Chris Dye live performance and taco talk

People have powerful feelings about the traffic in Los Angeles. It says something that local officials warned motorists about a temporary roadwork closure on the 405 last year by calling it Carmageddon. Angelenos took the hint, and this weekend they're expected to steer clear of the latest 405 closure, named, of course, Carmageddon 2. That's how it is in L.A., a snarl of overstuffed freeways and commuters who keep their cool, except when they don't. KPCC's Stephen Cuevas has this profile of a punk rocker whose music expresses the insanity of L.A. traffic while extolling the virtues of public transit. Couple of things you need to know about Eddie Solis. He lives in L.A., loves the band Kiss, and does not own a car. Being someone who's from L.A., born and raised, and, you know, having a few cars in my past, I saw the city much differently through a different perspective through the eyes of a bus rider. One just all the way to the back. Line 18, Wilshire, Western Station. Just steps from the front door of his home, across the street from a tortilla factory in L.A.'s Boyle Heights neighborhood, Solis catches a bus that connects him with the city's subway, and the commuter train he catches to his day job at an indie record label in Hollywood. It just opened me up to, like, little neighborhoods, galleries, clubs, bars, just everything, just seeing what's out there, little pockets of the city. He's a great guy. He's a great guy. He's a great guy. Solis' journeys aboard L.A. buses and subway cars informs a lot of the material on The New Los Angeles Part One, Through the Eyes of a Bus Rider, the latest release by the singer-guitarist band It's Casual. The New Los Angeles. No one has learned much. In Solis' vision of a new Los Angeles, people abandon their cars, climb aboard public transit, and... Climb aboard public transit. Climb aboard public transit. And rediscover their communities. One song extols the virtues of the L.A. County Metropolitan Transit Agency's E-ZPass, and the urban underbelly it introduces to the rider. And that's, like, a nod and homage to, you know, the people who know, like, you can even go cheaper and really beat the system and really steer away from spending money on gas and oil profits and all that. $50 is all it takes for me to get to work. $50 is all it takes for me to get to work. $50 is all it takes for me to get to work. $50 is all it takes for me to get to work. $50 is all it takes for me to witness racial tension, for me to witness illegal aliens. It's not to paint a negative picture, it's just my perspective of what is seen. Off the bus and back on the street, we make our way past a jazz saxophonist playing for pocket change and down a long escalator to catch a train. So, where are we now? We're at the Red Line Station. We're at the Pershing Square Station in downtown L.A. And what's our destination? We're going to go downstairs another tier and in about five minutes we're going to get on the Red Line going northbound. Okay, let's go. The Metro Red Line snakes from North Hollywood to downtown Los Angeles. It's the train that inspired It's Casual's signature tune and spawned a viral internet video. It was partly filmed late at night on a moving train as it hurtles from station to station. Solis thrashes away on his guitar and barks the lyrics. Which celebrate the Red Line and call out the congested freeways that coil around Los Angeles. This is a Metro Red Line train to North Hollywood. The 210, 605, the freeways are not so nice. The I-5, the 210, the freeways are not so nice. The thread that comes out of the record that ties everyone together is just like, be alive, don't be a victim of having a car. The 210, 605, the freeways are not so nice. The I-5, the 210, the freeways are not so nice. The Red Line. The Red Line. An MTA spokesman said he couldn't comment on Eddie Solis' furious pro-Metro message, but the Red Line video was a hit at the offices of Move LA. Eddie's done a good job. Thank you, Eddie. Public Transportation Advocacy Group headed by former Santa Monica Mayor Denny Zane, he liked the juxtaposition of Solis blissfully riding LA public transit in one scene with scenes of the band raging against those notorious freeway jams. Eddie is all frantic when he talks about highways and so mellow when he's like grooving on his skateboard and on the bus and on the Red Line. There's a metaphor for the transformation, you know, from the, you know, my God, I just got to get out of the, you know, traffic to, hey, this is cool. I can mellow out. Or you can blast the tune like too many people as you claw your way across Los Angeles by car, bus, or skateboard. Los Angeles There's too many people I want them to go away Even though I think they're so free Too many people could also be a motto for its casualness, Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Solis will bring the love and the volume during a Redline mini-tour next month. Its casual will play a different venue within walking distance of several Redline metro stops from Union Station to West Hollywood. For the California Report, I'm Stephen