Santino DeMonte and Caleb Dyer | Matt Connarton Unleashed

0:00 Speaker 1: We got a couple of other fine people here in studio with us. Get those mics up here. So, one of whom has been on the show recently, Caleb Dyer, returns. Hello, Caleb, Hello, Hello, welcome back. It is good to see you.

0:11 Speaker 2: Yeah, good to see you as well.

0:12 Speaker 1: And you brought with you someone who's music. We recently did a world radio premiere for Santino Demanti is here.

0:20 Speaker 2: Hello.

0:21 Speaker 1: Now that I know, now that I know how to say your name correctly, I apologize. I think the day we premiered the song, I was saying Demante it.

0:27 Speaker 2: Works down south, but it's Demante perfect.

0:30 Speaker 1: Yes, yes, So I'm glad we cleared that up, because I do try to get everyone's names correctly. I know what it's like to have people struggle with, you know, because my last name is very unusual. So in fact, in high school my nickname was Canarton because the first day of school, the teachers they would, you know, they'd do the roll call and they'd get to my name and they'd inevitably they would all say Canarton. And so all my friends have started calling me that. But uh man, I got so used to it that even today, if someone missed pronounces it.

1:00 Speaker 1: It takes me a second to remember to correct them right because I'm so used to it. But we did the world radio premiere for your your debut single, Yes, Summer in the Sky, not only your first single as a solo artist, correct, but the inaugural release on Hatchet At.

1:17 Speaker 3: It's a mouthful hatchet accent saw. But yes, it was our very first release. We're very proud of it. There's hopefully much more to come from the company. And yeah, no, I mean we poured our heart and soul into it. We we finished that tune in thirty days, which was an accelerated schedule for sure.

1:36 Speaker 2: Yeah, but we we put.

1:37 Speaker 3: In just as much time and care and attention as we would any other project. And yeah, it came I thought it came out excellent. I could hear every element that I wanted to in it, and yeah, yeah.

1:49 Speaker 1: Yeah, the production is great.

1:51 Speaker 2: Thank you.

1:52 Speaker 1: How involved are you so you're you're completely like do you do do you engineer the track?

1:58 Speaker 3: And so for this, for this particular the project with Tino, it was it was just Santino and myself. I was the principal engineer and then after we you know, got the tracks, after we recorded everything. We really sat down and we got to you know, putting a mix on it and getting the levels correct, and then you know, through to the mastering process. We did everything in house. Originally when the house, when the company was founded, we originally thought that we were going to have to kind of outsource some of the mastering, Yeah, just just to make things easier on us.

2:29 Speaker 3: But we purchased some software and we're imminently going to be probably purchasing some more hardware that will make it even easier for us to to do everything in house.

2:39 Speaker 1: So that's something I didn't realize. So you so you mastered this?

2:43 Speaker 2: Yes?

2:43 Speaker 3: This was I mean well it was actually cooperatively I would say, mastered by Santino and myself. He was still involved down to the wire, right, right, so when we finished the tune. Uh, Santino was the person who made the final edits. So well, yes, I did apply the the effectuation right, the compression and equalization on the main you know, it was tweaked and it was dealt with by both of us.

3:08 Speaker 1: Okay, okay, outstanding and uh, now what's kind of the plan, like do you have more? Are you? Are you just gonna release more singles or do you have an album or an EP and the works or what.

3:20 Speaker 4: I would like to do? So right now playing we have an EP for next spring probably excellent, excellent, So we're gonna spend some time work on that and spend some time this time.

3:29 Speaker 2: Yeah.

3:29 Speaker 3: Yeah, it's gonna be a little bit more drawn out. And I don't know exactly how many songs that it was four or five, five I believe, and in one of one of those songs will be recycling of Somewheer in this Guy, So it's four additional and then Somewhere in the Sky will be re released with the cool EP collection. So yeah, and there might be slight changes, but I don't think very much will change concerning it. You never know, you never know, right, Yeah, we're gonna obviously, when we release any collection of works, we listen back to each of them to make sure not only there's cohesivity between you know, each song, but that there's you know, continuity, right that it feels good listening to it as if.

4:11 Speaker 2: It was an album, right, you know.

4:13 Speaker 3: And and now I understand EPs can be diverse and you don't have to do that, but there is definitely a sort of theme if you will.

