The Adventures of Pipeman and Bumblefoot... Returns!

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0:49 Wake up America. It's time for the Adventures of Fipe Man. I'll tell you for see White. I com list ponkas is number one internet radio station. Here's your host, the vipe Man. This is the pipe Man. Here, I'm the Adventures Pipeman W four CY Radio. Super excited about our next guest. When I got the email.

1:32 From the publicist and I saw there was going to be new music by this amazing musician. I had to immediately and he can ask John. I immediately emailed like is he doing interviews? And so here we are, Bumblefoot, how are you good man? Very good? Oh man? We're happy twenty twenty five. I know here we are twenty twenty five badass new music that you have. And I want to tell you right off the bat what I love most about it is two things. One is listening to every song. It's not like listening to the same song over and over again.

2:17 They're all different, blending different genres. And I dig that because, like, I'm a metal head, but people think outside the metal world that we only listen to metal. No, metal heads are the most diverse and intelligent and everything, no fu right, no doubt, no doubt. And then here's the other thing I love. Okay, so. You are a shredder that doesn't sound like a shredder, and let me define that that goes along with the same song over and over again. You see, there's a lot of shredders out there that they just play the same shred over and.

3:00 Over and over again. It's really good, and I hope it's really good if you're playing over and over again. But when I listen to your I listen to you on guitar, I'm like, yeah, it's a really good thing. I quit and playing guitar and realized, guy suck is this guy man like he could do things I would never even. Be able to think of doing on the guitar, Like it's. It's amazing even with like let's talk about your fretless guitar playing. That's that, Yes, let's talk about it. I love it. I love it, Thank you, thank you very much. So there's this company from France, Vigier v ig I e R.

3:46 They were around from nineteen eighty till last year. Patrese, the head of the company, has decided to stop making guitars, which is a shame because he makes wonderful, wonderful guitars. And I've been playing them for God for twenty eight years now. I just love what they do. What they made you play better when you play on their necks. They just feel really good on the hands. And they made these metal neck fretless guitars. And I remember we started working together in ninety seven and nineteen ninety eight.

4:30 We went to the NAM Show, the big music convention together and I saw these. They didn't have double necks or anything. This was our own creation, this thing. They just listen. I saw it and I was like, why did you tell me you made these? Holy shit, look at this thing. And I still laugh thinking about the look on his face. He just looks up in the air and she goes like all frustrated. He's like, in eighteen years this company has existed, we've only sold one of them. Nobody wants these things. Nobody. It's like, I do, please give me one, and they gave me one. I took it home, immediately started writing with it, and it became more and more a part of what I do, to the point that I was using fretless so much that and I would use it in the same song where I'd be switching back and forth that I really needed something where I could access both quickly, and I thought about retractable threats, thought about a flippable dual sided neck that's fretless on the other side, like all kinds of ideas, and this just seemed the most practical to do that. Plus with it, I can even play on two nexts it once if I need to, And it's just there are less limitations with it. I can have two different tunings, which I do a lot.

5:51 I have this one drop date and this one down low and yeah, so started making these two thousand and nine, and this is my this is my weapon of choice. This is my everything guitar. I love it. And see, you know, if I knew about that when I was playing guitar as a teenager. I think I might have kept playing because that was the biggest problem I always had. The frets always gotten away. I was clumsy with the threats, and then you know, you would have that terrible sound when you're not having your fingers positioned right.

6:31 With this thing, it's more like playing slide now when yeah, you know, people playing slide you have this just and if you have a different tuning then you can maybe get some more stuff out of it, let's see. But with the fretless you can do all the same stuff, but you don't have to stay like this, which is one finger moving that way.

7:21 Wow. You know what I just thought of watching that is like, why don't all these blues lap slide guitar players play fretless? They should. I guess they don't need to because they got their thing down. But it would be great to see. And even though this about might dabble in that a little bit, songs like Moonshine, Nanny, things like that, a little bit of that.

8:06 Yeah, I also love that the first song on Bumblefoot Returns is eight minutes and twenty six seconds in twenty. Twenty four, twenty twenty five. I love it, man, I do find that some bands are going back to that. You know, it's like songs now, it's so weird. Some of my favorite songs as a teenager would never even survive today because the intro. Was longer than most people will listen to a track on Spotify. Yeah. You know, one thing about rock music, metal music is that we love bands and we love albums. Yeah, where we tend to have I think a longer attention span.

