Chris Poland

Though he was only in the band for three years, Chris Poland arguably left the strongest stamp on the band of all of Megadeth's guitarists. His ultra fluid, often eclectic lead playing provided the perfect counterpoint to Dave Mustaine's more structured, rapid fire picking style.

His sudden departure from Megadeth was followed by a solo record, a brief tenure with the band Damn the Machine, and recordings with Mumbo's Brain. His newest venture is a band called Ohm. Although he is playing on the new Megadeth record Chris is not much of a metal head these days, though he still tastefully shreds and maintains a very high level of respect from guitar players of all genres.

I've been a Chris Poland fan since the first Megadeth record. I jumped at the opportunity to interview him and found him to be, much like everyone we interview for DRG — a regular guy who happens to be a phenomenal guitarist. Chris is a very talkative guy with a great sense of humor. In fact, when I called him to set up the interview we talked for a great deal of time.

Chris is currently preparing for an upcoming tour opening for Frank Gambale. For more information on Chris please check out chrispoland.com.

12/22/03 Interview conducted by Arthur Kilinski.

 

DRG: Ok. Let everyone know what you're up to, bring everyone up to speed on what's been going on with your life and your playing.

Chris: Well, Ohm is my latest band that I'm really, really happy with. It's um coming together really nicely. We have, we're just about to release my whole catalog on what would be Black Note Records, which is a subsidiary of Rotten Records, with Ron and Ritchie over there. They usually handle bands like DRI and Goatwhore and stuff like that. But the deal is they're going to start a label that's just guitar oriented instrumental music. So I'll be their first artist and Ohm is also going to be on the label too. So I feel really good about that because we're going to have records in the stores all over America. Plus they have, we have Ryko distribution so they'll have worldwide distribution on all of our records which is something we've been hoping for. Also, we have a tour coming up with Frank Gambale from March 30th to April 24th and that will be . . . he's in the studio right now with Billy Cobham and Rick Fierabracci on bass and the stuff is really amazing. He's using a double neck now and doing like specialty tunings on one neck so chords almost sound like a huge piano.

DRG: Oh wow. But he's not playing with two hands like Michael Angelo, right?

 

Chris: No, no. Not at all. Just one neck is dedicated for tunings and the other neck is dedicated to standard guitar tuning for solo. So we're excited about that because Frank is live, I don't think there's a better guitar player than Frank Gambale.

DRG: It sounds like a great opportunity for you guys. You know, he's a pretty well known guy and seems to have a pretty good following. So it seems like you'd be a natural fit for that tour.

Chris: Yeah, we feel really good about it because actually Robertino has made records with Frank before and knows him really personally. And I've met him through Robertino and he's a great guy and he's totally not what you'd expect for someone of his caliber. Just so open and just such a great guy, you know? Then after that, we're hoping . . . we're hooking up with Jim over at Backstreet Booking and we're hoping that we can get the Guitar Evolution Tour out and sponsored by a large sponsor and that way Marty can afford to come back from Japan and we'll do that tour for six weeks if I was to guess.

DRG: Is that the tour that you did with Mary Friedman and Alex Skolnick?

Chris: Right. And that should be around May, June.

DRG: Oh, great.

Chris: Yeah, so we got a lot going on and we're just about to release a live record that we did on the radio here in Los Angeles at KPFK 90.7 FM. Awesome, awesome stuff, man. When we went in you know, we had like a couple of hours to get the, to set everything up. We figured we'd record it and we never realized that we'd get an album. We were hoping we would just get B-sides or something, you know — bonus tracks for records and stuff and it turned out the performance was good enough that we made a record out of it. And it's really good, man. When we listen to it, all of us are very happy with it.

DRG: Wow. That's amazing that you can get that out of a radio station performance.

Chris: Yeah. And also there's a bonus track on there from KSPC in uh Claremont. It's kinda like an excerpt from a jam we did. Like a 20 minute jam we did over the radio.

DRG: Oh great!

Chris: And so we decided to add that. Tony Palkovich has a show over there at KSPC every Wednesday between 12 and 2 and uh . . . Mark Torres did our show over at KPFK . . . I think it's called Travel Trips for Aztlan. But we're really happy with what's going on right now. I just . . . I can't say enough how great things are.

DRG: Great. I want to ask you some questions about your equipment and your sound and just you know, how you work in the studio and live. So, typically now when you're in the studio and you're recording some stuff, what kind of equipment are you using and what are you doing to get the tone that's in your head out on to the tape?

