The Doobie Brothers | Full Interview
Tom Johnston and Pat Simmons
Cris Cohen interviews Tom Johnston and Pat Simmons of The Doobie Brothers. They discuss:
Their new album, "Liberté"
Their just released band autobiography, "Long Train Runnin'"
The time Tom traded a guitar pick for a policeman's badge
The different approach they took to songwriting on this album
The Doobie Brothers website: https://www.thedoobiebrothers.com/
You can also watch the video of the interview.
(This transcript has been lightly edited for clarity. Photos from band’s website and social media accounts.)
Cris Cohen: I have about 2,000 questions for you. But first, to dig into the new book, I'm always curious, what did either of you learn or realize now that you didn't know before you started writing, when going through your past?
Pat Simmons: I'm really a woman.
Tom Johnston: Damn, and all this time.
Cris Cohen: A handsome woman you are.
Pat Simmons: The world's ugliest woman.
What was your question? What did we learn from…?
Cris Cohen: Did you realize something that didn't occur to you before you started the process of writing this?
Pat Simmons: What fabulous writers we are. [Laughter] Wow, I don’t know, that’s a tough one. I think all the stuff in there is stuff we already knew and thought about. I have told a lot of the stories over and over to each other and to journalists through the years. It was just nice to put it all in one package. If somebody ever asks us a question, we can just say, “Go and read the book.”
Cris Cohen: To me the big overarching theme… there are a lot of bands that have had personnel changes. But what's fascinating, when you go through the whole history in this book, is that not only did the personnel change, but the sound changed from time to time. And yet, it was still always the Doobie Brothers. And so, I'm curious, if you can define what is the throughline, the commonality, that makes every version the Doobie Brothers?
Tom Johnston: Warner Brothers. [Laughter]
Pat Simmons: Tommy and I wrote songs. Tiran Porter wrote. All the guys that were ever involved in the band always contributed a lot to the songs. We’d write them, but by the time they were finished — let me know if this is true, Tom — the other guys in so many ways had as much to do with…
Tom Johnston: Working on the sounds.
Pat Simmons: You listen to some of the iconic stuff that Tiran Porter played on the records. Tiran just killed it every time, such a talented bass player. He was more than a bass player. He added these melodic elements. Bill Payne, of course, was always involved on just about all of our records. I think that's a key piece to the structure of so many of our songs. And then we always relied on each other to try and get the best out of the songs. But there are songs that I never even played on that Tommy wrote and vice versa. And the same with Mike (Michael McDonald).
A huge element of our music is that we always had a really great vocal section at any given time, which included all the guys who could sing. And those guys were there for all those records. Tiran and Keith sang and played on so much of the stuff before Michael and the stuff after Michael joined. And then again, Bill Payne was there for various times.
Tom Johnston: Pat made a good point, in that, even from the very beginning, before we were even signed, whoever wrote the song, brought it in — or into the basement in the very early days — and played it for everybody. And everybody would come up with the ideas.
It became Tiran as the go-to bass player, after the initial bass player left. But Tiran played bass like I’d never heard anybody play bass, and that was a big deal. He had his own way of playing, and he played with a pick, but it didn’t sound like a pick. And the melodic lines he would use were completely original. I'd never heard anybody play bass like that.
But we always had vocal ideas together. I hate to use this word, but it’s like a family of people that got together. And each guy would have his place, whether it was high or low where the harmonies went. And if I came down with an idea strumming-wise, Pat would always have a picking idea. I would try to do (something) strumming-wise for his stuff.
And so, it was a group effort, even though so-and-so wrote it. But Pat’s right, it became a group effort.
And then Ted Templeman (producer) — when we got to that point, which wasn’t very much longer after that — added his ideas, which were all really good and helped professionalize the sound of the band.
Cris Cohen: Well, funnily enough, that does kind of dovetail into… you guys have influenced a number of other artists. And I was talking to a young up and coming musician, you might know, named Huey Lewis.
Tom Johnston: [Laughter] Up and coming.
Cris Cohen: He’s a kid, but I think he's got some chops. So, I asked him, “What makes the Doobie Brothers, what makes the two of you so good.” And he said, “They are a great band because, like all great bands, they are greater than the sum of their parts.” He said, “Not to denigrate their musicianship, because they're all each great musicians, but they make each other better,” which seems to back up exactly what you guys were just saying. But that makes me wonder, can you see that in musicians as you're looking for new ones to join? Or is it just kind of Kismet? Is it fate?
