jumping
off point for this because I was as I started
listening to it, I was going, like, but so, and
as I'm listening to that, like the actual record, I'm
slowing it down and everything like these that's not right. Yeah,
(09:55):
like that's does that just doesn't sound right. So this
guy Andre Bellamy, thank you from four years ago, uh
Filipino ray main Rift tutorial if you're trying to find
that out on YouTube. But yeah, I mean the first
time I heard it, that first rift, it's.
Speaker 5 (10:18):
Like start to track over what was that? You know?
Speaker 4 (10:22):
And this also has a couple of my like all
time favorite licks that he does. There's one it's actually
after the big old jumbo fret.
Speaker 2 (10:34):
He goes like.
Speaker 5 (10:38):
This is cool like chromatic thing. So it's like, uh yeah,
yeah that one. And then at the very end he's
got that pentatonic that.
Speaker 7 (10:55):
Thing.
Speaker 5 (10:56):
So he's all over it this whole song. And also
so that like.
Speaker 4 (11:00):
Chorus bit, it's like this weird kind of like loop
he's doing. That one took me, honestly, that was what
I felt like. I spent the most time trying to
like what's going on here because the second chorus he
(11:21):
kind of just loops it forever, but ah, you know,
and it's like I don't know, it's this weird hypnotic rhythm,
you know. And since I heard it like fifteen twenty
years ago, I was like always kind of hypnotized by
(11:43):
this song. Yeah, and also Wales and Woe some of
his best bass Towne. It's so like, I don't know,
some some tone tone heads out there, let me know,
how do you get this sound? Sounds like real compressed
and like super crisp.
Speaker 5 (11:58):
I don't know.
Speaker 2 (11:59):
It's great.
Speaker 3 (12:00):
Is a really good sound, especially on this track. And
I wanted to ask you about that because in the
left channel I hear some fuzz that's on his bass,
but you only.
Speaker 2 (12:10):
Hear it in the left channel.
Speaker 5 (12:12):
I haven't noticed that.
Speaker 3 (12:13):
All right, I'm gonna play the first part of this
here and see if you can hear it in those
cans I've heard.
Speaker 2 (12:21):
I remember when I first heard this record.
Speaker 3 (12:23):
Just in that left channel I heard this, but it's
on the bass, and of course it's when he's playing notes.
It's not just an ocean sound, but it's a really
interesting fuzz. But I only ever heard it in the
left channel.
Speaker 2 (12:38):
Here. Let's see if you can hear it in this moment.
Are you hearing that?
Speaker 3 (12:55):
Man?
Speaker 5 (12:56):
I'm not hearing it really, not specifically in the left channel.
Speaker 2 (13:00):
Okay, that's where I've heard it for years, and I've
heard it there again.
Speaker 5 (13:05):
I'll have to tell I'm going to take a deeper list.
Speaker 2 (13:07):
Yeah, for sure.
Speaker 3 (13:07):
It's really it's a really cool distorted fuzz that he's
got going on, and it seems to be hard panned
over here in my left channel, and then the cleaner
tone that he's using is in both channels, and you can,
you know, just really enjoy that. But that's something that
was always a mystery to me, that he had that
hardpan to the left channel, at least to my eyears.
Speaker 4 (13:30):
I wonder what that would be. Have you all gotten
any I want him to do it like a tone
reveal for this album, Oh my gosh, last hey man,
do you want to do a rig rundown for a
record that came out twenty years ago?
Speaker 3 (13:44):
Has answered me, I don't remember what I was doing then,
you know. But but he's also been, as we know,
fairly secretive of his settings and how he achieves certain
aspects of his tone, and that's part of the mystery.
We just talked to. I'm gonna mess with our timeline here.
We just talked to a photographer named Jordan Kravitz, who's
(14:08):
that episode will air after this, but he talked about
that they have intentionally He mentioned that they have intentionally,
you know, kept this air of mystery around the band,
and we have certainly detected that ourselves. And that's sure
in a lot of ways is by design, and I
guess it extends to gear and settings from time to
time too.
Speaker 2 (14:29):
So we may never get a straight answer.
Speaker 5 (14:32):
That's okay, we'll just have to I love pondering too.
Speaker 3 (14:35):
So absolutely, what you know there will be maybe there
will be a tell all book, you know in twenty
sixty two that there's all these notes from the studio
and board settings will be revealed.
Speaker 5 (14:49):
They'll finally get those centerfolds in the book.
Speaker 3 (14:53):
Yeah, I've been saving Do you see that space on
the wall right up here? That's what I'm saving it for.
Speaker 5 (14:58):
It was a little tag underneath it.
Speaker 3 (15:02):
I used my wife's label maker.
Speaker 2 (15:08):
Whatever.
Speaker 5 (15:08):
She'll get on board once they finally when she sees them, I.
Speaker 3 (15:11):
Think she'll appreciate them. She she's, you know, one for
fine art. Of course, it's all right that you don't
hear what I hear in the in that fuzz. It's
just something that's always mystified me. The So the two
parts that you played there, of course, the main lick
is signature claypool and that he he does something really
acrobatic and then leaves space for other instruments or improvisation
(15:37):
or what have you. And then that that second lick
I didn't realize he was doing just doing so much
hammer on and pull off action there. And so when
when you were doing that and just kind of looping it,
it sounded like something that somebody would just mess around
with and then think, like unconsciously right, just be hammering on,
pulling off and then thinking, oh, this would work in
(15:57):
a tune.
