Andy Frasco's World Saving Podcast - EP 5: Eric Krasno (Soulive, Lettuce, Eric Krasno Band)

Episode Date: April 24, 2018

Wherein the Fro learns that gerbils are non-refundable. Yeti enlightens us on some Dutch history. And what's this? Frasco lands an interview with Eric Krasno!? Holy smokes! Party people, repeat after us: FREE JOHNNY HOLLAND. This is Episode 5, y'all. For more information on Andy Frasco, tour dates, the band and the blog, go to: AndyFrasco.com To keep up with the podcast, follow us on Instagram @WorldSavingPodcast For more information on our guest Eric Krasno, visit: http://www.erickrasno.com/ Produced by Andy Frasco Yeti Chris Lorentz Engineered by Chris Lorentz Featuring Arno Bakker Shawn Eckels & Andee Avila Brian Schwartz Jack Brown (Sophistafunk) ... and one random, beautiful porn star 

Hey, it's Schwartz. What's this $6,000 charge from exotic party rentals on your card? I'm not getting it. You don't have $6,000 to spend. You're asking me to take a management commission reduction, and you're out buying exotic party goods or whatever this is, Andy, stop. Get it together.

And I'm not reducing commissions if you're going to do shit like this. Hey, Andy, this is Brian over at Exotic City Party Rentals in North Hollywood. Just looking at the time here, and it's 3.42 p.m. Just wanted to check in about your order. It says on the bill you were supposed to have everything back at the store no later than 10 a.m. yesterday. So in order to avoid any further late fees, we're going to need everything back before we close up at 5. Just to recap, that's 260 blow-up dolls, 18 confetti cannons, two 50-gallon containers of KY jelly. Let's bring back the containers Full size inflatable wrestling ring

7 miniature horses 200 chestnut brown Sideshow bob afro wig 1 pair of sneakers Worn and signed by Carl Malone 1 pair of high heels Men's size 11 With matching ball gown

1 harpoon gun, two smoke machines, and five neon pink dashikis. And just so you know, we already ran your credit card and it bounced. So we're going to need another one. Also, I have a message here from the pet store. You can take back the horses, no problem. But they said all those gerbils you rented last week are non-refundable. And we're back. Another episode. Another one. And another one.

And another one. You're at the Andy Frasco World Saving Podcast with Yeti. Hey, how are you doing? Did you look at the Andy Frasco World Saving Podcast with Yeti. Hey, how are you doing? Did you look at the news yesterday? As a matter of fact, I did. And high five. Number 28 on the iTunes Music Category Podcasts. You bet your sweet, sweet, precious dick, Yeti.

That sweet little dick. That did something for me that was great y'all thank you so much for getting us the 28 I honestly

I was pumped when I first saw the news we were at 200 I was like oh fuck yeah I'm posting this on Instagram then it kept on blasting it it kept on going up

I'm like oh fuck I shouldn't be a narcissist and keep on posting our ratings up look at how look at how much we grew look at how much we grew but thank you guys so much y'all are so sweet

keep listening we got some cool topics we got some cool guests today we got Eric Krasnow from Soul Live and Lettuce and produced played with John Mayer The Roots it's going to be a great show and then we got me and Yeti

we're going to talk about it. Subscribe and rate though. We've gotten to the top 30 because of you guys and we want to continue to go. Make it. Tell everyone about it and give it a rating

and even review if you want. Show us the love. It's so fickle. We're trying to, if we can get to like top 10, then we can feel really good about ourselves. We could see it. We feel good already, but we want

people to know we feel like we're doing something awesome. You guys apparently think so too because we got some great traction and it's been an awesome couple weeks. Speaking of a couple weeks, what's it been like for you? Oh. Yeah, we started a tour. Oh, yeah. The tour.

We played the East Coast. We played all these major markets. We played Pittsburgh and New York and oh yeah the tour we played the east coast we played all these major markets we played Pittsburgh and New York and Boston and Philly and we've never really gave it a college effort and we finally did and we brought 300 people

and fucking Brooklyn Bull and then we sold out one night in Philly and packed it was half packed the second night we did two nights in Philly. I mean, the word's out. It's Jam Cruise. Yeah. It's crazy.

Well, I saw it. It's the cult. It's the best cult in the world. I'm drinking the Kool-Aid. They're doing great because I saw, I mean, I see that on, you know, like we have the Instagram that we started, Frasco and Yeti. Add that as well. Yeah. Yeah. Frasco.

Yeah, do that. Subscribe to that because we got some good stuff. But I'm seeing the people that are connecting with that account. And a lot of them were like, it was great seeing you on Jan Cruise and everything. It's my people right there. You found a niche, my friend. Yeah. Legit.

Well, this is why we're in Denver tonight. And we sold 500 tickets. And I guarantee it 300 of those tickets are fucking jam cruisers. Yeah. Oh Denver these people

here in the Rocky Mountains love to get out on the ocean. It feels like everyone took the day off out here. Today. It feels like well it's 420 Andy. The fuck are you talking about?

Michael Rappaport would eat you alive right now. Oh my God. That's what I just thought of. I almost just went My boy Rapp. Yeah. We're getting him on the show too. We got Michael Rappaport going you alive right now. Oh my God. That's what I just thought of. I almost just went. My boy Rapp. Yeah. We're getting him on the show too.

We got Michael Rapport going to be. Oh, fuck. This is crazy. Yeti just jizzed all over his glass table. We got a lot of people who are scheduled. We got Vince Herman. I mean, we got Leftover Salmon. We're going.

It's coming together. Yeti, this is exciting. And you did Dan Sterling. I did Dan Sterling, the guy who wrote the interview and produced Daily Show and South Park. And girls. And girls, yeah.

Jesus. It's coming. It's coming, guys. So that's why you subscribe. So you've been on tour. Yeah. New York, Philly, Boston, Pittsburgh, East Coast.

Did a good job. 300 tickets, Brooklyn Bowl, or 300 people at Brooklyn Bowl, which is great, which is actually a bowling alley with a stage. Yeah, it's awesome.

