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

1:14 Speaker 2: 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

2:54 Speaker 1: 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

3:24 Speaker 4: there yonder? Okay? For some reason, there's like this, uh

3:29 Speaker 4: strange sound in the background. But I think we can

3:31 Speaker 4: 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

3:39 Speaker 5: don't know.

3:39 Speaker 4: Do you hear that? Do you hear like a buzzing

3:41 Speaker 4: in the background.

3:45 Speaker 5: Well, that could be h just the airflow, but that's

3:48 Speaker 5: down in the basement. I mean, I'm surprised it's traveling

3:51 Speaker 5: 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

3:59 Speaker 4: 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

4:05 Speaker 5: give me a second.

4:05 Speaker 4: Oh okay, okay, no problem, if you are just joining us.

4:11 Speaker 4: Tom Modern is calling in because the skype thing did

4:14 Speaker 4: not work out. But uh, I actually really like that

4:17 Speaker 4: song Toxic Man. What Tom does, if you are listening,

4:21 Speaker 4: is unconventional. He's very unique. His music is very unique.

4:24 Speaker 4: So I'm quite curious to speak with him. But he's

4:29 Speaker 4: going to go and try to shut off whatever is

4:31 Speaker 4: causing that sounds like angry bees. O, hey, this should

4:37 Speaker 4: be better, all right, Tom? Hey, so how do you

4:43 Speaker 4: describe your music? I'm really curious let's start there, because

4:46 Speaker 4: what you're doing, and obviously I'm not the only one

4:48 Speaker 4: 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

4:53 Speaker 4: be some influences there that we can talk about, but

4:56 Speaker 4: I haven't heard anyone who sounds quite like you. So

4:59 Speaker 4: I'm really curious. How do you describe your music to

5:01 Speaker 4: 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

5:11 Speaker 5: lot of different artists, and it's you know, it's organic

5:18 Speaker 5: in the sense that i'd I like to play a

5:21 Speaker 5: lot of different instruments, but I would probably it's been

5:29 Speaker 5: tough to categorize, but I would at times I would

5:32 Speaker 5: 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.

5:47 Speaker 5: They don't have the right categories for artists these days

5:52 Speaker 5: that they really need a few more.

5:56 Speaker 4: You mentioned you play multiple instruments. Do you play everything

5:59 Speaker 4: on these tracks?

6:00 Speaker 5: Is that all you on some of the tracks? Yes,

6:06 Speaker 5: I've played everything, but there were four or five guest

6:12 Speaker 5: musicians on the on the album. I try to use

6:17 Speaker 5: as many people as I can. It's just, you know,

6:19 Speaker 5: it's sometimes it's tough getting people and because I I

6:26 Speaker 5: grew up playing guitar and but I always had a

6:33 Speaker 5: piano and a drum machine in my house, so it

6:38 Speaker 5: was sort of natural too. Just learn those instruments a

6:45 Speaker 5: 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.

6:57 Speaker 4: I don't know if I can say it correctly on

6:59 Speaker 4: the first stride out, I will try performical? Am I

7:02 Speaker 4: 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

7:10 Speaker 4: your word?

7:12 Speaker 5: It's a made up word. Just I don't know. It

7:16 Speaker 5: came to me one day and it was just that said,

7:18 Speaker 5: 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,

7:29 Speaker 4: obviously it's a made up word, but what does it

7:30 Speaker 4: mean to you?

7:34 Speaker 5: I think it came from, uh, sort of an aberration, uh,

7:40 Speaker 5: from my performing I performed in New York for many

7:49 Speaker 5: years and I tended tended to be somewhat theatrical, and

7:58 Speaker 5: I would use props and costumes to help interpret the

8:03 Speaker 5: music as and that just you know, just I don't know,

8:14 Speaker 5: somehow joined into the word. You know, well, I don't

8:18 Speaker 5: want word that would be end with cl maybe but

8:24 Speaker 5: al festival or you know, so just naturally sort of

8:30 Speaker 5: adapted to performicle.

8:32 Speaker 4: Yeah, yeah, and you've got this is obviously a full

8:37 Speaker 4: length album. What went into the decision to release us

8:40 Speaker 4: as a full length and I asked that because and

8:42 Speaker 4: this is kind of one of those questions I ask anybody,

8:44 Speaker 4: because I'm always curious. We live in a time, as

8:47 Speaker 4: you know, where there are so many different ways that

8:49 Speaker 4: you can release music, different strategies. Some artists only release singles,

8:54 Speaker 4: some release EPs, Some will release a series of singles

8:57 Speaker 4: that eventually become an album. But wasn't an important to

9:00 Speaker 4: you to release Perfronicle as an album? Is there is

9:03 Speaker 4: there some sort of a cohesive theme running throughout these

9:07 Speaker 4: songs or is it just or did it just seem

9:10 Speaker 4: natural to do it this way?

9:13 Speaker 5: No, there was really no cohesive theme. I mean, all

9:16 Speaker 5: the songs are very different if you look at it

9:18 Speaker 5: from the outside. Yeah, but it became clear to me

9:23 Speaker 5: to be taken serious as a serious artist, you really

9:27 Speaker 5: have to release an album. I mean I was just

9:30 Speaker 5: releasing singles for a while and that just wasn't cutting it.

9:35 Speaker 5: And I looked around at all the other artists who

9:37 Speaker 5: are working, and they're not doing that, They're releasing albums.

9:43 Speaker 5: So I was like, yeah, that's what I have to do.