Speaker 4 (15:58):
Yeah, you know, yeah, And it seems like it's kind
of I'd be interested to check out some of the
live cuts that they have because it seems like it's
a very kind of open part.
Speaker 5 (16:11):
You've got that setar flowing then do.
Speaker 2 (16:13):
Do do Do Do Do Do Do Do Do do do
do do do do?
Speaker 4 (16:15):
You know kind of I feel like it would be
an easy tune to get lost.
Speaker 5 (16:19):
During, you know, when you're playing it live.
Speaker 4 (16:24):
And also just the lyrics are so like his delivery
is so like dramatic as it always is. I do
feel like it'd be real difficult to get all the
intricacies of both sets right to give your give a
good performance on the like the really theatrical vocals and
(16:46):
then also do all the acrobatics in between, you know.
Speaker 3 (16:50):
Yeah, because he is doing that radio commercial voice Filipino
Ray like that.
Speaker 2 (16:56):
And I don't recall if it was either Gabby.
Speaker 6 (16:59):
Or Mike who told us that they had to rehearse
this one a lot because it was very hard to play.
Speaker 5 (17:06):
Yeah.
Speaker 3 (17:06):
Ah, so not just for the bass player, but everybody
getting lucked in on this one. Okay.
Speaker 4 (17:13):
Yeah, it's certainly busy, and then there's also a lot
of space.
Speaker 5 (17:17):
Like you said, they leave tons of space in between
things too.
Speaker 2 (17:20):
And so that's a question I had for you, Sam.
Speaker 3 (17:22):
I guess it's just as easy to get lost in
a busy tune as it is with a tune that's
got a lot of open space.
Speaker 4 (17:30):
I honestly find it easier to get lost when you've
got all that open space, because I'm I'm like, I'm
hyped up, I'm drinking five cups of coffee. I'm like,
I'm always like want to be up in front of
the beat, you know, So I'm naturally kind.
Speaker 5 (17:44):
Of rushing through stuff.
Speaker 4 (17:46):
So for me personally, when there's all that like space, now,
that becomes almost harder, you know, because you want to
go again, wanting five cups of coffee.
Speaker 1 (17:59):
Right.
Speaker 4 (17:59):
I want to play every single note, you know, and
I find stuff that's like really busy. Is kind of
easier to keep for me going because you don't have
those pauses starting and stopping kind of thing.
Speaker 3 (18:13):
Okay, yeah, sure that makes sense, you know, and it's
not just counting, but you just have to be able
to hit the post. I suppose when you come back
after that sure amount of space whatever it might be.
Speaker 4 (18:26):
Yeah, and that's like what I was talking about where
it seems like it could be a tune where it
could be easy to get lost because it's so tight
right where the riff is.
Speaker 5 (18:38):
Starting and stopping.
Speaker 4 (18:39):
And then that the high hats or which is crazy
that it's less on drums. I would have guessed like
Jay Lane or something, you know, but I guess that
makes sense.
Speaker 5 (18:47):
He says. He steals all of his drum legs from Jay.
Speaker 1 (18:50):
Yes.
Speaker 3 (18:50):
Yeah, and this is probably one of his best pieces
of drumming ever laid.
Speaker 2 (18:55):
Oh to record, for sure, it's really good.
Speaker 5 (18:58):
The high hats are just like, you know, you're so good.
Speaker 2 (19:02):
And that's it.
Speaker 3 (19:03):
And of course, so he's he's communicating with himself as
opposed to communicating with Jay. But it's it's it's an
interesting place to put yourself into, you know. He I
would imagine he recorded the bass first and then built
the drum track off of that, and so he's communicating
with himself while pretending to be Jay Lane.
Speaker 5 (19:21):
But I was just wondering.
Speaker 4 (19:23):
I was like, I wonder in that situations is like
are you laying the drums down first? Or like where's
where are you starting from?
Speaker 8 (19:30):
Yeah?
Speaker 2 (19:31):
That's now. That's another question.
Speaker 3 (19:32):
I would love to ask him about this album in
particular because Frankie, you've found that quote where he said
this is my megaalomaniac album where he did almost everything
on his own. Maybe he had the bass lick in
his head and was just able to lay down the
drums first and then the bass part after the fact.
Speaker 6 (19:48):
Good.
Speaker 2 (19:49):
That's a good question.
Speaker 3 (19:51):
So with your experience writing recording with Flagman hearing Filipino ray,
this certainly is not a.
Speaker 2 (19:59):
Flagman type tune with the open space.
Speaker 3 (20:04):
What are so while you're learning this tune and modeling
the bass parts are what are some things you can
take away from it or apply to your own development
as a player.
Speaker 4 (20:16):
Well, first, of all, just learning all those little licks, right,
the especially that chromatic one is fun to kind of
like he's my favorite player, right, so it's it's cool
to hear those like little intricacies right where he's he's
putting things in. I mean, I think it does with
(20:39):
all the space. It is a classic like rhythm section
lesson of like you can leave space and that accounts
for just as much of the groove as all the
notes you're playing. I say it's a classic example. I'm
sure most like classic bass players wouldn't think they wouldn't
(20:59):
think of that is like you know, traditional baseline, right.