Cuevas. And that's the California Report, a production of KQED Public Radio in San Francisco. Our director this week is Nina Thorson. Sil Muller is our technical producer. We had additional engineering from Danny Bringer and Howard Gelman. Thanks to Hank Hadley at KCBX. Our online team includes Lisa Pickoff-White, David Marks, and Don Clyde. Our interns are Katherine Borgeson and Rachel Johnson. Tykee Hendricks is our elections editor, with production and production of KQED. Production help from Tina Lauerberg. We had editing support from Paul Rogers. Victoria Malione is our associate senior producer. Ingrid Becker is our senior producer. The news director is Bruce Kuhn. I'm Rachel Miro. Thanks for listening and have a great weekend. This is the California Report. Funds for the California Report are provided by the James Irvine Foundation. Expanding opportunity for the people of California and supporting the California Report since its premiere in 1995. And the California Endowment. Health happens in schools at Calendow.org. And Chevron. Investing in renewables, strengthening communities, and creating jobs. More information at Chevron.com. The 210-605. The freeways are not so nice. The I-5. The 210. The freeways are not so nice. The 101. The 405. The freeways are not so nice. The I-5. The I-10. The freeways are not so nice. The 210. The 605. The freeways are not so nice. The I-5. The I-10. The freeways are not so nice. The red line. The red line. The red line. The red line. The red line. The red line. The red line. The red line. The 210 to 605. The freeways are not so nice. The I-5, the I-10. The freeways are not so nice. The 101, the 405. The freeways are not so nice. The 605, the 101. The 101, the 101. The I-10, the 210. The 605, the 101. The 405, the I-10. The freeways are not so nice. The red line. The red line. The red line. The red line. The red line. The red line. The red line. The red line. Good evening, planet Earth. Welcome to another exciting episode of Los Angeles Nista. And tonight, my in-studio guest is the talented, very prolific, and well-crafted Sound City alumnus, Chris Dye. Chris, how are you? I'm fine. Thank you very much. Appreciate you having me. Oh, I'm stoked. You got new tunes for us to play and listen to? Absolutely. And we're going to be so stoked to hear you play live in the studio. You're the first live performance via Los Angeles Nista. So this is like landmark. I love that. And then later on, we got the owners of the Monrovia restaurant, the Market Grill. And they're going to be bringing tons of food for us to eat. And talk to us. And talk to us. And talk to us. And put pictures on Instagram. And they're all metalheads. So that's pretty cool. They're into cool music. Feed a musician, ladies and gentlemen. Yeah, yeah. Feed a musician. Yeah. So anyways, let's get into it. You know what? We just had James Roda last month, the producer of Dave Grohl's Sound City movie. And he had so many interesting stories to share with like the whole behind the scenes of the making. And all the interviews that didn't make it. And all the content that was created. After that, I said, you know what? I'm going to... It'd be nice to pull a few people in that have worked at Sound City and talk about it. I had Robert Morfitt from Econoline Crush. And, you know, you've been there and you've done a lot with your band. And I'd like to hear your experience. I recorded my first record there with Garth Richardson. What year was that? That was 95, I believe. 94, 95. He had just done L7 and Rage Against the Machine. And we had signed an independent deal. And... I'd met Garth and really liked his work, especially the Rage record I loved. And so I had a meeting with him. Didn't have a manager or anything. Just talked to him myself and said, you know, this is the kind of record I want to do. And he was real receptive to it. And he did it for, you know, a lot cheaper than he was doing records for at that time. And one of the studios we started out at was Sound City. That's great. And I didn't really know a whole lot about it at the time. I just knew... That Nirvana had done the record. And I knew that Fleetwood Mac had done the record there. And it was an amazing studio. As soon as we got in there, we saw all the records on the wall. And it was my first record. So when you walked in, was it pretty, like, instant inspiration? Absolutely. Absolutely. It was just one of those kind of places that you walk into and you could feel the vibe, you know. And, yeah, I was super excited. Super excited. Super excited. Well, you know what? What room did you actually record in? Was this Studio A? We recorded in the big room because Garth was all about... The big drum sound. He had this sort of system of, you know, I'm not so tech with it, but he liked to get the drums in there. He had this PA that he worked with, and he would, you know, mic it all up and get us in there. And it was just a huge, huge drum sound that he would get out of that place. Now, was all your tracking done in one room? Studio A, where is it, like, track the drums there and go into a different room? Do you remember? Primarily, we