An Interview with Dave Orban

Ungarini: Good evening, Blues Fans, and welcome to a special edition of The Cadillac Blues Show. I’m your host Ron Ungarini and with me in the studio is Dave Orban, the guitarist, vocalist and leader of the Mojo Gypsies. Dave will talk about his journey with the blues and we’ll also play a couple songs. Welcome to the show, Dave!

Orban: Why, thank you, Ron… Good to be here!

Ungarini: So let’s start off with, right from the very beginning. How did you find out about the Blues?

Orban: Well, like most guys of my generation, you know, the big revelation was in 1963. I guess it was when the Beatles made their appearance on The Ed Sullivan Show, and most of America was sitting glued in front of their TVs watching this phenomenon of these young kids with electric guitars and long hair, you know, and just making making everybody crazy… especially the the young girls in the audience!

Well, for an impressionable young boy of a certain age, that really left a mark. And so, you know, the pursuit of music became an industry, for the Fenders and the Gibsons of the world to be able to sell guitars and for music stores to sell lessons to these kids who wanted to emulate the Beatles.

And so I, like, so many kids of my age, we started our little garage bands and we did our little performances at school dances and other functions and whatnot. And it was it was pretty exciting, because people were excited to hear it.

You know, we made friends playing music. And we also got the attention of the opposite sex, which was certainly a factor. So, that’s the earliest exposure to it, to music in general, to “live” music. And I had a cousin who was a couple years older than me, and he was in a band. And, being older, his band was much more accomplished than anything that I was doing at the time. And so I was attracted to his music. And I would go to see him play and see him rehearse and whatnot. And they were doing… kind of like a mix between old-school soul and R&B, with a little bit of blues thrown into it.

The band’s name was the River Styx. And my cousin, who was the drummer, was the late Jim Horner. The band was led by a fellow by the name of Preston Harrison. He went by Perky Harrison. Anyhow, I became friendly with these guys. And I would go to gigs with them. I would, be like, you know, the junior roadie and, my uncle – Jim Horner’s father, Gordy – he was the manager and kind of schlepped the guys around to all these different places. You know, Fort Dix and McGuire Air Force Base and, you know, officers’ clubs and whatnot.

And I would go and sit in the back room because I was underage… I couldn’t be out there. But I would go and I would watch and I would listen in every way. Every now and then, these guys would call me up to play a tune… it was a rush!

So anyhow, Perky’s influence… I mean, he was really the bandleader. He was the bassist and he was also the principal songwriter. He had played… I guess it was “Walking Blues”, the old Robert Johnson tune that was recently – at that point at least – redone by the Paul Butterfield Blues Band and I’d never heard anything like it! And he was playing the harmonica, and it just had this very propulsive beat. And it was really unlike the English Invasion, the British Invasion stuff that I was accustomed to hearing. And it really just caught my attention. So I found out from him, who’s the artist, you know, what’s the record? And I went out and I bought it, I think it was on East West, the Butterfield Blues Band’s East West collection. And from there, I got into a bunch of other Butterfield albums. And then when I started looking at the Butterfield stuff, I said, well, these guys didn’t write this stuff. This comes from another generation entirely.

And so I started doing some research on it, and all of a sudden, you’re taken down this path to Muddy Waters and to Little Walter and to Howlin’ Wolf and Willie Dixon and all these guys and, you know, that was the Pandora’s box! I mean, you open that up and all of a sudden there’s this whole other experience that was unlike anything I’d heard before, certainly. And so that’s the Reader’s Digest, not-so-condensed version of how the blues got its hooks into me once I got exposed to it and other types of music… but, in particular, the blues.

You start off with the electric blues, and all of a sudden you go into the blues from Chicago, from the 40s and the 50s. And then you go beyond that and you get into, you know, the Delta blues and the Piedmont blues and all of this stuff. And it’s like each sub-genre is a world unto its own.

And, the more you dig, the more interesting it becomes. I think the first album that I got by Muddy Waters was… I guess it was a compilation album. It was called “Sail On”, which picks up on the title of one of the songs on the album. But it was a collection of songs that he had recorded from about 1947 to about 1959, so basically it’s roughly about a ten year period of stuff. And, you know, it would probably be regarded as Muddy Waters greatest hits if it were issued today. But the song that really hit me, was the first track on the on the first side and it was I Can’t Be Satisfied. Wow!

This was the earliest track on the album, and it was Muddy playing an electric guitar with a slide and the bass player and I can’t remember who the bass player was. I don’t think it was Willie Dixon yet, but it was somebody playing the upright bass with gut strings. Yeah, if you know the difference between steel string bass and a gut string bass, the gut strings tend to be the looser… they tend to be certainly less bright sounding, but because they’re looser than the same diameter of a steel string, they vibrate a lot. And so when they’re played, they slap on the neck of the bass. So you get a real percussive quality that you don’t get typically with an upright bass that has steel strings on it.

And, some of the local guys around here now, like Mike Lampe, he is a really good upright player who really takes advantage of the percussive capability of the instrument. So anyhow, here’s Muddy playing an electrified guitar. I think the tuning was probably an open G tuning, but the sound was so immediate and it was so stripped down. It’s just two instruments and a voice, and it just it blew me away. I mean, I played that album over and over and over. I couldn’t get enough of it, but it was just brilliant and it was so raw and it was so unlike pretty much anything else that I had heard up at that point.

And so from there you get into Little Walter – Little Walter Jacobs – the harmonica player, and Jimmy Rogers, Jimmy Lane, he played guitar with Muddy on many of those tracks. And it’s – like I said – it’s a wellspring of just, you know, “who’s who”. And then you start going back further and you get into big Bill Broonzy and guys like that and Son House and it’s just a very, very, very deep pool of music!

Ungarini: Were you – at that point – you were playing guitar? You had been playing guitar at that point. Were you trying to play those songs?

Orban: Well, yes and no. I mean, the challenge that I had was that I didn’t have anybody who really was as obsessed about it as I was. So I tried a couple of times to get the folks that I was involved with, you know, to play those songs and yeah, every now and then they’d indulge me by letting me play one of those songs, but pretty much the bill of fare was, you know, what we come today to know as “classic rock”. I mean, Beatles, Stones and whatnot… popular music, you know, so that’s kind of what I cut my teeth on, as it were. Playing with, for example, the Nickel Band… one of the bands that I was with in the early 70s. That was (the late) Skip Edwards, the late Tim Ketterer, Jimmy Quinlan – who later became the first lead singer and harmonica player of the Gypsies – and drummer Keith Csolak, also an ex-Gypsy.