4:21 Speaker 1: Yeah, yeah, and and something too that you know, you and Jesse when when you and Jesse Rutstein were here, you made very clear that with with the label Hatchet Acts and saw I did it, I do Jenny's heard me trip on it a thousand times that that uh, you know, you're you're really taking your time. And actually we were talking about it a little bit off air too before the show. You're really uh committed to making sure that everything's right. It's not just because sometimes people start something like a label or or some other endeavor and they, uh, you know, they just kind of throw a lot of stuff against the wall and see what sticks.

4:57 Speaker 3: Very very haphazard. This this company certainly not doing that. The first two artists we signed, Santino and then Sarah Bird, who's actually one of Santino's colleagues, played with uh with Santino yesterday with Dog a Dog excellent and you know Sarah's tune. I can't wait to release that to the world. It's so musically interesting, really and actually so in the same way where I principally engineered and you know, mixed and assisted with mastering Tino's tune. Jesse is principally working with Bird.

5:29 Speaker 3: So this is kind of we divide the labor right now kind of in this way, some of the mixing and mastering on Bird's tune might be me. I don't know exactly you know what's going to happen right now because they haven't finished tracking everything just yet. But once all is finalized, then you know, we have the discussion of like, okay, how we move forward. And in every instance, the artist is the principal creative director. Of course, this is how it goes, and we have to as produce, we have to effectuate the artist's intent.

6:02 Speaker 3: So you know, if I'm brought in to do anything, it's going to be with Bird. It's going to be with her as kind of directing me, guiding me. You know what she wants in the tune. I've listened to the tune plenty, but you know I can't be her, I can't be in her mind. So I need to and and that that's part of doing this. I what I consider to be the right way, where you know, there are many recording companies and stuff where they will tell the artists like, oh, you need to write something that's saleable, you need to write something that that we, you know, feel strong and confident in promoting and we frankly just don't care.

6:38 Speaker 3: Will you know, if it's original, if it's if it if we think it's good, if we think that the musicality is there, will produce it, and you know, we'll we'll follow your direction. And I think that is something that is sorely lacking and missing in our musical culture in general. You know, there to some degree, once you have enough money can buy creative freedom. Of course, there's a lot of there's a lot of creative direction that that comes in some of these companies.

7:07 Speaker 2: We're entirely antithetical.

7:09 Speaker 1: Yeah, no, I think that's that's excellent. Well, I think we should let's play the track Summer in the Sky for anyone who hasn't heard it yet. And of course this is out on all the streaming platforms and everything, and anything we should know before we play it, anything we should know about the song itself. Santino, do you have anything you want.

7:24 Speaker 4: To it's a it's a tribute to Brian Wilson. Yeah, you know, I want to do something for him. I'm not normally a singer, but I tried it for this one. And you know, we'll see how that goes. But I just wanted to I want to just make something for him because he passed away in July. And yeah, that's really it's just a feel good, uh tune. I don't even know what it's about. It's about summer, my favorite time of year. So I like, of course we're in the sky right, very good.

7:48 Speaker 1: So without further ado, we'll give this a spin and then we'll come back and talk with these guys some more. But here it is. This is Summer in the Sky Santino Demanti.

8:00 Speaker 5: Sound gaining that's so long, but the pussion that's in an upstad and the sound so rogating coms the world. But the sound of the music way and updown b they running up. That's it up sons and it's another.

8:31 Speaker 6: Wit s.

8:40 Speaker 5: S So go away with the jos Sons and brod

9:03 Speaker 5: the dress the auld prefect time to dreams that the damots me the shot streams the same season stream Woman stone Face but bating the.

9:35 Speaker 6: Sun in the snow song in the store.

9:51 Speaker 5: So SnO, m.

10:05 Speaker 4: M m.

10:39 Speaker 1: Oh, that is so good. Summer in the Sky, Thank you. The debut release from Santino Demanti, and of course the debut release from Hatchet Acts and Saw Records, and we have both the Santino and Caleb Dyer from Hatchet Acts and Saw See.

10:54 Speaker 2: Now that I can say, I know it is it is a mouthful.

