Shangri-La

[Music] Nobody had done what Bob Dylan had done for us over the years. He helped Rick and Richard write those songs and was part of our workshop. Bob knew that the band was not in great shape and that he wanted to help us out in the sense of goodness you helped for us. [Music] The band was now traveling in luxury as they jet set from large city to large city. They traveled abroad what was called the Starship 1, a converted 707 jetliner that was decked out with all the amenities a 70s rock start would need, including a bar, private compartments and more. The band had hired Barry Feinstein as their personal photographer for the tour and Bob's old friend Louis Kemp came along to help with the tour. However, Dylan and the band would have to have their privacy and no staff including Bill Graham would be allowed to fly with them. Also, the tour's publicists were stationed at a nearby hotel to keep the press away from the group throughout the duration of the tour. The band also used some of their new money to buy a six-seater plane that was flown by Dayton Stratton, an old friend of Leavons from Arkansas who was involved in the club scene there and was brought on to be a pilot and do security for the group. The six-seaters how they arrived to their first show in the cold and very wintery Chicago on January 3rd, 1974. The Chicago Stadium sat 1800 people and was jam-packed for the first show. As Leavon remembered, the stage set up was a jumble of amps and old furniture, a roll-top desk, carpets, bunk beds, Tiffany lamps that looked like some old clundite prospectors camp. Dylan took the stage first that night and like a wave, the crowd stood up and cheered. The first song Dylan played that night was Heroes Blues, an unreleased tune that he had recorded all the way back in 1962. The band and Dylan were like a baseball and a glove. It worked so well in a live environment. They worked through a joint setless after which included a rendition of Leavon Lady Le, a new tune on a night like this from Planet Waves and the band favorites including Stage fright and the night they drove all the way to fix it down. The sound was dynamic with Dylan adding his extra guitar in the rhythm slot. You also had Dylan staples like It Ain't Me Babe and Leopard's Skin Pill Box Hat and a spectacular rendition of Share Your Love with Richard on Lead Vocal, giving the performance of his lifetime and Bob adding his harmonica playing. The audience was in euphoria and the group gave them all along the watch tower and unreleased band cut endless highway with Richard Manuel on Lead Vocal and the ballad of a thin man with Garth elevating with his mysterious organ. Irony was definitely in play here given that this was the same group that was booed less than 10 years prior playing the same song together on the tour in 1966. The first evening of this tour was Electric. The group came off of Stage electrified and excited but exhausted. Leavon remembers his handshaking as he lit a cigarette. Richard was also happy. He had come out of a particularly dark period which he questioned everything and had almost given up. As Leavon remembers, I looked at Richard. He'd come out of a dark period and we were all worried about him. His shoulder-length hair was wet but he smiled and gave me a look that said everything was going to work. However, it wasn't the end of the evening and Dylan went back out and gave the audience a solo set of numbers including the times they are a change in, a song for Woody, and it's alright Ma. Which was particularly well received with the line. Sometimes the president of the United States must stand naked as Nixon and Watergate were fresh on the minds of Americans. I tough act the follow of the band took the stage next and without a set list they called it on the fly. As record show they did life as a carnival, a very raudgy rendition of the shape I'm in and a beautiful take on when you awake. Leavon then added, "rag Mama rag" when finally Dylan came back out and the group did forever young like a Rolling Stone with on-course of the weight and a lengthy five minute take on. Most likely you go your way and I'll go mine." And that was the show, a marvelous spectacle of two groups of performers giving it their all and going through their catalogs of songs. This set of going forward was much of the same with tweaks to the length and arrangement when needed. The tour continued on, this time to Philadelphia, a multi-show stint in Chicago. They played at the spectrum in Philly and over the course of a few nights before making their way. North to Canada for a short stand at the Maple Leaf Gardens in Toronto on January 9th and 10th. It was a homecoming for the band when they rolled into town seeing all their friends and family. And following Toronto the band went north up to Montreal before heading south down the east coast making stops in Boston, Maryland, North Carolina and Florida. One city of note was their show in Atlanta, Georgia. During the parties that took place, Otis Redding's former manager Phil Walden attended the show and brought along his friendship Carter. The son of Georgia Governor Jimmy Carter. This was prior to Carter going on to become the eventual president of the United States. The governor had invited Dylan and the band back to the governor's mansion and they made a