did it all, you know, all in the big room. We ended up moving over to A&M later, but we stayed in the big room the whole time, you know. I think they were doing some... Back in those days, they used to cut tape. Right. So... No Pro Tools. Yeah, they didn't have any Pro Tools. That's an art in itself, is splicing tape and patience. So they had one of these rooms where they had... Just tape, you know, sort of plastered on the wall, and they had it all kind of mapped out. And they would just go through and tape all these things together and just make it sound amazing. So how much time did you spend at Sound City in Van Nuys? We spent a good couple of weeks there. Oh, wow. Yeah, it was amazing. Now, at the time, were you guys based in Los Angeles? We were. And the funny thing is, is they kind of requested... It was in the Valley, and they said, Listen, you know, we're going to be in the studio. We're going to be in the studio late hours, so we want you guys in a hotel around the corner, because we want to start early, and we don't want to chase you guys down. So we were actually staying in a hotel down the street. Very close, like walking distance, actually? Yeah, well, not necessarily walking distance, but... Excuse me. It was really close. I can't even remember exactly where, but it was close enough that we were there in five minutes. Now, there's a folklore that says that the Budweiser factory, which is like, spoo the... Right. You know, the scent of, you know, the beer being brewed. But did you smell anything while you were making this record, or is that more of a myth? I always thought the Valley smelled kind of funny, so I couldn't really tell. Couldn't tell if it was from the Budweiser factory or some funkiness going on. Or, yeah, some funky tranny walking down the street. I don't really remember that as particular, but, you know, I was sort of in a crazed state of mind at that point. I was making my first record. I was super excited, so I was, you know... Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. You know, just over the top. That's great. Now, the record that you guys made, what label was that on? That was on a label called No Name Records. I remember that label. Yeah. At the time, we were there... I think it was either Us or Fluorescene they had signed first. So they had two bands, Us and Fluorescene. And the label ended up eventually going under, but then sort of reformed and went on to sign... and Slipknot and a bunch of other bands like that, but they had a lot of success with Slipknot. Oh, gotcha. Now, when did that record come out? That record, my record? My record came out in 96, I believe. Right, yeah. And that was actually distributed worldwide. It was, you know, this was, I want to say pretty previous to the internet. So, you know, we actually had, you know, a distribution company and all those things that you used to have to have when you made records. They, you know, we distributed basically nationwide. I'm not really sure about Europe. I'm not really remembering anything about that. I think we were just constant. In those days, we were just thinking about, you know, the US. We just wanted to, you know, we wanted to get on the radio. We wanted to go out and play and we wanted to, you know, make the record a success. Very cool. So, you know what? That segues into your chapter now. I mean, you've been there, done that with the band and have toured and have done plenty of groundwork. But now you're a solo artist. Right. Chris Dine, you got a record out. I don't want to leave the Sound City story before I tell this story, which I never really have, you know, many opportunities to tell. This is the perfect time. Got it. Garth was, he was, you know, famous for trying to stir us up and get us ready in the studio. And, you know, this was one night when we were there and he had brought the Jesus Lizard guys in and they were listening to the record and we were all drinking and having a good time and making the record. And he would run in with a fire extinguisher and scare us with it and sort of try and get us to, you know, get off our mark and try and get us to move and get excited. So, you know, it used to freak us out. You know, we'd see him running around with a fire extinguisher and we'd go, oh my God. So we, you know, as the night wore on, me and David Yao got into this drinking contest. Oh man. And, you know, and I was getting more and more belligerent. And so, you know, they were in the main studio listening to some tracks and I'm running down the hall and I see a fire extinguisher on the wall. So I thought, oh, now it's my turn. So I go, oh, I'm going to go to the studio. I grab the fire extinguisher off the wall and I run into Studio A and I just let it loose. Well, unbeknownst to me, it was the powdered fire extinguisher and not the CO2 kind. So I rained. It looked like a snowstorm in there. And as I did it, I saw them all look to me in horror as it all just sort of settled around the room, you know, all over the board. So Dave Grohl, when you find, a stuck figure? Those little white marks in your board, that was me. Yeah, it was