It's a little busy for some people. But I think
the juxtaposition between the two things like it's kind of
like a dynamics thing, you know, like Nirvana is really
good at the loud quiet loud thing. It's sort of
the sure same thing, but he's leaving the space, you know,
(21:21):
and it.
Speaker 5 (21:22):
It grews super hard. I mean, it hits you right
in the face.
Speaker 3 (21:25):
With the yes right.
Speaker 5 (21:28):
At the top, you know, with that kick drum and
high hat. You know.
Speaker 4 (21:37):
I think it's like it's sort of something that he
does in a lot of his work too, where he
comes out busy, but then it's the spaces in between,
sort of the way like even Lure fits.
Speaker 5 (21:51):
In, you know, Oh sure, yeah, these spaces, right.
Speaker 2 (21:54):
He does the same kind of.
Speaker 4 (21:55):
Thing with with lyrics or or even just the other
band members.
Speaker 3 (22:00):
And this song, you know, I wonder, because this tune
is about Ray Wing, who Less played with in the
Tommy Crank Band way back in the eighties. I wonder
if there's any musical, not a direct reference to anything
in particular, that they would have played, but stylistically because
(22:22):
like you said, giving the space, because they did so
many R and B covers, it just reminds me of
a lot of you know, tunes where the rhythm section
has their moment, but they also have to dial it
back so that the horn flourish can happen, or so
that the organ can play its part, or that sort
(22:44):
of thing. So I wonder if that with the bass
just falling out, you know, he's just giving that space.
And he had to learn to do that, I think,
and he also had to learn to have just keep
a really tight groove in the Tommy Crank Band. He
says in the Grapevine Book that the drummer that he
worked with in Tommy Crank Band, was just on him
all the time, like keep it tight, you know, you know,
(23:06):
or whatever it was, but certainly just keeping it on time,
I imagine, and just grooving.
Speaker 5 (23:13):
Definitely. Yeah.
Speaker 4 (23:14):
I remember he said somewhere that they would get pissed
at him because he'd be improvising a little too much
through the tunes.
Speaker 3 (23:22):
Oh that's a good one, yeah, because he says, you know,
I was playing in blind Illusion, I'm playing all this
newdly nudeley stuff. So I've got all this, you know,
I'm very energetic and playing all these things. And you
don't do that in the Tommy Crank Band. You don't
do that in an R and B band. You just
you groove and I and as he's gotten older throughout
(23:43):
these decades, I think you see him leaning back on
that more and more and just grooving and you know that.
And that's why he's looking for drummers with insane pockets
so he can just groove and then other musicians can
lay it down over the top. Definitely, so it seems
like he's going you know, it's one of those things
(24:03):
where all these uh, it just reminds me of all
these you know, famous guitarists that started listening to old bluesmen,
and then they become hard and hard rock and metal superstars,
and then they hit a certain age and they're cutting
blues records again.
Speaker 2 (24:20):
Yeah, you know, it comes full circle, right.
Speaker 5 (24:23):
Yeah exactly.
Speaker 4 (24:23):
You're like, wait a second, maybe they maybe maybe there's
something to that.
Speaker 5 (24:27):
Yeah.
Speaker 2 (24:28):
Yeah, you're going back to your roots at some point,
you know.
Speaker 5 (24:30):
Sure.
Speaker 3 (24:31):
So I don't know, you've got you've got what thirty
forty years before you come back before.
Speaker 4 (24:37):
I'm coming back around. But see the thing, this is
what I'm coming back around to. This is where I started.
I started with primus, So.
Speaker 3 (24:42):
You're a little early.
Speaker 5 (24:45):
Yeah, it's true.
Speaker 4 (24:46):
I got I have to find something else and come back.
I'll come back to to more primus.
Speaker 5 (24:50):
I gotta. I'll switch to blues for the next thirty years.
Speaker 3 (24:54):
Yeah, you can do the inversion of that. You can
become an old grizzled bluesman and then.
Speaker 2 (24:59):
Go back to come back as that'd be great.
Speaker 3 (25:06):
So this, yeah, this one to me is it sounds
like it's a fun one for you as a working musician,
and then it's certainly fun for the listener as well.
I wanted to play right around the three minute mark,
because you showed us the two main parts, and it's
it's a relatively straightforward ABA B until about the last minute.
(25:28):
This is near the tail end of the sitar solo
where things get pretty interesting. I like that interlude there.
Speaker 4 (25:50):
Yeah, it's nice. He's playing on that, like, so every
riff ends with the so it's like a so he
gives it that nice sound and then.
Speaker 5 (26:06):
He starts doing the UH.
Speaker 4 (26:14):
And there's a couple other parts in it where I
think it's before one of the verses he does the like, yeah,
you know, just moving that shape around, and I think
at the end too, so yeah, he's just for that
part he kind of hits that before going back to
(26:36):
the UH the main raft, and I wonder if that's
like a, Okay, how are we gonna signal to get
out of the solo? You know?
Speaker 3 (26:44):
Oh?
Speaker 2 (26:44):
Sure, because that's.
Speaker 4 (26:46):
When you're just stuck in the.
Speaker 5 (26:52):
How many times are we gonna do that?
Speaker 4 (26:53):
Like I was talking about, you could get lost if
you're up there grooving and you're you're in your head right,
and then you go did we play it six times?
Have we played it seven times? Are we getting to eight?
Is that the number, we're going to Are we going
to twelve?
