The el Goose Times: Volume Seven

Ted Recycles.

Be like Ted.

VOL. 7 - FALL 2022

Fall 2022 Cover by Varvel Arts (

@varvelarts | https://varvelarts.com)

Pages 2-6

Table of Contents

Same Old Shenanigans: Interview with Jonny Lovering

Page 7

Beside the Fire’s Glow: Travelers

Pages 8-11

el Goose Chicks: Interview with Marta Goedde

Pages 12-13

Calling for the Rhythm: “So Ready”

Page 14

Same Old Shenanigans: Interview with Kris Yunker

Page 15

Depths of Space: Dripfield Summer Tour Leg Two Review

Page 16

Hot Tea in Rick’s Kitchen: Recipe #6 - So Ready Pho This

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The Voice Beneath the Quill: “California Magic”

Pages 18-19

Classifieds & the Comic Section (“Ted the Goose” and “The Adventures of Strange Man”)

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Long-Time Listener, First-Time Caller & Song Visualization Artwork

(satellite) team

Editorial Staff

VOL. 7 Fall 2022

Jon Caruso Lisa Governa Ryan Storm Marc Komito Rick Gallego Tamara Sastow Joe Joseph Amanda Cad Rus So Paige Caruso Jack Quinn

TEDitor-in-Chief Goose Chicks TEDitor & Classifieds Queen Music Maestro Contributing Writer & Resident Dance Teacher Resident Chef de Cuisine Multi-Instrumentalist & Board-Certified Music Therapist Creative Guru & Webmaster Master Storyteller & Artist Extraordinaire OG Fan & Historian Idea Entrepreneur & Goose Chicks Ambassador Number One Newsie

Same Old The el Goose Times interview with

Jonny Lovering with Jon Caruso

Artist & Illustrator

Marc Chiavon Sparkman Clark Mikah Atkind Rebecca Jane Lee Khalee Kay Alex Grosby Brian Weber

Meme Wizard & el Confidante Comic Artist & Strange Man Accomplice Sister Spud Canadian Artiste & Visionary Creative Queen TEDvertising Advisor Music Analyst & Sage

Special Thanks to: Jonny Lovering Kris Yunker Marta Goedde Greg Knight & Dave DiCianni

Band posters and promotional graphics are works of art that embrace a variety of styles and techniques.

The origins of posters trace back to the invention of Lithography in 1798 [1] and the process has evolved quite significantly over time. In the 1980s, silkscreen prints produced by artists such as Frank Kozik gained popularity and ultimately led to screen printing becoming the most prominent form of poster production [2]. In the pre-Internet era, concert posters (and flyers) were once one of the only ways for people to find out what musical acts were in town. Today, posters are more often seen as mementos and have become collector’s items – especially in the case of bands like Goose, that have had a significant rise in popularity over the last three years.

Goose has had great success in establishing a unique visual identity to separate themselves from their musical peers. “Image, when done right, is not a gimmick. It’s the physical embodiment of your music. Design, photography, fashion, video—these are vehicles to express yourself on an additional plane, amplifying what you have to say and making it travel further and resonate more powerfully with your audience [3].” This is largely in part because they’ve done a wonderful job picking talented artists that align with their overall vision and eclectic style.

Artists like Will Thresher (who we interviewed in The el Goose Times Volume 4), Jason Piperberg and Jonny Lovering’s contributions have become synonymous with the band’s visual image and overall character. In this volume, The el Goose Times had the opportunity to connect with New Hampshire-native, artist and illustrator Jonny Lovering to talk about his childhood, history with Goose and more.

[1] “Design and Music: Evolution of Music Posters.” Savage Thrills, https:// savagethrills.com/music/design-and-music-evolution-of-music-posters [2] “CONCERT POSTERS: A BRIEF HISTORY LESSON FOR COLLECTORS.” goCollect, https://blog.gocollect.com/concert-poster-collecting-guide/thehistory-of-concert-posters

Self-portrait (Ink on clayboard) | Photo Credit: Jonny Lovering

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[3] Crowley, Evvie. “Why Visual Identity is Important (And How to Create Yours)”. Spotify, https://artists.spotify.com/en/blog/why-visual-identity-isimportant-and-how-to-create-yours

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Growing up, were you always passionate about drawing and illustration in particular?

Yeah, definitely - it was always something I did from a young age. I filled sketchbooks with weird characters and creatures, always drawing in the margins of my notebooks, etc. My family always encouraged my creativity. I remember my grandmother buying me a set of oil pastels when I was really young and explaining to me that these were “grown-up” artist tools.

I drew a series of animals with them: a lion, a weird snake - that’s probably my earliest art related memory. That and drawing a self portrait in first grade where I was dancing under a disco ball with sunglasses and a huge afro.

In my research, I noticed a common theme of naturalism and realism, sometimes with a surrealistic twist. Who are some of your biggest influences and what are some of your favorite art styles?

I would say that’s accurate. Working in pen and ink lends itself to highly detailed observational drawing, so that’s where the realism comes from. But there’s nothing that interesting about a purely realist interpretation of a subject to me - so I suppose that’s where the dose of surrealism comes into play. If you add a bunch of crystals growing out of a frogs back, it becomes something a little more fantastical and interesting.

I take a lot of inspiration from other visual mediums as well: animated works like Over the Garden Wall, the Studio Ghibli films and video games like The Legend of Zelda games and Hollow Knight.

Tell us about how your collaborative relationship with Goose began. What has it been like seeing their growth over the last four years?

I was introduced to Rick - and by extension Goose - through Will Thresher. Fans may be familiar with him for his directing credits with the band. Will was managing Rick’s previous band Vasudo at the time I believe. I had begun taking my artwork more seriously and was putting my stuff out there. I had just discovered the wonders of digital art and programs like photoshop, and one thing led to another.

The first project that I did for Goose was a sticker design with a white Goose in the shape of a G, I believe. Shortly after that was a poster for Goosemas 2015 at Factory Underground that was digitally printed at 11” x 17” – before I even knew what screenprinted gig posters were. There was a lot of literal Goose imagery back then! Its been truly wild seeing them explode over the last few years.

To be able to grow as an artist alongside them is a real pleasure! I’m so happy for those guys - they’ve worked their tails off and deserve all of the success that’s come to them and more. It’s also a little bit of anxiety on my end - making artwork for one of the hottest bands in the Jam scene - and the scrutiny that comes with that. I know how passionate the fanbase is and that comes with increased pressure at times.

But, I just try to keep my head down, do my thing and not think too much about how big they’ve become or any of that.

A lot of your work is iconic and has become synonymous with the band’s history – walk us through the creation and process of some of your most significant contributions thus far:

Fall 2018 poster (affectionately known as the “Goose peen” online)

Goosemas 2018 and 2019 posters Fall 2019 poster (which also became the album art of “Alive and Well”)

Shenanigans 2021 Summer Tour poster That’s really cool to hear, thank you!

The naturalism is born from the area in which I live and grew up: the woods, mountains, and seacoast of New Hampshire. There is so much natural inspiration all around me and I’m constantly taking that in, consciously and subconsciously and expressing that in my artwork. Plus that stuff is just fun to draw – mushrooms, twisting roots, lumpy forms, organic shapes – it’s forgiving!

As for Influences and art styles, I honestly admire many of the artists in the current gig poster scene. Dave Kloc is a favorite, his work shares some DNA with mine albeit at a much higher level. Max Mahn (Twin Home prints) is an inspiration as well. Drew Millward, Leslie Herman, Dan Black, to name a few more. I’ve been following these guys for years and then to see them doing work for Goose has been a real head trip, which just speaks to the band’s rise and the trajectory they have been on.

As for more traditional influences I would throw out Maurice Sendak, Arthur Rackham and the portrait work of Alice Neel.

VOL. 7 - FALL 2022

Crystal Frog (In-Progress Artwork)| Photo Credit: Jonny Lovering

www.elgoosetimes.com

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Fall Tour 2018 aka “The Goose Peen” (Chuckles) I’m glad its looked at with affection, as it should be...There are two stories behind that print...The more interesting one probably isn’t fit for print in a respectable publication such as this. The boring version is that I drew a goose that looked like a dick and nobody noticed or said anything about it. I’ll let fans come up with their own theories though.

