The Mono Men - Continental Magazine Issue #1

I caught up with Dave Crider of The Mono Men and Estrus Records at the 3-B Tavern in Bellingham on August 28th, 1996. We talked about cars, booze, and rock n' roll for an hour, covering the nearly decade long career of The Mono Men, the growth of Estrus Records into one of the best (if not the best) garage and surf labels around, and life in Bellingham.

Sean: I read somewhere that you started off in The Roofdogs...

Dave: Right. It was The Roofdogs back in 1987 and we were an instrumental band. Basically the same lineup as the first incarnation of The Mono Men which was with Marx, but we had kind of a revolving door of drummers. Aaron was in The Roofdogs for a while towards the end. We had a keyboard player named Patty. She quit to go to Costa Rica and we pretty much broke the band up. Two weeks later we decided we still wanted to play, so we got together and just started singing and decided it was too different without Patty so we just changed the name. We put the single out about a month later. Not that exciting, but that's what happened.

Sean: That single's probably long out of print.

Dave: It's now back in print. It's been out of print for about five years. I just re-did it. We went back an re-mixed the b-side. Originally the b-side on that had a cover of The Nomads song "Rat Fink" and then it fades out really quick. The reason it does is that it actually segues into another song, but there was a big argument at the time and we didn't want the second song on there. I went back and re-mixed that and now the second song is on there. So it's different from the first issue. We took the cover and added gold foil embossed now. Really sharp. I don't know if it's gonna be an open run, but it should be in stores next month. Chantry re-designed the back cover, which is kind of cool. So it's different enough from the first issue. I did it because I wanted to see it come out the way I wanted it in the first place, but I could't afford to do it like that then. Because we wanted to emboss and foil stamp and I couldn't do it then and I was the one who wanted the other song on there and I lost, so now I win this time.

Sean: That was one of the first singles, wasn't it.

Dave: It was the first single.

Sean: Did you tour much with The Roofdogs?

Dave: Never. We played in Oregon a few times. We played in Canada a few times, but mainly just Seattle. It was a lot harder to get out and play. When we did the first Mono Men tour in 1990 there weren't even that many bands in Seattle that were touring. Young Fresh Fellows. I don't even know if the Sub Pop bands had really started going yet. I think maybe they had just started going out. It's so different now. I think people have forgotten how isolated it was out here. You might as well have been in Nome, Alaska. But, you know, you just do it. It wasn't that tough. That first tour we had a lot of help from The Cynics. We were out for about 6 1/2 weeks and we did half of the tour with The Cynics, which was great. They were probably at their most popular point. The 'Rock n' Roll' album was out. They just took us under their wings and we rode their coat-tails through the whole tour. It was real nice of them to do that. They didn't have to. We were an unknown band, so they'd pay us out of what they got paid. Not too many bands like that.

Sean: So for a band starting out that must have really helped a lot.

Dave: Well, it was exciting. It took it's toll on the band. We were pretty sick of each other by the time we got back. You know, it's the whole 'first-tour-itis' kind of thing.

Sean: So the whole Seattle thing, it's a different sound than The Mono Men and the label, but did you find that it opened some doors for you?

Dave: It didn't hurt, but I think there's been as much damage as there has been good. We live here because we want to and we've never considered ourselves, the band or the label, to be part of that. We are in the northwest, but we live in Bellingham. It's far enough removed from that. Shit, in Europe we'd be a country away, quite literally. It doesn't hurt if people know the region and they listen to other things and they watch and may hear of us through that. We're also a lot different, maybe not as much as we might think we are, but there are some pretty big differences between the labels and the bands. Those guys did a great job. We had a single on Sub Pop and they treated us great. I think that Bruce and Jonathan are great people and I think there's been a lot of good stuff on the label and they've done a lot of good things, but as a result of the popularity, not all of which is Sub Pop's fault, playing Seattle is a nightmare. It's a horrible place to play. Most of the bands that used to play there don't play there. I mean, how often does Mudhoney play there now? Never. It's just not the same thing. You have to deal with promoters. You can't talk to anybody straight at the club. There's all of these people that want to get their hands in the pie. All of these sleazy rock types. It's not like when you could pick up the phone and go, "Yeah, we wanna play," and they'd go, "Oh okay, you don't suck. You can play." Now if you are a band starting out it's a nightmare to try to get a show, because if you aren't sleeping with one of the promoters you're not going to get a show. That's it. So now, when we play Seattle one of the prerequsites that I have before we play is that I want to have say over the bill. It's been that way for years. We won't play if we can't have control over the bill. I wanna be able to try to find a band that is up and coming. Maybe they're not great, but their heart's in the right place and they need a shot. If they don't play they're not gonna...you know, that's the other thing people miss is the reason that there were so many good bands around here was that there were places for them to play to get good. If you can't play you aren't going to get good. You can play in a garage your whole life, but until you start playing in front of people and going out and touring it's impossible to get good. So, it's sort of like an inbreeding thing going on and that's why it's just...There are still some great bands in this area, but most of them can't get shows. It's pretty pathetic.

