Matt Connarton Unleashed 9-13-25 hour 1

0:01 Speaker 1: Right now, the world radio premiere of the new single

0:06 Speaker 1: from f This is called My Prettiest Mistake.

0:10 Speaker 2: You're listening to wumin world premiere.

0:29 Speaker 3: And in a mod and that it's warming outside. I'm

0:35 Speaker 3: craving a cars following that WROP this night a shirt

0:40 Speaker 3: of the better.

0:42 Speaker 4: But I expect to suit guys. Oh, I was to

0:46 Speaker 4: gather the oh okays.

0:48 Speaker 5: They not.

0:52 Speaker 6: Let me.

0:57 Speaker 5: Have a made you pro My priend is missed.

1:14 Speaker 4: They found my person.

1:17 Speaker 3: Take me back to the mom kid stock.

1:22 Speaker 7: Side that I loved, sides fast to the spot change

1:28 Speaker 7: in my mom talk lead men.

1:39 Speaker 8: Have a miss.

1:43 Speaker 4: From Oh tell me what I'm missing?

1:55 Speaker 3: Somebody took my position and cass that's boy.

2:00 Speaker 4: Your sister away. I can listen a Hobey card you

2:05 Speaker 4: think in one day I by them that the sorta

2:10 Speaker 4: out and riding.

2:11 Speaker 5: They find no.

2:12 Speaker 9: Way to ficture that sell me a says somebody took

2:18 Speaker 9: about the session. It jas us by your sister the

2:22 Speaker 9: way with the actual listen hob becaud till one day

2:28 Speaker 9: I'm not done there that the song I'm riding, They

2:33 Speaker 9: find the way.

2:34 Speaker 5: The fitture.

3:40 Speaker 1: Right now, the world radio premiere of the new single

3:44 Speaker 1: from Tuesday Night whites. This is called time.

3:48 Speaker 2: You are listening to W M and H World Premiere, Black.

4:22 Speaker 10: Sye on the window sill he works in his phones

4:25 Speaker 10: eights some people still in mind, name and days where

4:28 Speaker 10: he shot out the seventh son, the black south of

4:34 Speaker 10: half his days.

4:35 Speaker 6: Can't remember the dreams he used.

4:37 Speaker 10: To parade by signs don up, just remember to fire

4:41 Speaker 10: the gun.

4:45 Speaker 6: He said. Time is like a mind you step to

4:49 Speaker 6: send you up, but you.

4:51 Speaker 11: Far too good for this out saw the phone looked,

5:04 Speaker 11: because you're far too talk through this town, because you're

5:16 Speaker 11: far too taught first town.

5:19 Speaker 6: Does she dream of.

5:20 Speaker 10: A better life while love came first to as a

5:23 Speaker 10: family strife on the bath? Does he chose seems not

5:26 Speaker 10: bounce the fire within? Does she face with those things

5:32 Speaker 10: on small though sadly Salmas on the factory floor that

5:35 Speaker 10: she believes as up Remember it a load the gun,

5:42 Speaker 10: she said, Time is like him mind.

5:44 Speaker 6: You was there to send you, but you far too

5:49 Speaker 6: cut through solf.

5:52 Speaker 12: Sot look your program this time.

6:13 Speaker 5: Protra time.

6:39 Speaker 13: Because time is like you can't monthy start to send you,

6:45 Speaker 13: but you far to go for this time. Because time

6:52 Speaker 13: is like you can't mindy start ton snd you you

6:57 Speaker 13: far to go for this time.

7:00 Speaker 14: So don't mutter. She falls you go s soun don't look.

7:21 Speaker 12: Cause you fot sa don't sound don't.

7:32 Speaker 15: Because you don't spy sound myself, because you don't prefer yourself.

7:48 Speaker 5: She said, time's gonna turn.

7:50 Speaker 12: My f canste the sound me to mister.

8:01 Speaker 14: My field.

8:38 Speaker 16: You're listening to Matt Connerton Unleashed on wm n H

8:43 Speaker 16: ninety five point three.

8:45 Speaker 1: Now it's the American radio premiere of the Way We're

8:49 Speaker 1: Rolling by Lydia. Ready, I can not act this.

8:59 Speaker 4: I like that.

9:01 Speaker 17: It doesn't matter out of the week because I exist

9:04 Speaker 17: for me. I can walk or I can't trash. It

9:08 Speaker 17: doesn't matter other way because I talk for me.

9:12 Speaker 12: Chatter sense shuts my purpose.

9:16 Speaker 6: You are so perfect, even if you don't over it.

9:19 Speaker 17: Oh my beer co comment shoulder all the way I'm commenting,

9:24 Speaker 17: And this is just the.

9:25 Speaker 4: Way we're rolling. This is just the way we're rolling.

9:39 Speaker 4: I can sit down, no stand up top. That is

9:43 Speaker 4: just the way it's kind of go. So I'll be

9:46 Speaker 4: me and you'll be you.

9:50 Speaker 17: That is what we've kind of you to try to

9:52 Speaker 17: get through you chats with sister shuts my purpose.

9:57 Speaker 8: You are some perfect even if your dog, call my

10:01 Speaker 8: pelf common.

10:02 Speaker 5: Shoulder all the way I comfort that this is just

10:06 Speaker 5: the way were rolling. Yeah, this is just the way

10:13 Speaker 5: we're rolling.

10:15 Speaker 6: Yeah.

10:16 Speaker 17: Yeah, someone just hurt you.

10:22 Speaker 18: This will hurt you.

10:24 Speaker 17: Turn over, think kid, They don't you, sir, know that

10:28 Speaker 17: you'll come through everything there you do be your own person.

10:32 Speaker 12: Thereby for you.

10:38 Speaker 5: Ye livel follow you. You gotta leave.

10:48 Speaker 12: Shadsman, sisir shots my cother.

10:52 Speaker 19: You're some perfect even if your jo told a a

10:56 Speaker 19: peep on the shoulder for the way I covered.

11:02 Speaker 12: Jenas Jess.

11:07 Speaker 5: If you don't know, oh show and this is just

11:14 Speaker 5: the lad.

11:20 Speaker 1: This is just the la.

11:27 Speaker 4: This is just the la.

11:41 Speaker 16: You are listening to macconnorton Unleashed on wm n H

11:46 Speaker 16: ninety five point three.

11:47 Speaker 1: And finally, the American radio premiere of the new single

11:51 Speaker 1: from Kyle Gordon. This is called She Chose Me.

12:36 Speaker 20: If the skies are gray, when the day is night,

12:40 Speaker 20: I can't find my way. If the day is night,

12:45 Speaker 20: it's homeless. Let me shine your skies part of me.

12:50 Speaker 20: I still on the stand. We sing that every night,

13:02 Speaker 20: all the hiving time. We don't always get it right.

13:11 Speaker 8: Don't know my dog no, no, don't know why she

13:23 Speaker 8: chugs me.

13:27 Speaker 5: Why sh't chose me.

13:47 Speaker 4: If you're far away?

13:49 Speaker 20: When the day is nine, I remain the same, just

13:54 Speaker 20: like black and why we should not a summer?

13:58 Speaker 21: Just why I mean to.

14:00 Speaker 14: The part of me.

14:02 Speaker 20: I still don't understand we had in bed e men.

14:09 Speaker 20: No need to turn up the line. Always share it time.

14:18 Speaker 20: We don't always get it right. I just want to

14:24 Speaker 20: get it right.

