Lance Lopez (blues musician)

Lance Lopez is an American blues rock, singer, guitarist and songwriter.  He has been involved with music from a young age and was mentored by ZZ Top’s Billy Gibbons at age 16.  Since then he has toured with Jeff Beck, Steve Vai, Def Leppard, Whitesnake & more. His latest album, titled “Trouble is Good” comes out July 14th on Cleopatra Records. We discuss the new record, guitars, mentoring younger musicians, using emotion to create music and much more!

00:00 - Intro
00:45 - Audio/Visual
01:50 - Eddie Van Halen & Guitars
03:10 - Lance's Guitars & Sound
14:10 - Song "Voyager" & Spiritual Influence
16:35 - Jeff Beck
21:01 - Mentoring Younger Musicians
29:50 - Breakup Songs & Emotion in The Blues
34:00 - Expressing Emotion with Music
43:04 - Warrant, Cherry Pie & Blackfoot
44:45 - Two Wolf
47:50 - Solo Shows & Live Music
51:06 - Sammy Hagar First Van Halen Show
53:40 - Music Cities
56:10 - MuisCares

Lance Lopez website:
https://www.lancelopez.net/

MuisCares website:
https://www.musicares.org/

Chuck Shute website:
https://www.chuckshute.com/

Transcript

Chuck Shute: 0:00

All right, if you're a fan of the blues, blues rock or really just music in general, you're going to want to listen to this episode with Lance Lopes. He's been in the scene since he was a kid and was mentored by ZZ Top Billy Gibbons. He has connections and stories with so many musicians, including Jeff Beck, Johnny Winter, the warrant guys, and even non musician people I found out in this interview, because he mentioned the ancient alien guys. So we cover a lot of ground in this interview, discussing his new albums, his guitars, musicians, he's mentored and so much more stick around.

Lance Lopez: 0:47

light and shade? Yeah,

Chuck Shute: 0:50

yeah. Do you do you take a part in that with the state because some of the musicians they, they do nothing. They're like, I just play guitar. But other ones. I feel like they got to learn the lighting and the sound and the engineering and all that.

Lance Lopez: 1:02

You know, Chuck, it's interesting. You say that, because COVID kind of pushed us all into that world. You know, in the past

Chuck Shute: 1:08

you weren't you were repairing amps or something.

Lance Lopez: 1:11

I that's what I did. Yeah, I went into I went into repairing guitar amps. And other guys went into the, you know, the cameras and like you said, the ring lights and getting the sound. And, you know, and what I focused on was my recording gear, because that's how I made most of the record. So I didn't really get into the visual side, I got more into the audio. Okay, now, and yeah, so I, you know, I kind of went that direction, I didn't, I didn't want it to really, I didn't want to really kind of go down that road, I wanted to just kind of focus more on you know, you know, the audio side.

Chuck Shute: 1:49

Right, but didn't because I know like Eddie Van Halen, he's famous for building his own guitars and like taking them apart and putting them back together. I mean, he was such a tech nerd, or whatever you want to tech guy. I mean, and he's one of the greatest guitar players of all time. So

Lance Lopez: 2:03

he is he was absolutely an influence when I when I wanted to go into, into working on on my gear, and that and oddly enough, I got to really work on and mod a lot of the early Van Halen amps. And I had some really cool mods to turn the old PV 5150s mod them into be more closer to like an SLR. 100 like a Soldano. So that he used when I when I the first time I ever saw Soldano. And, you know, so it was really cool to kind of experience those things. And absolutely, he was a massive influence, with his tinkering and his building, and I got to work with a lot of the amp builders that worked with Edie. So I was, you know, and we had I had the mutual connection through Steve Luthor. So, you know, who was very close with Eddie Van Halen before he passed? And and, you know, there was such a strong connection. I mean, Shreveport, you know, where Wolf's mother's from, you know, I mean, they're their family homes behind my mom's so huge connection. Huge connection to, to that, so yeah, I'm glad you brought that up, man. Because yeah, he was a big influence on when I got into amp repair and and building.

Chuck Shute: 3:15

Yeah, and then there's, I mean, you have the guitar. So you have that I heard you talking about your 59 Gibson, Les Paul. And then is it what is the white one called the Flying V that has the LL on it? That's called Sugar. Sugar. That's right. Yeah, I heard you talking about that one, too. That's cool.

Lance Lopez: 3:30

Sugar. Sugar is sugar is a mainstay, she's a baby. We love sugar. You know, the thing about sugar was we got you know, it's a 67 reissue. And so it's such a funny story about sugar. And I was it was in the era, kind of after I got it a couple of years later was kind of the era I was in a band called supersonic blues machine. Did a couple of records with them. And Billy Gibbons was a part of that situation. And it was one of the few times that we had talked for decades about playing together. And that was the situation we finally did. And so with that we actually he loves the Wii. And so he would always go go get the white guitar, you know. And so, I had a I had a set of pickups that a good friend of mine, Spencer Deaton, who was my tech at the time, had a hand built me some Alnico two pickups that were kind of low output, Les Paul style pick pickups that were incredible. Not a big fan of the ceramic pickups that kind of those guitars came with. And so we went back to the Alico magnet. And so Gibbons loved the guitar so much that I put Seymour Duncan Pearly Gates I put in didn't tell him and so when I got it when I went back to play with him and pulled it out again, he was like, what do you do to the light? He was like, I love it even more, and I just I was like, Well, I put some, I put some Seymour Duncan's in it that you may be familiar with and we laughed about it. And the other side of the story was, we were I went to a party at a NAMM party in Anaheim, California, around the times I put the pickups in, and it was this huge big event and I walked, I said, bring your white Flying V, I said, Okay, I thought I was gonna get up and jam and play. I knew a lot of great players were gonna be there. And so as soon as I walked into this huge event, there were a lot of celebrities there and all these people. And they took the guitar from me, like walked in the party, and they took it and said, Oh, it'll be okay. And they went over there. And I thought, okay, I guess they're gonna put it with the others, because I guess we're gonna jam. And I went around and met all these people. And then I came back in this room, where the great Thomas Nordic was who Steve eyes, long term tech throughout his entire career. And there's Thomas Nordic, you know, and I haven't seen Thomas in 20 years since I was on the road with Steve I. And I was like, Oh, my God, Thomas. And then I looked down, and he's got my guitar totally taken apart. And the bridge and the tuners and I'm like, What are you doing in my guitar? And the Graphtec people were there, and the guys from Graphtec. And they went, Oh, we're gonna put this bridge on, and we're gonna put these tuners on, and we're gonna put this new nut on, and I was like, okay. So it still as those items on and it was good, you know, they were great. They helped with string breakage and staying in tune and etc. So that was one mod that kind of happened unbeknownst to me, but then it turned out to be a really good one. So