real Southern family gathering out of it. According to Leavon, "I got to meet the governor and he gave us a tour of the mansion." But the part that Richard and I like best was when Rosalind made us breakfast. Bob Dylan sat down and ate with us and I think he enjoyed a good Southern breakfast with the Carter as much as any of us. Dylan and the band weren't alone there either. Greg Olman and Buddy Miles were also present at the party and apparently taking parts and rather elicit extra-periculars. Phil Walden had been apparently talking to Robbie about the tremendous loss of Otis Redding. It was still fresh. The band had seen multiple Otis Redding concerts when they were still with the Hawks and Robertson had proclaimed at the time that he was the most talented singer of all time. According to Robertson, "Waltz said, 'Here's something I bet you didn't know.' Dwayne Olman told me that you were his favorite guitar player. After your first couple records came out back in 1970, that's what he said." With the planet waves tour being a success and everything being wrapped up, Robertson went into capital records to receive a painting that Edward Casper had done for them all the way back on Moondog Matinee. Now, according to Robertson, it was a personal gift of his "vision" and that he had only lent it to capital records in "Artie Mogul." Upon inquiry into the painting, Mogul had said that someone else from capital had taken it, claiming it was theirs. Now, upon further investigation, it was apparently an executive named Rupert Perry who had taken it and he had gone back to England taking the painting with him. Robertson called Perry up requesting the painting, but he rejected it. But Robertson wasn't going to relent, so he tried to hatch a plan to get it back. First, he had Bob Cato, who had worked with the band on various covers, write a letter to request the painting. The letter was met with no response. Next, Robertson went to Casper, the artist who actually made the painting, and requested that he write a letter. Again, no response. Perry still had hold of that painting, and as Robbie said, Perry ended up sending the painting to England like a thief in the night and was never able to retrieve it. To this day, we still do not know where that painting is. Now, outside of Los Angeles, also wrapping up to her, Helm was supposed to go back to Arkansas to handle some business. But as it says in his autobiography, you know, a sense of foreboding, something bad was going to happen. Thus, instead of flying with his friend Dayton Stratton, he headed back home to Malibu. Mure days later, Stratton, who had stopped over in Texas and was making the final stretch to Arkansas, hit a storm as he was flying into Fayetteville. The lightning was heavy and hit the tail of the plane, smashing it to bits. Stratton stood no chance. He couldn't control the plane in an attempt to safely land it, he hit down on a sharp angle, and was dead on impact. Upon hearing the news, Leavon and the band were crushed, Dayton had been a friend, and Leavon would have likely have suffered the same fate if he had followed his original plan. Luckily, Leavon had escaped the grasp of death from a plane crash, like so many other musicians that had succumbed. Not long after the tour, Dylan and the band put their sights on putting together a live album. They had recorded shows over the course of the entire tour and the group went into the studio with producer Rob Prebroni, who had recorded the show to sort it through all the mixes. It was established that overall the Los Angeles mixes were the best, thus for Brony and Matt Jeffrey, began to mix the album. One particular point of interest is when they were beginning to sort through the tracks, there were subtleties of the songs performed live, and Dylan often changed lyrics in his songs, for example, like knocking on Heaven's door. Upon completing half a dozen mixes of the band and Dylan, the songs were hot, and by hot the songs were heavy, rock and roll, and Bob had a good chuckla about this, but he was ultimately distracted. It didn't matter what was going on with the album, Dylan had second thoughts on signing a record deal with the silent, which made this whole tour possible to begin with, and moreover, he was worried about working with David Geffen. Now, that put the band in a tough position. It was already agreed that the live album would be put out by a silent, and a deal with capital had been made for the band's cooperation. Personally, for Robbie, it was also a blow. He had grown close to Geffen, often taking part in his extreme luxury, and Dylan was stubborn and didn't really give a solid reason as to why he didn't feel comfortable. It didn't feel comfortable working with Geffen. It's not really overly surprising. Dylan valued authenticity, and Geffen was anything but that. He was a slick and mean-spirited guy, and something like that you could surmise that Dylan really didn't jive with. The rest of the band didn't really care as much as Robertson. They didn't care if the record released on a silent, a Columbia, or any other label for that matter. The thing was called between all parties not long after, and Dylan and his team Geffen and the band, and they all met at Rick's house to hash out a solution. It was awkward, and according to Robbie, when David Braun, Dylan's