Tom Johnston: It's kind of organic most of the time, to be honest with you. When Keith passed away, which was a big deal for us, when Mike passed away, which was a big deal for us… Those are two of the main drummers in the band and John Hartman. We actually did a tryout of drummers, because it does make a big difference. Because Mike Hossack did a lot of our early studio work. John played too. They both played. But Mike was the forefront drummer for a lot of the… I don't want to just say singles but also for a lot of the deep cuts. He's a studio quality drummer. He was. Then Keith came along and he took up the same position. And he sang, which added another element.
Tom’s Chunk-Chunka Style
Cris Cohen: You talked about Tiran’s unique style of playing. But also, Tom, you wrote in the book, you talked about my chunka-chunka style of guitar playing.
Tom Johnston: I'm going to find another term for that.
Cris Cohen: I think you should trademark it. And if nothing else, I think the Ben and Jerry's people would get into that one.
Tom Johnston: They sell this stuff.
Cris Cohen: But you said, it was me trying to cover both guitar and drum parts together, backbeat style. Number one, it's interesting because it's very similar to what Dave Grohl said in an interview recently, how he approaches guitar playing as from a drumming perspective.
Tom Johnston: That makes sense.
Cris Cohen: So what drove you to do that rather than think, all right, well, the drummer will take care of the beat? Rather than waiting for him, you said, “I'll come up with on my own and incorporate it into the guitar parts.”
Tom Johnston: I wasn’t actually playing drum parts, per se. Maybe listening to Bo Diddley a long time ago, some of it came from that. But if you're sitting in a bedroom in San Jose way back when, or if you're sitting in a pasture waiting for your girlfriend to get out of school, and you're sitting there writing a song, and you've got an idea in mind of what it should feel like rhythmically, you try to incorporate that in the song as you're playing it. And the earliest version I can think of is the first single we put out, which is “Nobody.” There were other songs but that's the first one that everybody heard.
Cris Cohen: Also, with a lot of these albums, and especially with the new album “Liberté,” the songwriting goes back and forth between the two of you. I'm curious, how would you say you guys are different as songwriters?
Tom Johnston: We both come from different musical background, that's the biggest difference right there. We both enjoyed all kinds of music and still do. And Pat should cover his part of it, not me. I came from blues and rock ‘n roll and rhythm and blues. But I also appreciated the kind of music that was referred to as Americana. I listened to it a lot in college. So, in essence, the sum of all parts, as you spoke about, that all gets (absorbed) into your songwriting as you go along. If you listen to the early Doobie Brothers, let’s say, “Toulouse Street,” you start noticing things that incorporate all those elements. I’ll let Pat tell you about his.
Pat Simmons: I just got back online with you guys.
Cris Cohen: What I asked was, how would you say you guys are different as songwriters?
Pat Simmons: Good question. I couldn't really tell you, to be honest. I think most songwriters probably do it the same way, just like anybody writing anything. It's trial and error in a certain respect. You get an idea and you just try to float it and see if it'll turn into something. I can't say that we're any different than anybody else. I'm sure you've talked to dozens of writers. Everybody has the same process. Everything you come up with as a writer, at least in contemporary music, and I'm sure this probably relates to any kind of composing, but it's an idea that embeds itself in your head. Where it comes from, who knows. It's something that you cultivated. I certainly think that people are born with an aptitude for music, but it's something that you cultivate, especially with writing.
If you never tried it or had determined that it was something that you wanted to do it, it wouldn't come to you. But once you've decided that, gee, I can write a song, all the songs that have been written, somebody had to write them. Maybe I can come up with something. I think that's where it starts, maybe I can do something. And then you write a song and you go, hey, that works. And then you try performing it and everybody goes, “Oh, that was good, Pat. You should write some more.” Then you go and try to write more songs. That's I think how it starts. Then it’s just something that… do you write other things yourself besides journalistic pieces? Are you working on any memoirs or any stories?
Cris Cohen: They tend to be like your book, an oral history kind of thing.
Pat Simmons: Any fiction at all.
Cris Cohen: I wrote a humor book, actually, so that’s different.
