← The Truth About Vintage Amps with Skip Simmons
The Truth About Vintage Amps with Skip Simmons
Ep. 149: "Have Fun" (Special Guest: Jim Campilongo!)
01:09:18
Support our sponsors: ; ; , and ! Acclaimed guitarist Jim Campilongo joins Skip and Jason to talk about his music and gear journey, vinyl treasures, George Barnes playing "Little Rock Getaway" (), Vance Terry & Jimmy Rivers,...
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- [00:14]
Skip
Good morning, Jason.
- [00:15]
Jason
Good morning. How are you?
- [00:17]
Skip
I'm groovy. How about you?
- [00:19]
Jason
I'm doing great. We've got a special guest today on the Truth About Women and Jams.
- [00:24]
Skip
Is this a regular Tava podcast or is this just.
- [00:27]
Jason
I think it's a mix of everything. We've got some questions from people. We've got Jim Campolongo joining us here any second, and I don't know.
- [00:37]
Skip
Yeah, I have. I have some people I should thank and some stuff I would normally say on the podcast, but if we're going to go all Jim Campo, then let it. Let it roll.
- [00:47]
Jason
All right, I'm going to let him in.
- [00:49]
Skip
Yeah.
- [00:49]
Jim Campilongo
Great. Hello, Skip.
- [00:54]
Skip
That sounds it.
- [00:55]
Jim Campilongo
So now I see myself.
- [00:57]
Jason
You don't even need to do video. We're audio only.
- [01:00]
Jim Campilongo
Oh, okay. Well, yeah, good. I don't have to stare at myself for an hour yet today.
- [01:06]
Jason
That's how we've been able to do 150 of these.
- [01:09]
Jim Campilongo
Yeah, right. Yeah, I was thinking about that before. You know, I was like, oh, I haven't had to stare at my own reflection yet today. And I remember going to, like, the hair salon, you know, like, have you guys been. You know, it's basically like a beauty shop at their hair salons and there's mirrors everywhere. I don't know how old you guys are, but I remember going and asking like, well, how do you look at yourself all day? Because there'd be, you know, full size mirrors everywhere. Little did I know that, you know, soon technology would have me working in a hair salon. Anyway. Hello, Skip. I think I've spoken to you. Jason. Skip. Maybe I have. I don't know.
- [02:05]
Jason
Well, welcome aboard the Truth About Minute Jam ship. We are really honored to have you here. Want to give a shout out to our sponsors, Grez Guitars, Amplified Parts and Emerald City Guitars. And your name has come up on this podcast so many times, so. So we're just really glad to speak to you.
- [02:26]
Jim Campilongo
Well, that's really nice. I'm happy I'm here. It was inspired by an Instagram post, and I meant to look at the guy. I don't know if you know him, but some guy said, oh, I know. You know, I. I posted about the amp repairman. I really like Keith Runager, and one of the comments was, oh, you should check this other guy out. And then I wrote back and I said, well, I've been going to Keith Runninger for, like, over 40 years. We used to smoke weed together. It was that long ago. We were in an earthquake together. He turned Me on to using a celestian G10 in a Princeton.
- [03:10]
Skip
And.
- [03:11]
Jim Campilongo
And he's a great repair man. And then the guy wrote back, well, you should contact these guys, you know, your podcast. And I just kind, you know, usually I. You know how we are with YouTube or Internet comments. So I did. And so, so big shout out to him. I wish I remembered his name. I mean, I don't know if he's, you know, Buzzy, Buzzy647 or it's his name, you know, at least his first name. But shout out to that guy for making this happen.
- [03:42]
Jason
Love it. Yeah, the reach of this podcast is pretty crazy. Skip, you. Have you met Jim before?
- [03:50]
Skip
No, but I feel like I've known you forever and ever, so. I mean, I'm sure Jason didn't bring you up on the podcast. Well, maybe he did, but I'm sure I would have. And Jason's right. The reach is pretty intense. I used to think that I was the only guy who knew how to fix anything except just a few old, old timers that I knew. Now I know there's repair people who are doing it right all over the place. Right?
- [04:22]
Jim Campilongo
Is that right? Where. Where you. Where are you? Where do you live, Skip?
- [04:27]
Skip
I live in Northern California. Didn't you have some. Didn't you. You lived in California before you moved to New York?
- [04:36]
Jim Campilongo
That's correct. I, I lived in the Bay Area. Then I moved to New York and I lived in Brooklyn for 21 years. And a little while back, I moved back to the Bay Area and I go to Griffin Guitars to get my guitars fixed. Mainly there's a couple other guys who are good and amp repair. I go, I think it's Gilroy to Keith Reniger, the amp lab, which is a drive, you know, but he's worth it.
- [05:11]
Skip
Well, I love, I. I love it when people say it's worth it. And I'm fortunate enough to have some people go through some serious hassle to get me stuff and just makes you feel better. So it's a pretty odd last name. And I was acquainted with some people who live down around Vallejo that were involved in showing livestock named Camp along.
- [05:35]
Jim Campilongo
You're kidding.
- [05:36]
Skip
Do you know of any like that? Anybody like that?
- [05:39]
Jim Campilongo
I have never heard of that. Is it. Do you remember the spelling of it?
- [05:44]
Skip
Just like yours.
- [05:46]
Jim Campilongo
I have never, ever heard.
- [05:49]
Skip
I wanted to go up and talk to him because in the beginning there was a band called. A record called Dave Gleason's Wasted Days. Oh, yeah. And there's a song. Why do you think I'm bringing that up? Of course, there is a song on that. And I got to meet the drummer. He was far out. He'd been in a really famous punk band. And I absolutely love that record. Including Compen with the Cat. Isn't that what it was called?
- [06:17]
Jim Campilongo
Instrumental. No disrespect, but I don't remember many.
- [06:21]
Skip
Records ago, so I knew about you a bunch. And I do have. Have the one. I do have one cd. It's the one you did a while ago where you played when you wish upon a star Orange. I have that one. Yeah. Yeah, that's pretty cool. But for anybody who doesn't know this guy plays your. You just play your ass off. Like you'll either want to never touch the guitar again or you'll be inspired, which is know a lot to be said for somebody. And TAV exclusive. So I'm looking in this old. This book about Ampeg amps I've had for years, and I look really close at this AMPEG ad that's been reproduced in it, and it's George Barnes in this giant studio with like 12 guys sitting in front of Ampeg reverb rockets. I think it was called Guitars Galore. And I couldn't read the names of the people because the ad was too funky. But we reached out on the Tava and sure enough, some guy who knew the guy who wrote the book got a better copy of it so we could read like 10 of the 15 top jazz bow dudes all sitting there in rows with Ampeg reverb rockets in front of them for the recording of Guitars Galore. And I figured if anybody had that record, it would be you. And of course, we are slightly jealous that you write the Vinyl Treasures column for someone will remain unnamed, a magazine for guitar players. And I would never miss that.