Ungarini: And this was… you were in the area at this point?

Orban: Oh, yeah. In Hamilton… in the Hamilton area. So we were playing the New Jersey State Fair. We’d play at, you know, private parties, we’d play at school dances. And, you know, pretty much anybody who would have us. And then from there we graduated into the bar scene, playing at places like Buffstones and DiNatale’s in Trenton. And of course… by the time we got into that scene, that’s when I got my first exposure to the local blues scene… guys like Paul Plumeri and Joe Zook, and I began following them, back when they were together as Hoochie Cooch. And, you know, we would play some nights at DiNatale’s and they’d be at DiNatale’s, you know, like the next night.

And so I would go and watch those guys who were, you know… they were doing what I wanted to do, and they were doing it really, really well! And, so that, you know, kind of further solidified my desire to immerse myself in this kind of music.

Ungarini: So now the timeframe we’re talking about now is what would have been the early 70s.

Orban: Yeah, this is probably around ’73, ’74.

Ungarini: Did you take any formal lessons or are we pretty much self-taught early on?

Orban: I think I got my first guitar, I was probably 11 or 12, and… Actually my first lessons were on a guitar that my brother had. It was, it was a Stella… a blonde Stella archtop of some sort, or maybe it was a Kay – might have been a Kay archtop – I think was a Kay archtop. It was light blond. I don‘t even think it was wood. I think it was like plywood, you know, pressed wood, and painted with grain painting to look like wood. And it had a neck that was as big as my arm. And the thing was ginormous. And the strings, I mean, you could drive a truck underneath the strings because they were so high off the fretboard, and it was really, really difficult to play.

But anyhow, I took a couple of lessons with a guy who was one of the local guitar guys in the area. Charlie Keintz – also deceased now. I took a couple of lessons with him, and it just really didn’t resonate. I mean, the stuff that I wanted to learn how to play wasn’t the stuff he wanted to teach. And, you know, in retrospect, I probably should have stuck with the lessons longer than I did, because I would have learned something useful. But I – like so many young guys – you know everything! You’re very impatient. So I think I bailed on the lessons after about maybe two months, and, you know, just tried to figure it out for myself.

But then once I started, you know, meeting other musicians and playing with them, you would just kind of learn from each other. Oh, “how do you make that the F7 chord there?” And then they’d show you and we’d go back and forth. So you’d pick up stuff along the way.

Ungarini: So, you’re largely self-taught for, for the most part?

Orban: Yeah. Pretty much. And, of course, I ended-up taking a very long hiatus from music. By the mid 70s, I had played with a bunch of different bands, and by the mid-to-late 70s, I guess it was… I, was working, you know, I was out of college. Actually, I did some college here at Mercer, did my Associates Degree here. And then moved on, first to Trenton State – the College of New Jersey – and transferred out of there after about a year to Brooklyn College. At this point, I had really turned my attention away from music to painting. And, that’s where I eventually got my Bachelor’s and Master’s Degrees in Fine Arts and Painting.

And at that point, all of my energy was really, you know, spent on painting and building a career as a painter. And I would say by ’78, ’79, I had basically given-up playing music entirely, and in fact sold all of my gear because I really had no longer any interest in doing it anymore. And then I ended up in a corporate job, and I’m flying here and I’m flying there, and I’m doing this and doing that, and eventually… all the time pursuing this art career. I got involved in the arts in the City of Trenton. I moved into the City of Trenton, and got involved with the Trenton Artists Workshop Association and then later Artworks, and, you know, was teaching, and painting and exhibiting in New York and exhibiting regionally and whatnot.

So I really had very little time or interest in the music. And, then I got married, had a family, and, it wasn’t until I guess… one of the guys I had played with in Nickel Band – Keith Csolak, the drummer – he had his 40th birthday, and he called me up out of the blue one day and said, “You know, we’re getting the guys together for my birthday, you know. Would you like to come and play?” And I said, “Well, I appreciate the gesture, but I don’t really play music anymore.” And he said, “What do you mean?” I said, “Well, I… I gave it up.” And, “Oh, no, you’ve got to come, you’ve got to come.” I said “Look, I said, I don’t even own a guitar anymore”, you know? So, you know, “Thanks. You guys go have fun and, you know, we’ll catch up later.”

Well, he was very persistent. And so he shows up at my house a couple of days later with a Mexican Telecaster and some little solid state amp. And he says, “Here, you’ve got a week to, you know… to get it together.” Right? Well, I mean, at that point it’s like, “Okay, well, this guy’s going through all this trouble. I should try and make some sort of an effort.” Well, I have to tell you, I picked up that guitar… I couldn’t tell whether it was in tune. I couldn’t tell you how to tune it. I couldn’t tell you how to play a C chord. I remembered nothing, so it was like, you know, 18, 19 years had passed, you know, since the time I officially gave up music. And, I remembered nothing!

So anyhow, we go to this party and these guys, you know, they’re all these musicians and musician friends and they’re in there. These guys have been playing nonstop for 30, 35 years. And, you know, they’re knocking-out songs by the Beatles, by the Stones, by Yes, by Emerson, Lake and Palmer… by John McLaughlin. I mean, they’re just tearing it up, and I’m sitting over in the corner. My guitar is not even plugged in because it’s like there’s no point, you know… because I have no idea what I’m doing. But they were having so much fun. And I said, “Well, maybe I’ve got to get a piece of this!”

So the party’s over. I go home, and around that time, the Merry-Go-Round in Lawrenceville was hosting an Open Mic night on Wednesday nights and Joe Vadala – I don’t know if you know Joe – great guitarist…

Ungarini: He’s still around…

Orban: He is still around. He’s playing in an Eagles tribute band right now… The Best of the Eagles. Yeah. He’s awesome. Wonderful guy! Anyhow, he’s hosting this weekly jam there and he’s got a bunch of other guys, you know, that are the house band. And I go there, you know, one night and I’m just like… I’m, I’m terrified because I – you know – God… don’t anybody ask me to come up because I’m not prepared to do anything! So anyhow, I went there for like six months. I would go there every Wednesday night. I would nurse a drink. I would sit at a table in front of wherever the guitar player was standing on stage, and I would I would watch what they did, and then I’d go home – you know, two in the morning, half in the bag – and try and mimic what I had seen, on a guitar that I had to borrow from my little nephew… because I didn’t own a guitar.