11:00 Speaker 1: No, it's a great name though. I love it. I love it and uh, you you and you and Jesse shared how you came up with the name and everything, uh when you were on and that was that was really interesting. But I'm also so I'm curious about the production of the track because you know, it's got that you know, it's got an old school vibe, you know, and as you said, Santino, it's a tribute to Brian Wilson in effect. How hard was it to get because that's that's a tricky thing, right to get that that kind of sound and that vibe without screwing it up.

11:30 Speaker 1: Because you got it. You want to get that sound in that vibe, but you also need to make it sound you know, modern in.

11:37 Speaker 3: The wise words of SpongeBob technique. Technique technique. Yeah, it's all about technique. And if you know how these things were originally done, you can reverse engineer them. Okay, It's it's pretty pretty much that simple. I will say, we did. On some things we used more modern techniques. So for example, the drum captures are not recorded in the same way that they would have been recorded back in that time, but that was done deliberately because we wanted to add certain textures and overlay things.

12:08 Speaker 3: So there were certain things that were not kind of those old techniques. But actually a lot of what we did for the guitars, like the signal chains, a lot of what we did, you know, on the actual mastering of it, the actually the software emulations that we use, because you know, we are working digitally for the vast majority of everything, with the exception of the actual signal going into the digital path. But even on the digital side, the software emulations that we were using were very much tools or emulations of tools that would be from that era, and some of them sounded better than others.

12:44 Speaker 3: So we you know, gravitated towards what to our years felt right, but really it was it was technique.

12:51 Speaker 2: That's really just it. If you again, if you know how they did it, you can reverse engineer it.

12:57 Speaker 1: Okay, is that the most challenging thing you've done as far as recording?

13:01 Speaker 2: Oh no, not even close.

13:03 Speaker 3: No, really, ok yeah, I mean, it's of as of late, it's uh, it's you know, it's more interesting. But I would say the most challenging things to record was some of my own stuff really and and and I mean none of that's been released, but yeah, that's a that's a totally different discussion. Yeah, yeah, but yeah, some of that was was extraordinarily difficult to kind of get what it should sound like because you know, the different techniques available to you, the different sorts of microphones, placement of microphones, all different manners of waves of capturing sound, and then all of the ways to process sound, and you have to get to get the right sound.

13:45 Speaker 2: You have to get both of those things correct.

13:48 Speaker 1: So Santino, when you did you write the song yourself? You you yeah, when you came up with the song, did the did what ended up being the song the finished product? Did that match what you had in your head?

14:02 Speaker 2: Or was it?

14:02 Speaker 1: Was it? I mean I imagine it was probably even better, right, but.

14:05 Speaker 4: Well so kind of because like I wrote it on piano like months ago and probably okay, in my head, i'd like, you know, one by one kind of like imagine like what would make sense for it to be there, or like what I imagined it to be there, right, Yeah, and for so long, like such a long time of having to be able to sort of like process like what should be there. Like when we started recording it, I feel like it just kind of fell in place, and and uh, there were elements I think that are different, but you know, a lot of it was just very good.

14:37 Speaker 3: Yeah, it was just what are we feeling? Or actually what Tina was feeling? Because I didn't play a single note on this. Everything that was done was Tina And which is interesting because there there have been people that have you know, worked with where you know, I've assisted of done things where you know, like hey, play bas on it or something like that. Yeah, and you know that's cool, But I try, as much as possible, I want the artist's intent to be effectuated by whatever we're doing.

15:05 Speaker 1: Yeah.

15:05 Speaker 4: I also think it depends on who comes in with a specific mindset, like would you like the producer to take more charge or maybe have someone else add some more ideas. And I guess since I had so much time doing nothing else to think of the song, it was so specific and I thought that just doing it myself.

15:18 Speaker 2: Would give it that specific touch.

15:20 Speaker 3: Yeah, he came in with a super clear creative direction, and that made what I was doing easy. I mean truly, it was just it was about Okay, Now, all I have to do is on the recording side of it, suggest techniques that will effectuate that intent.

15:36 Speaker 2: He told me. He told me coming in.

15:38 Speaker 3: Basically, it's a tribute to Brian Wilson, his life and his memory and how it affected him.

15:42 Speaker 2: Musically.