Sean: I haven't been too involved with the Seattle scene, but I've seen that going on in Bellingham as far as bars like Speedy's and the Up & Up. It seems like the scene was pretty healthy, with you guys, Medelicious, and tons of other bands. Now, the 3-B has shows but that's about it.

Dave: And even the 3-B is cutting back on shows. It's basically because it's tough to get people to come out. What I think is cool about this club, that sets it apart from most clubs in the country, is that it takes chances. They treat the bands right. They're not treating anybody like a rock star; they're all treated as equals. When a band comes through here they're going to leave feeling good about the situation. They might not have a ton of people come out. I don't think Bellingham really realizes how lucky they are to have a place like this. There are major cities that don't have clubs like this. Here we are, shitty Bellingham. I live here; lived here for a long time and I love Bellingham, but it is a small, little town in the middle of nowhere and we've got a world-class bar here with someone willing to take chances. Aaron loses money so often bringing cool bands through here and as a patron to the bar I'm really stoked. I'm like,"Wow! I can come down here and see somebody like Big Sandy & His Fly Rite Trio". Now they can get a draw, but the first two times they came here there were five people in the audience. Or the Carpetbaggers. Or the Lazy Cowgirls, who played to seven people. How about Southern Culture On The Skids? The first time they played here there were twenty people. Now, it'll be sold out. So it's a little frustrating, because it goes in ebbs and tides and I think right now it's a little low. I think Bellingham in general is really jaded. I'm not sure why that is, but there was a pretty good crowd that would come here and see bands that maybe they wouldn't know. I'm seeing it less and less now. The safe shows are pretty good and the shows that people have to go out on a limb a little bit; they're staying home or going somewhere else. Maybe watching The X Files, I don't know what they're doing. It's like, if you don't support this, you're not going to have it and it's going to be a sad thing.

Sean: Well it's hard to understand how Bellingham, with a college with 10,000 kids, shouldn't be able to fill a bar with 2-300 people.

Dave: You would think so. I still think that the college crowd wasn't always the backbone of this. I think it was the off campus college crowd. I think people that live on campus stay on campus. They don't really think about leaving campus. If there's a show on campus it does fairly well, you know. Having gone to college up there I understand how that works. If you live up there, it's like downtown for some reason seems really far away. Especially if you don't have a car. It's not, but it does seem like it. I think it's more the people that are outside of that; upperclassmen or people that have graduated or locals. That's what's kinda changed. It's like you said, it's not as vital as it used to be. It's not just a reflection of there being not as many bands. It would be nice if people would start taking chances again and coming down and spending three bucks to see a band. What have you got to lose? Three bucks and two hours of your time? Aaron generally brings really good bands in, world class bands. There's bands from all over the world that come here. Believe me, I've lived here long enough to appreciate that. It's just ten minutes from my house and I get to see these really good bands that I used to have to drive to Portland to see. If I was lucky, because they wouldn't play Seattle.

Sean: Yeah. It was kinda sad. Last year I saw The Astronauts play here and there were about 50 people here. That was a great bill (with Boss Martians and The Surf Trio).

Dave: There you go.

Sean: Do you know Sean Spain here in town? He's starting a local label called Alien Records.

Dave: No. I think I read something about it.

Sean: I think he's doing the booking at Pogo's now.

Dave: They're doing music there?

Sean:Yeah.

Dave: That's great.

Sean: I think they're trying to fit in where Speedy's used to be, with groups like Sky Cries Mary type bands.

Dave: Well I know The Royal actually brings in quite a few bands, but they're really kind of hair bands. Top-40 kind of stuff. Occassionally they'll get someone good in there.

Sean: So what was the first song you came up with as The Mono Men?

Dave: Burning Bush.

Sean: That was put out as a single?

Dave: Yeah. That was the first Mono Men single. Wait a minute, it was either "Burning Bush" or "I Don't Care". Ancient history. A lot of dead brain cells since then.

