I can find no spok can taking a streams. Are you going back roll?
You don't want problems? You don't want problems. Were gonna just stay
to the money comes open this album get into the bag. Then another one.
You don't want problems, don't We gonna just stay till the money comes
open. The solve them open the so get into the bag. Then another
one. This is to make them gold by the first sober how they heat
it up a whole off the coach shoulder fact check really out. Next all
I saw me like really nicess everything they watch no best way, he's trapping
steak shots all and see a straight bullets the body, don't drop, don't
trot. Who's hot? Who's not? Like it's Me's a puff round here,
brock tempkins dat rug. You don't want problems. We gonna just stay
till the money comes open. This solveum open, so get into the bag.
Then another one, you don't want problems problem, We gonna just stay
to the money cash open the solve them open, the get into the bag.
Then another I break for being on the scene. I had to get
my bag ragged Vinson nor twenties rubber bend in mad take control the flower runner,
rather live a fast life. Hold my wife grating, say the same
as my fast life spending before Jillian never came into our language. I can
called a crody music because he on the same issues, say train, moving,
gang, lifestyle, danger, sugar finger. Is it kind of looking
like I'm saying this? Sh fly lego bird and spend the world like the
refleet, stumba back and lose your whole gang trying to beat me last year
shot they got the clipbom repeat funny funny with your shade on shop seen me.
I shout like I'm a diamond, but I'm still in the rough.
I'm so this is about all work like I live in the color man.
I can tell these chiga cross and they thinking they something and he on the
shirt r P hit us her fake. I hope they gotta play finising it.
Don't make me with this mask on and going say fenigga socca na Man's
your operation be a staging and they rather shoot it out whom me. They
ain't know the beating last years. You don't want problems, don't we gonna
just stayed till the money comes open. This solve them open, So get
into the bags, and another one you don't want problems, You don't want
problem. We gonna just stay until the money comes, hoping the song on
the bag, and another one you don't want no static, you don't want
no staging, pistol packing the store. Don't make him do the mathematics.
Mathematic don't make you disappear like magic. My gang gonna make you go poof
like the magicians, while flecho is some money back, go getting the until
we got the cash. With some of them stops. I'm shooting like I'm
never missing. All lives on me like I'm pop. I don't want to
kill me. They don't want me with the pock. That's too bad for
me. And I never stopped gangle, make him pop, stay a lot.
I give him the drop ticking tough of um then, but when we
see him, they just shook one. We ain't my beat, but I
know you ain't gonna crooks. Treat the booth like it's a kitchen. Go
ahead and cook some about to do it. Big got the recipe from Brooklyn.
Others been I swag out know we about to cash out all up in
this session. Little so they got our sass out We're gonna stay lay,
stay paid till we crash out. He's still trying to funny because getting a
mission the straps, you don't want pro We gonna just stay till the money
comes open this solve them, get into the bag. Then another one.
You don't want problems, you don't want problem. We gonna just stay till
the money comes helping to solve them open. Ye, get into the bag.
Then another number wouldn't have been this race. I know they dreaming about
passing me up the damp position, or they wishing they get captured me shot
them with them lean. It's got some killers in my faculty and with a
mean one up, we're gonna turn them to a castle grinding just to chase
my dreams. To get to miss by any means, try to take it.
We're gonna beat your face up, like me believe talking like you're against
saying your raps. Just just make believe. Go to tan it on my
body. But I'm skimming it off beats because they like the act up to
they ask it wrapped up out here beefing when you again, bro go get
your cash shocks falling like an MVP. You know I got my stats up
the clip long. We're gonna get them going. If we mastered up,
they laughed when I was Rokes and I was I'll be a humble body better
pushing away. This is the muscle for the love of the hustle. Y'all
the work making double y'all a dog win no muskleiggan. I came from the
struggle. You know first, we don't got no top of giveback. You
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command God, don't get super maxill Welcome back, everybody. This is Matt
Connerton Unleashed and we are live from the studios of wm NH ninety five point
three FM and Glorious Manchester, New Hampshire at our Canal Street location. Today
is Saturday, June twenty nine, twenty twenty four. And by the way,
thank you to our wonderful guests Sepsis for joining us in the second hour.
Always great to talk with them. And we'll share more about Swarmy Fest
as it gets closer. And also we did play again to Hope the rapper
the world radio premiere of his brand new single Problems, really really good,
very catchy. Love that quite a bit, let's see. I do want
to let you know too if you are listening live, if you're looking for
us on Facebook, the Facebook feed is down today the streaming software would not
connect, so sorry about that. But of course you can stream the show.
