Ep. 90: Hunter James and the Titanic

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From the fruited plains of central California, a very warm welcome to Journey to the Stage

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with Brian Fraser.

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We are rapidly approaching the five year anniversary of the release of my first episode on March

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12th, 2021.

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The vast majority of podcasts don't last five years, and I'm grateful to be able to do what

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I love to do.

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I'm so glad that you've tuned in today, and I have a great artist and band to share with

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you.

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This podcast really reflects my broad musical tastes, and I love to hear the stories of musical

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legends and multi-Grammy winners from across genres and generations, but I also love chatting

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with indie artists and bands that I come across.

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If you've listened to Journey to the Stage for a while now, you'll know how important

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melody is to me, and how much I love the Laurel Canyon sound of the 60s and 70s, music

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that was a blend of folk and rock with a splash of country.

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Bands like the Byrds, Crosby, Stills, and Nash, Mamas and the Papas, and the singer-songwriter

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movement with artists like James Taylor and Joni Mitchell.

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Every once in a while, a band or an artist catches that musical spirit and writes songs

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that carry that beautiful Laurel Canyon sound, such as my guest today.

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Today we are going to be chatting with Hunter James of Hunter James and the Titanic.

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This Colorado-based artist and band has a love for the sound of the canyon, and often

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writes songs that sound like they were born in that era.

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His songwriting is organic, and the band's recording methods are analog, which helps

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to really capture that warmth that is so often missing in modern recording.

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But Hunter James isn't a modern relic.

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While his music has the sounds of what I consider to be one of the greatest periods of American

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music history, James and his talented band are making music that is forward-reaching,

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while still allowing the echoes of Laurel Canyon to fill their music.

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And we're going to be playing a great song by the band, a song that I think everybody

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will love.

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Don't forget to like or follow wherever you're catching this, so you can make sure you get

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notification when new episodes are released.

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All right, here is my chat with the very talented Hunter James.

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All right, so I am here with Hunter James.

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Hunter, how are you doing?

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You're in Colorado.

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Tell me how life's going and what's going on in your world.

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It's good.

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I'm sitting here in my recording studio, podcast studio today.

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Things are good.

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Living out in beautiful Colorado in the summer, heading up to the mountains quite a bit for

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different things.

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Play music and recording a lot of songs these days here, playing with the band a lot.

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Things are good.

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Right on.

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How much do you think that rugged beauty, and before we started recording, I was just

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telling you that my family and I, we took a nice road trip, about nine, 10 days, just

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did a huge loop through the state.

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It's incredibly beautiful, spacious, rugged, beautiful, beautiful, beautiful.

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How much do you think that beauty just has seeped into your music and maybe fed your

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creativity?

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Do you think that kind of seeps into what you're doing creativity-wise?

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Yeah, I mean, I think it would be hard for it not to, and maybe I don't really register

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it when I'm writing songs or recording, but I mean, I think that so much of what we are

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is kind of our subconscious experiences, and so I think it has a big effect, and there's

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something about just wanting to mirror the landscape and mirror the energy of a place

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you're in with the art you're making, with the songs that you're writing, and there's

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something very mystical about just kind of some of the smaller mining towns, even right

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outside in the foothills near Boulder, Nederland, or Jamestown, these places that have still

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kind of remained pretty much the same, I mean, there's been updates, but a lot of the structures

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and the architecture and the buildings are from the late 1800s, early 1900s, so there's

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something that feels static and unchanged, like kind of the history has been preserved

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in these little towns, and sort of Buena Vista all around Colorado, and so I feel like there's

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an even more intimate connection with those times and those places just because they haven't

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been bulldozed over and gentrified and modernized, it's like it's still sort of the original

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architecture and a lot of the original buildings up there.