Sean: So what do you have coming up with The Mono Men?

Dave: Well, there's that reissue of the 7". The Scat record is going to be out soon, our new album.

Sean: Is that "Ten Cool Ones"?

Dave: Yeah. That's coming out in two weeks, and then we're on the new Gearhead single with Girl Trouble. There's about 300 copies of that out right now. As Mike can afford it he's printing more of them. We have a single in the new issue of The Next Big Thing, which I'm pretty excited about. That's coming out this month. I think that's everything for right now. The new Estrus album will be out in January. We have to finish mixing it.

Sean: Are you working on a new catalog?

Dave: Yeah, I'm trying to. I'm really behind on that. I've been so busy, because I've been booking these Invitationals shows and The Nomads/Mono Men tour. So I think it's gonna be out late, but it will definitely be out by Halloween. It's gotta be in stores by Halloween, because it's gonna have all of this Halloween type stuff in it.

Sean: It's seems like you have a lot of stuff coming out.

Dave: Yeah, an amazing amount. I've been trying to cut back, but there's so many cool projects. A lot of it is things that people don't realize have been in the works for a long time. They have all come together at once. The Mono Men have all of these releases clumped together. Gearhead was supposed to come out a year ago. The Next Big Thing was supposed to be out over a year ago. Now they're all coming out at the same time. The "Ten Cool Ones" LP was supposed to come out in January and now it's coming out in September. That's why we're gonna hold the Estrus album until January. We'll tour on that and hopefully not get sick of this record before it comes out. There's plenty of stuff out there for people to listen to. Nobody's complained that there hasn't been enough Mono Men releases. If anything it's the other way around. Oh, there is another release coming out. The "Bent Pages" album, which was a Dutch release, is going to be reissued in the states on Au Go-Go. So it will be available in the U.S. and Austrailia with new artwork that Chantry's doing. Also, I just found out that we're gonna tour Austrailia, so I'm pretty fuckin' excited about that. That's one place that I've always wanted to go.

Sean: Are The Nomads going to make it up to Washington on this tour?

Dave: No, not this time. They're gonna avoid that drive from San Francisco to Seattle. They're flying in and doing one show in Chicago, and then they're going in the studio to record a single. I'm pretty stoked about that. Then they're gonna fly straight into San Francisco and we're gonna meet up with them there. We'll do four of the Invitational shows, with the two of us along with The Makers, The Lord High Fixers, and The Insomniacs. Then we have about eight other dates with them. Then they fly back the morning after the last show. They go back on tour again, which is great. It's good to see them this active again. They're one of my favorite bands. For me this is great, because I get to see them twelve more times.

Sean: I hadn't heard of them until the last Estrus release; I listen to it all the time.

Dave: Yeah, it's a great record. You should pick up the "Showdown" CD if you get a chance. It's really cheap. It's a double CD for only fifteen bucks.

Sean: Yeah, that's going to be one of my next purchases.

Dave: It's awesome. I'm used to hearing those songs in a certain order (on the individual albums), so it's a kinda disconcerting. But they've never been available, so it's cool that's actually available in the U.S. With the "Showdown" thing you'll get a really good taste of The Nomads. Especially disc one. I wish it was out on vinyl, but hey, what the hell?

Sean: What happened to Mort?

Dave: Well, he's still here. I don't know. That's my answer.

Sean: With The Mono Men's albums and single, have you seen them in a collector's store, sitting up on a wall for some outrageous price?

Dave: Oh yeah, we've seen it. Especially over in Europe. There are so many of them out there and we've done so many singles. Some of them were pretty limited.

Sean: When you see that do you get the feeling that you should re-release them?

Dave: No, not really. I do a lot of limited edition singles. Especially if the packaging is wacky it's almost impossible to keep it in print. I really think there's a certain amount of people that will want that stuff anyway. You do enough of them and they get them. I think 350 singles is kind of low. When we do them I like to see at least 3000 of them. Then I know people will get them. If they're gone and somebody hasn't got one and there were 3000 of them out there it's like, "Well, you could probably find one." I've done some singles that I have reissued because I have gotten so many people saying, "Gee, I wish you'd reissue this." Like with Teengenerate and Jackie & The Cedrics. The Phantom Surfers was the first one, that one I got so many letters for. I guess in retrospece I didn't do that many, maybe 1500. At the time it seemed like a lot, but that was a long time ago. Plus it (the reissue) gave me a chance to do the cover the way I wanted to. That was another one where the cover was really early on and we couldn't do what we wanted to do. So there was a reason to do this. We wanted to do it the way we wanted to do it. People that have the original single can buy it with the new cover if they want to, but they don't have to. They have the music. Both the band and I just had an idea that we wanted to do it a certain way and we weren't able to do that before.