It's not like people think One of the coolest venues in America. It's totally dope and then what's and we're here 420 Denver Denver 500 tickets sold. Gonna do that

and what's next? We're going to Europe in two days. Oh yeah. I'm not just to be clear Andy's going to Europe Andy and the UN

are going to Europe and you're going to do a little tour one day I'll take you yeah okay yeah we're doing the Netherlands

it's King's Day festival you know what the King's Day is I do but tell everybody about it I don't really know why don't you tell me so King's Day I've been playing there for six years

I still don't fucking understand what it is Netherlands also known the Netherlands Holland the Dutch people they have a monarchy

not a lot of people know that and it's the house of orange and this is the second year that they've had a king's day in quite a while it has been queen's day and what it is is that um the king's mother uh stepped down abdicated the throne and gave it to her son she was advanced in years she's still alive she's still a queen mother so to speak but that's what so they have king Day, and it's a celebration of their country. It's kind of like the 4th of July in America, but way cooler. It's basically a big fucking party

for two weeks. Tell them about it. What do you guys do? 30,000 people show up each night, and we're just Parties in the streets. Yeah, it's parties in the streets, and I'm crowd surfing to fucking schnitzels. Instead of Jagermeister, it's schnitzels and shit.

Instead of Jagermeister, it's schnitzels? Yeah, I go straight to the schnitz, dude. Oh, dude, schnitzels is good shit, too. Yeah, yeah, yeah. But the Dutch, that's a German thing.

But what do the Dutch eat? They eat like a lot of fried meats. And licorice. Licorice. Black licorice. They love that shit. I've never seen black licorice there Licorice. Black licorice. They love that shit. I've never seen black licorice there.

I have no idea. I'm just making shit up. What's going on, Yeti? What's going on with the life? Well, you're going to Europe and you're going to be reunited with a member of your band that you haven't seen in quite some time

since January. Your bassist. Fuck. Yeah, he got deported. Yelmer? At Jam Cruise. Everyone thought like, I got some messages.

Yeah, Yelmer, our bass player got deported. Thank you, Donald Trump. Yeah, it's fucking crazy, dude. It was from a traveling visa five years ago. He was two days late on a traveling visa. Yeah, we haven't gotten any trouble. Right when we get off the jamboree, poor guy. Some, you know, the last day of the cruise, the cruise, everyone is trying to eat all their drugs.

Poor fucking Yelmer gets dosed five hits of acid at 4 a.m. Oh, no. And he's getting all fucked up. All good, all good, all good. And he got detained for seven hours, still high on acid. Oh, fuck. Insane. I would be crawling out of my motherfucking skin.

And Yelmer took it like a champ. They basically said, you can't stay. They got him a ticket straight to the airport. He had to get handcuffed from from the airport onto the plane oh my god and if you know if you ever met yellmer he's got the best fucking personality ever like it's like what the fuck and like we all thought it was drug related like not all this guy's no it's like he tried to bring my stupid yellmer he tried to bring some weed back. And it wasn't that at all. It was a deportation.

Now we have, I'm paying $6,000 in lawyer fees to get them back in the States. And we're doing this fundraiser called Free Johnny Holland or we're selling t-shirts that just say Free Johnny Holland. So buy one.

We're going to sell them at our shows. We'll sell them at andyfrasco.com. Help us get Yelmer back in the States. Free Yelmer. Free fucking Johnny Holland, dude. But it's crazy. When did this deportation really start happening? You remember the Muslim bands that happened.

Yeah, but why were they taking Dutch dudes? I thought it was super racist against that part of the world. I think, what do you think it is? I mean, honestly, did you think it was just wrong timing? I think it was bad timing.

I think it's one of those things like, I think sometimes when you have shakeups and systems like what we've seen with the Trump administration from eight years of relative calm,

I would say, in the Obama administration when you have shakeups, suddenly like some of those things that should have been taken care of might come up. And I'm not an expert, and I wouldn't even venture to guess with Yelmer's situation, but it just sounds like it was just a timing thing.

It wasn't if, it was when, and it sucks. But you get to see him again. You get to go back. I'm going to play with you guys. Yeah. And you get to see him. Get to see my back you get to play with you guys yeah and you get to see him you get to see my boy Yelmer I miss him man

he's such a good he's it's a good vibe with him yeah because he's always so happy it's that European mentality

we were talking about before the show like everyone we all live to work and we work our asses off every single day

yeah because that's just capitalism. They work to live. And they're all about just trying to live as happily as they can. And that's a lot of my preaching in my shows is from that mentality that I got from the Europeans. You know, Spaniards, the Greeks, the Dutch, the Germans. They live a life that is, they don't need all the money in the world.

They don't need all the friends in the world. They're happy with their community. They're happy with being in a community. And it's less selfish. And I feel like Thailand was the same way. Less selfish, less focused on themselves and more focused on how we could help everyone. And that's one of my main goals if I'm trying to bring what I'm trying to bring in music and what I'm trying to bring to a live show is it's not just all about me. It's all about the whole crew and it's all about the whole process of trying to get people together and really find inner peace. Even if it's through a concert, even if it's through a message, a podcast,

whatever it is. I'm here to try to let people know that they're not alone and we're all fighting this thing together. It doesn't matter what race you're in. It doesn't matter man or woman. We all need to stick together, especially in these times. I agree, dude. And it's one of those things I wrote something down this week. It's so funny we get here to this point. And, you know, if you listen to what you and I talk about and where we land on, let's just talk about political issues where you want to talk about gun control. You want to talk about women's rights. You want to talk about civil rights and gay rights and everything like that. It's not hard for people to find out where you and I fall.

And we fall pretty far left on those issues. But this podcast, what we're doing isn't about political association, right or left, north or south, pro this and anti that. It's about acceptance. Acceptance. And I either accept or reject something. And so I accepted Bernie Sanders as the person I wanted to win the presidency in the 2016 election. I rejected all the others. And that's an example. Some people

would say, oh, well, you're a socialist or whatever. Whatever's aligned with whatever that political candidate is. And that's not it. And to bring it back to your point, And that's not it. And to bring it back to your point, this is about, I firmly believe that this is how you move through life. And it's very Buddhist, like we've talked about before, is that you either hold onto something or you let go of it. You either accept it or you reject it. And it's every single thing in every single moment in our life. And when we do that, we're focusing on the moment right now instead of what might happen or what has happened. And that's that moment-to-moment inner peace and clarity. Do you think that's why people get anxiety?

Yeah. Because it's too focused on what's going on behind them or what is hopefully going to happen in front of them? Yeah. If we live in the moment, then do you think we could cure anxiety? If you live in the moment, there is no... So think of it this way. All we have is right now. There is no past.