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We have a song called One Way Track that my bandmate Lizzie and I wrote, and that's a

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mining disaster song, so yeah, I think we really relate to kind of the sprawling Great

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West and both the beauty but sort of the loneliness, because there's a certain like

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loneliness I feel like, especially because we're in Denver and then you get out and you

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kind of think, well, we're metropolitan, we're in the city here, and then you get out and

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you're like, oh, we're in the middle of nowhere, we're really like, this is really just such

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a spacious and disconnected area in many ways, so yeah, I mean, I think it affects us greatly.

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Well, it's interesting, a lot of the words you used, Hunter, are words that I think definitely

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elements that I hear in your music, not only thematically, but to describe the soundscape

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that you guys create, which I think is pretty fascinating.

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I'm curious, if you were to, you know, take us back into the home you grew up in and the

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music you were hearing, and the reason I ask that, I've had the pleasure of talking

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to a lot of really, really neat creative people, a lot of neat songwriters, some from the 60s,

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like Noel Falk Dukie from Peter, Paul and Mary, one of my favorite songwriters, and

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a lot of them talk about the music that they grew up with and how that even though they

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didn't write in that style, some of them did, but how impactful that music was in creating

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their own palette that they were able to draw from as they became the painter of their own

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music. What was that for you when you were first getting turned on to music as a kid?

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Well, that's a great question. My dad, he's really into the singer songwriters of the 70s,

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so that being like Jackson Brown, I would say primarily for him, folk rock of the early 70s,

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Joni Mitchell, Crosby, Stills, Natch, even a little bit more into the soft rock like Bread

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or like Seals and Crofts. What's his name? What was one of my favorite? His name's escaping me.

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The Edmund Fitzgerald. Oh, Gordon Lightfoot, of course. There we go. Yeah, a lot of, you know,

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a lot of those, a lot of those like 60s, 70s troubadours. Paul Simon. I mean, I wouldn't

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really know him. I just saw him at a concert two Saturdays ago. Wow. We can have a whole hour on

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Paul Simon and me. Yes, we could. He's my favorite. My mom listened to a lot of like Motown, R&B,

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a lot of that kind of music, like Michael Jackson, Jackson 5, Aretha Franklin. So although

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we're doing this like folk rock thing, I think there's a lot of soul to it, you know, and

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sometimes we want to even go a little further into that and, you know, do something that's

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even more soulful, which might be, you know, coming next. Who knows? But yeah, so kind of

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that mixture of of like the emphasis on lyricism on my on my dad's side. And then my mom was was

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really about that groove and about that that Motown sound and that 60s soul sound. Otis Redding,

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Sam Cooke. So, you know, and what fascinates me most is sort of the where those things link up,

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like where where the and you some might call that rock and roll. You know, it's a very essence,

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like the bluegrass tradition and the blues tradition, or even like, you know, those two

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sensibilities coming together and creating a new style of music, which is rock and roll.

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So I think like that, that to me is one of the most interesting intersections in in the history

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of music or American music is is where those things kind of start meeting up. And that's why

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I like a lot of like 60s records to me are so cool is because you start to have that intersection

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happening like Glenn Campbell records. Yeah, I mean, that's like some of my, you know, that's

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some of my favorite music, even though I'm not I'm not from that era at all. But it's just there's a

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there's a magic magic to that time and in that way of recording and those those people. So

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yeah, speaking of Glenn Campbell, I just a few months ago got to

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meet and hang out with with Jimmy Webb for quite a while. What a legend. Yeah, that's that's a flex.

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Like that's something a lot of people don't get to take up to hang out with him for quite a while.

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And yeah, he was ready to come on my podcast. Like, absolutely. Let's do this. I'm ready to

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work with you. And let's just say the gatekeeper has put the block on that, which is such a bummer.

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Oh, yeah, it's such a huge bummer. He knew my so my step uncle rather was Hank Cochran,

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a huge was a huge country music songwriter. He was a good friend of Glenn Campbell's as well.

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So to go back to what you said, I really like what you said, because so you have these really

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two very, very interesting bookends, so to speak, that you were raised in musically.