- [08:02]
Jason
Oh, boy.
- [08:03]
Jim Campilongo
Thank you.
- [08:04]
Skip
And somebody gave me a subscription or they gave it to me or something. I normally wouldn't get that mag because against what Jason does, it's a little thin. Right. It's not too meaty. But I wouldn't miss a Vinyl Treasures. And I know how much you dig all the crazy hot instrumental. I couldn't say Speedy and Jimmy or anybody like that without you knowing all about it. And I love that about you, too. So welcome.
- [08:33]
Jim Campilongo
Thank you, Skip. Yeah, George Barnes and I do have. Is it called Guitars Galore?
- [08:40]
Skip
I believe so.
- [08:41]
Jim Campilongo
I would recommend. And it's hard to find. I mean, who knows? It might be on YouTube, but. George Barnes. George Barnes playing Little Rock Getaway. It's it's absolutely breathtaking and musical. And, you know, as far as Vinyl Treasures go, it kind of felt to me like if somebody came over your house and you force fed them, you know what you're excited about. Like, you could play dj, and that's what Vinyl Treasures was kind of about. And, you know, occasionally I would do, you know, I did Deep Purple, Machine Head, you know, I did Allman Brothers Live at Fillmore east, but a lot of times it'd be Diller, Mondo, Reese, or, you know, Speedy and Jimmy, which is more mainstream to me. Thumbs Carlisle. Like, I got to use that. It was completely up to me, like what I do. I mean, Curtis Field, Superfly, you know, kind of went all over. There was a Segovia record, probably a Julian Bream record, and Louis Bonfa. All records really close to my heart that are all really good music, you know, I mean, I assume it's on Spotify. I don't know. I don't, I don't. That's not my channel of listening. But seems like when I go on there, there's stuff I'm surprised that's on there.
- [10:13]
Skip
Well, that, that's beautiful. I had people that basically did what you do for people through those articles, you know, record, collect. Robert Armstrong, Jason, like, so Armstrong. What's with the. What's with like big spider back? Like, why do people care about him? And the next thing you know, there'd be a cassette that he hand wrote in his beautiful, you know, cartoonist handwriting, all picked off a rare 78S. Not like this, you know, the so so stuff, but the ones that made the legend. And so a lot of my early jazz influences and old time music references were because I had people like you saying, oh, you better check this out.
- [10:54]
Jim Campilongo
Right? Yeah, that's really nice. I. I learned, I learned about Bix through Jimmy Rivers, of Jimmy Rivers and the Cherokees.
- [11:05]
Skip
There's just no getting over this guy Jason. I was gonna, I was gonna say Vance Terry. We have. We could tell stories about him in Sacramento. And, you know, I have the PA from Will's Point that seriously, Hank Senior sank through, right? So I'm down.
- [11:22]
Jim Campilongo
I asked Jimmy Rivers why he stopped playing with Vance Terry. And he said, he looked at me and he goes, it had run its course. And I love that. Like, you know, he was from the generation that doesn't talk any. Can I say any swear words on this?
- [11:41]
Jason
You can say whatever you want.
- [11:42]
Jim Campilongo
Okay. He doesn't talk any. Like, you know, it had run its course and it was kind of like And I felt intuitively like, okay, next subject, you know? And I kind of wanted some inside scoop, but Jimmy Rivers turned me on to Bix and a lot of other people. One really interesting thing about Jimmy Rivers, who I met, he was 70, I believe, and I think I was around 31. And I thought he was like, 140. Okay? Like, I just thought he was so old, but he still sounded great. He played every Sunday at this restaurant in Placerville, and he was so great that I asked kind of that naive question of like, how do you do it? You know? But I think I said, like, how did you learn? And he said that when he was a young guitarist, a horn player, I think it was trumpet, but a horn player told him, learn up a lazy river and then play it in all keys. And. And I did that. And after I did that, I kind of heard how that was inside his playing, even though he was just a natural. But, yeah, Up a Lazy river by Hoagie Carmichael in all keys, if not just the original key. It's a really great melody with flat nine stuff. And, you know. Anyway, that's. That's Bix to Jimmy. Back to here right now.
- [13:20]
Skip
I told you, Jason, I love it. So. So give the people what they want. What is the record recorded in South San Francisco with Jimmy Rivers and Vance Terry going crazy in a raucous bar. Right. What's that one called? Well, Brisbane. Yeah, that's Brisbane Bob, right?
- [13:39]
Jim Campilongo
Brisbane Bob. Yes. And that's.
- [13:41]
Skip
That's been recommended here before.
- [13:43]
Jim Campilongo
Yeah, I got that record at Jack's Record Shop. I think it was on Page in San Francis. And it was like the ultimate record store where you'd go in and they totally judge you for what you bought, you know, and they would wear buttons that had, like, that Ghostbusters circle with a line through it, and it would say CDs. Like, you know, they were really old school. So I went in one day and I was like, hey, I want all your best versions of Stardust. Like, that's how I would shop there. And. And I mean, they were really smart guys. I tried to take advantage of it. And anyway, I got a bunch of versions of Stardust. And then, God, Jeff. Jeff Richardson, who worked there, said, you have to get this record. And it was Brisbane Bob, Jimmy Rivers and the Cherokees. So I had bought about eight records that day, you know, maybe something like that. And, you know, I was kind of speed listening and I put that record on and I was like, God, this is atrocious. You know, what an Atrocious recording. Like sometimes, like you'll be listening to the song and really loud, you know, you'll hear hey, Dot, you know, or something. And it was recorded on reel to reel by Vance Terry. And maybe you guys all know all this, but. And he would record the gigs and then listen to it while he did his regular 8 to 5 job, which he was an accountant, if memory serves me correct. And anyway, These tapes resurfaced 10, 15 years later. And that's the record. And if you could expect like not, you know, state of the art fidelity, it. After I got over that, it became like one of the records I probably have studied the most and over a long period of time. So.