9:45 Speaker 5: And so I pulled back and all the other stuff

9:48 Speaker 5: and just sank my energy into this release. And you know,

9:56 Speaker 5: hoping for the best. Released in September of this year,

10:00 Speaker 5: and I actually tried releasing it once before, but I

10:06 Speaker 5: wasn't happy with some of the recordings, and so I

10:10 Speaker 5: re recorded some of the tracks because I was just

10:12 Speaker 5: learning digital recording years ago. Yeah, so along with a

10:17 Speaker 5: lot of other people, and so that's the way I

10:20 Speaker 5: did it. Yeah, up till now.

10:22 Speaker 4: Yeah, do you where do you record? Do you record

10:27 Speaker 4: at home? I mean it sounds like it's it's very

10:29 Speaker 4: it sounds like this is very di I wy Do

10:31 Speaker 4: 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

10:44 Speaker 5: in Cleveland. And part of it was recorded in Los

10:49 Speaker 5: Angeles because a couple of the musicians were out there,

10:54 Speaker 5: so they were turning in remote pieces. H gee, I

11:00 Speaker 5: think it started all I was recording in a storage

11:04 Speaker 5: 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

11:14 Speaker 5: 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

11:19 Speaker 4: York originally?

11:22 Speaker 5: No, from Cleveland originally, but I'm born and raised, but

11:26 Speaker 5: I lived in New York about it was about twenty

11:31 Speaker 5: eight years.

11:32 Speaker 4: Oh okay, no, it's a long time in terms of

11:38 Speaker 4: the music scene. And because again you're doing something that's unusual.

11:42 Speaker 4: Like I said, I can't think of anyone who sounds

11:44 Speaker 4: quite like you. What was it like to do what

11:48 Speaker 4: you do in New York? I assume that that if

11:52 Speaker 4: there's anywhere in the country where you can do pretty

11:54 Speaker 4: much just about anything you can think of musically, and

11:57 Speaker 4: you're going to find some sort of an audience, right,

11:59 Speaker 4: people are going to be interested. I would think that

12:01 Speaker 4: New York City would be kind of the best place

12:04 Speaker 4: to do something that is unusual and still be accepted

12:08 Speaker 4: and have people want to participate in it and be

12:10 Speaker 4: interested in it. Am I is my instinct correct about that,

12:13 Speaker 4: And that's not to suggest that you don't have that

12:15 Speaker 4: in Cleveland, but I assume in New York that's where

12:18 Speaker 4: you really have that the most, where you can you

12:21 Speaker 4: can create whatever you want to and there's going to

12:24 Speaker 4: be some sort of audience for it. Am I Am

12:26 Speaker 4: I correct in that.

12:29 Speaker 5: Oh, yeah, that's that's true. For the most part. You

12:32 Speaker 5: can do anything in New York and somebody will relate

12:36 Speaker 5: 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

12:53 Speaker 5: how many people you bring in? You know, that kind

12:56 Speaker 5: of thing, and it's just like, well, I'm just trying

12:57 Speaker 5: to do this thing, man. I mean I'm not I'm

13:01 Speaker 5: too busy. I'm not responsible for getting people through the door.

13:04 Speaker 5: And a lot of the clubs really have to start

13:07 Speaker 5: getting people in the old fashioned way, you know, when

13:10 Speaker 5: people went to clubs and bars and stuff and you know,

13:15 Speaker 5: 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

13:20 Speaker 5: it's just like, well, you know, wow, too many things

13:24 Speaker 5: to do, you know. So yeah, it can be tough too.

13:28 Speaker 5: But you can do whatever you want to New York

13:31 Speaker 5: and let's see how it goes, you know.

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

13:38 Speaker 4: live in Cleveland?

13:42 Speaker 5: My last show was last November. Actually, now I haven't

13:47 Speaker 5: really been performing here. It's probably even tougher here because

13:52 Speaker 5: 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

14:05 Speaker 5: they really want bands here right now, I'm more of

14:09 Speaker 5: a solo artist or perform as a duo, maybe with

14:13 Speaker 5: a percussionist or something. So it's been tough here. So

14:17 Speaker 5: I really started focusing on the recording. That's what I'm

14:23 Speaker 5: doing now. I'm really laser focused on the recording. Because

14:26 Speaker 5: when you at a certain point, if an artist has

14:30 Speaker 5: you know, two, three, four albums in his head, I mean,

14:34 Speaker 5: you know, he's really got a buckle down and get

14:36 Speaker 5: to work. You know, he's this performing is great for

14:40 Speaker 5: the ego, But I mean, what what what corporeal thing

14:45 Speaker 5: do you have? The whole lot to you, it's really

14:47 Speaker 5: the recordings.

