The el Goose Times: Volume Six

Ted Recycles.

Be like Ted.

VOL. 6 - AUG 2022

Summer 2022 Cover by Khalee Kay (

@jungleroooooom | https://jungleroom.bigcartel.com)

Pages 2-6

Same Old Shenanigans: Interview with D. James Goodwin

Pages 7-9, 12

el Goose Chicks Interview: Carina Immer

Pages 10-11

Centerfold: Fred the Festival One-Year Anniversary Artwork by Rising Tide Art Studio

Pages 13-14

Depths of Space: Dripfield Summer Tour Leg One

Pages 14-15

The Voice Beneath the Quill: The Dripfield Suite

Page 16

It Burns Within: Tina Varner

Page 17

Hot Tea in Rick’s Kitchen: Red Bird Tart

Page 18

Classifieds

Page 19

Ted the Goose Cartoon: Ted on Tour No. 4 & The Adventures of Strange Man Comic #2

Page 20

Crossword Puzzle

Jon Caruso TEDitor-in-Chief Lisa Governa Goose Chicks TEDitor & Classifieds Queen

VOL. 6 August 2022

Ryan Storm Music Maestro

Editorial Staff

Andrew DaRosa Feature TEDitor

Marc Komito Contributing Writer & Resident Dance Teacher Rick Gallego Resident Chef de Cuisine Tamara Sastow Multi-Instrumentalist, Board-Certified Music Therapist & Goose Fan Extraordinaire

Rus So OG Fan & Historian Paige Caruso Idea Entrepreneur & Goose Chicks Ambassador

(satellite) Team Ky Cousin After-Party Advisor & Mozzarella Consultant Marc Chiavon Meme Wizard

Joe Joseph Creative Guru

Khalee Kay Creative Queen

Jack Quinn Number One Newsie

Sparkman Clark Comic Artist & Strange Man Accomplice

Special Thanks to: Greg Knight & Dave DiCianni

2022 has been a significant year for Goose: The el Goose Times interview with

with

D. James Goodwin Producer, Engineer & Mixer Dripfield

in addition to playing venues like the legendary Radio City Music Hall, Newport Folk Festival and Red Rocks for the first time, they’ve also had their first performance on TV (CBS Saturday Morning) and also released their third full-length studio LP, Dripfield.

Dripfield, arguably their most ambitious and musically varied album yet, is like lightning in a bottle. It encapsulates this exciting moment in time within the band’s history - in which fans are seeing their sound evolve and mature in real-time. Dripfield is a true representation and expression of the band’s overall sound, which is a melting pot of indie/alternative and jam band influences: from the arena rock anthem “Hungersite”, to the afrobeat funk of “Arrow” and the earnest indie vibes of “Moonrise.”

At its very essence, music is one of the ultimate forms of self-expression. Artists subconsciously pull from their own influences and experiences, which culminate into something completely unique. Producers, in a lot of ways, help guide an artists’ (or bands’) sound, see what works and ultimately craft their vision into an album format. They’re the mad scientists that understand that there is no roadmap to what creates memorable music – rather, in order to break conventions and create something new and exciting, experimentation is crucial.

A portrait of D. James Goodwin | Photo Credit: Peter Anspach

Page Two

www.elgoosetimes.com

D. James Goodwin, a New-York based record producer, recording engineer, musician, and filmmaker, is known for his experimental and eccentric approach to recording – having produced albums for an impressive variety of artists, including Amy Helm, The Hold Steady, Bonny Light Horseman, The National, and even Bob Weir of The Grateful Dead. The el Goose Times had an opportunity to sit down with Goodwin to discuss his influences, Dripfield and more.

VOL. 6 - AUG 2022

The dossier on your website mentions that you’re “the son of a perpetual tinkerer and gadget-head.” What did your Dad do for a living? Would you consider your Dad (and/or Mom) as an influence when wanting to pursue a career in producing?

My dad worked for NY Telephone (and then Verizon) for his whole adult life. He was actually the first male operator in the New York state! As his career progressed, he went onto building and installing phone networks and eventually into computer controller systems for phone networks.

I would say that both of my parents were influences, unwittingly. When I was a kid, my parents had a huge record collection and were big music fans. Neither of them played music, but music always played in the house and in the car.

After my parents divorced, one way my dad and I bonded was to listen to records together on headphones. He built a box where we could both listen on headphones to a record.

We listened to music like Pink Floyd, Genesis, Led Zeppelin, The Beatles, Frank Zappa, etc… we bonded a lot over that.

As a fellow film buff, I noticed 2001: A Space Odyssey is one of your favorite films - even naming one of your cats after the legendary Stanley Kubrick. Did this movie (or film soundtracks in general) also have an impact on your recording style/ methodology? In the case of 2001: A Space Odyssey, the soundtrack is brilliant: it invokes a true feeling of desolation and darkness - but also feelings of majesty and wonder. It really pushed the boundaries for its time.

Films have definitely had a big impact on my methodology – probably in the sense that I enjoy composition and lighting, both of which Kubrick was a master of. These things do translate into my work, for sure. I like juxtaposition, bold color choices, landscape…

I think a lot of it is that when I listen and work on music, I am always seeing scenes in my head. It’s hard to explain, but it’s basically like I’m making a film in my head as we work.

Can you expand a bit on how you see "scenes in your head" as you work? There's a perceptual phenomenon that has always been extremely interesting to me, synesthesia, in which someone sees either colors or shapes when they listen to music (essentially experiences one of our senses through another) - and what you’re describing reminds me of that.

In fact, I have synesthesia. For me, it manifests like seeing colors around shapes while I hear music, and typically gets more intense with percussion instruments. I thought it was just normal, until I was in my late 20’s! In terms of how I see scenes in my head…it’s like I’m watching a film internally, as if the images just come and coalesce.

It’s so hard to put into words.

VOL. 6 - AUG 2022

One of the biggest takeaways I had after reading your bio and listening to The Great Beyond interview is that you’re very much about eschewing tradition and deconstructing material in order to push forward. Tell us about that – is that also something that traces back to your childhood/influences? Or is it something you learned over time, based off of your experiences?

I don’t know where that comes from. It’s probably my mother’s influence, as she has always been a bit of a contrarian. I think I get it from her. I have always been attracted to non-standard, non-mainstream, non-traditional choices, whatever form they take.

I appreciate the mindfulness it requires to make non-conventional art. Even when it is done with abandon, I think it requires a cultivation of abandonment, if that makes sense. It always seems to feel more thoughtful than things made using traditional methodology or constructs.

You’ve worked with everyone from Bob Weir of the Grateful Dead to Amy Helm to Bonny Light Horseman. Which artists have been your favorite to work with so far? What are some of the biggest lessons you’ve learned as a producer?

There is no way to choose a favorite, honestly.

Each artist and project has brought me deep joy and discovery - so it’s impossible to single anyone out. Very rarely (if ever) do I work with someone who hasn’t become a true friend.

The biggest lesson I’ve ever learned producing a record is that everyone has a different definition of good, and what moves them. You have to find their ‘body temperature’, so to speak. That requires learning who they are: learning their way of communicating and how they see the world. In the end, I think it taught me to be more open and empathetic to other perspectives, in general. It’s a beautiful gift.

Tell us what it was like working in the studio with Goose. You mentioned in The Great Beyond interview that you had to adjust to their style of working, which was different than what you were used to (i.e. slow, but methodical). However, Goose seemed receptive and willing to deconstruct their material that fans have known for so long. At what point did the process really click with you? Did you appreciate that the band was open to different interpretations of songs they’ve played hundreds of times?

(Chuckles) Some of that was exaggerated for humor! It’s mainly that you have five people, all potentially distracted by something different at the same time, so it’s a challenge to wrangle everyone all the time. But honestly, no they weren’t that bad!

And yes - they were so open, which was a big part I think, of why they chose to work with me on this record. That part clicked from the getgo. And frankly, though I like working very fast,

www.elgoosetimes.com

I was appreciative of their pace, because it let us focus on details in a way that I do really like. I am forever thankful that they trusted me to take these songs in different directions. I think it made a stronger record, and one that will last as a statement of art - rather than just be a passing moment.

I think people will listen to this record in ten years, and understand that the band was trying to break different ground and explore their boundaries. That always makes great art, even if it takes a while for the audience to find that truth.

Was experimentation a big theme when producing Dripfield? A lot of the songs on the album are much different than their live counterparts in a cool way, challenging the status quo and pushing boundaries.

Oh, definitely. One of the big things we talked about very early on was experimenting, and not letting a rule book guide us. The band didn’t want to make a normal jam band record, and I was on board for that.

We wanted to make something timeless and exciting.