- [15:50]
Skip
All right, hold on now. I have to tell people we're talking about here. This is why I talk so much on this thing. This is drunken cowboys playing for drunken cowboys in the early 60s, I believe, at a bar in Brisbane, California. But they're doing Charlie Christian tunes, right? That's what I tell people when you got it. That's why you have to hear it because these were phenomenal, accomplished jazz guys who were just cowboys, really, and drunk. And so despite the terrible fidelity, it's just essential. And did your Stardust list include tiny more soloing on Billy Jack Will's version from Crazy Man Crazy, have you heard?
- [16:37]
Jason
Yes, it did.
- [16:37]
Jim Campilongo
Yes it did.
- [16:38]
Skip
See, we're satatico.
- [16:40]
Jim Campilongo
And Jimmy told me and like, the thing about Brisbane in the early 60s is there was no law. And I can't remember exactly why, like after 5pm so the town was completely lawless after a certain time. Now I've played the 23 Club and it's, it's pretty, it's a good sized place. There's wagon wheels, etc. At the time I played there, it had Astroturf on the stage. But Jimmy told me, like in folklore has it, that he'd arrive and just drive his motorcycle right to the stage. When he first played there, he had to fight four guys, like one every night as kind of this, you know, ritual, this ritual of acceptance. One story I heard from Jimmy was the owner, his last name was demarco, I can't remember his first name. They had a restaurant attached to the place that had buffalo burgers and all this other stuff. And I. I've eaten that. It's now closed, but I. I've eaten at that restaurant. Anyway, DeMarco came up and said, hey, look like I can't feed you guys anymore. So Jimmy and the band, Jimmy organized it, brought bagged lunches and Would sit Indian style, you know, if one can say that on the stage and eat their lunch. And DeMarco came up and said, all right, all right, I'll feed you guys though, you know, it was a ruckus place. And in reference to the drunk thing, I had learned a note for note. And I don't want to go on too long, but I had learned this one solo, Jimmy's Blues, note for note. And it was, I spent so much time with it that I started to feel like I knew Jimmy. This is before I met him. And I've done, I've had that happen a few times where, you know, you start to get an impression of somebody. Anyway, the more I played this solo, the more I thought it was two choruses over a jazz blues and B flat. I thought there's not one note you can take away from this solo. It's so perfect and it was melodic and the pauses were great. The more I, I studied it and played it, the more in awe I was. And so when I met Jimmy, I asked him, I said, hey, I go, was that solo on Jimmy's Blues worked out? And he said, oh no, I was drunk. And in a way it just added to the, you know, awe and respect I had for him. And he was a really nice man. I'm such, so glad I met him. A few times I had a guitar lesson with him, actually played with him a few times. And we did a Jimmy Rivers tribute show at the Great American Music hall as well.
- [19:46]
Skip
Well, do you feel like hopefully that you were able to communicate what he meant to you? You know, do you sometimes you just can't seem to get people or you can't tell if they really understand that you really, really appreciate what they do. And Jimmy Rivers, you know, playing like in the pizza place in old sack or out there, and I forget that other town you said he's had to play the trumpet and still had the double neck guitar. I think we know where that double neck guitar is. But hopefully he understood that to him, a young guy really dug what he was putting down.
- [20:24]
Jim Campilongo
He, I think he understood looking back like, you know, I don't think I remember formally telling, you know, falling to my new knees and screaming, I'm not worthy. I love you.
- [20:37]
Skip
No, we don't do that.
- [20:39]
Jim Campilongo
You know, he, he knew, I think by my sheer humility, you know, if, if I say so of just being with him and the awe we had and the care. It was me and Johnny Dilkes as well. We'd go up there to Placerville it was a couple hour drive, but we, we'd go often and I think he knew and it was great and he didn't quite understand it. He particularly didn't, wasn't fond of the Brisbane Bop record. And he said his favorite solo was from Rose Room and where he plays a Charlie Christian solo note for note. He said, that's my favorite solo, you know. So, yeah, he was a little. He told me once and I kind of know what he meant, like in terms of myself. He said, I wish I worked harder and I wish I was a lot better, you know, and you know, just kind of, you know, we, we. Too bad we don't live to be 300. We might get, you know, finally understand this four dimensional instrument we play.
- [21:55]
Skip
Well, he did work hard and he did, you know, just show up. I, I always think of you now as having the Telecaster and the gig bag over the shoulder in the Princeton reverb and you're like getting in a cab or getting on the subway or something like that, right? Because that's what you got to do, you know.
- [22:12]
Jason
I know. Jim, let's talk about amps. You mentioned your repair guy. You're, you're kind of what, the Silver Face, Princeton reverb guy?
- [22:21]
Jim Campilongo
That's, that's right.
- [22:23]
Jason
And, and you have had a long history of like you've got some signature model guitars under your belt. Is it always old amps for you?
- [22:32]
Jim Campilongo
Yeah, yeah, I really, you know, I have. I mean, one of the things about old amps and Skip probably maybe knows this is, it's just keeping them working. They're 50, 60 years old. And so yes, I have like a main Princeton that's a Silver Face, I think it says 1970. And I have a celestian G10 speaker in it. And I just make sure that things always running tip top. And I think I have about six Princetons. And I know that sounds a little piggy, but I bought them in like the early 2000s, you know, and they were really cheap. I remember when they went up to $800, I was like, $800, I'm out of here. So I had quite a few because I had a feeling they'd become popular and I liked them, but, you know, I was sick of lugging around a twin. Then I played through a Vibr Lux and. Which I still have, and I like Vibr Luxes, but it's problematic in most venues, even big venues, just, you know, getting the sound you want if you're not using pedals. The Princeton was really ideal and the one I seem to have, you know, focused on and, like, the Most is this 70s silver face that is, you know, has a celestial G10 speaker in it. And it. And it's literally in the shop right now. Nothing was wrong with it. But I had two amps that needed some work. One was a black face that Bobby Black sold me. It was my first Princeton. And this other silver face with that plastic thing around the grill cloth. I forget, you know, they were reissued a couple of years back. And those. I think it's a 68 silver face with the plastic deal around the grill cloth. And I brought in my silver face with the Celestial just. I said, look at it. And I. And I told Keith, nitpick, nitpick. Like, put in new tubes if you think it needs them. And I even brought down an extra speaker in case he needed to put in a speaker.
