Matt Connarton Unleashed 12-14-24 hour 2

0:16 Speaker 1: The class victims of the I A t.

0:28 Speaker 2: D A sky a skys cos he foss go.

0:37 Speaker 1: See the court montage.

0:59 Speaker 2: Enough to starve.

1:01 Speaker 3: And what you said?

1:02 Speaker 1: So I live in the said.

1:07 Speaker 2: In the call blood states, think of the living another rebel chase.

1:16 Speaker 1: They're not a bad don't pass them about the time.

1:20 Speaker 2: Said, I'm as side said.

1:30 Speaker 1: To said.

1:36 Speaker 3: Times.

1:58 Speaker 4: First of all, then the poets are massing.

2:04 Speaker 1: Then the response upon.

2:06 Speaker 4: The pot desire.

2:10 Speaker 2: To that excel still then I said the walk. Now

2:35 Speaker 2: I'm not aside the days time, the money gives above the.

2:44 Speaker 1: Seas, that the world and just get wet. Anything better than this, continue to love. Then I'm a man.

3:22 Speaker 4: That's like the worst phone connection ever, Tom, Are you there yonder? Okay? For some reason, there's like this, uh strange sound in the background. But I think we can live with it. Well, at least we can hear each other.

3:37 Speaker 5: I don't know what that would be, but yeah, I don't know.

3:39 Speaker 4: Do you hear that? Do you hear like a buzzing in the background.

3:45 Speaker 5: Well, that could be h just the airflow, but that's down in the basement. I mean, I'm surprised it's traveling that far. I'm on the first first floor.

3:56 Speaker 6: Yeah, that's all right, though.

3:57 Speaker 4: We can hear you. You're you're nice and you're coming through nice and clear or so, so that's that's what matters.

4:02 Speaker 5: Shut it off. I can shut it off if you give me a second.

4:05 Speaker 4: Oh okay, okay, no problem, if you are just joining us. Tom Modern is calling in because the skype thing did not work out. But uh, I actually really like that song Toxic Man. What Tom does, if you are listening, is unconventional. He's very unique. His music is very unique. So I'm quite curious to speak with him. But he's going to go and try to shut off whatever is causing that sounds like angry bees. O, hey, this should be better, all right, Tom? Hey, so how do you describe your music? I'm really curious let's start there, because what you're doing, and obviously I'm not the only one to say this to you, what you're doing is very unique.

4:51 Speaker 4: I cannot think of anyone who I mean, there might be some influences there that we can talk about, but I haven't heard anyone who sounds quite like you. So I'm really curious. How do you describe your music to someone who's never heard it?

5:04 Speaker 7: Uh?

5:06 Speaker 5: I would say it's a galectic. It's influenced by a lot of different artists, and it's you know, it's organic in the sense that i'd I like to play a lot of different instruments, but I would probably it's been tough to categorize, but I would at times I would call it art pop or post wave.

5:38 Speaker 4: Yeah, or.

5:42 Speaker 5: Uh, prog pop Okay, some prog influences there. It's difficult though. They don't have the right categories for artists these days that they really need a few more.

5:56 Speaker 4: You mentioned you play multiple instruments. Do you play everything on these tracks?

6:00 Speaker 5: Is that all you on some of the tracks? Yes, I've played everything, but there were four or five guest musicians on the on the album. I try to use as many people as I can. It's just, you know, it's sometimes it's tough getting people and because I I grew up playing guitar and but I always had a piano and a drum machine in my house, so it was sort of natural too. Just learn those instruments a little bit as well. Sure, sure, yeah, so it's coming handy.

6:52 Speaker 4: Yeah.

6:52 Speaker 5: Yeah.

6:53 Speaker 4: The album is called now this is one of those words. I don't know if I can say it correctly on the first stride out, I will try performical? Am I saying that correctly?

7:05 Speaker 5: Yeah, that's correct. Yeah, performical.

7:07 Speaker 4: Yeah, performical. Is that a real word or is that your word?

7:12 Speaker 5: It's a made up word. Just I don't know. It came to me one day and it was just that said, you know that that's the album, that's the title, performical.

7:24 Speaker 4: Well what is it?

7:24 Speaker 5: I think it comes go ahead, No, no, I was.

7:27 Speaker 4: Just going to ask you what does it mean? I mean, obviously it's a made up word, but what does it mean to you?

7:34 Speaker 5: I think it came from, uh, sort of an aberration, uh, from my performing I performed in New York for many years and I tended tended to be somewhat theatrical, and I would use props and costumes to help interpret the music as and that just you know, just I don't know, somehow joined into the word. You know, well, I don't want word that would be end with cl maybe but al festival or you know, so just naturally sort of adapted to performicle.