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Because if you look at the folk music, the singer or singer songwriter music from the 70s,

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melody was everything. Those guys could write melody all day long. And then you have the field,

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the Sam Cooke. My goodness. So here's the thing that I think is is is really cool. The first song

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of yours that I heard was Weekend Holds. That song has all of those elements in it. It just

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starts off with this acoustic guitar. I'm telling you something, you know, this is your song.

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The verse, you know, and then when the second verse comes in, it comes in, you know, it's got

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the grit guitar and it's got the feel to it. And then, boom, when these ooze come in,

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to me, when the ooze come in, it's like Laurel Canyon and Rumors by Fleetwood Mac had a love

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child. And here it comes with all this melodic madness. I'm like, what in the world? So to me,

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that song, which I don't know, it has all of those elements in it. Sort of a lot of your

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other songs, by the way. It has the feel to it, has the the grit and the uh uh uh from the Sam

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Cooke stuff. It has all of them. Like it has that song embodied, like a lot of that stuff that

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you're talking about, which I think is really cool. So that's I think that's really interesting.

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And I love that song. I think I don't know how many plays you have on it. I'm probably

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half of those plays. Yeah. And I got to give, you know, big credit to my collaborator and bandmate

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Lizzy Gogolowski. We wrote that song together. Yeah. You know, so that this band is I started

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this band, but I've got three other people who are or owners in it and who write the songs and

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are part of the group. Yeah. She and I like to write together. Obviously, that's it's not me

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singing. That's a that's a girl singing. Yeah, it's a Lizzy. She had the kind of the initial

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idea of wanting to do a little bit more of a bluesier track. So I came up with that riff. And

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then the Laurel Canyon thing you're getting is it's it's like a different triad over that base

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over the base. So it's a it's like a B flat over C. So it gives it that real Crosby, Stills,

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Nash, suspended sound. And that was something that didn't exist initially when we wrote it

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was just kind of the root notes in the base. But yeah, changing. I mean, here I'm in my recording

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studio. So yeah, let's hear it. That's okay. That's okay. Okay. Approach the base right there.

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I think with that one. Sure. So I mean, just like, initially, you just have a flat major seven,

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F and then C. And so that's fine. But then we did is we put this

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So putting the C in the base and keeping it there.

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And then it finally resolves. So I think I think there's something that was, you know,

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that was that was thought out. It was like, okay, let's, let's put this C. And I mean,

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that just kind of occurred to me when I was playing the bass on it, like, oh, let's put

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the C in the bass, and it makes everything feel really suspended. And it's like, it's suspended

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until it finally comes home to that one chord. So

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it's just so rich and the harmony, my goodness, I think

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the harmony is so rich. I would love to talk about the way you record.

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I can't give away all my secrets, but I'll tell you some.

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Because obviously, you can have a really good song that can sound good, stripped down. And

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that song could sound really good stripped down. But that song can sound great, produced really

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well. And it does, because the production of that song, the way it's harmonized, the way you

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arrange the arrangement, really takes that song to another level. That takes a musical ability

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to be able to do that, to take those chords, and change them in a way that really kind of

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fills that out the way you did the way that you explained that. How much time do you spend kind

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of playing with that and kind of tinkering just to find the magic that you want to get the feel

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that you want without overcooking it? How do you strike that balance?

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It's so much just experimentation in the house of madness, my studio.

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That's not the official name, but I might change it to that.

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Yeah, that'd be great.

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It's so much time of just... I always feel like the next thing in the arrangement kind of appears

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in the thing that's already happening. And I know that sounds strange, but...

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Yeah, what do you mean by that?

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It's like there's overtones in the music that's already been recorded. So if there's a

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acoustic guitar, and there's an electric guitar, and there's a keyboard,

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but maybe there's some other secret overdub that wants to reveal itself.

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Okay.

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And when I'm listening back through my speakers to what we've recorded so far,

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many times I will hear something in the mix that doesn't exist, like a part.

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And I swear to God that I'm hearing this line. It's usually like a single melody or...