14:25 Speaker 5: It's not.

14:30 Speaker 8: No, no, she jumps me.

14:44 Speaker 5: Don't take the siss.

15:05 Speaker 22: The spect speaking set spect.

15:30 Speaker 8: Step outside of such.

16:39 Speaker 1: Welcome everybody, Here we go. It is that time again,

16:41 Speaker 1: Matt Connorton Unleashed and we are live bringing you a

16:44 Speaker 1: bunch of new music to start the show today, and

16:48 Speaker 1: you might hear that again later in the show. Of course,

16:50 Speaker 1: we've got the next few hours with you if you

16:52 Speaker 1: are listening live on Saturday morning. Matt Connorton Unleashed from

16:56 Speaker 1: the studios of wm n H ninety five point three

16:58 Speaker 1: FM and Glorious man Esther in New Hampshire. Today is

17:02 Speaker 1: a Saturday, September thirteen, twenty twenty five, and I am

17:06 Speaker 1: not alone.

17:14 Speaker 23: Jenny, Good morning, Sunshine.

17:20 Speaker 1: Jenny is here at the news table four. I am yes, yes,

17:24 Speaker 1: covered from my last week to DC yes, thank you,

17:31 Speaker 1: and uh, we got a couple of other fine people

17:34 Speaker 1: here in studio with us. Get those mics up here. So,

17:37 Speaker 1: one of whom has been on the show recently, Caleb Dyer, returns. Hello, Caleb, Hello, Hello,

17:41 Speaker 1: welcome back. It is good to see you.

17:43 Speaker 21: Yeah, good to see you as well.

17:44 Speaker 1: And you brought with you someone whose music we recently

17:48 Speaker 1: did a world radio premiere for. Yes, Santino Demante is here.

17:52 Speaker 21: Hello.

17:52 Speaker 1: Now that I know, now that I know how to

17:54 Speaker 1: say your name correctly, I apologize. I think the day

17:56 Speaker 1: we premiered the song, I was saying Demante.

17:59 Speaker 21: It works not out, but it's Demanty perfect.

18:02 Speaker 1: Yes, yes, So I'm glad we cleared that up, because

18:04 Speaker 1: I do try to get everyone's names correctly. I know

18:07 Speaker 1: what it's like to have people struggle with, you know,

18:09 Speaker 1: because my last name is very unusual. So in fact,

18:12 Speaker 1: in high school, my nickname was Canarton because the first

18:15 Speaker 1: day of school, the teachers they would, you know, they'd

18:18 Speaker 1: do the roll call and they'd get to my name

18:20 Speaker 1: and they'd inevitably they would all say Canarton, And so

18:24 Speaker 1: all my friends just started calling me that. But man,

18:29 Speaker 1: I got so used to it that even today, if

18:31 Speaker 1: someone mispronounces it, it takes me a second to remember

18:33 Speaker 1: to correct them right because I'm so used to it.

18:36 Speaker 1: But we did the world radio premiere for your debut single, Yes,

18:40 Speaker 1: Summer in the Sky, not only your first single as

18:44 Speaker 1: a solo artist, correct, but the inaugural release on Hatchet At.

18:49 Speaker 23: It's a mouthful hatchet acs and saw. But yes, it

18:52 Speaker 23: was our very first release. We're very proud of it.

18:55 Speaker 23: There's hopefully much more to come from the company. And yeah, no,

19:00 Speaker 23: I mean we poured our heart and soul into it.

19:02 Speaker 23: We we finished that tune in thirty days, which was

19:05 Speaker 23: an accelerated schedule for sure. Yeah, but we we put

19:09 Speaker 23: in just as much time and care and attention as

19:11 Speaker 23: we would any other project. And yeah, it came I

19:16 Speaker 23: thought it came out excellent. I could hear every element

19:19 Speaker 23: that I wanted to in it, and yeah, yeah, yeah.

19:21 Speaker 1: The production is great.

19:23 Speaker 21: Thank you.

19:24 Speaker 1: How involved are you so you're you're completely Why do

19:27 Speaker 1: you do? Do you engineer the track?

19:30 Speaker 23: And so for this, for this particular project with Tino,

19:33 Speaker 23: it was it was just Santino and myself. I was

19:37 Speaker 23: the principal engineer and then after we you know, got

19:41 Speaker 23: the tracks, after we recorded everything. We really sat down

19:45 Speaker 23: and we got to you know, putting a mix on

19:47 Speaker 23: it and getting the levels correct, and then you know,

19:49 Speaker 23: through to the mastering process. We did everything in house.

19:52 Speaker 23: Originally when the when the company was founded, we originally

19:55 Speaker 23: thought that we were going to have to kind of

19:56 Speaker 23: outsource some of the mastering, Yeah, just just to make

19:59 Speaker 23: things easier on us. But we purchased some software and

20:04 Speaker 23: we're imminently gonna be probably purchasing some more hardware that

20:07 Speaker 23: will make it even easier for us to do everything

20:10 Speaker 23: in house.

20:11 Speaker 1: So that's something I didn't realize. So you so you

20:13 Speaker 1: mastered this?

20:14 Speaker 21: Yes?

20:15 Speaker 23: This was uh, I mean well it was actually cooperatively

20:18 Speaker 23: I would say, mastered by Santino and myself. He was

20:21 Speaker 23: still involved down to the wire, right, right, so when

20:24 Speaker 23: we finished the tune. Uh, Santino was the person who

20:27 Speaker 23: made the final edits. So well, yes, I did apply

20:31 Speaker 23: the the effectuation right, the compression and equalization on the

20:35 Speaker 23: main you know, it was tweaked and it was dealt

20:39 Speaker 23: with by both of us.

20:40 Speaker 1: Okay, okay, outstanding, And uh, now what's kind of the plan,

20:44 Speaker 1: like do you have more?

20:46 Speaker 21: Are you?

20:46 Speaker 1: Are you just gonna release more singles? Or do you

20:49 Speaker 1: have an album or an EP and the works or what.

20:51 Speaker 21: I would like to do?

20:52 Speaker 18: So right now plan we have an EP for next

20:55 Speaker 18: spring probably excellent, excellent, So we're gonna spend some time

20:58 Speaker 18: work on that and spend some time this time.

21:00 Speaker 23: Yeah, it's going to be a little bit more drawn out,

21:04 Speaker 23: and I don't know exactly how many songs that it

21:07 Speaker 23: was four or five, five I believe, and in one

21:09 Speaker 23: of one of those songs will be recycling of somewhere

21:12 Speaker 23: in this Guy, So it's four additional and then somewhere

21:14 Speaker 23: in this Guy will be re released with the cool

21:16 Speaker 23: EP collection. So yeah, and there might be slight changes

21:20 Speaker 23: but I don't think very much will change concerning it.

21:23 Speaker 23: You never know, you never know, right, Yeah, we're going

21:25 Speaker 23: to obviously, when we release any collection of works, we

21:29 Speaker 23: listen back to each of them to make sure not

21:31 Speaker 23: only there's cohesivity between you know, each song, but that

21:36 Speaker 23: there's you know, continuity, right, that it feels good listening

21:42 Speaker 23: to it as if it was an album, right, you know.

21:45 Speaker 23: And and now I understand EPs can be diverse and

21:47 Speaker 23: you don't have to do that, but there is definitely

21:50 Speaker 23: a sort of theme if you will, Yeah, yeah, and.