You can stream the audio from anywhere if you go to wmnhradio dot org
or of course my website Matt Connorton dot com, slash live and if you're
local in the Manchester area you can just listen at ninety five point three FM,
so we encourage that as well. We have joining us in the studio
right now John MacArthur is here. Hello, welcome John. He Matt,
you of course are from We met through NH Music Collective. We were at
the Run Like Thieves show in Conquered and tell us tell us a little bit
about that, and by the way, we are going to play some of
your music too, because you are a musician in addition, of course,
but tell us about the NH Music Collective. Well, the NH Music Collective
was actually started by Brad Myrick a number of years ago. He's just a
super accomplished guitarist from Hillsborough. Okay, Hopkinton, Sorry, hopkind I can
even I've continued to answer. And it was sort of a side hustle business
for him, uh, because people kept asking can you help us find other
talent as good as you for to play some of the venues that he was
playing, and so he grew that. But it was pretty much a side
hustle business for him, and he was working out his strings and things.
He was one of the first people that I met when I moved up here.
He was actually he was introduced to me by Mikey g If you know
Mikey g Oh, I think I do yeh. When I came up here.
I met Mikey. I saw him at the common Man and Conquered and
I told him what I was up here doing, and he said, oh,
you got to meet Brad Myrik. So met Brad Myrik. I worked
with him for a little bit on some projects at a recording studio we had
in Guildford, and then my wife and I liked Brad so much in what
he was doing, we decided to invest in in in a music collective and
so we joined the team and it's been growing from there. Excellent, excellent.
I want to hear more about all of all of that and what you
do, but I also want to play let's i'd like to give because I
want to talk to you about that. But I also want to talk to
about your music because you are a musician. And one of these tracks that
you sent is pretty new, I think right for these both new, they're
both new. Actually, I just I've had in my mind this album that
I wanted to do called Friends, Family and Me, Yeah, and so
songs that I wrote, songs that some friends wrote, yeah, some family
members wrote. So we just started putting it together and the first two tracks
were the simplest one, so I put those out. We're going back in
the studio soon to finish up the other switch a little more complex. Excellent,
excellent. So let's play this and this is really pretty. Uh,
how do you say? This is a terzaa tisa? Yeah? Okay,
what does that mean? Is that just an or does? Well? It's
a it is a name, it's a biblical name, but it also kind
of translates to my delight. Okay, and so when I think of this
song, helps me think of it? And is it just you on the
song? That's okay? Yeah, let's give this a listen. It's short,
but it's really pretty. I like this a lot, and then we'll
come back and talk more with John MacArthur. But check this out. I
love that. That is really nice. That is tirsa am I saying it
correctly, John, John MacArthur is here with us live in studio. Do
you do you fingerpick all of that? Or finger pick? I'm always really
impressed by that when I when I see people do that, I don't feel
like I'm a bass player and I and I play with a I even play
bass with a pick. I don't because I just like, to me,
it's I can't image. What it must be like to use fingers to make
all that happen. So I love that that is that is truly remarkable.
We have another one of your songs too that we'll we'll play later in the
segment, but very beautiful. Where do you record? Well, actually recorded
that up at the studio Portland. Okay, a quick update on my wife
and me. We just made a major investment in the studio Portland, so
oh congratulations, thank you. Yes, I are the majority owners of it
now. Actually that started as a collaboration between NAH Music Collective and the Studio
Portland and oh reve and I liked the like the studio, and actually our
son is one of the engineers there. He's he was the engineer on this
song, Oh outstanding, and so so we decided to invest in it.
And so it's been great. And that must be cool too to be able
to work with your son creatively like that, that must be amazing. It
is he's actually producing this album and so it's so he's the engineer and the
producer on this and doing a lot of the arrangements. So oh, very
good, very good. Now, So getting back to NH Music Collective,
what is what are some of the things that you do. You told us
a little bit about the history of it and how you got involved. What
what does the collective do? What are the goals of it in terms of
I mean, obviously it involves New Hampshire music and perhaps musicians from other areas
as well. But but tell us tell us about the kind of the mission
statement of NH Music Collective. Well, it's really been evolving. So the
you know, we started this, you know, sort shortly after COVID hit
shut a lot of things down, right. Well, our investment in it
and our goal initially was to get musicians work, just get as much work
as we possibly could for musicians and a better pay with better experiences for the
musicians and for the audiences. So as we think about venues that we want
to work with, we want to work with venues that are investing in music,
care about both music and the musicians and the experience that it creates for
the audience. And so it's just been growing from that perspective a lot.
We did fifteen hundred events last year. Really, wow, I had no
idea. Yeah, that's incredible, that's incredible. Yeah, for our team
of three, we did all right, from Maine down to Rhode Island.
So we're not just New Hampshire, although that's the name NH Music, but
most of our events are more of our events are New Hampshire, but we're
expanding into other areas as well. So you did fifteen hundred events in a
year. Yes, you don't look tired, but you must be. I'm
exhausted. I'm actually exhausted because we were in Portland, Maine. Brad and
I were in Portland, Maine, Riva. We're all in Portland, Maine
on Thursday night for a live audience recording of six singer songwriters, some of
them from Manchester by the way, drove all the way to Portland to be
part of this. And then last night I was at delivery and Sun of
you didn't get home till eleven thirty. After that, we had a We
had a duo from the UK. They were top ten finalists in Britain's Got
Talent, Oh wow, six years ago. Yeah, Jack Intemps. They're
actually staying with my wife and and maybe this weekend we put it. We
got four shows for them, so that was one of them last night.