lawyer, suggested that he, Bob and the band, would go into the next room and decide yes or no, or whether or not the live album would go to a silent. Robbie was of the opinion that they owed the album to Geffen since they said they would, and they gave him his word, and leave on didn't agree with that, because he never gave his word, which was true, by they Robbie meant his. Rick wanted to go which whatever was best in terms of a deal, and Dylan's lawyer said they should go get a better deal with Columbia, and that Dylan had pretty much made up his mind about a silent. It wasn't going to work. Robertson was upset. His friend Geffen was about to lose out. He protested, but Richard wasn't having it. He questioned Robertson's loyalties. In the end, they took a vote. Six votes no, and Robertson abstained. Upon hearing the news, Geffen walked out. According to Robertson, Geffen called him later angry accusing him of being a snake and double crossing him. Thus Geffen showed his true colors. Maybe he wasn't a good friend after all. Before the flood was released June 20th, 1974 on asylum records, while Geffen didn't get the multi-year Dylan deal that he had hoped handed up with the album after all. In the form of the flood. Critic Robert Christau reviewed the album and said, "Without qualification, this is the craziest and strongest rock and roll record ever recorded." All analog live albums fall flat. Tom Nolan for Rolling Stone was a little bit more lukewarm saying, "Dylan's principal solution is to sing "in aggressive up tempo fashion, barring, voltage "from the band's rock backing to substitute for the hungry "power that both he and the band have outgrown. "More often, the singer and the band "displain unscindly awkwardness." And Bill Bord's review was a little bit more complementary saying, "This is not the Dylan with the raspy voice "from 1964, but a full voice singer "with one of the tightest bands in the world behind him." And Bill Shapiro and his retrospective review suggested that before the flood was a kick-ass live effort on which Dylan applied his revisionist approach to old materials, effectively trashing prior meanings of moments. And the band wails like banshee's and Mr. Tam Breeman who whips on the new mask for his 70s audience to contemplate. With the band Dylan to her in the books, the band decided to take on a few gigs that summer. But Robertson and his family also were anticipating the birth of their third child and first boy Sebastian Robertson. Sebastian was born on July 18th, 1974 in Santa Monica and it was their first child not born in Canada. As Robertson said, when Sebastian was born, holding Sebastian was different from holding the girls. When he stretched or pushed you, you could feel his strength. His little noggin was tough too. And with the birth of the new child came a new home, something larger in the area of Malibu colony, a home which was once owned by Carol King, Shelley Winters and Lee Marvin. Dominique was also insistent on a French speaking nanny, which was brought in to help. Dylan often stopped by and loved the French being spoken around the house and along with Robbie used Canadian actor Donald Sutherland's French teacher to help learn the language. And with everyone settling in a lot more in Los Angeles, the guys were looking for an upgrade on the idea that they once had with Big Pink, a place where they could hang out, write and record songs. It was their idea if they could recreate what had worked so well for them in upstate New York, maybe just maybe they could also recreate that success in Los Angeles. Their search led them to a strange ranch off the Pacific Coast Highway across from Zuma Beach. In 1958, Mexican American actress Margot bought a 1.73 acre property in the hills of up Zuma. A ranch house was built and the site was named Shangri-La Ranch. The name came from Margot who had started in the film adaptation of James Hilton's 1933 classic Lost Horizon, where the fabled paradise Shangri-La originated. Later on in the '50s, the property was used as an upscale bordello or brothel, as well as being a filming location for the television program Mr. Ed. The band loved the idea of having a clubhouse again and was such a prime location in a unique history. The band began leasing the property. The first thing that they did was transform the master bedroom into a recording studio, led by audio engineer and longtime band collaborator Rob Fabroni, as well as an in-house technician at Anderson. The band also extended a hand to Bob Dylan, who helped with the precise specs wanted for the studio. However, the band kept a lot of the original aspects of the bordello, including the original bar and the bedrooms with mirrored walls. It was truly meant to be a place for the band not only to record, but socialize with jam without their artists. Leave on stated, Shangri-La was a clubhouse and a studio where we and our friends could record albums and cross-pollinate with others' music. They decided to also keep the name Shangri-La rather than rename it because it was a fabled paradise. And after spending so much time in upstate New York during their cold, long winters, Los Angeles was a paradise. By the end of 1974, the studio was built, and Larry Samuels was brought on to be the studio manager. Similar to their time in Woodstock, Danco