15:43 Speaker 4: Yeah, yeah, and I will say that not to cut you off, but I just think that the help that you gave me is a singing primarily. I think Caleb is a very good coach in vocals. I've learned a lot singing from him. Yeah, Whereas I may have had some of things a little more like you know, experience just doing certain things. But like I think singing has been a big thing that I can't look it he up anyone with you.

16:02 Speaker 3: Know, I certainly try. My only musical training is on voice in ear. I never was trained on any of the other instruments, or very briefly piano lessons. But I stopped that when I realized that I knew more musically than the teacher did, wow, which that is strangely, and I tried to find I tried to find another teacher, and I just was kind of disappointed in once that I was seeking out. But with regards to voice and ear, I mean as my first things that I did was doing vocal arrangements in high school.

16:37 Speaker 3: And you know, while I don't really sing very much now, I sing on my own unreleased things, but I don't sing much anymore in any of the groups I'm in, except for maybe some backups. But yeah, I encourage if vocalists are coming in and doing work with us, I can certainly, and I'm not gonna be pushy, but somethings are universal and a recorded context, like you need to enunciate, you know, clear things unless you want to.

17:06 Speaker 2: Slur your lyrics and right right.

17:09 Speaker 3: But but you know, I I yeah, anyhow, I I I love working with certainly Santino and anyone else who's coming into to do work with us, and you know, guide them through the process of here's how we get the sound right, because you're creating the sound, but to get it to sound like you want on our record, it requires a whole separate set of science and and that's the part that I think a lot of gigging musicians kind of miss.

17:37 Speaker 1: Yeah, well, said, I'm curious to Santino about, Uh, tell us a little bit more about your affinity for Brian Wilson and is he is he?

17:45 Speaker 2: Like?

17:46 Speaker 1: Is he? Is he? Is he your biggest influence or is he?

17:49 Speaker 2: Yeah?

17:49 Speaker 4: Yeah, I love Jimmy Page, Jimmy Hendrix, Oh yeah, but I mean, uh, fellow left handed guy.

17:56 Speaker 2: I appreciate Hendricks very much, that's right.

17:58 Speaker 4: But in my last couple of year, I think I've really, I've really been taken aback almost by Brian Wilson. Uh and just his capability as a as a just all around musician, I guess, and arrange your composer things like that, yea, and yeah, like I never heard anything you know, like like it before a lot of people know the Beach Boys for kind of the surf rock thing, but there's really really complex arrangements that he's done.

18:28 Speaker 2: Sounds sound speaking of vocal arrangements.

18:32 Speaker 3: Speaking of vocal arrangements, I mean, I've said this for some time and I can't take credit. I don't know who can take credit for saying this first. But the Beach Boys weren't so much a surf rock group as they were like a barber shop quartet with exactly rock band behind them, and and it you know, that stuff is magical. I mean, very few people are trying to do anything like that anymore. And when Santino came with this project and he's like, I want to do some crazy is the vocal stacks as of someone who you know, comes from a vocal arranging background.

19:05 Speaker 2: And I didn't even have to arrange.

19:06 Speaker 1: It, right, Yeah, I didn't even have.

19:08 Speaker 2: To do any of this.

19:08 Speaker 3: He just comes in there and he hears all the notes in the harmonic series that he wants to hit and he's just like, all right there it is.

19:14 Speaker 4: Yeah, yeah, man, it's just it's a fun time. It's just it's fun more than anything, you know, to put something out there, you know, it means a lot. So I'm appreciative for sure.

19:24 Speaker 1: Had you ever done anything like this before, because obviously, you know you've done other projects and we'll in a minute, we'll talk about the other the band that you guys have together, but had you ever done anything like that before that? That really kind of serves as such a fantastic tribute.

19:38 Speaker 2: To thank you.

19:41 Speaker 4: I've written tunes, you know, for this purpose, I guess in that regard, but this is the first time that I've recorded it with a good friend of mine in a good studio. You know, I think I've recorded a billion demos and stuff, you know, things like that.

19:56 Speaker 3: Even demos with mego. We have some songs together. One of them I think is going to get resurrected as a song for Crank and Wagon pretty soon, when tune called the Fugitive, which I think is gonna eventually appear on a concept album that Paul Fry is dreaming up in his head. It's a collective effort, but it's definitely mostly his creative vision in terms of the story, and we're just following that intent because we think it's a good idea.

20:25 Speaker 2: Yeah.