It happened. It doesn't exist anymore. We started this... We kicked off this podcast a few minutes ago. That's done. Okay? And what's in the future isn't guaranteed. All we have is this second right now. So if all you focus on is that, then suddenly there's nothing to worry

about because think about it. What are you getting? What was the last thing you had, you knew you had, you were really anxious about? What was the last thing? Uh, today, this morning, this morning, trying to get here, trying to get here Drove through the night to make sure I get here for my first sellout show in a metropolitan city. Right. And it's huge. But that anxiety is coming from your experience, the fact that you played a show in Lincoln, Nebraska last night,

late, got in the van, and then drove eight, nine hours to get to Denver, Colorado. And in the van, you've got anxiety about the future projections of what the show is going to be and what it's going to be. And I was, I was the same way. I drove from salt Lake this morning and I'm projecting like, Oh, I'm going to get there and we're going to be able to record the podcast, whatever it is. But if I, if we had just taken that moment and just been like, I'm right here. Oh man, whether it's we're driving or we're just hanging out with whoever's in the car like we get a chance to take in that moment and suddenly those anxious thoughts don't have a foothold that's what i'm saying i mean that's i wish i learned that last night when i was

fucking stressing about money and being so fucking broke and shit yelling at my band on state and shit i do that a lot yeah where i where i take my stress out on the band because i can't take my stress out on the crowd yeah so the only people that are gonna deal because i don't have a girlfriend or anything or you know my parents are older and you know i'm not gonna bitch to my parents i'm 30 years old you know like the people that i have to bitch to are the people surrounded that are surrounded by me is that why you find it it easy? You've told me you find it easier. This is an outlet for that. Yeah. It's not that you

find it easier. No, I find it completely easier because it's hard to be vulnerable with the people you love in your life. Why? I don't know. I mean, I agree with that statement. I'm asking you. I think it's because all these feelings get involved and all these like,

you're thinking of the big picture things and you don't want to yell at someone over an emotional situation. Right. Just because you're having a shitty day. Right. You don't want to blow up the great thing and the bigger purpose

over that shitty situation you're in or like the lack of money you might have at the moment or if you're hungry or if you have to sleep on a fucking dirty couch again. All those things are just the process of the dream. And if you're going to let the process of the dream affect the outcome of the dream, that's fucked up.

Right. Well, I mean, it's about the journey right exactly journey dude like and then like thinking of like living in the moment living in the moment you don't have to think so much about the outcome of the dream you're just focused on getting to the dream and that's where i want to be in my life instead of thinking of okay what's going to happen next who's gonna who's gonna i'm refreshing my email to see who's gonna give me that next big break right you know instead of doing that dial in like okay how can i write a great better song or how can i have a better piano solo or how can I dial in and getting my message across to the fans?

If you focus on just tuning the dream instead of worrying about the whole big picture, I think you're going to get closer to that outcome than just worrying about if it's ever going to happen. That makes sense. It absolutely makes sense. Because what I hear It absolutely makes sense. Cause I hear what I hear is it makes sense. I don't need to reiterate any of it. I, I love that. I love what you said that, you know, all of this journey, the one thing you said in that whole, in that whole little bit

that really stuck out to me is that you're not going to blow up this thing. And in your case, you're talking about, I'm not going to blow up my band over something minor. Yeah. You've heard the stories. There's urban legends out there that, you know talking about, I'm not going to blow up my band over something minor. Yeah. You've heard the stories. There's urban legends out there that these, and you could say that about marriages. You could say that about corporations. You could say about any group of people that are locked together in a common goal, breaking up for, or an ending or whatever, for some reason, it's typically something pretty minor. And somebody would say, oh, it was just the straw that broke the camel's back,

or it was just the final thing. And it's like, if we would just everyone collectively say that this is the moment, the only moment that we have and just live in that moment, suddenly those minor things melt away. And you don't react to, and I'm experiencing this in my relationship. It's amazing to be at a point where you're like, holy fuck, I really don't care. I don't have to have an emotional position with that. I don't have to have a judgment with that, whatever it is, you know? Yeah, totally. You've seen that affect your

relationship in a better way. Absolutely. Because when it's, you know, there's some country song out there is like, don't sweat the small stuff or something like that. But it's absolutely true. For example, if you, and Megan, I talk about this all the time. If you have an emotional response to something minor, what happens when something major comes up? Like if, if for example, you get pissed off because there's somebody didn't put a sock away in the laundry, you know, like this happens in cohab. You get pissed off about that or because of the way they put the toilet paper on or whatever it is. What happens when something big happens like they wreck your car or they lose their job and suddenly half your income's gone?

If you're going to get, and I know this from experience because I've had to dial it back, because if I'm going to get hot, if I'm just going to get pissed off i know this from experience because i've had to dial it back because like if i'm going to get hot if i'm just going to get pissed off about little shit then when the real shit comes what where does that go to and i've been a fucking asshole to meg at times when i've let little stuff get in the way of how i really you know of anything i just you know, of anything. I just, you know, cloud my judgment, cloud my view. Yeah. And I think what you're saying is you don't, you can't let that happen. And so you let that small stuff go and you realize that we're all just trying

to get there together. And the guys with the band, like. Once you realize you're not alone with your thoughts. Oh shit, yeah. You know, everyone's going through that shit too. And you can be open and vulnerable like a vessel, like I said last episode. It's so

true. When you close the vessel, all you're doing is just internal, internal, internal. It becomes poison. You need to let it out. Use the flow.

You can't suppress feelings. Right. The minute you start suppressing feelings is the minute you're going to get irritated over a fucking sock. Right. Or you're going to get irritated over a fucked up drum roll or a fluke bass playing, you know, bass part, you know, let it go, breathe and realize you're in this for the bigger picture.

And that you're grateful for that bigger picture. Exactly. Because through that gratitude is where you find that joy and happiness can come and go. Moods can come and go. But that real gratitude and joy is where you find that lasting fulfillment. Yeah, exactly. Wow. That was great, Yeti.

It was good. It felt good. I feel like we need to let these people listen to Krasno though. Yeah, Krasno is the same story though. The guy played with Lettuce. You know Lettuce? Funk band?

Yes, yes. When he was 16. The whole band started when they were 16. Then he was in Soul Live. Then he had Eric Krasnow band. Then he started producing bands. He did Aaron Neville. He produced 50 Cent.

Talib Kweli. Some Justin Timberlake track. Marcus King, our homie. Episode one. Lawrence, our homies too we'vered with i mean krasno has been in the scene so long speaking about a guy who's never gave up on his dream you know he's he's focused he's determined and he loves what he does he's a great guitar player become great songwriter become great producer and now he's becoming a great music director.

He's doing stuff with Questlove. What? Yeah, it's serious shit. This is awesome. Y'all, next up. Listen to this interview. Get some knowledge. I learned a shit ton from him.

He's an unbelievable guy. Ladies and gentlemen, Eric Krasnow. Eric Krasnow, what the fuck is up, dude? Chilling, man, you know. What a lot. Getting the sleep out of my eyes. I know, dude. We got to catch each other a little later than expected.