- [25:00]
Skip
Man's got to have his tools, right? Can't have a dull saw. You know, I'd throw out that. It doesn't get much more reliable than a Fender amp that's been serviced. But when you're just like little Charlie, those guys would bring me the amps like, once a year, even though they all still worked and just going over them because that was in the van. And a lot of vibration and this and that. But one of the things that drew me to this stuff in the beginning is that it. It isn't some old thing that sounds really cool, but it's kind of unreliable. I can think of some others, AC 30s, but it sounds so great, it doesn't matter. But a Fender amp that's been really. That's been carefully serviced and made right for that person, man, it's pretty hard to think of something that would be more reliable. Unless maybe some sort of something solid state. But the fact that you can fix anything in it. I just did a tweet, Harvard, that was in a bar fire and the cabinet burned up, but the amp is fine. So didn't you have a. You used to dig a tweed Princeton, too, as I recall.
- [26:18]
Jim Campilongo
No, I never, never, never had a tweet amp. I'm pretty addicted to reverb. And when I do play through a tweet amp, I'm really annoyed that the controls are kind of backwards.
- [26:34]
Skip
Reverb, man. That's the smallest Fender that sounds like a big Fender. You know, that's why they're so popular. Think of Leo up in heaven going, I can't give away a twin reverb or a super reverb. I mean, these were the amps of the gods, but the Deluxe's and the Princetons, which he would have considered like small student, you know, practice sized ones. Those are the ones everybody wants. Because times change.
- [26:59]
Jim Campilongo
Well, I guess so. Or you know, the, you know, focus is like mainly older people. And you know, if I play a restaurant or if I play a concert hall, you can always mic it. I mean, I have a Vibrlux as well that was in a fire and basically kind of melted. But it function, it functioned fine. And you know, you're right about Fender amps. They're. You know, I've. Now I don't work on them. My buddy Luca Benedetti works on them, but I don't work on anything. Like I think the other day I took off my pick guard and was like adjusting a pickup on one of my guitars. And just the fact I took off the pick guard was kind of an amazing feat, you know, And I always feel like I'm lobotomizing Marilyn Monroe or.
- [27:58]
Skip
Something, you know, like, oh no, that's half the people who listen to this show don't give a crap about capacitors and stuff. They don't want to work on stuff. They just want to play or take care of their family or whatever. And I dig an artist who just says, no, no, no, I don't do that. Race car driver pulls into the pits and there's a mechanic there. He doesn't jump out and start jiggling with stuff. Well, that's my job.
- [28:23]
Jim Campilongo
You're very kind, sir. You know, sometimes, I mean, even like great players, like let's say Julian Lodge, I hear, travels by taking his guitar apart, you know, like the neck off and sticking it in a suitcase. Because it has gotten horrifically hard to travel with an instrument in the past couple years to fly. And I tried it and I put the neck back on and it was like this doesn't play at all. Like the strings are just sitting on the neck. And I really tried to do a good job and I had to bring it down to Griffin, you know, and they fixed it.
- [29:05]
Skip
You do your thing. Leave that other crap to other people. I can't. The repair people can't play like you.
- [29:12]
Jim Campilongo
Well, again, you're being very kind. And I like Jimmy Rivers. I wish I was a lot better. So thank you.
- [29:19]
Skip
Well, our co. Our co host here, you know, he's not talking much, but dude, the guy has a kid. He puts out this unbelievable magazine that sells for more than it does newsstand secondhand. And he just chaperoned a bunch of 8th graders on a month long trip to Peru. All right, so what don't change nothing. Jason or Jim, thank you. Keep on rolling. And Jim, can you hype somehow yourself? Can you tell people? Do you ever give lessons anymore? Do you have a new record? Is there any place people who live in wherever could maybe go and see the force?
- [30:01]
Jim Campilongo
It's endless. How long is this podcast?
- [30:05]
Skip
Well, you streb instruct the greatest hits, please.
- [30:07]
Jim Campilongo
Okay, well, I just, you know, collaborated with Lumiere Guitars that are located in Argentina on a Jim Campalongo model that looks, you know, like it was inspired by a duosonic. So it's desert sand with a gold anodized pick guard and it has a Gibson Firebird pickup in the neck. I also, we could talk about that, but I also have lessons by mail, these audio lessons that are downloadable and video lessons on my website.
- [30:41]
Skip
There we go.
- [30:42]
Jim Campilongo
Website is jimcam.com and I kind of want to put on the front homepage. If you want to keep a secret, put it on my website. But there's lessons there, there's gear, there's guitars and all that. I just put out my 16th record called she Loves the Coney Island Freak show that's available on vinyl and cd, if anybody remembers those. And of course it's on Spotify and it's on Bandcamp. And Yeah, I'm probably forgot. You know, I'm playing a few times in July with this group Spaghetti with Sam Ryder, Scott Amendola and Matt Muntz. Then I go to New York and I play a slew of gigs with my fortet Luca Benedetti, Andy Hess and Dan Reaser. And then I go to Argentina for two months and I play with Sergio Verdinelli, Mariano Wuttero and Nana Argen on guitar. So I'm looking forward to that. And that's, that's like up to September, you know.
- [31:57]
Jason
So wait, go back. The Spaghetti Band, is that with the accordion player Sam Ryder?
- [32:03]
Jim Campilongo
Exactly.
- [32:04]
Jason
What is that?
- [32:06]
Jim Campilongo
Well, it's kind of a combination of both our tunes that I think Sam and to some degree I do. But Sam is such a great writer. He kindly, you know, mod, you know, like some of his tunes are so hard. I mean, they're kind of, you know, you just need to be a speed demon virtuoso and they're really musical. But he, I, I've been avoiding saying this phrase. He kind of dumbs it down for me and, you know, I said it. And we do some tunes that I think are just melodic and waltzes and, and and then we do a few of my tunes. And, you know, it's with Scott Amendola, who I made a live at Dinard with. You know, I've known Scott most my musical life. Great friend, great guy. And then Matt Muntz, who's a really good upright player.
- [33:08]
Jason
Wow, how cool. You're playing with an accordion player.
- [33:13]
Skip
Yeah. Where are those gigs?
- [33:15]
Jim Campilongo
Yeah, I had done that with Rob Berger for table for one, and Rob played some B3 organ. But, you know, I love the accordion and Sam Ryder's fantastic, you know, and, you know, it's. It's a very expressive instrument. You know, some people just think, oh, yeah, it's corny or whatever, but it's a really expressive instrument. I mean, I don't really think about it because Sam's so great and plays like sparsely or can play like Monk or whatever, and he's also a great pianist. But a lot of the venues we might play might not have a piano. So we just basically focus on him being an accordionist.
- [34:04]
Jason
Wow.
- [34:05]
Skip
Where are those gigs?
- [34:07]
Jim Campilongo
I'm.
- [34:09]
Skip
I mean, approximately what state?