Chris: Well . . . I'm using direct boxes for clean sounds and I come right out of the rack and then go to the direct box and then go into the board. And we've been using an Avalon 747 — which is basically a mastering compressor — but you can use it in your stereo bus as you know, something to mix the two track mixes to. And that added a lot to say Mountain, the clean guitar sounds on Mountain on the Ohm record. And so we tried to use that whenever we could. Then if we couldn't, we made sure that we just went direct for clean sounds because they seem to have more presence. The bass was entirely direct. We used a direct box between the power amp and the speakers with that. So that we got, we had more of the feel of the speaker going to tape. He also used an Avalon bass D.I. which worked really good.

DRG: Now how about for your more dirty sounds — your gainy-er type sounds?

Chris: A lot of that we mic'ed — some of it wasn't mic'ed. But the majority was mic'ed. And for what we were doing, it was a learning experience for me. I feel like the tone came out. We used a lot of fuzz boxes because we're using digital machines, and I felt like it just needed a little more warmth to it. So whenever I plugged in like a Fulltone 69 Pedal or something like that and dialed it up, it seemed like it took the edge off the EMG pickups and you know, basically my same setup that I use live is what I used in the studio.

DRG: Are you still using the Bogner Fish preamps?

Chris: Yeah. I actually bought a backup just recently.

DRG: Oh wow. You found another one?

Chris: Yeah I found another one and I definitely needed it.

DRG: Well that's great.

Chris: Just in case, you never know.

DRG: So are you pretty much an EMG guy in all your guitars?

Chris: Actually I had been for 15 years. All I used was EMGs and I just recently got an endorsement with Yamaha guitars. How I got the endorsement was crazy because I bought an Image guitar on eBay — it was an Image Deluxe — the tremolo and passive pickups in it. And I put it through my system and I was like: oh my god, this guitar just has tone to die for, you know. And I figured it's gotta be the pickups. And also I wanted to take it in because there was something up with the neck. So I just went to Yamaha. And that's how it all started. Actually Steve Bauer had kind of set me up with Yamaha because I was using their SBG 1300 guitars. And so he had got me in communication with them but it was when I had brought the Image down there that they said, "Hey,why don't you work with us" and I said "yeah." So they put some passive pickups in my guitars that are from the SBG 2 and 3000 guitars and that's my tone now. I don't think I could use anything else ever. I even went and tried to get like these you know, 59 copies whatever, who makes them . . .?

DRG: Seymour Duncan.

Chris: Yeah, Seymour Duncan. And I tried them, but you know what, it just wasn't the same. There's something about these Yamaha pickups that are just right for the way my skin touches the strings, I guess. And if it works, don't fix it.

DRG: Yeah, that's a great thing when you can finally find the tone that you're looking for.

Chris: Yeah, and you know, it's always elusive. I mean some days it sounds better than other days. And I'm here to tell you, it has a lot to do with the weather and humidity and how hot or cold it is. And it's always different and it always will be. But if you have a basis to go by, something to start at, you can adjust for those things.

DRG: So when you're live and in the studio are you pretty much using the same rack setup and guitar set up as well?

Chris: Exactly.

DRG: Aside from the compressors and everything else you were talking about?

Chris: Yeah, outboard stuff, you know, that we wouldn't use. We actually, when we did the live record for the KPFK session, the only thing we brought down was one of those little FMR, really nice compressors for the drum bus mix. And then we just ran it left/right direct into the control room and they ran that through two Harrison channels in there. I guess they had a Harrison, broadcast board in there. And of course I went through like an LA2A before it went out over the air. So we got that final radio compression on the recording. And man, that doesn't hurt.

DRG: Yeah, that's nice. Ok, so I'm going to jump around a bit to a couple of other questions. Specifically, regarding technique. When you were growing up and learning how to play guitar, what were the things you practiced . . . how can you compare and contrast that now as to what you practice now?

Chris: Well . . . to tell you the truth I think my technique was pretty much together back, even before . . . not . . . I don't want to say together like you know, I can play anything. But there was a certain style that I had . . . and I . . . it was in a band called the New Yorkers which was with Gary Samuelson on drums and Robertino played bass, and his brother Stuart Samuelson played guitar. There was something, our techniques came together then. But the thing was, is that search for tone to let yourself be more free on guitar . . .

DRG: Exactly.