So I'm exhausted. Yeah, yeah, but I'm having but I'm having a
great time. YEAHNT matter, I don't care. Yeah, there you go,
there you go, perfect, that's perfect. Yeah, And how long?
But so you told us, but I forget what when did you first
get involved in n H Music Collective. How long has it been even I
invested in June June, I think twenty twenty. Okay, So, now
did you expect it to get to this point where you're doing so many shows
and where you're doing so much like what was your what was your expectation?
Have you? I guess I'm guessing the way things have gone may have exceeded
your expectations or maybe not. I don't know. But you know, we
got big we got big dreams, and we're starting to get to some of
them. You know, we want to elevate the I have to be careful
always say, but we want to we want to elevate the experience for the
audience, right, and so that means the musicians have to take it seriously,
the venues have to take it seriously, and we're and and create some
real quality experiences for the audience. So one of my favorites that I started,
I started about I guess two years a little over two years ago was
at sap House Metery and Center, Osipe, which is in the middle of
nowhere, right, And it's a tiny little place, small, not much
bigger than this studio, you know. And so we partnered up with them
to create a meat tasting. They make honeywines there and a three course meal,
right, and a one hour concert and the music and the food are
paired. So we've had Indian performers, we had the Indian food. We
had Sunny Hunt there, which I'm sure you know. So we had Senny
there, and we had West African food. We've done Cuban, We've done
Brazilian and all that, so that that kind of an experience. We sell
those shows out. They're just they're fabulous. Oh, I can imagine.
And then I don't know, like giving some of the local performers an opportunity
to be on some bigger stages. This partnership with with Capital Center for the
Arts and the Canton Lounge. Yes, but then we had and and and
now the challenge goal is after Taylor Hughes show I think I told you about.
Yeah, Taylor, Taylor's somebody had never done a ticket a concert before.
Oh, he's amazing. We've had him on the show. He's amazing,
and he sold out the Canton Lounge and he said, but I got
twenty five people who want to buy tickets, and so they said, okay,
we'll flip you to the other side. So we flipped it to the
three hundred seat side. Wow, and he sold that out, no kidding,
in June. Yeah, that was amazing. That was phenomenal. So
we're going to do some more shows with him. We're working with some other
theaters. Yeah, so anyway, we want to So that's a long answer
to your question, but we want to elevate the opportunities for the for the
local artists. We also want to create touring opportunities for national artists and international
artists. So we're starting to do that with some of these concert venues that
we're partnering with. Okay, and we're just starting to get into more risk
taking things for us where we're actually almost acting as a promoter. Okay,
how many how many venues do you currently have partnerships with? I mean,
is it is it quite a few? Or yeah, it's a lot.
I can't even I haven't counted. The Brad has a bunch that he works
with I have a bunch that I work with and then we collaborate on some
so I have a spreadsheet. Yeah, I'd have to consult that. I
have lots of spreadsheet. Yeah. Yeah, well no, that's good,
that's good. Yeah. We were very impressed because when when Jenny and I
met you at the Canton Room, the right Canon Canton, Canton Lounge,
Canton ro I can't yeah, okay, but you you came for a Run
like Thieves. Yes, yes, And we'd never been there before and walked
in and it was like, wow, this is really nice, this is
really nice. It was it was great. I'll tell you that was an
interesting one for me because I've known Dan Fallon, who's the lead singer for
that, for a while. We started booking him a few I don't know,
a year or two ago like that, and then you put together this
band. He used to have the Dan Fallon band, and then he had
the Run then Run like Thieves. I knew the bass player, I didn't
know the drummer, but now I know him, and and so we hadn't
done too many bands there, and I said, Dan, let's I like
him, and said, let's let's try this, see if you can sell
some tickets. Ticket sales are fascinating for me. So so for Dan's show,
I think we were a week out and we sold thirty five tickets,
yeah, and a whole seventy five seats right, yeah, And the day
of the show, we were turning people away. No, okay, that's
so many last minute people. I wish if I could do, if I
could change one thing here, it would be have people make a commitment early
to get out and see live music and bring a friend. Yep, yeah,
yeah, I have a new religions I go. It's like, don't
go see music alone. Yeah yeah, So anytime you want to go back
Jen Kidd, yeah absolutely. Yeah. So obviously in that situation, it
was too late to flip him to the the bigger room. Yeah. So
that's the thing, right, And then we had and then we had the
same situation with SENNI when Senny played there, he was coming back, he's
