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Speaker 1: We got a couple of other fine people here in

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studio with us. Get those mics up here. So, one

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of whom has been on the show recently, Caleb Dyer, returns. Hello, Caleb, Hello, Hello,

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welcome back. It is good to see you.

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

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Speaker 1: And you brought with you someone who's music. We recently

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did a world radio premiere for Santino Demanti is here.

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Speaker 2: Hello.

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

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say your name correctly, I apologize. I think the day

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we premiered the song, I was saying Demante it.

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

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

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I do try to get everyone's names correctly. I know

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what it's like to have people struggle with, you know,

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because my last name is very unusual. So in fact,

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in high school my nickname was Canarton because the first

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day of school, the teachers they would, you know, they'd

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do the roll call and they'd get to my name

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and they'd inevitably they would all say Canarton. And so

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all my friends have started calling me that. But uh man,

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I got so used to it that even today, if

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someone missed pronounces it. It takes me a second to

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remember to correct them right because I'm so used to it.

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But we did the world radio premiere for your your

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debut single, Yes, Summer in the Sky, not only your

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first single as a solo artist, correct, but the inaugural

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release on Hatchet At.

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Speaker 3: It's a mouthful hatchet accent saw. But yes, it was

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our very first release. We're very proud of it. There's

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hopefully much more to come from the company. And yeah, no,

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I mean we poured our heart and soul into it.

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We we finished that tune in thirty days, which was

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an accelerated schedule for sure.

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Speaker 2: Yeah, but we we put.

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Speaker 3: In just as much time and care and attention as

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we would any other project. And yeah, it came I

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thought it came out excellent. I could hear every element

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that I wanted to in it, and yeah, yeah.

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Speaker 1: Yeah, the production is great.

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Speaker 2: Thank you.

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Speaker 1: How involved are you so you're you're completely like do

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you do do you engineer the track?

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Speaker 3: And so for this, for this particular the project with Tino,

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it was it was just Santino and myself. I was

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the principal engineer and then after we you know, got

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the tracks, after we recorded everything. We really sat down

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and we got to you know, putting a mix on

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it and getting the levels correct, and then you know,

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through to the mastering process. We did everything in house.

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Originally when the house, when the company was founded, we

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originally thought that we were going to have to kind

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of outsource some of the mastering, Yeah, just just to

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make things easier on us. But we purchased some software

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and we're imminently going to be probably purchasing some more

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hardware that will make it even easier for us to

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to do everything in house.

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

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mastered this?

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Speaker 2: Yes?

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Speaker 3: This was I mean well it was actually cooperatively I

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would say, mastered by Santino and myself. He was still

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involved down to the wire, right, right, so when we

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finished the tune. Uh, Santino was the person who made

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the final edits. So well, yes, I did apply the

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the effectuation right, the compression and equalization on the main

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you know, it was tweaked and it was dealt with

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by both of us.

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

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like do you have more? Are you? Are you just

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gonna release more singles or do you have an album

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or an EP and the works or what.

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Speaker 4: I would like to do? So right now playing we

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have an EP for next spring probably excellent, excellent, So

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we're gonna spend some time work on that and spend

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some time this time.

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Speaker 2: Yeah.

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Speaker 3: Yeah, it's gonna be a little bit more drawn out.

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And I don't know exactly how many songs that it

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was four or five, five I believe, and in one

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of one of those songs will be recycling of Somewheer

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in this Guy, So it's four additional and then Somewhere

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in the Sky will be re released with the cool

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EP collection. So yeah, and there might be slight changes,

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but I don't think very much will change concerning it.

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You never know, you never know, right, Yeah, we're gonna obviously,

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when we release any collection of works, we listen back

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to each of them to make sure not only there's

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cohesivity between you know, each song, but that there's you know, continuity,

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right that it feels good listening to it as if.

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

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Speaker 3: And and now I understand EPs can be diverse and

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you don't have to do that, but there is definitely

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a sort of theme if you will.

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Speaker 1: Yeah, yeah, and and something too that you know, you

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and Jesse when when you and Jesse Rutstein were here,

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you made very clear that with with the label Hatchet

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Acts and saw I did it, I do Jenny's heard

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me trip on it a thousand times that that uh,

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you know, you're you're really taking your time. And actually

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we were talking about it a little bit off air

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too before the show. You're really uh committed to making

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sure that everything's right. It's not just because sometimes people

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start something like a label or or some other endeavor

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and they, uh, you know, they just kind of throw

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a lot of stuff against the wall and see what sticks.

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Speaker 3: Very very haphazard. This this company certainly not doing that.