8:32 Speaker 4: Yeah, yeah, and you've got this is obviously a full length album. What went into the decision to release us as a full length and I asked that because and this is kind of one of those questions I ask anybody, because I'm always curious. We live in a time, as you know, where there are so many different ways that you can release music, different strategies. Some artists only release singles, some release EPs, Some will release a series of singles that eventually become an album. But wasn't an important to you to release Perfronicle as an album?

9:02 Speaker 4: Is there is there some sort of a cohesive theme running throughout these songs or is it just or did it just seem natural to do it this way?

9:13 Speaker 5: No, there was really no cohesive theme. I mean, all the songs are very different if you look at it from the outside. Yeah, but it became clear to me to be taken serious as a serious artist, you really have to release an album. I mean I was just releasing singles for a while and that just wasn't cutting it. And I looked around at all the other artists who are working, and they're not doing that, They're releasing albums. So I was like, yeah, that's what I have to do. And so I pulled back and all the other stuff and just sank my energy into this release.

9:54 Speaker 5: And you know, hoping for the best. Released in September of this year, and I actually tried releasing it once before, but I wasn't happy with some of the recordings, and so I re recorded some of the tracks because I was just learning digital recording years ago. Yeah, so along with a lot of other people, and so that's the way I did it. Yeah, up till now.

10:22 Speaker 4: Yeah, do you where do you record? Do you record at home? I mean it sounds like it's it's very it sounds like this is very di I wy Do you do all of that yourself?

10:34 Speaker 7: Oh?

10:35 Speaker 5: Yeah, definitely. Part of it was recorded in New York.

10:40 Speaker 5: Part of it was recorded it's Sampiper Studio is here in Cleveland. And part of it was recorded in Los Angeles because a couple of the musicians were out there, so they were turning in remote pieces. H gee, I think it started all I was recording in a storage unit in New York, New York City.

11:06 Speaker 4: Oh no kidding, Yeah, it wasn't.

11:10 Speaker 5: It wasn't ideal, but yeah, it's part of it was a part of it. God done there.

11:16 Speaker 1: Yeah yeah.

11:16 Speaker 4: Yeah. So so now you're so, are you from New York originally?

11:22 Speaker 5: No, from Cleveland originally, but I'm born and raised, but I lived in New York about it was about twenty eight years.

11:32 Speaker 4: Oh okay, no, it's a long time in terms of the music scene. And because again you're doing something that's unusual. Like I said, I can't think of anyone who sounds quite like you. What was it like to do what you do in New York? I assume that that if there's anywhere in the country where you can do pretty much just about anything you can think of musically, and you're going to find some sort of an audience, right, people are going to be interested. I would think that New York City would be kind of the best place to do something that is unusual and still be accepted and have people want to participate in it and be interested in it.

12:11 Speaker 4: Am I is my instinct correct about that, And that's not to suggest that you don't have that in Cleveland, but I assume in New York that's where you really have that the most, where you can you can create whatever you want to and there's going to be some sort of audience for it. Am I Am I correct in that.

12:29 Speaker 5: Oh, yeah, that's that's true. For the most part. You can do anything in New York and somebody will relate to it. Yeah, but it's tough as well. I mean,

12:42 Speaker 5: a lot of the clubs in New York that you play,

12:50 Speaker 5: it's you know, it's the lot of them ask you how many people you bring in? You know, that kind of thing, and it's just like, well, I'm just trying to do this thing, man. I mean I'm not I'm too busy. I'm not responsible for getting people through the door. And a lot of the clubs really have to start getting people in the old fashioned way, you know, when people went to clubs and bars and stuff and you know, whoever was playing was playing.

13:16 Speaker 2: You know.

13:17 Speaker 5: Now they want you to be the marketer too, and it's just like, well, you know, wow, too many things to do, you know. So yeah, it can be tough too. But you can do whatever you want to New York and let's see how it goes, you know.

13:34 Speaker 4: Basically, Yeah, do you still perform live? Do you perform live in Cleveland?

13:42 Speaker 5: My last show was last November. Actually, now I haven't really been performing here. It's probably even tougher here because Cleveland's it's mostly cover cover bands and tribute bands and

14:01 Speaker 5: and ben and if you're original, there's less places and they really want bands here right now, I'm more of a solo artist or perform as a duo, maybe with a percussionist or something. So it's been tough here. So I really started focusing on the recording. That's what I'm doing now. I'm really laser focused on the recording. Because when you at a certain point, if an artist has you know, two, three, four albums in his head, I mean, you know, he's really got a buckle down and get to work. You know, he's this performing is great for the ego, But I mean, what what what corporeal thing do you have?

14:45 Speaker 5: The whole lot to you, it's really the recordings.