20:26 Speaker 3: We actually just did a show yesterday at Wormtown out in Greenfield, mass We played the set and it was space themed.

20:34 Speaker 2: And the theme of the Crank and Wagon.

20:38 Speaker 3: Yes, this is Cranking Wagon where I play orgon for the listeners out there. I play orgon and occasionally some electric piano and stuff, and mister Santina Demante plays percussion and drums, and Paul fryes the guitar, and we had Nick Vatruba from Bass Sabbath, which I'm wearing their shirt for all the all the people watching out there.

20:58 Speaker 2: Wearing bass. Sabbath.

20:59 Speaker 3: He's a very nice tribute band. But he played bass with us yesterday and it was fantastic. Oh I you know, I hope, I hope he does more with us. But even if, even if not, even if it was just a one off, it was still an excellent gig, a great gig.

21:15 Speaker 1: Well, I'm curious to know more about it, because I haven't actually heard Crank, and so I'm curious to just to know more about it, like what's like, what is it?

21:22 Speaker 4: It's a good fusion of like rock and some progressive elements too. Oh yeah, yeah, so it makeses. I think it blends like maybe simpler rock and roll with like a good interesting, sort of different flair. And you're really a big part of the music in that, So I think you could even attest to more of that, you know, I think.

21:42 Speaker 3: You know, in my view, and you know, Paul has his own influences that he brings to the table, But in my view, the influences that I'm bringing are sort of that seventies progressive rock, Emerson, Lake and Palmer. Of course, I'm a massive Keith Emerson fan. Yeah, yesterday we covered a deep purple tune. We covered Space Truck in.

22:02 Speaker 2: Nice, which was heavy man, absolutely heavy.

22:06 Speaker 3: And you know, I'm a massive John Lord fan. Yesterday at the gig, I wore a Boston shirt. Tom Schultz is another musical hero of mine on the organ, and I mean, if you listen to that music, you know, if you listen to all of that in the way that the organ drives it and is central to the rock and roll and the classical elements. Even yesterday we opened up the show with Son Andolf Gang, but take out stalls. We opened up a rock show with a classical piece, right, and you know, like you you don't hear that in like I've I've literally in the last decade, I've not heard another band doing something musically ambitious like that.

22:52 Speaker 3: And then the way that we plan transitions between songs and everything else we do is original. We usually throw in one cover for the people, but everything else we do is original. And I mean we play with the time signatures. We you know, even do some tempo play as well, where we kind of we'll drag things and be a little bit timmy wymy, But it's all deliberate. It's not It's not like it was not meant to be there. It's very very meticulously placed and and that I think is what separates that musical group from a lot of other ones that you'll hear.

23:27 Speaker 3: It's it's just very it's very deliberate, very composed.

23:33 Speaker 1: Now, how long has Crank and Wagon been around? How long have you as been? Only about a year? I mean a little over a year.

23:38 Speaker 3: But it's had various forms and and I'd actually like to show appreciation to some of the past members because I mean they you know, they did excellent things with it, and it's just continued on. But the original drummer was Cam Clark and he's a fantastic drummer's continuing to do other things now not exactly sure what he's up to, but Cam Clark was with us. And then for a period of time earlier this year, we had Chris Drew play play a number of gigs. He's the bass player in Dog Eate Dog, which of course it's a natural natural flowover for him to be playing with us.

24:14 Speaker 3: Then we did a three piece gig where it was just me left handing the bass. Really yeah, yeah, And I mean that's the cool dynamic thing about the Wagon is that you know, we can play a gig is a three piece with no bass player, or we can add a bass player and have all of this texture and you know, we can do whatever we.

24:33 Speaker 2: Want to do musically.

24:34 Speaker 1: Really cool.

24:34 Speaker 3: Yeah, and in that sort of creative liberty is I think it's it's getting much more rare. I think a lot of musicians put themselves into a box. They don't need to. I think they they think that oh, these odd time signatures, these different you know, ways to feel music and to convey emotion with music. I think they feel almost like, oh, it's too wacky, it's too scary and like different, and like what if we don't execute it right? And you know what if it doesn't And you know, all of these things exist within musicians heads.