9:00 Yeah exactly. And you know, so you have also some cool guests on. The album with you. Let's talk about each one. Tell us what made you pick them for those particular songs. I think the songs picked them. That's kind of how it went. Like, let's see Guthrie Govan. I was in a guitar magazine in August nineteen eighty nine and I got a letter in the mail from this kid. I was a teenager and from another teenager is like, Hi, my name is Guthrie. I live in the UK. I'm a guitar player too. Here check out my demo and sent a cassette a cassette, and we became pen pals, and we would write each other letters, just talking about guitar stuff and sending to each other cassettes of our demos and little song ideas, and we would write out the riffs that we're doing. It's like, here's what I did here, put this finger over here, and this one that I'm like this, and this like that and for years.

10:11 We've been friends since nineteen eighty nine. So the one song that he is on that one, well, I was a guest on one of his songs called Rhode Island Shred on his first solo album, Me put out back in two thousand and six. I had this one riff from nineteen eighty nine that I never did anything with and it was always just lingering in the back of my head somewhere. And when I started working on this album, it was twenty twenty. We had a lot of time on our hands. It's like, you know what, fuck it, let me make another instrumental, all instrumental album. And the first thing I did is I grabbed that riff and said, let me turn this into a song. Finally, after how long, and it was that riff that went So I took that riff and just expands it on and turns it into a whole song, built it up, and I was like, well that's you know, that riff was right around the same time that I met Guthrie, and I'm picturing the solo section where there's like trade offs of something like different rounds of it happening. So he would be perfect for it, you know. It's like that moment in time that he was a part of, and this riff was a part of, and this song was a part of.

11:33 Let's finish it off the way it started, and so he laid down solos in that. We traded back and forth in that song. The Brian May song, now that one. I just had this song and I wrote it and at the end of it when there were the sections where solos could go, and I just I'm sitting back and hearing what this song has become. And it was like, this song is just crying out, it's begging, it's pleading for Brian May, like his spirit, his sound, what he brings to music, like this song would not be complete, it would not be it would not be all it could be if he wasn't on there. It was like the song became this song, and it was just like, this is a match for him. Let me ask him, and he threw down a solo, the song The Thread.

12:38 I want to mention that before I mentioned the Steve Vie song the Thread, I started writing a song. There's this well, there is an email thread that I've been part of like ten years where a bunch of guitar friends were all on it. We just talk about random shit whatever. Almost every day we're talking and pretty much I have some times, you know, ten times a day, just all talking about whatever, random things. And I was writing this song and I knew like the melody it just sounded it seemed too familiar. It's like, I know, I stole this from somewhere and I don't know where.

13:19 I can't place it. I couldn't have come up with this melody. It's it's something else and I don't know what. So I asked them, I was like, check this out. What is this? What did I steal this from? And most of the guys are like, oh no, no, I mean it sounds kind of, you know, like it's been done before, but it's not. I don't hear anything exactly. And then someone on the thread said oh wait a minute, that kind of where the chord's going, the way it ends, the last couple of notes of each phrase of it. A said Gary Moore song. Huh yeah. I was like, oh shit, it is that's what it is, so okay. It was the one in Cuisian walkways where he did his kind of version of that, and so I back to the drawing board. I changed the cores, I changed the melody and restructured it and came up with something new. And then I showed it to my thread mates and said, what do you think of this? Is this I think I had And they're like, oh, perfect, it sounds more like you, and it's it's hasn't been heard before. It's different, it's it's definitely that works. But when the first break comes, like he jumping right into crazy shit pacing, you know, maybe do something else there and then go to that crazy rif. And so really that song was guided by

14:49 my thread mates to become what it came. So I named it after him. I called it the Thread, which is what we call it the thread, and Steve I is on the thread. So when I was making the song Monstruso, and I'm picturing all these songs. I'm picturing all kinds of stuff in my head. Like it's almost like I'm writing soundtracks to things that I'm either experiencing or just feeling saying whatever it is. So I was picturing like the old sixties seventies Japanese horror movies, the monster movies, the old Godzilla movies, wrote damn mall thro all of them, and just the sound of like that dope step growling keyboard making all those noises Monstrso and that's the name of that monster, Monstrouso. And then after it like breaks down and it goes into that whole kind of clean middle thing and then suddenly kicks back in out of nowhere bag and needed it just it was calling for something alien like sounds that a guitar does not make, Like there's only one guy that can do that makes sounds that a guitar cannot make. And just so I asked he he was like, you want to throw it down, and he's like yeah, So we threw down the solo. So it's really it's almost like after the songs became what they were, yeah, when it was like, all right, there was a match for these