14:48 Speaker 4: You know, right right? Has your sound changed over the years,

14:52 Speaker 4: 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

15:01 Speaker 5: band in New York City called Arta, and we were,

15:07 Speaker 5: you know, just hard hardcore prague, you know, yeah, performing,

15:13 Speaker 5: and uh so I decided to come out of the

15:19 Speaker 5: dry ice and the flog a little bit and warm

15:22 Speaker 5: up a little bit. And then I got I got

15:25 Speaker 5: to worry and now more like you know, the the

15:28 Speaker 5: synth pop, the prog pop, art pop, whatever you want

15:34 Speaker 5: to call it maybe a little bit avant guarde avant guard,

15:38 Speaker 5: 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

15:44 Speaker 4: a lot, experimental indie, which is almost kind of a

15:47 Speaker 4: catch all for anything that's for anything that's unusual that

15:50 Speaker 4: you wouldn't hear on commercial radio. But you don't you

15:53 Speaker 4: don't really know what to call it. But but yeah,

15:57 Speaker 4: I mean it's always hard to label these things, which

15:58 Speaker 4: I think is a good thing when you're when you're

16:00 Speaker 4: doing something that is hard to label because it's, like

16:02 Speaker 4: I said, it's something that, uh, that is unique. Has

16:06 Speaker 4: it has that always been important to you to do

16:08 Speaker 4: something that's unusual, or have you ever played in in

16:13 Speaker 4: just kind of a standard rock band, or has it

16:15 Speaker 4: always been your, uh, your goal to do something that's

16:20 Speaker 4: that's outside of the mainstream.

16:25 Speaker 5: Consciously? No, I think it maybe comes from, you know,

16:31 Speaker 5: listening to all those bands and having an influence, being

16:35 Speaker 5: influenced by all those bands, but not really listening to

16:43 Speaker 5: a lot of music. I mean, when you're busy with

16:46 Speaker 5: your own music all day. Yeah, by five o'clock, you

16:50 Speaker 5: don't want to hear anymore news when it hurts to

16:53 Speaker 5: hear music. Yeah, realistically. Yeah, And so I think just

17:00 Speaker 5: naturally morphs into your own sound that way, rather than

17:07 Speaker 5: you know, well I'm gonna I mean, of course, just

17:12 Speaker 5: some times it's like I want to do something different here,

17:14 Speaker 5: and you know, sometimes it works, sometimes it doesn't. But

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

17:24 Speaker 5: best way anyway.

17:26 Speaker 4: You mentioned too when you were in New York, so

17:29 Speaker 4: you would use a lot of props during your show.

17:33 Speaker 5: Oh yeah, Like if you look at the the the

17:37 Speaker 5: cover of the album Performical, there's three series of pictures there.

17:43 Speaker 5: Rum I'm actually removing a space helmet that I used

17:49 Speaker 5: to come out in a space helmet and I would

17:52 Speaker 5: stand there and then slowly move my arms in the

17:57 Speaker 5: position and slowly remove the hell helmet and just stand

18:01 Speaker 5: there for a minute.

18:03 Speaker 6: Yep.

18:04 Speaker 5: And you know, that was just one of the props

18:07 Speaker 5: of the Society's game I think you played before. I'd

18:09 Speaker 5: come out in just a little thing, a little accent

18:14 Speaker 5: to you know, help interpret the song. I would come

18:16 Speaker 5: out in a captain's hat. You know, sometimes it wasn't

18:21 Speaker 5: I don't really like full to get into full costume,

18:25 Speaker 5: you know. Changes. I think it's a bit much, but

18:29 Speaker 5: you can use little things and sometimes you can throw on,

18:32 Speaker 5: you know, a little half a costume, you know, to

18:35 Speaker 5: help help interpret the piece.

18:39 Speaker 4: Yeah, yeah, I'm looking at the I'm looking at the

18:42 Speaker 4: cover right now actually for Perfromical, so I can see

18:45 Speaker 4: what you're talking about with removing the helmet. And yeah,

18:48 Speaker 4: that's cool personally, I love that kind of thing. I love,

18:51 Speaker 4: uh seeing theatrics and and uh oh yeah. Yeah. Are

18:56 Speaker 4: 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,

19:09 Speaker 5: there's a couple things out there. I think there's one

19:12 Speaker 5: from the the old Metropolitan Room. Yeah, it's more of

19:17 Speaker 5: a cabaret jazz play. So I think I was one

19:20 Speaker 5: of the few rock artists that was allowed to play there.

19:23 Speaker 5: Oh no, kidding, Yeah, And there was a couple other

19:31 Speaker 5: they're scattered though.

19:32 Speaker 4: There are videos though, yeah, oh okay, I'll have to

19:35 Speaker 4: look for those. I'm actually very curious to see you

19:38 Speaker 4: play live. Would you have you mentioned working with other

19:42 Speaker 4: musicians on recording when you when you would play live

19:47 Speaker 4: in New York, for example, did you have other musicians

19:49 Speaker 4: join you there or because I would imagine this, there's

19:52 Speaker 4: probably some a bit of a barrier there, right, because

19:54 Speaker 4: it's not like like a singer songwriter who's just getting

19:57 Speaker 4: on stage with a guitar. There's a lot of flexibility

19:59 Speaker 4: there to have other musicians join him or her and

20:02 Speaker 4: it you know, you can make it work. But I

20:05 Speaker 4: would imagine for what you do, that's that's probably a

20:07 Speaker 4: lot more challenging. Or maybe not.

20:13 Speaker 5: It can be challenging because getting people's difficult and people's

20:19 Speaker 5: availabilities are different, so there might not be a lot

20:24 Speaker 5: of chance for rehearsal time. But I would try to

20:29 Speaker 5: use musicians whenever I could. I go out with a

20:32 Speaker 5: bass player, I go out with the drummer. A couple

20:37 Speaker 5: 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,

20:48 Speaker 5: you know, put a band together and be in a band.