So after about six months of this and God knows how much liver damage, I finally decided, “Okay, tonight’s the night!” So, you know, I put my name on the list. And… at this point I’ve struck up a conversation with Vadala and – a very, very friendly guy and a very, very supportive guy. And he knew where I was coming from and that I hadn’t – you know – had very limited exposure to it. But he was very, very helpful and very sweet about it. And so I would go up there and, you know, the band is up there. All I’m doing is, you know, standing there and playing, you know, a couple of chords and, you know, and a couple of notes for a solo. Well, I went up there and I did it and… nobody ran out screaming…. that was a big plus. And I had a blast! I mean, because the audience at open mics… generally they are supportive. I mean, you won’t get booed-off at an open mic unless you’re really, really obnoxious. You know, which I can be… but I wasn’t. So, a very, very supportive audience!

So you go up there, you play your little song and people are clapping, they’re cheering, and, you know, it’s a rush. It’s an absolute rush! So, from then on, I would go pretty much every Wednesday night and I would go and I made all of these friends and musical acquaintances and, and it just it kind of grew from there. I met a guy who played drums and played guitar, and he’s about 20 years younger than I am… Steve Lansing, still around the area. And, he and I hit it off, had a really, a good relationship. And so we became the first iteration of the Mojo Gypsies. We were a duo. You know, here’s this older guy and this young pup, and we would go out and we would play anywhere that anybody would have us. We would play for tips, for meals at restaurants or whatever. We would go to the old Ferry House back when it was in Lambertville. We would go there and, you know, play for tips, and the owner, Bobby Trigg, would cook us a fabulous meal at the end of the night.

Ungarini: Boy, he’s been around for a while.

Orban: Yeah, he sure has… well, we all have!

Ungarini: That’s true enough!

Orban: So, he and I, we really hit it off, and we kind of made something. We were playing kind of semi-acoustic covers of songs that we thought were interesting. And the funny thing about it was that, you know, we ended up opening… we ended up in a blues festival that Lance Reichert was putting on at, at the C’ent Anni Lounge in Trenton on Division Street, I think it was. I don’t even remember what year this was, ’96, ’97, somewhere around there. And so we were one of the acts. So it was just this duo. We went up there… let’s see, Ron Kramer played there that day. God, I don’t even remember who all played there.

But, we opened for this band, The Rippers. Now, these guys, they they looked like they were trouble. I mean, these guys… these guys are big, hairy, you know, motorcycle guys, eat broken glass for breakfast kind of guys. And so we were the act immediately before them and they had this one guy, Freddy Lincoln, had this magnificent Hammond B3 organ with the Leslie speaker. And, you know, he could just play that one note and it would go, whomp, whomp, whomp. You know, this thing would spin around, and it would sound like God was singing… But anyhow, we opened for those guys, and after their set, they came over and they liked what we had been doing, and they asked us to join the band because their guitar player was in prison or something… I don’t know what happened to their guitar player, you know?

But anyhow, so I joined as a guitar player and Steve Lansing joined as a drummer, and we played with the Rippers for a couple of years. And had a lot of stories… most of which are not suitable for the airwaves!

Ungarini: I saw you playing with The Rippers once. I think it was someplace on Rte 206. I can’t remember the place or what year it was…

Orban: The Picalilli or one of those places?

Ungarini: Not that far down… closer to, around Vincentown.

Orban: Yeah, yeah, yeah…

Ungarini: I forget the name of the place. But I think I saw you guys play there once.

Orban: Yeah, we played all of those places… and had a lot of fun… and drank a lot of Jameson’s! And that’s actually where I met… at some point after, after The Rippers, I was recruited to join the Herd of Blues, with Guy DeRosa and those guys, Mario DeBartolo, Joe Leming… And so we played… I played with them for a year or so. And then I decided that I wanted to start my own thing. And so I did.

One of the bass players that I used in the Gypsies was the late Steve Durrit, who was the bass player in The Rippers. Very, very sweet guy. Passed away suddenly of a heart attack, at the age of 50, back in 2009. Sweet, sweet guy. Anyhow, another story for another time.

Ungarini: During a time when you were on hiatus, were you listening to the blues then, or…?

Orban: I wasn’t listening to much of anything. Okay, well… no, that’s that’s not entirely true. I listened to actually a lot of what would be, you know, kind of new wave and punk. I remember, I had a… I had a studio in Trenton, a painting studio, in the Artworks building in Trenton, and I would listen to… What was I listening to? I guess I was listening to Talking Heads, David Byrne, and Marshall Crenshaw of all people, fabulous singer songwriter! And I would listen to them on my little cassette deck that I had in the studio because I like to have music when I paint.

Ungarini: Did you ever go to City Gardens during that time period?

Orban: I certainly did! I saw… who did I see there? I saw The Ramones there. I saw Robert – the rockabilly guy – Robert Gordon. Joan Jett… Who else? God… you know, if you can remember, you probably weren’t really there! The 80s were an interesting time for the pharmaceutical industry! (Laughter)

Ungarini: I went there a couple of times because… I think that’s where I first met Tommy Nix.

Orban: Tj Nix and the Sidekicks…

Ungarini: And Lance was the guitar player, if I remember correctly. And that’s the first time I saw Tommy. Then I didn’t see him for years after that, but I think Blues Deluxe played there a couple times. I went and saw them there, and I may even have met Jon Stewart, for all I know.

Orban: Oh, yeah, I’m sure he waited on some of us.

Ungarini: Yeah, but that was a long time ago. It’s a shame the place was not… But that was a wild place!

Orban: Yeah. We had some times – interesting times – over there!

Ungarini: Okay. So, you went and did your duo. Then you went to The Rippers.

Orban: Um hm.

Ungarini: Then you went to Herd of Blues.

Orban: Um hm.

Ungarini: And at that point you decided to start your own band.

Orban: Yep.

Ungarini: Okay. So take us back to that point.

Orban: Okay. So at this point, you know, I’ve got enough guitar acumen under my belt and I want to start something. So I… when I had been in the Nickel Band, the lead singer in that band was Jimmy Quinlan. And, I’d known him since we were, like, 13 or whatever. And he had become quite a harmonica player. And, so I looked him up and I said, you know, this is what I would like to do… are you interested? Same with Keith Csolak, who had also been in that band. So I had Keith and Jimmy, Jimmy on harmonica and vocals, Keith on drums. And our first bass player was a friend of Keith’s, And, you know, we put our little setlist together and we, we rehearsed and did our thing, and then finally we went out and… I think our first show was at the Triumph Brewing Company in Princeton. Back when they still had live music and… and our show was “okay”.