Sean: How much of a nightmare are the covers for some of the singles, like The Mono Men's "Another Way" single or the bowling ball single (for "Cross Alley Stomp")?

Dave: In general I do singles because I like them. I don't even keep track of budgets anymore, because I don't want to know. Yeah, those two in particular I definitely lost a ton of money on, but they were cool singles. The sparkle one especially was ungodly expensive, but it's cool. It was just cool to be able to be able to find the paper. We wanted to do something like that for the Famous Monsters single, but we couldn't find the paper. We finally found a source for the paper, which was really expensive. We thought, "Well, we gotta do this at least once." Plus, every one of those was hand assembled. It's a sticker and pasteboard on the back. It was two completely seperate pieces that somebody had to sit there and stick a sticker on a piece of board, and then take the other part and glue it on. It was insane.

Sean: Did you do all of that?

Dave: No, I didn't do that. I'm going to be doing these (pointing at the latest Southern Culture on the Skids double 7"), but I didn't do that. Thingmaker down in Seattle does a lot of the wacky stuff. He did the bowling ball too. He's great. A great guy and a good friend. I like Lance a lot.

Sean: How does that all work? Do you come up with an idea and give it to whoever's doing the artwork? Or is it vice-versa?

Dave: No, I will usually come up with these hare-brained schemes, then Art Chantry and Lance will figure out how to make it work. Art is pretty much the art director for Estrus. He realizes a lot of things, and of course has tons of great ideas on his own. He's one of my best friends in the world and he is just a fucking genius. There would be no Estrus without Art. Definitely. He's great and he's a great guy.

Sean: Do you do any of the artwork yourself or do you leave that to other people?

Dave: I'm not much of an artist. I consider myself like a hack designer. I do all of the Quarterly myself. I know what I like to see and I try to make it happen, but I ain't no Art Chantry, that's for sure. But it's fun. I like doing that kind of stuff. I wish I was better at it. I'm good enough to get done what I need to get done.

Sean: Well, the Quarterly looks great, so...

Dave: Thanks. I have a great time with that. I just wish I had more time to spend on it. I'm so far behind on that. I was especially pleased with the last one. For years I have wanted to turn that into more of a fanzine, so it's not just a sales tool. I want to make it so it's more informational for people. It would just be more interesting for me, you know. It's stuff that not a lot of other people are going to write about. It makes it kind of entertaining. The issue before that, with the cars on the cover, was the first time I had done anything like that. This last one really came together. I was really pleased with that. The next one is going to be even better if it all comes together. A couple of things that were going to be a big part of the next issue fell through at the last minute, but we'll get it figured out. You doing a zine, you know how all of that works. It will definitely be out in time for Halloween and it will have a monster magazine look. We did the one that looked like an old rod and custom car magazine. The last one had a men's magazine feel. This one's gonna have a Famous Monsters, Monster World feel. Just shit I'm into. I steal liberally. That's my philosophy.

Sean: It's hard to find stuff to steal from these days. At least here. Sometime's I'll find stuff at Aladdin's Lamp, but it's hard otherwise.

Dave: That's because I buy it all.

Sean: Probably! There was a little magazine called "Laugh Book". I found three of those and they had lots of great line art. I didn't have enough cash at the time to buy the rest of them, so I only bought three of them. There was a whole stack of them. Next time I went down there they were all gone.

Dave: Yeah, I didn't get those but I think Chantry did. He's got the most amazing collection of that stuff. It' just incredible. You've got to use that stuff as inspiration. That's the cool thing about working with some of the artists I work with like Alex. They have a really good feel for that kind of style. I don't know if you look at these real close (pointing at the insert for the Southern Culture on the Skids single, which includes cut-out Mexican wrestling figures), but these are actually stand ups. The instructions will tell you, in Spanish, how to assemble these and you can have your own wrestling match.

Sean: So are you the type of person that would cut those out or not?

Dave: Oh, I already cut mine out. I won't have extras so you're gonna have to cut them out if you want to use them. That's true, there was a point where I would have bought two copies. I'm a collector scum, definitely. I'm a big record collector. Actually, I shouldn't just say record collector; I'm a big collector in general. I've got tons of magazines, records, and movies. I'm a fucking pack rat.