20:50 Speaker 5: I mean, you know, I don't know. Sometimes people realize

20:53 Speaker 5: how hard it is to have five people together and

20:59 Speaker 5: throwing their hat into the ring, you know, being all

21:04 Speaker 5: in and going to show up somewhere and here and there,

21:08 Speaker 5: and you know it's not gonna last very long with

21:11 Speaker 5: people's you know, needs and availabilities and what they have

21:17 Speaker 5: to be responsible for and committed to, you know, paying

21:21 Speaker 5: the rent and all that. You know, Yeah, very difficult.

21:24 Speaker 4: It is challenging, I know from my own experience playing

21:26 Speaker 4: in bands. And we had I wish I could remember

21:28 Speaker 4: who said it. We had a guest on the show

21:30 Speaker 4: once who said, being in a band, if you're in

21:33 Speaker 4: a five piece band, it's like being in a relationship

21:37 Speaker 4: with four other people at once who are all in

21:40 Speaker 4: a relationship with four other people at the same time,

21:43 Speaker 4: And it's it can be very, very challenging. And there

21:45 Speaker 4: is a certain freedom that I've never experienced myself. I

21:49 Speaker 4: 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

21:55 Speaker 4: of being the captain of your own ship, where you

21:57 Speaker 4: don't have to depend on anybody else. You know, you

21:59 Speaker 4: can do it all yourself. And and uh so that's

22:03 Speaker 4: you know, that must be nice and and so I

22:05 Speaker 4: I understand, I understand why you feel that way about

22:08 Speaker 4: you know, the challenges of playing in a band, and

22:10 Speaker 4: you know, maybe it's not necessarily worth it. But again

22:13 Speaker 4: also too, what you're doing is is so unusual and unique.

22:18 Speaker 4: What is that by the way. That's that tracks society's

22:21 Speaker 4: game that we opened with. Is there is there a meaning?

22:24 Speaker 4: 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

22:37 Speaker 5: 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

22:46 Speaker 5: the late the late two thousands, I was going to

22:49 Speaker 5: a lot of society parties in New York City and yeah,

22:54 Speaker 5: and then when the economies we had the different economy crashes,

22:57 Speaker 5: the real estate and then the stock the tech bubble crash,

23:02 Speaker 5: and then that that all kind of died out. So

23:04 Speaker 5: it was kind of thinking about it, like, hmm, you know,

23:06 Speaker 5: that was that was interesting. It was an interesting time

23:10 Speaker 5: in the city. It's probably all come back now now,

23:13 Speaker 5: but now I was thinking, you know, me, you know,

23:16 Speaker 5: rubbing elbows with a lot of like movers and shakers

23:20 Speaker 5: and royalty, celebrities, artists, uh, you know, everybody. And in

23:29 Speaker 5: a way it was kind of cool. It was kind

23:31 Speaker 5: of like a mini Studio fifty four in a way,

23:33 Speaker 5: because I mean, here I was, I was just a

23:36 Speaker 5: broke artist, you know, but everybody sort of accepted you.

23:41 Speaker 5: But I did see lines and limitations, I mean, uh,

23:46 Speaker 5: you know, and privilege, a lot of privilege and talking

23:52 Speaker 5: about the kind of privilege that this uh comes with

23:58 Speaker 5: something that's green, you know, and uh there's you know,

24:03 Speaker 5: society uh boundaries and I want, I want to say rules,

24:10 Speaker 5: but that's probably the wrong word. But you know, so

24:15 Speaker 5: it you know, it has it has sort of a

24:17 Speaker 5: meaning that uh uh loosely defines the the upper echelon

24:26 Speaker 5: uh society in the East Coast there. Yeah, I would say, yeah,

24:34 Speaker 5: And then part of it's kind of interpretive.

24:39 Speaker 4: Well, ultimately, I mean that really is the point, right,

24:41 Speaker 4: you know, music or any kind of art, it's it's

24:44 Speaker 4: really about what it means to the individual who is

24:47 Speaker 4: enjoying that that art, and up to their interpretation. It's

24:53 Speaker 4: it's all subjective, and I've always found it a little

24:57 Speaker 4: disappointing when you know, if I listen to a and

25:00 Speaker 4: it means something specific to me, and then I talk

25:04 Speaker 4: to somebody or I read an interview or an article

25:06 Speaker 4: where the musician who wrote it talks about what it's

25:09 Speaker 4: about and it turns out to be something completely different

25:11 Speaker 4: than what I interpreted it. As you know, I almost

25:14 Speaker 4: don't want to know in that case, you know what

25:16 Speaker 4: I mean, because I wanted to mean what it's supposed

25:19 Speaker 4: to mean to me, and that's entirely subjective. So I

25:23 Speaker 4: think there's value in creating art that can ultimately be

25:26 Speaker 4: interpreted anyway, or in this case, anyway the listener wants

25:31 Speaker 4: to interpret it. So I get what you're saying. I definitely,

25:34 Speaker 4: I definitely get that.

25:36 Speaker 8: Well.

25:37 Speaker 5: I'm actually a big fan of that leaving room for

25:40 Speaker 5: interpretation because yeah, like, for example, right now, I'm working

25:46 Speaker 5: on an opus or a piece that I wrote a

25:50 Speaker 5: lot of it back in the nineteen eighties and never

25:52 Speaker 5: did anything with it, and that's going to probably be

25:56 Speaker 5: my next project forwards, and where you could call it

26:01 Speaker 5: like almost like a rock opera or a something or

26:08 Speaker 5: a concept album, okay, And but the storylines is going

26:15 Speaker 5: to be somewhat interpretive, because you know, the last thing

26:18 Speaker 5: you want is people rolling their eyes. Where there's a

26:21 Speaker 5: tight knit storyline or rock opera or something, it's just

26:26 Speaker 5: ridiculous story I don't even know if the author knows

26:29 Speaker 5: what it means anymore by the end of it. Right,

26:32 Speaker 5: it's just like, oh, brother, you know I don't want

26:34 Speaker 5: to be like that, right right? Want you want some

26:37 Speaker 5: sort of structure there, but you don't want to be

26:40 Speaker 5: go overboard.