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It's not something harmonic. It's usually like a single note kind of a thing, like a melody line

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that overlays over top of what's going on already. Like George Harrison would call it a counter

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melody. Or if you go back to Bach, it's not the melody, but it's another melody that is...

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And it could be in the bass, like we're talking about karaoke, like the good vibrations.

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That bass line is like a counter melody in the bass. And so I'll just be sitting here and usually

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if I just kind of let myself relax and go into almost like a state of trance, I will start to

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hear the thing that should happen next. And it's not always like that. Sometimes it's more of a

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forceful, like I'm going to assert myself on this and this needs another part and I'll kind

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of mess with it till I find something right. But many times it's just this thing that you hear

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that's not there that then you can put there. And a lot of that too is... I've switched to recording

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to a tape machine along with Pro Tools. I'm not going to get too into that because I don't want

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to sound like too much of a nerd, but I might a little bit. But we highly utilize analog tape

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machines and I use my tape machine a lot in my workflow. And the cool thing about using tape

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versus... Because I started just like anyone else in my age group was using only digital recording.

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Tape was something that was of the past. And I just always felt like there was something missing.

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There was some kind of saturation or overtones or something that I just wasn't

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getting with the purely digital recording. And I'd always reference back to,

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God, why can't I make this sound really like a Beatles record? I want it to sound like a

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Beatles record, but it doesn't. It sounds like shit. So the tape, I feel like really

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reveals more in the music. It has more soul. It has more soul and those overtones. Those

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overtones like I was talking about, I didn't really have that experience until I started

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using the tape machine of being able to hear the next part. And I think more so than a lot of the

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music that is put out today, I think the music you guys are making is best heard through headphones.

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Because there's a lot of subtlety. Because whoever's doing your mixing is doing an incredible

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job. There is so much nuance. There's a lot of discovery in your music. And I'm like,

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oh, I hadn't really noticed that subtle movement of like, oh, there's a little bit of a, I don't

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know, a banjo or something back there or a mandolin or something. I'm like, oh, that's kind of cool.

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Steve Martin's old banjo.

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Really?

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A couple of banjos on these records belong to Steve Martin at one point.

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Oh, that's cool. Actually, I met Steve at a Simon and Garfunkel concert in

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92 or something like that. It was so random. He signed my program. He wasn't actually super nice,

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but he was cool enough to sign my program for me. That's why I really encourage people when

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they listen to you guys to listen with headphones, good pair of headphones, because the mixing is

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done really, really well. You or whoever's doing your mixing, man. Nice job.

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Chris Beeble has done many, many of the last songs, probably the last 15 to 20

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songs we recorded. So all of our third record, Signals, and then our fourth record, Four,

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and then just like the singles that we've released this year.

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OK, so let's hear a tune now. This is Oh My! from the album Four, the Roman numerals IV,

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by Hunter James and the Titanic, available on all the streaming services.

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Now, you guys have been making music for a while and just kind of looking back over the last

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several years, several albums. How would you say that you've progressed in terms of

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collaboration? You talked about having Lizzy. What a voice. Your guys' voices really complement

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each other really, really well. Thank you. But in terms of like writing, sharing vocals,

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which I think honestly says a lot about you. A lot of people don't like to share the spotlight,

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don't want to share songwriting credits, don't want to share a vocal. I think it's really cool

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that you do, because to me, that just says that it's not about your ego and stuff like that. I

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think that's pretty cool. It seems to me like you become more collaborative over time. What's it

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like, you know, that progression over time as you guys have been together over the years? What's

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that journey been like as a band in terms of collaboration and that type of thing?