Pat Simmons: It's exhilarating to write something and have it be something that you feel good about or you're proud of or you think, maybe. this is leading somewhere. And then it just makes you want to do more. And I think that's what writing is all about. It's an enjoyable process. It's part of your hobby of being a musician, just like writing fiction would be the hobby of a writer who writes journalistic pieces. You certainly want to explore other aspects. I think that’s what music is.
First, it starts out as just wanting to play. Then it's wanting to play with other people. Then it's learning songs and then it's writing songs. And that’s how it starts. And from then on, it's just an exhilarating, fun kind of a thing. For every song you write, probably there are a hundred different ways that never get there. Sometimes it’s a matter of minutes until you have something really great, and other times it's a matter of months to years to have something that’s solid. That’s the process for me anyway, I'm speaking for me. Dylan writes six songs every day and completes them. [Laughter]
Tom Johnston: One of the things about writing — for me, I'm just speaking for me — the best ones are the ones that just write themselves. You don't have to sit there and labor over it. You don't have to think, “That doesn't work. This doesn't work. This works.” If it feels good at the front end and it just keeps flowing and you just keep adding parts.
And now, with the addition of using software and being able to play keyboards, being able to sing into the computer, being able to play guitar into the computer, you can envision the whole thing to the end. It's not something you're going to put out as a recorded song. But you can take it to the band or solo project and this is how it goes. And then you flesh it out with other guys. Other ideas might come in, but basically, you've got it pretty much there.
In the old days… that sounds terrible…
Cris Cohen: [Laughter]
Tom Johnston: Back in the day, it was you and a guitar and that was it. You had to show to people and then people would flesh it out.
Pat Simmons: These are the better days.
Tom Johnston: A little plug there.
Tom Johnston: Yeah, I think, as far as the latest album… I've written with other people before, but it was usually just sitting in a room somewhere, and it didn't go any farther than that.
I had never met John Shanks (the producer) before this project. You go in there and you do the music first, which is the way I always do it, anyway. I like to write the music first. Words always come later. We get an idea going. “A start,” as they're called.
And then he said, “Okay, let's do the lyrics.”
I just go, “Wow. Bang. Just like that?”
So, we'd start knocking the lyrics around. “Do you have an idea? I have an idea.” I'm sure Pat can tell you the same thing. This is how the guy works. It was an interesting way to work, and I enjoyed it.
Once you got that part done, then that would get sent down to the studio, and you'd be in there working right away, fleshing it out with guitars. He had a buddy that lived not far from him, who's really a good drummer. He would come and play the drum part. Then guys in the band would either have a guitar part they would add or, from another town, they'd add a vocal part. Because through the Internet, you could send that vocal part and slide it right into Pro Tools.
Point being, the song would be done in two days. And that never happens. So all the songs kind of went at that speed. You get the buzz off hearing the song completed, pretty much… Not mixed and mastered, but you’d hear what the song is going to sound like in a very short period of time. It was really pretty cool.
Cris Cohen: I think this album sounds amazing. Like every song. It could be a Hits album. One of the tunes that jumped out at me is “Shine Your Light.” I'm just curious if there was any particular incident, or what was the impetus for the creation of that song, because it talks about wrestling with some pretty heavy ideas?
Tom Johnston: The actual chords John had started on keyboards, and we added some guitar things to that with acoustic and what have you. And then we went after the lyrics. It wasn't any different than any other songs, as far as how it was created. The words that came out… he had an idea and then I had an idea. Once again, it's that back and forth thing. And it just came out that way. It's not like you had days and days to sit in your studio and think about what this is about. And it came out really neat. I was very happy with that, too.
Cris Cohen: And then going back to Pat’s subtle plug for “Better Days” a minute ago [Laughter], when I saw you guys in Raleigh, just recently…
Tom Johnston: You were there?
Cris Cohen: I was, happily. It was fucking hot, but I appreciate you guys killing it on stage.
Pat introduced the song by saying that, “These are the better days right now.” And I was just wondering if he could extrapolate on that. I appreciate the optimism, but it feels like the world has gone sideways in recent years. And so, I'm curious, from that perspective, and just as a guy who's looking for optimism, what makes these “the better days” in your opinion?
Pat Simmons: Well, as you just said, you're trying to find the optimism in any situation. When I wrote that song with John, John said, “Those were the better days.”