You were sitting in with Amy last night, Amy Helm? Yeah, I got to go play with Amy Helm, and her band is amazing, man. Tash Neal's been playing with her from London Souls. Oh, really? You produced London Souls' record too, right? Yeah, I produced London Souls' record. I've been friends with Tash a long time. So yeah, I went down there and they're doing a residency at Rockwood every Tuesday.

Oh, nice. So they hit me up about sitting down. Amy is? Yeah. What? Yeah, they're doing a little New York residency. It's cool. I can think they're having different people sit in each york residency it's cool i can think they're

having different people sit in each week what day so it's on tuesdays every tuesday yep man that's the best thing about new york the monday through thursday shows are the best shows because that's like the only i don't really well i guess i'm gone a lot on the weekends but even when i am home i tend to avoid going out on the weekends i don't know seems like it's so crowded everywhere i mean i guess it always has been but williamsburg and greenpoint yeah when did this get hit when did williamsburg and greenpoint start well i've been i've been in greenpoint since 2004 and it didn't really get start getting crazy till 2008 i would say or nine and then now it's like just insane and the same

thing with williamsburg i lived in williamsburg before that before i was here and uh i mean it's like just insane and the same thing with williamsburg i lived in williamsburg before that before i was here and uh i mean it's insane like where brooklyn bowl was was like fenced off and like there was no no one living over there it was just no man's land was it an artist community yeah i mean there was yeah well more so well greenpoint too i guess greenpoint and williamsburg i mean a lot of the williamsburg and like waterfront was like old you know weird industrial buildings that had uh the people turned into lofts and and studio spaces and things like that it's fucking crazy i want to talk about your career this is crazy dude you are you living your dream right now or what i'm happy man are you content with yeah i want to talk about the songwriting i want to talk about the. I want to talk about the songwriting. I want to talk about the producing.

I want to talk about the music directing you're doing. There's a bunch of shit you're doing. Yeah, I'm running around a lot. Although at this exact moment, I'm kind of focusing on finishing a record. So I'm a little more. I've been home for like 10 days straight, which is rare for me. And I'm planning on being home a bit more until i release this record and um you know i've decided recently that i want to take on less less projects and put more into

each one you know i think that's the one thing i'm learning quality over quantity yeah sure so what um so tell me about the songwriting so you're you're making a new record yeah so what's okay now that you've been producing records okay you produce marcus i just i'm just for the people don't know who fucking eric krasno is who aren't on this world let's just talk about this you produced the london souls yeah did you produce this robert randolph record i wrote two songs on the new one yeah what about composing the tedeschi trucks band live record yeah i wrote. I wrote a bunch of songs for them. It's mostly their second album, like four or five songs in the second album,

one on the first album, or two on the first album. And then I think some of them were performed. The first album won a Grammy. And then the other one, the live one, they performed some of that music. So I think that's why it's probably listed. Did you produce any of the Lettuce records?

It was really a band thing. How does that work? We were all involved. When it's an instrumental band like that, producing-wise, when you put on the producer hat, is it a difference between working with a songwriter and working with a band that is... Completely different.

What's the difference? Completely different. Well, a lot of times a producer's job can be many many things when you're working with a like a singer songwriter a lot of it is the songs you know picking the songs shaping the songs helping arrange the songs um you know taking little nuggets of goodness and making it great. It's all of that. Do you hire the band for these songwriters? It depends.

It's always different. Sometimes they'll come with band members that they want. I'm going to smoke weed. Sorry about that. Oh, good. Sometimes they'll have band members in mind. Sometimes we build the tracks just me or me and one other person i mean it's always different when adam deitch and i would work together or when we do work together it's been a while but we would build all the tracks ourselves you know and i'm working with jeremy most quite a bit now

and we do the same thing and then you know there's some people where it's just me and them there's sometimes where i mean the process is always different yeah did you produce emily king no no i've worked with emily a lot yeah what about when like uh like an anr is involved are they is that the worst times depends i've been pretty fortunate that i've rarely had to deal with a lot of that i mean i dealt with more of that in soul live when we were in soul level but even then it was like they were pretty relaxed were you producing the soul live records did you guys do that that was like as a band too, pretty much. You know, that was, and then the first record is we worked with some producers. I mean, during that time period when I was doing a lot of those sessions,

that was when I was learning from all those guys. I got to work in all the greatest studios and with a lot of the greatest engineers and producers, and I was just trying to soak up as much as I can from those guys. And so, you know, at that point, I didn't really like, at that point we had producers and I think the first album, Basie Bob produced that. Second album, we kind of produced our, we pretty much produced that ourselves. And then from then on, you know, Alan's a great producer too. I mean, I feel like all this guys in Soul Live can, in the studio. Alan is also a great engineer and he has his own studio. So we all kind of learned from each other and learned from the different people we were working with and kind of... So as Eric Krasnow as a person, do you feel like, do you consider yourself a guitar player,

a songwriter or a producer? Tough question. What was, at this point in your life what do you want to be a songwriter i the songwriter songwriting and producing is really my passion right now i know i love playing i mean it's really all of it i can't really pick one above what what okay what'd you get started with guitar first or guitar first definitely guitar well actually i was in like choir as a kid but i i was and i did like musicals when i was a kid my mom was which one i did too i was in like oliver okay yeah and uh charlie brown something

about what was the charlie brown one and i was in a bunch of different ones um my mom was definitely like she says that like when i was a kid before i was talking i would like sing the records that were playing and sing melodies that I would hear. And so she was like, he's gifted, you know? So she was like putting me in- We're doing this motherfucking thing in commercials. But I was into it. But in the beginning, I remember I took violin lessons and I didn't love that. It was more of the method. And also I wasn't really, I don't know, violin just wasn't my thing, I think. And like, it wasn't until I was into music as this young kid, but it wasn't until like

my brother had a band and I saw people like, you know, making like rock music and stuff like that, where they were having fun with their friends. And it was, it was like a social thing too. It's like, I wanted to hang out. They were all older. Yeah. So I would go down to like the basement where they'd be jamming. And what's it, what town were you in?

This was in Connecticut. Connecticut. Oh, so your East Coast. Your East Coast dude. About 30, 40 miles from here. 30 miles from here. Nice. But they would play in the basement.

I'd hear them. I'd go down there and try to jam and sound like crap. And they'd be like, you got to go up and practice and then come back down. So I would sit there and listen to Led Zeppelin and stuff like that. Then I was probably 13 or something. So you started playing music at 13? Yeah, at 14, I started getting more into it. 14, 15. I played bass first because my brother played guitar.