21:54 Speaker 1: And something too that you know, you and Jesse when

21:58 Speaker 1: when you and Jesse Rutstine were here, you very clear

22:00 Speaker 1: that with with the label Hatchet Acts and saw I

22:03 Speaker 1: did it, I do. Jenny's heard me trip on it

22:07 Speaker 1: a thousand times that that uh, you know, you're you're

22:12 Speaker 1: really taking your time. And actually we were talking about

22:14 Speaker 1: it a little bit off air too before the show.

22:16 Speaker 1: You're really uh committed to making sure that everything's right.

22:20 Speaker 1: It's not just because sometimes people start something like a

22:23 Speaker 1: label or some other endeavor and they, uh, you know,

22:26 Speaker 1: they just kind of throw a lot of stuff against

22:28 Speaker 1: the wall and see what sticks.

22:29 Speaker 23: Very very haphazard. This this company certainly not doing that.

22:33 Speaker 23: The first two artists we signed, Santino and then Sarah Bird,

22:38 Speaker 23: who's actually one of Santino's colleagues, played with uh with

22:41 Speaker 23: Santino yesterday with Dog a Dog excellent and you know

22:45 Speaker 23: Sarah's tune. I can't wait to release that to the world.

22:48 Speaker 23: It's so musically interesting really and actually so in the

22:52 Speaker 23: same way where I principally engineered and you know, mixed

22:55 Speaker 23: and assisted with mastering Tino's tune, Jesse is to be

23:00 Speaker 23: working with Bird. So this is kind of we divide

23:03 Speaker 23: the labor right now kind of in this way, some

23:06 Speaker 23: of the mixing and mastering on birds tune might be me.

23:10 Speaker 23: I don't know exactly you know what's going to happen

23:14 Speaker 23: right now because they haven't finished tracking everything just yet.

23:17 Speaker 23: But once all is finalized, then you know, we have

23:20 Speaker 23: the discussion of like, okay, how we move forward. And

23:23 Speaker 23: in every instance, the artist is the principal creative director

23:27 Speaker 23: of course, this is this is how it goes, and

23:29 Speaker 23: we have to as producers, we have to effectuate the

23:33 Speaker 23: artist's intent. So you know, if I'm brought in to

23:36 Speaker 23: do anything, it's going to be with Bird. It's going

23:38 Speaker 23: to be with her as kind of directing me, guiding me.

23:42 Speaker 23: You know, what she wants in the tune. I've listened

23:45 Speaker 23: to the tune plenty, but you know I can't be her,

23:49 Speaker 23: I can't be in her mind. So I need to

23:51 Speaker 23: and that that's part of doing this I what I

23:53 Speaker 23: consider to be the right way, where you know, there

23:56 Speaker 23: are many recording companies and stuff where they will tell

23:59 Speaker 23: the artists like, oh, you need to write something that's saleable,

24:01 Speaker 23: you need to write something that that we you know,

24:03 Speaker 23: feel strong and confident in promoting and we frankly just

24:09 Speaker 23: don't care. Will you know, if it's original, if it's

24:12 Speaker 23: if it if we think it's good, if we think

24:15 Speaker 23: that the musicality is there, will produce it, and you know,

24:18 Speaker 23: we we'll we'll follow your direction. And I think that

24:22 Speaker 23: is something that is sorely lacking and missing in our

24:26 Speaker 23: musical culture in general. Yea, you know there to some degree,

24:30 Speaker 23: once you have enough money, you can buy creative freedom

24:33 Speaker 23: of us. There's a lot of there's a lot of

24:36 Speaker 23: creative direction that that comes in some of these companies.

24:39 Speaker 23: We're entirely antithetical.

24:41 Speaker 1: Yeah, no, I think that's that's excellent. Well, I think

24:43 Speaker 1: we should let's play the track Summer in the Sky

24:46 Speaker 1: for anyone who hasn't heard it yet. And of course

24:47 Speaker 1: this is out on all the streaming platforms and everything,

24:50 Speaker 1: and anything we should know before we play it, anything

24:52 Speaker 1: we should know about the song itself. Uh, Santino, do

24:55 Speaker 1: you have anything you want to.

24:56 Speaker 18: It's a it's a tribute to Brian Wilson. Yeah, you know,

25:00 Speaker 18: well I want to do something for him. I'm not

25:02 Speaker 18: normally a singer, but I tried it for this one.

25:04 Speaker 18: And you know, we'll see how that goes. But I

25:06 Speaker 18: just wanted to I want to just make something for

25:08 Speaker 18: him because he only passed away in July. And yep,

25:11 Speaker 18: that's really it's just a feel good uh tune. I

25:13 Speaker 18: don't even notice about It's about summer.

25:16 Speaker 1: My favorite time of year. So I I like, of

25:18 Speaker 1: course the sky right, very good. So without further ado,

25:21 Speaker 1: we'll give this a spin and then we'll come back

25:23 Speaker 1: and talk with these guys some more. But here it is.

25:25 Speaker 1: This is Summer in the Sky, Santino Demanti.

25:42 Speaker 5: The sound of the music, Mother, Mother, it s the snore,

26:17 Speaker 5: so the snore, So.

26:29 Speaker 8: Go away with the dream sons, Roddy, the dreams, the

26:36 Speaker 8: Indian perfect. I did dreams that the day abouts did

26:43 Speaker 8: the shoe streams the same season stream mollen Stone.

26:50 Speaker 6: But that thing.

26:56 Speaker 5: So it's sun.

27:08 Speaker 23: Stop so in the store, so.

27:24 Speaker 5: Stops and stop.

27:56 Speaker 1: So scot, Oh, that is so good, Summer in the Sky.

28:13 Speaker 21: Thank you.

28:14 Speaker 1: The debut release from Santino Demonti, and of course the

28:18 Speaker 1: debut release from Hatchet Acts and Saw Records. And we

28:21 Speaker 1: have both the Santino and Caleb Dyer from Hatchet Acts

28:25 Speaker 1: and Saw See Now that I can say.

28:28 Speaker 21: At I know it is. It is a mouthful.

28:31 Speaker 1: No, it's a great name though. I love it. I

28:33 Speaker 1: love it, and uh, you and you and Jesse shared

28:36 Speaker 1: how you came up with the name and everything, uh

28:37 Speaker 1: when you were on and that was that was really interesting.

28:40 Speaker 1: But I'm also so I'm curious about the production of

28:43 Speaker 1: the track because you know, it's got that you know,

28:46 Speaker 1: it's got an old school vibe, you know, and as

28:48 Speaker 1: you said, Santino, it's a tribute to Brian Wilson in effect.

28:53 Speaker 1: How hard was it to get because that's that's a

28:56 Speaker 1: tricky thing, right, to get that that kind of sound

28:59 Speaker 1: and that vibe vibe without screwing it up. Because you

29:02 Speaker 1: got it. You want to get that sound in that vibe,

29:04 Speaker 1: but you also need to make it sound you know,

29:07 Speaker 1: right modern.