Concept Art

In-Progress Final Drawing

Goosemas 2018 - Cantiki This poster was my first attempt at hand printing a run myself. I’m happy with the result, but the discerning eye could pick up on some imperfections. I loved the theme for this one - the concept came together really nicely and something about how that numeral V just sits in the center of the amp really works. I have this one framed on my wall.

“Tiki Exploration” Concept Art

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Final Concept Art

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Fall 2019 Poster (and the Alive and Well album cover) This poster and the subsequent Alive and Well cover art was inspired by the band’s May 2019 Domefest set at Marvin’s Mountaintop.

The rock formation is actually a native West Virginia geographical formation. I remember getting briefed on the mood of that show, and how the full moon came up over the course of the night. It sounded like it was a defining and special moment for everybody there. I hope the art captured a little bit of that feeling.

Final Concept Art

Concept Art

Goosemas 2019 - Wall Street Theater The Goosemas Mansion is based off of the Lockwood-Mathews mansion in Norwalk. A national historic site and museum. I pitched the idea and the band liked the vibe so we went with it. I wanted to do something a little different than previous years and the angles and architectural details presented a lot of fun challenge and opportunity. The 2 colorways have totally different moods which was fun as well.

Unused Concepts With the Final Concept Art

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www.elgoosetimes.com

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Shenanigans 2021 Summer Tour Poster The wave/tsunami theme was one that was very close to Rick personally. The character in the chair waiting for the impending crash of the wave was my interpretation of an old promo flyer one of Rick’s buddies had made for a show way back in his high school years I believe. So that was something they felt strongly about working into the art. This was one of my more ambitious compositions, and I had a blast with it probably the piece I am the most proud of, if I had to choose. This was a bit of a departure from the pen and ink style I am asked to do for them often, but its fun to switch it up and do clean vector work sometimes.

Final Concept Art

Wave Explorations

Walk us through how the collaborative process has worked so far with Goose do you pitch ideas to the band and management, or do they have specific ideas in mind when it comes to poster/ promotional material?

Are there any projects you’re currently working on that you’re passionate about?

As a long-time fan, I’m looking forward to seeing what’s next! Are there any more Goose collaborations in the works that you can speak about?

Goose is great to work with! In the beginning, it was usually the band reaching out directly - usually Rick or Peter. More recently, it's been management, but in either case, they are really artist friendly and great to work with.

A few Goose related things in the works - so keep an eye out for those down the road!

I’m hoping to be able to add to the live release cover series as time goes on. A tee design here and there maybe. I’m happy to be a small part of the overall Goose story.

I’ll continue bringing my best to each project and hope the fans can appreciate what I put into each one.

Most of the time they let me run wild and I'll pitch concepts that I think work for whatever type of project we are talking about. Often they will reference past pieces that I've done for them, and say "we want something in this style" and I'll take it from there. Sometimes they have a theme already in mind, like in the case of the Goosemas V art. That was very clearly Luau/tiki bar themed, so I worked within that criteria, but other times, like in the case of the Goosemas VI art there was no theme yet, and the concept I came up with helped them land on the haunted mansion vibe. It really depends on the project.

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Thank you for your time - I’m sure I speak for a lot of fans that I sincerely appreciate and admire your art in general, in addition to all of your contributions to Goose so far! Tedheads - scan the QR code below to access additional content not seen in this article!

Fall 2018 Fall Tour Poster aka “Goose Peen” (Unused Concept Artwork)| Photo Credit: Jonny Lovering

www.elgoosetimes.com

VOL. 7 - FALL 2022

Travelers Beside the Fire’s Glow will take one Goose song (or a set of related songs) and weave a narrative through the lyrics to extend the imagery into a short story. EGT readers will have the chance to shape the ending of these brief tales by voting on an ending, which will be completed in the subsequent EGT issue.

“Do you hear that?” she asked Evander, bringing up her hood to cover the swirling mass of elflocks that floated around her head. “It’s louder than before.” A quick glance confirmed what Evander already knew. They had to leave. Now. Enough standing still.

That night, which felt so long ago now, Evander had secretly stolen away when everyone was sleeping; they all still had proper blankets and shelter back then. At some point in the middle of a deep dream of days gone by, Evander heard a voice on the wind. He got up and started walking toward it.

“Get your things; it’s time to go.”

Not that they had much with them; their possessions had all but fallen apart or been lost along the way. “If we don’t get moving now, I’m not sure we’ll have another chance.”

They had been through so much already. The last 10 years had seen an increasing wave of travelers streaming from one side of the world to another, chasing the light that never went out, but which also couldn’t be easily located. They had almost gotten used to it; being chased by the darkness. Evander knew in his heart that this was a part of some larger plan. ‘We aren’t done,’ he said to himself. ‘This has all been a warmup.’

As the world had gotten progressively darker, the ever-evasive light was the only thing that kept Evander hopeful for the future. Moving around the globe had become his only goal; and that of his unlikely group of survivors.

But in the last few months, another concern had emerged; a howling now accompanied the wind just beyond the edge of the known landscape. People who went toward the wind usually didn’t come back.

As their numbers had dwindled, populations collapsing and reforming across the globe, the winds continued, just always out of reach.

No one knew what was on the other side of the darkness, but they could all feel that its breath was closer now, somewhere in the dark, howling out.

Evander shuffled to his feet, feeling the miles they had walked. He reached for the one thing that had remained, even after all of his other possessions had faded into the void. A half broken flight feather he had found a few years ago just as the darkness had begun to engulf them all, when that murkiness was only a small speck on the horizon.

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The sound became louder as he approached what looked like the remains of a recent campfire. Evander knew that couldn’t be possible. Even back then, very few went toward the darkness, and came back.

Evander knew every person in their group.

This fire came from someone, and somewhere else.

The embers were still warm, and in the middle of that swirling haze was the feather; an asymmetrically shaped remex wing feather, to be exact. Evander picked it up and had held onto it ever since. For some reason, it gave him peace. Sometimes he even imagined the bird it had lived on, once upon a time. No one saw birds anymore.

Coming back to the present moment, Evander was reminded of the task waiting for him. Recently, the few people who remained out of their once massive assembled multitude had pushed for, and won, a vote to set sail for what used to be the Nile Delta, and the site of the ancient Egyptian city of Heliopolis, where it is said the Greeks inherited the love of wisdom.

These Heliopolians, as they had taken to calling themselves, were convinced that the light they saw came shining from that exact spot, where philosophy was not solely concerned with speculation and reflection on life and nature, but was also preoccupied with love, intense desire and strong enthusiasm in the investigation of causes underlying reality.

It was said that the Greeks sent their greatest thinkers to Egypt to study and learn. The Heliopians felt that this land would provide the knowledge of what they needed to do to survive. Evander knew they couldn’t stay where they were, so makeshift boats had been created, what little supplies they had cobbled together, and it was time to set sail on the heels of the ever-approaching night.

Evander couldn’t shake the feeling that this was a mistake.

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He couldn’t explain it, but ever since he had found the feather, something had been calling him in a different direction: Back, to the winds and the encroaching void. His dreams had shown him that there was a way to survive it, and that there was a space beyond the desolation, where they could start over. The light was a ploy, meant to distract them. As one of the de facto leaders of the group, Evander couldn’t let everyone get into those boats and sail toward what he felt was their demise at the apex of earth and sky. Approaching the other members of their group, Evander worked up the nerve to tell them why they couldn’t make the journey as planned. He remembered past conversations-turned-arguments where he hadn’t always shown respect for their opinions. ‘Give me one more chance,’ he thought to himself.

Evander felt as though three options were open to him: He could be supported, ignored, or cast off. It wasn’t great odds, but Evander had been taught to be proud. He walked into the circle where the last preparations were being made and began.

“We’re on borrowed time, but I need to ask for your trust.”

Which way will Evander’s quest take him?

Vote for your favorite option below by scanning the QR code and voting on our survey!