a big following, he has a big following, and he was in the
same situation. It was thirty five or so's tickets sold, and luckily the
person who handles the box office was there that night and they let me bump
it up to like ninety two there, but we couldn't flip it to the
other side too late. You need more staff for that. So anyway,
it was a great These are great experiences, but hey, message to your
listeners please please make a commitment early. Bring a friend. It matters to
the venues so they can plan better. It matters to the performers and and
if you if you, if you think you might not be able to come,
something might come up. Give the ticket away to a veteran or yeah
that's a great idea, that's a great idea something, Yeah, give it
us a friend. Yeah. Yeah, people probably don't don't think of that
in terms of not waiting, because in this social media world that we live
in, you know, you've got so many options of different things you can
do, and it's it's probably this hadn't occurred to me until until you brought
this up, this subject up, but yeah, it's probably too easy for
people to just kind of wait till the last minute, and and they don't
you know, of course they don't know that that can cause a challenge for
the artists and the venue and whatnot if they don't. If you don't know,
it's no different than if you're planning a party, and you want to
kind of have an idea of how many people are coming, so you know
how much food to get or whatever. You know. And and and if
you don't know, and you get all these people showing up at the last
minute you weren't expecting, it can cause a problem. Yeah, I guess
the great thing is if you turn someone away at the door, Yeah,
where'd we'll get out? You need to start committing right, Yeah, there
you go. Well, and it's a good problem to have in the sense
that you know, you're you're doing something that there's high demand for. And
and and this artist is obviously ascendant if they're you know, they're building a
follow and if people who want to see them, so so that's uh,
that's that's great. And now, in terms of the partnership with and I'm
familiar. I live in Manchester now, but I grew up in Conquered so
I'm very familiar with the Capital Center. It's the Capital Center, right,
It's capital Center for the artist. Because the only reason I hesitate on that
because when I was a kid, it was the Capital Theater. And I
don't remember when it changed, but at some point when I was growing up
it changed from Capital Theater to Capital Center. Yeah. Well, and I
don't know the full history. I get. I think there's a book about
the history of the smaller venue. Oh that's available at the bookstore across at
Gibson's. Oh yeah, I met, I met the guy who who's I
think his mother or his grandmother used to run them when it was a movie
theater. Yes, I remember that. I remember being really little and my
dad taking me to that theater to see Raiders of the Lost Ark. Okay,
there you go, there you go, so so and he would tell
stories about sleeping upstairs at the theater. Oh wow. Yeah. But yeah,
so they acquired it. They saved that building because they had the chub
I think, you know, and then they saved and renovated being H now
it's being H stage. Yeah. It was Capital Theater, right, so
the movie theater. Yeah, yeah, right, it was a movie theater.
Yeah, did a major renovation and it's turned into a great flex space,
meaning you've got the lounge upstairs, which is a little bit like Jimmy's
almost in in in Portsmouth, you know, with the lounge seating and stuff
like that. And then and then you've got the very flexible other side,
which is three hundred seats which can collapse down to a dance floor and one
hundred seats or whatever. And then you've got the Chubb for really big,
you know, much bigger shows. Yeah, it's great, it's just great.
They've been and we've been able to get some opportunities for some of our
local performers to open for acts on the big stage. And yeah, so
that's important to me. They're not they're now going to us for opening acts
or to recommend openings. Yeah cool. Yeah. Do you play out?
Yeah? I occasionally play a farmer's market or if we get a last minute
sub request and we and we've gone through four hundred and fifty you know,
we go through fifty sometimes artists and can't find someone else's pick this up.
Sometimes I'll do it. I enjoy playing out, but I I don't need
to play out, and I don't really want to take work away from other
art honestly. Yeah, because a lot of our arts are full time performers.
Yes, how they make their living. Yeah yeah, yeah. Yeah.
When you do play out, do you just do you do instrumentals or
do you also sing? I sing? Yeah, Yeah, I'm a picker
and Grenner. Yeah, I'm an old folky. Yeah, you know,
I used to play a lot of broke folk and okidd like that, but
I like I you know, I grew up on Simon and Garfunkle, and
I grew up on you know, more obscure, more obscure stuff. Yeah.
So, but I'll play occasionally songs that people know. I'm also a
big fan of David Wilcox songwriting. I don't know if you know him,
but I love hist. He's a baritone, which is nice for me because
I'm yeah, yeah, so much music is for tenors, that's true.