26:41 Speaker 4: Right understood? Understood? Are you Are you already working on

26:46 Speaker 4: new material actively because you strike me as someone who

26:48 Speaker 4: probably has a lot of ideas.

26:52 Speaker 5: Well. That that's the thing. I mean. I still have

26:57 Speaker 5: a couple of albums in my head, my solo stuff,

26:59 Speaker 5: and then I got this project that I just talked about,

27:04 Speaker 5: the Cuyahoga Project. So it's like I don't sit around

27:14 Speaker 5: beating myself up about if I'm I'm not being creative

27:17 Speaker 5: enough when you have a backlog of so much material

27:21 Speaker 5: that you haven't even recorded, you know. So that's actually

27:26 Speaker 5: a good place to be for an artist too.

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

27:30 Speaker 4: problem to have, right.

27:32 Speaker 5: It kind of is, because if without it, I think

27:35 Speaker 5: I would be sitting around beating myself up over lack

27:38 Speaker 5: of ideas and not being creative enough and just racking

27:41 Speaker 5: 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

27:48 Speaker 5: 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

27:59 Speaker 4: at the end of the process, Do they ever end

28:02 Speaker 4: up drastically different from what your initial idea was because

28:06 Speaker 4: you're again with your music. It's it's unique, and there

28:09 Speaker 4: seems to be a lot of I assume there's a

28:11 Speaker 4: lot of room for experimentation as you're recording them. I mean,

28:15 Speaker 4: do they ever end up? Do you ever end up

28:17 Speaker 4: with a finished product where you go, Wow, that's completely

28:19 Speaker 4: different than what I originally envisioned this particular piece to

28:23 Speaker 4: sound like, Oh yeah, very much so.

28:30 Speaker 5: A lot of it A lot of times not not

28:32 Speaker 5: not not conceptually or not lyrically because the lyrics, you know,

28:37 Speaker 5: stay the same and they say the same thing. But

28:42 Speaker 5: I'm all often surprised how songs change stylistically and sonically

28:49 Speaker 5: and audio ly, if that was the word, mostly from

28:53 Speaker 5: the instruments that happens to me. It was like the

28:55 Speaker 5: other day I was recording a song for a future

29:00 Speaker 5: album called Japantown, and it's about it a place in

29:06 Speaker 5: San Francisco when I lived out there, and when I

29:11 Speaker 5: want to add the guitar parts, I started getting all

29:14 Speaker 5: these new ideas and I couldn't believe how drastically a change,

29:18 Speaker 5: especially the ending of the song. Yeah, you know, but

29:22 Speaker 5: that was a good thing though, but you never know,

29:24 Speaker 5: and really until it's like a painting, you really never

29:26 Speaker 5: know until they're done and you stand back and you

29:30 Speaker 5: look at it say oh wow, I'm seeing all this

29:32 Speaker 5: now and this and I didn't know come out like that.

29:36 Speaker 5: 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,

29:44 Speaker 4: and I've heard her say, you know, when a painting

29:46 Speaker 4: is done, or she feels it's done, she'll say, this

29:49 Speaker 4: isn't what I This isn't what I intended it to

29:52 Speaker 4: be when I started it, or I didn't think this

29:53 Speaker 4: is what it was going to look like. But it's done.

29:56 Speaker 4: Here it is, you know. But that's kind of the

29:57 Speaker 4: adventure of it, right, creating, whether it's painting or music,

30:01 Speaker 4: any kind of art. When it when it ends up,

30:04 Speaker 4: there is something kind of cool about that, when it

30:05 Speaker 4: 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

30:11 Speaker 4: long as it's something that you're happy with, that's kind

30:14 Speaker 4: of the adventure of creating.

30:16 Speaker 5: I think, well, yeah, as long as you're happy with that, sure,

30:21 Speaker 5: that's the key. There's there's some times who have recorded

30:25 Speaker 5: stuff that I was. I didn't think it would come

30:28 Speaker 5: out sounding like that. I want to hear what I

30:31 Speaker 5: heard in my head.

30:32 Speaker 9: You know, right, this is a this is a disaster,

30:36 Speaker 9: you know right, Yeah that that happens too, yeah, yeah,

30:40 Speaker 9: oh yeah, And that's that's not such a great feeling

30:42 Speaker 9: when you get to the end of it and you go, oh,

30:43 Speaker 9: I wish i'd been able to actually.

30:45 Speaker 4: Play you know, what I had imagined or you know, yeah,

30:51 Speaker 4: And I've certainly had that happen where it's like, geez,

30:53 Speaker 4: I had this great idea, but I can't seem to

30:55 Speaker 4: figure out how to translate it into actual, actual music.

30:59 Speaker 5: And there were there were two cover songs on the

31:02 Speaker 5: album also, I wanted to mention that they came out

31:06 Speaker 5: as some of the best songs on the album.