14:48 Speaker 4: You know, right right? Has your sound changed over the years, I assume it has. I assume it's changed and evolved.

14:56 Speaker 5: Oh definitely. A few years ago I founded a prog band in New York City called Arta, and we were, you know, just hard hardcore prague, you know, yeah, performing, and uh so I decided to come out of the dry ice and the flog a little bit and warm up a little bit. And then I got I got to worry and now more like you know, the the synth pop, the prog pop, art pop, whatever you want to call it maybe a little bit avant guarde avant guard, a clue, you know, whatever you want to call it.

15:40 Speaker 4: Yeah, there's that. There's a term too that people use a lot, experimental indie, which is almost kind of a catch all for anything that's for anything that's unusual that you wouldn't hear on commercial radio. But you don't you don't really know what to call it. But but yeah, I mean it's always hard to label these things, which I think is a good thing when you're when you're doing something that is hard to label because it's, like I said, it's something that, uh, that is unique. Has it has that always been important to you to do something that's unusual, or have you ever played in in just kind of a standard rock band, or has it always been your, uh, your goal to do something that's that's outside of the mainstream.

16:25 Speaker 5: Consciously? No, I think it maybe comes from, you know, listening to all those bands and having an influence, being influenced by all those bands, but not really listening to a lot of music. I mean, when you're busy with your own music all day. Yeah, by five o'clock, you don't want to hear anymore news when it hurts to hear music. Yeah, realistically. Yeah, And so I think just naturally morphs into your own sound that way, rather than you know, well I'm gonna I mean, of course, just some times it's like I want to do something different here, and you know, sometimes it works, sometimes it doesn't.

17:17 Speaker 5: But

17:20 Speaker 5: I think it just naturally evolves, you know, that's the best way anyway.

17:26 Speaker 4: You mentioned too when you were in New York, so you would use a lot of props during your show.

17:33 Speaker 5: Oh yeah, Like if you look at the the the cover of the album Performical, there's three series of pictures there. Rum I'm actually removing a space helmet that I used to come out in a space helmet and I would stand there and then slowly move my arms in the position and slowly remove the hell helmet and just stand there for a minute.

18:03 Speaker 6: Yep.

18:04 Speaker 5: And you know, that was just one of the props of the Society's game I think you played before. I'd come out in just a little thing, a little accent to you know, help interpret the song. I would come out in a captain's hat. You know, sometimes it wasn't I don't really like full to get into full costume, you know. Changes. I think it's a bit much, but you can use little things and sometimes you can throw on, you know, a little half a costume, you know, to help help interpret the piece.

18:39 Speaker 4: Yeah, yeah, I'm looking at the I'm looking at the cover right now actually for Perfromical, so I can see what you're talking about with removing the helmet. And yeah, that's cool personally, I love that kind of thing. I love, uh seeing theatrics and and uh oh yeah. Yeah. Are are there any videos on YouTube of you performing live?

19:03 Speaker 5: There's a couple few, they're a little bit scattered, but yeah, there's a couple things out there. I think there's one from the the old Metropolitan Room. Yeah, it's more of a cabaret jazz play. So I think I was one of the few rock artists that was allowed to play there. Oh no, kidding, Yeah, And there was a couple other they're scattered though.

19:32 Speaker 4: There are videos though, yeah, oh okay, I'll have to look for those. I'm actually very curious to see you play live. Would you have you mentioned working with other musicians on recording when you when you would play live in New York, for example, did you have other musicians join you there or because I would imagine this, there's probably some a bit of a barrier there, right, because it's not like like a singer songwriter who's just getting on stage with a guitar. There's a lot of flexibility there to have other musicians join him or her and it you know, you can make it work.

20:04 Speaker 4: But I would imagine for what you do, that's that's probably a lot more challenging. Or maybe not.

20:13 Speaker 5: It can be challenging because getting people's difficult and people's availabilities are different, so there might not be a lot of chance for rehearsal time. But I would try to use musicians whenever I could. I go out with a bass player, I go out with the drummer. A couple of times went out with a drummer and a guitar player.

20:43 Speaker 5: You know, it just depends, you know. You know, people say, well, you know, put a band together and be in a band. I mean, you know, I don't know. Sometimes people realize how hard it is to have five people together and throwing their hat into the ring, you know, being all in and going to show up somewhere and here and there, and you know it's not gonna last very long with people's you know, needs and availabilities and what they have to be responsible for and committed to, you know, paying the rent and all that.

21:22 Speaker 5: You know, Yeah, very difficult.

21:24 Speaker 4: It is challenging, I know from my own experience playing in bands. And we had I wish I could remember who said it. We had a guest on the show once who said, being in a band, if you're in a five piece band, it's like being in a relationship with four other people at once who are all in a relationship with four other people at the same time, And it's it can be very, very challenging. And there is a certain freedom that I've never experienced myself. I only ever played in bands. I never did a solo thing.