I think the more people live with the record, the more they will fall in love, even with some of the bolder choices, like “Arrow” and “Hot Tea.” I also think it’s a case of having fallen in love with the first version they heard…

I think if people heard the studio “Arrow” first, they could never hear it another way. But, that’s what’s fun about the record and live shows. They’re different experiences - and that’s the way it should be.

How long did Dripfield take to produce, in total? It's truly a labor of love, as evident from the recording and the behind-thescenes video Goose had shown during the live broadcast of one of the Radio City Music Hall shows.

I think all told, it was roughly a month of recording, and then a week or so to mix and master. It was spread out a bit, and we also recorded a few extra songs that aren’t on the record (but will be released), so it’s tough to nail down for just Dripfield alone…

It was definitely a labor of love. We worked pretty much on one song per day. Sometimes it would bleed a bit into the next, but generally we would start with the basic tracking for a song, and then move into overdubs for the remainder of the day.

With Dripfield, did you determine the placement of each song or was it a collaborative process? The album has a great flow stylistically!

It was definitely collaborative. The band knew the first three tracks were going to be “Borne,” “Hungersite,” “Dripfield”… I think it was also decided early on that “726” would be last.

From there, it was experimenting with other placements. I think the flow is fantastic!

Page Three

Pictured above: Rick hanging out with his dog Shasta| Photo Credit: D. James Goodwin Pictured Left: Rick and Jeff Arevalo jamming on the porch of the Isokon| Photo Credit: Peter Anspach

Peter playing the keys in studio | Photo Credit: D. James Goodwin

Trevor hanging out in-between recording sessions | Photo Credit: Peter Anspach

Page Four

D. James Goodwin laying down some guitar tracks in-studio | Photo Credit: Peter Anspach

Ben & Jeff playing drums in the studio | Photo Credit: D. James Goodwin

www.elgoosetimes.com

VOL. 6 - AUG 2022

Borne “Borne” was the first song we began working on. It set the tone for the entire record, in terms of how we dove in and how we communicated.

This song largely stayed true to form, meaning we didn’t change a lot about the overall structure - except for the final bridge before the end. We were shooting for a sort of Fleetwood Mac feeling there, and it paid off. After the main track: we overdubbed some piano; I played some keyboards, and a couple guitars - Rick and Peter sang their vocals, and that was that.

This song also set the stage for how we setup as a band in the main live room of the studio.

Both Jeff and Ben were setup near each other: Jeff had a huge percussion ensemble and Ben used a ratty old drum kit of mine, in lieu of his usual Tama drum kit - mainly because we were looking to push boundaries and get out of comfort zones. Rick’s amps were isolated in another room, as were Trevor’s. Peter had a stack of keyboards next to him by the piano, and that stack grew as we worked. That main setup is how we started and remained for the entirety of the record.

Hungersite Similar to “Borne”, “Hungersite” remained largely unchanged in terms of the overall structure. For the most part, my aim was to capture the band’s live energy on this track knowing it would one day become a staple.

However, I believe we played with the final chorus feel a little bit from their usual way of playing it: rather than going back into the main groove of the song, we setup a really cool, lowkey, spaced-out jam section. I loved that. The track on the record is a live performance no overdubs. We kept that spirit for the whole thing.

Jeff used a variety of shakers in this one, including an old whiskey tin with beans in it, and we might have also used a salt shaker (they sound awesome).

Dripfield “Dripfield” was one of the last songs we did for the record. The song itself was primarily based around Peter’s synth arpeggio, which was a randomly repeating set of notes at a specific tempo. To the best of my knowledge, this is the only track we built as a sort of puzzle: I believe we started by recording about 20 minutes of Peter’s arpeggio - followed by Ben on the drum kit, playing different patterns to that recording. Following that, I cut up a bunch of those patterns and created a base drum layer to track to.

Once we had the base drum layer, I had Rick, Trevor and Peter play to what I had built - mainly to get a song form on top of the skeleton. I sculpted the drum tracks around the form and have Ben play some fills, etc…Jeff then went in and played about 10 different percussion passes, different tom patterns, shakers, tambourines, etc. I spent awhile cutting all that material up and flying it around the song to create some drama and depth.

VOL. 6 - AUG 2022

Finally, Rick and Peter re-tracked their guitars to this new drama, and we started to develop the arc of the song. Once we had the song pretty much in its place, I played some synths, and some guitar textures, and then we cut vocals. A lot of different sounds made it onto this one and I can’t remember them all - but it was great fun to develop this one. I believe this is one of the ones we spent more than a day on, mainly because we were having so much fun experimenting with textures.

Slow Ready “Slow Ready” was one that obviously has a much different live arrangement. I was curious to hear it slowed down, almost like an R&B track. Goose was game, so we went in that direction from the start. I wanted a big fat snare drum sound, so we changed the drum kit around a bit, and Ben played this big old 15x8 snare drum that I have.

Trevor played my old Fender P Bass, I believe.

This recording also has that amazing guitar solo… one of my favorites actually. At first, it was a fairly normal solo, but I was curious to throw Rick for a loop and change it up. So, I set him up with a weird rig and Rick played the solo through an old Mutron envelope filter pedal that I had in my possession. What we ended up playing was so lyrical and gorgeous; it has become one of the best solos I’ve ever heard on record.

The Whales “The Whales” was one I had a feeling about from the beginning, in terms of where I wanted to take the song. I wanted to make it feel more ramshackle, like J.J. Cale, or even like some of the more cookin’ Grateful Dead stuff. It wasn’t hard - “The Whales” is a great tune. The jam section at the end really captures Goose at their best, I think. That jam was another live take, no edits, etc… just how they played it in the room.

The guitar unplugging noise in the recording was conscious, but after the fact. Because it was a live take and without any fixes or overdubs on the entire out jam/solo, I thought it was nice to keep that energy intact by retaining what Rick had done naturally at the end of the take. It was a special moment on the record, because it was one of the few spots where the fellas took off in an improvised jam.

Arrow “Arrow” obviously is the biggest transformation on the record - and to me, it’s also the real banger. I love this recording - I know some hardcore fans are quite upset at this version, but I think it shows how absolutely genius these guys are and how they can pivot on a dime.

I didn’t dislike the old version, but I didn’t think it translated to the record quite as well in that form. The band also felt like there a different way to approach the song, but wasn’t exactly sure how. I was curious how this would sound as a sort of afrobeat tune. It took a lot experimenting with feel, but once I played a bit of Fela Kuti for Ben, he got it immediately and it didn’t take much convincing. They were stoked - as was I. We found a very cool way of playing this tune.

www.elgoosetimes.com

We cut drums out of the chorus entirely and made it feel like it was a totally different place. My goal was to get that weightless feeling in the chorus, with the big deep soundscapes. The big vocal chorus was Peter’s idea, and it was fantastic.

I love that part.

I had horns in mind from the beginning too.

I knew that Stuart Bogie would slay it - and he truly did. He played his parts in the song remotely and would send them to me. From there, I placed them in the song, did some minor edits and they worked like a charm.

After that, I added some chaotic guitar stuff and we added some other textures - and that was that. And of course, as Peter has said, we added a bunch of pots and pans in the beginning - which was literally just dropping the pots and pans on the floor on those hits.

That was so much fun!

I recorded Rick’s main vocals through an old radio mic and a guitar amp on this one to get that “stressed out” sound. I think it’s a really cool texture against the pure and deep timbre of the choruses.

To me, “Arrow” is such a badass track. I think the people who dislike it would LOVE this version if they heard this first. I think it’s purely experiential. I’ve seen the rare comment that this version is ‘atrocious’ or some such thing and that’s just silly. This song is a banger. If your ass doesn’t move when you hear this version - you’re a corpse!

Hot Tea “Hot Tea” was another one we changed quite a bit, but mostly in terms of tempo. We had to make some adjustments to the song form, mainly because of time considerations on a vinyl LP and also to keep the tune moving - since it’s not a live performance. Otherwise, the form stayed pretty true - we just slowed it down so it could groove more. The band was really into it.

We tracked this as usual, with the band in their usual places, playing the main body. But then we overdubbed as a whole band - where everyone changed instruments, or changed what they played. Then we did that a third time, mainly to create the feeling of many people in the room playing this tune at a deep drug party. That was always the approach. Rick played my late 60’s Stratocaster - we went direct into a tube preamp, and pushed the input a bit. This gave the guitar that classic stringy Strat sound. And again, Stuart Bogie played horns on this track as well, which was always the plan - to me.

Moonrise I love “Moonrise.” I wanted this one to be very simple and we kept it that way: Rick on acoustic, Peter on acoustic and vocals and Jeff on upright bass. We tracked it just like that, live. Only overdubbed a harmony vocal but that was it. It’s easily the humblest recording on the record, but also one of the most beautiful ones. Peter sang this so beautifully, and I love that it’s a live vocal - which was only a single take.

Page Five

Honeybee

Bass

“Honeybee” is one of my favorites on the record.