31:08 Speaker 10: Really well, So I have one song, oh yeah, go ahead,

31:13 Speaker 10: go ahead, Oh no, go ahead, Tom finish her. I thought,

31:15 Speaker 10: 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

31:26 Speaker 5: want to be with You Tonight. That was a song

31:31 Speaker 5: by a Cleveland band called Lipstick. Back in the day,

31:36 Speaker 5: back in the nineteen eighties. I mean, you couldn't go

31:40 Speaker 5: out to a club and not see that group. You know,

31:43 Speaker 5: they were playing everywhere, and that song always kind of

31:47 Speaker 5: stuck in my head. It was a good song, and

31:49 Speaker 5: I think they released it. I think it charted a

31:52 Speaker 5: little bit on Billboard. I'm not sure. I think it did.

31:56 Speaker 5: But now I was sitting there on the studio one

31:59 Speaker 5: day just playing some stuff and wondering how certain things

32:05 Speaker 5: would sound. And I was like, I wonder if I could,

32:07 Speaker 5: you know, learn a little part of that song, and

32:10 Speaker 5: and and I when I played it back, and it

32:12 Speaker 5: sounded really good, and I was like, wow, you don't

32:15 Speaker 5: mentioned consider doing a cover version of this? And so

32:21 Speaker 5: I did, and I thought it came out pretty decent. Yeah,

32:27 Speaker 5: really groove. That had a groove to it. And I

32:31 Speaker 5: think that was played that featured on George Norri Coast

32:37 Speaker 5: to Coast.

32:37 Speaker 4: I am really George played that on that's I didn't know,

32:42 Speaker 4: oh like his bumper music or the whole song? Did

32:45 Speaker 4: did he actually play the whole thing?

32:49 Speaker 5: Oh? No, not the whole thing. Yeah, it was a

32:50 Speaker 5: bumper piece, uh, one of the on one of the

32:55 Speaker 5: Sunday night thingies that they do. But that was cool

32:59 Speaker 5: and and and the other cover song things fall apart

33:09 Speaker 5: that was a song by a Cleveland band called the Generators,

33:13 Speaker 5: and there were late seventies, early eighties, and I had

33:21 Speaker 5: a live recording that I found somewhere or something, was

33:25 Speaker 5: a real tape of them, and the version of that

33:29 Speaker 5: song on the tape was just lights out. It was

33:34 Speaker 5: just fabulous. It was great, and it was I think

33:38 Speaker 5: it was slower than the version that they released as

33:41 Speaker 5: 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

33:48 Speaker 5: and come out. And and so I was like, you know,

33:54 Speaker 5: I want to do that. I want to I want

33:56 Speaker 5: to do a cover of that song. And it's going

33:58 Speaker 5: to be at that speed too. And I studied all

34:02 Speaker 5: the parts that that one. I played all the instruments

34:05 Speaker 5: on also, and studied all the parts. I kept them

34:10 Speaker 5: to well what you then, their natural form, how they

34:17 Speaker 5: were played by the various musicians. I tried to keep

34:22 Speaker 5: it as true as as possible to the original performances

34:27 Speaker 5: and studied all the parts and actually played the drums

34:30 Speaker 5: on that too.

34:31 Speaker 4: Oh okay, very cool. Well we're going to in a moment,

34:36 Speaker 4: we're gonna play I want to be with You tonight.

34:39 Speaker 4: That's how we will end the segment. But Tom, I

34:43 Speaker 4: really appreciate you joining us this morning. This has been interesting.

34:46 Speaker 4: Like I said, your music is quite fascinating to me

34:49 Speaker 4: before we let you go, and like I said, we'll

34:53 Speaker 4: end with that track. I want to be with you

34:54 Speaker 4: tonight since you were just talking about it a moment ago.

34:57 Speaker 4: But anything we should know about, where's the best place

34:59 Speaker 4: to go to find you online for people who want

35:01 Speaker 4: to keep up with everything that you're doing. Uh, check

35:04 Speaker 4: out your music. I don't know if you have any

35:05 Speaker 4: live shows coming up, but where should people go online

35:08 Speaker 4: to keep up with Tom Modern?

35:13 Speaker 5: All I can say about that is the different streaming

35:17 Speaker 5: and download platforms. You know, we all we all know

35:22 Speaker 5: what those are. And because I don't have much of

35:26 Speaker 5: an online presence right now because recently I was thrown

35:30 Speaker 5: off of Facebook for promoting my album to radio stations

35:37 Speaker 5: and and so I'm not on Facebook anymore. Oh so

35:44 Speaker 5: I don't have a tommodern dot com yet. Yeah, maybe

35:48 Speaker 5: in the future. Yeah, So you know, the best way

35:51 Speaker 5: is streaming and download because these other social platforms, you know,

35:57 Speaker 5: 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

36:03 Speaker 4: like to say, if you just google Tom Modern music,

36:07 Speaker 4: everything comes right up. So I encourage people to find

36:09 Speaker 4: you that way too. But uh we will uh yeah,

36:12 Speaker 4: we will close out the segment with this track I

36:14 Speaker 4: want to be with you tonight. But Tom Modern, I

36:17 Speaker 4: appreciate you calling in. Uh it was a it was

36:20 Speaker 4: a little rough with Skype, but we figured it out

36:22 Speaker 4: and the phone connection got a lot better. So so

36:25 Speaker 4: it's wonderful to talk with you. And we will have

36:27 Speaker 4: 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

36:35 Speaker 4: I'm gonna hit this track all right, take care by

36:39 Speaker 4: bye bye. All right, everybody, that was Tom Modern. If

36:42 Speaker 4: you are listening live on Saturday morning, we have Willie

36:46 Speaker 4: Chase coming up next for the third hour. In fact,

36:49 Speaker 4: he has already arrived. I gotta go let him in.