Where are you from? Are you? You're not from here originally? Right,
I'm from all over. I was born in Miami Beach, grew up
in western Colorado, back to Florida, met my wife in Florida. Then
we moved to Minnesota where and then to Texas and then to Massachusetts and then
up here. Oh yeah, I've been all over? Yeah, yeah,
what what brought it up up here? Ultimately? Well, New Hampshire specifically,
or the Northeast both, Okay, the Northeast because my wife is a
neuropsychologist. In addition to being a third of NH Music Collective, and a
major investor in the studio. But she's a neuropsychologist and she came up to
work in a head injury rehab facility in Boston, no kidding, and in
the Boston area, And so I was in Texas. I had left music
at that point and I had started working in it, and so so she
got the job, was a psychologist. I came up and worked on I
teach job up for a bank in Boston. Yeah. We came to New
Hampshire because our oldest son found his passion in audio recording and he went to
NESCAM, New England School of Communications at Huston University. And as he was
getting ready to graduate, it's like, okay, he's not you know,
he needs a place to work, and so we just we've stumbled on a
property that had a studio on it, so we bought it and then I
came up here to help him grow the business. When you I'm curious about
this. So you were when you were still living in Texas. So you
left you say you left music, Yeah, because I don't play country.
I was doing really well in Minnesota. Yeah, playing the college, start
get playing every every restaurant, every every everyone had music. In Minnesota in
the early eighties. Everywhere where in minutes wasn't Minneapolis. I was a Minneapolis
but I but great music scene. Yeah. But I would play up to
Bmidgie, you know, I would play out, I play across Wisconsin down
to Iya, Iowa. So I was playing all around that area, playing
five, six nights a week. Yeah. Wow, Yeah, so you
were full time. I was full time. Yeah. When when my wife
and I met, I was I was full time music. So I did
that for while she finished her PhD. And she did her first post doc
up in Minnesota, and then she got her first faculty position at University of
Texas. And I don't play country, and the money was lousy, no
kidding, the money was horrible. Yeah wow. So uh and with and
without playing country, there was really no There was really no opportunity at that
point. I mean there was a little bit in Austin, but not a
lot. It wasn't like it is today. Yeah, because I was going
to say today it's it's such a vibrant scene. For so, I had
an agent in Minnesota kind of like what well, the opposite side of the
equation from what anach music collected. But I had had a king agency.
That was my pretty much my sole representation. Yeah. And then and then
in uh in Texas, I got an agent down there, but the gigs
were just horrible. Wow. Yeah, drive two hundred fifty miles because you
can in Texas without leaving the county. Yeah, you know, yeah,
get paid fifty bucks in no hotel and gets you know, It's like,
no, was it was it difficult for you to make that transition or or
it wasn't? It was time? You know? Yeah, it was it
was time for me at that point. Yeah. So a lot of musicians
get burnt out anyway and kind of need need a break. Yeah, well
they they do. And I you know, I think, I mean,
Texas wasn't going to be my home. Turned out it wasn't my wife some
me either there. She was ready to go within six months. So so
we we only stayed in Texas for about eleven and a half months. Oh
okay, and then she got this job opportunity and Boston, So so I
followed her up there, up up to Boston. Oh excellent. So once
that happened, did you did you jump right back in to play it?
No? I didn't get that point. I'd already started down the its path,
and yeah, got a little more addicted to money, you know,
right, And I knew that. I knew as a musician, I wasn't
going to blow up. You know, I'm a songwriter. I like what
I do. I liked some of the songs I write. I don't like
them all. I like what I play. I don't like all that I
play. Yeah, so, you know, and and I find it,
found a sort of a more natural fit for me in it. And so
I did that for a lot of years. And so what was it now?
You talked about your son and buying the property with the studio and everything.
When that was happening, did you kind of think, like, did
you know that that was really just the beginning of you plunging all the way
in like you have now. I had no idea, really, I had
no idea. No. I was I was working as an analyst for an
IT consultancy, Gartner Group, and you know that was They're the probably the
largest IT consultancy. And you know, I had clients all over the planet,
and I was traveling some, you know, before COVID, I was
traveling some, but we all worked remotely, so I could work from anywhere,
you know. Yeah, so, but just gradually over time it just
got more and more of you know, Brad and Reeve and I started growing
in a music collective. The studio. The studio was not growing as fast
as we wanted it to. I'm really proud of some of the recordings that
came out of there. Sam did a fabulous job. Brad produced some of
the music there. We actually did Brad and Nicola's out, one of Brad
and Nicola's albums, which Nicola Cipriani is his duo partner, who's fantastic from
Italy. He was over and we did that album. We did Eric Lindbergh's
album. We did if you remember Victim of Circumstance, I think so.
Yeah. So they've all broken up as a band, but they're all playing
in great bands now. So so Harrison's playing in River Saying Wild, and
and Cam is playing in uh Rumboat Chili. Okay, sorry sorry Cam if
you're listening Rumboat Chili and and and Brad. I don't know what Brad's doing
right now. Brad Hartwick he went off to another band for a while.
So anyway, but we did that there EP and so really good stuff.
So we did. He's done. Sam's done all the cameos, the recordings
if you know her, and yes, actually yeah so anyway, but but
Portland is is a great place now, so Sam moved. Sam came to
us a year and a half past a day. I want to go to
Portland, so go always been a great scene. Yeah, it's a great
scene there. And there's more musical diversity maybe yeah there, which is nice.