horrible. They, you know, almost got me kicked out of the studio. But... I mean, let me ask you a question. Did they get pissed off when you did that? Oh my God. I mean, that's an expensive knee board. They were going to kill me. The only thing that saved me was the fact that Garth had been doing it with the other fire extinguishers. So because he had been riling us up already, I kind of got a little bit of a pass. It was as if I was going to die. It was as if I was going to die. It was as if I was going to die. It was as if I was going to die. It was as if I was going to die. It was as if I was doing something, but I just didn't know that it was the wrong kind of fire extinguisher. Right. So, yeah, I mean, I tried to clean it up and eventually they just dragged me out of there, sent me to the hotel room. And I woke up in the morning and it was in horror. But they cleaned out the channels and did what they could. And so, but I'm telling you, there's some dirt in there that I've put in there. So, you know, there you go, Dave. There you go. And enjoy that. Chris Dyer approved. Right. Broke it in with a fire extinguisher. Yeah, I broke it in. And some good rock. And I made it through. And I made it through. Yeah, we made great records. And fast forward to your here present day. Yeah. So it's going to be, you know, it's all positive, right? It's great. It's great. Well, I'm excited to listen to some of your new tunes. You got a record out. Right. We're going to play a few tracks right now. What do you want to play? Well, let's play, let's play, let's play Don't Feed the Animals. Okay, that's the lead track. Yeah, the first track. Let's go ahead and play that. Let's go. Let's go. Let's go. Let's go. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. All right. Don't leave me animals Don't leave me animals Don't leave me animals Don't leave me animals Take my advice Keep on worrying Do the right thing Don't leave me animals Don't leave me animals All of this going on in here All of this going on in here All of this going on in here Don't be animals Don't be animals Don't be animals Don't be animals Don't be animals Don't be animals I spent my life trying to run away Should have stood my ground cause the price you pay Who am I to say I'm a fool? Make you wish you could be unborn My pipe is playing songs on their crystal horn Who are you? I got no clue A bullet that can't find a gun A bullet that can't find a gun They call me Bob I'm seventeen My name is Bob 17 Bob 17 Bob 17 Bob 17 Bob 17 Bob 17 Bob 17 I drove around with the flashing lights Thought I heard them say I had lost the fight They never knew who I really was Crashed out in the ashes And in the dust they found me I was a true lie And it ruined the light of the sun It ruined the light of the sun They call me Bob 17 17 My name is Bob 17 Bob 17 Bob 17 They call me Bob 17 Add Add 17 They call me Bob 17 My name is Bob 17 Bob 17 Bob 17 Bob 17 Bob 17 Bob 17 Bob 17 Bob 17 Bob 17 Bob 17 and been playing in bands and playing music. And things just kind of started spiraling downward with the business. And, you know, my bands were broken up and people were tired of playing music and being part of the business. It was, you know, things were going on the internet and everything was changing. So it was really hard for me to exist as a musician. I kept trying to, you know, to get bands together and do things. And I was getting really frustrated. And, of course, in my frustration, I was reaching for substances and started to get really heavy into drugs and alcohol. And there was an incident where I had been... It's funny, it's Skid Row Studios, because that's basically where I had been living for months and months. And I was running around doing drugs. And I'd come down here and I had OD'd on the streets and woken up in the hospital. And I didn't really know where I was. And I looked on my wrist and there was one of those hospital tags and it said Bob 17. It actually said Bob 17. Yeah, it said Bob 17. So I was perplexed by it. But my instinct was to run. So I called my friends and I said, you got to come get me. I'm in this hospital. You know, I don't know what's happening. I'd been actually gone for three days and no one had known where I was. So my friends came and got me. I ran out of the hospital. You know, of course, I didn't pay the bill or do anything like that. That was my... That's pretty rock. Yeah, that was my priority was like, I got to get out of here before I... Even if you have health insurance, just bail. Yeah, I just... It was bail. That was my... It was flight, you know. So I bailed out of there and went back home. And it was sort of a, you know, it was still a very... It was a life-changing event for me. I was like, wow, you know, I had come as close as I had ever come to... Dying and never waking up again. And that sort of just shook me. And so at the time, my dad had bought this house in Lockhart, which is just outside of Austin, Texas. And I was just still in a bad way. And he said, listen, you know, I think this is a good opportunity. I don't have anybody to go watch the house. Why don't you just, you know, go out