But the bass player was not somebody who really had an affinity for that music. I mean, Keith just enjoys playing. So he’ll play anything. Jimmy had really become quite the blues aficionado. And, you know, he exposed me to a lot of folks that I had never heard of before. Folks like James Harman and Kid Ramos and all of these West Coast guys, because he’d been listening to Rod Piazza, guys like that. So, it was great to get back with Jim and to, you know, kind of share our enthusiasm for the music and, and learn from each other and… expose ourselves to new and different sounds from different players that we might not otherwise have heard. I’m trying to remember who we had for a bass player after that, we went through several permutations… and… man, I’m drawing a blank…

At some point, we connected with Marc Helberg, who played bass with me for a couple of years and Dave Nissel on drums. After Nissel took a job on the West Coast, we had John Andolino on drums for a period. We had Don Kloss on drums for a period. We had Bruce Bush on bass for a period, and lots of different guys. And then Steve Duritt… I mean, he came in after, I think, after, oh, yeah… it’s a blur (actually after Bruce Bush). But at some point, Jim Quinlan, for personal reasons, decided that he really didn’t have the luxury of gigging anymore. He couldn’t be away from home for any length of time. So he decided that he was going to kind of retire, from gigging, at least. And at that point – this is probably around 2007, 2008 maybe, I don’t know – I had to make a decision.

So here’s my principal soloist, you know – fabulous harmonica player, great singer, and an all around nice guy – well, he’s leaving me. What do I do? So, you know, I knew Guy (DeRosa) from the Herd and also from The Rippers… Guy played with us in The Rippers for, a period as well.

So, Guy DeRosa came on board and I assumed the role of the lead singer… which was kind of terrifying, because I’d never really done it before. But it was like “necessity is the mother of invention”, you know? So, I became the lead singer. So we played with Guy for a couple of years, and then we went, I think, Russ Lambert was with us for a couple of years. And that kind of takes us up to where…

Ungarini: Oh, I didn’t know that Russ played with you guys.

Orban: Oh, yeah, for about a year, a little over a year. And at that point, one of the challenges that I had is I wanted to be able to do something… some more complex stuff than a lot of the harmonica-centered music that I had been playing. And I wanted to be able to, to get into, you know… more and more complex arrangements and whatnot. At this point, we’ve got, Flourtown Fats, aka Jeff Michael. He joined the band, I guess, around 2010. And then I think in 2012, Mark Shewhuck joined us on drums. And, actually, I think Flourtown was the one who suggested Lambert… Russ Lambert to me.

So we brought in Russ and played, like I said, a little over a year with him here. I also had the experience of playing with James Day and the Fish Fry for a little over a year.

Ungarini: Oh, really?

Orban: I did. That’s where I met Flourtown Fats and Mark Shewhuck. And, so I guess it was 2006, 2007 somewhere around there. And, he gave me a call, said, you know, he was changing the lineup. He needed a guitar player. Was I interested? And I think I had met Day at Red, Hot & Blue… another venue that we played. We did a benefit there right after Hurricane Katrina with Ron Kraemer, the Mojo Gypsies, James Day, Deb Callahan, Georgie Bonds, and, I think, B.D. Milo and the GoDaddys. I don’t know who all else was there, but we played a benefit. That’s where I met… That’s where I met James Day. And, you know, he called me a year or so later and, said he needed a guitar player. So I connected with him, and we had a lot of fun playing a lot of gigs in his area, you know?

And that’s where I first met James Harman through James Day.

Ungarini: James Harman?

Orban: We backed him up for… I guess it was August of 2007. He came out, came East for the Diamond State Blues Festival and also for, a couple of other local gigs. I think he actually stayed with James Day, you know, in his house and, and we… we backed him up… and man, did we have fun! We played a gig at McStew’s; we played on the main stage at the Diamond State Festival; and a couple of other, you know, smaller gigs… you know, like VFW-type gigs. But man, oh, man… there’s a guy who can spin a yarn and tell a story. Harman. Something else? Yeah! But it was a lot of fun playing with James, you know, a little different take on the music.

And, like I said, that’s where I met Flourtown Fats and Mark Shewhuck. So it’s been a mutually rewarding experience.

Ungarini: Yeah, I know I saw him once or twice over the years, but outside of Red, Hot & Blue, he doesn’t seem to be playing very many places.

Orban: He does a lot of summer stuff, you know, like these municipal concerts. And he does a lot of private parties. And, I think he just he just released a CD, I think last year… another CD. You know, very good stuff.

Ungarini: I’ve got one of his CDs came, but it’s pretty old I think…

Orban: He does tend to focus on… not so much on clubs. He still does Red, Hot & Blue. But the club gigs are becoming more and more difficult to play because of the economics. You know, I can’t tell you how many times I have reached into my own pocket to pay my guys because there’s just not enough money coming from the club. Hell, I made more money playing a gig in ’72, generally, than I do in 2016, you know? So yeah, you do it for the love of it. But at some point, you know, you’ve got to cover your gas, you got to cover tolls, you know, whatever.

Ungarini: You know, I’ve heard that a lot. A lot of the leaders of the bands, taking some of the money out of their own pocket because because – like you said – because of economics… places don’t want to pay, right. And you kind of understand, you know, what’s going on, but still, you know, you’re getting musicians in there for three hours… or more. You got to expect to pay something, you know… they’re not going to do it for free.

Orban: That’s the theory. I just turned down a gig in, in Pennsylvania, at… what’s the name of it? Used to be North by Northwest. And I can’t remember what it’s called now, but the guy called me up… you know, “Would I be interested in playing?” I said, “Yeah, sure”, you know. And then we got into the discussion of the economics and I said, “Well, you know, here’s what I make at The Twisted Tail, here’s what I make at The Lucky Well,” whatever. And he said, “We’re not interested in making a guarantee…” and “If you can’t bring people in to pay for the door, we’re not interested in having you. “Well, that’s fine. I’m not interested in playing then.”

Ungarini: I don’t understand that. A lot of them say that “We want you to bring your own people” but people aren’t coming out like they used to. We’re all in our 60s, nobody’s drinking that much, nobody stays out late…

Orban: Speak for yourself!