Sean: I was talking to someone about that the other day. I said that if someone came into my house and stole my stereo I wouldn't care, just don't steal the music.

Dave: Yeah, you can always get another stereo. That's a good point.

Sean: How do you feel about touring and where do you find your biggest or best audiences?

Dave: I love to tour. Setting the tours up is a pain in the ass, but I like touring a lot. There's parts of it that are a drag, just like anything else, but the actual playing is really great. I'd say the mid-west, Chicago in particular, is definitely a strong area for us.

Sean: You see a lot of big bands touring that just bypass that area.

Dave: I don't know. We couldn't do that. We now try to go out there 2-3 times every year. It's great. Actually, one of the best clubs in the country is there, The Empty Bottle. That place is great. It's just a cool, cool club. The Makers just played there and had a great show. It's a good hub for us in general. All of the bands that go through the mid-west do really, really well. We have a real solid base there. I think it makes sense. Kind of a blue collar, working class thing.

Sean: What's the biggest audience you've played to?

Dave: The biggest audience we've played to we haven't played to yet. We're supposed to play this festival right when we get back from mixing the album. I don't know if we're going to do it or not. We're supposed to play this thing at the fuckin' Mellodrome with NOFX and others. They're saying there's going to be 15-20,000 people there. I don't know if we're going to have enough time to do it. We'd literally have to get off the plane, and then get on a plane to fly down there. I don't know if we want to do that. We're going to have to decide soon. Other than that I'd say we've played to about 1,500. It doesn't matter how big a crowd is, it's how a crowd is really. If there's 30 people there and they're all really into it that can be a better show than 300 people that couldn't give a shit. It really doesn't make a difference.

Sean: We'll it seems like with the sound you have it would be more suited to clubs like this.

Dave: We'd rather play small places. You can drink, you don't have to worry about all of the bullshit security and all of that stuff. It works fine in bigger places. We played a fairly big place in Chicago once called The Metro and there was about 1,500 people there. It works fine. I like a smaller place myself. I have more fun.

Sean: How do you pick bands to release on Estrus? Do you go to them or do they come to you?

Dave: It works both ways, really. I get a lot of demo tapes, but I can't think of one band, besides Man Or Astroman?, who I got off a demo tape. Demo tapes, I listen to them all, but I've got to see a band live. When I'm out on the road or when other bands are out on the road they'll tell me about bands and then I'll check them out. I only put stuff out that I really, really like. That's the only criteria. It doesn't mean it's good or bad, it's just what I really, really like. I depends on the band whether I get in touch with them or if they get in touch with me. Generally, I get in touch with the bands that I want to work with. I think a lot of cats that run indie labels will tell you the same thing.

Sean: It seems like a lot of bands, at the level of The Mono Men or bigger, that put out an album every once in a while would welcome the chance to put out a single or something on Estrus. If they're a cool band it seems like you would be able to work something out with them.

Dave: Yeah, I've never had anybody say no. Like I said, I've got more to put out than I can. When I hear these people saying, "Oh, there's no good music. I can't put anything out.", I say, "Well, whatever. I've got more than I can handle." I'm constantly telling myself to cut back, but all of these projects keep coming up. I can't not do this. It's a dilemma.

Sean: What's a typical day like running Estrus?

Dave: Lot's of talkin' on the phone. Lots of babysitting, making sure people are doing what they're supposed to be doing. There's not really a typical day. Bekki's running the mail-order and I'm running the label. It's like, "What problem am I going to deal with today? What's blowing up that I'm going to have to deal with. Do you have to go move boxes today or do you have to call the pressing plant to see if they're delivering the records to the right place. Is there a band caught somewhere in the mid-west that needs to get out of there?" There is no typical day. It's a lot of work, but I'm doing what I like, so it doesn't matter. It gets to be a drain, but hey, it's what I like to do. I've got no complaints.

Sean: You could be doing what I'm doing, working a fairly routine 40-45 hour work week.

Dave: And I don't have a boss either, which is nice.

Sean: What portion of your releases are sold on vinyl and CD?

Dave: As a general rule I would say that it's pretty much split between vinyl and CD. There are certain bands that will sell more on vinyl and there's other bands that will sell more on CD. I think initially with most bands it's pretty even, if not weighted towards the CD. Over the long term, we sell more vinyl. Go figure? There are exceptions to that. Man Or Astroman?, who have kinda crossed into a bigger audience, sell more CD's than vinyl. They still sell plenty of vinyl, but say a band like us, we're gonna sell more vinyl. It depends on the band, but in general it's a pretty even split. It's been that way for a long, long time. I haven't seen it go up or down. You keep thinking that you're going to sell more CD's and less vinyl.