I don’t remember the old version, but I do remember that I had a somewhat clear idea of trying this as sort of more tumbling - where the drums were pulsing, rather than the usual sort of impact. I really wanted it to be spacious, layered and evocative.

Trevor played a bunch of different basses on the record. He would sometimes play his main bass, in addition to my late 70’s Fender Precision with flatwounds, my old Soviet bass called a Ural, a Baldwin Vibraslim hollowbody from the 1960’s and my Fender Bass IV baritone guitar.

I believe I played some synths on this track, as well as some other minor bits. We did a bunch of overdubbing of multiple acoustic guitars, and piano as well - and of course layers of Rick’s main guitar melody. It’s a beautiful recording.

We occasionally used pedals, like a fuzz or an octave pedal. We mainly recorded using a custom DI, which is my preference, as well as my old Ampeg B15 amp.

726 “726” was another where I don’t recall the original version - but the band was intent on exploring the boundaries on this one.

Somewhere between soul music and Pink Floyd was where we landed. We also knew it would have a very long end vamp, where it would sort of spiral into psychedelia, and we built that in from the beginning.

Rick and I played the trading guitars at the end, which was really cool. We both sat in the control room, monitors blasting and traded the guitars back and forth to create this huge landscape as the ending grew bigger. The core of this track and this version, his Peter’s beautiful muted piano throughout the track. I think that singular part really gave this version a unique identity.

General Production Thoughts: Vocals Most of the vocals were recorded using a Neumann U67. Sometimes I used something more odd, like the radio mic for “Arrow.” Peter’s vocals were an old Soviet Lomo tube mic.

Guitars On most of the record, Rick used his PRS guitar and his Mesa Boogie combo. We often experimented with a variety of pedals: old tape echos and delays - like my WEM Copicat, and Multivox Tape Echo, etc…Most of Rick’s guitars were recorded using an old Shure SM7 and a Neumann U67 on the amp.

Keys/Piano The piano on the record is my Baldwin Hamilton, early 1970’s upright piano, in addition to my Hammond B3, which was chopped by a funeral home for location services. We used a combination of my old Rhodes, and later Peter got his new Rhodes made by Vintage Vibe, which sounds fantastic. Other keyboards used include: Wurlitzer 200a, Hohner Clavinet, Moog Voyager, Korg MicroPreset, Crumar Orchestrator, Korg MS10, Baldwin Discoverer, Casio SK1. There might have been a few others used too, but I’m not sure…

Page Six

Drums & Percussion Jeff had a huge percussion setup in the studio.

He had congas, bongos, shakers, tambourines, cowbells, etc…We also used interesting objects like chains, garbage cans and their lids, a shaker made out of an old tin and seeds - and a tribal pumpkin seed shaker. Anything that made a cool sound, we would use it for texture.

I would also often use a contact mic on something he was playing, and then run it into a guitar amp with pedals - creating more interesting textures and sounds.

Ben’s setup changed a little for every song, but the core of his setup was a late 60’s Slingerland 22” kick drum, and two 60’s Rogers toms (floor and rack toms). He also had his piccolo snare setup, as well as his cymbals.

Sometimes it was my GMS 6.5x14, or my old Radio King 7x14, or his Tama. We even went with my old Ludwig 8x15 snare on some things.

The snares and cymbals he used changed a lot in-between songs.

My drum mic setup would change for every song, but it was always a combination of my old Soviet era Lomo tube mics, and old German mics, like an AKG D12. I would also use contact mics through amps to alter the textures a bunch. I always experiment a lot with drum sounds, depending on the song.

We would also sometimes use tea towels on the heads for a more muted effect and it was inspired by The Beatles, really. It was a Ringo/ Paul trick to deaden the drums a bit for that late 60’s/70’s sound. It kills all the ring of the drum, and leads to some really interesting sounds, and playing. Because it affects the rebound of the stick, it almost makes you play more simply, and in Ben’s case - more funky.

We ended up using that trick, or a variation of it, on a lot of songs, actually.

In The Great Beyond, you raved about two songs that didn’t make the album: “Travelers” and “Elmeg the Wise.”

Will we see these on the next album?

What can you tell us about these studio versions – are they close to the live interpretations, or slightly different?

We actually recorded four others too, which I think will be on an EP at some point. Those were awesome and have a lot more of the band ‘jamming’ which is very cool. But yes, “Elmeg” and “Travelers” are probably two of

www.elgoosetimes.com

my favorite things we did together. I believe they really capture both the live element and the studio experimental mindset, together in one. I’m super excited for people to hear that stuff, but I have no idea when it will be released. I think people will have their minds blown!

Tell us about how the Radio City sit-in unfolded: did the band approach you with the idea to bring these reworked versions of “Hot Tea” and “Arrow”? What was it like playing them in front of the audience, especially with Stuart Bogie?

Yes, the band had mentioned it at some point and I was totally into it. It was incredible not only to play in front of that insane crowd, at a place as legendary as Radio City, but to see the crowd moving and dancing to these guys doing their thing… that was magic. It really made me feel something I haven’t felt at a concert in a long time.

Playing with Stuart and Dave was just awesome. Those guys are like attack dogs, you give them a mission and they slay it.

Dave played a ridiculously good trombone solo for like 5 minutes on Hot Tea! And seeing the crowd eat it up and warm up to these new versions was very cool.

What’s next for you? I know that you recently moved to a new studio in Kingston – how’s that been going? How does the new studio differ from the Isokon? Will Goose record their next album there?

The move is going okay! It is a much different vibe than the old Isokon, but still my vibe and still cool. It feels cozy, and it does all the things I need my studio to do. We haven’t settled on where to do the next record, but I imagine it will be a combination of the Isokon and perhaps another location!

Thank you so much for your time, I really appreciate it! Dripfield is one of Goose’s best, most cohesive, albums yet and I believe you’re a big reason for that.

My pleasure! Thank you!!

Follow Goodwin on Instagram at @djamesgoodwin and @djamesgoodwinfilms and check out his website at: www.djamesgoodwin.com.

Check out Goodwin’s interview on The Great Beyond podcast from June 23rd 2022 (found on Osiris Media, www.osirispod.com/ podcasts/the-great-beyond) the podcast serves as an excellent complement to this interview!

VOL. 6 - AUG 2022

Carina Immer: The Great Shift Disclaimer: This is not about Rick’s girlfriend. No, this is about a moving camera operator, music video writer and producer, coffee connoisseur, nature lover, community builder, and Great Shift founder Carina Immer (aka Keke Foster or Dolly).

Let’s get to know this very special lady.

with and

Immer Family Photos| Photo Credit: Courtesy of Carina Immer Little Carina has a lot in common with her grown up version— a super silly class clown making up dances and songs for home videos, who’s outspoken and opinionated.

“Being around artists, I get really inspired. It's serendipitous that I'm now in this community because it's actually bringing me back to my roots.”

“I come from a very musical family. I was always the odd one out because I never really wanted to professionally pursue music. I took some piano lessons and I was in chorus, orchestra, and band, but I never really loved it. My two brothers were like musical prodigies. My middle brother (Gavin) is a wonderful classical violist and my eldest brother (Reed) played jazz trombone and bass. My mom is a sculptor and artist. My dad was a big musician. He was in various bands growing up in Oregon. When he was 16, he went on tour around the country with an older band of guys in their 20s and played a rock organ. He had a big influence on my taste in music growing up. He was really into jazz and rock & roll. A funny little claim to fame is that he later got into jingle writing and wrote some iconic jingles, and got to write a song on the Ghostbusters soundtrack!”

Instead of music and art, Carina’s creative outlet was pen and paper.

Her parents encouraged her to get a little weird sometimes.

“I have a very creative family, but as I grew older I swung in the opposite direction. I pursued agricultural economics in college, and thought it'd be more realistic for me to make a living by doing things other than music or art. But these days, I'm finding myself veering more towards the creative outlets. Since dating Rick and being more exposed to the Goose and live music scene, it's apparent that I really do thrive around artists and on creative collaboration.”

VOL. 6 - AUG 2022

“I would fill out tons of those marble notebooks as a kid. I journaled most nights from fifth grade until my senior year of high school. I just tore through those, journaling and writing poetry and being in touch with my innermost perspectives and being able to translate them into creative writing. I was always able to vividly remember my dreams and I ended up writing a lot about them.

Having artistic parents and knowing that it's okay to get weird and create outside the boundaries of societal expectations really contributed to my creative side. I never took official writing courses, it was always just a therapeutic thing for me.”

Carina gravitated towards nature in her formative years, sending her down a pathway to the great outdoors and beyond.