16:19 songs that and I didn't want a lot of guests or anything. It kept it down to a minimum on these songs that seemed like they could really use that cherry on top that only that person give something I can't give that only they could in that way. So I asked and they did it. Yeah, so everything that you gave. And one of the songs that I can't remember which one it was, but it was so funny because my brother and I last night literally were just talking about Frampton performing on the Rock Call of Fame and how he was like he was so happy because he did the you know, the like mouth harp the toilet.

17:07 Yeah. Yeah, And there was one part of the song and I'm sure that you're using your fretless guitar that. Immediately when I heard, I was like, wow, he's doing it on the. Guitar, the Greekstown crossing thing. Yeah. And I was using a talk box, the thing where you have that that tube to a microphone the guitar into it. It has a speaker that just is all encapsulated except for the tube, so all the sound gets pushed through the tube into your mouth where resonates in your mouth and the microphone picks it up. So that's what that's what that is.

18:06 The talk Box then you know all the great stuff everything from Wow wow Wow, Living on a Prayer to Joe Walsh to of course Frampton uh uh everything. So it was that kind of song. And that's the one person that that didn't do it is when I made that song. That's what I imagined for that song was either like Frampton or Joe Walsh. Wow and.

18:48 Oh. I did reach out to Joe Walsh and asked him if he would lay something down and he heard the song and he said that he he felt like the song was already done. It didn't need him. Wow, that's a huge compliment, right. I was like, I was like, well, actually, like this solo section, that's that's for you. I was like, when someone says no, I'm not going to try and change their mind. Yeah, yeah, I'm not going to do that. If he wasn't doing it, then I'm not going to come back and say, well, no it's not done you need you know. It's just like thank you for listening, you know. And then I did something that that I pictured them doing, Frampton or Walsh, that kind of thing, and that's what I did. I did the talk box with the fretless Wow. Yes, I love it.

19:40 I love it. And so the album drops on the twenty fourth of this month, January twenty fourth. Very cool. Where can people where do you recommend people go to get the album when it drops? Or can they repre save it now or something like that. Oh, there are plenty of options. First you go to bumblefoot dot com and you can get vinyl, which I wanted it to have a ton of art. What I loved about Vinyl as a kid is just all the things, whether it's a spinning wheel of ZEP three or like anything that just it was art. It was something you held in your hands and it was interesting. So what I did is it's two discs, gatefold our art sleeves full images, you know, artwork on both sides of both sleeves.

20:36 But the second disc is a UV art pressing and it has artwork on the fourth side, and it's clear so aside, like a clear whitish disc with artwork on the fourth side. So it has like the speceship and all the different things from the album are on there. So as you walk listening to side three, you're seeing the art from side four and the ships spinning and moving and everything on it, and if you just put on side for it, you have the artwork directly there and all of that. For the CD, it's opens up the same thing you have in this pocket CD, and in this one is a booklet, but it's not stapled. It unfolds it into like a big square. So you have the big art there too on one side and another picture on the other side. And then you have this thing where I haven't opened this yet, but it unravels it into like a big long strip of artwork on both sides.

21:33 Wow. Yeah, this is what we loved about physical stuff. Yeah. I always say the kids today, they're messing out, man, kids. Yeah. I can't believe we've gotten to this point to say that too, you know. But like the artwork back then is how you decided to buy an album or like a set because you couldn't hear it. Most of the bands I like didn't play the radio. Uh oh. Yeah, most of this stuff they didn't play it on the radio that I listened to. So you just had to take a shot, and usually took a shot by you looked at an album cover and I'm like, wow, that looks cool.

22:18 We browsed the record store. We saw and Iron made an album like this looks a badass. You take it home and you're glad you got it, and then you go back and you get the rest of it. I would sit there with my headphones on and listen to the whole album like over. And over again, with all the artwork, the lyrics, look at everything. It's like a full sensory experience. Not this, yeah, let's say a few seconds, okay, next, you know, so miss out on so much. That's the thing. That's one thing that I wanted to do with this release is I wanted it to be more more for the senses, more of an experience than just putting something on on Shiti Fi.