Option 1: Evander manages to get the attention of the other decision-makers in the group, and enough of them are convinced that he is right; that following the light for thousands of miles on the open seas is not only dangerous, but also a ploy to weaken their already lackluster strength. Evander is given the go-ahead to create a scouting party to walk into the darkness. He begins summoning the quickest and most capable in their midst to join him; they leave today.

Option 2: The group is not moved by Evander’s pleas, and reconfirms the commitment to sailing south toward the Nile Delta. Evander is allowed to come, and resigns his fate to whichever gods remain that he will survive.

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We started seeking out people in our area who were working in the industry, but we really didn't know anybody going into it.”

Chicks

with Lisa Governa

Marta Makes the Moves There is one thing I want you to take away from what you’re about to read — the immense amount of time, love, dedication, passion and hard work that Marta Goedde pours into her role as Production Manager is unfathomable. This is not her way of life; happily and proudly, it is her entire life. She is an inspirational class act and grade A Goose Chick. Though this may only scratch the surface, I hope you are instilled with a deep sense of gratitude and appreciation for Marta and the entire Goose crew.

May the lesson begin.

Marta and her brother, Andrew, chose to use the Goedde family name when establishing their business as an homage to the people who have supported them from day one. “The reason why I'm here today is because of my parents. They were a huge influence on my love for music. I really owe so much to them. They had us in piano and violin lessons. I grew up listening to my mom playing Carole King records and my dad listening to The Allman Brothers. I really looked up to my older sister, Alexis. She heavily influenced my music interests too. As I grew older, I started finding my own love for music. I would like to think that everyone who works in the music industry is there because they were impacted by music. I'm so lucky to be able to do what I do.”

Marta graduated from Indiana University in 2015. She began working with a media finance magazine while Andrew was making good money in a sales job. They were successful, but undeniably unfulfilled. “I'll always remember when Andrew called me and said, ‘I want to do an equipment rental company but I have no idea what I'm doing in terms of the administrative business side.’” Marta decided to apply to a grad school program at the University of Indiana Kelley School of Business to help bring their dreams to fruition. Only 38% of applicants are typically accepted, and you better believe this amazing lady was one of them.

Armed with business knowledge and emphatic passion, they established their LLC, Goedde Sound and Light, in 2017. Their first official show was at Kilroy’s Sports Bar in Bloomington, IN. “We were so freaking excited! The bar had no speakers. There was just a stage. They asked us to bring two small speakers, but we brought everything we owned at that point. We had pretty decent sized speakers and set up all the lighting.

They were blown out of the water. We were getting paid practically nothing, but we didn’t care. We were just so stoked to be able to set up our stuff for an actual event. Ever since then, we've always gone above and beyond to put on the best production, even more than we were contracted to provide for a show. Being so impacted by live music, one of the best things about what we do, is hearing people’s reaction after a show. There's so much that goes into it, but it makes it so worth it to know that we can bring that joy to other people.”

After a year of bringing epic production to the local Indy music scene, their friend and show buddy, Danny McDonald, was added to the crew.

“He was really into it too. He offered to help us whenever we needed it, and he's been with us every day since. He is the glue for the whole crew. Things would not happen day in and day out if Danny wasn’t there. He can fix anything. He's so smart. He's been Andrew’s lead lighting tech since the beginning.” Danny helps create the lighting design for tour and has built several components to the rig that hold the lights.

With Marta holding down the business, Andrew and Danny honed their skills and continued to expand the rig. GSL was gaining momentum and establishing themselves as a production force in the Midwest. They landed their first touring gig with Dizgo. This is the band responsible for GSL’s romantic, cosmically ironic, introduction to Goose. “It was Valentine’s Day at Woodlands Tavern in 2018. Goose was opening for Dizgo.

Before the show, Andrew said, ‘Hey, I'm here so I can run for you guys too.’ Peter said, ‘Really?

That'd be awesome!’ Afterwards, we were talking to the guys, and they were so intrigued that we owned our own lights and were touring with a band like Dizgo. We kept in touch with them.”

Fast forward to summer 2018, the universe reinforces fate, bringing Goose and GSL together for Resonance.

“The people who put on Resonance hit us up to be the equipment supplier vendors for the event VIP stage. Goose played two sets that weekend, late night and VIP, so we ran into them again.”

Shortly after that, Goose made the first move and asked Andrew to come on tour. Marta stayed home and continued to run the business and produce shows with Danny. “But I'll never forget Andrew calling me at the end of a night with Goose, and it sounded so amazing! I was working other shows here, but I was always thinking it would be so cool to tour with them.”

With confirmation the attraction was mutual, Goose and GSL entered their official relationship, a match made in jam band heaven.

It’s been incredible watching them grow together! “It’s been challenging, but in the best way. This whole group has been so motivated.

Every time something bigger and better would happen for Goose, we were stoked to level up and deliver the production.”

Marta and Andrew were always close growing up.

Their yin and yang relationship created a harmonic business partnership. “He has such a creative mind and so much motivation for production. I think one of the reasons why we work so well together is because I love his ideas, and I figure out the logistics and map that part out. I've always been the one thinking through the details so we can execute his vision…

During her freshman year of college, she went to her first music festival. “I went to Electric Forest for the first time and absolutely fell in love with it.

I already loved music, but when you go to your first festival, it just hits you like a ton of bricks.

You're forever changed.” Driving home from college, she told Andrew about her first Forest, “I was on cloud nine. He did go to the festival the following year. After that, we would see every live music show we could. Then Andrew started getting into lighting and that's when we both decided we would love to get into all this.”

Freshly inspired by the incredible production value of Electric Forest, Marta and Andrew started buying and renting equipment to experiment with in their mom’s garage.

“Andrew and I learned it all together. I recently found this lighting diagram that I drew out when we finally figured out how to wire lighting. We were such nerds about it. We'd read everything we could. When we went to shows, we would totally geek out on the gear and the venue and then go home and read more.

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Danny McDonald, Marta and Andrew Goedde | Photo Credit: Adam Berta

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Having that sibling trust in a crew member is huge. Anytime I have a random thought about something, I can call him to just talk and nerd out about it. I mean, we went from figuring shit out in our mom’s garage to being at Radio City Music Hall this year. Moments like that are how you get over the fact that you're working with your brother every day.”

Marta’s day to day operational planning begins months before the actual show. She works closely with Tour Manager and fellow bad ass Goose Chick, Sam King, to iron out all the details. “We get the venue's contact information from our managers or agents who are so great.

They do so much for us and are just so awesome. So we reach out to start what's called advancing. In the advanced process, advancing where we talk with the venue about tech specs.

We figure out what they have in house, let them know what we’re touring with, what the lighting rig like looks like, and what we need audio wise.

If they have video walls, we talk about logistics of how we can get our video up there. Then we hit on the business side — if we’ll need help unloading the truck, working with budgeting and sorting out costs for everything that goes into putting on every show. It is a business at the end of the day so that's important.”

Then comes show day. Hours before the rail riders and poster collectors begin lining up, Marta is already hard at work. “Sam King and I do a walkthrough with the venue. They'll show us the green room and the stage. Then Sam, Andrew, Danny and I unload lighting from the truck before the band gear, because lighting load in can take hours. Then we start on rigging and hanging lights . An hour or two later, the rest of the crew will start loading in all the band gear and setting all that up. Once it's time for load in, everything comes off the truck and rigging begins. "Lighting load in can take hours and takes up the whole stage so that gets done first.

Then an hour or two later the rest of the crew will start loading in audio & all of the band gear. I set up all the cameras and the streaming equipment. I make sure that everything is absolutely perfect by soundcheck. I always say soundcheck is basically a full show practice… the band has worked so hard to make their sound exactly what they want it to be for every show, so we make it all happen.”

Once soundcheck is on, Marta shifts her focus to the livestream. “I talk with LiveXLive from soundcheck through the end of the show, just checking in making sure everything's good because we send our program feed from the cameras to them from our video world on site at the shows. After soundcheck, we clean everything up, get all the cases off stage and clean everything up and get ready for the show (Marta pauses and takes a deep breath)… The funniest thing is that's not even my whole day, but I love how I just took a breath there. When the guys start, that's when I can actually take a breath even though I'm always on standby on stage just in case anything happens or anybody needs anything at all.” Approximately 10 hours into her work day, Marta begins prepping for an efficient load out.