Speaker 2 (27:05):
Where are we?
Speaker 3 (27:06):
You know?
Speaker 5 (27:07):
Yeah, And I've definitely done that a time or two.
You're like, yeah, we're here in the song.
Speaker 2 (27:14):
So it's a lot easier to signal that transition.
Speaker 3 (27:16):
With bona bell because.
Speaker 4 (27:18):
That's that's what I would think, you know. And then
you can turn around to the drummer and give them
big you know, here we go, we're going, we're going back.
You know.
Speaker 3 (27:29):
That's a world class of moting too. On the bass
and in the face. You've got to give them the
that's the band leader transition.
Speaker 4 (27:39):
Yes, exactly, just move just when I do this, that's
the downbeat.
Speaker 3 (27:45):
This is real professional, very yeah, and it's you see it,
you see it?
Speaker 2 (27:51):
That just that guitar neck down. Yeah, you know everybody
knows what that means.
Speaker 5 (27:57):
It's the unspoken language on stage.
Speaker 3 (28:00):
The other thing I wanted to point out there in
that interlude is Less is really letting the crash cymbals
have it when he normally doesn't, even when other drummers
are playing, he doesn't keep him high in the mix,
but there he does, so he kind of goes ham
a little bit there and let's movement. Yeah, yeah, and
(28:23):
it's not a you know, it's not a dramatic moment,
but it is particularly percussive and somewhat heavy, and then
moves us, you know, back to the main lick and
careening towards the end of the track, I suppose where
the vocals get just a little bit more cartoony and
you know, all over murdered in coke and.
Speaker 2 (28:47):
We're out.
Speaker 3 (28:48):
So I was surprised too when I looked at the
timestam three minutes fifty one seconds. I for some reason
in my head, I had this as at least five
minutes on the record.
Speaker 2 (28:57):
But it's fairly brief.
Speaker 3 (28:59):
Yeah, pretty tight, Yeah, yeah, And I know Flagman songs
barely crack the two minute marks, so you must really
Actually I'm just making that up. I don't know if that's.
Speaker 5 (29:10):
True, but it's very true for the most part. Yeah.
Speaker 2 (29:13):
Do you guys keep it fairly brief?
Speaker 4 (29:15):
We try to, Yeah, you know, in the uh, in
the war for people's attention, when you're like, hey, do
you want to check out my fourteen minute long prog song, they're.
Speaker 5 (29:25):
Like, hey, pass.
Speaker 2 (29:30):
So yeah.
Speaker 3 (29:31):
The kids, kids, they say, you know, they're they're they're
not the young folk aren't listening to the Iron Maiden
epics like they were forty years ago.
Speaker 5 (29:40):
There's too many things vying for people's attention.
Speaker 2 (29:43):
Yeah. Yeah, there's the TikTok, the TikTok version of music.
Speaker 5 (29:48):
Scrolling through it. You know, Well, it's signing it.
Speaker 2 (29:51):
For your responsive to that trend though, And that's important, sure, I.
Speaker 5 (29:56):
Mean it's the it's the classic. You hear the legacy
bands when they're.
Speaker 4 (29:59):
Like, nobody wants nobody listens to albums anymore.
Speaker 5 (30:04):
And it's like, well, people do.
Speaker 4 (30:06):
They just don't want to hear your nineteenth album of
twenty two songs that's two and a half hours long,
twenty five years past your prime.
Speaker 3 (30:15):
Yeah, well, and that's it's funny you raise that point
because Less has even said that, you know, we'll just
do a few songs a year and tour on those
because out the album is more or less done for.
And then he said that around the Conspiraenoid time, and
then around the Decenturating seven he said, you don't need
to make an album that's fifty five minutes. All my
(30:37):
favorite albums are half hour long, and he made a
thirty four minute record. So there's a couple of different
points of view there or perspectives that one could take.
And yeah, I.
Speaker 5 (30:48):
Think not to get too far into it, but I
think the CD is what did us end. The CD.
I think started the because everybody started.
Speaker 4 (30:56):
Putting out like the tool was like, we've got to
we can put eight nine minutes of music on the CD.
Speaker 5 (31:02):
We're gonna put eighty nine minutes of music.
Speaker 4 (31:03):
And that's great when you have latter Alice, right, but
not everybody was putting out ladder alice.
Speaker 3 (31:08):
Yeah, And I think it's the human urge just to
fill space. If there is space, a person will fill it.
So if there's an empty room, it will have all
you know, the next day it's full of furniture.
Speaker 2 (31:19):
If if you.
Speaker 3 (31:21):
Have seventy six minutes and fifty nine seconds or whatever
it used to be for the limit of a CD,
a band will fill it. Metallica just reissued Load, which
went all the way to the end of the CD.
It went, it went to capacity, and that's a great example.
I think of a record that you could fill the
(31:41):
entire thing, but you don't have to.
Speaker 5 (31:43):
What should you.
Speaker 4 (31:44):
Yeah, it's actually kind of the same thing that we
were talking about with the spaces in the song or
like being a bass player, right, that's typically.
Speaker 5 (31:52):
The traditional thing.
Speaker 4 (31:53):
Right, They want you to same reason the drummer is
getting on lest because hey, keep it tight, keep play
only what you need to play, right, Yeah, serve the
song whatever.
Speaker 5 (32:02):
It's the same kind of principle.