22:59 You know so. I mean it's on there too, It's on anywhere you want to stream, you can download it. Two of this's on band camp and all of that. But my first album was on cassette thirty years ago. I was like, fuck it, I'm putting this out on cassette. Hey, listen, are the people that still collect these or if someone that just wants an interesting old metroal merch item cassette, why I. Have a retro phonograph here that has not only for albums, but for cassettes and CDs, N. Does it have a track? I wish man listen. I used to listen to Blizzard of Oz on eight track, and you would have to first of all, you'd have to take the little matchbook and put it underneath or else it was really slow. And then mister Crowley would like fade out in the second track and then fade back in in the third track.

23:56 Oh man, I had two albums on a track that I would listen to until they snapped. One was Meetloaf Bat Out of Hell and the other one they were the opening band for Kiss on the seventy nine Dynasty tour, a band called New England. This album, this band was so fucking good everybody should go back and check them out. And uh yeah, So I after seeing Kiss at Madison Square Garden seventy nine, nine years old, next day immediately ran to the record store and got New England's album. They didn't have it on vinyl. I was so bummed. All they had on was a track. I couldn't wait another day. I had to have it. So I got it on a track and I listened to that thing to death. Yeah.

24:44 So my first album I ever owned myself in my life, not ones that I stole from my. Brothers, because like, that's that was my introduction to music. Is my one brother was eleven years older than me, So that's how I learned about stuff like out In and Cream and all those sixties bands. And then I was at. Seaside Heights slea Side Yeah, and I can't remember how old. Well, I don't know how old I was. I'd have to do the math at. This point, but I was.

25:24 I played why on the Carnie games and won. And the reason I played the game is I saw you could win albums, and so I played it. And there was one speaking of like the album cover artwork, there was one album that stood out to me just because wow, those dudes look cool. And it was the original Kiss album when it first came out. That was my first record album. I'd won it at the board Walk out a Carny game. That is so cool. So Seaside, Oh, where are your Jersey Ice? I am, but I'm in Florida now, okay, but so check this out.

26:06 I was originally in Jersey till nineteen eighty my father moved me to California, and that that was what it was so weird because that's what introduced me to the real like underground metal, because you know, I was thirteen years old hanging out at the Sunset Strip, like walking into the Rainbow with Motley Crue to hang out with Lemmy, you know. And at thirteen and shit, you know, and. I went to the first Metallica show ever in LA Area, like the first public show ever. That is so cool. And then I moved back to Jersey for college and I was manager of this store on Route nine in Old Bridge, Harrows, and I was going to Rutgers and so like the Wendy's I used to go to for lunch.

27:03 Bon Jovie used to walk in there. But then there was this whole scene in Old Bridge, the Old Bridge Militia. Yeah, I was about to say, so we so I was at both both scenes, so you know, like Mark Tornillo and all the techy quick dudes and Prophet and Edgar Casey and like that whole crew and Trickster and yeah. Yeah and so and then in LA you know, like it was funny too because in LA when Metallica left and then Slayer left, like me and my bro used to hitchhike up to the Bay Area to go to the real metal shows. We thought they were real in LA till we got to the.

27:43 Bay Area and it was like, oh my god, this is like went to an Exodus show when Kirk was still in the band and it was like, oh my god, this is insane. And it's so funny because when Slayer first got up there, they were like like Exus and the other bands possessing all that. They're like, uh, yeah, we don't do that up here. You need to take that I makeup off because in the beginning they used to have the dark eyel liner to look evil, but now that don't play up here. And and you hear like the Sligher talk about to this day about how they had to take their their eye makeup off, you know.

28:26 And but what they had. Nobody to play with anymore in La. You know that I saw a striper open for Slag. It was the funniest, funniest shit ever, you know. Yeah, it's like because there was nobody else. These bands could play with. And then Motley Crue they were the first club show I ever went to in my life, you know, Like you talk about Massive Square Garden, I saw beatle Mania. Now Mason Square Garden. I never got to see Kiss there when I was a kid. I saw them there as an adult. I was so bummed. I always wanted to go but never did. But yeah, I mean, like, it's so funny because I have both the East Coast the West coast version of everything that happened. And I always laugh when people from Jersey say, yeah, Metallica is from Jersey and like, yeah, after they were from the Bay Area, after they were from.