“Halfway through second set, I'll start getting ready for load out. It's important for us to get out of venues in a timely manner so we can get sleep. I work closely with our new Stage Manager and backline tech, Padge, and he's amazing! Our manager, Ben Baruch, has known him for years, because he’s worked in the industry for over a decade.

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Marta on side-stage during one of Goose’s shows at the Chrysalis at the Merriweather Post Pavilion | Photo Credit: Adam Berta

So when we start loading out, I pack up the cameras and get all the cases going out to the truck in the right order because we pack the truck the same way every night. My job is to make sure everything goes smoothly from the time the truck arrives until the end of the night when we shut the truck doors.”

But wait, there’s more! Arguably Marta’s biggest contribution directly impacting fans is bringing epic production straight to our living rooms via live stream. Her innovation began during Bingo Tour. “I had been doing multi camera recording and editing for Dizgo, and before COVID, Peter was doing it for Goose. He called Andrew and I and pitched the Bingo Tour idea and asked, ‘Is there a way that we can set up a live stream? Do you know what we need?’ I’m such a nerd and have always been but I didn't know.” Marta went to work researching the equipment they’d need to make Bingo Tour happen. Costs were adding up, and without live music, money wasn’t coming in. She had to get scrappy. “I started selling my clothes so we could buy or rent everything we needed.”

As always, Marta made it happen. With all the gear they needed secured, they began preparing for what became one of the most momentous performances for Goose. “I was so nervous because it wasn't like a live show. The show was live streamed and that was it for the fans so it had to go perfectly. Days before Bingo Tour actually started, we were setting up while the band was practicing. Management got us in with LiveXLive, and we did test streams to make sure that everything was sending to them… it was so much fun! Being able to do this for everybody during COVID was so important to us. People would leave comments or write us and say how they've always loved music and COVID really hurt them. Not being able to see live music was devastating to them and these live streams were the highlight of their life, pulling them through.

That made our hearts smile. To be able to do that for people, even when they're not at the show, it's just so awesome. We're so honored to be able to make people feel like that even if they aren’t there.” After a wildly successful live stream event, Goose wanted to continue provide a couch tour option through COVID and beyond.

“Peter said, ‘I would love to bring all this gear on the road and live stream every single show.’ That was the start of me with touring with Goose!”

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Plenty of bands put out live streams, but few, if any, are doing it for every show. Marta pioneered a road ready setup conducive to tour life. “I figured out how we could bring the cameras and get them to connect to the switcher. I eventually built this huge road case with everything built right into it. We open up the stream case, set up the camp, and run the cables. Then it's pretty much plug and play! There’s a transmitter that sends Jon's voice to Danny's in a wireless pack.

We have a PC built into it that sends the feed to LiveXLive… It took a lot of work to figure out how to do live streaming in the first place, but I spent weeks before tour really understanding everything that we needed to make it work and record it perfectly. When venues see what we travel with, they’ve never seen anything like it.”

Marta calls her control console "video world.” If you’ve ever seen a Goose show or live stream, you know exactly what she’s talking about.

“We don't always use video walls. Sometimes small venues have video walls and we choose not to put the program up on it. If it's not a huge venue where people are so far back that they can't see very well, then we just want people to enjoy the live show. If it’s big enough to where it will help people in the back see better, then we love to put it up there.”

Ultimately, Marta gives us a unique opportunity to connect with the band. “Growing up when I started going to shows, you couldn't go on YouTube and a watch a show because it just didn't exist. I wanted to look up this STS9 show that I was at last year and loved, but I couldn’t find it. Growing up I loved watching videos of live music on TV and YouTube. Once I started going to shows I remember always wanting to relive it later but you couldn't find a lot at the time because it just didn't exist for bands I was going to see at the time. There really wasn't a ton of content for bands, especially Goose’s size. When I'm home, I love drinking wine and listening and watching live music performances. To be able to do that for an up and coming band was so cool.

They wanted to try it out, and they gave me an opportunity. We were figuring it out all together, and once we did, we just ran with it.”

Not only does Marta make streaming possible, the quality of the production is unmatched.

Stylistically, the way everything is shot makes it feel so personal.

Page Nine

They are able to capture every nuance, zoom in at the perfect moment in a solo, and show us incredible vantage points we’d never see otherwise. “I think it comes across that way to people at home because of Danny. He is so talented with the camera. That together with Jon knowing everything about the music is just magic.”

For the Greek Theater in LA, we ran a hard line from their router to our computer, and they had great internet, like amazingly high speed! It was so weird it dropped maybe two times. We can't control that live battle. I hate when it happens. It breaks our heart. It's really hard after the show to tell Peter. Nobody could have predicted it.

It just happened.”

Jon “Coach” Lombardi essentially orchestrates what we see on the stream. Surprisingly, absolutely none of it is rehearsed. “It's 100% improv. Coach is the one that actually does the switching. There's nothing forced. Danny knows the music unbelievably well. Jon has a headset on and is constantly talking to Danny throughout the show. He tells Danny, ‘Trevor's about to have a bass solo so go over there and I'll count you down. All right, I'm gonna switch on 3, 2, 1 and you're live. Okay, on 3, 2, 1 I'm going to front of house’, and then Danny will go there. Danny doesn't have a way to talk back to Jon, but he'll take the initiative to move, like this would be a good shot of Ben right now… he takes the chance to go get something that maybe Jon wouldn't have thought of because he's actually the one out there with the camera seeing things from a different perspective. It’s totally organic.”

The entire band is invested in the stream experience for fans, but Peter’s involvement is above and beyond. He’s acknowledged the fans tuning in from home at multiple shows and even apologized once after he learned the stream went down mid set. “The other day he had a couple of questions about some video ideas for a big show we have coming up, and it turned into an hour long phone conversation about all things production. He wants to level everything up and I’m the same way. It’s amazing how much he cares. As soon as the show is over, he starts working on getting soundboards ready to go up.

He doesn't stop.”

Though Jon’s role has evolved with the growth of Goose, Marta loves and appreciates his contributions that have become a staple for the band and crew. “Before the guys come out, I man the switcher because he always walks them up and goes out to pump everyone up. I've never seen anybody with that kind of energy. Coach is the reason we're all here. He has been the backbone of everything Goose since they started. He’s so proud of how far everything's come. I thank him for being so involved and bringing this all to fruition back in the day. It’s been so amazing, and I wouldn't be here without him. He writes the setlist out every night. He's always working with Rick on what we feel like playing that night. The guys want him involved and it’s been that way since the beginning. It's cool to see how that never changes…he’s integral to the team feeling their best. He always reminds us no matter what scale the show is, just go out there and do what we always do. He says, ‘We got 50 more years of this together!

This is the best team ever and I love you guys.

Let's go out there and crush it!’”

Marta sets up her video world on the sweet side of the stage. Peter can often see the camera feeds in his periphery while he’s performing stage next to the band's monitor world. "There have been a few shows where we may have had issues with the internet or something going on with the stream audio and Peter can't help but stay involved even when they go on stage. The shows that's happened at, he's looked at me in between songs with his eyebrows raised like 'we good?' I'm just thinking oh my gosh, Peter stop worrying focus on the show! (Marta’s laughing) That show at the Greek he could barely see the video wall from the stage. After the show, he told Jon, ‘You were really great tonight with the video switching!’ I said ‘Seriously, you're amazing Peter! You're up there playing the whole time and also can notice stuff like that out of the corner of your eye.’”

Even if the show isn’t streaming, the cameras are on and audio is recorded. Every single show is captured in some way. “We've literally recorded everything and saved it. The archives are crazy. We record multiple copies of the video or audio. Every show is definitely bulletproof. We didn't always have the means to record on multiple things.

It's a huge bummer when a computer messes up and we lose a recording. We learned early on by making those mistakes how not to.”