- [34:11]
Jim Campilongo
California, Bay area. We play Sweetwater and Mill Valley. That. Sorry, that's me.
- [34:18]
Skip
That's all we need. I was just getting regional with a globetrotter like you.
- [34:21]
Jim Campilongo
Yeah.
- [34:22]
Skip
And the New York gig is a different band. And what's the lineup instrumentally of the. Of that band that's playing the New York gigs?
- [34:30]
Jim Campilongo
Well, I said it, and I don't want to be boring, but it's instruments. Guitar, Luca Benedetti. Bass, Andy Hess. And drums, Dan Reaser. And I made two records with Dan Reaser in early New York. American Hips and Heaven is Creepy with Tim Luncel on bass. So I've been playing with Dan a long time. We're really good friends. And he's just a. A real. I think he's an artist, you know, Cool. So. And Jason.
- [35:02]
Skip
Jason knew the accordion player.
- [35:04]
Jim Campilongo
Yeah. That's classic.
- [35:05]
Jason
He's been here. Yeah. I think he's been to the fretboard.
- [35:08]
Skip
Give him some 8th graders to take with him to South America, Jason. So he can see what that part.
- [35:13]
Jim Campilongo
Of it was like a brand new father. So maybe you could hang out with him, Jason.
- [35:19]
Jason
Maybe Jim going back to amps. So this. I don't know if you've ever tuned into the show, but people send in questions on their amps that need TLC and Skip fields the questions. And we actually do have a question for you from one of our listeners, but one of the questions that comes up a lot is speakers and you mentioned your celestial fascination. Like, how did you come upon that speaker? And what was the journey like till you found it? And now why do you still love it so much?
- [35:49]
Jim Campilongo
Well, that's a good question. I believe Keith Reniger of the amp lab suggested it, and a friend of mine, Dave Boat, did it. And this is a celestian G10. And I borrowed the amp when I was out here in the Bay Area, and I loved it. And so I ended up, you know, getting a few and. And then Fender put out a model with that celestian G10. One thing about that celestion G10, and I haven't, you know, I had a few of them, but I think they're like 60, 70 bucks. Like, they don't cost a fortune. And I find that really appealing. Again, like, you know, I'm not broke. You know, I'm not a starving artist at all. Like, I'm not, you know, bragging or saying I'm rich, you know, like the richest guy in the world, you know, upper 1%. But if I really love a speaker, I would pay 2, 300 bucks for it. But I find it very appealing when things aren't ridiculously expensive. One of the reasons I do like silver face, one, I think they're pretty. I kind of like, there's kind of a rainbow on them. And I have some black faces and they're kind of sexy. You know, I like blackface, but silver faces are, are more affordable. And for example, I have a, a silver face vibra champ. And my skip probably knows this. I hope I'm not, you know, speaking out of school here, but it's basically the same circuitry as a blackface vibration. And, you know, I, I got mine much cheaper than the black faces were, and I kind of enjoy that. Like, it makes me smile when I look at things that weren't $2,000, you know, for a foot pedal. And I find that, I don't know, disagreeable is a good word because, you know, some of your listeners might do that. I just don't think, like, you know, I, I find it disagreeable. So that's another thing I like about the Celestian. I mean, aside from the fact it sounds really good, I think it sounds good low to some. I mean, Keith Renegar, actually, the last time I went in, he goes, doesn't that sound a little mushy? And I was like, huh, like betrayed by my mentor. But I'm not too worried about, like, not getting enough high end from my Telecaster, you know, and it really works well for your listeners or for you guys, if you're gonna play a humbucking Les Paul through it, I don't know if it'll work for you, but a telly through a Princeton with a celestian G10 feels like home to me.
- [39:08]
Jason
I love it.
- [39:09]
Skip
All right, first, I don't even know if we have any. We don't have to keep anything under our hat. You know, I don't give away every single tip ever, but I've given away an awful lot of them. And so you can. You can talk about whatever you want. And the fact is that Champs, Vibra, Champs, Princetons and Princeton Reverbs all use the identical schematic. Now, they can sound different because the parts can be different. You know, we're always saying, hey, you can get the recipe, but if you don't have the ingredients, you're not going to end up with the good stew. And that's what makes it so difficult for somebody to build a. A Princeton Reverb from scratch or a Tweed Deluxe from scratch. You got the schematic, you got the recipe, but if you don't, if you didn't grow your own tomatoes or you didn't have the smoked paprika, so. And of course, I love your whole thrift aspect, too, Jason. The news flash here is that the grocery outlet had 12 packs of Shiner Mexican Lager for $8. $8 a 12 pack. So anybody goes to town, they have to pick up a case of that stuff because it's even more delicious when you think that it only cost $8 for a 12 pack. And a Silver Face amp is, you know, I've been in it long enough to remember when they were poo pooed and, you know, way less expensive, you know, always. But now, come on now, everybody knows. And they've reissued a bunch of them. And some of them are pretty goofy on the bigger amps. They did some circuitry changes that aren't the greatest, but I always point people to that cool Roy Orbison special where he plays with all the famous rock stars that's filmed in black and white. They play it on pbs. It's called A Black and White Night. And you've got like the E Street Band and you've got just all Elvis Costello, all these unbelievable pickers, and the whole back of the stage is just silver face amps. And they sound pretty good, don't they? They've held up really well. And if you don't mind moving it, I tell people to get a big silver face, a twin reverb, or super reverb. Yes. They're loud, but if you don't have to carry it around. And they're so cheap.
- [41:27]
Jim Campilongo
Yeah. Which you know, and they're so worth it.
- [41:31]
Skip
Yeah, that's. That's it. We. We like that.
- [41:33]
Jim Campilongo
I mean, you know, as far as like the differences between blackface and silver face, like the main Princeton silver face I use. And you would know this skip, I think I don't want to put you on the side.
- [41:48]
Skip
It's identical to a blackface one, but.
- [41:50]
Jim Campilongo
The cabinet is different. Like it's. It doesn't have like locking fingers or whatever you call that. What do you. How do you put that? There's a Morph's classic way.
- [42:04]
Skip
The main thing on the silver face amps is eventually they started putting the grill cloth on a separate frame that's velcroed in and goes in from the front. And they stopped doing the finger jointed nice lighter weight pine cabinets. And they used the. Eventually switched over like particle board.
- [42:23]
Jim Campilongo
Right. And the 70s amp I have is particle board and I have like one from a year before that has the finger locking pine. So makes a difference. And it. Yeah. But I had an. The amp repairman at main Drag, Pat Kaufman confirmed. I brought both of them in and I go, I don't know. I think this one sounds better. And it's the plywood one. It just sounds better. I don't know why. But you know, mathematically and scientifically it shouldn't. And you know, those kind of variables are, you know, what, what keeps us coming back? I think.