“We weren't hyper outdoorsy people, but I would always go on hikes by myself and enjoy the forest. There was a meditative thing about the natural world that resonated with me as a kid. I was really inspired by my high school biology teacher and environmental science teacher. “

www.elgoosetimes.com

“They both had a really radical perspective in regards to climate change and the agroindustrial complex. I got involved in extracurriculars in high school that were focused on that and volunteered at Connecticut’s Beardsley Zoo for a program called “Conservation Discovery Corps.” Aside from the fuckery that is likely going on in many zoos, this particular program was geared towards wildlife conservation. Part of my job was standing in front of exhibits and talking about deforestation, extinction, and species reintroduction programs. I felt so regal, but thinking back, I must have looked like such a noob at 16 wearing my hiking boots and zoo satchel. But at the time, I was really proud of myself. That may have been the final trigger that got me into this kind of thing.”

She attended UCONN where she continued to explore her passion for the environment, pursuing a degree in agricultural economics.

“I ended up minoring in Latin American Studies and human rights, which led me to work in coffee. I attended a seminar about Fairtrade products, and met this badass woman who started a coffee roasting company with her husband where they taught coffee farmers in Nicaragua how to roast the coffee they grew instead of exporting the raw product, which allows farmers to capture the massive value-add that we usually catch in the states, even though we aren’t doing the backbreaking work of planting, harvesting, sorting, milling. This is crucial because the international c-market, where coffee is traded publicly and farmers often sell their coffee to, is sold at an alarmingly low price. What this roaster was doing (named “Vega”) seemed super righteous, so I asked her if I could intern for her. I ended up going to Nicaragua to experience a coffee harvest and learn everything about coffee — growing, roasting, meeting the farmers. It led me on a wild journey of working for various coffee importers for four years and traveling to coffee farms around Central and South America.”

Page Seven

“More recently, I’m doing marketing for “Kiss the Ground” which is a nonprofit organization inspiring participation in the regenerative agriculture movement.”

What eventually brought Carina to our community? Just like many of us, a friend said, ‘Have you heard of Goose?!’ and brought her to her first show—Goosemas 2018. Things have been pretty magical ever since.

“My convergence with Rick and Goose heavily had to do with this girl Katie. After college I was manically looking for a place to live in Connecticut because I was dying to get out of New York City, where I had been subletting for a few months. Not many young people that I knew were looking for a place to live in Connecticut - until Katie came into the picture. I had only known Katie from afar because she threw some wild parties at UCONN, and at the time she was just this mythical, unicorn girl with a huge, one-of-akind personality. She reached out when I posted on social media about finding a roommate for a little cottage in East Norwalk, and I was like, Oh my gosh, THE Katie Sulzinski wants to live with me.”

Carina and Rick in the Mohave Desert | Photo Credit: Peter Anspach

After they had been dating for a few months, “Everyone was at home missing out on shows Rick asked Carina to be a part of the so my approach was ‘how do we make this “I think at that point she had shaved one side Shenanigans Nite Club teaser video. “There vibe really intimate and a lot of fun visually?’ of her head, had an eyebrow piercing, and was so much confusion in that teaser, Two or three sets were at Trevor’s and the rest wore platforms with huge faux fur coats. She because it was not at all related to the full were at our house (Rick, Peter, Jeff and me had held multiple jobs throughout college and length movie we later made. I think it almost were all living in a rental together). The four of finished her courses in less than four years. brought joy to the band that people were us were a COVID pod and that's ultimately why She also happened to be a big Goose fan. confused about that piece.” There you have it, they had me come on to film. I don't think They were small at that time (2018) playing folks. The boys love to troll us fans. that would realistically happen otherwise, some little local gigs. I wasn't in the jam band to be honest. I decorated our solarium with scene at all, and from the outside the culture The spicy, sassy Keke Foster who appeared in tons of lights and tapestries and fabrics and was so bizarre to me. Katie kept talking about the Shenanigans teaser was also the leading candles and tried to make it really homey this thing called “Goosemas” at a taco bar lady in the “So Ready” music video. “The for everyone to feel like they're in the living named Cantiki. I had no idea what I was going animation team who made the “So Ready” room.” You can even hear Carina singing on to, but when we arrived, it was wild. I hadn't video used that live action teaser as “Cielito Lindo!” seen a scene like that in Norwalk yet — inspiration. It was a lot of fun making that people of all ages smoking joints, wearing little clip! Rick gave me a call and was like, After positive feedback from their first round of crazy outfits, dancing all night. I was hooked ‘Can you round up five girls by 6pm tonight for livestreams, the group wondered what’s next? immediately to their music. Eggy opened up a video? Bring 80s attire, and we'll tell you the “We were trying to figure out what things in our that night too! Katie went up to Rick after the rest when you get here.’ That’s the magic Goose community we can offer locally during show and said ‘Hey, we live down the street! about these little last minute creative projects quarantine.” Their rental home, fondly named Let's all hang out!’ The three of us started this that these guys do… the vibe has always been Comstock, is where the Bingo Tour idea friendship that soon grew into a larger friend ‘let's just get together with friends, use props spawned over the kitchen table one evening group. Meeting this greater community we already have, and make it happen.’ between Peter and Rick. Carina’s official role showed me that Connecticut isn't boring.”

It's always an adventure in that sense.” was Executive Assistant. “I just wanted to be at their disposal for anything they needed help Carina and Rick were friends for about six Goose truly thrives in improvisational with. It was a ton of fun, because the tasks months before he asked her out. For a few scenarios including navigating the global were always different. I was involved in a lot of weeks of that time, Katie and Rick were pandemic in March 2020. The band joined precursor stuff like helping film the actually a bit of a love interest! Talk about the ‘Live From Out There’ broadcast and commercials and activities. I filmed the hot Hot Tea in the kitchen! “When I first met Rick, dropped the intimate and notorious ones challenge. A friend and I cooked meals I was in a long distance relationship that was livestream from T’s House, where Carina for everyone at Bingo Tour. I was in this phasing out, so Katie and him were kind of a tried her hand as moving camera operator. scrappy kitchen below the barn flinging up thing. Rick is an introvert and Katie is literally vegan food the entire weekend. One day we the most extroverted person I've ever met in “My aunt had gifted me a nice camera when I made a ton of produce from Horseshoe Farm. my life, so although they’re great friends was young and I played around on it a lot. I've Matt Campbell from Vasudo has a brother Pete nothing ended up happening romantically, always been into film, but I never had actual who’s this epic farmer - we call him Farmer and we all continued to all be friends after experience in videography. Peter purchased a Pete. He had all this awesome produce he that. When Rick and I started to show interest gimbal during quarantine, which is what we donated to us — everything from salad greens, in each other, mainly after a super long used to film the ‘Live From Out There’ sets. He to potatoes to garlic scapes…we incorporated conversation about the movie The Ballad of simply gave me a crash course before each anything that was available from his farm into Buster Scruggs, I thought ‘Oh my God, is this set on how to use it. He said something like, a dish. Peter even went there one day to film bad?’ but Katie said ‘You guys were always ‘Just go crazy! Do whatever feels right!’ We got Farmer Pete taking care of his bees and farm. meant to be!’ That's how we started and into this fun rhythm where I was being Bonnie (Coach’s wife) had an epic vegan we always laugh about those days. experimental with the shots during each set.” cooking class, and we did a Jazzercise class It was a lot of fun.” with Rick’s sister Amy.”

Page Eight

www.elgoosetimes.com

VOL. 6 - AUG 2022

“I do have a longing to do something like that again… hopefully over the next year or two, we'll get some time to do more hometown, organic features that will make people feel the same way that Bingo Tour did. It’s interesting, because lockdown had a special spice to it. I don't know if we’re ever gonna really be able to recreate that magic, but I guess that makes it more special.”

Pod shows became the new norm, producing some of Goose’s greatest and most memorable live shows. Undoubtedly, Frederick, MD in May 2021, was a wild run with inclement weather. While we hunkered down in our cars through tornado warnings and danced in water up to our knees, Carina was with her dad.

“He passed away last year from Parkinson's, unfortunately… That was a hard time for my family. I was really close with my dad. I streamed it from my dad's hospice bed where I laid next to him. I have a weird nostalgia for that time because I had just finally made peace with the fact that it was his time. I wasn’t fighting against the reality of the matter anymore. I remember Samantha (Ben’s fiancée) FaceTimed me and included me in the pre-show power up, and everyone dedicated it to me and my dad. It was just so sweet. Even though I wasn't there, Frederick 2021 is actually a really special memory.” Knowing this context makes our memories that much more special too.

Fast forward to January 2022, Carina is in Lancaster, CA for the filming of the “Borne” and “Dripfield” videos. Tapping into her creative writing abilities, she truly captured the essence of these songs and translated them to film.

“I was really lucky to be with Rick as he was writing these songs. He was sitting in our room at Comstock writing down lyrics and humming melodies. He often starts with the melody before finding the words. That expands into an entire song from there… it's a really cool process because the meaning evolves for him.