29:22 La Metallic is not from Jersey. Who sends Metallica's from Jersey. A lot of you know, a lot of the old Bridge militia people, not the people that are the big people, like the people that weren't that. Much in the scene. They all like you, I see them at festivals and they're like, yeah, I remember why I saw the Metallica when they because they were originally from Jersey. And that's what they say because they did. If you watch there's a Jerky a documentary I did an interview and if you check out this documentary, it's called The Jersey Sound. If you haven't seen it, oh yeah, So in there it even. Talks about that.

30:03 It talks about that like Jersey was from the I mean Metallica was from the Bay Area, but they were also from Jersey only because Johnny Z just you know, is the only one that record deal. I used to go to Rock and Roll Heaven as a kid. That's where I would get all my stuff, like everywhere, right. Now, see how's this. Me and my friends used to go in the valley to this record store called OZ Records, Okay, And there was a store clerk there that we became friendly with, and we would go in and he would recommend all these bands, so it's, oh, you got to check out this album. First one he showed me was Venom Welcome to Hell, you know. And then and then he's showing us Metallica, and he's showing us you know, bitch, and he's showing us like all these la local bands.

30:56 He was Brian Slagel. Yeah, So I went up to him a few years ago like, I'm like, that was the most brilliant marketing move ever because he just started the label while there was a record Clerks Records, and he's like, yeah, I don't think it was brilliant. It was just I was just a record store clerk, Like he was totally about it. But it was like looking what he built that you know, you never had, Like, where could metal get signed on if it weren't for those two people Brian's and. Yeah, I remember Johnny Z. The first albums he recommended to me. He did Anville Metal.

31:43 Uh. He had all these Australian imports of ac DC, so I would get these like Wow DC albums that would just collect and what Else Angel, which. That was. What else? What else? You know what the band is playing that hasn't played in twenty eight years in festivals that I covered this year, Acid Bath. I'm going to remember that name that goes wait, that's like twenty eight years ago. It's like around the time when your first one was, your debut was huh, So you're kind of like in line there. Yeah, so many cool memories and look at where we are today, and it's like, it's great that you can come back make an album like this, and I think it's just as prevalent today as it was when you did the debut.

32:44 Cool. I thank you. So one more thing. I'm going to show you this we were supposed to make. We were supposed to release a video game with everything also, and then at the last minute Apple flagged it and for additional review and held it up. So so I'm waiting until they give the okay so that it could be out there for everybody. But we made a Simon in space. When I say we, I mean this guy named Rady Graubinsky of gloomy Ware Software in Poland, who has done all this stuff. But check this out. Let me give this. If I could give this a flip, will it flip? Is there a way to flip? Or I'm just gonna turn it this way? Say if this will work? All right, there we go.

33:27 So it's another way to experience the album, the songs, the music is. There's the little spaceship guy from THEE the thing and it plays the songs. It plays the music and it's like an old retro. It looks like ASTs. Yeah, it's like one of those old space shooter games from ye. Then this thing start shooting at you get the coin and this one you motherfuck up. Hang on, these guys all right, got them, got them, got them, got them, got them, get them and they're shooting back. All right. Oh, I want that comes out. I'm a gamer, so I definitely want that when it comes out.

34:10 Yeah. So this thing is a free game that we're putting out there just for fun, just so people can enjoy. Just I want people to have fun with this ship. You know. It's like I want to have final that's full of art. We have the technology now to make a video game that goes along with it, So put that out and just have it be an enjoyable experience for people as many ways as possible. So it's not just the thing of oh yeah, just put out a piece of music like I shot it out. No, No, remember Weddy put out that album and this and this and this and this, like, let it be an experienced the way.

34:52 It used to be. Yeah, if I was a teenager now in those times, like I would totally get this stuff because of all that, Like I wouldn't even have to know what it sounded like yet, and you usually did so, but it usually came out okay, you know. So that's what counts, and well is it? Can you tell everybody how they can also reach out to you on the web, on socials, on your merch store because you have a killer merch store. Oh thank you. Yeah, that's a good friend of mine. Jason Leckberg. He made that happen. He's got this company and he helps. He works with a lot of bands.