Speaker 4 (32:04):
It's very easy as a yeah, to fill the space.
Like you said, well, we can put an hour of
music on the thing, so we should put an hour
music on it.
Speaker 5 (32:14):
Well, but is it all? Is it all good?
Speaker 3 (32:17):
Is it worthwhile? Yeah?
Speaker 6 (32:18):
Right?
Speaker 5 (32:18):
Is it going to capture people's attention?
Speaker 4 (32:20):
And I think that then, Plus, you know, everybody's got
a billion things going on all of a sudden, it's
becomes less attractive to be like, cool, the album's eighty
minutes long.
Speaker 2 (32:30):
Yeah, for sure.
Speaker 3 (32:31):
And it makes me wonder how many of these records
that you know came out in the vinyl era that
were thirty five to forty minutes long. Did any of
them actually have filler on them? I can't think of
too many examples off the top of my head where
there was just a forty minute album that had a
(32:52):
bunch of skippable tunes.
Speaker 2 (32:53):
Plus it'd be a lot harder to skip them on vinyl.
Speaker 5 (32:56):
Yeah. That's the other thing too, is it's hard to skip.
Speaker 4 (32:58):
Yeah, to think about like the longer it gets, the
less quality you have. Right, your base response goes down
the higher you go, uh lengthd wise and then also
U people back it was less to do, Right, It's like, Okay,
I said, I'm this is what I'm doing. Now, I'm
gonna put on an album and I'm gonna sit down
and I'm gonna listen to it.
Speaker 5 (33:18):
Hell yeah that sounds now, it's doesn't it. It's it's great.
Speaker 4 (33:22):
We I try to do it as often as I can,
you know, but yeah, once it gets relegated to like
I put on Spotify shuffle on my commute to work. Yeah,
and that's like the space that it, you know, music
occupies for a lot of people than the demand for
or even the demand for like cohesiveness of an album.
Speaker 3 (33:40):
Starts to kind of drop off, and I think.
Speaker 5 (33:43):
I'll get off my soapbox and we can go back
to Yeah.
Speaker 2 (33:46):
That's all right.
Speaker 3 (33:46):
No, I think it loses a little bit of the magic.
One is just in the car, you know, like being
able to sit down, even with the digital album, just
being able to sit down and listen to it without
any distractions or minimize distractions is rare.
Speaker 5 (34:01):
I was.
Speaker 6 (34:02):
I was thinking that in the nineties, a lot of
what a lot of bands were doing is that they
were filling the CDs. But some of the tracks were
not even actual songs.
Speaker 2 (34:13):
They were just like, uh.
Speaker 6 (34:15):
Vignettes or snippets that farm that amounts to fill it, right, Gosh.
Speaker 3 (34:21):
A lot of the nineties rap and hip hop records
I liked all had skits and interludes, and I was like,
all right, they're kind of funny the first time through
or entertaining the first time through, but I'm like, I
already know the punchline click, I want to hear the
next song, like, yeah, for sure.
Speaker 4 (34:37):
I would hate when they would be in the like
it's not a separate skit from the song. It's like, okay,
the first two and a half minutes of this track,
is you gotta like slide it to the right spot
to like, I just want.
Speaker 5 (34:49):
To start the song.
Speaker 2 (34:50):
Yeah, I like the song. This skit sucks, please.
Speaker 3 (34:54):
For sure.
Speaker 2 (34:55):
Yeah.
Speaker 3 (34:55):
The the acts that were kind enough to make them
separate tracks have my eternal gratitude and respect. Let's talk
about these lyrics. Frankie Filipino Ray. They're about his pal
Ray Wing, so we know that in the Grapevine book,
Less says some of the kindest.
Speaker 2 (35:14):
People that he ever met were the dudes and the.
Speaker 3 (35:16):
Tommy Crank Band, and he he speaks glowingly of Ray
Wing here, which certainly shows his respect and admiration for
the guy. But he, you know, he mentions always has
a blonde, freckle faced lady Danglin from his sleeve. Tommy
Crank Band very popular with the ladies. Less mentioned in
(35:38):
the book, and Filipino Ray played an old Less Paul
big old jumbo fret. We've got a photo of that
on the Instagram and I'm going to recycle it for the.
Speaker 2 (35:51):
Post for this episode as well.
Speaker 3 (35:52):
There's a great photo of Ray playing that jumbo fret
and Less right next to him, a very young Less
standing next to him that I cribbed from the Tommy
crank Facebook page. Then biker girl squealed when he flip
his hair back, step up to the mic and kroon.
So this is a lot of This is obviously Less's experience,
but also raise quick with the tailor a joke lend
(36:15):
you his ear, especially if you buy him a fresh
bourbon and coke, so that that bourbon and coke must
have been his favorite drink, must have been always in
his hand before, during, and after the show, I imagine. Which
is a great image. And I like that that's a
repeating symbol or a motif in this in this set
of lyrics, that bourbon and coke.
Speaker 2 (36:34):
I like this.
Speaker 3 (36:36):
Ray had seen his fair share of demons in many
days of black but when he picked his guitar and
sang back to the bar, he pissed the monkey off
his back. I think that's a great set of lines.
Speaker 2 (36:47):
Just like everybody else, he's.
Speaker 3 (36:48):
Got his problems. When he's performing, he's happy as hell,
and that's you know, a lot of people use music
every day. People use music to do that, but even
musicians use music to do that too, which is certainly
I think what he's getting at here, and and.