When did you start writing songs? I mean, pretty early on, I guess, but I didn't really know what I was doing. I would just write stuff. Like who was your guys? Who were your songwriters? Who was your guys? Like who was your, who were your songwriters and who were I into and who was your into as a guitar player? Even before, so my brother was just, like I said, five and a half years older. So, and he was super

influential on me. He had records around the house and he would take me to shows. He took me to the Grateful Dead when I was 12. What? So I was like into that actually. Pre Jerry after Jerry. Oh, definitely Jerry. Fuck Jerry. Oh, I saw Jerry a lot. A lot. What? Yeah. In fact, I went backstage at 10-16-89, which is like a famous show where they played Dark

Star for the first time. 10-16-89? Yeah. It's a famous show. Brendan Bernarina. Did you meet them? You meet Jerry? I didn't really like meet them, but I like walked by and like I high-fived a couple of

them. I tell Phil that now and he's like, no way. Yeah. You're like, you're homesick. And Graham was there, too, who was a little baby. He was probably two years old, three years old. Isn't that fucking nuts, though? Yeah.

You grew up watching these guys. Were you idolizing these guys, or was it just something to your parents? Yeah, I mean, I was really into it. I collected shows. It's funny, because it was like a full circle. I mean, I've always loved the dead, but there was a long, long period of time where I was kind of just doing a different thing. And, you know, as I became more into guitar playing, I got more into like guys like John Schofield and George Benson and like jazz guys. And you play with those motherfuckers too, man.

I've been pretty lucky. Kraz, you're a fucking legend, dude. I mean, I've been in the right right places at the right time you know and you know i think like most of it is like having good intentions and trying to you know i think those guys are i'm blessed that they can that i get to sit with them and actually play music with them was that your drive though to like work harder and did you always want to, did you always knew you're going to sit in and like play with these guys like deep down? Did you have confidence in yourself? Yeah, I think I did.

I think I did as far, but I didn't know how it was going to happen. I had no idea. I remember like, you know, having a band and all that stuff. I just had no idea how that was going to happen. And I would just, you know, it was trial and error. Like when we started Lettuce, I would book the shows. I would load the gear. I would drive. Oh shit. I forgot about that. You started lettuce. Well, yeah, we all, yeah. We and Adam and Schmeans. So are you a Berkeley kid too? Yeah. No, that. Okay. And we all met in high school. So that

was where it all kind of started. So y'all were playing in high school. What was the band name? It was, well, we called calling it Lettuce afterwards. So when we were 15, 16, we went to the summer music, what do they call it, five-week program at Berklee. And then we all met there, started jamming together. How many people actually graduate? Did everyone graduate in that band? I think Eric Coombs, Jesus, I think he did.

So when did you start getting into hip hop-hop because like you and jesus early on i mean that was like fourth grade i mean when i was like a kid the bit like run dmc and and the beastie boys were and that was the thing it was like that was music that you know like my dad loved like 60s like rock 70s rock beatles and rolling stones my brother liked like van halen and stuff like thats, like rock, 70s rock, Beatles and Rolling Stones. My brother liked like Van Halen and stuff like that. And then like Run DMC and the Beastie Boys was like mine. You know, I was like, I was like, I had the, like my brother actually like threw out my Beastie Boys tape. I remember because he was like, stop playing that. And, and then I like, you know, LL Cool J.

I was super into like Crush Groove, which was like this whole. So East Coast, East Coast hip hop. What about any West Coast? I mean, West Coast eventually. I don't, I guess West Coast really, I didn't, I don'tove, which was like this whole- So East Coast hip hop? What about any West Coast? I mean, West Coast eventually. I guess West Coast really, I don't know if it was happening then. I mean, I guess eventually. I mean, yeah, when Snoop Dogg came out. What year was that?

What year? 93? What year was like, I think it was like late 80s actually. Really? When DMC came out. Oh, but like when did you like really, oh, so you were really becoming a hip hop hit in the 80s. Oh yeah, when I was in elementary school.

Is that the scene, though, East Coast? Was that just in the streets, in the vibe? You lived in the suburbs, too. I lived in the suburbs. I mean, no, the suburban kids loved it, too. I fucking loved it. It was like we had access to it. But then there was a long period.

I had taken many different twists and turns, because then after that, I became into The Dead. I never didn't listen to any, but it was just like I kind of would get into a certain thing and then i got really into like funk music like i was completely obsessed herbie hancock headhunters and thrust those albums man child i was obsessed like obsessed with that i would listen to it all the time i'd want to play i wrote i mean writing music in those days was like super influenced by that. You know, we were trying to come up with funk grooves and with chord changes and melodies that were interesting.

And, you know, it wasn't really. And even though before that I was writing songs, it wasn't really till later that I really focused in on like writing songs and writing lyrics and stuff. That kind of came years later. Although when I was at Berkeley, I also lived with a guy named Jeff Basker for a while, who was an incredible producer, an incredible songwriter and singer. And we had a studio together and he would write songs and arrange songs. And I would just sit there and watch how he would do it. And at and started and at that time I was making beats so arranging songs like what were you using pro tools back then what was back then it was adat what's that he an adat machine was uh oh yeah and um eventually pro tools like I had the digio one the first thing but uh he used an asr 10 which

was an old sequencer and I had one of those. I copped that because him and Adam used that. And I started using that. But even before that, I had random samplers, like a Gemini DJ's thing, where I'd loop beats and do stuff over that and play bass and guitar over it and start writing songs that way. So you've been, Dyche is your drummer. I've been playing with Dyche since 16. That's your guy.

Holy shit. And it was crazy because when I met those guys, I had been playing music, but in my little town, there was nobody like that. I mean, I went up there and all of a sudden it was just like, they were kicking my ass. I mean, those guys, all of them were amazing musicians. Schmeans, Jesus, Zoetis. And then we also, I brought my things to the table that i listened to but those guys showed me so much music like earth wind and fire tower of power like zoitis played me tower of power and just like blew my mind um and jesus knew all the like

west coast hip-hop stuff and yeah they were we were all just kind of throwing all of our influences in this pot and kind of so speaking of les like in this pot. So speaking of Les, what happened there? Why'd you bail? Well, I wouldn't say bailing is the word. It's just like they got to a point where they wanted to start touring super, super heavy and make it the main thing. And I'd been in Soul Live for a really, really long time. Oh, so Soul Live was for?

Yeah, so Lettuce. Well, Lettuce, like for the first 15 years, like, or 10 years, I pretty much would always put the gigs together, get everyone together, organize it, you know, drive to the gigs, book the gigs. And then it just kind of like organically became a thing where people were like,

oh, it's like this all-star band of different guys. And we started getting booked on festivals. And as that kind of ramped up, I also started producing a lot more. And Soul Live was busy. And I was kind of launching my solo, first solo album, right when Lettuce started taking off and everyone else kind of freed up. Everyone was in different bands or playing. You know, Shmeans had played with Robert Randolph and Lady Gaga.