Chuck Shute: 6:24

that's interesting, that they would mess with it without your permission, like, hey, there

Lance Lopez: 6:28

was you know, and it was Thomas Nordic. So like, what are you? I mean, you know, you're going It's not some rando guy. That's just, you know, and I actually, another funny story was the guy that built the pickups originally guy was telling about Spencer Deaton. He did that to Robin Ford. We were on a gig and Robin just passing was telling us just set it up for me. And then we come to Robin and I took a walk around and came back and he hid the neck off of Robins, Telecaster. And Robin was like, it wasn't. I mean, it was like a bad situation. So it's like in the future guitar techs don't do that to guys. Like ask them and I was I was cool. I was like, you know, because of who it was. It did turn out pretty cool. You know it Yeah, it was a very interesting situation for sugar. So turned out good, man. Sounds

Chuck Shute: 7:16

good. Yeah. So do you want like on this new album, how many guitars different guitars did you use?

Lance Lopez: 7:23

I used primarily the mind 65 vo s Firebird reissue. That was it was a made to measure build with the great Cody Higby at the at the steep Christmas is no longer at the Custom Shop and Kevin Vaughn Pombal and it was under the Ric GIMP bar era. And Rick GIMP bar had originally wanted me to play the Freddie King 355 That was released. That was a Freddie King guitar. He wanted me to champion that guitar. I'm very close with Wanda King, Freddie's daughter, all of Freddie's band members from you know, all being in Dallas, you know, so. So we had kind of planned on that. And I thought, okay, cool. But I also talked about a Firebird that I could play because I was introduced really to Firebirds by Johnny Winter. I had never really spent much time with him didn't pay much attention to him what so I mean, I knew they were great. I knew Johnny played them. And in his hands, they were magical. So it was like, you know, that that was the world and I love Eric Clapton on the Firebird, one, etc. And Alan Collins, you know, all of my biggest heroes. And so, John, I was hanging out at Johnny's. And Johnny was like, Yeah, we started talking about it, and he goes, go back there and pick up my guitar, you know, and I go back to the back and I pull up, there's the white. You know, there's the white Firebird from captured live in the 70s. And I just pulled it out and was like, started playing them and a couple of more and, and that was my introduction. I thought, Man, I could really and Johnny was like, Man, you are play you ought to get Firebird so so I had different conversations with with Gibson and they finally made measure programs. So they built me this blue Firebird that has the profile of a Les Paul man. So it's like a 59 Les Paul shaped neck on a Firebird. So it's a beautiful guitar. The pickups are perfect. I just it's a great guitar. It's one of my it's, we call it the blues bird. So that's the name for that guitar. And it's so great and the other guitar but other primary guitar is the is the Barton Creek burst we call it which was also named by Billy Gibbons. And it's a it's a it's a our nine, it's a reissue and when we talked about it, I said, you know, I didn't I love Tom Murphy like Tom's one of my dear bros. He's here in town, and I love all of his his rollicking work he does however, I didn't want to have one that was like two Whoo you know historic makeovers or Tom Murphy relic doubt, I wanted to relegate myself and I love ELS guitars. And so we talked about it and I said, you know, I want I would love a great I would love a great 59 Les Paul they knew who I loved and it was funny because this picture goes around that a buddy of mine Javier Granados that used to be used to run the boot star Western shop on Sunset Boulevard in LA. We walked into the Sunset Marquis when one night Gibbons texted us we were down there trying to enclose and Javier got a shot of Jimmy Page and Billy at the bar, they were at the Sunset Marquis. And so that was kind of circulating around we always posted it. They took it upon themselves. They took specs from number one, which was Jimmy pages 59 that he got from Joe Walsh that he played all throughout Led Zeppelin. And then they took number, they took Pearly Gates, who was Billy's Les Paul, that he played all throughout his career with ZZ Top, and they took the specs and they melted those guitars and and I believe I heard that from Mark some generic he's no longer Gibson either, that there were also some elements of another burst that that I think either Joe Walsh or Don Felder used during Hotel California. And so there was some there was some some measurements with that guitar as well. I'm not really certain on that. I do know that it's a it's mainly a number one, and it's more poorly than anything, but it does have some of those other specs, but a lot of it is pearly gates and Gibbons absolutely loved it. He named it and when we played together, he played it and we're actually on a magazine cover together actually holding the same guitar where they superimposed us together. And people thought and Billy was holding pearly gates and they thought I had the craker which is the nickname for this departed Greek burst and we now be shortened to the creeper. They thought it was those guitars and I've actually been in arguments with the I've heard guys like and I've gone to that was how I was like I was there that's not pearly gate. That's my guitar. Oh you guys want to say as whatever you know. So those guitars and primary guitars I used but I used vintage Teles I used a on Voyager I used a Michael Landau signature Stratocaster, which was probably the greatest strat I've ever played. We use that on Voyager to get some of the more of the kind of the Richie Blackmore things with it because it was so interesting because usually when people hear me play a strat, which I did early in my career, it's usually in like a psychedelic jammy kind of a way like in a very Jimi Hendrix, Robin Trower, you know, elements of Stevie Ray bong and those guys, and so, it was really interesting. I wanted to play a Stratocaster on the record that encompassed all my other, you know, influences on a Strat within that number one being Richie Blackmore, you know, I've never really talked about the influence he had on me, you know, a lot as a kid and, and the rainbow records and the Deep Purple records were very important to me. And so on Voyager I, we brought in Bobby Rhonda Nelly, we actually went to record record in New York. And we brought in Bobby Rhonda Nelly, who replaced cozy Powell and rainbow. And so he also replaced because he PAL and Black Sabbath. And so he was a guy that had the cozy thing. And like, if cozy had been alive, I'd have been reaching out to cozy to play on the record I wanted, I really, I don't think people talk about cozy Powell enough with his work with Jeff Beck and his work with Richie Blackmore, and later on Black Sabbath, etc. So, you know, so it was really cool that I was like, let me do this, because why not? That's that was kind of the approach of the record, let's do a lot of different things that we really haven't focused on or done. And one of those big things was primarily making the record rock, because I'm categorized in the blues rock category. So it was like, well, let's make this one rock a little bit more than be bluesy. Because we've done a couple of traditional blues records. We're talking about maybe doing another record that's going to be kind of a straight up blues album. But this one, we wanted it to be a blues rock record.