Chris: And if you can't get that tone man, you're always struggling. You can have the greatest technique in the world and then basically you sound like: yeah he's got great technique but I'm not feeling it. And that's probably because at the time, whoever you're listening to, be it me or whoever, if they're not happy with their tone, they're just playing the notes.

DRG: I totally hear you (laughs).

Chris: Yeah, I don't know if that answers your question, man. (laughs)

DRG: No, it totally does (laughs).

Chris: It's all about — for me — the way I practice is I look for sounds. I write songs, and then I think of sounds for the songs, and I always try and keep my tone so that it's very fluid, and it makes me not have to struggle to play. And that's how I practice. Because if I don't have to struggle to play, then I can just play with whatever happens in my (mind), however I feel.

DRG: You've been known for having this really legato playing style, and a bubbly kind of tone. Did you find from just pretty much when you picked up the guitar that's what came out of you?

Chris: No, I think when I was . . . back, back, 30 years ago, my cousin Eddie had this thing called a Bosstone. And that's something you plugged into your guitar. And it was a complete sustain fuzz, you know what I mean?

DRG: Yeah.

Chris: So right from an early age, I always loved you know, like a Big Muff or something. Something that gave me infinite sustain. And I was lucky enough to have like, you know, friends like, there's a guy Tom in Dunkirk that was my first guitar teacher. And he gave me a reverse Firebird guitar with mini humbuckers on it. For like two years he just gave it to me.

DRG: Nice!

Chris: You know, I had that and I had a Big Muff. So I was always . . . and I always . . . I listened to Jeff Beck, and Page, and Clapton, and Hendrix . . . it was all about that for me. That's how the legato style happened. Just because I always had, from the beginning, I always knew about sustain. And for some reason I was lucky enough to know where to put my right hand to stop it from making string noise. Basically that's the whole story about that.

DRG: Great. When I called you earlier last week, you know, we talked a little bit about Neal Moser and you mentioned he taught you a lot about setting up guitars and just finding your way around the guitar. Can you talk a little bit about how you guys hooked up and what he taught you?

Chris: Yeah, actually. I got the job there (at BC Rich) through Gary Samuelson, who was, I think he was heading up like the research and development over there and designing guitars with Rick Derringer and people like that.

DRG: And that was actually at BC Rich?

Chris: Yeah. So I got a job over there milling guitars. You know, doing the necks. And Neal taught me how to do that. Basically walked up to me one day, saw me milling and I was being all gentle, and he said: "You know what man? It's just a guitar. Don't sit here and waste your time. You gotta grind those frets down. This guitar doesn't need to be . . . you know, you don't have to worry about it. Everything is gonna be fine." He just grabbed that file and like just went after it. And I watched him do it. And I saw that he was right. Those frets are in there, and you'll never get them out, not with this file. And if you do, that means that the fret wasn't put in right. And then he taught me how to set them up. How to cut the bone at the headstock, how to intonate it. Basically I learned everything about a guitar except for the electronics and to this day I still don't know anything about that.

DRG: So do you do your own setups to this day?

Chris: Oh yeah. A lot of them I do. I mean . . . there's John Gaudesi over at Yamaha who somehow he knows what I want. I think he knows my style and pretty much, he set up my black guitar for me. And right from the get-go I loved it. There's times now when I don't even want to do it. I'll take it down to someone and have the Buzzy mod done to it. I just don't have time. But if I'm out on the road, and my bass player is like, the fourth string is sharp or flat, I can intonate it for him. You know, do mild setups like that, truss rod adjustments. Stuff like that.

DRG: Wow, that's great . . .

Chris: Which is really good, because if you don't know that stuff, then it's . . . you know it's all about intonation, man, especially on guitar. Which is never, it's not a perfect instrument so you have to keep it as close as possible.

DRG: We've got some players on our site who are constantly bickering about what's going to intonate or not, like a 24.75 inch scale guitar or a 25.5 inch scale guitar. Have you ever found big problems between intonating the different scale lengths, or has it just pretty much been on a case by case basis?

Chris: It's um, for some reason I feel like a Strat scale has a lot more, you have a lot more luck with that playing in tune. I don't know maybe if it's because it's a long scale. But I don't play those anymore and I had the Buzzy Feiten mod done to my Yamaha. And I think that made a difference. Even though now I think it's not even set up for that mod. The headstock was, used to be, it used to be adjusted for that where they move the bone. Actually as of right now, mine's just set up like a Les Paul, I mean there is no Buzzy mod in it now because John Godessi put a Yamaha locking nut on the top of it. And just set it up. I have a feeling, it's kinda like you know which strings are gonna be out of tune. The Buzzy mod helps, but you just gotta deal with it. With me for some reason it always seems to be the G string.