“Borne” and “Dripfield” are really loaded. If you were to sit Rick down and ask him what they're both about, he could give you a one-word answer or an hour-long explanation. I think they're very dreamy themes that are related to a lot of personal things he's gone through. I think he wanted to keep them metaphorical enough so that people could relate to them. In “Borne,” he's exhausted from these components in life letting him down and stepping in his way. He has a clear idea of what his purpose is… but he needs to make peace with what he's gone through and where he's at before he fulfills it. The more literal vehicle for this concept in the music video is him trying to write the next album. Something he has suffered with a lot is writer's block, which every good artist has suffered with at various times in their life. I wanted to show him trying to be a perfectionist and avoiding the darkness within him. “He finally succumbs and accepts that he needs to let the ideas flow through him rather than forcing them.”

VOL. 6 - AUG 2022

Group huddle | Photo Credit: Courtesy of Carina Immer

“That's when “Dripfield” begins. He is going into this slumber and dreaming of this experience, where he's letting go of all expectations and releasing all the barriers that's preventing him from really reaching this creative openness within himself. Being able to write these concepts was super meaningful for me. Dylan Hahn, who was the director, had made the initial treatment. All I did was add a story, a few character arcs, and some supplementary visual ideas.

Without him and his team, it wouldn't have become the tangible and beautiful piece that it is.”

A 45 minute drive from the cabin featured in “Borne” provided the desert backdrop for “Dripfield.” “We really went crazy that day in the desert for “Dripfield.”

There's a lot more acting involved in “Borne,” so a lot more shots had to be taken. In “Dripfield” all the guys just had tons of fun doing crazy shit. A big part of it is dipping into that child-like wildness, to release these societal norms and judgments within yourself…like shamelessly screaming at the top of your lungs and beating your chest in the sand.”

www.elgoosetimes.com

While Carina contributed storylines for “Borne” and “Dripfield,” Carina drafted what’s called a “treatment” for her writing and producing roles in the “Hungersite” music video. It breaks down every scene and outlines the story—who is each character, what are the themes, where are they and why.

“I'll make a mood board on Pinterest that has colors, patterns, outfits and scenes. I’ll do the whole thing in one shot. I won't look up from my computer for a few hours and I'll just blurt it all out… that’s my creative process. I'll wake up with an idea and know that I need to strike while the iron is hot..”

Carina is treated like any other contractor when submitting her ideas.

“They give me great feedback. The opportunities they've given me and the way they've treated me during these processes have been very professional and empowering, which I love. They’re being critical when it makes sense to be critical, and then celebrating things that turn out well.”

Page Nine

Page Ten

www.elgoosetimes.com

VOL. 6 - AUG 2022

VOL. 6 - AUG 2022

www.elgoosetimes.com

Page Eleven

“It's a really funny dichotomy because I want to give them space to be in the zone while they’re playing and writing. I think, ‘Okay, I'm not gonna go on the deck. I'm gonna close the windows, make them feel really safe in this songwriting environment. Sometimes they're like, ‘Why are you being weird? Just come and hang out.’ I just didn't want to ruin the vibe. They say, ‘You're ruining it by being awkward… just come sit with us!’ I'm always trying to make sure the space is sacred!” (Chuckles) Perhaps the most remarkable thing about Carina is how she has combined her passions and talents to serve her community through founding Great Shift, an event platform that hosts immersive workshops for the creative-curious and curated marketplaces where you can shop for artwork, handmade goods, and locally grown provisions.

Carina on-set during one of the Dripfield music videos| Photo Credit: Courtesy of Carina Immer

Despite enjoying a healthy troll of their fans, the band didn’t intentionally sprinkle Easter eggs throughout these videos. The tiny cabin in the “Borne” video serendipitously donned a painting of a dark horse on the wall. “When we were filming there, we were joking around like oh, an Easter egg for Dark Horse! “We always bring those things up—are fans gonna think this is a hint for XYZ?” Perhaps it’s just a nod from the universe.

Bruce Robinson, el Goose overlord and gifted gabber on The Great Beyond Podcast, had his breakout performance of the year.

“He was going through his cues in an office with the doors closed before we started shooting. He took it so seriously. It was amazing. He rolled up in a starched suit, and we immediately knew that there was going to be a ton of memes produced about his character.”

Carina had to do some convincing to bring the “Hungersite” video to fruition. “They said they were on the fence about making a music video. I said “you absolutely need to”, because it's such a music video kind of song.

I could already see the music video happening and Rick said, ‘Send me your idea!’ I pulled over on the side of the road, wrote down an idea, sent it to them, and they said, ‘Let's do it.’ The concept relied heavily on casting beloved Quality News 3 anchor Kirsten Wintergreen aka Chris Reid (his actual name) aka Jan Weed (his character in the hilarious battle of the bands Goosemas teaser from 2017). “This needs to be Jan. If he can't do it, I don't think we can make the video. This is him.” Jan was in, but he didn’t realize what he had gotten himself into.

The office scenes were filmed at the Family and Children's Center in Norwalk office scenes, an organization Goose donated to for Goosemas. The Newtown Forest Association, a conservation organization, provided the natural backdrop for the outdoor scenes.

“Even though we're doing this really hysterical music video, two really meaningful organizations were helping us.” Carina’s friend Scott Sweitzer, a young director from Brooklyn, was able to lend his editing talents last-minute. The whole video was shot in two days. “I love the rush. There's definitely a lot of responsibility. You need to make sure everyone is following a strict schedule because you only have the locations for a certain amount of time… it's wild when you’re making the video with your friends and everyone is getting distracted, but I definitely want to do more of it.

There's some fun stuff in the pipeline.”

“It was pouring rain and 30 degrees the day we filmed him outside jogging and dancing. It was so treacherous and cold and his wife, Jen, who was pregnant at the time, was standing out there with an umbrella and raincoat, bless her heart. I was coaching Jan what dance moves to do and trying to inspire him, so I was just going crazy. He was so out of breath and it took a good amount of takes to get the dancing and the running. He was so tired he was about to puke from exhaustion. He was such a good sport…

I was proud of him for persevering through that while the rest of us had coats and umbrellas.”

Page Twelve

“Great Shift is for all types of creative people—maybe you’re a professional artist or an aspiring creative. Or maybe you're neither of those and you just want to expose yourself to a creative community and observe other artist’s processes. That’s the mission of the Great Shift — to open up the door for people who are searching for these energies and creative connectivities.”

The workshops feature artists who are excited to share their creative process with an eager audience. Past workshops have included pottery, songwriting, forest bathing, and sound healing.

“My mission is for each attendee to ‘walk away with a new skill and a re-emergence into creative confidence.’ Over the last few years I've met so many artists, collectors, healers, foragers, and farmers who are doing really bold, crucial services for our community. I wanted to create a centralized place for those people to offer those services, and help them grow their businesses. I'm just really excited to be building this community, because it seems like people are really hungry for it. They're really hungry to get together, meet one another, build community and learn a new piece of creative expression, It's my passion project and I'm really excited to see where it goes.”

As we look forward to these fun projects in the future, Carina shared that Rick and Matt Campbell have been hard at work writing many of the new songs debuted this year — “Animal,” “Silver Rising,” “Atlas Dogs” and “California Magic” were collaborations.

Carina’s next event with Great Shift is September 10th in Redding, CT at Open Farmhouse, a regenerative farm and co-living space.

“Matt has been coming over a lot in the last six to eight months. He and Rick just hang out on our deck and write together. It's incredible. Matt is such a poet.”

Check out www.greatshift.life or follow her on Instagram at @greatshiftcommunity to support her amazing endeavors!

www.elgoosetimes.com

VOL. 6 - AUG 2022

with

The Dripfield Summer Tour began in earnest with a two-night hometown stand at New Haven’s Westville Music Bowl. Diving right into the expansive jams, Goose delivered a slick, laid-back take on “Atlas” ahead of “Flodown,” “Dr. Darkness,” “Pancakes,” “Seekers on the Ridge” and “Hot Tea” to round out the first set. Opening the second set with an instant classic “Madhuvan,” the band would revisit “Pancakes” out of the ensuing “Creatures” as well as drop a fiery “SOS.” The second night at Westville was yet another high-energy affair featuring a standout “Red Bird,” the first “Empress of Organos” to feature Peter on guitar, and an encorespanning “Dripfield” jam that let Peter show off his new synthesizer.

After a festival appearance at Boston Calling highlighted by the second pairing of “Hungersite” > “Moby” and the debut of the new studio arrangement of “Slow Ready,” the quintet moved on to Essex Junction, Vermont (site of the 10/2/20 show featuring Dave Grippo).

An incendiary “Earthling or Alien?” > “Indian River” combo elevated the first set along with the debut of “Atlas Dogs’” slow arrangement, while the second frame was dominated by a nearly 27-minute “Wysteria Lane” - adding to the song’s already incredible year and catapulting to great heights on many people’s jam rankings.