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Yeah, it's beautiful. It's great. Well, I mean, and someone else to talk about too is

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another really important part of this band is a guy named Taylor Marvin, who's the lead guitar

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player. And you might not know who's playing what part on a record, because we all kind of meld into

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each other. But he's been a real formative force in the group as well. And I mean, anything that's

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kind of, I mean, some of it's me, but any slide stuff that's really involved, like slide guitar

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harmonies, most of that's him or a guy named Jason Brazel, who's also I'll talk about him as

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well. But yeah, it started as me writing all the songs. But musically, it's always been all of us

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contributing to the records. So I think that's just grown more in the songwriting vein, like

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Taylor writes more songs now. And Lizzie, you know, writes more songs now. And I like to think

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that like, just my kind of obsession with like writing and recording and making it like a daily,

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you know, sometimes I'll be focusing on a different aspect of what we're doing, like the

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business aspect or booking or whatever. I mean, we have someone that books for us now. But I'd like

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to think that we all just inspire each other. And maybe my kind of like real like single vision of

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making art and making as much music and recording as many songs as possible. It's like

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kind of rubbed off on them. And then like some of their sensibilities have rubbed off on me.

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It's been a cool experience growing with these people and making music with them, creating a

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sound. Well, that's really neat. And I've watched a lot of your guys' live videos. And you know,

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on stage, you really are recreating your studio sound very well. And part of it, you've got,

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you know, four or five people on vocals, you've got four people on guitar, you know, yourself,

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or three people on guitar, and, you know, somebody on organ, and like, it's a very full sound,

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which you need. But the cool thing is like, you could strip that down to the songs would carry

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very well. What I really like is you haven't given into the pressure to move to Nashville,

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which a lot of bands do have you? Have you felt that pressure? And what's that been like? Because

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you know, you're still in Colorado. And you know, that's not that's not the music capital of the

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world. But it's home for you guys. And you're making beautiful music there. Oh, yeah, no.

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We're not moving to Nashville. I feel like a lot of that is...

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I've always been into that quote. It was one of the naturalists who said the journey is not in

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seeking new landscapes, but in having new eyes. In this day and age, the reason to go to Nashville

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is so much like just shrinks so much every year, I think with technology, with being able to be

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your own publisher, being able to be your own record company, I think you can make incredible

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music from anywhere. I don't think that we would thrive, or I would thrive really in an environment

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like that, where it's just feel like it's so oversaturated. You know, one of the things I was

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in plastic, yeah, I know hates in Nashville. I have lots of friends that are down there,

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and they're doing great. And that lots of artists who I know who do great. And I know it can be

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no hate to Nashville, if you're all listening down there. But I think that it's, I think one

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of the beautiful things about making music or doing anything in life is the cross germination

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of people surrounding you who, and I even feel like this here, who do different things. Like,

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I think that's why high school was a cool time. Because you have all these different people who

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are excelling in these different ways. And you can all kind of look across the hallway and go,

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look at the debate people over there. And look at the tennis team over there. And look at the

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theater kids over there. And look at these people doing that over there. And there's this great

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cross breeding that happens, where you're appreciating people doing things within

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different disciplines. And all of a sudden happens like in your 20s, I think in adult life, where

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everything becomes so specialized, and you just start being surrounded,

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if you're not careful with people who do the exact thing that you do. And I don't,

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I think you need people outside of that to really see what you're doing with like a child's eyes.

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To go, wow, that's amazing. Like, I don't play any music. It's amazing what you're doing. Because,

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I have no reference for this. And that's magic to me. Whereas if you're just surrounded by all

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musicians all the time, it's like, oh, that's nothing. They're kind of burned out on it. And

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it's like, eh, that's nothing. They don't really maybe see as much of the magic in it. So I think

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it's so critically important to surround yourself with people who are diverse and excel at different

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things in life. And don't just hyper specialize in what you hyper specialize in. Because that can

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just be, you know, energetically, that can not be that great of a thing.