there and watch the house for me and, you know, see if you can handle it, if you like it or whatever. We'll just go from there. So I drove... I drove... I drove out there and, you know, I had obviously sold all my gear. I'd lost everything. So I really had no musical gear at all. I just went out there with nothing. And I started to, you know, regroup. And as soon as I started to regroup, I went to the pawn shop, bought my first $80 guitar. I started strumming it on it. And a year later, I was like, you know, starting to feel better. And then, you know, year two, I was like, I think I'm going to, I'm going to start playing. I'm going to stay out here. I liked Austin. And so this Bob 17 thing kept coming back up, coming back up. And I turned it into a song. Well, you know, eventually the song became a record. So I wrote the record, you know, based around my journey from where I was at to, you know, where I am now. And so I sort of, I took Bob 17. And, and wrote all these songs about, you know, my, my travels and, and I also absorbed a lot of influences from Austin and from my surroundings. So you were very immersed in the Texas culture out there. Yeah, I was completely immersed in it. And were open to it and let it in and kind of let it resonate. And I loved it. I loved it because people out there have a completely different attitude about playing music. There's a lot of big hearts out there. People are very friendly. And there's a lot of roots as far as music goes. Right. And, and the scene out there is very eclectic. You know, it's not, it's not very, you know, the roots are country and, and outlaw country and, and all sorts of things, but it's one of the most eclectic scenes I've ever been involved in. And, and so I became totally re-inspired. That's great. Started playing music again. You know, now I own a few different guitars. Now I own, you know, I, I sort of have gained my, you know, a lot of things that I'd lost. So I, you know, I, I, I wanted to, really what I wanted to do, was put Bob 17 behind me. And I felt like the only way I could do that was to, to write about it. I took some advice from my dad. He said, listen, you know, get it out of you, write about it and just put it out there and then you can be done with it. So that's what I did. I said, I want to move on from this. I want to just, you know, start over. And so that's basically what the whole record's about. You know, the, you can get the, the songs that you've heard, you can get at Bandcamp. You can download it for free. It's, it's basically, just donations so you can pay what you want for it. You can download it for free. And I have no problem with you downloading it for free. If you like it, share it with your friends. Let's talk about the show you got coming up in Los Angeles. I do. This Sunday, right? Oh, and the record will be out in April, by the way. Is there an actual street date for the hard copies? No, no, there's, there's no real street date because I'm running my own show. So basically. Well, I'm thinking, well, you know, I'm very familiar with all the record stores in the country. So I'm thinking if you're in Austin, Waterloo's going to have it. Yeah. End of an year. They may. I work primarily online. Okay. It's a completely self-run situation. You get, you get the music directly from me. That's awesome. No order. Yeah. If you want the hard copy. If you want a hard copy. What's wrong with that? That's the way everyone does it. But I feel like a lot of people, you know, download music now. So, and sometimes, and I'm into, if I'm going to do anything that's kind of antiquated at all, I'll go to vinyl. You know, that's, that's a format that I love. That's exciting. That I will go for. CDs I find to be, you know, whatever. I think people can go and download the music and be just as happy about it. Yeah. I think people are very excited with vinyl copies. Yeah. They're willing to spend a lot of money. Yeah. I'll do the vinyl. I'm not so excited about making a CD. Doesn't really appeal to me. I hear you. I hear you. Now, as far as your show coming up though. Right. That's the Sunday. It is. I'm doing a couple of shows for my friend Shelly. It's for, Shelly, what is it for? What's the, it's, it's a benefit for, At the Verdugo bar. The bunny rescue. So I'm trying to save bunnies. Well, that's awesome. You know why? Cause in 2000, And I love bunnies. In 2003, Greg Ginn from SST and Black Flag. He lives in Texas. Yeah. I was just out there visiting them actually. And Taylor. He's a great guy. I hung out with him. Yeah. He's awesome. Yeah. Actually in 2003, when I worked for SST, he did a Black Flag reunion, two nights at the Palladium. And the only reason why he did it was because it was, the benefit for cats. Right. He loves cats. Yeah. When I worked at SST, he had 72 cats. Oh my God. And 72, and he would rescue them. Yeah. And he had a whole space delegated to them and he would save them. Yeah. And get them to shots and get them adopted. And it was great. He's a super, super great guy. I've always been a huge fan. Of his work and everything. I love, you know, I love Keith, Era, Black Flag. It's probably