Other than dropping soundboards and YouTube releases, what’s happening with all of this content? Is a documentary imminent? “The reason why it's all archived is for the possibility of maybe one day doing a documentary. We don't really know where this is gonna go, and it’s important to us to have all of it. As of now, there's no talk about a documentary, but when the time comes, we'll have way more than enough content… we always dreamed we were gonna be big one day.”

For a band who’s constantly outdoing themselves show after show, one may wonder if Goose reflects on these recordings akin to a football team reviewing plays. Does the band watch or listen to the show and critique their performance? “They're very present on show day. When we first started videoing every show, we would all get on the bus and watch it and rewatch it because we were like, this is so good! The crew watched it every night after the show until we got too tired on the road, but the band definitely doesn't use it in that sense.

Even the crew doesn’t have to do that anymore.

We’ve done so many shows together and just got in a groove.” Technical difficulties are rare, but not exclusive to streams. There’s been a few instances where Marta had to jump in and save the day during a live show. Perhaps the most notable was the smoking speaker from their first run in Montana at the Pine Creek Lodge in July 2021. “Rick’s girlfriend, Carina, ran up to me and says, ‘There's smoke coming out of the speaker.’ And I’m like Oh. My. God! We had to end that set early because the band saw us taking apart the speaker to see what was going on.”

Recently during the Chrysalis run, half of the lighting on the stage went out. “We wear in-ear monitor headphones the whole show and use mics to communicate for crew talk back. detail that Danny and I will need to fix or he'll get on the mic and say 'Goedde for Marta, can you do some haze tech?'

This entire operation is incredible, but there’s one pesky detail that determines if this epic production can make it to our TV: the interweb.

During advancing, Marta asks the venue to do a speed test to see if the WiFi checks out. “It doesn't take absolutely amazing internet to be able to stream but we need the bare minimum.

Usually the bigger venues are totally adequate.

The smaller places like Scoot Inn in Austin, TX last year have borderline internet to where we push the stream, but it might be risky.”

They rely on their streaming partner, LiveXLive, for support in those situations. “They sent us an internet backpack. It’s basically mobile WiFi we just plug in and power up. Each tour leg we end up using the backpack like at least two or three times. I love LXL. Ever since we starting working with them on Bingo Tour, it’s been awesome!”

As we all know, despite all of their testing, planning, and immense efforts, shit happens.

“If a stream ever goes down, it's really nobody's fault. That's just the way it is sometimes.

Marta with the production crew | Photo Credit: Adam Berta

Page Ten

www.elgoosetimes.com

VOL. 7 - FALL 2022

which basically means I need to redirect the fans in front of the haze machines in order to perfectly cover the stage with haze. That's just an example, there's other things that happen that make our crew talk back essential if an issue occurs on stage and then there's times someone will just hop on their mic and say 'that was fire' or something in between songs like that.”

Their communication and execution makes glitches like these brief and barely noticeable to fans. An insane amount of work goes into maintaining all of the crew and band equipment to prevent these kinds of things from happening.

There’s backup gear and plan B’s galore to keep the show going in the face of a technical challenge.

“Sometimes Goedde will have to replace a bulb in a light, but we carry extras in case that ever happens. Rick has his big amp and his original smaller amp as his backup now. Both of them had an issue at one point on this last tour. At the end of Red Rocks, his primary amp started glitching, so we switched it out before the encore. Then the smaller amp was having a similar issue but it wasn't nearly as bad. The next multiple shows we were sourcing for another amp to be brought in for him. There's so many moving parts to make it all work, but as a crew, we're such a great team. After doing it for a while, it's like riding a bike and now we just know to always check on those things.”

Let’s nerd out for a bit on some of the equipment in Marta’s rig. Disclaimer: This is some serious techy stuff that may go over the average reader’s head. That being said, Goose fans ain’t average, so if you’re here, read on. I can’t convey the excitement in Marta’s voice as we dove into her gear. This is her passion and she lives and breathes it. “We upgraded cameras two years ago to level up the video quality, but it was really important to me that we keep them low profile enough to have them on stage without interfering with the live experience. They're called Panasonic BGH1’s. The tripods we use are actually extremely heavy duty microphone stands. The cameras screw on to those so they don't shake because they're really heavy. All the cameras are powered by a Cat 5 line and transfer video over an SDI which is basically a video cable that’s better than HDMI. That all runs into the back of our video world. Then that goes into the Blackmagic Design ATEM 1 M/E Advanced Panel switcher. The switcher has a multiview capability that goes to the computer screen so Jon can see all the different angles. We get the stream audio from the monitor console and run XLR’s into the switcher. The output for the actual program feed goes into two different things.

Number one is a device we can put an SD card in to record the whole thing. Number two is the PC that we built in the video case. That’s where we open up the streaming software we use, vMix. We transmit from that software to LXL. They give me the SRT configuration which are numbers I have to type in before we can transmit. Then I hit ‘start sending’ and that's how they get our feed.”

Please take this moment to pause and reflect on the pure badassery of this woman.

“If say somehow Trevor's out of focus, I have control of every camera from that computer and can correct it. We also record every individual camera feed.

There's 10 cameras total — 8 static cameras on stage, one static camera in front of house, and then Danny's gimbal camera which is completely wireless. It's the same exact camera as the others but a cable runs into a wireless transmitter that he has screwed onto his gimbal. That sends his feed to our video world and then it shows up as a source.”

VOL. 7 - FALL 2022

Marta with one of the Goedde equipment trailers | Photo Credit: Andrew Goedde One front of house camera and one camera for Danny leaves 8 for the band. “There’s one on Rick and one on Trevor. There’s one on Peter in front of him for when he's playing guitar and one behind him for keys. Jeff and Ben have two angles each. After soundcheck a couple of the guys will walk over to video world and check out their angles. Sometimes one will ask, ‘Can I check on my angle today? I think it'd be good to move it over a little bit this way.’ Not everybody does that, but I love when they do because I want to make sure it’s the best it can be. I love the feedback! It's always great to get a view from somebody else's perspective.”

Marta often doesn’t get to enjoy the production she works so tirelessly to give us, but she shared a few highlights from her tenure with Goose.

In no particular order: “Spirit of the Dark Horse” (7/3/21) The Pines Eau Claire, WI “Full body goosebumps. I’m not kidding I remember exactly where I was for that. I was standing next to Matt Kolinsky (Goose manager) on Trevor side. It was absolutely unbelievable! I think that’s why they released it.”

“Moby” (5/8/21) The Caverns Pelham, TN “This show was on Goedde's birthday and he asked the band if they would play Moby for him.

During soundcheck, they said ‘So are we gonna play “Moby” tonight?’ Rick said, Yeah, let's do it!’ and someone else said, ‘Do we practice it?’ Rick goes, ‘I don't think we can practice it guys. I think we just gotta do it tonight.’ When they played it, that was the first time they've played it since they soundchecked with it in Mexico for Dead & Co. It's just amazing how they're able to do shit like that on the fly.”

www.elgoosetimes.com

Goosemas (12/19/20) Rockefeller Center “Rockefeller was just surreal. I was gimbling that night. By no means am I a gimbal operator but they said, ‘You can crush it!’ I was happy to do anything to help pull something like that off. Jon walking them out in their snow suits was a moment for sure.”

CBS Morning Show (6/25/22) Saturday Morning Sessions “They obviously have amazing cameras and equipment. Goedde worked with the CBS crew setting up fixtures on the ground while we set up the band gear. Then we got to watch the whole thing! We could see the director switching. That was a fun day! We were really tired, but as exhausting as touring is, once they start playing, it sinks in and it's just like ‘hell yeah! This is why we do it.’”

I know I said no particular order, but I had to save the best for last:

Red Rocks (8/18/22) Morrison, CO “I woke up to a text from my boyfriend, Matt, that morning. He said, ‘I know you're going to be busy all day. I wanted to catch you before you got in the thick of it and say take a moment today to realize how far you've come. I'm so proud of you!’

Honestly, when the guys first went on, I was tearful. That moment was just so crazy. You think about how proud you are of the band and the whole team, but at the same time, you think about how hard we worked to get there. It’s the best feeling in the world… They can't even believe that all this is happening… they've been so great to work with over the years. They deserve every bit of the success.”

And so do you, Marta.