Continuing the trend of “drone jams” through the encore break, Goose picked up the unfinished “Yeti” with a cover of The Beatles’ “Tomorrow Never Knows” sandwiched inside to close the show.

At Artpark, just outside Buffalo, the band delivered another great show, continuing their upward trajectory from the previous weekend.

A heavy and churning “Rosewood Heart” in the first set gave way to a deep and outsidethe-box “Jive Lee” set closer, while the second set of “Madhuvan” > “Hungersite” > “Into the Myst” > “Your Ocean” > “Butter Rum” was a seamless string of songs even as it began to rain on the crowd. A raucous cover of The Band’s “Don’t Do It” took them nicely into curfew and sent the crowd home overjoyed.

Legend Valley quickly became a can’t-miss spot for Goose after a standout show in 2020 and an incredible two-night stand in 2021.

2022’s offering would be no different, as the band took advantage of the lack of curfew and incredible energy of the crowd to throw down two absolute heaters. Debuting two new side-project songs in the first night’s first set (“Butterflies” from Peter’s Great Blue and “Turbulence & The Night Rays” from Goose-predecessor Vasudo) along with a churning and synth-drenched cover of the Grateful Dead’s “Mississippi Half-Step,”

VOL. 6 - AUG 2022

the quintet got into the flow of things before dropping into a GOAT-contender “Creatures.”

Hitting on bliss themes one normally only dreams of, this 25-minute excursion would be the first of two legendary jams played during this show. “All I Need” is one of Goose’s most reliable jam vehicles, so it was only natural that it should earn a spot among the longest jams the band has ever played, coming in only a few minutes behind the 3/9/22 “Rosewood Heart.” The first jam segment would dissolve into a heavy evil theme reminiscent of the 1/30/22 “Wysteria Lane,” but given a different dimension with Peter on keys.

Peaking viciously and returning to the song’s final chorus, Goose then set off on a driven and upbeat second jam, stretching past the 35-minute mark before dissolving into a cover of The Moody Blues’ “Nights in White Satin.” A groovy “Red Bird” then gave way to the return of “Spirit of the Dark Horse’s” original arrangement (FTP since 11/16/21 OKC) that led into Ted Tapes cut “Dragonfly’s” first outing since January and a powerful “Jive II” encore - marking the song’s longest gap since 2018 (last played 3/5/22).

Dripfield Summer Tour Leg One Review absolutely locked in and hammered away.

Coming up for air after repeated peaks, Peter hit the keyboards for a phenomenal bliss jam ahead of a powerful conclusion to the song. The rest of the show was just a cherry on top, featuring more great jamming in “Arrow” and “Drive.”

A brief stop on the road to Radio City was made at Bonnaroo, where Goose played the “This Tent” from 1-3am, throwing down a party set with a bevy of classic tunes.

On June 24th, along with the release of Dripfield, Goose took over Radio City Music Hall in New York City for two nights and three sets each: which featured the first-ever fullband acoustic sets in front of a live audience and some truly mind-blowing moments. The first night’s acoustic set contained beautiful renditions of Goose classics, as well as a unique take on newer song “California Magic,” which has shown itself to be a band and crowd-favorite.

Sponsored By:

The second night at Legend Valley featured standout performances of “Borne” and “Arrow” in the first set ahead of the debut of earworm and dance party anthem “Animal” to open the second frame. “Animal” would head off a three-song second set that would flow through “A Western Sun” and “Dripfield” before a unique “Rockdale” complete with heavy “Factory Fiction” teases closed the show and run.

In Indianapolis, a hometown show for Andrew and Marta Goedde, the band invited the former on stage to whistle during “Me and Julio Down by the Schoolyard” and offered a dance-y and trippy “Pancakes” > “Can’t Get You Out Of My Head” > “Pancakes” in the second set, while the rest of the show was rounded out by fantastic playing and energy – don’t miss the creepy arpeggiator between “Slow Ready” and “Hot Tea!” Heading down to the intimate Greenfield Lake Amphitheatre in Wilmington, North Carolina, Goose delivered a phenomenal “Time to Flee” opener as well as another second set with perfect flow before closing the “leg” of tour in Raleigh the next night.

The Raleigh “Madhuvan” will stand as one of Goose’s finest moments – in a year populated with endless versions of the song reaching past the 20-minute mark and delivering some incredible improvisation. Switching gears from soaring bliss, to mechanical and driving darkness, the quintet crafted a soundscape that invited stank faces and headbanging as Peter’s incredible textural guitar work was put on full display and the rhythm section

www.elgoosetimes.com

Page Thirteen

The second set flowed nicely ahead of the second three-song set of the tour, this one featuring the debuts of the Dripfield arrangements of “Hot Tea” and “Arrow” featuring special guests D. James Goodwin, Stuart Bogie, and Dave Nelson. Don’t miss these unique takes on well-worn live classics!

I’m still kind of in disbelief that the second night of Radio City really happened.

An acoustic set highlighted by THE “ELMEG” led the show before a second set dominated by the “Red Bird” > “I’m Writing a Novel” combination. An unexpected, but very welcome surprise came when Goose brought out Novel’s original composer Father John Misty to join on vocals for the tune, which added new flavor to the band’s already-stellar cover.

“Silver Rising” opened up the third set, and the earlier photo leaks of certain gear being loaded in to the venue were foremost on everyone’s minds both in the venue and webcasting as Peter introduced their next special guest…Trey Anastasio.

While not everyone in the Goose community is a huge Phish fan, many of us absolutely love and adore both bands and I have to admit that hearing the first notes of “Hungersite” with Trey’s distinctive guitar tone intertwining with Rick’s brought tears of happiness to my eyes.

A crowd eruption unlike anything heard before came when Trey ripped into his first solo of the night, and the energy only grew higher as the jam progressed into a hard-charging groove absolutely anchored by Trevor’s insistent playing as Trey and Rick danced back and forth to several screaming peaks.

A triple-guitar attack for the jam with Peter entering the fray was an absolute delight to all those listening, and it gradually transitioned from the pounding and primal motif of the song into an upbeat groove that led to the first “Loose Ends” since February.

“He’s going to stay,” rang out inside Radio City yet again as Goose launched into a set-closing “Empress of Organos.”

After a hard-hitting piano solo from Peter, displaying the depth of sound only a grand can offer, the quintet dropped down quietly and handed Trey the spotlight for some of his finest playing of the night.

Do NOT miss a NOTE of this third set.

The encore, featuring Father John Misty and Trey on a cover of The Beatles’ “Tomorrow Never Knows,” just elevated the show’s status even more.

To close out their early summer touring schedule, Goose made incredible appearances at High Sierra Music Festival, Peach Music Festival, and Newport Folk Festival - increasing their reach even wider and bringing more and more fans into the fold.

The band returns to the road this month and will no doubt continue to blow minds and deepen their improvisational pathways. We all know that Goose is just getting started…

The Dripfield Suite: “Borne,” “Hungersite” & “Dripfield” “Lord of the Rings.” “The Godfather.”

“Austin Powers.”

Some of the best things come in trios, and that of course includes Goose’s Dripfield trio.

“Borne,” “Hungersite,” and “Dripfield,” the first three tracks off of Goose’s latest release, comprise what is known as the Dripfield trio. Featuring soaring harmonies, illustrious guitar work and nuanced jams, the trio is the amalgamation of Goose growing into their own within the studio while continuing to prove themselves as a bonafide force within the jam band community.

The three songs debuted together as the “Dripfield” trio during the third set of Goosemas at Mohegan Sun in February, despite “Borne” having been played twice before its Connecticut debut. While the songs have been played in the same show as one another since then, the Mohegan show is currently the last time that the songs were played together in the exact Dripfield trio order.

Okay Andrew, we get it. They’re the first three songs of the Dripfield album. What else is the importance of these songs?

Remember from a few pages back how D. James Goodwin said the band knew that the Dripfield trio would be the first batch of songs to anchor this new album? And remember how I used the word “growing” two paragraphs ago?

Once “Hungersite” died away, the band smoothly went into “Arcadia.”

Trey added his own flavor to the first verse’s vocals and began trading hot licks with Rick immediately as the jam progressed. A joyous and blissy first peak led to the “slow” ending as Trey smoothly and melodically began to play over “Arcadia’s” incredible ending chord progression. A patient, patient build that had each band member’s smiles shining through led to some serious shredding as Rick took the reins to bring the song to its final peak and ending.

That word, or rather “growth,” is the central theme to the Dripfield trio — setting the proverbial mood and establishing Goose as a band that has been molded by its sudden rush to jam band stardom.

Let’s start with “Borne.”

Based on its unassuming and fairly light intro, you wouldn’t assume this to be a song touching on the wear of the past, while showing that the damage has only made you stronger and more resilient.