Speaker 2 (37:06):
He's just less. Just loves this guy. It calls him
a smiler, quick with a tailor, a joke. He must have.
He must have been something else to behold on stage. Obviously,
there's very little video footage of the Tommy Crank Band
that's made his way to the internet, and most of
it is from the nineties and beyond. So I don't know.
Speaker 3 (37:27):
If there's cam quarter footage of the eighties Tommy Crank
band out there, but I would.
Speaker 2 (37:31):
Love to see it, just because this is the second.
Speaker 3 (37:33):
Guy Less as utilized for lyrics, and uh, you know,
of course Tommy Crank is Tommy the Cat and Tommy
Crank was quite the ladies man too, so there's that connection.
And then here's Ray Wing that the next guy in
line here. So I do wonder if anybody else in
the band is going to get the lyrical treatment at
(37:55):
some point.
Speaker 2 (37:55):
I can't remember the name of the drummer.
Speaker 3 (37:57):
It's in the book, Dave Heyte, I think is the
drum that Less references that's was always getting on him
to do.
Speaker 2 (38:04):
It right, Yeah, tighten up.
Speaker 3 (38:06):
Or just groove on it, don't go crazy. Certainly formative
experience for Less in a lot of ways. You know,
when when we have these lyrics about real people, I'm
always fascinated with how Less interprets his interactions with them
or his perception of the person. And it's clear to me,
(38:26):
it's clear to me it's got nothing good but good
things is about Ray. And that's about all I have
to say about that. I would love to see video
footage though, of ray Wing. It is really difficult even
to find information on this ray Wing through internet searches.
There's there's very little out there, and apparently there are
dozens of ray Wings, so you have to be really
(38:49):
specific with your search terms, I suppose.
Speaker 2 (38:52):
But I would love to know more about ray Wing.
Speaker 4 (38:54):
I want to check out some of that Tommy Crank
footage from the nineties and the and beyond imagine the
same kind of kind of thing, Yes.
Speaker 2 (39:03):
Like a lot of the lot of the similar music. Yeah.
Speaker 3 (39:07):
There there is an anecdote in the book where one
of the guys in the band was pushing them to
play more contemporary tunes and they had to play John
Cougar Mellencamp songs every once in a while unless was
not thrilled. But the footage of the Tommy Crank band
that's on YouTube is uh. The quality is hit and miss,
(39:30):
but the musicianship is great.
Speaker 2 (39:33):
Good band.
Speaker 5 (39:35):
So in that.
Speaker 4 (39:35):
Last verse, I always took it when he says it's
been five years since his guitar mansity rolled up his sleeve.
Speaker 5 (39:43):
Yeah, is that? Do you think that's? Like?
Speaker 3 (39:46):
Uh?
Speaker 4 (39:47):
Since I always took it as like did he have
to quit doing music. It sounds like he kept doing
stuff with the band. I always interpreted it as there
was some kind of you know, cause he mentions he'd
give you the shirt off his back over the bourbon
coke at the end. I was always wondering, you know,
when I heard it as a kid, it was like, okay,
So what happened to Ray was it did the bourbon
and coke get the better of the of the musician
(40:09):
or I didn't know if that's what the where those
lyrics were going.
Speaker 3 (40:13):
And I'm not clear on it either, And I don't
want to speculate because when I hear Les Claypool's lyrics
say somebody rolled up their sleeves, I'm thinking, uh shit,
they're going to inject something into their arm.
Speaker 5 (40:25):
That's what I mean.
Speaker 4 (40:25):
It's like something's gone and he's giving is the shirt
off his back for the bourbon and coke.
Speaker 5 (40:30):
I'm like, oh, have things gone wrong here?
Speaker 4 (40:33):
But it sounds like yeah, it sounds like things were
okay at least into the nineties and two thousands.
Speaker 3 (40:39):
I think they give you the shirt off his back
is you know, I'll help you out, Just buy me
a bourbon and cokes because I always my line, I
have a truck.
Speaker 2 (40:49):
I'll say that again.
Speaker 3 (40:50):
I own a truck, and so my line for years
was yes, I will help you move, just by me
pizza and beer. Right, So I think that's the spirit
of that Stanza.
Speaker 2 (41:01):
Uh.
Speaker 3 (41:01):
And yeah, the rolled up his sleeve is a mystery
because we know so little about Ray.
Speaker 4 (41:07):
And in the way uh like Less talking about it
and mentions him in the book, it sounds, like you said,
more like it's admiration than like sort of a tragic figure.
Speaker 5 (41:19):
Yes, but again, like you said when in.
Speaker 4 (41:20):
Claypool lyrics, when you hear like, oh there's a there's
a character, you know, it's centering around a character. What's
there's probably some sort of tragedy.
Speaker 3 (41:28):
Yeah, yeah, you're just bracing for that next that next
part or.
Speaker 5 (41:33):
The other shot dark turn.
Speaker 3 (41:36):
Yes, there usually seems to be one.
Speaker 2 (41:39):
Yeah, and this one not so much, which is great.
Speaker 3 (41:42):
And I think he's uh, he's worthy of a song
just given his you know what he did for Less
uh over the years, musicians, you know, musicianship wise loaning
him the guitar so Less could record too many puppies,
which is fascinating in and of itself, it's.