my favorite, but I, you know, I am huge Black Flag fan. And so anyway, it's for the super vegan Easter brunch. Super vegan Easter brunch. Yeah. So it's vegan obviously, because we don't want to, you know, to trip the bunnies out, you know. Get them scared, right? So yeah, we don't want to be eating their compadres. So, yeah, I'm going to be playing at Garfield Place, which is just one block west of Western off of Franklin. It's where I used to live and Shelly lives there. So I'm going to be playing in the courtyard. And then later on in the evening, we're going to be moving it over to the Verdugo Bar. Very nice. And there's all kinds of great- How much is the Verdugo Bar show? It's all free. It's all free? It's all free. It's all donations for the bunnies. Oh, that's killer. Yeah. Yeah. That's very sweet actually. Yeah. Well, I'm, you know, I think that most of, you know, the times when I really enjoy myself is doing, and I've done this for Shelly for years and years and years. It's always a charitable event. That way I'm, you know, when you're trying to get people to come to your shows and you're saying, yeah, yeah, come, come, come, come, you know, it's this sort of, you know, narcissistic kind of thing. But when you, when it's a charitable event, it's a lot easier to sell, you know, you can tell people, listen, you know, you're coming to help, you know, you're coming to try and do something right. So it's, you know, it's a great opportunity to play and get people to see you and also help, you know, help in some, some, you know, in a small way. Absolutely. I'm excited. Cause later on, you're going to play some live tracks for us. You're the first out of, you know, out of all the guests we've had off, you know, James Rhoda, some of the Jackass guys, we're going to have you play the first live performance. I'm excited about that. I love it. And what we're going to do is we're gonna listen to a few more tracks off your record. I love it. Let's let's do a burn in the water. Okay. Let's do that. Yeah. Burn in the water and we'll come back. This is love. . . There's no sign of life That's just the way it is Going underground Going underground Lost along the way That's all I have to say I'm biting on my tongue Biting on my tongue Biting on my tongue Yeah Burning the water Oh, oh Burning the water Burning the water Oh, oh Burning the water Burning the water Burning the water We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. We'll see you next time. at taco it's one of the the great you know at any time of the day it's and and i love when they when you know they're not very big they're just sort of small just beyond a silver dollar yeah you know and if they do three bites maybe you're good if you're really hungry then you just keep eating yeah you keep eating but you don't have to like overeat yeah yeah what's rad what's rad about the taco i think is it's like it's bulletproof to life like a cup of coffee right taco you can't fuck it up yeah if you do you're an idiot right you have to be a complete moron but los angeles is just a haven for great tacos i mean you can really there's another place on santa monica at this car wash that we used to go to and it was right around from sir okay and they served some of the and i remember going to sir we used to do shows there and like showcases or shows uh shows we would do what was called a showcase but we didn't do a show because we didn't have a show because we didn't have a show but we would end up taking the money buying five cakes in newcastle and turning it into a blowout and anyway they had um this this they'd always tell us hey man go to the taco truck in the in the car wash and we're like really okay and and they're still there today and it's it's amazing um food you know and you just you know los angeles is is is just well the depth of culture here is only so deep because of migration from east to west sure we don't have a whole lot of things here in los angeles that are you know that even they keep around you know they they usually tear it down and rebuild tear it down rebuild that versus the east coast like these older yeah older establishments or roots you know and and and you actually you have like that east that european migration from east to west and you know the the west coast is is still fairly new as far as um you know society is concerned you're absolutely right about that one of the deep things that we're talking about is the fact that we're talking about the west coast and the west coast is the most important part of the world and the most important part of the world is the taco the taco runs deep that's super here and you can't tear the taco down and you can't do anything to the top the taco is here to stay so good luck with that you know you know what's cool is i'm going to share a story this is uh there's a great i feel it's great uh it's a mexican restaurant called oaxacan rincon on western between sunset and hollywood and they actually have great it's on the uh east side of the coast and it's a great restaurant it's a great restaurant it's on the east side of western between sunset and hollywood and