Ungarini: Okay, okay (Laughter)! Not drinking as much! So people aren’t going out like they used to. And a lot of times… I can’t tell you how many times I’ve been in places where, you know, 11:00, people leave. There’s been a couple of times where it’s 11:30, 12:00, and I’m the only person there and, you know, the owner of the bar was telling the band to go home. I’m like, “Wait a minute, I’m still here! They can play some more songs!”

Orban: That’s one of the interesting things about The Twisted Tale. Now, we’ve been playing there for a number of years now. And The Twisted Tale… what’s unique about it is that they have a crowd… itÆs a destination. I mean, they’ve got a crowd of relatively young people. I’m going to say they’re, you know, mid-to-late 20s, up to 40s, you know, and they’re all… I’d call them professional people. And, you know, every time we go in there, I mean, there’s a crowd there, and they’re not necessarily the same crowd that we saw the last time we played. But, you know, our job at that point is to keep them there, you know… but they’ve become a destination. They’ve got it all: They’ve got good food. They’ve got a good selection of adult beverages. And it’s a nice environment, you know? And that’s the thing that’s missing from a lot of these venues.

Another one is The Lucky Well… same type of deal. I mean, they’ve got it. They’ve got good food, good drinks, a good environment. And that’s what attracts people, you know? Yeah, the band can bring in some people, but if you as a club, you know, haven’t figured out how to make your venue a destination, you can’t – and shouldn’t –expect the band to do it for you.

Ungarini: You have to have a built-in crowd who’s gonna come there no matter who’s playing. And hopefully, the word will get out and the people keep coming there. And people will enjoy the bands… whoever was playing there. But, yeah, there aren’t many places… and it’s funny… with the possible exception of maybe, what, Pete’s Steakhouse, maybe, and the Ivy Tavern, and maybe, on occasion, Amalfi’s… a lot of places around here in Mercer County don’t have a built-in crowd.

And I’m sure you’re aware, over the years, I spend most of my time over in Bucks County. Only once or twice a month I’m out here in Mercer County seeing bands play.

Orban: C’est la vie!

Ungarini: But thank God for the places that are doing it. And thank God you guys are still out there playing. And so as you guys keep playing, I’ll keep coming out… and I’ll keep bringing my air guitar. Maybe one day you guys let me sit-in with you. Me and my air guitar!

Orban: Back to story-telling: At around that time – this would be like 2014 – I had my heart attack, in April of 2014. And so I was kind of laid up for a little bit, and, you know, started thinking about, you know, what I wanted to do with the music. And that’s when I decided that I wanted to, you know, kind of change it up a little bit. And, Flourtown Fats had recommended that I give a listen to his old college chum, Mike Scott, tenor sax. And, so, we brought him in for kind of like a – you know, sit-in for a gig. And I really liked what he did. And, so he became part of the the current permanent lineup and, really opens up the, you know, the canvas, you know, to a lot more than what we had been able to do.

Fabulous musicians, all three of these guys, these guys are the best musicians I’ve ever worked with. Mark Shewchuk on drums, Flourtown Fats on the upright, and Mike Scott… I mean, they’re incredible musicians and they’re great guys. And it’s been a thrill having them in the band. And it’s also a thrill working with them on the new CD. It’s just the first time I’ve been in a studio since 1967, and the technology has changed a little bit – just a little bit – since then. But anyhow, I’m having a lot of fun with it and, and also, you know, I made the decision to do an album of all original material. I didn’t want to do covers of anybody stuff. I think I’m done writing for now. My goal was to have 13 tracks, a baker’s dozen, and, right now I have 14. So I have to decide which one that I don’t think needs to be on this CD. Maybe we’ll release it as a bonus track of some sort.

I was originally going to do this, with, like, a Go Fund Me campaign or a Kickstarter campaign. But the more I thought about it, I said,  “Let me ‘man up’” and just do this the old fashioned way, you know… sell a couple of guitars and then…

Ungarini: Go fund it yourself!

Orban: Yeah. Pretty much, and that’s all right.

Ungarini: When you when you do the CD, you’re not all studio at the same time, right?

Orban: The foundation tracks, we’re actually playing them all together. So guitar, bass and drums and vocal, that’s being tracked. So we are, because of the way… I mean, this is being laid down.

You know, old school – real old school – would be everybody playing live in the studio. But, the first batch of songs… a lot of the work, a lot of the arranging was actually done in the studio. So I didn’t want to waste Mike Scott’s time, you know, while we figured out what the tempo should be, while we figured out what the bass line should be. You know, while we figured out the breaks, you know, the arrangements and whatnot. So the last batch I actually went and and kind of sketched them out myself and tracked them, at home, using GarageBand, just to be able to lay out the tracks so that everybody would know what their parts were. I went in, I laid down the bass, you know, I programmed some drum tracks that, you know, would kind of approximate the feel that I was looking for.

So now when we go in for the rest of these, I’ve already sent the guys all of these, all of these tracks so they know what’s expected of them. And so we’ll spend less time, you know, constructing them in the studio and more time actually laying them down. So once the foundation tracks are down, then we’ll bring in, the sax – he’s actually going to multi-track a couple of them. I’m going to basically do a horn section type, for 1 or 2 of the songs, like Big-Boned Baby. And, and then I’ll probably go in and overdub vocals because the scratch vocals, in some cases… I wasn’t done writing the lyrics yet. So it’s like, what was Yesterday? Paul McCartney, you know, when he first laid that down, instead of singing he word Yesterday, was singing “Scrambled eggs!” True story!

So, there was a little bit of that going on in the studio because as we’re laying these things out, you know… well, “Maybe I need to change this.” You don’t really know how a song is going to sound until you actually lay it down. So, like yesterday I was writing one of these – actually two of these – songs, in fact, yesterday… and, you know, so the first couple of times you do them, “Well, maybe I need to put this verse in front of that verse.” Or “Maybe I need to move this over here. Maybe I need to say this differently.” And that’s so when I track these things, when I do these sketches, basically I put them on my iPod, and then I put them in my car and I listen to them in my car when I’m driving back and forth to work.

So I’ve got an hour commute each way, you know, and then I can listen to this stuff. And then when I go home, I can say, “Yeah, I make some notes.” Well, “I want to move this over here.” “I want to change the key” “I’m straining here and let’s, you know, drop it down from A to G,” you know, or whatever. And some of that happened in the studio, but, you know, you’re running the meter at that point. You know, I’m paying for studio time. Yeah. So that’s one of the reasons I started sketching these things out a little bit more, more succinctly.