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I think what you said, Hunter, especially in our day and age, where everything is hyper divided,

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is really profound. Yeah, that's awesome. So I want to talk about where do you see you guys

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going? I know you've got, you've played a lot of dates, he is going to be

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hitting the road anytime soon. And what's coming up. I also want to talk about Radio

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Atlantic. That song, I don't even know what it's about. Okay, don't explain it to me. But I want

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to know what it's about. Like, I want to know what it's about. But I don't want to know. I

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love that song. I don't know how many times I've played it. But there is something there's like a,

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I don't even know how to explain how that song makes me feel like it stirs something in me that

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is I don't even know how to explain it. There's like a little something. I don't know. There's

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like the little angst or loneliness or echo. And it just brings something in me that I think is

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really, really neat. And sometimes I try too hard to label things. But I really, really love that

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song. But maybe talk about that song a little bit about where does that where does that song come

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that song? I mean, almost more so than any of the other songs are is like, is a real just

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a real just word painting. And it's really just yeah, yeah, just based based on different images

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and sounds more so than like a fight of finite narrative. I think when you do get to the chorus,

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like the lyrics are I'm living at the door. And I think that it was initially I'm waiting at the

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door. And I thought, well, waiting at the door. That's boring. Like so many people said that.

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And I thought, oh, living at the door. That's like, I've never heard anyone say I'm living

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at the door. Like, what does that? That's interesting. I think you could distill it

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to down to that lyric in the chorus. I mean, there's all these there's all these imaginative

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things happening in the in the verses, the rhythm of the voices of the girls down south,

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which kind of creates a vibe and an image. But great lyric. Thanks. I am a proponent of that

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lyrics don't have to have a definable narrative. One of my favorite songwriters is is Gary Louris

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from the Jayhawks. And he's like, his lyrics are very obtuse. And they're not always well defined

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and have a very clear narrative. So I, I am not of the, you know, of the belief has to have a

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very clear story that we can kind of read in and out of it. So what I'll tell you, it has a clear

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story if you want me to. You know what I mean? Like some people, some people, some people will

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have some people have, you know, they'll hear that song and they'll put it all together in

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their minds and they'll go, oh, this is exactly what he's talking about and exactly what this

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means, because this is what it means to me. And that's the beautiful thing about songwriting and

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music is that it means I mean, and it's a trope, you know, that's just like it just it means

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whatever it means to you. And there's some and I like to just be evasive in that as far as

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or just kind of like wrote it like there's certain songs that I've written that are very finite and

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there's a finite narrative. And you could point to exactly what this song is about. Every lyric

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makes exact sense. And this is this story. And this thing happens to this character. And then

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this thing happens to this character. And then other songs are just are more of like a word

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painting, you know, like where you're just going from like more of a dream where you're just going

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from scene to scene. And it's just creating some kind of like ineffable feeling. And that's and I

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just I rotate between the two because I enjoy both kinds of songwriting. Like there's a song

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on our third record, Okinawa 1945, Say Goodbye to Emmylou. That is a song about the invasion

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of Okinawa in 1945, being a soldier coming up onto the beach, thinking that this is going to be it,

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you know, we're done thinking about your sweetheart at home, Emmylou, you know, light

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that last cigarette and say goodbye to Emmylou or smoked out. Oh, I can't remember the exact lyric,

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but, you know, it's also funny, like what kinds of people gravitate towards what songs like,

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because you can really sort of tell what kind of a person they are, because they like all the

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really literal songs. You're like, oh, this person really needs like a finite narrative. And then

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there's other people who are like, oh, I really like this song where it's, you know, the what

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are these lyrics mean? I don't know. I mean, what do they mean to you? Who knows? And so you can

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almost it's kind of fun because you can almost get a read on people by which true

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probably very true. Yeah, I remember I when I interviewed Glenn Phillips from Toe the Wet

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Sprocket, they have a song called All Right. I'll be honest, I thought the song was about

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getting up to go to the bathroom at night. And I remember like back in the 90s, telling my friend

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Ryan, like, dude, I was going over the lyrics with him. And he's like, dude, what are you smoking?

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I'm like, no, I really think it's about this. I when I was interviewing Glenn, I'm like, hey,

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this is what I think the song is about. And I explained it to him. And he goes, I don't think

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so. So I got out of the interview. I didn't put that. OK, OK, OK. But I mean, I made my case,

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but I was dead wrong. And that's the fun part, too. I would never. That's why I try not to go

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too much into it. Even songs that do mean something specific to me. It's like, well, but

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I don't want to, you know, it's like, you know, when they make a movie out of a book, it's you

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kind of in a way that's limiting to the imagination. So I feel the same way about about songwriting.