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The first two artists we signed, Santino and then Sarah Bird,

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who's actually one of Santino's colleagues, played with uh with

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Santino yesterday with Dog a Dog excellent and you know

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Sarah's tune. I can't wait to release that to the world.

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It's so musically interesting, really and actually so in the

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same way where I principally engineered and you know, mixed

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and assisted with mastering Tino's tune. Jesse is principally working

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with Bird. So this is kind of we divide the

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labor right now kind of in this way, some of

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the mixing and mastering on Bird's tune might be me.

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I don't know exactly you know what's going to happen

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right now because they haven't finished tracking everything just yet.

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But once all is finalized, then you know, we have

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the discussion of like, okay, how we move forward. And

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in every instance, the artist is the principal creative director.

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Of course, this is how it goes, and we have

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to as produce, we have to effectuate the artist's intent.

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So you know, if I'm brought in to do anything,

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it's going to be with Bird. It's going to be

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with her as kind of directing me, guiding me. You

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know what she wants in the tune. I've listened to

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the tune plenty, but you know I can't be her,

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I can't be in her mind. So I need to

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and and that that's part of doing this. I what

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I consider to be the right way, where you know,

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there are many recording companies and stuff where they will

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tell the artists like, oh, you need to write something

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that's saleable, you need to write something that that we,

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you know, feel strong and confident in promoting and we

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frankly just don't care. Will you know, if it's original,

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if it's if it if we think it's good, if

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we think that the musicality is there, will produce it,

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and you know, we'll we'll follow your direction. And I

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think that is something that is sorely lacking and missing

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in our musical culture in general. You know, there to

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some degree, once you have enough money can buy creative freedom.

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Of course, there's a lot of there's a lot of

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creative direction that that comes in some of these companies.

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Speaker 2: We're entirely antithetical.

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

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we should let's play the track Summer in the Sky

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for anyone who hasn't heard it yet. And of course

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this is out on all the streaming platforms and everything,

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and anything we should know before we play it, anything

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we should know about the song itself. Santino, do you

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have anything you want.

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Speaker 4: To it's a it's a tribute to Brian Wilson. Yeah,

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you know, I want to do something for him. I'm

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not normally a singer, but I tried it for this one.

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And you know, we'll see how that goes. But I

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just wanted to I want to just make something for

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him because he passed away in July. And yeah, that's

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really it's just a feel good, uh tune. I don't

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even know what it's about. It's about summer, my favorite

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time of year. So I like, of course we're in

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the sky right, very good.

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Speaker 1: So without further ado, we'll give this a spin and

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then we'll come back and talk with these guys some more.

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But here it is. This is Summer in the Sky

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Santino Demanti.

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Speaker 5: Sound gaining that's so long, but the pussion that's in

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an upstad and the sound so rogating coms the world.

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But the sound of the music way and updown b

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they running up. That's it up sons and it's another.

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Speaker 6: Wit s.

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

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the dress the auld prefect time to dreams that the

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damots me the shot streams the same season stream Woman

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stone Face but bating the.

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

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Speaker 5: So SnO, m.

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Speaker 4: M m.

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Speaker 1: Oh, that is so good. Summer in the Sky, Thank you.

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The debut release from Santino Demanti, and of course the

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debut release from Hatchet Acts and Saw Records, and we

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have both the Santino and Caleb Dyer from Hatchet Acts

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and Saw See.

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Speaker 2: Now that I can say, I know it is it

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is a mouthful.

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

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love it and uh, you you and you and Jesse

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shared how you came up with the name and everything,

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uh when you were on and that was that was

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really interesting. But I'm also so I'm curious about the

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production of the track because you know, it's got that

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you know, it's got an old school vibe, you know,

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and as you said, Santino, it's a tribute to Brian

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Wilson in effect. How hard was it to get because

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that's that's a tricky thing, right to get that that

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kind of sound and that vibe without screwing it up.

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Because you got it. You want to get that sound

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in that vibe, but you also need to make it

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sound you know, modern in.

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Speaker 3: The wise words of SpongeBob technique. Technique technique. Yeah, it's

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all about technique. And if you know how these things

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were originally done, you can reverse engineer them. Okay, It's

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it's pretty pretty much that simple. I will say, we did.

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On some things we used more modern techniques. So for example,

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the drum captures are not recorded in the same way

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that they would have been recorded back in that time,

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but that was done deliberately because we wanted to add

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certain textures and overlay things. So there were certain things

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that were not kind of those old techniques. But actually

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a lot of what we did for the guitars, like

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the signal chains, a lot of what we did, you know,

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on the actual mastering of it, the actually the software

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emulations that we use, because you know, we are working

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digitally for the vast majority of everything, with the exception

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of the actual signal going into the digital path. But

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even on the digital side, the software emulations that we

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were using were very much tools or emulations of tools

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that would be from that era, and some of them

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sounded better than others. So we you know, gravitated towards

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what to our years felt right, but really it was

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it was technique.