And I go, “Well, I'm not sure that's the way to look at things.” I said, “We're above ground at this point.” I’ve got a great family. My life, for me, has gone full circle, from being a poor kid on food stamps, hustling, and trying to make it… to (being) a grandpa with a cool family, and working with a great band.
Cris Cohen: In the book, you have these really cool, detailed breakdowns of songs. Although it was funny, because you have this really long, in-depth analysis of songs on “Vices.” And then it comes to “Flying Cloud,” and you said, “It hit me as the perfect stoner song,” which I thought was one…
Pat Simmons: It kind of was. I would say that.
Cris Cohen: And that made me wonder, as a songwriter, what are the most satisfying comments you hear from others about what you've created?
Tom Johnston: Number one, that it's lasted a long time, that it stood the test of time, that it's still as good to them today as it was when they first heard it. In some cases, I've had people come up to me and say, “You got me through this period with this song or that song.” One of those songs being “Another Park, Another Sunday.” Another one could be “Listen to the Music” or “Long Train Runnin’.” And it got them through everything, from the Vietnam War to a marriage to a breakup with a girlfriend. It's been a lot of incidents where that's happened. Not so much lately, because we can't be around people due to COVID protocols. But that's the kind of thing that matters to me.
When you have people come up and say, “These songs got me through these…” whatever the situations were. “Some of the words you used in that song, some of the lyrics you use, really meant a lot to me.”
But you mentioned “Shine Your Light.” That one is a song about… It's a little bit abstract, but it's also at the same time trying to find the positive end to a situation you're in right now. That's why it (says) “Shine your light down on me.” It might sound religious in context, but it really isn't. It's just finding the answer. That's why I like it.
Cris Cohen: Another thing I did not know about you guys that I got from reading this book was the influence on you from Marc Bolan and the band T. Rex. And it was interesting reading about how, not just in terms of showmanship, but a lot of off-stage aspects. And so, what's one way that they influenced you guys that you are still putting into practice today?
Tom Johnston: None of it. [Laughter] What was going on then is not going on now. The partying thing is in the rearview mirror. But at that time, it was eye-opening. As you read in the book, there were lots of incidences where he'd have an end-of-tour party in some place like the Riot House, also known as the High Continental, which was infamous back in those days. But it was a fun tour. Every night you'd go out and you'd watch his set, and then he'd come tell us what he thought of our set. We got to know the guys in his band as well as we got to know him. And it was fun. Something brand new for us.
Pat Simmons: I think he reinforced the idea that famous people who were popular could maintain a generous attitude. And that's something that I really have carried with me. I've met a lot of musicians through the years, and I would say maybe 99% are just regular folks, just like you and me. Nice people. And, like I say, having a generous attitude in giving and trying to encourage others who were trying to do the same thing that brought them to that level. He was one of those kinds of people. To me, guys like that influenced me to hold on to that ethic.
It's a cliche, but “You meet the same people on the way up as you do on the way down.” You've got to remember that. You won't be here forever doing what you're. You always want to convey that generosity that was shown to you early on. That's something that he reinforced for me, I’d say.
Huey Lewis & The News
Cris Cohen: And you guys have always had that rep, but not everyone does. Because I've spoken to enough musicians who have been opening acts where the rider for the opening act means you get a Dixie cup and a 20 watt bulb for your set. [Laughter]
Tom Johnston: That’s what keeps you going.
Cris Cohen: The flipside of that –- he's a client so I've talked to him a number of times –- Huey Lewis claims that when they opened for you guys, they were booed every single night. But you guys were wonderfully supportive of them and he credits you guys with really giving them a leg up. What did you see in them that you knew they would be great?
Tom Johnston: I'm not sure I was around for this period. What year is this you're talking about?
Pat Simmons: Yeah, it was later on?
Tom Johnston: I mean, I've known Huey since 1975.
Pat Simmons: Probably the late 1970s. I think it was obvious how great a band they were. They didn't have to have any hit records for us to know that they were super talented musicians. And they had great songs.
Tom Johnston: Yeah, they did.
Pat Simmons: I don't know if they even had a hit off that very first record, really, but we knew they were a great band. It was there, easy to see. I think Huey’s probably embellishing that a little bit. I don't think they were booed every night. I think what happens with bands is, you're hoping so much for a great response. I mean, we've been there countless times, not that far in the past, where you get out there to entertain and you're the opening act and people primarily came to see the headliner. You're lucky if they give you a good reception. In some places, it isn't that great a reception or not what you were hoping for anyway. And you are disappointed. In your own head, you blow that up to be a big deal.