21:52 Speaker 4: But there is a certain freedom that comes with sort of being the captain of your own ship, where you don't have to depend on anybody else. You know, you can do it all yourself. And and uh so that's you know, that must be nice and and so I I understand, I understand why you feel that way about you know, the challenges of playing in a band, and you know, maybe it's not necessarily worth it. But again also too, what you're doing is is so unusual and unique. What is that by the way. That's that tracks society's game that we opened with.

22:22 Speaker 4: Is there is there a meaning? Is there a specific message with the lyrics to that?

22:30 Speaker 8: Uh?

22:31 Speaker 5: A meaning? Well, it didn't Bob Dylan say once I just wrote it. I don't know what it's about. H

22:42 Speaker 5: I guess it's just about society. I mean, I think the late the late two thousands, I was going to a lot of society parties in New York City and yeah, and then when the economies we had the different economy crashes, the real estate and then the stock the tech bubble crash, and then that that all kind of died out. So it was kind of thinking about it, like, hmm, you know, that was that was interesting. It was an interesting time in the city. It's probably all come back now now, but now I was thinking, you know, me, you know, rubbing elbows with a lot of like movers and shakers and royalty, celebrities, artists, uh, you know, everybody.

23:28 Speaker 5: And in a way it was kind of cool. It was kind of like a mini Studio fifty four in a way, because I mean, here I was, I was just a broke artist, you know, but everybody sort of accepted you. But I did see lines and limitations, I mean, uh, you know, and privilege, a lot of privilege and talking about the kind of privilege that this uh comes with something that's green, you know, and uh there's you know, society uh boundaries and I want, I want to say rules, but that's probably the wrong word. But you know, so it you know, it has it has sort of a meaning that uh uh loosely defines the the upper echelon uh society in the East Coast there.

24:30 Speaker 5: Yeah, I would say, yeah, And then part of it's kind of interpretive.

24:39 Speaker 4: Well, ultimately, I mean that really is the point, right, you know, music or any kind of art, it's it's really about what it means to the individual who is enjoying that that art, and up to their interpretation. It's it's all subjective, and I've always found it a little disappointing when you know, if I listen to a and it means something specific to me, and then I talk to somebody or I read an interview or an article where the musician who wrote it talks about what it's about and it turns out to be something completely different than what I interpreted it.

25:13 Speaker 4: As you know, I almost don't want to know in that case, you know what I mean, because I wanted to mean what it's supposed to mean to me, and that's entirely subjective. So I think there's value in creating art that can ultimately be interpreted anyway, or in this case, anyway the listener wants to interpret it. So I get what you're saying. I definitely, I definitely get that.

25:36 Speaker 8: Well.

25:37 Speaker 5: I'm actually a big fan of that leaving room for interpretation because yeah, like, for example, right now, I'm working on an opus or a piece that I wrote a lot of it back in the nineteen eighties and never did anything with it, and that's going to probably be my next project forwards, and where you could call it like almost like a rock opera or a something or a concept album, okay, And but the storylines is going to be somewhat interpretive, because you know, the last thing you want is people rolling their eyes.

26:20 Speaker 5: Where there's a tight knit storyline or rock opera or something, it's just ridiculous story I don't even know if the author knows what it means anymore by the end of it. Right, it's just like, oh, brother, you know I don't want to be like that, right right? Want you want some sort of structure there, but you don't want to be go overboard.

26:41 Speaker 4: Right understood? Understood? Are you Are you already working on new material actively because you strike me as someone who probably has a lot of ideas.

26:52 Speaker 5: Well. That that's the thing. I mean. I still have a couple of albums in my head, my solo stuff, and then I got this project that I just talked about, the Cuyahoga Project. So it's like I don't sit around beating myself up about if I'm I'm not being creative enough when you have a backlog of so much material that you haven't even recorded, you know. So that's actually a good place to be for an artist too.

27:28 Speaker 4: Well, I was going to say, it's actually a good problem to have, right.

27:32 Speaker 5: It kind of is, because if without it, I think I would be sitting around beating myself up over lack of ideas and not being creative enough and just racking my head.

27:42 Speaker 9: For ideas, right right, Yeah, no doubt I'd.

27:46 Speaker 5: Be My advice to any artists, you know, just build up a backlog and you know, save your sanity, right Exactly?

27:56 Speaker 4: Do these songs, by the way, do they end up at the end of the process, Do they ever end up drastically different from what your initial idea was because you're again with your music. It's it's unique, and there seems to be a lot of I assume there's a lot of room for experimentation as you're recording them. I mean, do they ever end up? Do you ever end up with a finished product where you go, Wow, that's completely different than what I originally envisioned this particular piece to sound like, Oh yeah, very much so.