Speaker 2 (42:05):
Time for Primemates takes.
Speaker 3 (42:06):
If you would like your take on the track up
for discussion, read on the podcast. All you have to
do is go to patreon dot com forward slash Primus tracks.
There are many tiers of support there, but the universal
constant is this feature right here. Let's see what the
Prime matrons have to say today about Filipino Ray. Marcus
Mayol says, since the bass is obviously rad let's comment
(42:28):
on the great drumming with excellent high hat work by Less. Also,
the bass drum tone is really something to be envied,
not an easy drum track to play. If you listen closely,
there is really complimentary ambient vibe playing by Mike Gabby
sitar always ties everything together. I really enjoy this jam.
Matt Ray says, one of Less's best base lines. It
(42:48):
has the same chaotic vibe as the girls for single
Men Riff. Eric and Australia are resident Curmudgeons says I
like bass and this song has bass.
Speaker 2 (42:58):
Thank you Eric.
Speaker 3 (43:00):
And finally, John Shreeve says, it makes me want to
get sick from eating too much Lumpia fun song sneaky
Filipino cuisine reference. John and those are our primates takes
for Filipino Ray. Live cuts from a Jim Vehicle, Live
cuts from the Jim Vehicle, live cuts from what's going
(43:22):
on here?
Speaker 2 (43:23):
I'll tell you what's going on here.
Speaker 3 (43:24):
Disembodied voice of Tim Soyer.
Speaker 2 (43:26):
It is live cuts time.
Speaker 3 (43:28):
Frankie has gone through his trove. He has rifled through
thousands of hours of recordings, and he has found two
exemplary performances of Filipino Ray out of the fifteen, so
that so he actually, Frankie, you destroyed the mystery when
you revealed that there are only fifteen performances. I wanted
(43:50):
everybody to believe that you were just combing through thousands
of hours of couch but actually he just picked two
out of fifteen.
Speaker 2 (43:56):
But they are quite nice.
Speaker 3 (44:00):
Our first live cut of Filipino Ray is from Frankie's
fictitious box set Whales Live Sessions. I have no metadata
on this, please directly.
Speaker 2 (44:12):
The metadata is Primus please.
Speaker 3 (44:15):
Yes, it does say artist Primus, which is actually irritating
to me, and then the people listening that want to
know where this is from are even more perturbed. But
we're going to hear a lot of parts of this cut,
including a little story about a hot dog.
Speaker 8 (44:33):
So that's got to be the guy.
Speaker 3 (44:36):
It's not the sausage Queen or duke or.
Speaker 5 (44:40):
You know, Prime Minister.
Speaker 3 (44:42):
It's the sausage King.
Speaker 9 (44:43):
So I got me a sausage King dog and it's,
you know, just this big phallic looking thing stuck.
Speaker 3 (44:50):
In up bun with a bunch of onions on it.
Speaker 9 (44:53):
I covered it with all kinds of shit, and I
hate that son of a bitch right down. And I'm
not trying, you know, I don't want to, you know,
imply anything, but I think there may have been peyote
in that dog because.
Speaker 8 (45:12):
I'm feeling a little unusual to see.
Speaker 3 (45:17):
So now you know that it's a super special performance
of Filipino Ray.
Speaker 10 (45:22):
Let's hear a part of it, Bullet Michael, we don't
(45:42):
want to.
Speaker 2 (45:47):
Be already. Is he cheated a little bit?
Speaker 5 (46:02):
It sounds like it.
Speaker 4 (46:03):
It sounds like he's kind of approximating some of the parts,
kind of like when they do when they've done DMV live. Yeah,
you know, he's kind of it's the vibe, you know.
Speaker 3 (46:15):
Right, Yeah, it sounds like he's leaving something out or
playing a more simplified version of it.
Speaker 6 (46:21):
Yeadbook the hood look story gave it a weight. This
is Roxy two thousand and six.
Speaker 3 (46:27):
Good the actually the mob with the torches is turning
around and going home. Thank you, Frankie. Let's move forward
to and Frankie put this in all caps via borophone.
This is a nearly eight minute rendition, but that includes
the hot dog story.
Speaker 2 (46:45):
But they still jam it out. Let's here's some Mike d.
Speaker 3 (46:51):
Oh. They brought it down.
Speaker 2 (47:02):
Lounge version.
Speaker 3 (47:37):
This is like the Bob Cock and the Yellow socc
version of Filipino Ray. That's outstanding.
Speaker 5 (47:42):
I love that.
Speaker 4 (47:43):
I was actually when we were first talking about it,
I was like, you know, I wonder if they're gonna
jam on this at all, or if they're just gonna
play it straight.
Speaker 5 (47:51):
I like that. I'll have to check out some of
these other cuds.
Speaker 3 (47:53):
Yeah, I really like that variation. I like that lounge
version for sure. Our second live cut is from July eighth,
two thousand and six, and this one is Mike d Gabby,
Paulo Scaric Less. Frankie's Frankie's notes say we should play
the intro for Uber cringeh.
Speaker 7 (48:21):
Finally, my bag, the reply of you wish.
Speaker 2 (48:44):
Is so satisfying, very good. I got all for my mother.
Oh man, crowd's having a great time.
Speaker 5 (48:53):
Those are the best live cuts.