Robertson and Hudson lived in the nearby clubhouse. Leave on live between Woodstock and Los Angeles having a room at the Shangri-La when he was in town and Richard lived on location for over a year and a bungalow on the property closer to the beach. Manual inhabited the stable of bamboo harvester for the Mr. Ed show, and it was transformed into his own space. With such a great location, it was only a matter of time before Forbroni and others bought the property outright for almost $200,000 and turned the place into a commercial studio equipped with state-of-the-art 24-track equipment, as well as the best and latest synthesizers, as well, which allowed Garth to extrapolate his capabilities. After coming off the tour with Bob and establishing themselves further in Los Angeles, the band went back on tour from much of 1974. Elliott Roberts was in charge putting the tour together. Roberts had met Geffen at William Morris Agency and it helped him establish asylum records. He also managed Joni Mitchell, Nail Young, and Crosby Stills and Nash. The tour began in July of '74 and was set to conclude in September. But all this touring was beginning to wear the band thin. Old problems began to creep up once more. Richard was becoming less reliant. He slipped further back into alcohol and drug use. It was affecting his performance. As Roberts and notes in his biography, he tried to not let it affect his performance, but he was often complaining about losing his voice and feeling sick. We grew more worried. This all came to a head in Cleveland, Ohio. The band was playing the World Series of Rock, a multi-day event at the Cleveland Stadium with an audience of over 80,000 people. The band shared the bill with Crosby Stills, Nash and Young, Santana, and Jesse Collin Young. Richard had reached the point which he couldn't finish the show. And near the end, he collapsed on stage and had to be taken away by paramedics. According to Robertson, Leavon had had enough and yelled at Richard as he was being dragged away. Get up and walk like a man. Now the whole band was fed up, but it was really shocking that Leavon had reached this point. It was a raw moment nonetheless. The doctors had informed the group that Richard was so rundown from his alcohol and drug abuse that he needed several weeks to recover. The band was nothing without Richard, so it decided that they would cancel a few of their tour dates. And you know, this didn't really help Richard's case, but he had become quite close to Eric Clapton at this point. Clapton, always a massive fan of the band, began hanging around with the group a lot more when they moved to Los Angeles. Spending time at Shangri-La and spending a lot of time with manual, they connected in the way. Both burdened heavily by their alcohol addiction. That was further supplemented with the cocaine. Clapton later said, "There was something of a holy madman about Richard. He was raw. And I was madly in love. At the time, we had the same troubles. I felt insecure and he was clearly insecure. Yet he was so incredibly gifted. For me, Richard was the true light of the band. The other guys were fantastic talents, of course. When he sang in that high false setter that hair on the back of my neck would stand on end. Not many people can do that." The pair brought out the most destructive tendencies in each other, and it was compounded by their further touring together in '74. The band had done a few dates as headliners with little feet on the bill before teaming up with Clapton on a few other shows. The band played Pittsburgh that summer was Clapton and Todd Rungren, as well as entertaining huge crowds at summer fast and buffalo. The road had caught up to them in more the ways than one, and with the slew of cancellations in the late summer, the Boston Globe said in their article on August 23rd, 1974, few would have forecassed the band's bomb. A spokesman disclosed the group chalked up a pittling $3,000 in sales this week. The saddest return since the Reether Franklin. Now, assumingly, frustration was setting in, a ratic behavior, grueling touring, and poor returns on their headlining dates. But in September, the band was set to fly out to the United Kingdom to play Wembley, supporting Crosby Stills, Nash and Young, and Joni Mitchell. Now in the UK, the band found themselves backstage hanging out with Led Zeppelin, as well as an informal rock jam at a place. The band took the stage and led through their set to a massive crowd with a cover of hard times to slop, including a great Garth Hudson saxophone solo. Take a listen. (upbeat music) (upbeat music) And following that great performance, we go into just another whistle stall, with Richard giving us his best sultry, raspy voice. Before moving into Rictenko's stage fright, with the dueling numbers by Garth Hudson behind the organ, and Robbie's shredding away on his cherry red stride a cast. Take a listen. (upbeat music) (upbeat music) Next was the wait before going into Richard's staple, the shape I'm in. The band continued through their marathon performance with staple such as the night they drove a little dixie down, I shall be released in chest fever, before finishing off the set with up on cripple creek. Following Wembley, the band continued to support Crosby Stills National Young with Joe Walsh and his outfit, the