28:30 Speaker 5: A lot of it A lot of times not not not not conceptually or not lyrically because the lyrics, you know, stay the same and they say the same thing. But I'm all often surprised how songs change stylistically and sonically and audio ly, if that was the word, mostly from the instruments that happens to me. It was like the other day I was recording a song for a future album called Japantown, and it's about it a place in San Francisco when I lived out there, and when I want to add the guitar parts, I started getting all these new ideas and I couldn't believe how drastically a change, especially the ending of the song.

29:20 Speaker 5: Yeah, you know, but that was a good thing though, but you never know, and really until it's like a painting, you really never know until they're done and you stand back and you look at it say oh wow, I'm seeing all this now and this and I didn't know come out like that. And so yeah, it's a process.

29:41 Speaker 4: Absolutely.

29:41 Speaker 6: Yeah.

29:42 Speaker 4: I've heard Jenny say that, you know, she's a painter, and I've heard her say, you know, when a painting is done, or she feels it's done, she'll say, this isn't what I This isn't what I intended it to be when I started it, or I didn't think this is what it was going to look like. But it's done. Here it is, you know. But that's kind of the adventure of it, right, creating, whether it's painting or music, any kind of art. When it when it ends up, there is something kind of cool about that, when it ends up being something different than what you had originally intended.

30:09 Speaker 4: As long as it is in a good way, as long as it's something that you're happy with, that's kind of the adventure of creating.

30:16 Speaker 5: I think, well, yeah, as long as you're happy with that, sure, that's the key. There's there's some times who have recorded stuff that I was. I didn't think it would come out sounding like that. I want to hear what I heard in my head.

30:32 Speaker 9: You know, right, this is a this is a disaster, you know right, Yeah that that happens too, yeah, yeah, oh yeah, And that's that's not such a great feeling when you get to the end of it and you go, oh, I wish i'd been able to actually.

30:45 Speaker 4: Play you know, what I had imagined or you know, yeah, And I've certainly had that happen where it's like, geez, I had this great idea, but I can't seem to figure out how to translate it into actual, actual music.

30:59 Speaker 5: And there were there were two cover songs on the album also, I wanted to mention that they came out as some of the best songs on the album.

31:08 Speaker 10: Really well, So I have one song, oh yeah, go ahead, go ahead, Oh no, go ahead, Tom finish her. I thought, I'm curious, Well, this could be a long thought.

31:19 Speaker 5: That's why I asked you, Well, the one song I want to be with You Tonight. That was a song

31:31 Speaker 5: by a Cleveland band called Lipstick. Back in the day, back in the nineteen eighties. I mean, you couldn't go out to a club and not see that group. You know, they were playing everywhere, and that song always kind of stuck in my head. It was a good song, and I think they released it. I think it charted a little bit on Billboard. I'm not sure. I think it did. But now I was sitting there on the studio one day just playing some stuff and wondering how certain things would sound. And I was like, I wonder if I could, you know, learn a little part of that song, and and and I when I played it back, and it sounded really good, and I was like, wow, you don't mentioned consider doing a cover version of this?

32:20 Speaker 5: And so I did, and I thought it came out pretty decent. Yeah, really groove. That had a groove to it. And I think that was played that featured on George Norri Coast to Coast.

32:37 Speaker 4: I am really George played that on that's I didn't know, oh like his bumper music or the whole song? Did did he actually play the whole thing?

32:49 Speaker 5: Oh? No, not the whole thing. Yeah, it was a bumper piece, uh, one of the on one of the Sunday night thingies that they do. But that was cool and and and the other cover song things fall apart that was a song by a Cleveland band called the Generators, and there were late seventies, early eighties, and I had a live recording that I found somewhere or something, was a real tape of them, and the version of that song on the tape was just lights out. It was just fabulous. It was great, and it was I think it was slower than the version that they released as a single, which I didn't really care for that much.

33:44 Speaker 5: But this version of the song really made it groove and come out. And and so I was like, you know, I want to do that. I want to I want to do a cover of that song. And it's going to be at that speed too. And I studied all the parts that that one. I played all the instruments on also, and studied all the parts. I kept them to well what you then, their natural form, how they were played by the various musicians. I tried to keep it as true as as possible to the original performances and studied all the parts and actually played the drums on that too.

34:31 Speaker 4: Oh okay, very cool. Well we're going to in a moment, we're gonna play I want to be with You tonight. That's how we will end the segment. But Tom, I really appreciate you joining us this morning. This has been interesting. Like I said, your music is quite fascinating to me before we let you go, and like I said, we'll end with that track. I want to be with you tonight since you were just talking about it a moment ago. But anything we should know about, where's the best place to go to find you online for people who want to keep up with everything that you're doing.