29:09 Speaker 23: In the wise words of SpongeBob technique. Technique technique. It's

29:14 Speaker 23: all about technique. And if you know how these things

29:17 Speaker 23: were originally done, you can reverse engineer them. Okay, It's

29:21 Speaker 23: it's pretty pretty much that simple. I will say we

29:24 Speaker 23: did on some things we used more modern techniques. So

29:28 Speaker 23: for example, the drum captures are not recorded in the

29:30 Speaker 23: same way that they would have been recorded back in

29:33 Speaker 23: that time. But that was done deliberately because we wanted

29:37 Speaker 23: to add certain textures and overlay things. So there were

29:42 Speaker 23: certain things that were not kind of those old techniques,

29:45 Speaker 23: but actually a lot of what we did for the guitars,

29:49 Speaker 23: like the signal chains, a lot of what we did,

29:52 Speaker 23: you know, on the actual mastering of it, the actually

29:55 Speaker 23: the software emulations that we use, because you know, we

29:58 Speaker 23: are working digitally for the vast majority of everything, with

30:01 Speaker 23: the exception of the actual signal going into the digital path.

30:05 Speaker 23: But even on the digital side, the software emulations that

30:09 Speaker 23: we were using were very much tools or emulations of

30:11 Speaker 23: tools that would be from that era, and some of

30:14 Speaker 23: them sounded better than others. So we we you know,

30:17 Speaker 23: gravitated towards what to our years felt right, but really

30:22 Speaker 23: it was it was technique. That's really just it. If

30:24 Speaker 23: you again, if you know how they did it, you

30:27 Speaker 23: can reverse engineer it.

30:29 Speaker 21: Okay.

30:29 Speaker 1: Yeah, Is that the most challenging thing you've done as

30:32 Speaker 1: far as recording?

30:33 Speaker 23: Oh no, not even close. No, really, ok yeah, I

30:37 Speaker 23: mean it's of as of late, it's uh, it's you know,

30:42 Speaker 23: it's more interesting. But I would say the most challenging

30:44 Speaker 23: things to record was some of my own stuff and

30:48 Speaker 23: and and I mean none of that's been released, but yeah,

30:51 Speaker 23: that's a that's a totally different discussion. Yeah, but yeah,

30:55 Speaker 23: some of that was was extraordinarily difficult to kind of

30:59 Speaker 23: get what it should sound like because you know, the

31:03 Speaker 23: different techniques available to you, the different sorts of microphones,

31:07 Speaker 23: placement of microphones, all different manners of waves of capturing sound,

31:12 Speaker 23: and then all of the ways to process sound, and

31:15 Speaker 23: you have to get to get the right sound, you

31:17 Speaker 23: have to get both of those things correct.

31:19 Speaker 1: So Santino, when you did you write the song yourself?

31:23 Speaker 1: You Yeah, when you came up with the song, did

31:27 Speaker 1: the did what ended up being the song the finished product?

31:31 Speaker 1: Did that match what you had in your head?

31:33 Speaker 4: Or was it?

31:34 Speaker 9: Was it?

31:34 Speaker 1: I mean I imagine it was probably even better, right.

31:36 Speaker 18: But well so kind of because like I wrote it

31:39 Speaker 18: on piano like months ago, probably Okay, in my head,

31:43 Speaker 18: I'd like, you know, one by one kind of like

31:45 Speaker 18: imagine like what would make sense for it to be there,

31:48 Speaker 18: or like what I imagine it to be there?

31:49 Speaker 21: Right?

31:49 Speaker 18: Yeah, And for so long, like such a long time

31:53 Speaker 18: of having to be able to sort of like process

31:56 Speaker 18: like what should be there, Like when we started recording it.

31:58 Speaker 18: I feel like it just kind of fell in place,

32:00 Speaker 18: and there were elements I think that are different, but

32:05 Speaker 18: you know, a lot of it was just.

32:08 Speaker 21: Very good.

32:09 Speaker 4: Yeah.

32:09 Speaker 23: It was just what are we feeling? Or actually what

32:12 Speaker 23: Tina was feeling. Because I didn't play a single note

32:14 Speaker 23: on this. Everything that was done was Tina And which

32:18 Speaker 23: is interesting because there there have been people that have

32:21 Speaker 23: you know, worked with where you know, I've assisted of

32:24 Speaker 23: done things where you know, like hey, play based on

32:27 Speaker 23: it or something like that. Yeah, and you know that's cool,

32:30 Speaker 23: but I try as much as possible, I want the

32:33 Speaker 23: artist's intent to be effectuated by whatever we're doing.

32:37 Speaker 21: Yeah.

32:37 Speaker 18: I also think it depends on who comes in with

32:39 Speaker 18: a specific mindset, like would you like the producer to

32:41 Speaker 18: take more charge or maybe have someone else add some

32:44 Speaker 18: more ideas. And I guess since I had so much

32:46 Speaker 18: time to do nothing else to think of it, it

32:48 Speaker 18: was so specific, and I thought that just doing it

32:49 Speaker 18: myself would give it that specific tention.

32:52 Speaker 23: He came in with a super clear creative direction and

32:55 Speaker 23: that made what I was doing easy. I mean, truly,

32:58 Speaker 23: it was just it was about, Okay, now all I

33:02 Speaker 23: have to do is on the recording side of it.

33:04 Speaker 23: Suggests techniques that will effectuate that intent. He told me.

33:08 Speaker 23: He told me coming in. Basically, it's a tribute to

33:11 Speaker 23: Brian Wilson, his life and his memory and how it

33:13 Speaker 23: affected him musically.

33:15 Speaker 18: Yeah, yeah, and I will say that to cut you off,

33:17 Speaker 18: but I just think that the help that you gave

33:19 Speaker 18: me a singing primarily. I think Caleb is a very

33:21 Speaker 18: good coach in vocals. I've learned a lot singing from him,

33:25 Speaker 18: whereas I may have had some things a little more

33:27 Speaker 18: like you know, experience just doing certain things. But like

33:30 Speaker 18: I think singing has been a big thing that Caleb

33:33 Speaker 18: could help anyone with.

33:34 Speaker 23: You know, I certainly try. My only musical training is

33:38 Speaker 23: on voice in the hear. I never was trained on

33:42 Speaker 23: any of the other instruments or very briefly piano lessons.

33:45 Speaker 23: But I stopped that when I realized that I knew

33:47 Speaker 23: more musically than the teacher did, wow, which that is strangely,

33:52 Speaker 23: and I tried to find I tried to find another teacher,

33:55 Speaker 23: and I just was kind of disappointed once that I

33:57 Speaker 23: was seeking out. But with regards to voice and ear,

34:02 Speaker 23: I mean as my first things that I did was

34:05 Speaker 23: doing vocal arrangements in high school. And you know, while

34:11 Speaker 23: I don't really sing very much now, I sing on

34:14 Speaker 23: my own unreleased things, but I don't sing much anymore

34:18 Speaker 23: in any of the groups I'm in, except for maybe

34:20 Speaker 23: some backups. But yeah, I encourage if vocalists are coming

34:25 Speaker 23: in and doing work with us. I can certainly, and

34:29 Speaker 23: I'm not gonna be pushy, but some things are universal

34:32 Speaker 23: in a recorded context, like you need to enunciate, you know,

34:36 Speaker 23: clear things unless you want to slur your lyrics. But

34:42 Speaker 23: you know, I yeah, anyhow, I love working with certainly

34:47 Speaker 23: Santino and anyone else who's coming in to do work

34:50 Speaker 23: with us, and you know, guide them through the process

34:54 Speaker 23: of here's how we get the sound right, because you're

34:56 Speaker 23: creating the sound, but to get it to sound like

34:59 Speaker 23: you want on our record, it requires a whole separate

35:02 Speaker 23: set of science and and that's the part that I

35:05 Speaker 23: think a lot of gigging musicians kind of miss.