Yeah. So yeah, so it's just worked out really well. Is
is the marketing of a recording studio in this era? Is it? Is
that a big challenge because there's so many of them? Well not with you
talking about it right there, Well, you know, I think when you
think about recording. So first of all, this is the studio that we
acquired is a commercial studio, meaning it does voiceover, it does podcast,
does a dr for for movies. Oh wow, it also records albums.
Yeah, it's a training program for for aspiring producers recording engineers. So you've
got a lot to offer. There's a lot. There's a lot going on
in that place. So yeah, and I've only learned that recently since all
the incoming calls now come to me. Oh really yeah, yeah, so
all of the phone. This is the oldest commercial studio in Maine, and
it's had the same phone number since the beginning, kidding, and the building
owner was getting all the calls and I since we acquired, I switched the
phones to come to me. Yeah, and it's just been remarkable. Yeah,
that's great. So anyway, it's u But yes, you're right,
because the big competition for a lot of studios is not another studio, it's
home recording. Yep. Yeah, Well do the podcast at home. I'm
going to record my album at home. I'm gonna yeah, And there's nothing
wrong with that, right, It's a little more difficult to do a full
drum kit at home with proper acoustics. Yeah, absolutely. But anyway,
you know, so we also want to be a support mechanism for home recorders
too. We'll help them, we'll train them. Yeah. Oh that's really
cool. Yeah. And our competition there is Berkeley, that's what seventy eighty
thousand a year. Yeah. I did a summer program there and yeah it's
expensive. No, So that's great, that's great. And your son must
be very happy. He's very happy. He's very happy. He's working.
You know, every day is a different a different project, and your day's
a different experience, and and he's super super technical, so that's good.
He can handle all of the surprises that come up. Yeah, yeah,
because I would imagine in the beginning there must have particularly been a lot of
surprises going into a situation like that. Well, he actually wired that studio
for the for the for the other producer. They're the one who sort of
took over that business from the prior operator. Oh so Sam has they call
him soldering Sam. Yeah, so he actually wired up that studio in the
storage studio that he had before that. So he and Ryan Ordway have a
great relationship. Yes, Oh, what band was it I used to book?
I was? I worked as years ago? Jeez, this might have
Oh my god, where does the time go? I think this was twenty
years ago? Years ago. I was going to say Ryan Ordway was in
a band that I used to book. I did. I was a booking
agent for a bunch of bands and what the hell was the name of the
band? I can't remember the name of the band now, but Ran Ryan's
amazing. I haven't talked to him in so long, but wow, Yeah,
but I used to see him like a few times a month because I
was booking his band pretty heavy. Yeah, I can't remember what the name
of the band was, you know, and I don't know, I've I
don't I don't even know the name of his bands. But so he was
operating the studio that was on the property that we acquired when Sam when when
Sam was graduating from NESCA and we were looking for a place. Yeah.
Actually, the first recording that Sam did after we took over that space and
installed a new a console was in collaboration with Ryan with you'll you'll probably you'll
probably know this name, Alex Preston. Yes, so Alex. So we
actually recorded a couple of the songs Sam did, uh of Alex when one
of in one of the albums that he did after he was third I think
it was third place on American Idol or something like that. Okay, yeah,
yeah, yeah, Oh very cool, very cool. Wow, that's
awesome. I think what we should do because I want to play uh,
we've got we've got a little bit more time to talk, but I also
want to play this other song. I think it's willing. Anything we should
know about this one. The only thing, the only story on this one
is sorry The only story on that is that I had I have a fellow
that I used to play with, Alan Gross, down in Florida, and
when I told him I was going to do this album as I was going
to include one of his songs, and I told him I was going to
put Tirtsa on it, he said, well, you got to do this
other song that I've got that I heard you play once and I'd forgotten that
I wrote it. He said, but I want this on the album,
and so I don't play it out because it's really short, it's very simple
and you need a real listening audience to play it. So I just to
say, you got to put it on the album. Set. So this
is for Alan Gross, my former playing partner, that I that I agree
to put it on the album. All right, very nice, and this
is called willing. I love the way that sounds. Thanks. We were
talking about broke folks. So I used to listen to a lot to John
Renbourne. When I was in college. There was another guitar player, Peter
Angermeer, that I played with some and he would play these most remarkable things
in dad gad tuning, and I didn't know dad gad tuning d a d
G a D tuning tar. He was playing this song, It's like,
how'd you do that? How'd you do that? Asking him about it?
So I sort of got addicted to that tuning. Well. John Renbourne plays
in that tuning a lot. Okay. He was with a group called Pentangle
back in the Six Seasons. Okay, yeah, Yeah. I just love
the way the way the guitar sounds and when you can when it sounds so
good that you can you can hear the fingers moving on the fret board,
you know what I mean. I love that because that's not an easy thing
to capture. Yeah, and and Sam, as I said, recorded that
and what I love about the way But it's the same thing with Brad and
Nicole Nicola's album. Yeah, if you get a chance to listen to to
that one, it was just the guitar sounds that he's able to capture.