Ungarini: You said you’re doing your CD in Doylestown. So how did you get to find out about the studio in Doylestown?

Orban: Oh, right. So, many, many musicians coming through those doors in Doylestown. And one of them is Bobby Dreher and Bobby is a guitar player. And, he is quite a good one. And he’s got several of his own CDs. Well, actually this is his personal studio. This is not like a studio for rent, per se. This is just his personal studio in his home. And I will tell you, it rivals many commercial studios that I have seen. I mean, he’s got top notch equipment. He’s got, you know, a lot of it, and, and he’s definitely one who’s willing to work with someone like me who is not perhaps as musically sophisticated as some folks who come through there.

So, when I’m building tracks, I rely on the contributions from the other band guys. But I also, you know, from the standpoint of recording, I can’t tell you anything about mic placement or, you know, how we’re going to mic the drums or anything like that. And Bobby has… I mean, it’s what he went to school for. So he’s very, very, accomplished in the whole process and has been very supportive of me, as well. And so right now we’re about halfway through what I call the foundation tracks. We’ve got another 6 or 7 tracks to lay the foundations over. And then, then we’ll bring in, you know, for example, Mike Scott to play the sax parts. You know, I’ll re-dub the vocals. We did scratch vocals on all this stuff. And, you know, we’re just kind of building it out. We’re hoping to have it released right after Labor Day.

Ungarini: Nice!

Orban: Very exciting. You know, at age 61, to be releasing my first CD. You know, God knows why.

Ungarini: Who is going to distribute your CD? It will be available to people just on your website to listen?

Orban: Oh, no. It’s going to go the whole route. We’re going to go iTunes. We’re going to go CDbaby. I mean, we’re going to go all the digital distribution. So it’ll be available as a physical CD, and it’ll also be available for digital downloads. And all the music will be published. I will own the publishing rights to it. And this is… if you’re going to do it, do it right! You know, that’s the way I looked at it.

Which is why, you know, again… as I told my wife… she said, “What are you making this for”, you know?

And I said, “I want to have something for you to play at my funeral.” She said, “You got it!” Okay. Done deal!

Ungarini: But when it comes out, will you give me a copy so I can…

Orban: Absolutely, absolutely, absolutely.

Ungarini: I want to be Johnny Meister.

Orban: We can arrange for that.

Ungarini: I did it once. I did it once, so far. I got, I got the CD and I got on the air before Johnny Meister… I was so proud of myself.

Orban: There you go. Well, we can certainly arrange for that.

Ungarini: Okay. I guess, we’ve talked about your influences. That was Butterfield, Muddy Waters.

Orban: Right.

Ungarini: And who else was there?

Orban: Well, Little Walter… I mean, Little Walter just changed the entire playing field when it came to harmonica… and singing for that matter. But I mean, his harmonica really was, was earth shattering in terms of the harmonica players of the day. I mean, there are still guys out there today that are trying desperately to, you know, to sound like Little Walter. And some of them are very successful. You know, you’ve got Rod Piazza, you got Dennis Gruenling… guys like that, that are, you know, masters of their craft, you know. But the rest of us, poor schnucks that are trying to play harmonica, you know, it’s a very… it’s a very high bar that, that he set all those years ago.

Ungarini: Have you tried to play harmonica?

Orban: Oh, yeah.

Ungarini: Oh, really?

Orban: Oh, yeah. Yeah, yeah I am, I am actually… respectable. I can, you know, carry a tune and I can, you know, get through. In fact, in The Rippers I actually did play harmonica on several songs.

Ungarini: You know, I seem to remember you and Joe Zook played at the Triumph in Princeton once or twice, maybe. And now that I remember, I think I remember that you… you had a rack.

Orban: No, I wouldn’t have had a rack then.

Ungarini: Okay, then I, I seem to remember you playing a harmonica.

Orban: I did, I did, and in fact, I should have had my head examined because Dennis Gruenling was there right next to me, and, I didn’t realize he was next to me. Otherwise I would have probably, you know, hidden the harmonica somewhere, you know, never, ever taken it out in front of him!

Ungarini: I think that was probably the first time I saw you. I think the next time I saw you after that was probably with The Rippers. I think somewhere right around that same time period is when I started finding out about the Mojo Gypsies and started to go out to see you more often. I think I saw you guys at the Sticky Wicket. I think it was probably like the first time I saw you guys at the with, with that band, that that configuration before the current guys. Yep. I think I saw you guys over there.

So who are you listening to? Anybody in particular nowadays that impresses you?

Orban: Yeah. I mean, there’s all the guys, you know, you’ve got, Piazza, Rod Piazza, you know, he’s got a kick ass band. He’s always had a kick ass band. One of my favorite guitarists is a guy who played with him back in the 90s, Alex Schultz, who, is, you know, he’s just he’s just a very, very tasteful and very deliberate player. And, you know, Kim Wilson, you know, Kid Ramos, another really, really fine player. Junior Watson. And, you know, all of these guys are out there. I mean, you know, in terms of the East Coast here, you know, we’ve got Dennis Gruenling, we’ve got Dave Gross… down in Florida, you’ve got Doug Deming. I mean, you know, these are just guys that are out there, you know, just kind of humping it, you know, just playing wherever they can play. Mark Hummel, and, you know, Little Charlie and Anson Funderburg…

Ungarini: Just, just saw them this month at the Lizzie Rose. Yeah. One of the places that you go to.

Orban: It’s a fabulous band. Rick Estrin. And Kid Anderson… Kid Anderson, I think, is probably one of the best guitar players on the planet today. I mean, you know, somebody to be able to step into Little Charlie Baty’s shoes and, and fill them admirably. I mean, this guy is something else. And he’s a really sweet guy!

That’s that’s the thing about all of these all of these musicians. I mean, you meet these guys, I mean, in a lot of cases, we’re actually playing the same rooms that they are. The economics of the music has really changed dramatically over the past 20 years. And now, the guys that are making a living at it… the pros that are making a living at it, most of their living is being made in Europe because nobody here in the States… I mean, they want to watch American Idol or The Voice or some shit like that, you know… nobody wants to pay for music, you know? So the economics have changed dramatically. I mean, you’ve got these guys that should be filling at least a 5000 seat club playing to, you know, 20, 25 people in in the Café at Saint Georges Country Store.