they during the spring and summer they have a taco guy outside this sit-down restaurant just making them and they're like you're in this nice decor like you know patio waterfall holiday lighting right taco guy and it's like two dollars a taco yeah and that's another thing about it the the price is just ridiculous you know so it's um it's economically sound you know it's it's uh You know, it's sound all around. You know, it is inexpensive. It tastes amazing. And you just can't beat the taco. You know what? That's the PSA. There's some friends of mine in Austin that have this website called Taco Town. And I love it because I'm such a fan of the taco. And there's some great places in Austin for tacos. You know, it's just that, you know, once you sort of, you know, get your teeth into a Los Angeles taco, you know, there's just. It has its own taste. There is no substitute. I can tell you there is no substitute. You can't get it anywhere in the world. You can't get a taco like you can get here in Los Angeles. And that's a fact. Yeah, I agree. And I think. Not even in Mexico you can't get it. Yeah, LA has its own vibe happening. It's its own thing. Completely. It's a beautiful thing. Yeah, I'm excited. You're excited. You know it. I love it. I see all kinds of heads bobbing. Hey, Jeremy, tell us what you think about the tacos here. Jeremy loves the taco. So what's interesting is, you know, if I have someone come from out of town that's never experienced a true taco truck before. Sure. They're like, you're going to fucking buy food off that thing? And it's like, dude, you don't get it. This shit is amazing. Yeah, they don't. Like, at first it's like this, like, they're kind of like scared to enter that world, right? Right. And all of a sudden it's like. Breaks them all out. Can we go back to that place again? Tomorrow? Yeah, exactly. It's the best. Yeah. And it's like crack, you know, it's, it's, it's, it's really, it's ridiculously good. It really is. Now, as far as your experience with public transportation in Los Angeles, did you ever ride the red line much? I used to ride it to get drugs all the time. No way. Yeah. Yeah. Cause I lived on. And back then there was probably no police down there. No. It was all like desolate. The Bob, Bob 17 was rolling on the red line. That's the Bob 17 artery, right? Yeah, that was it. Yeah. The red line was my artery. You know, because I lived on Western and Franklin. So we have the, the station opened up right there on that corner. Right. Western. So I would just walk down, get on the train, take it to the row, get my shit. And I'll be right back on the red line. You know what's so rad about this? When I send this podcast link to MTA, they're going to know that they're like, you know. Oh, I shouldn't have done that. No, no, that's no, this is real LA culture. Yeah, it is. It is. And we're not. I can tell you. We're not hiding. We're proud of all the truth. We are proud of the truth. The train system. I think it's, it's so amazing that they did that. I think it is one of the best. It's actually squashing downtown Los Angeles and Hollywood together. It's starting. 20 minute ride. Yeah. Well, it starts from one end and the other end. And now they're working, you know, from downtown towards Hollywood and Hollywood towards downtown. Well, they're just doing great things. It is. Los Angeles. It is. And a lot of people don't even realize that we have a subway in place. Some people don't. Totally great ride. It works for me. In fact, every time I come to Los Angeles, I don't even ask people for a ride because I just take the train. From where? I take the bus line to the train station and I ride it through Compton and all that, you know, the areas. And then I get down to... To Union Station. And I can take that from... Take it to anywhere. But I... Oh, you mean from LAX? I take it from LAX. Oh, the Green Line. I take the train all the time. Yeah. Yeah. From LAX. So I've never even asked people for rides. I mean, Shelly came and picked me up this time. But I mean, it could be done. Plus... I do it all the time. Plus there's the flyaway now from Union Station for eight bucks. Right. And, you know, like, so if you were like Hollywood and Western, the old neighborhood. Right. You could go Red Line to Union Station. Right. And go to the entrance in back of Union Station on Vignes. I took that out last time. And then there's the $8... I took the flyaway. That's right. And you don't have to leave your car. Last time I was here, I took the flyaway. No one has to drive you. Yeah. And it's just like you're beating the system. That's what I do. I don't ask for anybody for rides anymore. I take... I love it. I take mass transit. And I think it's fabulous. I mean, it really... You really need it in Los Angeles. Before I left here, I was keeping a bike in the back of my truck because I had to... It was too far to walk from my parking space to my apartment. Because I had to park like six, eight blocks away. So I would have to park, pull my bike out of my truck, and ride my bike to my apartment. And then get up in the morning, ride my bike back to my truck. That's where it got as far as parking and busy. And, you know, it just got ridiculous, you know. Too far. Everyone has just been schooled on Los Angeles NISA territory by Chris Dye, everybody. I can't wait to share this podcast. When it gets to two vehicles, you need to reassess your situation. Yeah. And you know what? We're going to get into two more tracks off your new record. This is called Killing Butterflies. And we're going to go into a big bend. Awesome. Awesome. 