Chuck Shute: 14:09

Yeah, well, it's interesting. You bring up a song Voyager. That one's really cool, because it does sound different than a lot of the other songs on the album. It's got the sense and that kind of Middle Eastern sound, and I thought it had kind of a Led Zeppelin vibe to it and a very interesting solo to Well,

Lance Lopez: 14:25

thank you so much. Check. Yeah, it was, it was a very powerful song. To me. It was one of the first songs I wrote when I moved to Nashville. It's a very spiritual song. And it talks you know, and it's in regard to talking like to a spiritual deity, a very spiritually connected, and I had gotten into reading this book called The Law of One which was very interesting. It's work that Don Alcon did with with a female kind of a medium, telepathic communications with almond raw apparently, it's very interesting read,

Chuck Shute: 14:57

what's the one or what was it It's called the Law of One Law of One. Sorry. Okay.

Lance Lopez: 15:02

A lot of like a lot of Ancient Aliens guys read it. And it's kind of like that kind of vibe. It's that whole scene. I'm friends with a lot of those guys. Really? I've been friends with those guys since the 90s. Yeah, since

Chuck Shute: 15:14

everybody, you know, like every musician and now you know, you know, Guy theory, you know, the ancient alien guys. Is there anyone you don't know.

Lance Lopez: 15:23

I haven't met the president yet. Yet would you want to? I mean, you know, hey, we like you said there's everybody else is there.

Chuck Shute: 15:38

Anyway, so ancient aliens. This is fascinating.

Lance Lopez: 15:42

Yeah, I mean, so I was buddies with all those guys from way back. And so I'd heard and I had a bass player playing in that time. And he was into it, too. So I started just reading it and really studying that. And it was really cool, you know. And so I wanted to really kind of focus on that and talk about it, because that's what a lot of our great heroes and guys that we grew up listening to did, right? I mean, they read they, they were well read. And then they use that as their influence on their material. Right? Our great heroes did it. And so I wanted to do that, too, that not just hey, let's get up and play a barnburner blues song. Oh, my baby left me yesterday, you know? What I'm saying? I

Chuck Shute: 16:18

want something deeper, more emotional, more spiritual, more meaning. Yeah, I love Exactly.

Lance Lopez: 16:25

And so, you know, and then the close out of the record is a tribute to Jeff with the, and it's kind of the, you know, it's IRA. And he's like, you know, and it was kind of the ascension of Rahway to wherever he went to. And, you know, and I'm playing a Jeff line. And so that's a spiritual, kind of a sendoff for Jeff. You know,

Chuck Shute: 16:43

that's, I know, you know, Jeff, I can't remember. What did you toured with him? Right, was it Steve

Lance Lopez: 16:49

went out. I was a kid. I did. I was very fortunate, very blessed to be around Jeff at a very young age and learn a lot from Jeff.

Chuck Shute: 16:57

And he called you one of the most exciting guitar players he had seen or something to that effect. Yeah,

Lance Lopez: 17:02

I mean, you know, he had called up we, they, the management I'd been working with at the time actually reached out after we work together. And, you know, and it was like, Well, what did he say? Like? I mean, I don't know, he told me about the formation of Led Zeppelin and begged Burgard, abbacy and wired and blow by blow and how to set up my marshals. But I don't know what he said about me. I didn't. So they called and they they got it, you know, they talked to Jeff said, you know, without me being there, and I was just fear. I didn't know what he was gonna say. And I was very, very honored that he, he said that about me it was it was it was a big, big compliment.

Chuck Shute: 17:39

Yeah, because you, you worked with all these guys. And you what I love is that you tried to learn from them. You were asking them questions and, and trying to learn and learn how to be a better guitar player and probably learn about the music business. And it's yeah, some of the technical things with guitars and stuff like that, but probably more about songwriting and playing, right.

Lance Lopez: 17:57

Absolutely, absolutely. I mean, it's all and it's still that way, Chuck, like, Man, I'm around whenever I'm around great, especially here in Nashville. I'm friends with all of the top studio guys, Tom Buka, vet Guthrie trap, Brent Mason, all of these great players. And I'm continuously asking, you know, how do I improve what I do? I don't want to change what I do and become something different. I want what can I add, assess what I'm doing and allow me to add to it, you know, and it was so funny, especially like being around Jeff Beck and asking him about wired and blow by blow. How do you make these records? How did it come about? And he and he would just laugh it off and shrug it off? Like it was no big deal. And I'm like, and because it meant so much to me, the sillier he got about it, you know, and it was like it made it fun. And it made it not so like, you know, because it was that that's, you know, I mean, I'm seeing they're hearing about him and Jimmy Page walked into each other's homes when they were you know what I mean? And I'm like, those are the kinds of stories I'm hearing about. So yeah, and even during the supersonic blues machine era, working with all the good great guitar players, like I talked about, we would check into a hotel and we'd be checking in with our guitars and I would I turn to him and go, I'd ask Robin Ford. Hey, Robin is do you have time that I could have a guitar lesson? Steve Lucas or Hey, Steve, Luke, can we get together? And they all would just be like, why? And how would go I know I want a guitar lesson. Can I have a guitar lesson? Can I mean can we work something out it can i What, what does that you know, like, do I need to pay like what do I need to do? And they would go do that, you know, there's just one little thing that occurs you know, and or whatever it would be and so, continuously learning and I think that's the biggest part of you know, having the humility that I am always a student of the of the guitar like I will never stop. I don't ever want to stop growing or learning, especially being around great artists and great guitar players. Yeah, and the songwriting aspect like us said in the production aspect, you know, every time I made a record with a great producer, like Jim Gaines, or whoever else, or was in sessions in LA, or New York or wherever, with great producers, I would watch them and ask questions because, you know, I was a self taught guitar player, so I didn't take lessons. However, I later on in life, I began to give lessons. And so that in turn, helped me to then teach and mentor young artists and there's a slew of young artists that I was so fortunate enough to work with, to teach and mentor that are now having some great success. And so all those experiences that I got from Johnny Winter, Jeff Beck, BB King, all of these great Steve, by all these people around I've been was able to convey that and pass that whatever I learned to these young artists that are now out playing with Buddy Guy and, and doing all of these great things. So you know, it then later on helped me, you know, and you

Chuck Shute: 21:02

say, Yeah, can you say who the younger artists are that you've won particulars

Lance Lopez: 21:07

ally, Venable female guitar player that I worked with, from there all throughout her entire teenage life. You know, and she now has some amazing success. She worked hard, and that's why she has amazing success. I mean, she worked very hard. The one thing about Ali that was so funny, though, was was like I want because she was absorbing and ingesting, and like working and just practicing, was I then went, Okay, well, let's go all the way back like I did to the Delta era. And then that was kind of like, you know, you can imagine me with a teenage girl trying to play music from the 30s for Jesus, like, I want to listen to Stevie Ray Vaughan again.