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It's like I there are certain songs that are very obvious and you'd have to be pretty,

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you know, daft not to know exactly what they mean. But other songs that, yeah, people can just they

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will think what they think of them and they will have their own narrative to them.

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So, you know, as we just get close to wrapping up our time, I I am as we talked about earlier,

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I'm a new fan. I don't have as many indie artists on as I as I used to. And I'm sure, man, the first

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time I heard Weekend Holds, I was like, what in the world? I love the Laurel Canyon sound. The

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music that was coming out of the canyon was beautiful. And what every single song I have

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heard after that, and I'm still working my way back through your catalog, I have just absolutely

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loved. You have an incredible body of work, the writing, the production, the arrangement,

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instrumentation, everything you guys are doing, you're doing with your band, incredible musicians

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is just really, really good. And I love the fact that it's not, it's not just nostalgic,

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because it's the quality of writing is there. It's just really good. And I think it's something

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that we need. It's it's attached to the earth, if that makes sense. And I think we need that now

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there's so much plastic being put out. And I don't I don't I don't I don't degrade people's art.

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Everybody's doing what is true to themselves, I'm sure. But I just am very, very appreciative

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of what you guys are doing. And I just love it. And so, you know, even Radio Atlanta, I think,

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man, I just I'm just so in love with the music you guys are putting out. And I can't wait to

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see you guys live. I hope you guys come to California at some point. Yeah, you know,

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this this music. It's and it's also the whole Colorado thing. It's it's been amazing. Like,

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seeing some like these acts that I mentioned, who were, you know, quote, unquote, indie bands,

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who had just, you know, sort of expanded into these into these huge, these huge touring groups.

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And that's, that's our intention, as well as it's just, you know, the more and more that these songs

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kind of they seem to found, just I don't know how it happens, you know, the light of day, people

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like them. And that's, you know, the direction that we're going to move into is just continuing

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to write songs and let the shows get bigger and bigger, hopefully, you know, transition to where

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this could be. No music is my full time job, but let this band itself be, be, be the full time,

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be the full time thing. So hopefully, you're talking to us at the beginning of the journey.

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Well, Hunter, I can tell you why I really think your guys's journey will just continue to to blow

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up and get bigger. Because the music you guys are making is timeless. You have I look at, you know,

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people in my parents generation who were who listened to music that was made in Laurel Canyon,

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they will love they love the music you guys are making because it reminds them of what they have.

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It's the music I grew up with. It sounds good. It's timeless. Good music that is not trendy

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is timeless. So that's just my humble opinion. But if it's so for everybody listening, I'll put

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links to your guys's website so they can catch tour dates and keep an eye on all your socials and

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all that kind of good stuff and links so they can hear songs. I'll put

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links to your guys's Spotify and all that good stuff so they can hear what you guys sound like

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and hear why I just love what you guys are doing so much. So Hunter, it's been such a blast talking

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to you and just getting to hear just a little bit of your story. Man, I think we could talk for hours.

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I've kept you a long time. I'm very grateful for your time. Thank you for for sticking with me and

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making this happen. And yeah, just it's been great talking to you and get to know you a bit. And

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thanks for thanks for hanging out with me for an hour. Thanks, Brian. It's been awesome.

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I hope you enjoyed my chat with Hunter. Make sure to swing by the band's website and buy

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something catch them live when they've got some dates. If you could take a few seconds to leave

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a kind review or rating, it's such a big help to an indie podcaster like myself. And those things

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help this podcast get suggested to others. Big thanks to Hunter James. Thanks for that great

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chat. I'm approaching my hundredth episode and I'm working on a special guest for that.

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So stay tuned. Thank you again for joining us. And we'll see you next time when we walk a stretch

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of road with another artist. And until then,

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keep your bags packed and join us on our next journey to the stage. And that's a wrap.