- [43:08]
Skip
Well, let me point out that a monster guitar player is going to be able to rock the joint, adjust his playing to. To accommodate some little thing like that, you know, to really test them. Get those amps back to back. We'll play them for a few minutes and put them back to back and switch a route. Put that champ cabinet on that champ and vice versa and turn it on. It's like I'm always telling people, a combo amp is a head and a cabinet. And if you've never heard your head through a different speaker or a different cabinet, not saying what you got is bad, but it could be radically something. There could be like some serious room for improvement perhaps. And all you got to do is hook it up to a different amp. People send me amp chassis and I'm always lecturing them, now you. Before I send you this amp chassis back, you better get your working amp and hook it up to the cabinet that this thing has. Because if you plug it into A crappy speaker. After I did all this work, you're going to think it doesn't work, right? So speakers definitely can make a big deal. I think that's a good tip on the G10. I've heard those. And I normally don't go for Celestials and Fenders so much because they just sound a lot different. But that G10 and a Princeton or they fit in a champ if you're willing to modify the baffle. And they do sound really good.
- [44:26]
Jim Campilongo
So I'm glad you've confirmed that. I mean, you know, I'm here. It's like a Celestian commercial or something. But that's what I use. I like the classic Fender speakers. The older ones, you know, the ones with the yellow. You probably. I mean, I know I. On the Bobby Black Princeton, that's a black face. There's a celestian C10N. I think it is Jensen.
- [44:53]
Skip
Yeah, that's a Jensen C10N. Yeah. Ceramic magnet. The stock speakers fight you a little more. Some speakers that they've come out with, a lot of them cost a ton of money. You turn it on and the amp is louder at the same volume setting. Like, they're super efficient. And some people love that, but not everybody, you know, most people I go to little Charlie, Charlie Beatty, reissue Strat guitar chord, blackface super ceramic tens. The Eminence ones that were the only ones we could get, you know, back in the 90s. But if you have the Jensens or working oxfords or anything like that, that's a viable. That's a viable thing, too. They sound just right.
- [45:36]
Jim Campilongo
I like them. I mean, I like the Jensens with the blue back, too. They're good. But on my website, where. If you want to keep a secret, put it there. I just changed the wording because I met a guy at a gig named Fozzie, and he went out and bought. Because I said, yeah, I really like the Jensen C10N. And they're kind of a more rare speaker, I think the normal one. I hope this is right. Please confirm and skip. Normally it's a C and Q, I think, anyway, you know, all nerdiness aside, he went out and found one based on this recommendation. And I think it was like three or four hundred bucks. And he didn't like it. I mean, he was really sweet about it, but, you know, he was just sharing. So I went in and changed. You know, this is a couple of days ago. I was like, yeah, I guess I'll go to my own website. And I changed, like, what I wrote like, yeah, they're expensive. I'd almost recommend the Celestian as a replacement. And this is like from it. I mean, so that's the story of speakers. And even though I'm on this podcast and I mean, you know, I'm fairly not curious, I'm trying to think of it's incurious or uncurious. So I just said not curious. Like, I'm pretty happy like playing the guitar next to me and the amp next to me. I mean, if it's a Fender. And I've always felt that way. I mean, ever since I began playing. And like, you know, I don't know, 1974, you don't know how lucky you are or.
- [47:23]
Skip
No, no, real pros don't spend a bunch of time obsessing. You know, the opposite of what you're saying. Are people that buy a new stomp box or a new guitar like monthly hoping that that piece of gear is going to really talk to them. And here, the opposite side of the coin is what you're saying, which is we always quote some. What would, what would T. Bone Walker or BB These guys would say, what the hell are you talking about? You've got an amp, you got a Gibson guitar, you got a Fender amp, you got a cord. All the rest of it is is up to you. So all the time that some people freak out about specs and if I have to hear one more person say they were listening to clips on the little 1 inch speakers on their laptop and they're trying to decide like what speakers should I get? I'm just going, got to be kidding me. So you're talking about vintage Jensen speakers that were made in the 60s, ceramic magnets, C10R, C10Q, C10N. Bigger, bigger, biggest. The C10N Jensen is rare. Occasionally they put them in Vibr Lux reverbs, but you usually see C Oxfords or C10QS. So we should also know that you can buy reissues of all those speakers that are made in Italy and sound perfectly fine. Now, the guy who bought a C10N on your recommendation, that's a vintage speaker that is very much. It could go either way. A beautiful speaker that hasn't had any vibrations going through it in decades can sometimes sound terrible. It doesn't need to be re combed really maybe. But the suspension gets stiff, so you hit the low notes and the cone doesn't move as much. And the speaker sounds like even though it's a super valuable, rare vintage speaker.
- [49:13]
Jim Campilongo
So makes sense to me.
- [49:15]
Skip
I like the Celestian and affordable. The reissue Jensen C10Q would be the normal Princeton reverb sized one. They sound fine. Lots of people I know who gig and stuff say they're great. And we don't really want to know what people maybe think who spend so much time obsessing about other stuff. That's why I say you don't have to work on guitars and amps. I mean, the music you make is enough, so. Well, I know hi fi guys that are into like looking at the amp on the oscilloscope. That's when I say you're single, right? Yeah.
- [49:53]
Jim Campilongo
Well, it's good to compare tubes that way. I think it kind of soldier the Russian tubes as opposed to new old stock. Which ties in with what your point was about speakers is. You know, I used to be. Yeah, new old stock. But then a lot of the new old stock that was available wasn't that great. You know, it would break or, you know, light up or whatever happens to tubes that are kind of funky. So I just started getting the Russian tubes. But, you know, I mean, that said, everything just said like, these are our people, you know, like, I mean, yeah, some guys like obsess on, you know, they buy a new pedal every month and, and whatever, you know, they may not know a diminished chord, but they, you know, know the difference between eight fuzz tones, you know, distortion units. There's. Then there's like Eric Johnson, which might be an old reference, but some guy who goes through a hundred fuzz faces and he's really a good guitarist pretty much. But these are our people. And that's why there's a podcast that isn't like, you know, cello amplification podcast.
- [51:08]
Skip
Like, I mean, bringing a ray of sunshine here. That's very impressive, Jim, because I am like, dude, just quit.
- [51:17]
Jim Campilongo
They.