35:03 Speaker 4: Uh, check out your music. I don't know if you have any live shows coming up, but where should people go online to keep up with Tom Modern?

35:13 Speaker 5: All I can say about that is the different streaming and download platforms. You know, we all we all know what those are. And because I don't have much of an online presence right now because recently I was thrown off of Facebook for promoting my album to radio stations and and so I'm not on Facebook anymore. Oh so I don't have a tommodern dot com yet. Yeah, maybe in the future. Yeah, So you know, the best way is streaming and download because these other social platforms, you know, I don't get them, man, And you're.

36:01 Speaker 4: You're very easy to google. You're very googleable. As I like to say, if you just google Tom Modern music, everything comes right up. So I encourage people to find you that way too. But uh we will uh yeah, we will close out the segment with this track I want to be with you tonight. But Tom Modern, I appreciate you calling in. Uh it was a it was a little rough with Skype, but we figured it out and the phone connection got a lot better. So so it's wonderful to talk with you. And we will have to do this again in the future.

36:30 Speaker 5: All right, Matt's fun talking man.

36:33 Speaker 4: All Right, Tom, thank you. We'll let you go, and I'm gonna hit this track all right, take care by bye bye. All right, everybody, that was Tom Modern. If you are listening live on Saturday morning, we have Willie Chase coming up next for the third hour. In fact, he has already arrived. I gotta go let him in. But check this out. This is called I Want to be with you tonight. This is Tom Modern.

37:31 Speaker 1: I don't know if I tot it.

37:34 Speaker 6: I don't didn't trust him, bid.

37:38 Speaker 8: I can't believe that.

37:39 Speaker 1: I hear myself saying I believe in magic side and I don't want you that rather bout me.

37:48 Speaker 6: I don't want you may promises.

37:51 Speaker 1: I don't want you'll tell you.

37:54 Speaker 3: I just want you to love it.

37:59 Speaker 2: I want to.

38:19 Speaker 6: Remember the first time I saw.

38:22 Speaker 4: I remember when you cried.

38:26 Speaker 5: You don't want you.

38:27 Speaker 1: That's so ashamed.

38:29 Speaker 4: But I mean everything I write, don't.

38:36 Speaker 1: Double crises that don't you gonna tell me about I just want you to let him.

39:13 Speaker 9: Aga.

40:00 Speaker 4: If I have to say that, I don't even chuck.

40:03 Speaker 6: It a ride.

40:05 Speaker 1: I can leader here, but they'll say, I don't leave the magical side. And I tell him what you got brother about me?

40:15 Speaker 4: I don't want us make promises.

40:19 Speaker 1: I tell him what you tell me black Bam, I chance fault you. But then I don't want you right a me.

40:29 Speaker 5: I tell him why you make promises. I tell him mom, you must come at nam.

40:36 Speaker 1: I try to qult you.

40:39 Speaker 5: And if I don't want to.

40:43 Speaker 2: Watch and I want, I don't.

40:48 Speaker 1: Want about this wild evening said that tell them I don't want to go a ride so long to take down just as.

41:12 Speaker 3: The making us.

41:13 Speaker 1: I don't talking the young.

41:50 Speaker 11: And we waited outside the streets and oh my head and happy down Jesus all.

42:04 Speaker 1: So he said, advising one, you want me on the time with the time, he said that anything seems tell me my child say not to the times. I wish she had a change.

42:38 Speaker 8: Its funny open. So these days I'll do.

42:48 Speaker 7: Well.

42:48 Speaker 5: Let's talk about the pictures actors.

42:51 Speaker 3: But then it tames them all back then.

43:01 Speaker 12: That you a lot of going out.

43:03 Speaker 6: With nobody do.

43:05 Speaker 3: I just need this?

43:06 Speaker 2: Is it?

43:08 Speaker 6: It's not.

43:18 Speaker 1: Months, not the fun.

43:32 Speaker 9: Father wish you not a thing.

43:36 Speaker 1: O things for starting.

44:06 Speaker 11: I know some take up, but I gotta know the we don't.

44:20 Speaker 1: We Conna beepp I know another sony to be share

44:28 Speaker 1: game again. It didn't need anything, must say it didn't made any.

44:40 Speaker 4: Listen to another.

44:47 Speaker 1: Enough to try to turn our cars.

44:50 Speaker 13: But I wish you had change.

44:54 Speaker 1: Only of things.

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47:40 Speaker 3: Seven times out of ten.

47:42 Speaker 14: We listened to our music at.

47:44 Speaker 17: Night don titled books.

47:49 Speaker 7: Program Late Night to Light with DJ Midas right here on WMNH, Manchester.