And Yates was average white band, John Schofield. So how old were you all when you started it though? 16. Well, the band name didn't happen. When were you doing Soul Live then? Soul Live started after. So Lettuce couldn't really tour because they were in a band called Fat Bag.

And there was basically all these different guys with different bands. Ryan was in a band called Rustic Overtones that was signed to Arista, to Clyde Davis. And I had Soul Live. So Soul Live got signed in like, we started in 99, got signed like a year later and started touring all over the place and pretty much did 10 to 15 years solid. 10 to 15 years solid. 10 to 15 years? Yeah.

Gigging hard. How many dates were you doing? Well, that's a really good question. I should ask Alan because he would know better because my brain's foggy, but definitely like 200 or so in the beginning. Was it a party? Were you guys just getting fucked up having a young band?

I got to say that Alan and Neil, they're great dudes to be in a band with because yes they love to like have fun but those dudes net they're so solid you know i mean we would they they also had been gigging since they were like 12 and 13 14 like they were they were gigging around buffalo when they were little kids and um so they were just seasoned at a young age like i used to go see them in their band called moon boot lover when i was in college i was like a fan of theirs you know and um when they asked me to get together with them i was like damn like i'd love to play with these guys and just instantly it kind of happened you know i was really fortunate for that situation i feel like yeah sola has been

really kicking off again you put out a record yeah? We just put out, yeah. We decided, we did this, we've always gone to Japan every, well, we used to go every year. Yeah, what's that scene like? Is it huge? I play in China. I do like Macau. I haven't fucked with like,

like we fucked with like Thailand and shit and China, but I've never been in Japan. And I heard you guys kill out there. We've done, we do well there. I mean, in the very beginning when we came out there, it was crazy. We just had like a ton of promotion behind the band and it was like really

good timing. And the, the label was like, loved us. So the first time we went out there, we would sell out shows and, and we still do. Well,

like Blue Note, where would you guys play at? The very first time was the Blue Notes. And then we started doing like bigger rock clubs and stuff. And then we did festivals. And this last time we did a combination of um what did we do do we do the blue notes or the billboard i was getting mixed up and then we did a few festivals uh where we do like theaters and stuff like that what you know asia's crazy their culture is uh way different like we i we went to

thailand we saw girls shooting ping pong balls out of their vaginas and shit. It was fucking wild. What's the craziest shit that happens at those Japanese festivals? I mean, their freaking, their freak scene is- It's crazy. Well, I would say that- If you're on the festival circuit, you'd see that. The culture, as I see it there, it's just, you know, they get really serious about whatever

they're into. If they're about music, they're really about it. If they're about some freaky stuff, they're really, really about it. So yeah, I don't know, man. The Fuji Rock Festival is one of my favorite festivals in the world, if not my favorite. Yeah, tell me about that. We always play the Field of Dreams, I think it's called. And you walk through this crate. It's funny because Electric Forest and some of these other ones have kind of taken on some of those concepts where they like would dress the whole forest up in these crazy like weird designs and like structures. And you walk through and you get, it's just, and it's all like super clean and super nice, but people are partying and, you know, it was funny.

Coming back from that, I was like, like man i wish we could have a festival like that here and now there's a lot of them that have popped up but not in the not like you know the way that they're run there everyone's so organized and so respectful yeah the rules you know that it's like everything runs really smoothly i love that i love japan i i mean i love the asian culture is like yeah we played new year's eve macau for the last six years and like fuck we fucking like royalty it's awesome like awesome yeah it's super cool like like festivals in america there's so many of them it's like oversaturating like and do you feel like the crowds are getting smaller in these festivals because you know it's hard to say they're playing like markets that are 200 miles away now yeah well i do see yes i guess i see a lot of

the festivals popping up and then leaving yeah you know because because it's hard to run them and and they they're there's so much competition and so you know but then the ones that sustain are great um you know it's it's it's a cool thing and it's you know i've always wanted to and i my brother and i have curated festivals together my brother runs a festival called wanderlust which is more what's that it's a it's a music festival but it's based around like yoga and uh it's like a yoga festival they do one in in squaw valley in california they do one in vermont um they do them all over the place there's like they do 70 events a year but some of them are just one day like they um you know they do one in prospect park here in brooklyn but the bigger ones are vermont uh they do one in west virginia they do one in california and one in whistler mountain

and i actually heard of this i think yeah it's they've done really well and they have a they actually like a flagship like uh center i guess yoga center and restaurant in la nice so anyway uh i forget where i was going with that yeah so he and i had done a festival together or a couple with soul live and lettuce where we curated it and it was tough man it was just hard to it was a hard model to make money but um it was really fun putting it together and i still kind of have a dream of doing it again it is halftime at the endy fresco interview hour here's a quick message from the um well the more and more i roll less and less I know about myself I used to run without a hitch Now I'm in a sitch that's bringing me down

When I'm feeling blue It's a hard pill to chew But this is what I do I wrote a little song Wrapped with a message to say fuck you Don't let the haters get you down Let's talk some love, spread it around Don't let anyone ruin all your fun Don't let anyone ruin all your fun don't let anyone ruin all your fun let's talk about the songs i want to talk about songwriting um craz you make the women

panties drop with your fucking soft songs Dude they're so beautiful That last record you made Honestly I was weeping on some of that shit Tell me about that How important are lyrics now When you're writing a song How important is vocal melody

Or how important is a counter melody on your guitar You as Eric Krasnow today, what determines a great song? Well, you have to be able to sing it back to whoever sings it to you. And the best songs to me, I remember the hook like instantly, you know?

And what really, really gets me going is when it's something different. I don't mind if it's like a 6-8 or a blues as long as it's like, you know, catchy. But when someone does something that's a little different, that makes you go, oh, you know, where the chord changes aren't quite so predictable and have a clever twist of, you know, words in there. have a clever twist of, you know, words in there. How important, like when you're writing a song, like, is it always different? It's either like you first, you make a,

or you have a guitar riff or you first, you have like a vocal melody or a counter, like a verse melody, like, or is it always, all right, I found my chorus, let's move on. It's always different. There's not one song that I've written that was exactly like another, all right, I found my chorus, let's move on? It's always different. There's not one song that I've written that was exactly like another. Sometimes I hear something or I wake up and have a melody in my head. Sometimes I have a riff.