“Enough/It's not rust/'Cause if it comes out/Broken, hoping still/It's still enough,” Rick says as he reassures the listener during the second verse that the past isn’t rusting them, but rather inspiring hope in the band.

While Trey’s guest spot no doubt was supposed to end after those two songs, the band was having too much fun and let the crowd know that he would be staying before easing into “Dripfield.”

Page Fourteen

with

www.elgoosetimes.com

VOL. 6 - AUG 2022

The band recorded these songs in March 2021 — in the middle of the winter lock-down with an insatiable fanbase that only kept increasing as the band’s popularity skyrocketed during the pandemic. The band is also at a major crossroads in their career where they now had the time to focus on all of the behind-the-scenes work associated with recording music.

“Borne” is the song that is the amalgamation of that process.

“I'm not tired/I'm not worn at all/I've just started/Now I'm shown around/ Just what/We were born to be,” Rick continues in the chorus, showing that the band is here to show you their potential, which is only starting to begin.

If “Borne” is reassuring the listener that the band is just realizing its potential, than “Hungersite” is that potential coming to fruition.

“Hope/It's bent like rope/Oh, I'm growing tired/Of hauling on yesterday” is the perfect line to begin the song. It is the band showing cautious optimism while also shedding its skin of preconceived notions.

Whether it's being slapped with the label of an indie-groove band, the constant comparisons to Phish or even torch talk, the band is looking at dispelling all of those myths that have weighed down their past.

The line “But brother, I'm here to stay” is like an auditory fist-bump in the next verse and low-key the best line of the song despite its simplicity.

But in all actuality, the chorus is a beautifully crafted piece of poetry:

Trevor. Ben. Jeff. Rick. Peter. All decked out in hiking gear (courtesy of REI of course, right Peter?). Ready to find that next peak.

Since there aren’t too many versions available of the three songs, here is what I believe are the best current versions played so far:

On “Dripfield,” we are long past the peaks of “Hungersite” and operating on an ethereal plain.

“Borne”

“How did he let down/How did he get down in it/How did he show them/How did he hold them in it” sounds like another entity remarking on Rick as he breaks through into the Stratosphere.

What was considered impossible is now possible and Goose has done it. By the time the listener gets to the chorus, reality hits and we are sent back to the ground - or rather the ocean in this case. The first chorus really brings the band back down but not without some knowledge of what’s ahead.

“There I hear him stepping/Overhead in heaven/Oceans still I'm treading/Turned out to the retting/Caught under the crescent/ Undertow I fell in/Water I keep pressing/ Water I keep pressing/Down.”

More astral imagery is projected in the following lines as well as some pretty far-out pictures such as “Holy one/Constellated sum/ Separated from/All above” and “Howling out the prism/Calling for the rhythm/ Time's my only prison.”

3/9/22 Royal Oak Music Theatre, Royal Oak, MI Coming out of the gate swinging to begin this show, “Borne” is one among the many highlights of this outrageously great show.

The jam is the true centerpiece of this version, sounding as though it could easily transition into “Also Sprach Zarathustra'' (the theme from 2001: A Space Odyssey). The band truly explores the nebulous of space before descending into a nice outro jam that leads into “SOS.”

“Hungersite” 6/25/22 Radio City Music Hall, New York, NY The sit-in of Goose’s career so far began with the guitar stylings of Phish’s Trey Anastasio on “Hungersite.” While there are more comprehensive versions (such as the blistering version from the second night at the Fillmore in Philadelphia), nothing evokes such bliss more than listening to Rick and one of his guitar heroes trade licks all while creating a robust jam.

By the end of the song, the band has awakened with what feels like forbidden knowledge. They have ascended and reached their potential but realize that there is still a long way to go to yet.

2/26/22 Mohegan Sun Arena, Uncasville, CT

“Season wide/Everlasting tide/It's coming back just like/Always” reads the last line of “Dripfield” — ceremoniously closing the Dripfield trio with the assurance that yes, Goose is on the right path and stonks - as they say, can only go up from here.

The live debut of “Dripfield” remains one of the undisputed, underrated jams of 2022.

The jam feels like it tells the whole story of the Dripfield trio — complete with that hike up to the peak, swimming in the ethereal jam and then coming back down to the crescendo of “Goose” calls that erupted from the audience.

“Is it time to shed our weapons yet my friend?/Is it love we've drawn away in our groundless low?/Can we step out of the wreckage yet my friend?/ Running all against their hungry sight/ Hanging on/They've taken all/ But we won't lay that down.”

“Dripfield”

In that chorus, we see a band that emerges from the “wreckage” of all preconceived notions and doubt on their current trajectory, and becomes the relentless spirit that comes to define the Goose we have today.

Think of the song as climbing a mountain with multiple peaks and the final chorus that fades out being the highest peak.

This idea can be reinforced with this line in one of the chorus: “There/It's only air/Nothing tethered to the garment/We're climbing through.”

Goose with Trey Anastasio at Radio City Music Hall | Photo Credit: Jon Caruso

VOL. 6 - AUG 2022

www.elgoosetimes.com

Page Fifteen

“I’ve been friends with those guys for over 30 years. They are my heart and soul!” Although Jerry’s death greatly impacted Tina, it didn’t stop her from “partying left and right, having a good old time.”

with If you've spent time in any of the various Gooserelated Facebook groups, then you’ve most likely come across the following name: Tina Varner.

Her Facebook posts provide us with everything we could ever want: from show recaps, tour opener countdowns, crew member appreciation posts, and memes, to jam band news updates, holiday wishes, and thoughtful conversation starters. Her explosive expressions of love and excitement are infectious, and she has quickly become a pillar of our online community.

As a music therapist, I am constantly thinking about people in the context of their relationship with music, as that is how I learn the most about them in clinical settings. So to be given insight into the inner musical world of my fellow Goose community members is an absolute joy, and I couldn’t wait to explore the ball of love and light that is Tina Varner, and the online Goose community in general.

As the youngest of seven children, Tina didn’t spend too much time searching for what music to listen to. “There was always music playing in my house. My brother was into Led Zeppelin, The Grateful Dead and all of those old bands. So that’s what I listened to... And then growing up in the ’80s, my sister was all about AC/DC.” And as someone who was “all about AC/DC,” Tina’s sister wasn’t going to let babysitting get in the way of an AC/DC concert. “That was my first concert ever. She snuck me out of the house and took me with her. I was 9 years old. Hells Bells tour baby! I cried the whole freaking time.”

Music had always been a big part of Tina’s life, but it was during her high school years that it became a lifestyle. “When I was a freshman I ended up meeting a couple of hippie girls who were older than me, and boom. Just like that, I started hanging out with all of the hippies in town! And when The Grateful Dead came to Providence in ’86, we all skipped school to go see them, and that was it.

From that point on, we went to every show we could. That’s all we did. Tour.” And her college years didn’t look too different.

After finishing school, Tina followed her heart to San Francisco, where she made her way into the world of hospitality, working for Bill Graham. “It was such hard work. But man, getting to hang with Bob Weir and Phil all the time… walking in and out of the back door at the Fillmore… What a gift. I’m so happy I took the plunge and went for it.” Over the years, Tina saw and/or worked with almost every band in the scene, and then some. She became family with Max Creek, which is where she ended up putting most of her time and energy after Jerry died.

Page Sixteen

But eventually a shift began to take place, and Tina’s music life didn’t feel as colorful to her. The scene was full of amazing bands, both established and up-and-coming, and Tina’s dedication to Max Creek and the other bands she loved, remained unwavering. “But musically, it all just got kind of boring.” And on top of that, Tina’s relationship with alcohol had gotten very complicated over the years, and it seemed to be coming to a head around the same time. It became clear to Tina that a change was needed, and knowing that she couldn’t do it alone, she reached out for support.

– She’s been sober ever since. – “I actually found Goose alongside my sobriety. And to be honest, that’s been the best part about it!”

It was just before Bingo Tour when Tina and her partner John were listening to some tunes on YouTube, and a Goose video started playing.

“I remember John and I just looked at each other and were like ‘oh my god… what is this!?’” And that was all it took. “We were off to the races after that.

And boy, has it changed my life. The two of us don’t shut up about it! I swear, we’ve told people in the supermarket about Goose… It’s just so exciting to have something like this, really for the first time since Jerry died. And I’m so grateful that I’m sober for it. I’m ready for this ride.”

Due to the pandemic, Tina and John were not able to see Goose live for quite a while, and they were in desperate need of a place into which they could pour all of the love, passion and energy they had for the band. That’s when they found El Goose.