36:51 Speaker 4: But check this out. This is called I Want to

36:54 Speaker 4: 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

37:44 Speaker 1: 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

38:43 Speaker 1: 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

40:09 Speaker 1: the magical side. And I tell him what you got

40:14 Speaker 1: 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

40:22 Speaker 1: chance fault you. But then I don't want you right

40:28 Speaker 1: a me.

40:29 Speaker 5: I tell him why you make promises. I tell him mom,

40:34 Speaker 5: 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

40:57 Speaker 1: don't want to go a ride so long to take

41:05 Speaker 1: 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

41:55 Speaker 11: and happy down Jesus all.

42:04 Speaker 1: So he said, advising one, you want me on the

42:08 Speaker 1: time with the time, he said that anything seems tell

42:22 Speaker 1: me my child say not to the times. I wish

42:35 Speaker 1: 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

44:13 Speaker 11: 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

44:38 Speaker 1: 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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47:42 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

47:52 Speaker 7: 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,

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48:33 Speaker 19: Behold the harmony of airwaves as you immerse yourself in

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49:00 Speaker 19: Service in the venerable city of Manchester, New Hampshire, USA.

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49:35 Speaker 4: This is Eleanor Langthorne from Vices Inc. And you're listening

49:38 Speaker 4: 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

50:42 Speaker 18: the current take me time, Let's time, let's time. We

50:59 Speaker 18: 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

51:48 Speaker 7: me back, whine my day.

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

52:05 Speaker 11: felt so.

52:14 Speaker 13: So never read of walking due dancing across the surface

52:31 Speaker 13: 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

53:37 Speaker 4: Chases here with us live in studio on this Saturday morning.

53:41 Speaker 4: That's very cold Saturday morning. But yeah, that's how new

53:46 Speaker 4: was that? You said you just wrote that with a

53:47 Speaker 4: 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

53:56 Speaker 20: week ago, and I had written the song thread probably

54:02 Speaker 20: five or six months ago. It sat for a while

54:04 Speaker 20: in my in my voice notes, yeah, on iPhone, as

54:07 Speaker 20: a lot of them do. And then I threw it

54:10 Speaker 20: over to my friend Ian Gallipo, who's from the Keen area,

54:14 Speaker 20: and he liked it, kind of wrote a chorus to it,

54:17 Speaker 20: maybe some verse parts I think, and then we just

54:21 Speaker 20: put our heads together over a video chat and kind

54:23 Speaker 20: of hammered it out. I had written that bridge, and yeah,

54:28 Speaker 20: it kind of came together and then I was kind

54:30 Speaker 20: of like, holy cow, we have a song, you know

54:32 Speaker 20: what I mean, which is a really cool moment as

54:34 Speaker 20: a songwriter.

54:35 Speaker 4: I feel like Ian Gallipo is a name that's come

54:37 Speaker 4: up on the show. I don't think he's ever been on.

54:40 Speaker 4: I would say I don't think he's ever been on,

54:41 Speaker 4: because it does become I've been doing this a long time.

54:43 Speaker 4: It does become a little bit of a blurk, of course,

54:45 Speaker 4: But I don't think he's been on the show. But

54:46 Speaker 4: I feel like his name comes up a lot on

54:48 Speaker 4: the show.

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

54:51 Speaker 20: 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,

54:58 Speaker 20: does all sorts of stuff with that and other things.

55:01 Speaker 20: But that's how I met him. And he's great man.

55:04 Speaker 20: If you've never heard his song little Things, check it out.

55:06 Speaker 20: It's a gut wrencher be ready to cry. Yeah, But

55:10 Speaker 20: he's just an incredible lyricist. He's an incredible musician and

55:13 Speaker 20: down to earth guy. You know, he's really enjoyable to

55:16 Speaker 20: be around. So I had a really good experience writing

55:18 Speaker 20: with him, you know, in the level that I'm at

55:21 Speaker 20: right now, there's no skin in the game really, you

55:23 Speaker 20: know what I mean. I'm kind of just starting out

55:25 Speaker 20: 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

55:30 Speaker 20: fill you in on in the backstore if you want.

55:32 Speaker 20: But but with the end, it's just great because we

55:34 Speaker 20: it's just pure creativity, you know what I mean, two

55:37 Speaker 20: musicians hanging out writing a song. There's no pressure to

55:40 Speaker 20: do anything. And for whatever reason, I was just kind

55:43 Speaker 20: of had that feeling when we were doing that together

55:45 Speaker 20: and and and that's what it's all about for me. Yeah,

55:47 Speaker 20: those kind of experiences and writing music and being just

55:50 Speaker 20: purely creative.

55:51 Speaker 4: No doubt. So you you've been a musician for a

55:54 Speaker 4: long time, as you said, but you only started writing

55:57 Speaker 4: 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

56:04 Speaker 20: our class instrumentalist. I was in like every music group,

56:08 Speaker 20: did all of it, show choir, I did a lot

56:10 Speaker 20: of theater.

56:11 Speaker 14: I was.

56:12 Speaker 20: I started in high school musical when I was in

56:14 Speaker 20: high school, all sorts of you know of stuff to

56:18 Speaker 20: lead me on my musical journey. And then I kind

56:20 Speaker 20: of I kind of went a totally different direction for

56:22 Speaker 20: the last decade. I got a degree in resort management

56:26 Speaker 20: and have worked at ski resorts and done all men

56:28 Speaker 20: of other things. But I never put down the guitar.