35:08 Speaker 1: Yeah. Yeah, well said I'm curious sus Santino about uh,

35:13 Speaker 1: tell us a little bit more about your affinity for

35:15 Speaker 1: Brian Wilson and.

35:16 Speaker 21: Is he is he likely?

35:18 Speaker 23: Is he?

35:19 Speaker 20: Is he?

35:19 Speaker 1: Is he your biggest influence or is he?

35:21 Speaker 21: Yeah?

35:21 Speaker 18: Yeah, I love Jimmy Page. Definitely Jimmy Hendrix. Oh yeah,

35:25 Speaker 18: but I mean, uh, fellow left handed guy. I appreciate

35:28 Speaker 18: Hendricks very much, that's right. But in my last couple

35:31 Speaker 18: of years, I think I've really, I've really been taken

35:35 Speaker 18: aback almost by Brian Wilson. Uh, and just his capability

35:40 Speaker 18: as a as a just all around musician, I guess,

35:43 Speaker 18: and arrange your composer things like that. Yeah, and yeah,

35:48 Speaker 18: like I never heard anything, you know, like like it

35:51 Speaker 18: before a lot of people know the Beach Boys for

35:53 Speaker 18: kind of the surf rock thing, but uh, there's really

35:56 Speaker 18: really complex arrangements.

35:57 Speaker 21: That he's done. Like if you listen pet sounds sound speaking.

36:02 Speaker 23: Of vocal arrangements, Speaking of vocal arrangements, I mean, I've

36:06 Speaker 23: said this for some time and I can't take credit.

36:09 Speaker 23: I don't know who can take credit for saying this first.

36:11 Speaker 23: But the Beach Boys weren't so much a surf rock

36:15 Speaker 23: group as they were like a barber shop quartet, exactly

36:18 Speaker 23: rock band behind him and and it you know, that

36:22 Speaker 23: stuff is magical. I mean, very few people are trying

36:25 Speaker 23: to do anything like that anymore. And when Fantino came

36:29 Speaker 23: with this project and he's like, I want to do

36:31 Speaker 23: some crazy vocal stacks as of someone who you know,

36:34 Speaker 23: comes from a vocal arranging background. And I didn't even

36:37 Speaker 23: have to arrange it, right, Yeah, I didn't even have

36:40 Speaker 23: to do any of this. He just comes in there

36:42 Speaker 23: and he hears all the notes in the harmonic series

36:44 Speaker 23: that he wants to hit, and he's just like, all right,

36:46 Speaker 23: there it is.

36:46 Speaker 18: Yeah, man, it's just it's a fun time. It's just

36:49 Speaker 18: it's fun more than anything, you know, to put something

36:52 Speaker 18: out there, you know, it means a lot. So I'm

36:54 Speaker 18: appreciative for sure.

36:55 Speaker 1: Had you ever done anything like this before, because obviously,

36:58 Speaker 1: you know you've done other projects and well and minute

37:00 Speaker 1: we'll talk about the other the band that you guys

37:02 Speaker 1: have together, But had you ever done anything like that

37:06 Speaker 1: before that? That really kind of serves as such a

37:09 Speaker 1: fantastic tribute to Bran Wilson.

37:11 Speaker 21: Thank you.

37:13 Speaker 18: I've written tunes, you know, for this purpose. Well, I

37:16 Speaker 18: guess in that regard, But this is the first time

37:19 Speaker 18: that I've recorded it with a good friend of mine

37:23 Speaker 18: in a good studio. You know, I think I've recorded

37:25 Speaker 18: a billion demos and stuff, you know, anything like that, even.

37:28 Speaker 23: Demos with mego we we have some songs together. One

37:33 Speaker 23: of them I think is going to get resurrected as

37:35 Speaker 23: a song for Crank and Wagon pretty soon when tune

37:38 Speaker 23: called the Fugitive, which I think is gonna eventually appear

37:43 Speaker 23: on a concept album that Paul Fry is dreaming up

37:46 Speaker 23: in his head. It's a collective effort, but it's definitely

37:50 Speaker 23: mostly his creative vision in terms of the story, and

37:54 Speaker 23: we're just following that intent because we think it's a

37:56 Speaker 23: good idea. Yeah, we actually just did a show yesterday

38:01 Speaker 23: at Wormtown out in Greenfield, mass We played the set

38:05 Speaker 23: and it was space themed and the theme of the

38:08 Speaker 23: just to this was as Crank and Wagon. Yes, this

38:10 Speaker 23: Cranking Wagon where I play orgon for the listeners out there.

38:13 Speaker 23: I play organ and occasionally some electric piano and stuff,

38:17 Speaker 23: and mister Santino Demante plays percussion and drums, and Paul

38:21 Speaker 23: Fries the guitar, and we had Nick Vortruba from Bass Sabbath,

38:25 Speaker 23: which I'm wearing their shirts for all the all the

38:27 Speaker 23: people watching out there wearing Bass Sabbath. He's in a

38:32 Speaker 23: very nice tribute band, but he played bass with us

38:33 Speaker 23: yesterday and it was fantastic. Oh wow, I you know,

38:37 Speaker 23: I hope, uh, I hope he does more with us.

38:40 Speaker 23: But even if even if not, even if it was

38:42 Speaker 23: just a one off, it was still an excellent gig,

38:45 Speaker 23: a great gig.

38:47 Speaker 1: Well, I'm curious to know more about because I haven't

38:49 Speaker 1: actually heard crankin Wagon, so I'm curious to just to

38:51 Speaker 1: know more about it, like what's.

38:53 Speaker 23: Like, what is it?

38:54 Speaker 18: It's a good fusion of like rock and some progressive

38:58 Speaker 18: elements too. Oh yeah, yeah, so it makes is I

39:01 Speaker 18: think it blends like maybe simpler rock and roll with

39:05 Speaker 18: like a good interesting, sort of different flair. And you're

39:09 Speaker 18: really a big part of the music in that, So

39:10 Speaker 18: I think you could even attest to more of that,

39:12 Speaker 18: you know, I think, you know, in my.

39:15 Speaker 23: View, and you know, Paul has his own influences that

39:19 Speaker 23: he brings to the table, but in my view, the

39:21 Speaker 23: influences that I'm bringing are sort of that seventies progressive rock, Emerson,

39:27 Speaker 23: Lake and Palmer. Of course, I'm a massive Keith Emerson fan.

39:31 Speaker 23: Yesterday we covered a deep purple tune. We covered Space

39:33 Speaker 23: Truck in Nice, which was heavy, man, absolutely heavy, And

39:38 Speaker 23: you know, I'm a massive John Lord fan. Yesterday at

39:42 Speaker 23: the gig, I wore a Boston shirt. Tom Schultz is

39:45 Speaker 23: another musical hero of mine on the organ, and I mean,

39:47 Speaker 23: if you listen to that music, you know, if you

39:50 Speaker 23: listen to all of that in the way that the

39:52 Speaker 23: organ drives it in his central to the rock and

39:57 Speaker 23: roll and the classical elements. Even yesterday we opened up

40:01 Speaker 23: the show with Son Andolfgang, but Tay God stalls. We

40:04 Speaker 23: opened up a rock show with a classical piece, right,

40:09 Speaker 23: and you know, like you you don't hear that in

40:15 Speaker 23: like I've I've literally in the last decade, I've not

40:19 Speaker 23: heard another band doing something musically ambitious like that. And

40:24 Speaker 23: then the way that we plan transitions between songs and

40:27 Speaker 23: everything else we do is original. We usually throw in

40:30 Speaker 23: one cover for the people, but everything else we do

40:32 Speaker 23: is original. And I mean we play with the time signatures.