Chuck Shute: 21:49

I kind of like that old old school stuff that I remember when I was in college, and I was just like a metalhead. And then I went to college. And I took this history of jazz class, because I think it was like an easy credit. And I was thinking, Oh, this would be boring. And I really loved old jazz. I was like, wow, this is really cool to listen, I had a great teacher that really got into and kind of showed you like the parts why this was great. But yeah, it made me really love like the blues and jazz and all that stuff. Now, I appreciate it way more than I probably ever would have.

Lance Lopez: 22:18

Absolutely. And that's where I always wanted my kids to go. I didn't want to start them with Stevie Ray Vaughan or Joe Bonamassa. Or Johnny looks like we're at Kenny Wayne Shepherd. They wanted to start with all my contemporaries. And I went, Hey, guys, like, let's, we need to go way, way back. And I needed you know, always wanted my kids to have that, that that heavy foundation, because I'll tell you, it's one of the things like being around those guys. We talked about me being such a student of the Delta Blues in the country blues in the beginning of that bonded me with all of my heroes, because that's where they were. And so when I had knowledge of that music, and really, they knew how it was an honest, it wasn't like I just studied this and could like how it really affected me and how I grew from it. Bonded me with with with all my guys. So that's what I always wanted for my kids. And they have different era, a different generation. You know, it was it was all good. That was one of the funny things about Ali that I always give it now today. She's such a great guitar player. I'm so proud of her. She's doing great. You know, I was I worked with JD back who's a drummer, who was in Domian Beck, who's on a very successful project. Now I was able to mentor him and produce him in his very first band he was ever hand. So, you know, I've watched these kids go and excel and be great. And you know, and then I've watched others that, you know, they wanted it immediately, you know, I would have you know, a dad bring me the son that came to the gig the night before. And and this kid's never played guitar before. And he wants him to play just like me and there's a party in two weeks and he needs to play in front of you know, and I'm going that's not how that works or you know, and so there was you know, you go all you run the gamut. But you know, it was I was so fortunate to get to run across kids like Ali Venable and others that were that were super hungry and driven and passionate and wanted want to, you know, absorb it and really worked hard at it.

Chuck Shute: 24:19

Yeah, have you? Are you familiar with Tyler Bryant, I had him on the show.

Lance Lopez: 24:24

Another another short student of mine and Graham Graham Whitford and Harrison Whitford were both students of mine as well.

Chuck Shute: 24:32

Yeah, he's great. What do you think though? It's it is kind of a hard sell with today's music with blues how do we make it more relevant? I think the answer is like a Netflix show or Netflix movie about the blues. I think that's going to would totally revitalize it or do you think there's another path to making it popular because it's such great music?

Lance Lopez: 24:55

It truly is. And I think that we I think we are doing it I think like like even with trouble As good right now, like it's more of a rock album, and there's songs like take a swing, and others on that song. Yeah, that that are you know that we wanted to go in a more modern rock type of sensibility or you know, having Joey Sykes was a more pop sensibility. But whenever you hear me play and sing, there's the blues, you know. And so with whatever I'm doing, it's going to be the blues is just at chord blues singer and guitar player. So I think that's the key. I think there is, there is some relevancy, like I said, you know, I think Ali is in that world, I think, you know, you know, you've got bottom masa and gales and other great artists that are that are that are really on a, on a scale of doing it. And so I think that, you know, it's very interesting for America, to have the blues were kind of where it is on like Europe or Japan. Is that I don't know, I don't know, I you know, that those countries have just always, you know, elevated our music to the utmost. And so I think that it is elevated in a way here. But the answer is, you know, I think that the more exposure we get to younger artists and more younger artists are coming up, I think that's the key. And that's one of my, like we just talked about, that's another mission of mine is to mentor and to teach and to pass on what Johnny Winter and Jeff Beck and BB and everybody else taught me is, that's how we then get another ally Venable, you know, right. And that's, that's the key and to look at, or go, boom, there you go, okay, there, you know, and to keep the generations continuing to keep the music alive. And I think that's what BB knew so much. And that's why he was so nurturing and welcoming and loving to all of us young guitar players, any young artists that got to go open for BB or tour or travel with him, like I did, will also agree, because he knew very, very well, that the music needed to carry on. And he knew that we were the next legacy to do that. And so and he knew how influential is he was. So I think that that that's also the key is, is to continue passing it forward to the next generation and the next generation, the next generation.

Chuck Shute: 27:16

Well, yeah, and I just think that's a part of life is as you get older, that's kind of like your role is that you have all this knowledge, and it's your job to kind of share that with the younger generation that helps you like feel better. Because I mean, you probably will, I mean, I'm sure you can play music for a long time. But I think like that role is more valuable than playing as the older you get. I mean, just like an athlete that, you know, eventually they're going to become more of a coach, they're not going to play forever. So I think that that makes, it's interesting. You have that mentality, though, because there's so many musicians I talked to that say, No, I don't have time to, like produce or help out or teach or any of those kinds of things. Like they're just so focused on themselves. And I'm like, I feel like it's like, it's almost like part of your job to give back at least a little bit. Maybe 10 or 20% of your time or something.

Lance Lopez: 28:01

Absolutely. I mean, yeah. And it's not actually, it's funny, because, you know, I had one of my exes, actually was angry about it. She was like, You're teaching all these kids, all your stuff, and they're gonna get out there and drop a button. I was like, that's the frickin point. I was like, I don't care. Like I literally have all my heroes in this phone. I've stood on stage with most of them. Like, you know, that's my Grammy watching Ali, go do what she's doing. Like, that's it. Like, that's what matters, like making a difference with these kids. And then want you know, king fish, you know, all those hours of doing Skype lessons with king fish on Skype with it cutting out in the screen freezing and the whole thing. And you know, and for him to come back today and go man, brother, Lance, like dude, you know, and thank me for all that and watch him go and do it. You know, I got kingfish with Eric gales for his first song ever on an album. You know, I really pushed for him to do that. And so in the watch, you know, and I always call him my kids because I was there in the beginning. And it was, you know, for me, that was so important because it did take time. And I actually took time away from my career to help the kids and so, um, you know, in the washroom today is like, there you go, there's the payoff. You know,

Chuck Shute: 29:24

what doesn't that? Like? I mean, just from a business perspective, is that kind of like, pay off too, because if you help some kid and they become this massive superstar, then they can help you and they they get everything out of you open for them or get you on a tour or something?