But in fact, there were many times when Huey’s band got an encore. But it's hard to be an opening act, any time, even if you're somebody that has had success. It's not a competition, as far as we're concerned, but suddenly there's a level of expectation and competition in regards to getting the attention of the audience. Sometimes you feel that, sometimes you don't. You’ve got to live with it one way or the other. But I’ve got to say, I don't think they weren't booed every night. [Laughter]
Cris Cohen: I don’t know. Bill Gibson says they weren't, but Huey always says, “No, we were booed every single night,” so I don't know.
Tom Johnston: I got to watch these guys when they were starting up in Corte Madera, California. They played a place called Uncle Charlie's. They were the house band there and they were very well-liked in that area, Marin County. Because they were a damn good band. And when “Sports” hit, where they shot the cover at the 2AM Club down in the valley, those were some great songs. They really are. I love that band. They're really good.
Pat Simmons: I think that's a perfect example of the illusion that you create for yourself. You're playing in a club where everybody knows you and they love you. You get up and you play three encores. And then you get out to play with the Rolling Stones, and everybody likely gives you a clap, but they're waiting for Mick Jagger. [Laughter] That's the extreme. But it's credible in that regard. A band like ours, we went to open for the Stones, people would give you a polite applause, but they're not there to see you. They're there to see the Stones. And we did fine when we worked with the Stones, but you know who they're there to see. So, don't fool yourself.
Cris Cohen: And then, this is a little bit on the esoteric side, but, Pat, it's well-known your love of motorcycles and vintage motorcycles and riding and such. Is there something similar to the feeling of riding a motorcycle through the countryside, is there a similar feeling to that, that you get to playing a song?
Pat Simmons: Everybody asks me that. I don't think so, and they’re two separate things. Certainly, they're both enjoyable, but they're two different things. And for me, the old bikes are currently an extension of my fascination with old stuff. All my life I’ve been collecting old stuff. Horrible collector. I'm going to be this weird old man. I'm already a weird old man. [Laughter] Has got a whole bunch of old stuff and they’re old bikes. It's an eccentricity that I’ve had, since I was much younger.
It started really when the band first started playing. It’s when I think I really started jonesing for a motorcycle. We played in these clubs and the guys would pull up in these incredible bikes. And then my girlfriend's brother had an old Knucklehead, and I loved that. I had friends that had bikes and ended up getting a little BSA that I rode around for a while. And I just went over the top and into it. Here I am. I'm stuck forever in motorcycle land. That's just where I am.
Trading A Guitar Pick For A Policeman’s Badge
Cris Cohen: And then, a couple of final notes. Number one, I've read and heard many an interesting rock-and-roll band story. One of the more unique I've ever come across is in this book, where you traded a guitar pick for a policeman's badge in Moscow. [Laughter] Have you ever tried to do that with an American policeman?
Tom Johnston: No. I know exactly what you're talking about. [Laughter] When we were over in Moscow, which was a fluke, anyways. Bill Graham asked us to play over there for the Soviet American Peace Walk. And it was a slew of bands. It wasn't just us. Carlos (Santana) was over there. Bonnie Raitt was over there. As well as a Russian rock-and-roll band, which blew me away. I wasn't aware that they had that, and they were pretty good. It was Autograph.
But we also spent some time wandering around Red Square. And at that time, Glasnost was breaking out, if you will. And they were all about anything American. I mean, they wanted your boots, jeans, or whatever. And I said, “Well, I'm not giving that up, but I will give you a guitar pick for a policeman's badge,” which I still have, as a matter of fact. This was in Red Square in Moscow.
Pat Simmons: They’re coming for you.
Tom Johnston: It was quite an adventure. It was a fun thing to do, just to wander around there and see that place after all the years you've been seeing pictures of it on the news, usually in black and white, and also with the wide-angle lens. And you got there and it looked totally different. But it was an experience to play that show because it was huge, in this big soccer stadium. And all these people had walked from St. Petersburg to Moscow together, both American and Soviet. And I think it was a really neat idea. I don't think it changed the world, but I think it was a lot of fun. And the people that we played for really, really enjoyed it. And Russian and American people were hooked with the whole thing.