Page Eleven

Scan our QR code for additional music theory & expanded guitar tablature/sheet music

So Ready

(Intro/vamp)

Verse 1

# "# !

A-

!

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!

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(G)

Baby on the way

!

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!

!

!

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!

!

E-

spine

Verse 2 A-

( B-" )

(G)

You know I saw that eye

E-

mind

A-

Chorus F

!

F

( B-" )

G

So ready for this

Take it slow

!

!

I was melting like ice

!

!

!

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!

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!!

!

!

!

!

F

A-

I'm burning

!

!

C

A → B →

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!

C → D →

On the back of my

!

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(G)

!

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Where we goin’

C

A → B →

In the corner of the

light

D

It’s goin’ down

F

On the floor

G

baby you

F

know

tonight?

tonight

!

(F)

(G)

C → B →

C → D →

Playing games with my

C → B →

!

!

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A-

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You know

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G

F

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E"

A-

G

G

That I’m coming back for more

Verses 3 + 4

Chorus

Interlude/Solo - 24 measures

(But this time play C in the 3rd mesaure, and E7 instead of F in the fourth measure)

(But this time play C in the 3rd measure, and E7 instead of F in the fourth measure)

Page Twelve

!

(F)

!

D

Intro - 8 measures

Chorus X2

!

S∆tellite intro

www.elgoosetimes.com

_> Jam Section VOL. 7 - FALL 2022

VOL. 7 - FALL 2022

www.elgoosetimes.com

Page Thirteen

Same Old with Jon Caruso

Kris Yunker Musician (Organist & Keyboardist)

As we continue our journey exploring the history, lore and important figures that surround this band we all love, we had the opportunity to look back at one of Goose’s formative years with Kris Yunker.

Kris is an extremely talented organist and keyboardist who has played in a variety of bands for well over a decade - including Goose: he played the keys from late-2016 to 2017 (prior to Peter Anspach joining the band.) His unique perspective provides another piece to the overall puzzle to help us fans understand the overall story and evolution of the band. In addition to talking about his time in Goose, I talk with him a little bit about his background (including his love of vintage gear) past and upcoming musical projects.

It’s what comes the most natural and easiest to me. With that being said though it’s been a learning struggle to figure out how to make it work and survive in a capitalist-driven society.

I’ve had to have various side hustles over the years, but my passion for music has always stayed strong. I’m finally to the point where music is my full time gig. It’s been quite a journey with some fantastic moments.

Talk to us about your musical journey up to this point: from your beginnings in Fort Wayne to today. After reading your bio on your website, I noticed that music was a prominent part of your youth - as your Mom started to teach you piano when you were four and your Dad was a jazz player. It must have been amazing having such a musical family growing up!

I got inspired to work on vintage gear out of the necessity of keeping the instruments working. It started off with a Fender Rhodes, which my brother gave to me when I was in high school. It needed repair and I didn’t know anyone in the area who could do that - nor did I have a budget for that - so I just went on the internet and found The Rhodes Super Site by James Garfield (www.fenderrhodes.com) and taught myself. I took it apart, put it back together again, and then it just continued from there with every instrument I picked up after that.

Page Fourteen

I got a call from Rick - I’d never met him before - he told me he’d seen my play at a funk night at BRYAC, that he was really into my playing and asked if I wanted to join Goose at the time. It sounded like a lot of fun - I was in between gigs and going through a divorce - so I was ready for a change. Once I met the guys and played music with them, I quickly realized they were really great people. They were very talented and going somewhere. I was excited to play with them. I had a lot of fun with those guys and I miss it. I remember Rick caring a lot about the vocals. We used to do vocal exercises on the way to gigs. I loved how seriously he took the music.

They had this interesting obsession with a bunch of actors, one of them in particular was Kevin Costner. We played a Halloween show where we each dressed up as a Kevin Costner character - except for Ben who really wanted to be a lobster. That was pretty ridiculous. I remember having a lot of fun building out the bunks in the trailer with my girlfriend, Kelly. I often wonder if they’re still there or what they’re used for at this point.

The el Goose Times interview with

It was great. There was a lot of music in the house when I was growing up. My Dad listened to a lot of jazz and big band music and my Mom listened to and played a lot of Broadway show-tunes - and that had a big influence on my ears. My brother also played piano, guitar and trumpet, so music was like a second language around the house for us. I feel grateful to have grown up around that.

Music has always been a pinpoint focus for my whole life.

How did your paths cross with Goose? From your bio, it looks like you toured with them for a year in 2017. Do you have any stories that you can share?

Another thing that really stood out in my research was that you work on vintage keyboards in your spare time, in addition to providing music lessons. Would you say that these are inspired by your musical journey as a whole so far, especially when taking into account your childhood and fascination for vintage gear?

Part of the reason I’m so drawn to these instruments is because they’re living and breathing. Like an old car, you can get into them and fix them - and there are physical parts that are working together to make the sound. It provides a deeper connection to the instrument for me when I play it.

www.elgoosetimes.com

Other than Goose, what other bands and/or projects have you been involved with? Are there any current projects you’re really excited about that you’re willing to share with us?

I just had a couple of releases: one was under my name called “To Be Fair” and it features Karl Denson, Alan Evans, Will Bernard, Mike Dillon, Brian Thomas and Alex Lee-Clark. The other is “Bounce House” by my main band, On The Spot Trio with Danny Mayer (Star Kitchen), which has been together since 2006. It’s gone through various drummers over the years, and our newest drummer, Andrew Klein from Big Mean Sound Machine has been an amazing new addition. It feels like the band is firing on all cylinders and going in new directions.

In addition, moving to Brattleboro has brought me closer to Alan Evans (Soulive) at Iron Wax Studios and we’ve been working on multiple projects, including a new album for our band The 7 Day Weekend. It’s a good mix of synthdriven, laid-back beats with a few tracks that have guest singers. I’m really excited for people to hear this album - it’s like nothing I’ve done before. I’ve also recently subbed with Soulive and George Porter Jr. at Bowlive, and The Machine (Pink Floyd). I also get called for a variety of gigs with Glen Andrews, Cappadonna (Wu-Tang) with the Sensi Allstar Live Band, The Garcia Project, Drew Angus, Fuzz (Deep Banana) On It, Molly Es and more.

Thank you so much for your time and we look forward to all of your future projects.

Tedheads: scan the QR code above to visit Kris Yunker’s website to learn more about his projects, schedule a lesson and more!

VOL. 7 - FALL 2022

with Ryan Storm

Dripfield Summer Tour Leg Two Review

After an incredibly successful June leg of their Dripfield Summer Tour, Goose returned to the road for the second half of August, trekking across the country over the course of eleven shows.

Kicking off the run on August 12th was a twonight stand at Columbia, Maryland’s Chrysalis at Merriweather Post Pavilion.

A solid first set that saw a deeply jammed out take on The Who’s “My Generation” began the night before Goose dropped the second 35-minute “All I Need” of the summer. While 6/10’s really ventured into some deep, dark playing, the version played at Chrysalis was second-jam-focused, embarking on a blissful excursion that showcased the band’s consistent precision and tightness.

The second night at Chrysalis brought back “Atlas Dogs’” original arrangement for the first time since 3/4 as it segued phenomenally into a stretched-out and raging “Echo of a Rose.” The real improvisational highlight of the show and Chrysalis run would reveal itself during the “Earthling or Alien?” that opened the second set. Evil synths from Peter’s Moog Matriarch swept over the sparse groove created while Rick dealt with a broken string. Probing the deep, dark depths of their jamming toolkit, Goose delivered an E or A for the ages.

Moving westward to Colorado, the beautiful Dillon Amphitheater was the site of a twonight stand leading up to the band’s Red Rocks debut. A well-jammed “Time to Flee” came early in the first set of 8/16, followed up by the debut of “Indian River’s” ‘80s synth’ arrangement, a cool and breezy vibe that adds another chapter to the song’s long and varied history. The first outing of “The Labyrinth” since January into “Hot Tea” closed out the frame. In the second set, an exceptional pairing of “A Western Sun” -> “Moby” was an improvisational highlight, Peter’s smooth Vintage Vibe work acting as the perfect bridge from the soaring melodies of the AWS jam into the massive bass bombs of the ensuing Ted Tapes cut. “Pancakes,” strong as always, closed out the second set before “Doobie Song” got its first play since March and marked its fourth consecutive appearance in the encore slot.

