AD: How and when did you get your start?
ANDREW TRUBE: Anthony and I met out in Los Angeles. I put an ad out in the paper looking for a keyboardist and he and played for me over the telephone. We met up and started the band. This was in 1999-we’ve been playing about seven or eight years. Greyhounds have been a band for seven years now.
AD: How did you decide to come to Austin?
AT: I’ve been wanting to come here for awhile and pretty much, about a year and a half ago, we finally did. We lived in LA and then we moved back to Tyler, Texas to write the record Liberty. We recorded it in New Orleans and then from there we were on the road so much we didn’t really have a home. I’m from Texas and have tons of family here, our management is here, and Anthony always wanted to move here so we just thought it would be best.
ANTHONY FARREL: I had been here before. There were a lot of things: just the fact that the community of musicians is so tight here-everybody helps each other out. And the city itself is so supportive of musicians. We had played here on tour before and I fell in love with it right away. There was no doubt in my mind that this was where I wanted to come.
AD: In your experience, what’s the difference between an Austin audience and other audiences you have played for?
AF: People are just more appreciative of music here. It seems like people are a lot more knowledgeable about it and seem to have a lot more respect for it. Of course people talk through shows, but compared to LA it seems like they are overall more into it.
AT: Hearing Anthony say that, there is something I would like to add. It may be considered scandalous to say but one of the unfortunate things we find about Austin is the lack of promotion of musicians outside of what seems to be the same small group. For example, the other day Will Bernard was on KUT promoting the Rutamaya show and they mentioned everyone else except us. I notice that happening a lot. The Greyhounds are doing a lot of cool s**t around here but you are the first people that have wanted to do anything for us-like put us in an ad or do publicity or anything like that. We really appreciate that.
AF: That is true. You hear about the same musicians and the only time you see certain musician’s names is in the list of clubs where it’s more about the clubs than the musicians. This publication is different. It’s definitely changing that.
AD: Thanks for noticing. That’s what we are all about. With all the competition and all the f**ed up things going on, I suppose it teaches you to have a harder shell.
AT: That’s why I left here and moved to LA. The scene was such that I tried to meet other people and they weren’t having it. I moved to LA where there were a lot more ponds. I’m a big advocate of opening up the scene. This town says it is all about the musicians and the music and stuff but it seems like you always only hear about one small section of the same s**t. I’m not trying to be an asshole but that starts making me feel like, “How many other musicians are not getting their props?” A lot. Why doesn’t it open up? What’s wrong with mentioning or playing somebody else’s music? There are so many other bands and so much music that needs recognition. It’s not just the Greyhounds–or for us–it’s for a lot of musicians that deserve it. If we ever get to the point that we are on KUT or KGSR or whatever we are going to mention that list all the time-all the people that don’t get props.
AD: Do you have a new recording coming out?
AT: We have a new CD that we are working on. We kind of got screwed because we went on tour with the American Idol winner Taylor Hicks.
AD: Screwed how?
AT: We sold out of our discs and had a great time but everything got pushed back because of it. It was really pretty funny and weird. We are nothing like him.
AD: How did you end up getting that gig?
AT: There’s a funny story about that if you want to hear it. He came into the Continental Club and saw us playing and he comes up to me when we are taking our break and he says, “Hey man. My name is Taylor Hicks.” I said, “I’m Andrew Trube, what’s up?” He says, “Where you going?” I said, “I’m going to have a cigarette.” He asked if he could come with me and I told him I had gotten in trouble the week before for taking some friends down to smoke. I told him, “You have to go out front unless you are a musician or work here.” Obviously, I had no idea who he was. He looked at me kind of crazy. He asked us to go on tour with him so we did. That’s how that happened.
It was one of the most bizarre things I’ve ever done in my life.
AD: What was the most bizarre thing that happened to you while you were out there?
AF: I signed my first pair of breasts.
AT: There were a lot of different things but the first one that comes to mind was this woman that was up front at a show in Columbus, Ohio. She looked like she was about to pass out and the security was trying to get her to dive backwards, forwards, something. I was in between songs and I said over the microphone, “We need to move people out of the way.” And the security guards like, “She wants to stay there.” She stayed there and ended up passing out and they had to drag her out. The people were so insane in that way.
AD: Do you think this whole American Idol thing has helped you are affected you a little bit or what?
AT: No. The thing is I would approach people about it, ask my friends if they had ever heard of Taylor Hicks, they would be like, “Oh my god.” Then I would tell them we are going on the road with him and people would be like, “Oh that sounds great; that’s a great opportunity.” That’s how we look at it. We’ve done some big tours before and played with some big bands but this was a whole different demographic and a whole different spectrum. And that’s why we wanted to do it because it was an audience that we would never, ever have played in front of. It turned out to be really successful but it was f**king bizarre at the same time.
It was also a chance for us to play in front of a bunch of other people and maybe in turn, through us, they will hear about other Austin musicians, other guys that we tour with, that aren’t on the TV–that aren’t in the public eye so much. We looked at it as a mission.
AD: Would you do it again?
AT: If they paid us more.
AD: How did you pick up Dave “Sniz” Robinson as your drummer?
AT: We got offered this gig at Continental and we were trying to find a drummer. Originally we were going to call it something else and have it be a side deal. So we got Sniz to play with us because we had always wanted to play with him and it just worked out really well. We all communicate really well with each other and we are all into the same kind of deal.
AD: So you three are now pretty much considered the Greyhounds?
AT: Pretty much. He can’t travel so we have someone that can. The Greyhounds mainly consists of Anthony and I. Sometimes some gigs Sniz can play sometimes some gigs Johnny can play. Some gigs we have a bass player and a drummer from Milwaukee that have been able to tour. You never know. It’s kind of like Anthony is Donald Fagen and I’m the other dude. It gives us options. We’re opening up for Buddy Guy next month at Stubbs and we are doing ACL in the fall and we’re going to have a horn section for those shows. It gives us an opportunity to create whatever we want to create.
AD: What advice do you have for a musician starting out?
AT: Learn construction. Learn how to build stuff. Learn how to wait tables really well.
AF: In other words don’t do it for the money; do it because you love it and hopefully the money will come later.
AT: Either that or try and kill your family for insurance or be lucky enough to be a trustifarian. There are some options there. But if you are broke like me and Anthony, you need to know how to work construction. That and be able to take it up the a** every once in awhile.