He has a lot of microphones on the guitar. It's not one, it's
not one microphone, He's got a lot of Yeah. Yeah, because the
next the fredboard must be miked too, right, it's not just mic in
front of the body of the guitar. Yeah, you know, I am
not an engineer. I don't even play one on TV. I leave it
to the experts. I'm always super curious about that. But yeah, yeah,
no, but we got to get him on the show. But but
yeah, the sound of that is is just just really really good. Did
you say, do you have an album that you're working on. I'm working
on it. We've got Sam's been working on the arrangements. By the way,
the rest of the album will sound almost nothing like that. Really.
I have two other songs I'm going to do and dad Gad tuning. Both
of those are in dad Gad. But then I'm going to do a song
that my brother wrote called Sugarfly Mama, which is nothing like Yeah, any
of these, and I've got a few others. Yeah, yeah, very
cool. If you're just joining us, we have John MacArthur here with us
live in studio, and John is from NH Music Collective. And now getting
back to that a little bit. We had a few minutes left. What
Jenny is here as well? By the way, Jenny, Jenny was busy
typing away on something, but hello, Jenny, I'm present, yes,
yes, present, and account in terms of NH Music Collective. How do
you how does that work? Uh, bringing in artists to work with.
I mean, do do artists reach out to you that want to work with
the collective? Do you seek them out? Is it both? Is it
so? It's a little bit, it's it's a lot of both. We
probably get twenty inquiries a month wow of hey how do A lot of times
the conversation will start like, hey, I'm looking to play more in New
Hampshire. You seem to be booking all the all the venues that I want
to play, so excuse me, So you know, how can I become
part of the collective. I started running an open mic that Pat Tricksy to
sort of vet singer songwriters. Bands are a little harder. Yeah, yeah,
hey allergies. Yeah no, I was gonna say, I know the
pain. Okay, I met three nights in a row of four hours of
sleep, so yeah. But yeah, So I try to get out as
much as I can. I mean, I'm out listening to music four or
five nights a week if if I can. Some of that's just checking on
our venues. But we're we're talent virus for venues. We're not agents for
artists, and a lot of I think a lot of artists don't understand the
difference. So the venues hire us to book talent for them. Yeah right,
I tell people who who are looking for places to play, there are
lots of places to play. Yes, we book a lot of venues,
but there are lots of places to play. And I don't care how good
you are, we would never be able to keep you sufficiently full to fill
your whole calendar if you're a full time musician. I didn't have enough venues,
and the venues went for some of the venues want a lot of variety.
Yeah, Like I have several venues that they don't want to see the
same person more than once a quarter or once oh okay week, so yeah,
two months. So like, you got to have a lot of venues.
If someone wants to work, I take a guy like Colin Hart or
Rebecca Turmel. I don't know if you've talked to them, but yeah,
Actually, while we met Rebecca Turmel at the Run Like Thieves show, Yes
you did. Yeah, And she's she's coming on on my birthday actually on
October. She's, oh cool, she's booked on the show. Yeah.
But she also she plays like six nights a week. Sometimes she does doubleheaders.
Colin Hart's the same way. I mean, I couldn't possibly they Yeah,
you do the math. Okay, yes, we did fifteen hundred events,
but we worked with over two hundred musicians. Well that doesn't the math
doesn't work there to be their sole agent. Yeah, yeah, so you
know so, but we are adding, we're adding some venues, you know,
selectively, carefully. Yeah, we're not right for everybody. Yeah,
you know, the people who want to pay an artist one hundred bucks for
four hours, We're not the right for them, right, Yeah, if
they, if they, if they want to really invest in music, and
then then then we might be. And if want to invest in the marketing
of their performances and create good experiences for talent, then yeah we might be.
Yeah. Do you ever have anyone approach you? And and obviously I
wouldn't watch you to name names or anything, but does anyone ever approach you
where you have to say, I'm sure delicately and carefully, but you're not
ready. You're you're you're not ready for us to work with you. You've
got to work on your your craft a little more. Yeah, I'm very
I'm actually very direct about that, are you. Yeah? Yeah, and
and and It doesn't mean that they can't go out and get work. Like
I said, there are lots OF's out there willing to pay something for performers,
and some of them will pay fairly. Well, yeah, go out
and hustle it. Get him yourself for the What we focus on is matching
what the venues tell us they want with the artists that we have in our
roster. And sometimes that means I may hire somebody like I just during COVID
and my wife was down in Massachusetts still and I was up trying to help
the studio business in Guildford. I started taking lessons from David Hamburger online.
David Hamburger is this great fingerstyle blues guitarist out of Austin, Texas. Well.