47:54 Speaker 1: You want to know why because.

47:57 Speaker 18: Saturdays and Sunday nights midnight to four am.

48:01 Speaker 8: This hour on WMNH is sponsored by CGI Business Solutions, located at five Dartmouth Drive in Auburn. They serve all your business needs including employee benefits, planning, corporate design and business administration, investments and wealth management and customized business insurance solutions. Their phone number is eight sixty six eight four to one forty six hundred, or on the web at CGI business Solutions dot com.

48:33 Speaker 19: Behold the harmony of airwaves as you immerse yourself in the captivating frequencies of w m NHLP, the sonic cardats of Manchester, transcending through the ether ight ninety five point three megahertz frequency modulation. Our transmissions emanate from the ZF of one thousand Elm streets, insur into the hearts of our creative realm at one nineteen Canal Street. We're Innovation and Sound Cologne. They're the impromoter of Manchester Public Television Service in the venerable city of Manchester, New Hampshire, USA.

49:03 Speaker 19: Enrich your auditory journey with the depth of our license to wesn't I wesspt your missives did w m n H ninety five three at gmail dot com, or to reverse the virtual corridors of w mnhradio dot org. Engage with our sonic vibrations by communing with us through the digital channels.

49:20 Speaker 16: You know our radio.

49:21 Speaker 19: Beconds eager to enthrall you with its mesmerizing cadence and envelop you with a symphony of foundless auditories.

49:27 Speaker 6: Won dude, w MNH rip the novels.

49:35 Speaker 4: This is Eleanor Langthorne from Vices Inc. And you're listening to Matt Connorton Unleashed on ninety five point three.

49:42 Speaker 14: W m n h.

50:00 Speaker 6: M hm, time stands still.

50:16 Speaker 8: Feel my.

50:19 Speaker 6: Drink mop bo pulling air into my chest. Ah, I know.

50:33 Speaker 18: It isn't instant dandy, It's gone air and flow. Let the current take me time, Let's time, let's time. We are last time at Thing.

51:03 Speaker 2: Time is.

51:06 Speaker 3: Lest till morning Sunday. Second stroll.

51:38 Speaker 7: You'll up my glass san zero, leave me over, take me back, whine my day.

51:55 Speaker 11: Do the lifeple dless song sample again to that summer felt so.

52:14 Speaker 13: So never read of walking due dancing across the surface of the sun, goes around, chasing it down.

52:36 Speaker 3: He's eat it body have it's slip.

52:40 Speaker 15: So oh.

52:54 Speaker 11: Time, let's time. Let's time. We last time then thing time.

53:03 Speaker 6: List, time list.

53:08 Speaker 3: Moment Saturday.

53:30 Speaker 4: Oh my god, that is great. That's brand new.

53:32 Speaker 20: Huh thanks man, Yeah, brand new.

53:34 Speaker 4: Wow, that is fantastic. If you're just joining us, Willie Chases here with us live in studio on this Saturday morning. That's very cold Saturday morning. But yeah, that's how new was that? You said you just wrote that with a friend who didn't know you were going to play it tonight.

53:49 Speaker 6: Is that that's pretty accurate.

53:53 Speaker 20: We just had our last co writing session maybe a week ago, and I had written the song thread probably five or six months ago. It sat for a while in my in my voice notes, yeah, on iPhone, as a lot of them do. And then I threw it over to my friend Ian Gallipo, who's from the Keen area, and he liked it, kind of wrote a chorus to it, maybe some verse parts I think, and then we just put our heads together over a video chat and kind of hammered it out. I had written that bridge, and yeah, it kind of came together and then I was kind of like, holy cow, we have a song, you know what I mean, which is a really cool moment as a songwriter.

54:35 Speaker 4: I feel like Ian Gallipo is a name that's come up on the show. I don't think he's ever been on. I would say I don't think he's ever been on, because it does become I've been doing this a long time. It does become a little bit of a blurk, of course, But I don't think he's been on the show. But I feel like his name comes up a lot on the show.

54:49 Speaker 20: Yeah, he's awesome. So I work a lot with the New Hampshire Music Collective.

54:53 Speaker 4: That might be how i've well, I've heard his name, yeah, yeah, so.

54:56 Speaker 20: He's he's you know, a member of the collective as well, does all sorts of stuff with that and other things. But that's how I met him. And he's great man. If you've never heard his song little Things, check it out. It's a gut wrencher be ready to cry. Yeah, But he's just an incredible lyricist. He's an incredible musician and down to earth guy. You know, he's really enjoyable to be around. So I had a really good experience writing with him, you know, in the level that I'm at right now, there's no skin in the game really, you know what I mean.

55:24 Speaker 20: I'm kind of just starting out on the songwriting journey over the last few years really.