Sometimes I just sit down and make myself come up with something, although that rarely is fruitful, but it can be. Try to write a song a day? I don't really have a a regiment although when i'm home and i'm in the studio i'm writing every day you know sometimes what was the process because you've been so fucking busy with all these projects this new record you're making right yeah what was the process of writing that this this one was crazy right on the road and shit yeah i mean i'm well i'm always keeping notes of ideas and then sometimes i'll write stuff on the road i'm not great at like writing on the road. I'm good at writing like lyric concepts on the road, but, um, I don't always like have a, I like to sit down on the guitar and like have

space and like no one around and you know, it's, it, that's hard to get that. Uh, but I come up with a lot of ideas. I put tons of stuff on my phone, voice memos all day long. Yeah, same here. And in the notes or whatever. And so that's been really helpful to me. I'm like, that's like having, being able to record ideas all the time. That's like one of the tech things that I really, really need.

Are you producing? You have someone else producing this one? My record is Cope. Well, I don't even know how we're saying it, but he's kind of doing everything with me, this guy Jeremy Most. So I kind of write the songs, essentially. And although sometimes he'll have some input,

but usually it's like I'll write the song, I'll make a demo. And sometimes the demo is really fleshed out, really not a demo. But then he comes in and he'll either be like, okay, let's just finish this and add a couple like touches to it. Or let's like really build this whole thing. You know, we usually like talk about how, what we want it to be, but with this record, we kind of like did a

song and then that song kind of dictated the sound that we were going to go for. So it kind of naturally happened and it's a concept album, so everything is part of a story. So writing it was really cool because it's not necessarily like me singing you my songs from my heart. It's more like me telling these stories and sometimes speaking from the perspective of these characters. So what's the story? It takes place in a building in Brooklyn. It's kind of autobiographical, except that it's not about me. So it's about my surroundings. Like living in Brooklyn?

Living in Brooklyn. It kind of creates these characters that are kind of amalgamations of people that I've known throughout the years. And it just kind of tells their story and how their stories kind of interweave with each other. And then there's some commentary from them about Brooklyn. So a little bit about gentrification, a little bit about kind of the juxtaposition of like these different characters from these different backgrounds living together. And just the whole like the change that's been happening here so it's been it's it's been an interesting process yeah it's and i'm great you're doing

that because not a lot of people are doing concept record not a lot of people are doing album as a producer are you getting more like single single gigs than album gigs oh definitely like i so i'd much rather do a full album although i've been kind of enjoying just doing one or two songs because then it's like you know not, not this like really long, drawn out, like you still love everyone. It's true. No, I love everyone anyway. But you know what I mean. Talk that shit, Kras.

But no, it's so hard. It's doing a full length album like with a band or an artist is a lot, man. It's doing a full length album, like with a, with a banner and artist is a lot, man. It's a lot. It's like, I think we talked about this last night and it's like something that's hard to do when doing your own career and doing your own touring. And you know, it's, I've seen a band just blow up on each other. Oh yeah. Oh, you don't have to say names, but tell me the craziest thing that's happened in the

studio. Oh man. I mean, I've, I've worked with bands that like threw shit at each other and, you know, oh yeah. And, uh, you know, we'll threw shit at each other. Really? Oh, yeah. And we'll freak out at each other because one's overdoing it. What do you do? You're like a fucking Buddha. You're like, hey, my guy.

Well, that's a lot of producing. It's a lot of it. You're like a therapist? Yeah, it is. It's like I'm a psychologist up in there, especially working with a band. And working with an artist, too. I mean, it's all about how you – it's about having the good ideas, but how you present the ideas is just as important, if not more,

because you got to know how to talk to people because – and I know as an artist, it's like if someone's critiquing my singing or my songwriting, I mean, that's sensitive stuff, man. Hell yeah, man. So it's like you have to say it in the right way you have to like in certain times like say oh remember when you did this and create like a memory that wasn't there

this was great let's try that again you are their fucking therapist dude you have to you know you're like a boxing trainer like you're Adrian yeah I guess so I mean but I have you know the people that i work with i have like really high esteem for so it's for me it's like i love watching

it and i love being a part of it you know and yeah how hard is it to like have you have you produced any of the guys that you're like oh shit this used to be my fucking idol or and i did sessions with chaka khan that was where that was nuts. Yeah. And that was a while ago. So how was that? Were you fucking nervous about that? Like she was. I mean. Like to tell it, to critique her. It was more afterwards.

I was like, oh my God, I just told Chaka Khan and saying that one note. That's crazy. What am I doing? But, you know, I mean, basically I was just being like, just sound like Chaka Khan. You know? But, you know, yeah, that was crazy. Working with her was insane. You ever work with Quest?

Yeah, yeah, quite a bit. Actually, we haven't done a ton of studio stuff. Actually, we did the Betty Wright album together, but we mostly done live stuff together. He's great, man. I mean, Quest is a genius, dude. I mean, I don't- Does he produce? Oh yeah.

Oh yeah. I mean, all the, I mean, you know, it's always like Soul Aquarians or The Roots or whatever, but he's always like up in there. You ever meet D'Angelo? Yeah, I worked with D'Angelo. What? Yeah, we did the James Brown tribute thing together in Hollywood. How was that?

That guy is a fucking artist, dude. Incredible. He's a real sweet guy, too. He was so funny because he was mad nervous and like super shy. Why? Because he was just on hiatus? Yeah, he hadn't been performing a lot, but also it was like a lot of the original james brown band like it was clyde and jabo and fred wesley and pb and i can't remember if i don't i feel like

maceo was not at that show for some reason but um a lot of the a lot of the other guys everyone else on stage had played with James pretty much. Holy fuck. And he came out and did a few songs. But anyway, the rehearsal was so killing. Like hanging with him and just like listening to music and like talking to music. You know, he's one of my favorite artists ever, really. Well, Buddha Records is one of my favorite records of all time.

That's incredible. So influential. Was Quest on that? Yep. That's Quest on the whole thing. He was the co-pilot, as it's credited. Him and and russ elevato who i've worked with a lot too russ elevato is another another guy who's just you think that's helped you living in new york and being with these like new york musicians who are all gigging and studio like the studio guys i feel like you really made a footprint in

the studio world man it's a fucking killer yeah i mean being around those guys i mean like i said it's like i'm trying to learn learn from everybody and also i mean i gotta give props to like adam deitch and so live guys like i i realize as i get out into the world and meet tons of people it's like there's so many great artists out there that i but also the guys i came up with are great you know i'm really fortunate that I got to be around those guys, you know? Did you feel like, do you feel like you learned more from those guys than you learned from Berkeley?