The first set of 8/17 eased in with a laid-back “California Magic” before Rick absolutely torched the venue during “Switchin’,” also notable for Peter hitting his Hammond C3 organ instead of his usual guitar solo, a most welcome change to a fantastic cover. “Borne” was up next, and the lead single from Dripfield went on its most adventurous outing yet, moving from the triumphant Rick solo to the groovy extended jam. This excursion took a dark turn (including “Tumble” teases!), eventually collapsing into the wild and dissonant “Dr. Darkness” intro.

VOL. 7 - FALL 2022

A typically-strong cover of the Grateful Dead’s “Mississippi Half-Step” ended one of the finest first sets of the year on a high note. For the second set, we were introduced to the “jagged churn” jam via the “Wysteria Lane,” featuring Peter frantically shredding dissonance on top of a pounding drum groove while Rick pulled switches from bliss-laden peaks to darker sections. Still making a case for 2022 MVP, no version of Wysteria is to be overlooked!

A debut of a cover of Talk Talk’s “It’s My Life” came ahead of a classic Goose fourth quarter segment in “Rosewood Heart” > “Rockdale” > “Your Ocean” > “Madhuvan” and a “Turned Clouds” encore.

A very on-the-nose “California Magic” opener at LA’s Greek Theatre was the first song of a song-heavy show, treating west coast fans to the wide selection available in Goose’s catalog. A sit-in from Lucius at the end of the second set on “Slow Ready” and a cover of Peter Gabriel-original “In Your Eyes” added an incredible vibe to both songs – a ‘Goocius’ collaboration that I definitely hope to see again. In the second set, we were treated to the full ‘Driptych’ – “Borne” > “Hungersite” > “Dripfield,” as seen on the album. A fun sit in from The String Cheese Incident’s Jason Hann during the show-closing “Hot Tea” brought the fun night to a close.

Red Rocks was already one of the most highly anticipated shows of the year, even more so than Goosemas in February.

Playing to their largest crowd at a headlining show yet, a capacity number of 9500, the packed and historic venue was treated to a rager of a night. Opening with a strong pairing of “Hungersite” > “Silver Rising,” the jamming highlight of the show came in “Tumble,” which touched on the ‘jagged churn’ theme from 8/17’s Wysteria once again. “Seekers on the Ridge,” “Animal,” and “Arcadia” rounded out the first set – more classic Goose.

The Loggins Suite made its return in Tahoe on August 23rd in a show with a fantastic and funky extended “Animal” and a welljammed pairing of “Rosewood Heart” and “Creatures” in the middle of the second set.

At setbreak, a video was played for those in attendance announcing that Goosemas would take place at Colorado’s 1STBANK Center over two nights in December, something met with raucous cheers from the crowd. The second set, while coverheavy, had some strong moments in Arrow, the cover debut of The National’s “Bloodbuzz Ohio” (a crowd-favourite cover), and Moniker’s “Milestone 2 (Skux Life),” a somewhat obscure debut. Subverting almost everyone’s expectations of a “Dripfield” encore, the band brought forth the first electric “Elmeg the Wise” since January, a gorgeous and soaring pick to close out a historic night.

Moving from the milestone show at Red Rocks, Goose cut loose at the Brooklyn Bowl in Las Vegas on 8/20, dropping a party show that featured a wild sit-in from an Elvis impersonator on the second-setopening “Don’t Be Cruel.” Don’t sleep on this show, however, as the first set’s “Earthling or Alien?” gets out there with some wild Rick fireworks and Trevor bass bombs and the second set’s “All I Need” packs a lot of fire into its relatively brief 11 minutes.

www.elgoosetimes.com

At the final headlining show of the summer in the heart of downtown Portland, Oregon, Goose offered an almost “Time to Flee”-like “Elizabeth” jam ahead of the latter appearing later in the set. “Wysteria Lane” gave another standout appearance as the second set opener here, being led from darkness to the light by Peter on organ and crafting a lovely bliss jam. Later in the set, a slow and patient Empress build led to one of the best versions of the year.

Goose closed the final leg of their Dripfield Summer Tour with two festival appearances; THING in Port Townsend, WA and Sacred Rose in Bridgeview, IL. Highlighted by an impressive Cory Wong sitin at Sacred Rose, his distinct guitar-playing styles, both rhythm and lead, highlighted the “Hot Tea” as a version not to be missed.

While there weren’t as many standout massive jams on this leg of the tour as in June, Goose is still constantly evolving and finding new ways to push the envelope – this fall, both on their headlining October tour and TABoose in November, is poised to be even bigger for the band’s growth as they move into larger venues and expand their sonic palette in jams.

Wherever you may be seeing them…you’re in for a serious treat.

Page Fifteen

Recipe #6: So Ready Pho This with special guest

Photos by Quinn Gleisner

Quinn Gleisner (Shenanigans Supper Club)

Broth 1.5-2 lbs of Beef Flank Bones One Large Ginger Root One Whole Onion, Peeled Pho Spice Packet (Easily Found on Amazon. Contains cinnamon sticks, cloves, coriander seeds, fennel, and star anise) Salt 1/4 cup or so of salt to start and then to taste

Pho Bowl Pho Noodles (Prepared according to package instructions)

Basil Siracha (Optional)

Chopped Green Onion Hoisin Sauce Chopped Cilantro Fish Sauce (Optional) Chopped Jalapenos (Optional)

Bonus Interview Questions

Soy Sauce Chopped Whole Onion Bean Sprouts

Cooked Shrimp or Thinly Sliced Cooked Beef

What inspired you to start the Shenanigans Supper Club (SSC)?

1) Fill your largest pot with water. For reference, my pot is about 3 gallons. Place the pot on the stove and begin heating the water. You will want it to boil in about 15-20 minutes, or about as long as that sweet "Treycadia."

The inspiration came from a realization that I am not the only Goose fan who loves cooking. A lot of time, we are out on the road touring, but the reality is we don’t get to make every show. So, when I am on couch tour, catching the streams from home, I find myself cooking up great meals. One of my favorite things about food is that it is best when shared with others. Life is so much more than keeping the best ideas for ourselves.

2) Meanwhile, place your top oven rack 1/3 of the way down and turn the broiler on high. Place your peeled, whole onion in a baking tray with your ginger root. Put the onion and ginger root under the broiler. Check every 5 minutes and flip your onion ginger root after 10 minutes. The ginger root is hearty and very tough to burn (unlike coach who can be found burning regularly,) you will want to focus on the onion. We are intentionally trying to char it to give our broth extra flavor.

Sharing my ideas with a larger community has been mutually beneficial. Not only do I get to teach, but I get to learn. Some members are into gardening, while others are bee keepers. Others are great cooks who see food completely different than me. Not much brings more joy to my heart than cooking for a few hours only to have my face light up to the discovery of a new flavor combination.

Mint

Instructions

3) After about 15-20 minutes in the oven (or the Dillon “Madhuvan”), place your onion and ginger root into boiling water. If your water isn't boiling yet, turn up the heat and reminisce about that “California Magic.” Continue to add your salt, beef bones, and spice packet to the water. I like to tie my spice packet to one of the pot's handles, so it doesn't get lost in the cooking process and accidentally open.

4) Once your water comes to a boil, set a timer for 4 hours. Boil the ingredients with the lid cracked, so that water can evaporate. This will increase the concentration of flavors and salt in your broth.

5) After about 3 and a half hours, pull a small ladle (that your grandmother bought you) full of broth. Allow it cool and then feel the rush, taste the flavor. If the broth needs more salt, add it.

On the contrary, if your broth is too salty because Goose isn't playing Goosemas or NYE anywhere in New England, add some water back in. Remember, to leave a little bit of salt for the soy sauce in your bowl.

Tell me about your thoughts on the parallels between cooking and music?