56:30 Speaker 20: That's kind of what kept it alive for me. And

56:32 Speaker 20: then yeah, like three years ago, I had a really

56:34 Speaker 20: good friend who was living around here, and she convinced

56:36 Speaker 20: me to go to an open mic up at Patrick's

56:38 Speaker 20: Pub in Guildford, New Hampshire. That's where I met John MacArthur,

56:41 Speaker 20: 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.

56:48 Speaker 20: And you know, especially in this context with the opportunities

56:51 Speaker 20: he's given me playing a lot of these bar gigs

56:53 Speaker 20: and stuff around here, which is just it's like with anything, right,

56:57 Speaker 20: if you want to be really good, you got to

56:58 Speaker 20: just put in time and hard work. It's kind of

57:00 Speaker 20: the grind that I've been on these last few years

57:02 Speaker 20: since doing that. And then you know, I've, like I said,

57:06 Speaker 20: I've been a musician my whole life, and I have

57:07 Speaker 20: a really I lean really heavily on my ear, Yeah,

57:10 Speaker 20: and I can be judgmental in that way. So I think,

57:13 Speaker 20: as most musicians will probably tell you, there's a lot

57:15 Speaker 20: of stuff that goes on with songwriting in terms of

57:18 Speaker 20: being hyper critical of yourself and self confidence, releasing tracks

57:21 Speaker 20: and everything. So you know, it's a slow process. But

57:25 Speaker 20: I'm in early production of making a record hopefully, and

57:28 Speaker 20: you know that might be one of the songs that's

57:29 Speaker 20: 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

57:34 Speaker 20: kind of youat to say. I Yeah, it's it's something

57:36 Speaker 20: I'm really interested in. But like I said, it's it's

57:38 Speaker 20: just tough not to be able to overly critical. But

57:40 Speaker 20: at this point in my life, on my early thirties,

57:43 Speaker 20: I I feel like it's a really good place to

57:46 Speaker 20: be doing what I'm doing with music. I think that

57:49 Speaker 20: if I had gone right into music school like I

57:52 Speaker 20: kind of wanted to after high school, after doing all

57:54 Speaker 20: 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

57:58 Speaker 20: really because yeah, I mean we had as been practices

58:00 Speaker 20: every morning before school. At six point forty, it was

58:03 Speaker 20: taking trumpet lessons. It's just completely saturated in music. Yeah,

58:08 Speaker 20: and not really knowing, you know, at that point in

58:10 Speaker 20: my life, you know, late teens, early twenties, you're just

58:12 Speaker 20: figuring out who you are, right. So all the experiences

58:15 Speaker 20: I've had over the last ten years of not being

58:17 Speaker 20: involved in music, I think have just fueled this crazy

58:19 Speaker 20: fire that I have now to write and collaborate with

58:22 Speaker 20: people and just really like I just started taking guitar

58:25 Speaker 20: lessons a couple, you know, maybe a month or two ago,

58:29 Speaker 20: with a really great guy. So I'm actually putting some

58:31 Speaker 20: of the old theory, knowledge that I have to use

58:34 Speaker 20: with like the fifteen years of guitar playing, just playing

58:37 Speaker 20: songs that I like to hear and play. Yeah, So

58:40 Speaker 20: it just feels really, really awesome, and I'm really grateful

58:42 Speaker 20: to be here doing what I'm doing now.

58:44 Speaker 4: You know, during the span of time where you you know,

58:48 Speaker 4: you had kind of gotten away from it all, did

58:50 Speaker 4: you always kind of know that you would come back

58:53 Speaker 4: to it, or did you really at the time kind

58:56 Speaker 4: of feel like you know that was you know, I'm

58:58 Speaker 4: sort of done with that. I'm sort of burnt out

59:00 Speaker 4: on it.

59:01 Speaker 20: If you asked me that question years ago, I probably

59:03 Speaker 20: would have told you the latter. I probably would have

59:05 Speaker 20: told you now, you know, And I think that comes

59:08 Speaker 20: from being jaded and my no, through no fault of

59:11 Speaker 20: his own, My trumpet teacher was one of the ones

59:13 Speaker 20: who convinced me not to go to school for like

59:16 Speaker 20: performance really yeah, which how much of that was actually

59:19 Speaker 20: him and how much of it was in my head?

59:20 Speaker 20: I can't really tell you, but you know, and his

59:24 Speaker 20: point was very valid. You know, forty years ago, there

59:27 Speaker 20: was just so many horn players working in places like

59:29 Speaker 20: New York, Boston, you know, all these clubs and theaters

59:31 Speaker 20: had live orchestras, and now it's just a percentage of

59:33 Speaker 20: what that was. So yeah, the statistics just make it

59:36 Speaker 20: pretty daunting. Yeah, but I think subconsciously, very deep down there,

59:41 Speaker 20: to answer your question, I think it was inevitable of

59:43 Speaker 20: coming back to music. I mean, it's just such a

59:45 Speaker 20: part of me. It's part of who I am, been

59:47 Speaker 20: part of who I am since a very young age.

59:50 Speaker 20: And like I said, you know, I rely heavily on

59:52 Speaker 20: my ear. I don't like to say I have a

59:53 Speaker 20: good ear because it's like, what does that mean.

59:55 Speaker 17: But