Yeah. I mean, I wasn't at Berkeley very long. So really, I was there for one semester. See, everyone fucking does that, dude. So I really went to college, actually. I transferred to a place

called Hampshire College out in Western Mass. But I would say, I mean, it was so valuable and all the people that I met at Berkeley. You know, it's like. Who else was in your class that wasn't in Lettuce? Jeff Basker, although he was in Lettuce in the beginning. A guy named Neil Jacobson, who I worked with a lot over the years

and now is the president of Geffen, actually. Oh, nice. Yeah, he's done so well. And Jeff's like one of the biggest producers in the world. Nick Casper and Dionysus Dionysus Parks, who are big like film score guys. They have a thing called We Are Dark Angels. They're like incredible. And Dionysus played with everyone.

He was in Marsville to Shade's band. Yeah, it's just like so many little John Roberts was there before us, but like, would let us, you know, was kind of a, another guy that we looked up to Charles Haynes, lots of, so many great musicians that have gone on to do like so much. All right. I'll let a one last question. I'll let you make your, your beautiful music for the day. What's the dream Kraz? What is it? What? Yeah, man. That's a tough question you know i really really just want to make great music that sounds sounds pretty basic but um what's great music to you authentic music i want to make music that really kind of creates its own lane i guess you'd

say i mean that's the dream is is to create something that's new that people when when people put it on they know that it's me you know that's what we're all kind of working towards i think and um working you know i love working what is eric what are you what is eric krasnow today are you like how you feeling about are you are you being political are you in love are you heart heartbroken? What are you rooting in? Well, this particular album, it's all of it. And that's what I love about it is that it's from different people's visions. So I put myself in the head of whoever it is.

So there's like three or four main characters, really three main characters in this. And I put my head in that person. Or in certain cases, it's me and then I reallocate it to that storyline. You got to go deep when writing songs, at least for me., fun music, too. But I tend to write songs that are like I I'm always the ballad guy. Like I love ballads and I love like like I know everyone loves the like funky Stevie Wonder. But like, yeah, I like, you know, that's that those are the songs that really get me. But I love making funk records, too, and fun and bangers.

And so it's like writing. I'm like, you you know i don't know i guess uh the more the older i get to the more that i kind of like the more that you're more than just funk you know you're more you're not a one-trick pony you have so much shit craz it's unbelievable you're i mean you you're always a great guitar player and you're always a great you know producer you're you're you're writing great fucking guitar player and you're always a great, you know, producer. You're, you're,

you're writing great fucking songs. Thanks man. I appreciate that. Really heartfelt. Like, fuck. Like these, Emily King, like you're in that category now.

Sick as fuck. I hope that this record, people, people check it out and that they enjoy it. And you know, that's really, that's what, that's what it's about,

man. I mean, it's all a learning process and a challenge like making the last record was really scary for me because being in front singing and all that was like not something that i had ever done or that i was good at and i've it's been like uh it's been a challenge but it's been really rewarding and i've really been enjoying it but it's scary man you know, it's like I've always hidden behind the guitar and kind of sang in the shadows. So it's a it's totally different. I'm like every day trying to get better. And

then I hear people like Lettucey that were with their Alan Stone. And I'm just like, oh, man, I can't do that. Yeah, I was going to stay in my lane and like write my songs. But in that that's like what you have to tell these young musicians like even as a producer like don't worry about being the allen stone don't worry about being the fucking lettuce or don't worry about be you right and that's and those are the most authentic songwriters i think you know the tom waits of the world the you're right man i fucking love it. Kraz, thank you, dude. Thanks for having me, dude.

Thanks for coming. Thanks for doing this. I've been trying. We got to do a song, too, man. I know. Let's do it. Let's do it. We've been talking about it.

I know. I just love it. Eric Kraz, when's your record coming out? You don't know yet? I don't have a date yet, but there'll be a single out this summer. Fuck yeah, Kraz. Keep killing it. I'm fucking proud of you.

I just watch, and I'm rooting for you, man. Thanks, man. Yeah, I love you, buddy. Thank you. Thank you watch and I'm like rooting for you. Thanks, man. Yeah, I love you, buddy. Thank you, brother. Have a good one. Thanks, dude. Hey, it's short. I know you're going to put this recording on your podcast, but I don't really care.

I'm seeing those Instagram posts from the podcast. And I got to say, you need to tone it down. I mean, you're turning people off so they don't even have a chance to listen. Nobody wants to see about busted nuts and dirty festival body parts. You know, come on.

What are you, four? Get your shit together. And now, the most awkward orgasm of the week. What an episode. What a story. What a story. What a fucking life.

Krasno. Crazy, right? I can't imagine. I mean, to start at 16 and then just to see the progression and to see, it's amazing. Unbelievable. Thanks, Kras, for letting me smoke bong loads in your house and ask you questions. That's it. That's all we got for you today, huh?

What do you think? Any final notes? What do you got for me? No, man. Yeti. No final notes. I loved it. That was so good.

And I think that just continue. Please subscribe, review, rate it. Follow us on Instagram. Yeah. Frasco and Yeti. At Frasco and Yeti. Look at all our dirty memes. If you have any topics you want us to talk about as well, bring it on.

I'd love to. Or anybody you want to see interviewed. Yeah. Who do you got to tell us? Send us that. Send us that shit. I'm trying to lock down Tech N9ne. Oh, shit.

Yeah. We were talking about that. We got it. Lock down Tech N9ne. We're going to do a lot of, like I'm doing a lot of festivals. I'm doing Kendrick Lamar. Kendrick Lamar? Opening for Kendrick.

I'm going to see if I can get him. See if you can get him. He just dropped a new album. Yeah, he won't. He'll probably say no, but I'm from LA. I could have a chance. You got a chance. We'll try it out. Use that Laker love. Laker love. Subscribe to the podcast, guys. Thank you so much for getting us to top 30. Let's just

keep building it. Let's keep growing. Anything you need from us, we're here. We're all ears. We love that you listen to us, so let us listen to you. from us, we're here. We're all ears. We love that you listen to us, so let us listen to you. Hit us up, and we will see you next time. Andy Frasco's World Saving Podcast

with Yeti. Be calm. Comb your hair. Thank you for listening to episode five of Andy Frasco's World Saving Podcast with Yeti. Produced by Andy Fresco, Yeti and Chris Lawrence.

Please subscribe and rate the show on iTunes and Spotify so we can make this a worldwide phenomenon. For info on the show, please head to our Instagram at frescoandyeti.

For more info on the blog and tour dates, head to andyfresco.com. For more information on our guest, Eric Kresno, head to erickresno.com. Featuring special guests, Brian Swartz, Jack Brown from Sophistafunk, Andy Avila,

Sean Eccles, and some random porn star. See you next week!