Ungarini: Yeah. Or, you know, they’re playing the Lizzie Rose, which holds 40 or 50 people. Or they’re playing The Record Collector. Yeah, James Cotten at The Record Collector? You’ve got to be kidding me! Yeah, it’s just nuts! But thank God you’re out there playing and thank God we’re able to go out and see them.

Orban: Yeah. I mean, the upside for the listeners is to be able to go to like, the Café at Saint Georges and, you know, be four feet away from Mark Hummel or Little Charlie as they’re playing and… I mean, it don’t get no better! And then be able to meet them afterwards!

Ungarini: And then be able to meet them afterwards! And I have not met a single one of them who had their head up their ass. They’ve all been very nice and accommodating. I absolutely do take a picture with them, you know, introduce myself. “Here’s my website. Here’s my card. You know, it’s great seeing you guys.”  You know, they’ve all been happy to sit down and talk to me for a few minutes. You know, it’s great to be able to see them in those kind of venues.

Orban: Absolutely!

Ungarini: And I hope that, hopefully, Lizzie Rose keeps doing it and I know The Record Collector is going to keep doing it.

Orban: You know, they seem to be pretty well. And I think I think Lou Reichert is going to get to hang on with the Lizzie Rose. He’s doing a benefit in September.

Ungarini: Oh really?

Orban: September 10th I think it is… for the Lizzie Rose. So it’s going to be I think from 1 to 10pm, we’ll be playing there at some point. I don’t know who all the acts are, but he actually called me up out of the blue a couple of weeks ago and said “Would you be interested in helping us?” Absolutely! You know, anything that I can do to help somebody who is, you know, keeping live music alive and I’m there, you know… because they are just fewer and farther between.

Ungarini: Yeah. We like I said, we know over the last couple years how many places have closed and, are not doing the music anymore.. You know, McStew’s was the place to go to. You know, Logan Inn was doing was doing it for for years. The Black Horse is now starting to do some music again, too. But for a while they weren’t having any music, you know? Washington’s Crossing Inn… they stopped having music. I’m not sure if they’re doing it again. I don’t know. But thank God there’s places like the Lizzie Rose, that are doing it. And than God for the jams!

Orban: We used to play at the hotel in Princeton. The pub in the basement… the Yankee Doodle Tap Room at the Nassau Inn. And at what used to be The Annex… We played there when it was Sotto. I think it now it’s a sports bar or some.

Ungarini: Yeah. Like God knows we need another sports bar. You know, throw some screens up and now you’re a sports bar.

Orban: Yeah, that was, that was a regular stop for us, as was Amalfi’s and places like that.

Ungarini: Tell us about one of the jams that you frequently play at…

Orban: Doylestown is a whole ‘nother story! So, year-and-a-half ago or so — almost two years now — I was looking for something to do, midweek. And, there were no jams that I was aware of local. And somebody had pointed me to this jam in Doylestown at Rob’s Loft, a part of Bobby Simone’s restaurant complex, right in the center of town. So I drove down there one night. Didn’t know a soul in there, walked in. They were at that point, they were playing… You know, it wasn’t at Rob’s loft. It was still at Chambers 19 at that point. So, that’s where I met Kevin McCann and Randy Lippincott and Bob Holden on drums.

I’d actually played with Bob, a couple of years prior in, in the Zydeco a Go-Go band. I sat in for a couple of gigs. Yeah. So I remembered him. He didn’t remember me, but he’s a lot older than me, so I can forgive him some momentary lapses… But that’s where I met him. And of course, Dave Holtzman.

That’s where I met these guys. And the friendliest bunch of people you would ever want to meet. And just as many, many years ago, Joe Vadala, you know, was like a mentor to me, these guys have also been mentors to me. I mean, they have been fabulous. They’ve been supportive and a lot of fun. So anyhow, that that became, you know, kind of a regular, you know, weekly thing to go out and sit-in at that jam and hang with all of these different players.

And the great thing about all of this music is that I have over the years, over the past 20 years, I have met so many interesting people, talented people, both musicians and music appreciators alike, who I would never have otherwise met. And it’s fabulous. I mean, I have I’ve been having the time of my life, I’m 61 years old and I’m having more fun now than I have ever had in my entire life. You know, just playing music and being with other people who play music and even just watching people playing music because it’s a joyous activity. It really is. I know the blues is supposed to be sad and dreary and whatnot, but I don’t see it that way.

I see it as, you know… fun, entertaining and just… it’s what I do now! Yeah!

Ungarini: I’m with you on that. I mean, I’ve been going out since November of ’77 was when I started, and there was a period of a couple years when there was really much going on. But in the last couple of years… I mean, thank God for the jams.

Orban: Oh, yeah.

Ungarini: But in the last couple of years, I mean, thank God for the jams. Oh, yeah. Because we know we’ve lost a lot of places that stop offering live music and stuff, even offering the blues and, thank God for the jams, for 2 or 3 times a week. You got a bunch of people together who are playing the music, for the love of the music and for the companionship and the fun of it. I mean, thank God. I mean, you know, going out, you know, 2 to 3 nights a week of jams.

Orban: Yeah.

Ungarini: And it seems like, you know, even though a lot of venues have closed-up or stopped offering live music, or specifically stopped offering the blues, there’s still enough places out there where people can play. You get to go out a couple nights a week. And that’s why I tell everybody, don’t wait for a Buddy Guy or the late B.B. King or anybody else to show up. You know, you’ve got people around here who play just as good as them. And you’ll be in a very comfortable place. There may be a cover charge… you may have to pay for some drinks, but you’re going to hear about three hours worth of music. That you}re gonna walk out of there thinking “These guys are great!”

Orban: Absolutely.

Ungarini: So and that’s, you know, that’s why I still keep doing it and why I have the website to let people know about the bands and people that are playing.

Orban: And, it’s a lot cheaper than hookers!

Ungarini: Yes, yes, yes… And a lot safer too!

Orban: You know, maybe yes, maybe no. (laughter)

Ungarini: I should talk about Billy D’s and, you know, that or DiNatale’s. You know, there’ve been some instance there where I’d feared for my life.

Orban: You got that right!

Ungarini: But for the most part, going to places like Puck, you know, or the Ashburner Inn or other places like that,  you’re not going to really get into a lot of trouble there. And I haven’t seen any hookers there yet, but I’m not really… I’m more interested in listening to…

Orban: You have to know what to look for.