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Speaker 2: That's really just it. If you again, if you know

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how they did it, you can reverse engineer it.

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Speaker 1: Okay, is that the most challenging thing you've done as

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far as recording?

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Speaker 2: Oh no, not even close.

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Speaker 3: No, really, ok yeah, I mean, it's of as of late,

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it's uh, it's you know, it's more interesting. But I

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would say the most challenging things to record was some

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of my own stuff really and and and I mean

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none of that's been released, but yeah, that's a that's

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a totally different discussion. Yeah, yeah, but yeah, some of

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that was was extraordinarily difficult to kind of get what

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it should sound like because you know, the different techniques

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available to you, the different sorts of microphones, placement of microphones,

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all different manners of waves of capturing sound, and then

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all of the ways to process sound, and you have

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to get to get the right sound.

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

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

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You you yeah, when you came up with the song,

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did the did what ended up being the song the

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finished product? Did that match what you had in your head?

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Speaker 2: Or was it?

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

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Speaker 4: Well so kind of because like I wrote it on

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piano like months ago and probably okay, in my head,

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i'd like, you know, one by one kind of like

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imagine like what would make sense for it to be there,

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or like what I imagined it to be there, right, Yeah,

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and for so long, like such a long time of

253
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having to be able to sort of like process like

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what should be there. Like when we started recording it,

255
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I feel like it just kind of fell in place,

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and and uh, there were elements I think that are different,

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but you know, a lot of it was just very good.

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Speaker 3: Yeah, it was just what are we feeling? Or actually

259
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what Tina was feeling? Because I didn't play a single

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note on this. Everything that was done was Tina And

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which is interesting because there there have been people that

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have you know, worked with where you know, I've assisted

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of done things where you know, like hey, play bas

264
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on it or something like that. Yeah, and you know

265
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that's cool, But I try, as much as possible, I

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want the artist's intent to be effectuated by whatever we're doing.

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Speaker 1: Yeah.

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Speaker 4: I also think it depends on who comes in with

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a specific mindset, like would you like the producer to

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take more charge or maybe have someone else add some

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more ideas. And I guess since I had so much

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time doing nothing else to think of the song, it

273
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was so specific and I thought that just doing it myself.

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Speaker 2: Would give it that specific touch.

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Speaker 3: Yeah, he came in with a super clear creative direction,

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and that made what I was doing easy. I mean truly,

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it was just it was about Okay, Now, all I

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have to do is on the recording side of it,

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suggest techniques that will effectuate that intent.

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

281
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Speaker 3: Basically, it's a tribute to Brian Wilson, his life and

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his memory and how it affected him.

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Speaker 2: Musically.

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Speaker 4: Yeah, yeah, and I will say that not to cut

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you off, but I just think that the help that

286
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you gave me is a singing primarily. I think Caleb

287
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is a very good coach in vocals. I've learned a

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lot singing from him. Yeah, Whereas I may have had

289
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some of things a little more like you know, experience

290
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just doing certain things. But like I think singing has

291
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been a big thing that I can't look it he

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up anyone with you.

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Speaker 3: Know, I certainly try. My only musical training is on

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voice in ear. I never was trained on any of

295
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the other instruments, or very briefly piano lessons. But I

296
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stopped that when I realized that I knew more musically

297
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than the teacher did, wow, which that is strangely, and

298
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I tried to find I tried to find another teacher,

299
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and I just was kind of disappointed in once that

300
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I was seeking out. But with regards to voice and ear,

301
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I mean as my first things that I did was

302
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doing vocal arrangements in high school. And you know, while

303
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I don't really sing very much now, I sing on

304
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my own unreleased things, but I don't sing much anymore

305
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in any of the groups I'm in, except for maybe

306
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some backups. But yeah, I encourage if vocalists are coming

307
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in and doing work with us, I can certainly, and

308
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I'm not gonna be pushy, but somethings are universal and

309
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a recorded context, like you need to enunciate, you know,

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clear things unless you want to.

311
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Speaker 2: Slur your lyrics and right right.

312
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Speaker 3: But but you know, I I yeah, anyhow, I I

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I love working with certainly Santino and anyone else who's

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coming into to do work with us, and you know,

315
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guide them through the process of here's how we get

316
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the sound right, because you're creating the sound, but to

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get it to sound like you want on our record,

318
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it requires a whole separate set of science and and

319
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that's the part that I think a lot of gigging

320
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musicians kind of miss.