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 🎵 This is the mirror into the night I can see there's a new date on it I can see there's a new date on it And I just can't turn away I just can't turn away In lost highways You can't avoid Another date this strong And I just can't turn away In lost highways Exploding In the scene That suffocates your dreams Do you know what I mean? It's nighttime again You're screaming through the sky And you're killing my mind You're killing butterflies I can see there's a new date on it I can see there's a new date on it And I just can't turn away I just can't turn away In lost highways Wheels turning Unloading In lost highways Exploding In lost highways Exploding Welcome back to the big top, baby It's like a shot in the arm All this ticking, it drives me crazy So throw my cap in the fire I wanna know, I wanna see I wanna feel, I wanna steal I wanna make it right Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add Add And the wrong thing Wins again It's alright When your good thing Is at an end Forget it next time When your big dream Is around the bend And it's a big bend For you and I, my friend It's a big bend Welcome back, we're the starlight victims We got it all in our hands We're all alone with our superstitions We got it all in our hands Always making new plans I wanna know I wanna see I wanna feel I wanna steal I wanna make it right It's a big bend And the wrong thing Wins again It's alright It's alright When your good thing Is at an end Forget it next time When your big dream Is around the bend And it's a big bend And it's a big bend And the wrong thing You'll understand And the wrong thing And the wrong thing It's been a while It's been a while It's been a while You're not my friend It's a big bend It's a big bend I love it It's a big bend It's a big bend Don't you worry none I've been here before Don't you worry about a thing I got your steering wheel Got your blinking lights Head in the air And you're right above And it's true Me and you We're stuck like glue We ain't got a lot But we make it through You got me and I got you I got your steering wheel I got your steering wheel I got your steering wheel I got your steering wheel Got your blinking lights Head in the air And you're right above And it's true Me and you We're stuck like glue And it's true Me and you We're stuck like glue Don't you worry none Don't you worry none Add Add Add Add Add Add Add Add We're stuck like glue We're stuck like glue We're stuck like glue guitar solo We're stuck like glue guitar solo guitar solo Alright! Woo! Thank you. That's a love song for the ladies. Oh! You know. So... Very nice, very nice. Should I do some more songs? Yeah, do a few more. Alright, let's... You're the first live performance on Los Angeles Sneak Stuff. guitar solo guitar solo guitar solo guitar solo Vou Vou! Vou Vou I do. It may take a while for you to learn to smile. I just wipe it off my shoes. I'm sounding the alarm. Crazy as I am. I mean you no harm. Hello, goodbye, everyone. It's a living. It's a living. The spider's always hungry. And my back is full of monkeys. Because mother took me to the zoo. I spit, I stop and falter. It's life upon the altar. Oh, yeah, no, my colors bloom. And I'm sounding the alarm. Crazy as I am. I mean you no harm. Hello, goodbye, everyone. It's a living. It's a living. It's a living. Life is like a weapon It's like some shit you step in What the hell you gonna do? It may take a while For you to learn to smile I just wipe it off my shoes Very well done, Chris. I thank you so much. You know what? We got time for one more. All right. Let's hear it. Let's hear it. Let's do... Let's see. Put your ball game, whatever you want. All right. Let's do it. For nothing Cause you know You've seen it all It's the final line You better take Your time Because it could be worse You're just scratching at the surface Of it all I'm sitting out Sitting out I'm sitting out I'm sitting out Of this one I spit it out I spit it out I'm sitting out Of this one This one It's the final line It's the final line You better take Your time Your time Because it could be worse Just scratching at the surface Of it all I'm fading out I'm fading out I'm fading out And this one I've faded out I've faded out I'm fading out And this one This one This one I'm fading out I'm fading out I'm fading out This one I'm fading out I'm fading out I'm fading out This one This one Nah nah nah nah nah nah nah Nah nah nah nah nah nah nah Nah nah nah nah nah nah nah Nah nah nah nah nah nah Wow, what a great set Chris, thank you so much Thank you for having me Appreciate it What a great set Thank you everyone Adios Adios Adios Adios