I've now hired him once. You know, I got him at one
of the saff House Meter concerts where we do the food pairing. Right,
Oh okay, David Hamburger, so you know what the what was the food
pairing? I love it that he plays slide guitarist. We had sliders and
I love Hamburgers. That's fantastic though. That's awesome, it's great, and
he's willing to roll with that. He doesn't feel like you're making fun of
his name. Yeah, that's good. He's a he stayed with us,
he was, he's a great guy. We will get him up here.
Yeah again, Oh that's cool, that's very cool. Yeah. I mean
I only ask because I know, you know, sometimes when you're when you're
in that position, because I used some years ago, like I said,
I did booking agent work and I was a promoter. I would do local
shows and you know, every once in a while i'd hear from somebody and
I'd have to say, you're not You're not ready for this. But but
but you know, I mean, we have a we have a coaching program.
So if someone's serious about wanting to improve, we will work with them.
And it's across the all aspects of their performance, style, their business.
You know, what they're doing from a business perspective, what they're doing
from a marketing perspective. We charge for it similarly to you would for a
good guitar lesson. Sure. Sure, And so we'll sit down, we'll
go over there, what their goals are, and we'll give them things to
work on. And if they and you very often those are like one and
done sessions, we'll give him enough work for the next six months that they
don't need one, but some people will will come and you know, for
some period of time, they may come have a session once a month or
once a week. Yeah. Yeah, Dan Fallon was one because he really
good performer, didn't understand certain aspects of the business. Okay, the first
session paid for itself ten times over because he learned how to file for his
royalties. Okay, excellent. Yeah. Yeah, so we try to focus
on the whole aspect of the three sixty of being a musician in the do
it yourself world. That's no, that's really cool. Yeah, I had
no idea that you did that, and that's something that is so desperately needed,
you know, because yeah, and actually coincidentally, you know, we
had the band Stepsist in here earlier, was listening to that and we always
end up in these conversations too about the music industry and yeah, knowledge it's
power, you know, And and I know a lot of you know,
a lot of musicians don't want to have to learn some of the things that
you need to learn to survive as a musician. But but it's called the
music business for a reason. And yeah, you know, if you want
to have a long career. You got to know. You gotta know this
stuff. And the places where we'll see people fall down sometimes is I mean,
is you can be as for example, as self taught guitarist. I
can tell you if you're a self taught guitarist and you go take lessons from
Brad Myrick for a year, you'll be a better guitarist. Yeah, you
just will, because he is one of the best guitarists around and and and
he will teach you stuff, you know, if he can't, if you
haven't figured out how to get out of the first position right, or how
to do chord and substitutions or inversions or whatever, you know. And it's
not like going to Berkeley, it's like very It's about developing musicality, it's
about developing knowledge. And so actually we have a number of he has a
number of students just around music and guitar, not about so he's doing that
as well. Yeah. I tend to focus a little bit more on live
performance and on some of the business sides of things. Yeah. Yeah,
now that's great. Oh wow, it's late. We gotta we gotta begin
to wrap up. But John, I'm so glad you came in. This
has been a fascinating discussion. Thank you for the time. Absolutely glad to
do it. Where should people know to keep up with everything that n H
Music Collective is doing? Where should they go online? Well? Facebook,
we post every day all the shows that we're doing at every venue, right,
so that's one place you can go. Instagram, we have a website.
We're going to improve it this year. Okay, we have a website,
but our our full, full, full calendars on the website, so
you can look at that and see what we've got there. Okay, and
yeah it's and just come see us, come do it, come hang out
with this at a venue. Yeah, yes, that's the best thing.
Absolutely, No, Jenny and I loved uh that that run like the show.
That was a lot of fun. And they're such a great band too,
they're so good. Well, come to see Ian Gallipo and Ian Archibald
at p and each stage this uh next the first Sunday of July. Oh
very cool, Yes, okay, yes, So one of my quick discoveries
is that when I came to New Hampshire that it's a bunch of micro climates.
Yeah right, yeah, and so both Ian's are from down south and
we're doing the show and conquered, so we want to see everybody come out
and support somebody who's not from Concuer. There you go, there you go,
very good, very good, John, thank you so much. This
has been wonderful. Jenny, do you want to plug your website before we
go? You got it. You got a lot of a lot of stuff
going on, a lot of stuff going on. You can go to Gencoffee
dot com j E N N C O F F E Y dot com to
find out more and find out information on my new substack. Very good.
Yes, and congratulations on that. Thank you, absolutely absolutely all right.
We gotta go. If you miss any part of today's show, it'll be
up in just a little bit at wmnhradio dot org and at my website Matt
Connorton dot com. Thank you, uh Sepsis for coming in earlier. And
John MacArthur, thank you again, and uh thank you again to Hope the
wrapper for this great track Problems. We'll play a quick snippet of it as
we go, and we'll talk to you a little bit later. Bye.
Everybody. You don't want problems, you don't want problem. We gonna just
stay till the money comes open this album Get into the Bags and another You
don't want problems. We honest