Wow, this a great question! There are so similarities between self-discovery, development of self-confidence, and the biggest is community. It seems like nothing unites humanity like a delicious meal and good music. While food has the physical ability to feed our body, music works to nourish our souls, both are extremely important for happiness.

6) Once your broth timer goes off, prepare your noodles according to the package instructions.

Don't worry if your noodles are a little al-dente or your beef is a little under-cooked. The hot broth will help cook the ingredients in the bowl. Place the noodles in the bottom of your pho bowls.

Then, layer with bean sprouts and the remaining ingredients. Next, you will want to add your sauces! Finally, ladle broth into your bowl until it reaches the top of your ingredients, and enjoy!

Humility is also a big lesson. Whether you are butchering a new song or baking a new cake recipe, take time to learn and be patient with yourself. I may mess up a recipe 3 or 4 times before I get it “perfect”, but being patient, not getting angry with myself, and constantly learning allows trials 2,3,4, etc. to occur, which end in self-mastery.

Finally, like music, recipes ripple through our lives, it can empower important decisions, brings family and friends together, convince us to become a better version of ourselves, or even encourage us to look at the big picture and start gardening.

7) When you are done eating, remove all of the bones and ingredients from your broth. Now, you can pour your broth into a container and store it in the fridge or freezer.

Post on social and tag EGT, SSC and #HotTeainRicksKitchen!

Page Sixteen

www.elgoosetimes.com

VOL. 7 - FALL 2022

with Andrew DaRosa

Though it's only been a few months since the release of Dripfield, which contained a number of songs that have long sat in the band’s live repertoire, the folks over at Goose are continuing to load up on the unreleased material in 2022. Songs like “Red Bird” (which was previously spotlighted in “The Voice Beneath the Quill”), “Animal” and “Dr. Darkness” have all made debuts this year while simultaneously cementing themselves as favorites among the flock.

Among those tunes that debuted this year, one tune that has noticeably not been taken for a much of a proper jam has been “California Magic.” And that’s okay.

Debuting at the 9:30 Club back in March, “California Magic” drips with blues-y goodness and packs a punch for being a rather compact arrangement. The song evokes the sound of early-70s Grateful Dead (particularly songs like “Loser” and “Tennessee Jed”), while also retaining the authenticity of what has made Goose a household name in the jam community: air-tight harmonies and complimentary instrumentals.

Though the song shares a name with a magic-themed supper club in California (according to a quick Google search), the song is less about the mysticism or the occult as it is about how we fill our everyday lives. As we enter “spooky season,” we figured this is the best time to demystify the spellbinding aura surrounding “California Magic.”

The first verse in the song gives way to images of different forms of religious practice as well as some elements of mysticism.

“Cryptic mystic/Fortune teller picnic/ There’s nothing wrong with/A little California magic,” Rick ushers after a smooth, blues-infused intro. Rick builds upon exploring these themes when he talks about a “Preacher on a beach” and lifesaving rollerblades.

At this point, one assumes the band is just setting the scene of what a Californian beach might look like with rollerblading people skating by and individuals discussing their beliefs on the pier.

However, when the chorus comes around, we are offered a bit of a second guess at what this song is about.

VOL. 7 - FALL 2022

California Magic

“Jesus do you have/Kimolas chase the rabbit/Don’t you know that/Soldier’s California magic,” provides some more context with Rick questioning whether things are supposed to happen for a reason, like how the Kimola (a very cute dog breed) will always chase the rabbit.

The next line doesn’t limit this fulfillment in life to just a higher power — it also explores the material aspects of life with images of kids dancing at some sort of techno music gathering and the sleek image of a Chevy Impala cruising throughout a neighborhood.

Though the material goods may be seen as less fulfilling than a spiritual livelihood, it is still acknowledged as one way of seeking personal fulfillment.

The song repeats the first verse and chorus again until it breaks for a nice micro jam but by the time we finally arrive at the jam, we finally get what Rick is trying to tell us.

We’re being told that there are many paths toward self-actualization and satisfaction while on this earth. For some, it is joining in the communal energy of live music while for others, it's finding oneself through religion or mysticism. “California Magic” can either be the path of self-fulfillment or the ultimate goal.

6/24/22 Radio City Music Hall New York, NY This version is notable for a variety of reasons: this song not only opened the two-night run, but it was also the first full-band acoustic take on the song. The jam in this version really starts cooking around the 6:20 mark when Ben picks up the tempo and the band dives into an acoustic Dead-like boogie.

Sponsored By:

That goal is what we constantly strive for in our everyday lives, and we shouldn’t judge others who choose to find that “California Magic” in different ways. We are all the Kimolas chasing after the rabbit that is life.

For many of us, that “magic” manifests itself through the music of this band that we love so much; it provides a rhythm of life as we walk on by, as famously stated in “Tumble.”

Since “California Magic” has only been played 10 times total so far at the time of this feature (according to elgoose.net), there aren’t too many takes to choose from yet - however, these are what we believe are the best current versions played so far:

3/12/22 The Fillmore Philadelphia, PA As they say, the third time’s the charm. This “California Magic” is the longest version yet with a slightly extended intro and a jam after the traditional end of the song that teases the Jaws theme. It’s super Ted and leads into another 2022 new tune, “Dr. Darkness”

www.elgoosetimes.com

Page Seventeen

GOOSE • PHISH • WSP • DEAD 2

0

2

2

SEPT

29

SEPT

SO LET’S ROLL ON DOWN THE RIVER

LOVE

30

MY

SWEET

ISLAND MUFFIN

ROWDIEST SHINDIG I EVER SEEN!

Madhuvan

6/10

Goose Drive

6/11

2022

8/16 & 8/17 DILLON • 8/18 TED ROCKS

2022

LAY YOUR BURDEN ON ME

Advertise with the EGT today! Contact: elgoosetimes@gmail.com

Page Eighteen

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VOL. 7 - FALL 2022

presents

Ted on Tour

No. 5: Summer’s Up in a Haze

The Adventures of Strange Man Episode 3

By Sparkman Clark

7AM! Time for Strange Man to hike up Bierstadt Trailhead!

Colorado sure is pretty from 14,066 FT.

Mooooose!

VOL. 7 - FALL 2022

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Page Nineteen

Sponsored By:

with

Mikah Atkind

“Aside from being an awesome Hebrew school director and telling Goose Twitter fans you can’t get us tickets/don’t know band secrets, what do you do for fun?”

Mikah: I just moved to Manhattan a few months ago so I’ve been spending a lot of my time walking around the Upper East Side, especially exploring restaurants and coffee shops. Predictable, but I love spending time with friends and family, especially when there are small children (my nieces and nephew in particular, and also all of my friends’ babies) involved. I’ve been out of my routine lately, but I do like baking challah with fun stuffings - my favorites that I’ve done were cookie dough Challah and the wonderfully un-Kosher cheeseburger Challah. Ultimately, I truly love nothing more than a night on my couch with Chipotle and “Top Chef” reruns.

“Who nicknamed Ben ‘Spuds’ and when? Also did you have a nickname growing up?”

Song Visualization

Mikah: I’m not sure where the specific name Spuds came from, but I do know the origin of the love of potatoes. Our mom’s rule growing up was that if you didn’t like what she was making for dinner, you could make your own. (She’s a fantastic cook so it was more to deal with kids being kids than the actual quality of the food.) Ben only knew how to make baked potatoes, so that’s what he made himself several nights a week. I didn’t have a nickname growing up (other than name derivations - Mikes, things of that like), but my nieces and nephew call me ‘Ikah’ so most of my family has taken to using that.

“Are there any favorite movies from the band as a whole, or movies that individual band members like? Movies that have been influential in their lives that we could watch to help us better understand them as people?”

Mikah: I hear that Frozen is a major inspiration for all of the guys - honestly I’m really surprised there hasn’t been a “Let It Go” Cover.

“Do you have any covers that you’ve been dreaming that the band would play?”

“Animal”

by Rebecca Jane Lee

Page Twenty

Mikah: I’ve told Ben many times that I want Goose to cover “Buy You A Drank” like ElephantProof does. I’d also take Beyoncé any day.

www.elgoosetimes.com

VOL. 7 - FALL 2022