Lance Lopez: 29:38

Absolutely. I mean, I've never really thought about it like way. That'd be that's a bonus.

Chuck Shute: 29:47

From a selfish perspective. Well, you

Lance Lopez: 29:48

mentioned bonus.

Chuck Shute: 29:50

You mentioned breakups. Is that song, the song easy to leave, that's got to be about a breakup right? Oh

Lance Lopez: 29:55

my god. wasn't one Civil War?

Chuck Shute: 30:02

Yeah, that's another one with it. So that one's about a break, because I wasn't sure it said, I did love the line though I'll be happy with happiness. You keep chasing your bitterness. I was like, Oh, I, I can think of a lot of people that that would resonate with.

Lance Lopez: 30:14

And it is yeah, it definitely is. It definitely is. You know, it has, there's connotations of many different you can have different perspectives and different meanings. It's like any song, you can take that but yeah, you know, you know, having gone through a divorce, you know, when I came to Nashville, you know, and a marriage ending. And it was kind of some sad times, and all of that, and one of the things that brought me to Nashville, so yeah, it needed to be it needed to be addressed. And, you know, those songs are real time life situations. Take a swing kind of this is take a swing and same thing. You know, it also relates to that, where it was just like, you've taken everything what else you want. It's like, so it's, it's the fact of you know, and still not happy, you know, that's why you keep chasing your, it's like, and that just and it makes me sad for that other person. You know, it makes me sad that it's just that, you know, just can't be Hey, man, sorry, it didn't work out, you go this way. I go that way. And, you know, God bless you and etc. Instead of the bitterness and the hatred and the continuous, you know, fighting, so, which then, you know, in turn all the drama, I mean, we've all been there and breakups and divorces and stuff where it's at the end, you're finally fed up in your life, I, you know, it's easy to leave. It's like, I don't, I don't care anymore. You know, it's like, it's not that I don't care. But it's like, you just cannot go through continuous beat downs forever. And it's like, when nobody's happy. And so you know, and that's what the blues is about, right? It's about relationships and things like that. I mean, it can be good, it can be bad, you know, and that's, I think we hear a lot of times about the blues being, you know, a bad situation, as far as you know, breakups and stuff are concerned, but it also can be good. And so some of those years, a lot of that was about me coming to Nashville and going through divorce, etc. It just reminds

Chuck Shute: 32:11

me that line in the jerk was Steve Martin, you ever seen that movie? Oh, boy. He's like, what does he say? He's like, he's like, you want to go out on the porch and sing some of the blues? He's like, No, it's like something about those songs that just make me sad. Yeah,

Lance Lopez: 32:26

yeah, man. I mean, it's in real life. It's

Chuck Shute: 32:29

starting to plant right. I mean, to get that emotion out, it is

Lance Lopez: 32:33

in to write about it, and to really, you know, and to share about where I was emotionally and to kind of my side of the story and kind of what was what was happening. And, you know, it's my ability to express my side of the story, what I was going through, you know, what I felt, and that's what the blues is. So, yeah, absolutely. And so it's just, it's a it's a continuous reminder of that era, you know, and what was happening during that era, you know, and so that's, you know, I was really glad to be able to, very therapeutic to then also, get it out I was when I came to Nashville, I first connected with John Hiatt, the great John Hiatt, and jaw, and John actually gave me one of his stage guitars, he was on tour with Lao love it a lot at that time. And he actually gave me an acoustic. And he goes, I know, you're going through a lot, I was going through all this stuff. And he goes, I want you to write about it. And he goes, I want you to pick this guitar up. And I want you to write a song when these emotions coming up. And that's so that's what I did. Man, you know, from one of the greatest songwriters of all time, you know, said you've got to write, you've got to, you've got to get this up and out and not just sit with it. And just and let it dominate you, you got to create with it and use it, as are. And so that was also one of the benefits of coming to Nashville and then landing around some of the greatest songwriters in history and being influenced by that.

Chuck Shute: 34:00

Yeah. Do you think that that's something that's kind of lacking in our society right now, in terms of being able to express our emotions in a healthy way, because I feel like music, art, maybe martial arts or you know, those kinds of things can be healthy sports, or whatever, can be healthy ways to express it, but it's like, there's so much of this, like, Oh, I'm gonna go on Twitter, and vent all of a sudden, like, Oh, why are people this is like cringe worthy, but making beautiful music. I mean, that's such a great positive way to spin it.