Sean: Where do you get your vinyl pressed?

Dave: There's still plenty of plants that do it. I get mine pressed in California at Rainbo Records, which I guess is one of the bigger places. It's kind of funny, because a lot of pressing plants went under and a lot of major labels dismantled their plants, but now they're all starting to do vinyl again, so the places that were still doing vinyl for indies are burdened, so they're having trouble keeping up with demand. I think it's really hilarious. Everybody's backed up. It's taking forever to get records done. It's just because there's fewer plants and more people that want to do it.

Sean: When did you start collecting vinyl?

Dave: Man, probably when I was about eight.

Sean: Was it embarassing stuff or cool stuff?

Dave: Some of it was embarassing. Most of it was pretty cool, because my folks were pretty young. They had a great record collection. My mom was a big Stones fan and my dad was into all of the Link Wray and the Sun stuff. They were both into hillbilly and country music. Not the schlocky crap. It was generally pretty good stuff. I've got all of the records I had as a kid.

Sean: I think I started out with disco records, 45's mainly.

Dave: Yeah, it was 45's for me too, definitely.

Sean: A friend and I took them to this four story apartment complex next to our junior high and threw them to see how high we could get 'em.

Dave: There you go.

Sean: So that's how we got rid of those.

Dave: A new and exciting use.

Sean: What pieces of music could you never part with?

Dave: That's a tough question. Well, right off the bat I would say my Nomads and Scientists singles. I don't think I could get those again. That's what comes to mind. I spent a long time getting those.

Sean: Is there a story behind the release of the 45 by The Satans? Are you going to do more reissues like that?

Dave: Yeah, that was kind of a weird thing. It depends on what comes through. There are a few things that I'm listening to right now to try to decide. There's a lot of stuff out there. The Satans thing was kind of weird because the drummer, Bob, just sent me a tape on Fred Coles referral. He said, "Dave Crider might like this.", and sent it. I was a little sceptical because he called and said, "Well you know, I was in this band...". I had never done anything like that. I've never actually considered even a modern band who broke up a few years ago and putting out a new release, but it was so great I thought, "Yeah, I'll do this in a second!" It's actually sold great. So yeah, if it's something that I really like I would do it. That's really what I decided. I just said, "Fuck, I like this and I'm definitely going to do it and I don't care if it sells or not." But it's been doing real well and it's a great single. Whether I do it again; yeah, if it was something I was really into I would do it. Who knows what's out there? It always surprises me. There's no more Satans stuff, that's all there was.

Sean: Well, I ask this in all interviews. What is your favorite Frank Sinatra tune.

Dave: Oh man. 'My Way', because it's the only one I can think of right now. No, 'Something Stupid', but that could be a Nancy Sinatra one too. But I like that one because of the way he says 'stupid'.

Sean: Favorite cocktail?

Dave: Well, that keeps changing. I couldn't tell you what my favorite cocktail is, because I've been drinking a lot of bourbon. If I was forced to order a cocktail, it would either be a gin & tonic or a bourbon & Coke. Neither of those are really cocktails, they're well drinks I guess. I guess I'm not much of a cocktail drinker. Just give me straight bourbon and I'm happy. I'm easy to please.

Sean: Favorite car?

Dave: It would be a '61 Cadillac El Dorado two door.

Sean: Do you have one?

Dave: No, I have a '61 Buick which is probably my second favorite. I've been looking for one for a long time, but the '61's are hard to find. That's the one I want, dammit! I've found four doors, but not two doors. There's just something about old cars. I'm starting to see a lot of them fixed up and nice now, where before you never saw them. So there must be other people that are getting into them to, which is great. There's some of the most radical and unique designs. They didn't sell worth shit, so there's not many of them out there. They're so weird looking. I love them.

Sean: I've got a '62 Galaxie.

Dave: Oh, cool! Is that yours, the robin's egg blue one? Yeah, great car. Aaron's got one. Have you seen Aaron's?

Sean: Maybe.

Dave: He's got a '62 Galaxie. It's dusty metallic blue. It's just like yours, but a different color. Yeah, those are cool cars.

Sean: I don't work on it myself.

Dave: Yeah, you gotta have time and patience.

Sean: Yeah, we're having some serious brake problems with it.

Dave: Gotta get that fixed. You don't want to mess with brakes.

Sean: Well, that's about all of the questions I have.

Dave: Thanks, I appreciate it.


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