40:36 Speaker 23: We you know, even do some tempo play as well,

40:39 Speaker 23: where we kind of will drag things and be a

40:41 Speaker 23: little bit timmy whimy, But it's all deliberate. It's not

40:45 Speaker 23: it's not like it was not meant to be there.

40:47 Speaker 23: It's very very meticulously placed and and that I think

40:53 Speaker 23: is what separates that musical group from a lot of

40:56 Speaker 23: other ones that you'll hear it's it's just very it's

41:01 Speaker 23: very deliberate, very composed.

41:04 Speaker 1: Now, how long has Crank and Wagon been around? How

41:06 Speaker 1: long have you been?

41:07 Speaker 23: Only about a year? I mean a little over a year.

41:09 Speaker 23: But it's had various forms, and I'd actually like to

41:14 Speaker 23: show appreciation to some of the past members because I

41:17 Speaker 23: mean they, you know, they did excellent things with it

41:20 Speaker 23: and it's just continued on. But the original drummer was

41:24 Speaker 23: Cam Clark and he's a fantastic drummer. He's continuing to

41:28 Speaker 23: do other things now, not exactly sure what he's up to,

41:31 Speaker 23: but Cam Clark was with us, and then for a

41:34 Speaker 23: period of time earlier this year, we had Chris Drew

41:37 Speaker 23: play play a number gigs. He's the bass player in

41:39 Speaker 23: Dog a Dog, which of course it's a natural, natural

41:42 Speaker 23: flow over for him to be playing with us. Then

41:46 Speaker 23: we did a three piece gig where it was just

41:48 Speaker 23: me left handing the bass. Really yeah, yeah, And I

41:51 Speaker 23: mean that's the cool dynamic thing about the Wagon is

41:54 Speaker 23: that you know, we can play a gig is a

41:56 Speaker 23: three piece with no bass player, or we can add

41:58 Speaker 23: a bass player and have all of this texture and

42:02 Speaker 23: you know it, we can do whatever we want to

42:05 Speaker 23: do musically really yeah, and and and that sort of

42:08 Speaker 23: creative liberty is I think it's it's getting much more rare.

42:13 Speaker 23: I think a lot of musicians put themselves into a box.

42:16 Speaker 23: They don't need to. I think they they think that

42:20 Speaker 23: all these odd time signatures, these different you know, ways

42:23 Speaker 23: to feel music and to convey emotion with music. I

42:26 Speaker 23: think they feel almost like, oh, it's too wacky, it's

42:29 Speaker 23: too scary, and and like different, and like what if

42:33 Speaker 23: we don't execute it right? And you know what if

42:35 Speaker 23: it doesn't And you know, all of these things exist

42:37 Speaker 23: within musicians heads. They just need to bite in overpower. Yeah,

42:43 Speaker 23: And you know Crank and Wagon is that it is fearless,

42:48 Speaker 23: absolutely fearless. You know, we'll we'll have like a nice

42:51 Speaker 23: rock and groovy section one time, and then all of

42:54 Speaker 23: a sudden we'll break into five, or we'll break into

42:56 Speaker 23: seven eight, or you know, or Will will insert a

42:59 Speaker 23: random measure of nine to eight just because we can

43:03 Speaker 23: in already an odd time sequence. And and Tino does

43:07 Speaker 23: exactly what I'm referencing, because he was the one. But

43:12 Speaker 23: you know, we we just we play with every element

43:15 Speaker 23: of the music that we can make it interesting. And

43:19 Speaker 23: something that the listener just doesn't expect, And and that's

43:23 Speaker 23: what I value in musical compositions, and I know Santino

43:26 Speaker 23: does as well.

43:27 Speaker 18: Absolutely, Yeah, And then what's the plan as far as recording?

43:32 Speaker 18: Oh so well, hopefully pretty soon. You might know more

43:36 Speaker 18: than I do actually at this point kind of.

43:37 Speaker 23: Sort of, I mean, but we've we've spoken about it

43:39 Speaker 23: down there, so we have our nice little whiteboard with

43:41 Speaker 23: our our plans, our evil plants.

43:44 Speaker 20: Yes.

43:44 Speaker 23: But anyhow, so coming soon is going to be an EP.

43:49 Speaker 23: I believe it's going to be six songs. It's gonna

43:51 Speaker 23: contain our self titled track, Crank and Wagon, and it

43:55 Speaker 23: will have, you know, a few other morsels of things

43:59 Speaker 23: that people who have seen us live have have already

44:01 Speaker 23: kind of gotten to know. But it's that's going to

44:05 Speaker 23: be mostly things that we wrote in the very beginning, okay,

44:08 Speaker 23: and some one thing I think that was written a

44:11 Speaker 23: little bit later, But most of it is original sort

44:15 Speaker 23: of Crank and Wagon, the founding, the genesis of the band,

44:18 Speaker 23: Paul Frye mostly his direction and writing in those songs.

44:22 Speaker 23: And then once we complete that, once we put that out,

44:25 Speaker 23: then we'll set work on the concept album that was

44:28 Speaker 23: aforementioned that is mostly driven by Paul's creative direction in

44:31 Speaker 23: terms of the story, but musically, I would say this

44:35 Speaker 23: is where Santino and I sort of start to get

44:39 Speaker 23: more aggressive in terms of how we color the ideas

44:44 Speaker 23: of mister Frya. And in some of the writing is

44:49 Speaker 23: is Zappa esque, some of it is Emerson, you know,

44:52 Speaker 23: Keith Emerson and Emerson Lake and Palmer esque, and then

44:55 Speaker 23: some of it is more in the vein of Paul

44:58 Speaker 23: Frye and the you know, secure eighties kind of poland

45:02 Speaker 23: vibe that he is going for. And the name Crank

45:05 Speaker 23: and Wagon kind of comes for an affinity from this

45:09 Speaker 23: post World War two sort of Cold War music from

45:13 Speaker 23: the Eastern Bloc and even actually parts of Western Europe

45:16 Speaker 23: as well, where it was unique, like not droning music,

45:24 Speaker 23: but music that was born of the despair of living

45:30 Speaker 23: in a place that was impoverished, oppressed, where you know,

45:36 Speaker 23: people didn't have creative freedom. Really if you had it,

45:39 Speaker 23: it was underground and it was not easy to share.

45:43 Speaker 23: And that I think inspires all of us, all three

45:46 Speaker 23: of us in the band, to varying degrees, but the

45:50 Speaker 23: idea that we use this band as a vehicle for

45:54 Speaker 23: exactly what we want to put out into the world

45:57 Speaker 23: and that no one's going to tell us how we

46:01 Speaker 23: should do it. And if you like it, you like.

46:04 Speaker 23: If you don't, you don't. But it is definitely it's

46:08 Speaker 23: not your stereotypical standards straight up rock and roll. It's

46:12 Speaker 23: very out there, right.

46:14 Speaker 21: Yeah.

46:15 Speaker 1: How often does Crank and Wagen play?