Lance Lopez: 34:27

Absolutely. I mean, you know, yeah, and I think there's so much there's so much fractured entertainment and there's so much ability for people to get on a phone or a computer and hide behind the internet and be negative and bully others and being just the negative energy and I think that that's that's the the what I've always done is picked up a guitar, put that in there and then I've had, you know, and I've had my struggles with other things, you know, that you know, going down the wrong way. A with it and dealing with it in a totally negative way that that later on harmed me. But still, what kept me alive through all of that was my guitar. I mean, that's what kept as a kid kept me off the streets. You know, it kept me and you know when I'd go through breakups that it kept me even when I was not okay, it kept me in a hotel room playing my guitar and playing the blues. And so the blues truly has saved my life, you know, literally has saved my life. My guitar has saved my life at times. So yeah, I think that I'll tell this story and this is a beautiful and we'll go back to Ali Venable Ali was, I think she was a sophomore or a junior in high school. And she was getting some notoriety in the in the newspaper was giving her write ups and she was playing a lot of gigs. And we were we were, we were literally doing guitar lessons, like three times a week. I mean, that's how serious she was about it. And we were working, and I went over to her house one day to work guitar lesson. And she was just upset. She was in her room, she didn't want to come out her dad was in the kitchen. He was like, man, maybe you can talk to her. He's like, she won't talk to me. And I went in there, and I was like, Ali, what's wrong. And she goes, I had this write up in the paper. And like all the pretty like cheerleader clicky girls, all ganged up, and we're suit and bullied her. And we're super mean to her. And she was like, so upset about it. And I was like, Get up and get in here and pick this guitar up. And I want you to take all of that, and put it into here. And that was the moment in time that I watched that happen with and I watch her get it. I watch these girls bully her at school. And she came home and she went playa, to talk him out of a room and nothing. And I said pick up your guitar and come out here. And guess what we do that what's in here, those people use those memories of those girls doing that, too. Now I want you to bend, because we were having some issues bending up to the one note that big bends. And I said I want you to take that, put it into there. And she did it. And I went that is the blues and how you channeling. And I think that's the key is that we, like you said, a lot of guys that can do what I do will not take the time with a child to do that. They will not take the time to show them how to do it to take the emotion that you're feeling right then, you know, it's easy to sit online and watch YouTube videos of guys playing. But you know, BB King said you don't have to live the blues to play the blues. But it sure helps. And so it doesn't mean that you've got to be drunk or higher, you know, a junkie or whatever else and not okay, and you're living on you know, and your woman's leaving you and your dogs gone and blah, blah, blah, it means here's a here's a 16 year old girl that just got bullied by a bunch of cheerleaders. And she's coming home, and she doesn't know what to do. And I'm like, pick up your guitar and use that. And so that, that, that I think that that's what we as you know, that did do this craft that have this art form that can do it need to convey also not just the technical ability of how you play a ninth chord and a one four or five and this is a minor pentatonic licks, how do we channel this? You know, hear, to hear, to hear, you know, how do you do? I mean, you know, in real time, you know, how do you do that? How do you get that out? How do you use that emotion? So, and what licks can you use in order to get that out, too? So I think that's, it's a very important thing to convey and to pass on, again, is,

Chuck Shute: 38:44

is it easier to write a song when you're down and depressed and sad than when you're really happy and feeling up? Like, I thought that was a Bon Jovi or something somebody was talking about how like, Bruce Springsteen, somebody was said, like, if when you're really happy, it's really hard to like, sit down and write a song because you don't you want to go out and live life. And then when you're sad, it's really easy to get by your piano or guitar and write a song.

Lance Lopez: 39:09

I mean, that's a great question. I don't think there's a there's like a formula. I don't think there's a formula. I think it's sometimes it's best that we do we do that. You know, I had we've got a young, I've got a young student named lock Thornton, who's a slide phenom from Meridian, Mississippi. He's like Duane Allman kind of a player. And he had a little, a little friend coming over to play to write a song with him. And they didn't come over and he was he was mad about it, you know, again, more pent up emotion. And I was all bummed out. I was like, What's wrong, buddy? Me and my brother was gonna come over and eat and I said, get up. Come over here. We have a whole studio here in the house. I was like, come over here and we're gonna write a song. And we did have a blast. So again, Same thing like I get up, he was going to write a song with his friend. And that's why the song, what's the title? What's it gonna be called? What's it, you know, and he was mad and upset and not feeling it. And I said, come on. And I think it takes that also, that's what producers are important too. Because it takes the objectivity and it takes people around you to go, come on, man, keep you motivated. Play this, let's do this. Let's do that. Because guys were like that great producers were like that, for me. mentors were like that for me. So again, I think it's, you know, it's all relative of who you're around who you're with. I've written a lot of songs by myself sad, you know, I've written a lot of songs happy. I mean, so I've, I've ran the gamut, you know, I've ran the gamut. So I don't know about easier or, or more,

Chuck Shute: 40:44

you have to have some sort of emotion, like, because I know, some people that like that, they tell him, you know, okay, like people that are writing for soundtracks, for instance. So like, okay, here, here's this movie, like, you got to write this song in like, three days, and it's very commercial. And so I think it's very hard to like, force the emotion. Whereas, like, if you're feeling something like feeling like picking up your guitar, whether it's good or bad, or whatever, you're feeling something, it's really hard to say like, okay, you know, go go into this room and write a song when you're not feeling it.

Lance Lopez: 41:13

Right, right. And there have been those times, I've had those moments where I'm like, Guys, I'm just not feeling it. I'm just not feeling it. And I had to learn, you know, later in life like to because you know, just set that boundary. Also, there was, you know, I had to cancel, I had to cancel some shows last year, it was very sick. You know, residually, I'd COVID You know, a few times, like a couple of times, multiple times, even on top of having the vaccine and everything else, which also made me sick. So I was like, up and down. And like, you know, we were trying to go back out and play shows when things opened up, and I would go out and get sick again. And it was just like this. And so I also I had shows booked and I got sick and I had to listen, I had to listen to my medical team. You know, I was like dying, crawling out the door. And they were like, Lance, no, dude. Like, you have to stay in. So it was those and I had to go, and I hated to do it. But I was like, You, right? I have to listen to people. And I've also had to set boundaries where like that, like, dude, I'm not feeling it. And it's okay. Like, instead of forcing it, and forcing myself and going and playing a show when I'm ill and I'm just making myself sicker and way more worse, or, you know, or that or that being in a studio session or writing session is not working. It's not coming together. We're not feeling it. You know, I got a call from you know, I'm fighting with a girlfriend or somebody in business or bla bla bla, bla bla, and there's all this distraction and everything else. I've had to learn. Hey, guys, I'm not feeling it today. I'm so sorry. Instead of trying to force it vibing everybody out. And doing that, which I used to do. I would I would I know. We got to do it. And we got to force it. And it's kind of Yeah, today it's that's not that way. I go. No, man. We it's just not working. We need to call it you know, yeah. again later.

Chuck Shute: 43:03

It just reminds me of like, the story with this album, like the warrant cherry pie where the album was done. It was called Uncle Tom's Cabin. And the record guys like No, you need like a Aerosmith love in the elevator kind of hit song. And so then he went back and like forced himself to just write cherry pie. And he didn't he didn't really like the song because he was trying to make like this pop rock song that, you know, he felt like that really wasn't what he wanted to do. And then he resented it. And so it's kind of interesting. When you have the the people that like the record people and the producers and stuff saying you got to do this. And I feel like there's not as much of that. Now, I feel like there's a lot because of, you know, Spotify and all this stuff. There's a lot of indie labels with a lot more freedom to not have those people on your back.