barnstorm, as well as Jesse Cullen Young at the Oakland Stadium back state side. And then going to Cleveland, Ohio, picking up Santana for a few shows and finishing out the year with a smattering of headlining shows, back again Crosby Stills National Young, before returning to their home in Madison. Malibu. Each member waddled back to their home lives, some better than others. Richard was binging in on the verge of suicide hiding in his Malibu bungalow. Garth bought a piece of land and was making a home. Leavon was also struggling with his domestic life. His fighting with partner Libby Titus was reaching its peak, leading to a separation. Leavon was now becoming even more of a part-time father for his daughter Amy and his steps on Ezra. Leavon tried though, but the custody battle raged on. He tried to show Amy the music that mattered to him and she later remembers he wanted to make sure that I knew who muddy waters was. And Ray Charles. And to hear the stuff you have to hear to round out your musical education. He also loved taking the kids to Disneyland in North Berry Farm. Ultimately he was doing the best that he could. And with Shangri-La on working order, Garth and Robbie spent a lot of time there experimenting. Garth took his synth and organ work to a new level and Robbie was working with her with Martinez, who the band knew through Bob Dylan. A bit of a bizarre figure, he performed in laundromats and mental hospitals. And while working on a song, it was suggested that maybe a female vocalist would help round out the song. Through Martinez's travels, he had come across a woman named Maud. She showed up to the sessions and before long, she became Garth's girlfriend. Now much like the stage fright era, off the road, the band kept busy with side projects and other activities. Leavon and Rick were hanging out with Neil Young, who was recording his next album in Hollywood. The young had come off a mega hit with his 1972 album Harvest and a profitable tour of Crosby Stills Nash. People were eagerly awaiting some follow-up. The first track Leavon was set to join Young on was "See the Sky Above the Rain." Rain wasn't a track written for the new album rather a holdover from the Harvest era that he'd been playing live to audiences that were somewhat familiar with it. Slotted second on the eventual album, Uncuts Inwick Donald later set of the song, it sets a mood, okay? Rolling down the track again, see the sky above the rain. Strictly the song is straightforward. Young juxtaposes the inevitability of fate and rain, which in the song are synonymous concepts. The whole thing is rather melancholy, which no Neil Young fan is a stranger to. McDonald goes on to observe, see the sky above the rain, thematically also looks at the overbearing, malicious man, a thematic strain which runs through the album. Musically, the song is quite laid back as well. Young plays a lead riff on a waltz through electric piano before being joined by Halm on drums and session player Tim Drummond on bass. Ben Keith is responsible for the beautiful and almost haunting steel guitar lead throughout the song, and you might remember that he joined the band during Moondog at NA for their sessions. Take a listen to Keith work here. Young also completes the song with his trusty harmonica. Next, Halm also stuck around this time, joined by Denko and other musicians in the studio for the next tune, Revolution Blues. The song is inspired by Charles Manson, who had co-existed with a lot of the Laurel Canyon musicians in the late 60s. Young had crossed paths with Manson on some occasions and was impressed by his attempts at being a songwriter. Young also famously pitched Manson to the head of reprise records. Musically, the song is quite different from your typical young tune, and it makes sense you have Denko and Halm in the rhythm slots, giving the song a little bit more of a funky feel. Halm invokes a little bit more anxiety with the snare hits, a little behinder in front of the beat, and Denko uses the bass on the low end with a sporadic groove, notes punching through the mix and the small moments between the jangly guitar riffs played by David Crossby. Lyrically, the song is loaded, and you could spend a lot of time analyzing each line. But you're introduced to Manson from the start with the verse, "Well, we live in the trailer at the edge of town. You never see us because we don't come around. We got 25 rifles just to keep the population down, but we need you now, and that's why I'm hanging around." And later on, young hits, hard with the chorus, stating, "I got Revolution Blues. I see bloody fountains and 10 million dunebuggies coming down the mountains. A reference to Manson's idea of creating a massive race war by massing an army in the California desert. This is followed with Young's regret and anxiety about his association with Manson, which is further explored in the chorus. Well, I hear that Laurel Canyon in his full of famous stars, but I hate the moreest than lepers and I'll kill them in their cars." You can see here that Young is really taking aim and a look at his status as a celebrity and others as well. And as a whole, you have a deeply drug-infused paranoia trip with Revolution Blues. It hits all the right moments, but it's eerie. David Crosby later commented that he regretted playing on the song