35:33 It works with Gwar, he works with Steel Panther, and he does great stuff. He got me organized and functional and made that web store and the website and everything. So yes, Bumblefoot dot com. So there's all the all this stuff and merch bundles. And I did a discography section. It took weeks where I took everything I could recall ever playing on and made a list of like all the guest appearances with links to everybody's music and all the albums and all the video games and all the TV shows and horror movies and whatever. It is. So a really good discography section, a lot of music and other people's music to check out, Like the produced bisection has a lot of interesting this on there. Yeah, you got all the merchant there. Now Deco Records Deco Entertainment teamed up with them where they're going to handle all the physical retail stuff. So if you go to Newberry Comics or MIBA and you say, hey, do you have the Bumblefoot vinyl, they can say no, but I can get it for you. And thanks to Deco, it's going to be available and they are I think they have a partnership with Cargo Records in the UK, so people in the UK and Europe should be able to get it from them. So that's pretty much it. Go to bumblefoot dot com, go to Deco Entertainment dot com and

37:03 and you can get a whole lot of bumble stuff. Yeah. Nice it is. I went there and it's like, wow, there is a lot of cool stuff there, pit bulls, and that's the that's the way you have to support artists nowadays. Okay, it's not like the old days. You know, buy their merch. If they don't buy your merch, they can't watch my show. Well, yeah, it's true. Like these days, it is a direct relationship artists and fans and the artists they made the music, and if the fans value what they're doing and like what they're doing, they're going to give their support. And it's this beautiful, just direct symbiotic relationship. It's nice.

37:47 I'm not a lot of middlemen anymore. Yeah, there you go, and shouldn't have one ever. And you know, you're giving us such great therapy, not just music therapy that you know. I think it's just in. Kind symbiotic to you know, support, and it's better off to support directly to the artists. Very cool. Well, you rock literally literally this album. This album definitely rocks like it is to me. It's like one of those albums you could just sit there and listen to and escape all your reality and listen to an over and over again, and it takes you on different journeys, you know.

38:37 The best way I could. Describe it out means sound wise, but that same feeling is like dark side of them. Oh wow, thank you shit, thank you so much. Hey, my pleasure, and thank you for making us great music for man a lifetime. Does that blow your mind or what? Oh blows my mind that I'm fifty five years old, and yeah, we're from the same. World, right, kids, eight grandkids like I have eight grandkids. I have taken my kids and my grandkids into their first mosh pits. Ever, Oh that is so cool?

39:19 Right? How old were they? My son, I'm trying to think how old he was. He was probably like eight or nine. We were at Tattoo the Earth tour with Metallican Slip Knot. It was at Giant. Stadium and slip Knot was about to come on, and so I explained to him what was going to happen like we were front and center, and I was like, listen, people are going to start shoving. You don't get mad, just go with it. It's not about hurting or naming anybody. It's just about getting all your crap out and having a good time. And so when and when they first came on and it first started, I saw he was getting pissed. First, he was about to like knock somebody out, and I was just like, chill out, relax, just you know, shove him at next see though, like thirty seconds later, grin ear to ear and like the baton has been passed.

40:24 And then and then I have a couple of my grandsons that one of them I used to bring to a lot because I go on tour. I do radio coverage at a lot of festivals, all the Danny Wimmer festivals in the United States, I go to UK, Europe, you know, do healthest download Bloodstock, all those and I would bring him sometimes and he would actually interview bands with me or they would interview him. But then I brought him into his first mosh pit. It was August Burns Red, Like that's pretty heavy duty to go in first time, and he had a blast because all of the adults and I say this because people have such a misconception of mash pits.

41:08 No, people look out for each other. Yeah, all the adults were shoving him around like they were protecting him. They were his wall, and they were mashing with him, but like in hit and getting down low with him and his level, at his you know ability, so to speak, their strength, and it's just the experience that you have for a lifetime. My other grandson, he's always now if I bring him to a show, he's like, he's like, oh, can we go up to the front to the pit. So that's some good parenting and grandparenting right there. I think, in my opinion, cool Grandpa.

41:50 Because listen, we are the coolest grew people. Don't know, they think what they want to think, but we're one big family. Nobody's an outsider, you know, everybody can just be themselves. There's no bullshit like there is everywhere else in the world, and we take care of each other and it's just great therapy. Yeah, so well sent thank you for being a big part of that, and thanks for being on the Adventures of Pipe Man. Thank you so much. I appreciate you. Thank you my pleasure. Thank you for listening to the adventures of Pipemin. I'm W for CUI Radio. Hello everybody, it's Roun Bumble foot Fall and you're listening to the Pipemin on W four CY Radio