DRG: Yeah.

Chris: Where a lot of people complain about the B string. But with me, if the G string isn't a little bit flat, I'm in trouble. So that's all I know about that, really.

DRG: So I'm gonna ask you a couple of questions about the old days. I'm sure you get plenty of those. So, you mentioned you were in the New Yorkers, which to me seemed like a pretty, you know, not-metal band . . .

Chris: No, not at all. It was a total fusion band.

DRG: And then you jump into Megadeth, which is crazy, angry metal. Now did you find a . . . I know I'm kinda being silly about that . . . but did you actually see a huge musical difference between the two bands, or did it seem like a pretty natural progression for you to do that sort of thing?

Chris: The thing that I always liked was distortion. I liked distortion from way back when I first heard Whole Lotta Love and Jeff Beck's use of distortion and Hendrix. You know, Cream and all that. You know, Leslie West. So I always had a good sound — a tone of distortion that I knew that I liked. And it was all of those people that was my basis for it. And then the New Yorkers was kind of a way over the top Mahavishnu Orchestra fusion thing, where everything was challenging and you had to totally concentrate on the tune, you know. You're doing unison lines with the other guitar player, or with the sax player, or with the sax and trumpet player. So we already had some of that . . . I guess what I'm trying to say is that when I heard Megadeth's music I realized that this wasn't just banging on four chords — it was very challenging. And I felt like that because I had a grip on distortion, I could probably fit into the band. And Gar actually asked me to come down and try and audition because he felt like it would be the missing link for what they needed. And it worked out. And Gar felt the same way I did. His drum parts were totally challenging on almost every song so you know it was fun. It was heavy and it was angry, and we were at the time, we were heavy and angry. So it worked out.

DRG: How did the songwriting process work for Megadeth? There's stories of Mustaine being a control freak, or whether they're true or not they've become a legend, and I'm just wondering how collaborative or not collaborative was it when you guys were banging out tunes in the studio?

Chris: The first record, not much of anything. Gar wrote all his parts. You know, he would listen to the songs and just play what he wanted. And then on the second record there was a lot more say in arrangement ideas, like, Peace Sells was like seven minutes long, and Gar's like: "no way."

DRG: (laughs)

Chris: And then luckily Dave took his advice. Then there's a little harmony section in there somewhere on Peace Sells, that, Dave's like: "hey can you come up with something here?" And that's how it worked. For the most part it was totally Dave's vision. You're talking about, a bunch of guys — Dave was throwing our Weather Report tapes out the window while we were on tour. Don't even for a second think we had the vision for Megadeth. We added our tone and our ideas and that's what gave the first two records their feel.

DRG: Was there ever . . . I mean, you mention Dave throwing out your tapes and stuff . . . but did you ever feel a lot of tension, or was it just mainly like, hey I'm in this, this is the way it is, you know, it's not either a positive or a negative thing, it's just a situation . . .

Chris: Well in a way it would have been a lot better if we were all sober . . .

DRG: (laughs)

Chris: But we weren't, so we were all really suffering mentally, like mentally, and spiritually. And you know, sometimes, you know, we were our own best friends because of the misfits that we were.

DRG: Did you ever find . . . you ask a lot of the people that come to our site and some other sites that I took some questions from, they unequivocally say those first two Megadeth records are just classics. You know, people have told me over and over again, hey tell Chris he's the reason I play guitar, those things are just masterpieces. And then you find out, you know, you guys were high out of your brains.

Chris: You know, you know what? You'd think we'd high out of our brains but when you're a heroin addict basically once you do your heroin then it's like we are today. You only get high for like three months . . .

DRG: Oh, wow.

Chris: And then it's just so you don't get the worst . . . the only way I can describe it is the worst acid trip anyone's ever been on, and then you have the flu at both ends of your body.

DRG: Oh my god.

Chris: So it's like, mentally, you're like screaming all day long inside your head, and physically you feel like you've got the flu, like break bone fever.

DRG: So how do you actually pick up a guitar when you're like that?