- [51:18]
Skip
They are our people. And the guy with a bunch of pedals, maybe he has every single one of your records. And I shouldn't be so grumpy.
- [51:23]
Jim Campilongo
I hope so.
- [51:25]
Skip
I just, I just love a musician, you know, that you give them something, a stick, a drum, a weird guitar, a strange amp, and they see what they can do with it. They don't see if it does. It's. If it's going to do this thing they have preconceived in their mind. And that to me is a huge difference, you know, between real crazy music people who can make music on anything.
- [51:50]
Jim Campilongo
One of the points, I mean, I know we're, you know, we. I've been talking a lot, but is. Is it was really hard for me to wean off pedals. And it was done by the urging of a band I was in many years ago. I was. You know, I got down to, you know, one amp because I used to use amps and stereo. And I got down to a Chandler 2 tube driver, like, the outboard unit, like, you know, and they said, hey, don't use that. You know, just plug into the amp. And, you know, even to this day, like, sometimes, like, I'm not a big fan of cement floors, for example. And, you know, sometimes you're in a studio and there's carpet, and you look under it and it's like, oh, it's cement. And I'm not loving my sound. You know, I don't like. You know, it isn't like I'm on, you know, floating on a cloud every time I play. Like, I'll be, you know, I. And some rooms, like, resonate, and it's fantastic and, you know, feels good. And a lot of times it is like a wooden stage and a wooden room.
- [53:01]
Skip
It's.
- [53:02]
Jim Campilongo
It's really one of those things you can't figure out. But I will be like, okay, I really don't like my sound, but this is the hand I've been dealt, and what can I do with this? What does it want? What can I do? And, yeah, I miss playing, like, sustaining whole notes sometimes to this day. But I'm not bending down the first four songs, like, adjusting my effects pedals. I mean, I. You know, halfway into the first song, sometimes I think, oh, and I'm still connecting with the other band, looking at the drummer, smiling, whatever. It's like you're forced to play music sooner than, okay, maybe I should turn up my compressor. I'm really, you know, I. I don't like my sound. Oh, maybe I'll turn down this. Maybe I'll up this. I don't even have those variables. So, you know, it's. It just makes you deal with, okay, I was dealt two twos, and I'm with four other guys here playing poker. Time to bluff. You know, So I guess I should make that clear. Like, I have empathy for. For, you know, our people in that regard.
- [54:36]
Skip
Well, let me also say, if you don't mind, that a real musician would never put his. His, her own, like, personal little things, like, I can't get quite the right tone. I want above the job. You know, you were there because somebody. You're there. Somebody drove to see you. Like, guys that play on the Opry every night, you know, would say, hey, we had to kick ass every time because that guy drove 400 miles to see whatever great speckled bird. And so that's a distinction right there. And Jason and I were talking earlier. My. My wife's involved with a big organization that has a lot of volunteers. And when the volunteers are all pulling towards a common thing, the organization, it's great. But when they veer off and have their own kind of personal agenda. So I'm at a gig playing with you. You're going to have a big smile. No one's ever going to know that you have an ingrown toe or you shouldn't have eaten that, whatever, or that your amp doesn't sound exactly right because, you know, foremost that we want people to enjoy what you're doing. And you're not going to let some little thing like that get in your way. So. High five. It's another way of saying it.
- [55:54]
Jim Campilongo
Yeah, that was really well put. And it's what I strive for, you know, it's. It's. I mean, one thing I've found through playing with musicians is you get to know, for lack of a better word, their integrity. And are they being selfish? Like, if you're just, you know, you have a poopy diaper because you can't get, quote unquote, my sound that I want, and you're bumming out and pouting like, you know, you're being selfish. And the main thing is. And this is the thing I try to remember, and it seems really dumb, but have fun. Like, that's the main thing. Like, yeah, you know, you got to know a diminished chord and you got to know the changes, and you want to try and play expressively, blahdi, blah, blah. But the main thing is, is, like, to have fun, you know, look at people in your band and smile, and they'll smile back like it's the unselfish thing to do. And everybody I just named, like, 20 minutes ago that I play with is like that. Like, they're. They're not selfish people. And I've, you know, especially in New York, I have seen hundreds of gigs where, you know, the drummer pulls out the duct tape and is duct taping the bass pedal, not saying anything, you know, and playing, like, the house set that is Beat to Hell and not complaining. And they've been an inspiration to me when, you know, I want to, you know, throw my guitar down, you know, like us, the Spinal Tap guy. And I forget his name and, you know, go, I'm not getting my sound. And it's cement floors and blah, blah, blah. I mean, if I don't have reverb, it's very hard for me to play. But that said, you know, I can pretty much, much deal with anything. And it's inspired by the people I play with that, you know, have shown me that.
- [58:10]
Skip
Beautiful.
- [58:12]
Jason
All right, Jim, before we let you go, people send us questions, like I said, podcastritboardjournal.com and one of them at least came for you. So I'm gonna play it for you.
- [58:22]
John
Hey, Skip. Hey, Jason. Hey, Jim, It's John from Riverside, California. When I heard that Jim was going to be on the Truth About Vintage Amps podcast, I was very excited because he's one of my absolute favorite guitar players. Love his music. I especially love his Vinyl Treasures.
- [58:46]
Jim Campilongo
Column.
- [58:47]
John
That he does in Guitar Player magazine. And I kind of liken it to the, the podcast where people, you know, give off their music recommendations and all that stuff. And my music recommendation for today is a little known Finnish instrumental rock outfit called Leica and the Cosmonauts. Very cool band. Do everything from straight ahead surf rock to all kinds of stuff, post rock, even a little bit of like world music. They call their music Rauta Lanka, which is the Finnish word for steel wire. And it very much describes their music. The album in question is called Cosmopolis 1988-2008. Really great album. And I also have a food recommendation. Quick and easy. If you're a cheapskate and you need meatballs, like fast, like really fast, Kroger has frozen Swedish meatballs available in their Kroger stores. And stick them in the microwave, couple minutes, or the oven, whatever your jam is, they are delicious, Fast, easy, fun, great for kids. Thank you guys.