The internet has played a significant role in the jam band scene for decades now. From email lists, archives, and open-source software applications, to discussion forums, social media platforms, and live audio and video streaming sites, fans have created a vast network of online communities and resources over the years and are quick to embrace new technologies. Within the Goose community alone, fans use blogs, subreddits, Twitter accounts, Instagram accounts, YouTube channels, Discord servers, video and audio archives, show and setlist tracking sites, chord and song lyric sites, prints and pin databases, podcasts, and over 15 different Facebook groups (in addition to Goose’s official sites and accounts). Goose fans engage with one another on a daily basis, across multiple forms of communication, and are constantly discovering new and different ways to learn, share, and explore the band and their music.

While the online Goose community is a great example of all the shenanigans that come with being a family, it’s also a great example of how much more a fanbase can be, than merely a group of people sharing a common love for a particular band. Several of the existing Goose-related Facebook groups seem to have transcended their original purpose, and are being utilized as spaces for discussion and solidarity that go far beyond just talking about Goose. As an admin of the Goose Chicks group, Tina (along with the other admins and group members) devotes a lot of time and energy into creating and maintaining the open, warm, supportive, fun, understanding, and safe environment that many people perceive the Goose Chicks group to be.

www.elgoosetimes.com

For Tina, it all started with her photo-of-the-day posts, which consist of a band member picture (chosen specifically for that day) and a word of love and encouragement. “I magically started having all of these cool pictures of the band, and I needed somewhere to put them! And I figured I might as well say something wonderful to the people who might see it.” It’s been almost two years now, and she hasn’t missed a single day. “There’s no way I’d be able to do anything consistent like this if I was still drinking. So it allows me to reflect on my life as well.”

She goes the extra mile to include everyone she can, and whether it’s somebody’s birthday, wedding day, first Goose show, or last round of chemotherapy, she is sure to make the group aware of what there is to celebrate. She has organized and contributed to various events and fundraisers, and she is quick to bring the community’s attention to someone in need of support. And what’s more, Tina isn't afraid to be vulnerable. Oftentimes, her posts are full of love and excitement, and other times, her posts are filled with fear and grief, and have absolutely nothing to do with Goose. And when any admin or group member finds the courage to post so openly and authentically, it tends to set off a chain reaction. “I get a lot of messages from people asking me to post something for them so that they can receive feedback and support from the community. I also get messages from people just expressing how much the group means to them.

Goose Chicks group members really value each others’ thoughts, and it’s beautiful.”

Especially in the context of heavy subject matter, the way in which Goose Chicks group members tend to interact and support each other resembles what humanistic psychologists refer to as “unconditional positive regard.” Generally speaking, unconditional positive regard is the acceptance and support of a person, regardless of what they say or do. Not that you accept or approve of every action the person takes, but that you accept who they are on a deeper level, and see them as inherently human (and in turn, inherently worthy and lovable!).

In the context of client-centered therapy, this attitude promotes the development of a strong, trusting, and useful relationship between the therapist and the individual they’re working with.

And in Goose Chicks, it encourages many group members to not only share more openly, but to also share about profound and personal topics that they might not typically be comfortable sharing otherwise.

Let’s not be silly though. The Goose Chicks group is definitely not shenanigan-free! It is a family after all.

But as a whole, the group has grown into a truly unique and beautiful community, and Tina’s role in that does not go unnoticed.

Tina and John currently live in Connecticut, where they bought a house several years ago. They’ve got a yard, a music room, a lot of wall space for their paintings, posters, and signed pictures of Jerry, and a basement shop for their laser company, which dedicates a lot of its energy, heart, and soul to Goose merch. “It’s perfect.” But their five-year plan?

“Sell everything, get an RV, and travel to go see music wherever, whenever!” We love our home, but the open road is where we belong, and we can’t wait.” Neither can we. Much love to you Tina and John! See y’all on tour.

And don’t worry El Goose, “We’ll probably bring the laser!”

VOL. 6 - AUG 2022

Red Bird Tart with

Tart Crust 2 Cups Flour 1 Cup Softened Butter or Shortening ½ Cup Powdered Sugar Zest of 1 Lemon Pie Filling 1½ Cups Raspberry Jam* ½ Cup Dark Chocolate Chips (for ya boi Peter) Zest of 1 Lemon The Red Bird Tart | Photo Credit: Chef Rick Gallego

"When it's time for a bird to pie, when it's time for a bird to pie” This is a variation on a traditional linzertorte. Typically, a linzertorte would contain almond flour in the crust and wouldn't have Chocolate in it. But, we're jamming on this pie like the 22-minute Radio City Music Hall “Red Bird.” Our tart will have a shortbread crust, in addition to dark chocolate and a little lemon to brighten everything up, like a red bird singing its song.

Tart Crust 1. Mix all ingredients to form a ball (ideally in a stand mixer but it can be done by hand) of dough.

2. Press the dough into a pie pan, tart dish, stoneware something or other until it is about ¼ in. thick all around. Trim all excess dough that comes up over the side and make sure to press the dough well into all the corners.

3. Dock the dough. Take a fork and poke holes in the dough. A decent amount, I think I did about 5 or 6 rows with about 8 "pokes" each. Don't get tired now, you can almost taste the pie! Make sure to dock your sides and corners as well.

4. Bake at 350° for about 20 minutes.

5. Remove from the oven and allow the dough to cool completely before adding your filling.

Pie Filling 1. Mix all ingredients in a bowl until combined.

2. Fill pie crust with filling once completely cooled.

3. Bake again at 350° for 20-30 minutes or until filling begins to bubble on the edges.

I know you will be tempted to eat this straight out the oven, but I warn you...that jam is going to be hotter than Fred Fest, so please, just let it chill for a few minutes. Don't forget to post your creations and tag @theelgoosetimes and use the #hotteainrickskitchen

* I would encourage everyone to make your own but raspberries are upwards of $8/pt at the time of writing this and it would probably take 3 or 4 pints to make enough jam and I don't know about you, but this guy needs to save some cash for the next Goose tour. In conclusion, Smucker’s Red Raspberry Preserves is the GOAT for this type of stuff. With seeds. Raspberry jam without seeds is like listening to the studio “Arrow” with out all the indie groove, afrobeat, jazz horns and such...sad.

VOL. 6 - AUG 2022

www.elgoosetimes.com

Page Seventeen

Custom Engravings made to order allgmpower@hotmail.com #tollandcountyengraving

Tolland C ounty E ngraving

@TCE-Tolland County Engraving

You’re an animal, it’s phenomenal,

It’s Garth’s birthday so work your abdominals!

Limb to limb, tree by tree, Get up and move your body!

Happy Birthday Garth!

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

Page Eighteen

www.elgoosetimes.com

VOL. 6 - AUG 2022

presents

Ted on Tour

No. 4: Calling for the Rhythm

Based on the Dripfield album artwork by Nikolaos Schizas (

@nikoschi)

The Adventures of Strange Man Episode 2 In the spirit of adventure, Strange Man hits the Appalachian Trail!

By Sparkman Clark Looks like rain today!

Ah, the great outdoors!

Oh, what a day to be living!

VOL. 6 - AUG 2022

www.elgoosetimes.com

Page Nineteen

Sponsored By:

1

2

3

4

5 6

7

8

9 10 12

11

14

13

15

16 17

18

19

20 21

22

23

24

Across

Down

3. Writer & Director of Shenanigans Nite Club: The Movie and a long-time collaborator of the band: Will ________.

1. _______ Sound & Light.

8. Tying up your _____ _____.

2. The proto-Goose band featuring Matt Campbell who made their return in 2021.

9. The acoustic trio that features Rick, Peter and Jeff that formed in 2020.

4. This song was the first song that Trey Anastasio sat-in on during night two of Radio City Music Hall.

10. In 2021, Goose had their first music festival, which was called _____ the Festival.

5. The live version of this song is known for its arpeggiator outro jam (absent on the studio recording).

11. “____ ____ in the kitchen” 6. Song that inspired the #StraightBirdn Twitter hashtag.

13. This song’s debut in Legend Valley night two was over 20 minutes long and has become a new fan favorite.

7. “She’s my ____________.”

15. The title track off of the new album.

12. This was the first song the band and producer D. James Goodwin worked on when making the new album.

17. This rarity is a St. John’s Revival original and was most recently played at Radio City Music Hall.

14. Boston-based band that features Ben Atkind on the drums.

18. This song’s transformation on the new album is arguably the biggest change from its live counterpart, with its afrobeat influence.

16. “I am alright with her.”

19. Goose debuted this new song in Washington D.C., despite its name based on a state on the other side of the country.

20. A long-time friend of Goose who has collaborated with Great Blue and has a jam named after him: Jeff ________.

22. A Great Blue original that debuted during the 2022 Winter Tour.

21. “Feel the rush.”

24. This elusive Ted Tapes jam was last played in Legend Valley.

Page Twenty

23. This folk number wouldn’t be out of place in a Wes Andersen movie.

www.elgoosetimes.com

VOL. 6 - AUG 2022