Chris: Well if we were out on the road and we were sick we would have to time our alcohol buzz so that we wouldn't get too drunk to play but we could at least put a guitar around our neck without screaming.

DRG: Well at least you had a process (laughs).

Chris: Yeah, yeah. Then people could see in our faces . . . and when you're not . . . the thing about heroin is, when you're doing it, your eyes are pins. They're like little tiny dots, your pupils. And when you're not doing it, and you're sick you have no pupil at all. It's just a big black hole. Like your iris just opens up, dilates to huge proportions. So I'm sure that people saw us on stage sick a hundred times and went look at them! We must have looked like demons . . .

DRG: (laughs)

Chris: Because all we had were these big black dots for eyes, you know.

DRG: Well I saw you guys on the Peace Sells tour opening for Motorhead up in Oakland and I think your heads were banging too fast to even see your eyes.

Chris: Oh you know what? We were well at that show because I remember that show.

DRG: It was funny because James Hetfield was standing right next to me in the audience. I think it wasn't too long after Cliff Burton had passed away. My friends thought it was strange, you know, we'd actually see Hetfield at a Megadeth show because of the supposed background . . .

Chris: Right, right . . . wow that's cool to know. Anyway, what I wanted to try and say was, we could pretty much play unless we were really really sick. And we were never really too high to play because there's never enough when you're a heroin addict. So it's kinda like, if you ever saw us on a really really bad night, we were probably ill, really sick. And a lot of times if we had, I hate to say it, if we had heroin what it would do is would make us so that we were like a normal person, basically. So thank God that that is over. For all of us.

DRG: So what finally led to your departure from the band? Was it . . . did you see it coming, was it like, uh, been there, done that, time to move onto something else?

Chris: I kinda wanted to do . . . Dave played everything close to his chest . . . I just felt like I needed more space, man. To do the things I wanted to do.

DRG: Now the release you did after that, Return to Metalopolis, was that more . . . do you feel that was a pretty honest assessment of what was in your head at the time musically?

Chris: Yeah, I think so because I had so much of this Megadeth, the girth of the music . . . was inside me, you know. It's something I had done for almost three years and I kinda enjoyed it because it was very empowering to play that heavy, and fast, and the tones, and the double tracking and the guitars and stuff. So it just was good. That's why I wanted to do it. I had the ideas for the instrumental stuff but I wanted to keep it heavy.

DRG: So are you a Lord of the Rings fan?

Chris: Oh yeah.

DRG: Great! I noticed when I picked up that first record, the Khazad-Dum reference. I said alright, I gotta buy this record.

Chris: Oh, no kidding?

DRG: Oh, yeah. I'm a Lord of the Rings freak.

Chris: I should have called it Bridge at Khazad Dum . . . but I didn't.

DRG: Have you seen the latest movie?

Chris: No, I haven't yet.

DRG: Oh, dude.

Chris: I have, the other two . . . but I just don't have time right now. I probably won't be able to see it until after Christmas.

DRG: Definitely go see it. It's just insane. That's just the best way to describe it.

Chris: Awesome.

DRG: It makes . . . the battles in it just make the Helm's Deep battle just look like child's play.

Chris: Oh, no kidding?

DRG: Yeah . . . I need to see it about three or four more times to finally take in everything, because it's just so grand an epic, and all those big words.

Chris: That's great, I love those books. I think I've read them like, I don't know how many . . . ten times.

DRG: Yeah, same here. Okay, couple of other questions for you. It seems like you've been a musician for at least most of your life . . . what do you do for things like health insurance and dental benefits, and you know, some of those mundane things?

Chris: Right now I'm at my job right now, I manage Downtown Rehearsal. It's a twenty-four hour lockout studio and I basically handle the books, take in the money, make sure the thing is running. Actually my boss is about to walk through my door right now. But that's how I do it. And I only just started here like three or four years ago. There was a while there when I was living . . . you know, on $7,000 a year . . . and just playing gigs and stuff.

DRG: Wow! Do you find at least right now, just the recording and performing of music is it not enough to make a decent living on? Do find that you do have to supplement by managing the studio?

Chris: Yeah I definitely have to supplement. And it's because of the kind of music we play, and I'm willing to do that because it's the only kind of music I want to play. It's just worth it to me. Sometimes I feel like it's not but I know it's the right thing to do. I have a studio here and at lunchtime I usually go in and play guitar for an hour. That way I'm practicing with my rig. And if I need to, if I need to go in there early, I can. You know, it's the perfect job for me.