25:07 Speaker 3: They just need to fite in overpower. And you know, crank and Wagon is that it is fearless, absolutely fearless. You know, we'll we'll we'll have like a nice rock and groovy section one time, and then all of a sudden we'll break into five, or we'll break into seven eight, or you know, or will will insert a random measure of nine to eight just because we can and in already an odd time sequence, and and Tino knows exactly what I'm referencing because he was the one. But you know, we we just we play with every element of the music that we can make it interesting and something that the listener just doesn't expect.

25:50 Speaker 3: And and that's what I value in musical compositions, and I know Santino does as well.

25:55 Speaker 4: Absolutely, Yeah, And then what's the plan as far as recording? Oh so well, hopefully pretty soon. You might know more than I do actually at this point kind of.

26:05 Speaker 3: Sort of, I mean, but we've we've spoken about it down there, so we have our nice little whiteboard with our plans, our evil plans. But anyhow, so coming soon is going to be an EP. I believe it's going to be six songs. It's gonna contain our self titled track, Crank and Wagon, and it will have, you know, a few other morsels of things that people who have seen us live have have already kind of gotten to know. But it's that's going to be mostly things that we wrote in the very beginning, okay, and some one thing I think that was written a little bit later, But most of it is original sort of Crank and Wagon, the founding, the genesis, of the band, Paul Frye mostly his direction and writing in those songs, and then once we complete that, once we put that out, then we'll set work on the concept album that was aforementioned that is mostly driven by Paul's creative direction in terms of the story.

27:01 Speaker 3: Musically, I would say this is where Santino and I sort of start to get more aggressive in terms of how we color the ideas of mister fry Okay, interesting, and some of the writing is is Zappa esque, some of it is Emerson, you know, Keith Emerson and Emerson Lake and Palmer esque, and then some of it is more in the vein of Paul Frye and the you know, obscure eighties kind of poland vibe that he is going for. Yeah, and the name Crank and Wagon kind of comes for an affinity from this post World War two sort of Cold War music from the Eastern Bloc and even actually parts of Western Europe as well, where it was unique, like not droning music, but music that was born of the despair of living in a place that was impoverished, oppressed, where you know, people didn't have creative freedom.

28:06 Speaker 3: Really, if you had it, it was underground. And it was not easy to share, and that I think inspires all of us, all three of us in the band, to varying degrees, but the idea that we use this band as a vehicle for exactly what we want to put out into the world, and that no one's going to tell us how we should do it.

28:31 Speaker 2: And if you like it, you like it. If you don't, you don't.

28:35 Speaker 3: But it is definitely it's not your stereotypical standards straight up rock and roll.

28:39 Speaker 2: It's very out there.

28:41 Speaker 1: Right yea. How often does Crank and Wagen play? Do you guys play? A lot?

28:47 Speaker 3: Fairly and frequently really, And that's deliberate. We're trying to what we do when we play live. We're trying to theme our sets. So the last several shows we've had have had different themes that we've stuck to. So when we the last show we did prior to this, it was Jurassic Park themed, Oh Wow, and we did the motif. We played the John Williams motif in three different keys throughout the throughout the set so that we would transition seamlessly into other songs. But we we did that John Williams motif and that again, like rock bands that will just put John Williams into their sets like that.

29:29 Speaker 3: It just you don't hear about that. It doesn't happen. And we just do it because we can, because musically we all have the ability, and we think it serves the songs, it serves the set and delivers a creative and interesting product to the people who are there in the audience. And we don't want to we don't want to be delivering just sets where it's like stopping in between every song and you know, we're like leaving dead air. We want to be really making people surprised. It's like, oh, they went into that song immediately, like what, how do they even do that?

30:09 Speaker 3: And we want to create that magic, and to do that we need more time in between shows. We need to be able to construct the sets really meticulously, get them where we want them to be. And it's the same as recording. It's like, you know, Santino is well aware of this led Zeppelin as a band, and I would argue that a lot of it is much more musically simple, especially the earliest stuff. But there is a lot of the stuff from led Zeppelin that they took a long time in between to really get what they wanted for a musical idea, right and feeling the way that they want to convey that emotion, and that is so important when you're doing something that is musically intricate.

30:53 Speaker 1: But now that's really interesting to the concept of, you know, making every show, you know, have a and have it be different because that I don't I can't think of anyone who really does that. Yeah, there's the top of my head. I can't think of anything.