Lance Lopez: 43:43

Right. I'm so glad you brought that up. I love that record. And I love Robert Mason, who has to say I love Robert. He's one of my good friends. I love those guys. You're friends with him too. Robert Yeah. Oh my god. I love Robert. I mean, I love it. He's he crushes the game. I mean, it's so sad about Janie. I mean, yeah, bless his heart. I mean, you know,

Chuck Shute: 44:03

I mean, he's just so underrated as a songwriter. I think people don't realize. Yeah,

Lance Lopez: 44:07

absolutely. I mean, I grew up with those guys. I saw him many times, you know, in the 80s. I saw them open for bands and so on when that record came out and loved Uncle Tom's Cabin. I mean, I mean, oh my god, you know? I mean, it's amazing. And we were on the rock legends cruise with him I think last year, oh, AB and they were incredible and got to hang with Robert. And they actually brought Greg to ban to wolf they actually brought Greg up to play train train with them. They played train

Chuck Shute: 44:34

train because they do a cover that

Lance Lopez: 44:36

they train train. So they brought Greg to play so it was such a huge big deal. And it was such a big deal that they were like man you get to be in a band with Greg t like Yes.

Chuck Shute: 44:44

Because to explain to my audience like to wolf is the kind of it's Blackfoot 2.0. Basically.

Lance Lopez: 44:51

Exactly, exactly. It's exactly what it is. I mean, we're, you know, and I'm friends with you know, Rickey Medlocke. Who's in Leonard Skinner. Matter of fact, I saw him A couple of weeks ago, he was in town and, you know, Peter keys, I mean, the entire Linux kindred camp is rural, you know, we're all family. I'm very close with them. And and so yeah, and Ricky actually owns the in their former management owns the the name. And so Greg wanted to continue on and so that's how that was was his continuance was to change the name to wolf. And he brought in I was in the original formation of the band, I was brought in the band, by Tommy curiosity, the drummer who was Johnny winters drummer at the end of his career. And I'd gone back many years with Tommy because he was with Rick Derringer before Johnny Johnny Winter. So he called me and said, Hey, Greg T Walker's putting together a bank rec T. Walker, from Blackfoot. And of course, I was a huge Blackfoot fan as a kid, and, you know, my entire life. And I said, Well, man, let's, you know, let's, let's put something together. And so I that's how it began. And that was also at the same time, the supersonic blues machine in this other band in Los Angeles I was in began to escalate and things were happening with that. So I had to make a choice. And it was like there was a lot happening and tool for still trying to figure out what they were going to do. And they weren't sure if they're going to play Blackfoot songs or new songs or what. And I was in this other thing, and already had made a record with them. And it jumped off pretty quickly. So I had to bail out. And so Chris Bell, who's in the band with me, also actually replaced me in the band. So, so now I'm in the band with my replacement. It's pretty funny. And there's a different drummer that came in from North Florida, who was playing with the other original guitar player from Blackfoot Charlie Hargrave. So he kind of came out of Charlie's wheelhouse. So we, yeah, we've been we've been all back together. This formation has been back together for about four years now. You know, three, about three and a half, four years, we've done two rock legends cruises. We're getting ready to do another one. We're recording a recording an album here in Nashville right now. And we're actually going to upstate New York. And this weekend to play a big guy with July celebration up in upstate New York with a lot of other Southern rock bands like skinny Molly and foam pony and the Georgia thunderbolts. So we're headed up there to do that. And yeah, and primarily the music is Blackfoot. But then I do a couple of original songs. Greg has the bass player has a couple of originals. And then Chris has a lot of originals, as well. So we all kind of, we thought we sprinkle in our original material in between the Blackfoot stuff, so it's a big high power bands. Good.

Chuck Shute: 47:44

Cool. So yeah, that one and then do you do? Are you going to be or have any solo dates scheduled yet?

Lance Lopez: 47:50

I do. We have. Yeah. We have a lot of tour dates coming up in September. There's a couple of in the next couple of months that are kind of sparse. But starting around Labor Day weekend, we're getting back out there pretty full for starting in. In Texas in Florida, Texas, Louisiana. We've gotten Midwest things happening towards October. But the best way to find those is on our website at Lance lopez.net. We have the bands in town. Calendar. And it's it's we have a tour that is beginning to really start to take form and look good for the record. So by Labor Day, we're going to be we're going to be hitting pretty

Chuck Shute: 48:32

heavy for us. Oh yeah. Now that would be amazing. I'd love to see you guys live. I love this style of music, especially I think that's what's so great about it is seeing it live and seeing people play the instruments. And everybody you get to see the drummers really show off the bass players, the singers and the guitar, everything gets to kind of show off a little bit. And it's fun. Even some of the just like club BB and blues bands are amazing. So someone at your level would be it'd be spectacular to see live, I'm sure.

Lance Lopez: 49:00

Oh, thank you, Chuck. Yeah, when we do that, and it's you know, when we play, whatever venue we treat every venue, whether it's a tiny club, or we're in a stadium, with it with a legacy act, we treat it all the same. It's a show and we come in and we play one solid show, there's a bass solo, there's a drum solo, and whoever's on stage, just like when you went and saw all the all the bands we loved. That's how we approach everything. We'd like to make it a big ebb and flow and vary and you know, lots of dynamics, like we talked about earlier, light and shade dynamics. And so we like to like to take it on a journey with the guitar playing and with the band and crescendos and so, you're right. That's what it's about, and that that type of music and playing that way, is really good, intimate setting. I mean, I've played stadiums with huge big bands and we're I've tried to shred and it just gets lost in in the vastness I agree. So it's It's a lot of it's easier to the big long notes. And, and I had to learn that in real time like, oh, wow, this is disappearing into the sky, like I need to play longer, bigger, like more profound concise statements as opposed to just, I'm just burning down the barn. It's like to be a little bit more concise. So, um, you know, and then in a smaller clubs, you that's what makes the big potato in LA so great, because you get to go see all of those great players in that intimate setting. And it really has an impact when you're, when you're so close to him. And, you know, so I've been very fortunate. And when I was a kid, I was so very fortunate to see all of those great players like Ed Van Halen, and Angus Schoen and all those great guys play. And I was really lucky to be right on the very front rail and watch them up. Right very close now and I've saw Van Halen, you know, at the end later on, far away, and the other bit and watch the translation kind of be a different thing as opposed to when I was a kid, right?