Speaker 4 (48:55):
There was some Brown album Era one that I was
listening to where whoever was recording their friend or someone
nearby was sounded pretty drunk and they were just.
Speaker 5 (49:04):
Going on and on. They had a full conversation in
the middle of one of the songs.
Speaker 2 (49:09):
Oh yes, Frankie shaking his head.
Speaker 3 (49:11):
It's his number one pet Peeve can't stand it.
Speaker 5 (49:15):
It's always the ones that have great audio quality too,
of course.
Speaker 3 (49:18):
Yes, this is the best sounding recording. So somebody's gonna
scream over Golden Boy.
Speaker 4 (49:23):
Yeah, it's brain playing Nature Boy or like Beaver, like
I gotta hear this.
Speaker 5 (49:27):
I mean some guys.
Speaker 2 (49:28):
Like dude, we gotta.
Speaker 3 (49:32):
We got to hit the parking lot. Let's move forward
to four minutes and twenty seconds Frankie slide Doug for
some gabulola.
Speaker 8 (50:01):
Yeah, is this a later performance?
Speaker 3 (50:09):
This is July eight, two thousand and six, So I
don't know where lands in the Filipino ray chronology.
Speaker 4 (50:17):
I was the earlier recording a little like or I'm
sorry the one you played earlier?
Speaker 5 (50:23):
Was that before this one?
Speaker 2 (50:24):
Oh, Frankie, what's the date on the chronology.
Speaker 3 (50:27):
Yeah, what's the date on the roxy?
Speaker 2 (50:29):
Let me check.
Speaker 4 (50:32):
That one sounded a little a little tighter to me.
I didn't know if it was maybe later in the
later in the tour, very good, could be, I don't know.
Speaker 6 (50:41):
So what you guys are picking up is it less
simplify the baseline for the live rendition?
Speaker 1 (50:46):
Mm hmm.
Speaker 5 (50:47):
Yeah, that's cheating. Sometimes you got to do it to
get those lyrics out.
Speaker 3 (50:54):
That's what That's what I was thinking, is he's got
to do the lyrics. He's got to deliver those lyrics,
and it's it's an odd meter that he's delivering in them. Men,
So I can I can understand, I can he can
justify simplifying the bas lick for that.
Speaker 4 (51:09):
I wonder if it was like a which these things
came first?
Speaker 5 (51:13):
Right?
Speaker 4 (51:13):
Did you have lyrics sitting around and then you match
it to an instrumental or do you have you write
the instrumental and then you write the lyrics?
Speaker 5 (51:19):
Right?
Speaker 2 (51:19):
Yeah, So it could have been.
Speaker 4 (51:20):
At one of the Hey, I've got this thing, and
now I got to put these lyrics over top of it,
and you do it separately, and then you go, oh shit.
Speaker 5 (51:26):
I got to play this live and yeah, these at
the same time.
Speaker 3 (51:30):
He really matches the lyrical cadence to what he's doing
on the bass too, which is which is fascinating because
it's so odd, but it can certainly be rough to
do all that at once.
Speaker 6 (51:41):
So actually the Rocks is July seventeenth, two thousand and six, nine.
Speaker 3 (51:45):
Days later after so is what I know.
Speaker 5 (51:48):
It's here a.
Speaker 2 (51:49):
Little viabraphone to round it out.
Speaker 8 (52:13):
Yeah, that's groovy.
Speaker 3 (52:24):
I'm into that.
Speaker 2 (52:25):
That's fun. Wow.
Speaker 3 (52:28):
Thanks for those live cuts, Frankie. Filipino Ray went in
directions I would not have imagined You're welcome, or I
could say, like you would not believe did this not
break out?
Speaker 4 (52:39):
This tune didn't go anywhere other than two thousand and
six Whales and Mo Tour.
Speaker 6 (52:43):
Two thousand and seven. Those fourteen performances are spread throughout
two thousand and six and two thousand and seven PUD.
After the Fancy Band was done, it was never performed again.
Speaker 3 (52:56):
Well, I guess I just to say this, Filipino Ray,
have another sip of that bourbon and coke because you've
been tracked.
Speaker 2 (53:01):
Sam Stewart, thank.
Speaker 3 (53:02):
You so much for joining us to talk Filipino Ray
in Wales and woe.
Speaker 5 (53:06):
Thanks Sam, thanks for having me all.
Speaker 3 (53:08):
Anytime, pal, you wonderful listeners, Primates, Prime Matrons. You can
find Sam on the Instagram at Sam and Sam Stu
and you can also find Flagman at Flagman Band.
Speaker 5 (53:22):
That's us. Maybe listen to flag Man.
Speaker 2 (53:24):
And that's the slogan, listen to Flagman one small thing.
Speaker 6 (53:29):
Filipino Ray was sound checked in Portchester on June twenty third,
twenty twenty three by the Frog Brigade, but didn't actually
get performed at the show, but kicking that's fascinating. Yeah,
he almost came back.
Speaker 2 (53:50):
Sam's tinting his fingers is anything.
Speaker 3 (53:58):
Oh that would have been a hell of a performance. Uh,
Filipino Ray will be back. I've got a lot of
bourbon and coke mm.
Speaker 2 (54:05):
Hmm, Primates, Primatrons, people have ever.
Speaker 3 (54:08):
Thank you all so much for listening.
Speaker 2 (54:11):
We'll see you next time. Later days. Willies h.
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