31:05 Speaker 3: Yeah, there are some some bands that do themed shows and things like that, and you know, bands that will dress up and costume to do it where where maybe the show itself, the music itself is not themed. But yeah, but just the idea. I forget when it was when we kind of started doing that, but it was earlier this year, for sure. It was at the beginning of this year, and I think Paul just are just like, hey, let's do this theme for Strange Creek, and we just dressed up that way. We didn't really do much musically, Yeah, I guess we We put take Me Out to the Ballgame as an intro for our first song called America's Pastime, which which is a little bit of a play on words.

31:43 Speaker 2: But but anyhow.

31:45 Speaker 3: So we do things like that where we you know, we inject interesting ideas and we try to make the listener and the person who's in the audience think a little bit more about the music because we've thought a lot about the music.

31:58 Speaker 1: Yeah, now that's fantast When is the next Cranking Wagon show? Do you have something coming around?

32:04 Speaker 3: So the Wagon? The Wagon is coming to I think we're playing October tenth and eleventh. I think tenth is in Rhode Island. I forget the exact venue. Sorry, sorry to the listeners.

32:17 Speaker 2: Uh.

32:17 Speaker 3: October eleventh, though, is at Ralphs Rock and Diner in Worcester. And I believe we're going to be playing with Bass Sabbath. That show is actually not going to be super themed. However, we are going to be doing some of the music of Pink Floyd.

32:31 Speaker 1: Okay.

32:33 Speaker 3: We One of the covers we used to do, which we've kind of left out of recent sets was Sid Barrett Eric Floyd.

32:39 Speaker 2: We did what was the name of that to in the it went, I forget the name, got the name, Oh my god, something? No? Yeah, lyric, Yeah, it's in F sharp. I know, I'll the notes something but like a devil, No, I forget what the name of it is.

33:06 Speaker 3: You're not thinking, I can't, I can't even quote the song and I can, Yes, yes, Lucifer Sam Yes, early sid Bear at Eric Floyd. So we're probably gonna reincorporate that along with some other Pink Floyd classics that you know well.

33:23 Speaker 2: But uh so that that show.

33:24 Speaker 3: Is a little bit of a one off where we're doing more covers than we would normally do, but we will still play originals and uh you know that the focus is always on the original.

33:33 Speaker 1: Yeah, so excellent. And what about playing Summer in the Sky out like, do you if you had a chance to play that out live? Or what what's their plans to or.

33:42 Speaker 2: I haven't thought about that.

33:43 Speaker 4: Yeah, so, I mean I would like to assemble the band of some time next year and maybe do some some stuff like that. But for now, I'm just really enjoying the recording of it and make sure it's a good polished thing. And yeah, you know, in time, I think it's totally possible.

33:57 Speaker 3: You know, there's there's a lot of elements on that and to do it, to do it live, to do it live without horns or strings would be would be very difficult thing.

34:05 Speaker 4: As possible, but definitely, uh, something to plan out, and you know.

34:09 Speaker 1: It'd be hard to you know, I mean if if pressed, you could pull out an acoustic guitar.

34:14 Speaker 3: Exactly, but to do the harmony vocal stacks on it, and to really to really get the feel to.

34:20 Speaker 1: Do it justice.

34:21 Speaker 4: Yeah, I think getting a band together to do it somewhat justice. It's totally possible even without things like you know, vocal stacks or or strings or horns or whatever. But yeah, it's just it's finding the groove of it and finding everyone's place in it, you know.

34:32 Speaker 1: Yeah.

34:33 Speaker 2: So yeah, totally something that could happen for sure.

34:36 Speaker 1: Yeah, yeah, I mean we.

34:37 Speaker 3: Certainly know people who are musically good enough to make that happen out doubt so absolutely yeah.

34:43 Speaker 2: One yeah, uh.

34:44 Speaker 1: Well, the time goes quickly, guys, and I do want to play I think we're going to play that song once more once more to end the segment.

34:50 Speaker 2: O great, great, thank you?

34:52 Speaker 1: What is there anything you guy? It's got a lot going on. I do want to make sure though, is there anything coming up that you want to mention that we didn't talk.