46:17 Speaker 21: Do you? Guys play a lot?

46:18 Speaker 23: Fairly and frequently really, And that's deliberate. We're trying to

46:24 Speaker 23: what we do when we play live. We're trying to

46:27 Speaker 23: theme our sets. So the last several shows we've had

46:31 Speaker 23: have had different themes that we've stuck to. So when

46:34 Speaker 23: we the last show we did prior to this, it

46:37 Speaker 23: was Jurassic Park themed, Oh Wow, and we did the motif.

46:40 Speaker 23: We played the John Williams motif in three different keys

46:45 Speaker 23: throughout the throughout the sets so that we would transition

46:48 Speaker 23: seamlessly into other songs. But we we did that John

46:52 Speaker 23: Williams motif and that again, like rock bands that will

46:56 Speaker 23: just put John Williams into their sets like that, it

47:01 Speaker 23: just you don't hear about that. It doesn't happen, and

47:05 Speaker 23: we just do it because we can because musically we

47:09 Speaker 23: all have the ability, and we think it serves the songs,

47:13 Speaker 23: it serves the set and delivers a creative and interesting

47:17 Speaker 23: product to the people who are there in the audience.

47:21 Speaker 23: And we don't want to we don't want to be

47:26 Speaker 23: delivering just sets where it's like stopping in between every

47:28 Speaker 23: song and you know, we're like leaving dead air. We

47:32 Speaker 23: want to be really making people surprise. It's like, oh,

47:36 Speaker 23: they went into that song immediately, like what, how do

47:40 Speaker 23: they even do that? And we want to create that

47:43 Speaker 23: magic and to do that we need more time in

47:46 Speaker 23: between shows. We need to be able to construct the

47:48 Speaker 23: sets really meticulously, get them where we want them to be.

47:51 Speaker 23: And it's the same as recording. It's like, you know,

47:55 Speaker 23: Santino's well aware of this led Zeppelin as a band,

47:58 Speaker 23: and I would argue a lot of it is is

48:01 Speaker 23: much more musically simple, especially the earliest stuff, but there

48:06 Speaker 23: was a lot of the stuff from led Zeppelin that

48:08 Speaker 23: they took a long time in between to really get

48:13 Speaker 23: what they wanted for a musical idea right and feeling

48:17 Speaker 23: the way that they want to convey that emotion, and

48:20 Speaker 23: that is so important when you're doing something that is

48:23 Speaker 23: musically intricate.

48:24 Speaker 1: But yeah, now that's that's really interesting to the concept of,

48:28 Speaker 1: you know, making every show, you know, have a theme

48:32 Speaker 1: and have it be different because that I don't I

48:33 Speaker 1: can't think of anyone who really does that.

48:35 Speaker 21: Yeah, there's the top of my head.

48:36 Speaker 1: I can't think of any Yeah, there are some.

48:38 Speaker 23: Some bands that do themed shows and things like that,

48:42 Speaker 23: and you know, bands that will dress up and costume

48:44 Speaker 23: to do it. Sure where maybe the show itself, the

48:47 Speaker 23: music itself is not themed, but but just the idea.

48:51 Speaker 23: I forget when it was when we kind of started

48:53 Speaker 23: doing that, but it was earlier this year, for sure.

48:56 Speaker 23: It was at the beginning of this year, and I

48:57 Speaker 23: think Paul just are just like, hey, let's do this

49:00 Speaker 23: theme for Strange Creek, and we just dressed up that way.

49:03 Speaker 23: We didn't really do much musically. Yeah, I guess we

49:06 Speaker 23: put take Me Out to the Ballgame as an intro

49:08 Speaker 23: for our first song called America's Pastime, which which is

49:12 Speaker 23: a little bit of a play on words. But anyhow,

49:17 Speaker 23: So we do things like that where we you know,

49:19 Speaker 23: we inject interesting ideas and we try to make the

49:23 Speaker 23: listener and the person who's in the audience think a

49:25 Speaker 23: little bit more about the music because We've thought a

49:28 Speaker 23: lot about the music.

49:30 Speaker 1: Yeah, now that's fantastic. When is the next Cranking Wagon show?

49:34 Speaker 1: Do you have something coming around?

49:36 Speaker 23: So the Wagon? The Wagon is coming to I think

49:41 Speaker 23: we're playing October tenth and eleventh. I think tenth is

49:44 Speaker 23: in Rhode Island. I forget the exact venue. Sorry, sorry

49:48 Speaker 23: to the listeners. October eleventh, though, is at Ralphs Rock

49:51 Speaker 23: and Diner and Worcester and I believe we're going to

49:54 Speaker 23: be playing with Bass Sabbath. That show is actually not

49:57 Speaker 23: going to be super themed. However, we are going to

50:00 Speaker 23: be doing some of the music of Pink Floyd We

50:05 Speaker 23: One of the covers we used to do, which we've

50:07 Speaker 23: kind of left out of recent sets was Sid Barrett

50:10 Speaker 23: Eric Floyd we did. I was the name of that?

50:13 Speaker 9: In the.

50:15 Speaker 21: It went, uh, I forget the name. The name, Oh

50:20 Speaker 21: my god, something a cat.

50:25 Speaker 5: Yeah.

50:26 Speaker 23: The lyric, yeah, it's in F sharp. I know all

50:31 Speaker 23: the notes, something about like a devil. No, I forget

50:36 Speaker 23: what the name of it is.

50:38 Speaker 21: Not thinking, I can't believe.

50:40 Speaker 23: I can't even quote the song, and I can play

50:43 Speaker 23: Lucifer Yes, Yes, Lucifer Sam Yes, early Sid Barrett aera

50:47 Speaker 23: Floyd So we're probably gonna reincorporate that along with some

50:50 Speaker 23: other Pink Floyd classics that you know well. But so

50:55 Speaker 23: that that show is a little bit of a one

50:57 Speaker 23: off where we're doing more covers than we would normally do,

51:00 Speaker 23: but we will still play originals and uh, you know

51:02 Speaker 23: that the focus is always on the original.

51:04 Speaker 1: Yeah, so excellent. And what about playing Summer in the

51:07 Speaker 1: Sky out like, did you if you had a chance

51:10 Speaker 1: to play that out live? Or what what's their plans

51:13 Speaker 1: to or I haven't thought about that.

51:15 Speaker 18: Yeah, so I mean I would like to assemble the

51:19 Speaker 18: band of some time next year and maybe do some

51:21 Speaker 18: some stuff like that, But for now, I'm just really

51:23 Speaker 18: enjoying the recording of it and make sure it's a

51:26 Speaker 18: good polished thing. And yeah, you know, in time, I

51:28 Speaker 18: think it's totally possible, you know.

51:29 Speaker 23: Yeah, there's a lot of elements on that and to

51:32 Speaker 23: do to do it live, to do it live without

51:35 Speaker 23: horns or strings would be would be very.

51:37 Speaker 18: Difficult thing as possible, but definitely uh something to plan out,

51:40 Speaker 18: and you know.

51:41 Speaker 1: It'd be hard to you know, I mean, if if pressed,

51:44 Speaker 1: you could pull out an acoustic guitar.

51:46 Speaker 23: Exactly to do the harmony vocal stacks on it and

51:50 Speaker 23: to really to really get the feel of.