DRG: The next one, it's more of a comment. You know, I've listened to a lot of the tracks on the new CD, and I think it's great that . . . you're still shredding on those tunes. I grew up listening to you, I've always thought you were a great musician, I loved your soloing. There's been some other musicians who have maybe received some criticism because they branch out musically into a different direction, they seem to just have dropped everything else. And I'm not knocking them for that. But I just want to say thanks for . . . I can hear you doing the slow melodic stuff then I can can hear you doing the fast balls-out stuff. I just think that's great that you've been able to still maintain that aspect of your style, and not consider it something from the old days.

Chris: Oh, well thank you!

DRG: I have some more random questions. So as far as Ohm and the New Yorkers do you see that there's a pretty big musical difference between them?

Chris: Oh, I do. Yeah. The New Yorkers were very traditional like horn section, kinda Mahavishnu, from that Visions from the Emerald Beyond era. A little Billy Cobham, that first, I mean the second record Crosswinds. Something like that. I don't know how to describe it, but we were definitely, pretty much original. It was a little bit too fusiony for me. Where this is more dark and mysterious, it's not as much like fusion as I think it is just like mood music.

DRG: I think having listened to a lot of that different type of stuff, yours seems a little more accessible than some of the stuff that's out there. I could probably play it for my wife and she'd probably go oh yeah, that's cool. Whereas if I played something that's a little more off she'd be thinking: uh what is that?

Chris: We always try and keep the verse/bridge/chorus idea. And we wanna make it so that the song graduates to something that's a hook. If you don't have a hook . . . I guess what I'm trying to say is that the solo is the last thing on our list. It's all about the ideas that make people listen to the song from the beginning to the end. And then everything else is what we add later.

DRG: So I'm sure you're sick of this question. Would you ever do a Megadeth reunion?

Chris: I dunno. It would be hard to say. It depends. If it didn't get in the way of my new band, I think I would. Even if it was just in the studio. I'm all about the studio. If Dave wanted to get together and just have me do tracks on a studio record, you know, I think that would be great. The way Dave plays I would, if he would just have me come in and solo I'd be happy. Because Dave's rhythm playing, when he double tracks his rhythm playing, is pretty much . . . that's his vibe, you know what I mean? So if could take over those chores I would just do solos for him. But I mean, this is just talking off the top of my head.

DRG: Do you still keep in touch with any of those guys?

Chris: A little bit here and there. Not anything . . . we're not calling each other on Christmas. I wish them all well.

DRG: So what did you do with all your equipment from those days? You had, you know, a bunch of pretty cool BC Rich guitars, some cool amps and stuff?

Chris: Basically I never got the equipment and then they gave me a lump sum of money and sent me on my way.

DRG: Wow! Interesting . . . You got a couple of seconds for a few silly questions?

Chris: Yeah, sure, my boss is coming in here, he's just coming off the elevator.

DRG: So Ray wants to know, in their prime, Tracy Lords or Jenna Jameson? Or do you even care?

Chris: Uh, Tracy Lords.

DRG: Are you Polish?

Chris: No, I'm not. But no one believes me.

DRG: It's funny because (I'm Polish actually) and actually if you were Polish your name wouldn't be Poland.

Chris: Yeah, it would be Polanski.

DRG: Or it would be Polska or something like that.

Chris: Actually I'm German and Pennsylvania Dutch. Somewhere in there, a little bit of English.

DRG: A guy named Axe from one of our forums wants to know when you're coming to Ohio and rock for him. He says you still have a lot of fans there.

Chris: Aw man. Hopefully, like I said, on this Frank Gambale tour. March through April 2004.

DRG: A final question, from CJ Reaper. He wants to know what is it like being God?

Chris: Oh my god! (laughs) Oh . . . it's probably . . . something I couldn't answer.

DRG: From Dinosaur Rock Guitar and all of our friends of the site, I want to thank you a lot for this. Like I said, you've been an influence to me personally and a lot of people at the site. We love the music you made in the past and we love the music that you're doing now. And just wish you the best of luck in all your musical endeavors.

Chris: Thank you very much, man! As soon as we get this radio record together, I'll definitely send you a copy.

DRG: Ok, great! Thanks so much.

Chris: See ya!

We at the Dinosaur Rock Guitar would like to thank Chris Poland for taking the time to answer our questions. Copyright ©2004 All rights reserved.