34:58 Speaker 3: About or well, I will say if you're local to New Hampshire and you want to come see me. Tomorrow I'm gonna be in Milford, New Hampshire doing a blues jam something totally different. Wow, open, open everyone. I do that with Craig Thomas the second Sunday of every month out at Riley's Place in Milford. And it's a fantastic jam. You can pretty much come and play anything, though it is more blues focused, and I would love to see people there and play with you because I love meeting all kinds of local musicians, especially people who are passionate about crazy and wild music.

35:33 Speaker 3: But yeah, come on out have some fun.

35:36 Speaker 2: That that's me. I know Tino's got his own schedules.

35:38 Speaker 4: So yeah, after yesterday the show we played we were talking about earlier, we're finally getting nice break. So as of now I can't think of anything, so I get to maybe sleep a little bit or record some more. So yeah, but maybe I'll check out that blues jam that CAB's doing too.

35:55 Speaker 1: You know what's funny as on a side about Milford, So Milford for for people listening online from other parts of the country, Milford, New Hampshire, it's just this town. It's not like a big metropolitan area, right it's just a small town in New Hampshire. But for whatever reason, like Milford comes up on the show all the time, and it sounds like like there's just a lot going on there's musically, it's so weird.

36:20 Speaker 3: It's like there's so many there's so many places in town in that town that have live music. And it's because the people in and around that little kind of part of that valley, sow he Can Valley just they love local music and they love all kinds of different stuff. But I will say they do it for proclivity to blues, no question. Yeah, the age and the demographic there's a lot for blues musicians there, but yeah, for just about everything, they have so much diverse wild doesn't.

36:48 Speaker 2: Yeah it's great. It's awesome to see.

36:50 Speaker 1: Yeah it is. Yeah it is. Yeah, you don't expect it, but yeah, Milford comes up all the time on the show. Caleb, where is the best place for people to go online to keep up with everything that Hatchet Acts and Saw Records is.

37:01 Speaker 2: Doing Hatchet Action Saws on Facebook.

37:04 Speaker 3: We do not yet have a website, but you can find us on Facebook Hatchet Action and Saw Records, And I believe we're getting some other social set up where you know, we're a little bit slacking on the socials, but we are.

37:16 Speaker 2: We're not slacking on the music.

37:18 Speaker 1: Oh that's for sure.

37:19 Speaker 2: That's for sure.

37:19 Speaker 1: Yeah, yeah, and uh, Santino, where should people go? Well, the single, of course is on all the platforms right, all the streaming platform somewhere in the sky. Where else should people go to keep up with everything that you're doing?

37:30 Speaker 4: I have, I have a Facebook page, Instagram page.

37:34 Speaker 2: Is my name? Yeah, yeah, it's basical things. For sure.

37:37 Speaker 1: You want to spell your last name for people who don't.

37:39 Speaker 2: Yes, D E, capital M O N T E.

37:43 Speaker 1: Very good and now I know how to say it tractly. Guys, this has been wonderful. Thank you bouth so much.

37:50 Speaker 2: Great.

37:50 Speaker 1: Absolutely, we'll definitely do this again in the future. And I think too, we're gonna We're gonna see Caleb on the podcast version of the show at some point in your future too. But we will end this segment with this. We're gonna play this again. Summer in the Sky, the debut single from Santino Demonti as a solo artist on Hatchet ACS and Saw Records. So this is really good. If you missed it earlier, we're gonna play this again, and if you are listening live on Saturday. Coming up next hour, we have Keith sam Land and his project Alienstone.

38:16 Speaker 1: He's gonna be joining us via Microsoft Teams, so really looking forward to talking with him. He's got a really interesting sound. Uh so uh. There is plenty more to come, but right now here it is summer in the sky. This is Santino Demante.

38:43 Speaker 6: The sound of the music in its.

39:03 Speaker 5: Mother.

39:04 Speaker 4: It s.

39:12 Speaker 6: The SnO.

39:20 Speaker 5: Score, So.

39:30 Speaker 6: Do away with the dream. The sunset rode the dress, the Indian.

39:38 Speaker 5: Perfect time did dreams that the day abouts did the shoe streams the same season stream nd Stone Satan so

40:01 Speaker 5: sun stock.

40:16 Speaker 2: So the storm.

40:23 Speaker 5: So stop so stop.

40:57 Speaker 6: So spot

41:05 Speaker 4: So