Pat Simmons: Here's a little aside to that. Walking around Red Square and a bunch of Bill Graham’s people come up to us, the people that were helping to manage the tour and everything, and they go, “Hey, you guys want to take some acid with us? We’re all high.” [Laughter]
I go, “What? We're in Red Square.” [Laughter] “I don’t think I'm ready for that in Moscow. Thanks anyway.” [Laughter] It was a lot of fun. We had fun at the show.
Cris Cohen: Yeah, get arrested and wake up in Siberia, shackled to another man.
Pat Simmons: Yeah, no.
Tom Johnston: The KGB.
Cris Cohen: Yeah. My favorite story along those lines… do you remember a DJ named Dusty Street?
Tom Johnston: Yeah, absolutely. San Francisco.
Cris Cohen: Yeah. She's a friend of mine. She talks about there was a band many years ago called Dr. Hook & The Medicine Shelf. They apparently played Disneyland one time. And she said a friend of hers was their roadie. [Laughter]
They did soundcheck. Guys went off to ride rides and stuff. And this roadie and another guy lit up a joint. They're sitting there smoking and then suddenly Mickey Mouse comes walking up to them, and says, “You're not allowed to do that. You have to come with me to security.”
And so the guy looks up at the Mouse, and then he looks back at his friend and he says, “This is some good shit.” [Laughter]
Pat Simmons: That's great.
Cris Cohen: Anyways, I've kept you guys for longer than I told Scotty I would. But just to wrap up, you guys have done a lot of these interviews and I'm just curious, is there anything you want to talk about that you don't normally get to talk about with these things?
Tom Johnston: Concerning book or album, or both?
Cris Cohen: Anything.
Tom Johnston: I'm happy that we have the book out. That's the first time we've ever done anything like that, undertaking that kind of a chance, if you will. Never would have thought of it had we not been asked by Chris (Epting) to do it.
As far as the new album, as I said, it was an experiment that I really enjoyed. It was a lot of fun trying it that way. That was something we'd never done. And I like doing that because it's not rubber-stamping everything you've always done. “Here's what they sound like and here's what they're going to sound like again. Here's what they're going to sound like again.” It's always going to be similar. Although our last album wasn't like that. “World Gone Crazy” was a little different, too. But this one was quite a step away from everything we've done in the past. I thought that was cool.
Cris Cohen: And yet, it still sounds like you.
Tom Johnston: I think John is a very sharp producer. I think he was aiming to have it still be recognizable as the band, but yet step out of the normal and the world we find ourselves in, whether we mean to or not, when we do an album.
Cris Cohen: And then, Pat, is there anything you've wanted to talk about that no one asks you about regarding music or the book or anything?
Pat Simmons: I can think of nothing. I appreciate you taking the time with us and giving us the opportunity. We're still just out here having fun.
Cris Cohen: Cool. I want to say thanks to John McFee for setting this up. Again, thank you for you guys making the time. I appreciate it.
Tom Johnston: Thank you for having us.
Pat Simmons: Thanks for coming to the show, by the way, Cris.
Cris Cohen: Oh, I loved it.
Tom Johnston: Yeah, we appreciate that.
Cris Cohen: It was great. I loved it.
Tom Johnston: You have a much better idea of what's going on right now than most people, when you’ve got to actually watch it in real time.
Cris Cohen: Watch the show in real time?
Tom Johnston: The one in Raleigh, I think you said you went to.
Cris Cohen: Yeah. And it was the first time I'd seen you guys with Michael McDonald. Again, it was like living through the book. There's a different mesh of all these different sounds, and yet, there's that common thread.
The other thing I took away is that my wife thinks Marc Russo’s hair is very attractive.
Tom Johnston: We’ll pass that along. [Laughter]
Cris Cohen: Unfortunately, I am nowhere near being able to have that.
Tom Johnston: Nah, not a big deal.
Cris Cohen: Right. I love the songs that you played from the new album. Again, I would have loved “Shine Your Light,” and I also love “Mexico” from the new album and would love to hear those live one of these days. But I love “Better Days.” It just really hits home.
Tom Johnston: Good. I'm glad to hear that. Hopefully, we will be playing “Mexico” a lot. That would be awesome.
Pat Simmons: We'll work those other tunes up for you.
Cris Cohen: Thank you. [Laughs] I would appreciate it.
Tom Johnston: We'll get right on it.