Ungarini: Yeah, I have to. I have to start paying more attention to the audience. I’m really focusing more on the music and on the musicians than I am on on the audience.

Orban: Keep your wallet in your front pocket. Don’t ask how I know.

Ungarini: Let’s go back for a minute. Let’s talk about some of the places that you’ve played over the years and all the different bands that you know. Not everybody knows that during the 70s through the 80s, there were blues places around here where you could find music and not just blues, but we all know about Brothers Saloon, and other places like that. So what places where you playing, can you recall?

Orban: Well, that’s that’s the trick right there, yeah. “Can you recall it?” (Laughter) Well, let’s see… we did a lot of private parties. We did DiNatale’s in Trenton, Fekete’s. I think we did some gigs… there used to be a barbecue joint out near Fort Dix. Bobby something or other. I can’t remember what it was called. Good food there. I played there with the Rippers a bunch of times. A lot of the bars, south of here, down on 206. And I can’t even remember the names of them, but we were there all the time. With the Herd of Blues, we played many, many times at Havana — the old Havana — back before it was enlarged. And we had a lot of fun there. Probably too much fun. And, John and Peter’s, and… let’s see, where else?  Drawing a blank.

Ungarini: Did you quit? Did you play at the Merry-Go-Round with the band or just or just the Open Mic?

Orban: I think I did two gigs there, with the Herd. Because I think by time I got, I got the Mojo Gypsies to the point where I wanted them to be, I think the Merry-Go-Round had already, you know, packed up and sold, which is unfortunate because that, too, was another fun spot. Where I met so many cool people and, you know, really expanded my musical horizons and expanded my list of musical acquaintances… folks that I could enjoy playing with and making music with.

Ungarini: Yeah. I missed the Merry-Go-Round, too. That was actually the the second place where I actually sat in and played on stage with, Joe Zook and Blues Deluxe. The first one was, I can’t remember the place, but it’s on North Olden Avenue by Princeton Avenue. I think it’s a Go-Go bar now, but I think a Polish couple owned it. I can’t remember the name of the place… Maybe it’s called the Extension Tavern. But they had a benefit for the Sunshine Foundation — which I was involved in at that point — and so I got to sit in with the band there. That was just 1 or 2 songs, and then at the Merry-Go-Round I actually sat-in and did a couple songs with them, and that was like the highlight of my blues career.

Orban: Oh, yeah… there’s nothing like it!

Ungarini: There isn’t. Like you said, there’s such a rush, being on stage! The only thing I don’t think I was surprised was, how when you’re out in the audience, you seem like you can hear each individual instrument. When I’m up on stage — maybe because the PA system maybe didn’t have monitors there, I don’t know — but actually, it was like one big wall of sound.

Orban: Um hm

Ungarini: And I had a hard time following Joe, because, you know, Joe’s all over the place on the neck. I’m not that great a guitar player, so I thank God I’m sitting next to Billy (bassist Billy Holt). So I could see… And I knew the songs. So I was able to, you know, figure out what’s going on with Billy. I was trying to follow Joe was almost was almost impossible.

Orban: Yeah, it definitely takes some getting used to. And now, I have been fortunate enough to have developed tinnitus. And so now I wear earplugs when I play. And not just musician’s earplugs that let some sound in. I wear earplugs that don’t let any sound in. You know, kind of like Joe. So, I usually end-up putting them in, like, an hour before I play, even if it’s just at the jam. If I’m leaving home to go to the jam, I’ll put them in before I leave home so that, by the time I get to Doylestown or wherever, my ears have become acclimated to hearing sound muffled.

Of course, we don’t play particularly loud, but it’s the frequencies. And I think I got mine from from cymbals, you know, from the drummers’ cymbals, because it’s in my left ear and that’s the side where the cymbals are. Just enough repeated stress from a certain frequency. And now I’ve got this eternal hiss in my left ear. So, yeah… that’s great fun.

Ungarini: That’s no fun… you don’t need that. Thank God the technology’s there where they have the different ear plugs that will at least allow you to function on stage.

Orban: Yeah, but you have to use them before you get the tinnitus. Because once you get the tinnitus, there’s nothing they can do. I mean, this will wake me up out of a sound sleep.

Ungarini: Wow.

Orban: You know, and really, it sounds like it sounds like a compressor or a jet taking off. And, like I said… middle of the night, it’ll wake me right up! “What’s that?” And there it is. So, so all you musicians types out there, protect your ears because once they go, there’s no recourse.

Ungarini: Have you ever thought of going to an acupuncturist?

Orban: No, I haven’t.

Ungarini: I know a few guys have done it with some success, doesn’t seem like it lasts very long. But they do say that it’s made a difference.

Orban: I do know there’s a few people out there who would like to stick something in me that’s usually bigger than a needle. Like a knife.

Ungarini: And the after effects aren’t very good. (Laughter)

Orban: Well, depends on your perspective,

Ungarini: I suppose that’s true. (Laughter) Dave, that’s a great comment to close out your interview. Anything else you want to say?

Orban: No, I… I can’t think of anything, but I would certainly like to express my thanks to you for your support of the music, for having me in here, to have this little chat, but but mostly for your support of the music, because it is appreciated. There is nobody in this blues community who doesn’t know who you are, and we all appreciate it. You know, you know, the effort that you put into it. Because we know it’s a labor of love, you know, just like what we’re doing.

Ungarini: I ain’t getting paid for this.

Orban: No, no, it’s just like what we do. I mean, you know, it’s a labor of love. You do it because you enjoy doing it. You do it because you know, it brings, you know, happiness to others. And we appreciate it. And, you know, you’ve been doing it for a long time, and we hope you do it for a long time.

Ungarini: I appreciate that… and, you know, it’s a two way street. I get to go out and hear you guys play, and, I just get a big kick out of doing that, you know? And I go to these jams, and the guys ask me to play, and I’m like,  I don’t want to play. I’d rather listen to you, to you guys play, you know? Why deprive somebody of 15, 20 minutes? You know, me listening to them play, instead of them listening to me. No way!

Thanks for listening to my interview with local performer Dave Orban. Closing out tonight’s special edition of The Cadillac Blues Show. Our two songs from Dave’s influences, Muddy Waters and Paul Butterfield. The first song is Butterfield’s Born in Chicago, and the second song is Muddy Water’s song Walking Blues. See You Next Week!

# # #