- [60:24]
Jim Campilongo
Well, that was really nice. I, I was kind of waiting for a question. I have heard that Finnish band, I think our lovely friend speaks Finnish, which is a very difficult English, a very difficult language. And there's only two places on planet Earth that have that dialect and the one is Finland and the other is far away. I can't remember what it is and their words are like super long now. I've been to Finland about 17 times and I have, Sorry, this, this email sounds are all me, sorry listeners. And I have heard that band Cosmo and I can't remember their name. Yeah, they're really good and they're, they're like super popular in Finland and I, I, I've been there so many times because of Ilka Rantomachi hooked me up in 2003 and then somebody put out two of my CDs there. This is a time when, before Spotify, So you'd make CDs and then someone would distribute them and you'd have a career. And so I'd go, I'd go there and there'd be, you know, 100, 200 people there who knew my music. And I was on, you know, TV there. Finland's not, I mean, Finland's big, but it's, you know, kind of an intimate country in a way. So I, I had gone there many, many times and played. So I, I, I know about Finland. Helsinki is a beautiful city and you know, I, I hold all the experiences and the people I met really close to my heart and, and I only knew one word in Finnish after all that. Unfortunately that means thanks.
- [62:30]
Jason
Huh. Well, Jimmy, you got the full, you got the full Tava experience. You got somebody recommending food, which always happens. You got me not screening questions, which also always happens. And then we had this great amp banter.
- [62:46]
Skip
And do you suppose the guy who spoke such good Finnish knew that Jim had been in Finland so many times? I mean, remember Jason ran into someone at the airport who heard that he was taking 8th graders to South America and just walked up to him and said, you must be Jason. It's a very crazy, this, this magazine he's done has just created a bunch of like minded people all over the world. Then you never know when they're going to collide.
- [63:13]
Jason
Here's my last question for you. Yeah, here's my last question for you, Jim. And then we're going to let you enjoy your weekend.
- [63:19]
Jim Campilongo
Okay?
- [63:20]
Jason
You are tried and true about the Fender amps. We talked about that. Are there any weird, oddball PA heads, weird goofy things that even if you don't take them out to gig, you're like, I absolutely love this thing. On the amp front, yes, I have.
- [63:37]
Jim Campilongo
A Gibson Les Paul amp. It's a 50 something, I can't remember. Beautiful looking thing, looks like an old radio. And if you plug in the microphone input, there's two or three inputs, two for instrument, I think they say ins. Then there's mic. And if you plug in the mic, it's a little, I don't know, more powerful. Even though skip would be more eloquent than that. And it really sounds great. I mean it sounds like ACDC's wet dream, you know, I mean the thing just sounds like an amp ready to explode. And I actually played it on a track on she Loved the Coney Island Freak Show. We did a couple of takes and I was just like really hoping that this amp would make it onto a record. So if anybody asked me about amps, I didn't go, yeah, it's a Silver Face Princeton, you know, for the hundredth time. But we ended up picking the track. I got outvoted, more or less, not bitterly, but I always ask the band what they think, and everybody, especially Andy, has the basis whose opinion I really respect. Like the version of me playing through my Silver Face Princeton. But the track with this Gibson Les Paul amp is on, you know, and this isn't a commercial, but it's on my Patreon somewhere. You know, you have to scroll down for 20 minutes. I don't know. It's up there and it's. It's a great sounding amp. I never bring it outside the house, though, to be honest. Jason, I understand. How'd you like Peru before? I know we're closing the show here, but how'd you like.
- [65:32]
Jason
I don't think my Peru experience is the same as the typical listener of this podcast going to Peru. I had to keep several 14 year olds alive for a month. And so we, we moved around a lot and they all were, they all came home. But it wasn't the most relaxing trip because I was. I was hurting. 14 year olds did.
- [65:56]
Jim Campilongo
Are they too old to all wear matching orange T shirts or anything like that?
- [66:00]
Jason
There was some matching T shirts on the airplane days, but that was it. And yeah, it was great though, Cusco. Amazing. I didn't spend any time in Lima. I ran into that guy at LAX who listens to this show. Hey, Chris, if you're out there. And he gave me recommendations for a bunch of acoustic nylon string guitar makers in Lima. Unfortunately, I didn't get a chance to see any of those people, but apparently you can get a really nice guitar for just, you know, a few hundred US dollars down there from an actual luthier. But yeah, it was great. It was great. I'm glad to be back. The food was. Was a little under seasoned for my west coast of America palate, but I sure was healthy and lost a bunch of weight, so there's that.
- [66:47]
Jim Campilongo
Yeah, well, it sounds stressful, but, you know, I'm sure you're glad you're glad you did it.
- [66:56]
Jason
Yeah, for sure. And Jim, thanks for being on the show and regaling us with amp talk and everything else. You know, we've wanted you on the show for so long.
- [67:07]
Jim Campilongo
Well, it was my pleasure and it was really enjoyable. I'm looking at the clock and an hour went by, it felt like five minutes. So thank you it was a lot of fun.
- [67:18]
Skip
I've wanted you as a customer for probably 25 years, but now I don't have to worry about it because you got somebody that's taking good care of you.
- [67:30]
Jim Campilongo
I have a feeling we're going to meet. And probably in the context of me going fix it. I hope so. Skip.
- [67:39]
Skip
Well, you're definitely our kind of person. If anything, this crowd is pretty eclectic. And I can never remember what we talked about because I'm always concentrating. But I'm sure if we went back and listened, I think we covered quite a bit of ground today, which is what we like to do. And of course, anytime you'd ever want to do, I think we could safely say he could be one of our repeat guests, wouldn't you say? And we've had some guests that we don't want again.
- [68:07]
Jason
But no nonsense.
- [68:11]
Skip
We'd definitely love to have you some other time. And if you won't bring easy recipes, then bring more record. Bring your favorite Louis Bonfa record to recommend to everyone. Yes.
- [68:23]
Jim Campilongo
Yeah, I mean, you know, again, it's perfect time to end, but, you know, you should, you know, have some kind of podcast that's like five guitarists we won't have on our show in parentheses. You'll be surprised by the last one.
- [68:42]
Jason
And, you.
- [68:44]
Jim Campilongo
Know, clickbait, you know. Anyway, guys, it was a pleasure. Thank you so much for having me. I looked.
- [68:51]
Skip
Thank you, Jim.
- [68:52]
Jim Campilongo
I look forward to proudly telling people I'm on your show.
- [68:57]
Jason
Thank you so much. And Nick time you're in Seattle, stop by our. Our hq.
- [69:01]
Jim Campilongo
I will be in Seattle at Sea Monster in December.
- [69:05]
Jason
Okay, well, I'll see you then.
- [69:07]
Jim Campilongo
Okay, thanks a lot.
- [69:08]
Jason
All right, thanks, guys. Have a. Have a great weekend. Thanks for everybody for tuning in. Keep the questions for Skip coming. Podcast fretboardjournal.com till next time.
- [69:18]
Skip
Bye.