55:27 Speaker 6: Yeah.

55:28 Speaker 20: And I've been a musician my whole life. I can fill you in on in the backstore if you want. But but with the end, it's just great because we it's just pure creativity, you know what I mean, two musicians hanging out writing a song. There's no pressure to do anything. And for whatever reason, I was just kind of had that feeling when we were doing that together and and and that's what it's all about for me. Yeah, those kind of experiences and writing music and being just purely creative.

55:51 Speaker 4: No doubt. So you you've been a musician for a long time, as you said, but you only started writing songs a few years ago.

55:58 Speaker 20: Yeah, I mean, I quote quote have written other stuff.

56:01 Speaker 5: Yeah.

56:02 Speaker 20: I was a horn player in high school. I was our class instrumentalist. I was in like every music group, did all of it, show choir, I did a lot of theater.

56:11 Speaker 14: I was.

56:12 Speaker 20: I started in high school musical when I was in high school, all sorts of you know of stuff to lead me on my musical journey. And then I kind of I kind of went a totally different direction for the last decade. I got a degree in resort management and have worked at ski resorts and done all men of other things. But I never put down the guitar. That's kind of what kept it alive for me. And then yeah, like three years ago, I had a really good friend who was living around here, and she convinced me to go to an open mic up at Patrick's Pub in Guildford, New Hampshire.

56:40 Speaker 20: That's where I met John MacArthur, who's one of the owners of the New Hampshire Music Collective.

56:44 Speaker 4: Yeah, we had him on the show. He's great.

56:46 Speaker 20: Yeah, he's awesome. Can't say enough good things about him. And you know, especially in this context with the opportunities he's given me playing a lot of these bar gigs and stuff around here, which is just it's like with anything, right, if you want to be really good, you got to just put in time and hard work. It's kind of the grind that I've been on these last few years since doing that. And then you know, I've, like I said, I've been a musician my whole life, and I have a really I lean really heavily on my ear, Yeah, and I can be judgmental in that way.

57:12 Speaker 20: So I think, as most musicians will probably tell you, there's a lot of stuff that goes on with songwriting in terms of being hyper critical of yourself and self confidence, releasing tracks and everything. So you know, it's a slow process. But I'm in early production of making a record hopefully, and you know that might be one of the songs that's going to be on it.

57:30 Speaker 4: Oh, I hope.

57:30 Speaker 20: So yeah, it deserves That's totally good. Yeah, that's very kind of youat to say. I Yeah, it's it's something I'm really interested in. But like I said, it's it's just tough not to be able to overly critical. But at this point in my life, on my early thirties, I I feel like it's a really good place to be doing what I'm doing with music. I think that if I had gone right into music school like I kind of wanted to after high school, after doing all that stuff, I don't think it would have gone well.

57:56 Speaker 20: I think I was on the edge of burnt out really because yeah, I mean we had as been practices every morning before school. At six point forty, it was taking trumpet lessons. It's just completely saturated in music. Yeah, and not really knowing, you know, at that point in my life, you know, late teens, early twenties, you're just figuring out who you are, right. So all the experiences I've had over the last ten years of not being involved in music, I think have just fueled this crazy fire that I have now to write and collaborate with people and just really like I just started taking guitar lessons a couple, you know, maybe a month or two ago, with a really great guy.

58:30 Speaker 20: So I'm actually putting some of the old theory, knowledge that I have to use with like the fifteen years of guitar playing, just playing songs that I like to hear and play. Yeah, So it just feels really, really awesome, and I'm really grateful to be here doing what I'm doing now.

58:44 Speaker 4: You know, during the span of time where you you know, you had kind of gotten away from it all, did you always kind of know that you would come back to it, or did you really at the time kind of feel like you know that was you know, I'm sort of done with that. I'm sort of burnt out on it.

59:01 Speaker 20: If you asked me that question years ago, I probably would have told you the latter. I probably would have told you now, you know, And I think that comes from being jaded and my no, through no fault of his own, My trumpet teacher was one of the ones who convinced me not to go to school for like performance really yeah, which how much of that was actually him and how much of it was in my head? I can't really tell you, but you know, and his point was very valid. You know, forty years ago, there was just so many horn players working in places like New York, Boston, you know, all these clubs and theaters had live orchestras, and now it's just a percentage of what that was.

59:34 Speaker 20: So yeah, the statistics just make it pretty daunting. Yeah, but I think subconsciously, very deep down there, to answer your question, I think it was inevitable of coming back to music. I mean, it's just such a part of me. It's part of who I am, been part of who I am since a very young age. And like I said, you know, I rely heavily on my ear. I don't like to say I have a good ear because it's like, what does that mean.

59:55 Speaker 17: But