as he felt it had made light of the situation, or it wasn't appropriate. However, at the time, nobody in the studio was much interested, as they were famously doing honey slides, a homemade concoction of sauteed marijuana and honey that felt like heroin. Young's manager, Elliot Roberts, who again was also booking shows for the band around the same time, was quoted as saying that the honey slides were way worse than heroin. Upon release of the album in 1974, it was called On the Beach, and it was met with mixed reviews. Rolling Stone dubbed it as one of the most despairing albums of the decade. And in the years following Harvest, Young was trying to outlive the shadows success that the album had brought to him. But looking back now retrospectively, critics have come to appreciate the album more. In a review for the national, it said On the Beach had a rebirth, a renaissance. It was one of those records that he disavowed for a while, and then when it was remastered it had a whole new life. There's just a funny romance about it, the whole tortured artist hating your own thing, which is maybe why musicians like it. You understand you have something that you make and don't have any perspective on, and how other people can embrace something you thought was bad and vice versa. And Dan Caffrey for Consequence of Sound said On the Beach, a relic from a time when young being pissed almost meant being boldly nonchalant, and some damn good songs. And with all the projects that the band were involved in with and touring, the band found themselves with a new, completed clubhouse in a new album due for capital. But their lives weren't simple anymore. They weren't locked away in the cat skills for an entire winter, working on songs. Los Angeles had energy, it had people hanging out, the drugs were potent, and the band was now part of the rock star class, bringing a whole set of new problems. As Robbie stated, trouble was brewing and we couldn't wait to grab hold of it. First the drugs, then the whiskey, and then rock and roll. There were so many crazies hanging around, it felt like we could have elected Keith Moon, Prime Minister. The band was now grappling with the fact that they had yet to release an album in several years of original music. Would they be able to come back together and write compelling music anymore, with all the personal turmoil and distraction? Thank you everybody for listening to the band. A history. I really hope you enjoyed this episode. It was really fun for me. One of my favorite things to do is to look at the in between periods. And what I mean by that is, you know, a lot of people look at the album cycles and when the band released their major albums. But I think what makes the band one of the greatest bands of all time is the amount of things that they did that wasn't just under the title of the band, whether it's their work with Bobby Charles or Neil Young as we saw this episode among many other artists. that they have worked with in the past. So taking a look at that as well as some of the more personal sides of the turmoil in their lives or things that were triumphs like Robbie having his third child, et cetera. So that was really fun. And this will be our last episode of the year unsurprisingly as we only release monthly. If that will be hitting everything again in January in 2021. Hopefully a new year brings a lot of new interesting opportunities. And we're getting this episode out right before Christmas. We have some cool things on the horizon, not for the pod, not only for the podcast, but also in the band world. The band are really saying they're 50th anniversary remaster of Stage fright. Bringing back Bob Clear Mountain who has done the remixes on the last two efforts from the band. And they've been very successful. They put out the first remix of Stage fright, which is very, very interesting. It's cleaned up. I definitely go take a listen. I've shared it on social media. Very interesting to analyze it. They're reordering the songs on the album apparently back to what was quote unquote originally attended as well as some amazing other things like a recording of Richard Robbie and Rick in Calbury Hotel during the Festival Express tour as well as some field recordings and other cool things that we haven't heard before. And a look at the performance in 1971 at Royal Albert Hall. It's definitely be on the lookout for that. You can pre-order that album now on the band's official website. But in the meantime, if you want to follow along and see what's going on in our world, you can follow us on social media at the band podcast on Twitter, Instagram, and Facebook. We also have a Facebook group that's got I think well over 500 fans now people interacting that like the show. Also, if you're interested in supporting the show in more ways than one, you can check out our Patreon. There'll be a link in the description and you know, you give a couple bucks each month. You get some perks. You get the episode earlier. Some great new things planned for the new year as well. And you get to help support the show because we got to make it and there's a lot of people involved and any amount of money helps. So that was this episode of the band of history. We look forward to seeing you guys next year and well 2020 was difficult. We're looking forward to 2021. [MUSIC]