51:52 Speaker 18: Yeah, getting a band together to do it somewhat justice

51:55 Speaker 18: is totally possible even without things like you know, vocal

51:58 Speaker 18: stacks or or strings, oorns or whatever. But yeah, it's

52:01 Speaker 18: just it's finding the groove of it and finding everyone's

52:03 Speaker 18: place in it, you know.

52:04 Speaker 1: Yeah.

52:05 Speaker 21: So yeah, totally is something that could happen for sure.

52:07 Speaker 23: Yeah yeah, I mean we certainly know people who are

52:10 Speaker 23: musically good enough to make that happen about that doubt

52:13 Speaker 23: so absolutely Yeah.

52:16 Speaker 21: Yeah.

52:16 Speaker 1: Uh, well, A time goes quickly, guys, and I do

52:18 Speaker 1: want to play I think we're going to play that

52:19 Speaker 1: song once more once more to end the segment.

52:22 Speaker 21: O great, great, thank you.

52:24 Speaker 1: What is there anything? Guy's got a lot going on.

52:27 Speaker 1: I do want to make sure though, is there anything

52:28 Speaker 1: coming up that you want to mention that we didn't.

52:30 Speaker 23: Talk about or well, I will say, if you're local

52:33 Speaker 23: to New Hampshire and you want to come see me tomorrow,

52:36 Speaker 23: I'm going to be in Milford, New Hampshire doing a

52:38 Speaker 23: blues jam something totally different. Wow, we open open everyone.

52:42 Speaker 23: I do that with Craig Thomas the second Sunday of

52:44 Speaker 23: every month out at Riley's Place in Milford, Okay, and

52:48 Speaker 23: it's a fantastic jam. You can pretty much come and

52:51 Speaker 23: play anything, though it is more blues focused, and I

52:55 Speaker 23: would love to see people there and play with you

52:58 Speaker 23: because I love meeting all kinds of local musicians, especially

53:01 Speaker 23: people were passionate about crazy and wild music. But yeah,

53:06 Speaker 23: come on out have some fun.

53:08 Speaker 21: That that's me. I know.

53:09 Speaker 23: Tino's got his own schedules.

53:10 Speaker 18: So yeah, after yesterday the show we played, we were

53:14 Speaker 18: talking about earlier, we're finally getting a nice break. So

53:18 Speaker 18: as of now I can't think of anything. So I

53:20 Speaker 18: get to maybe sleep a little bit or record some more.

53:23 Speaker 18: So yeah, but maybe I'll check out that blues jam

53:25 Speaker 18: that Caleb's doing too.

53:27 Speaker 1: You know what's funny as on a side about Milford,

53:30 Speaker 1: So Milford for for for people listening online from other

53:33 Speaker 1: parts of the country, Milford, New Hampshire, it's just this town.

53:37 Speaker 1: It's not like a big metropolitan area, right, It's just

53:40 Speaker 1: a small town in New Hampshire. But for whatever reason,

53:43 Speaker 1: like Milford comes up on the show all the time

53:46 Speaker 1: and it sounds like like there's just a lot going

53:49 Speaker 1: on There's it's so weird.

53:52 Speaker 23: It's like, there's so many there's so many places in town,

53:56 Speaker 23: in that town that have live music. And it's because

53:59 Speaker 23: the people in and around that little kind of part

54:02 Speaker 23: of that valley, sow he Can Valley just they love

54:05 Speaker 23: local music and they love all kinds of different stuff.

54:08 Speaker 23: But I will say they do it for proclivity to blues,

54:10 Speaker 23: no question. Yeah, the age and the demographic there's a

54:13 Speaker 23: lot for blues musicians there, but yeah, for just about everything.

54:18 Speaker 23: They have so much diverse wild Yeah, it's great. It's

54:21 Speaker 23: awesome to see.

54:22 Speaker 1: Yeah, it is, Yeah, it is. Yeah, you don't expect it,

54:25 Speaker 1: but yeah, Milford comes up all the time on the show, Caleb.

54:29 Speaker 1: Where is the best place for people go online to

54:31 Speaker 1: keep up with everything that Hatchet Acts and Saw Records

54:33 Speaker 1: is doing?

54:34 Speaker 23: Hatchet Action Saws on Facebook. We do not yet have

54:37 Speaker 23: a website, but you can find us on Facebook Hatchet

54:40 Speaker 23: Actions and Saw Records, And I believe we're getting some

54:43 Speaker 23: other social set up where you know, we're a little

54:46 Speaker 23: bit slacking on the socials, but we are. We're not

54:49 Speaker 23: slacking on the music.

54:50 Speaker 1: Oh that's for sure.

54:50 Speaker 21: That's for sure.

54:51 Speaker 1: Yeah. Yeah. And Santino, where should people go? Well, the

54:55 Speaker 1: single of course, is on all the platforms right, all

54:57 Speaker 1: the streaming platforms, somewhere in the sky. Where else should

54:59 Speaker 1: people go to keep up with everything that you're doing?

55:02 Speaker 21: I have I have a Facebook page, Instagram page. Is

55:06 Speaker 21: my name?

55:07 Speaker 18: Yeah, yeah, there's the basic things for sure. You want

55:09 Speaker 18: to spell your last name for people who don't, Yes,

55:11 Speaker 18: D E, capital M O N T E. Very good

55:16 Speaker 18: and now I know how to say it tracktly. Guys,

55:19 Speaker 18: this has been wonderful. Thank you both so much. Thank

55:21 Speaker 18: you great.

55:22 Speaker 1: Absolutely, we'll definitely do this again in the future, and

55:24 Speaker 1: I think too, we're gonna We're gonna see Caleb on

55:27 Speaker 1: the podcast version of the show at some point in

55:29 Speaker 1: your future too. But we will end this segment with this.

55:32 Speaker 1: We're gonna play this again, Summer in the Sky, the

55:34 Speaker 1: debut single from Santino di Monty as a solo artist

55:38 Speaker 1: on Hatchet Acts and Saw Records. So this is really good.

55:40 Speaker 1: If you missed it earlier, we're gonna play this again,

55:42 Speaker 1: and if you are listening live on Saturday. Coming up

55:44 Speaker 1: next hour, we have Keith sam Land and his project

55:48 Speaker 1: Alien Stone. He's going to be joining us via Microsoft Teams,

55:51 Speaker 1: so really looking forward to talking with him. He's got

55:53 Speaker 1: a really interesting sound. Uh so uh, there is plenty

55:56 Speaker 1: more to come, but right now here it is summer

55:58 Speaker 1: in the sky. This is Santino Demantis.

56:04 Speaker 8: And sounder dating that so long by pussion that's in

56:08 Speaker 8: the un stain, and the sound so rogan.

56:13 Speaker 5: It colors the world. But the sound of the music play.

56:19 Speaker 8: And up gown and borrow they running up. That's a

56:24 Speaker 8: long sound scorn, and it's another. It is sun in

56:44 Speaker 8: the sky.

56:52 Speaker 5: Scor so.

57:02 Speaker 8: Go away with the dream.

57:04 Speaker 19: The sons of Rod, the dress, the deific prefet to

57:12 Speaker 19: dreams that the dams, the huge streams.

57:17 Speaker 5: The same season stream woman stone face.

57:22 Speaker 12: But that.

57:29 Speaker 6: So s.

57:39 Speaker 5: The sun in the snore song in the store, So.

57:57 Speaker 8: Snot so.

58:23 Speaker 12: S S.

58:30 Speaker 21: S called

58:37 Speaker 23: S