Chuck Shute: 51:04

Didn't you say you saw the Sammy Hagar is first show with van. Hey, I was at

Lance Lopez: 51:08

the very first performance in Shreveport. I was That's crazy. Shreveport just because you said something like somebody. It was Eddie Van Halen, his family, right. So, yeah, Eddie Van Halen, dad's wife is from number four is ex wife, Valerie Bertinelli, the famous actress and Yeah. And also chef. She, she, her family was all from Shreveport. So they spent a lot of time there. And so yeah, that's, that's one of the reasons why they they kicked it off there. And we had a coliseum there that they actually kicked off a couple of tours there. They kicked off pretty much just about everyone with Sammy Hagar, actually. Okay. 5150 Oh, 812 and four unlawful carnal knowledge, but all three, I believe are all kicked off. I know. I know, for lawful, carnal knowledge and 5150 where I was at the first one with Sammy, and then I saw them the next day after they kicked off for lawful criminal knowledge in Shreveport. They played a free concert in Dallas the next day. So because of the Texas jam and the marshals of rock, Sam, he couldn't get through it. So he said, we'll make it up to you. That was an ADA. And I didn't get to go to that show. I missed the oh eight one to tour. And then they came. They and then we got to see this huge, massive, you know, free show and downtown was like 150,000 people or whatever it was, it was crazy. But again, I weaseled my way and it was right in the in front of Eddie Van Halen, you know, on the rail. Yeah, there's a great photographer. There's a couple of photos from both shows. And there's a photographer in Dallas, a great rock photographer who's got a picture of me in front of it, and my mullet is like, so?

Chuck Shute: 52:55

I was like that's awesome. Gotta love mullets.

Lance Lopez: 53:00

What do you think? I totally forgotten. I was like, Oh my God, my hair. Is this funny? But um, but yeah, man, I was able to really witness that and be there for you know, Sammy Hagar his first gig and what I do remember the most is the same we played guitar a lot of the night. halen he played and it was like that was totally different. You know, for them. It was really cool. And that was one of the I think I hadn't had I didn't really see him play guitar that much after that with them you know, but that first show he played a lot of guitar

Chuck Shute: 53:31

that's a good point. Yeah, cuz he definitely did when he was a solo red rocker. He played guitar in a lot of those links. Yeah, what what do you think? Is there another like you're in Nashville now? And I mean, there's so many great music cities Austin and New Orleans I think has cool music scene as are other cities that you think are kind of like up and coming in terms of like, what's the next Nashville is there one?

Lance Lopez: 53:52

I don't know. I you know, I hear a lot of things about Portland. You know, I or Portland's got a pretty cool scene. Interesting. Saw a lot of rock a lot of rock guys up in Chicago recently. My girlfriend's from Chicago. So we were up there hanging out. And notice just a lot of rock bands, a lot of great, really great scene in Chicago. And then once everybody kind of found that I was back there, they were like, oh, man, you got email. And I didn't I wasn't up there to hanger jam. I just was kind of hanging out with my girlfriend or her family. But I didn't notice I was like, Wow, this this seems pretty great. Um, you know, I've heard things that maybe Cleveland I've heard, I've heard some some some mutterings about Cleveland kind of them, you know, investing and gentrifying and really coming into into like, what they what they've done here, and I've heard that from some real estate people and some music people that that may be the next one and you know, the Rock and Roll Hall of Fame's there, etc. So and I know a lot of great musicians from Cleveland more especially Tom Bukoba. One of my good friends, that is one of the most astounding guitar players I've ever been in contact with, and has taught me so much in the short time I've been here. He, he's from Cleveland. And so I know a lot of great guy. And a matter of fact, that guy I worked for when I was repairing amplifiers, also from Cleveland. So you know, you have all these great people. So I've heard I've heard things I don't know. But, you know, you never know. It's just where everybody comes together. But Nashville is holding really strong man, everything is here. The Blues scene is beginning to happen here because now you have Kirk Fletcher, you have all these you have young cats like McKinley, James, you've got all these other great guitar players, young guys that are coming to town now that are they're moving here from different areas that there's now a scene forging for that you know, on top of everything else so and a lots of rock bands. So there's everything I

Chuck Shute: 55:56

know in Nashville is very clear, because I think people think that it's just country, but it's really not it's got a lot yeah, like you said, the rock and then the blues and just a lot of fun little music clubs here and there little spots. So I always, always ended up every episode promoting a charity. I know you've talked about music cares is that the one you want to promote here is there another thing that you want to absolutely,

Lance Lopez: 56:16

I would love to talk about music cares and, and really give them just a huge shout out for how they've helped me how they've helped tons of other artists. And not only with treatment for addiction, alcoholism, etc. But also any sort of medical issue you may have. And also, if your van gets broken into and they steal your trailer, they steal your gear, there's relief for that this fun provides so much help for musicians that are on the road, trying to survive, trying to make it and getting hit with all sorts of things like illness, addiction, alcoholism, gear, getting stolen, a van breaking down, you know, all these different things that happen in the, in the, in the midst of you know, trying to survive as a as a as a musician. You know, it's such a, it's such a beautiful thing that, that the Grammy Foundation has, has this service to help all of us and they've helped so many people. I mean, you know, you could go down a list of celebrities icons, that we've known our entire that they help. I mean, guys like Kurt Cobain. I mean, that's they were they were in the process of helping him when the tragedy happened occurred with him. I mean, they they were, they were around, you know, so on and on and on. I mean, we could go, we could go on and on and on the, the the immensity of, of what they've done, you know, for musicians over the years, so absolutely. Music cares. Please donate if you can. It's an amazing cause for us musicians.

Chuck Shute: 57:50

Awesome. Well let you get going. I'm sure you have more of these. Thank you so much for doing this and then people can get the new album that's coming out. I think it's a July 14,

Lance Lopez: 57:58

that's That's July 14. Okay, and people can get can they get it on vinyl and all that stuff? Are we yeah, we've got some limited edition. Really cool. Orange vinyl. Oh, that's out. Yeah, that we're doing and of course, all the other stuff. But yeah, we definitely have some really cool orange vinyl, we encourage everybody to get because it's going to be a limited edition kind of electric. It's

Chuck Shute: 58:20

alright, and we'll hope to hope to see on tour too. Thank you so much for joining us, Lance. I'll talk to you.

Lance Lopez: 58:25

Okay, Chuck. Take care, man. Good to see you as

Chuck Shute: 58:27

always. All right. Buh bye. Great stuff from Lance Lopez. I just really think this kind of music needs to be heard why? So try to catch a show if you can. The new album is called treble is good and it's out July 14 on Cleopatra records. Support lands by buying a physical copy, buy some merch or ticket to a show or at least follow him on social media. And of course sharing this episode will help us both out and I appreciate all your support for my guests and the show. Make sure you're following us and subscribe to our YouTube channel. We have exclusive free content on there. Thank you so much. Have a great day and remember to shoot for the moon.