321
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Speaker 1: Yeah, well, said, I'm curious to Santino about, Uh, tell

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us a little bit more about your affinity for Brian

323
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Wilson and is he is he?

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Speaker 2: Like?

325
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Speaker 1: Is he? Is he? Is he your biggest influence or

326
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is he?

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Speaker 2: Yeah?

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Speaker 4: Yeah, I love Jimmy Page, Jimmy Hendrix, Oh yeah, but

329
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I mean, uh, fellow left handed guy.

330
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Speaker 2: I appreciate Hendricks very much, that's right.

331
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Speaker 4: But in my last couple of year, I think I've really,

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I've really been taken aback almost by Brian Wilson. Uh

333
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and just his capability as a as a just all

334
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around musician, I guess, and arrange your composer things like that, yea,

335
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and yeah, like I never heard anything you know, like

336
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like it before a lot of people know the Beach

337
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Boys for kind of the surf rock thing, but there's

338
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really really complex arrangements that he's done.

339
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Speaker 2: Sounds sound speaking of vocal arrangements.

340
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Speaker 3: Speaking of vocal arrangements, I mean, I've said this for

341
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some time and I can't take credit. I don't know

342
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who can take credit for saying this first. But the

343
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Beach Boys weren't so much a surf rock group as

344
00:18:43,839 --> 00:18:46,920
they were like a barber shop quartet with exactly rock

345
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band behind them, and and it you know, that stuff

346
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is magical. I mean, very few people are trying to

347
00:18:53,839 --> 00:18:57,559
do anything like that anymore. And when Santino came with

348
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this project and he's like, I want to do some

349
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crazy is the vocal stacks as of someone who you know,

350
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comes from a vocal arranging background.

351
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Speaker 2: And I didn't even have to arrange.

352
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Speaker 1: It, right, Yeah, I didn't even have.

353
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Speaker 2: To do any of this.

354
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Speaker 3: He just comes in there and he hears all the

355
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notes in the harmonic series that he wants to hit

356
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and he's just like, all right there it is.

357
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Speaker 4: Yeah, yeah, man, it's just it's a fun time. It's

358
00:19:17,519 --> 00:19:20,039
just it's fun more than anything, you know, to put

359
00:19:20,079 --> 00:19:22,279
something out there, you know, it means a lot. So

360
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I'm appreciative for sure.

361
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Speaker 1: Had you ever done anything like this before, because obviously,

362
00:19:26,759 --> 00:19:28,559
you know you've done other projects and we'll in a minute,

363
00:19:28,559 --> 00:19:30,880
we'll talk about the other the band that you guys

364
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have together, but had you ever done anything like that

365
00:19:34,640 --> 00:19:37,680
before that? That really kind of serves as such a

366
00:19:37,799 --> 00:19:39,119
fantastic tribute.

367
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Speaker 2: To thank you.

368
00:19:41,440 --> 00:19:44,799
Speaker 4: I've written tunes, you know, for this purpose, I guess

369
00:19:44,839 --> 00:19:47,480
in that regard, but this is the first time that

370
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I've recorded it with a good friend of mine in

371
00:19:51,759 --> 00:19:53,920
a good studio. You know, I think I've recorded a

372
00:19:53,960 --> 00:19:56,319
billion demos and stuff, you know, things like that.

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Speaker 3: Even demos with mego. We have some songs together. One

374
00:20:01,799 --> 00:20:03,720
of them I think is going to get resurrected as

375
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a song for Crank and Wagon pretty soon, when tune

376
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called the Fugitive, which I think is gonna eventually appear

377
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on a concept album that Paul Fry is dreaming up

378
00:20:14,839 --> 00:20:19,160
in his head. It's a collective effort, but it's definitely

379
00:20:19,160 --> 00:20:22,599
mostly his creative vision in terms of the story, and

380
00:20:22,640 --> 00:20:24,720
we're just following that intent because we think it's a

381
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good idea.

382
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Speaker 2: Yeah.

383
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Speaker 3: We actually just did a show yesterday at Wormtown out

384
00:20:30,519 --> 00:20:33,680
in Greenfield, mass We played the set and it was

385
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space themed.

386
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Speaker 2: And the theme of the Crank and Wagon.

387
00:20:38,359 --> 00:20:41,039
Speaker 3: Yes, this is Cranking Wagon where I play orgon for

388
00:20:41,319 --> 00:20:43,960
the listeners out there. I play orgon and occasionally some

389
00:20:44,319 --> 00:20:48,119
electric piano and stuff, and mister Santina Demante plays percussion

390
00:20:48,119 --> 00:20:51,880
and drums, and Paul fryes the guitar, and we had

391
00:20:51,960 --> 00:20:55,160
Nick Vatruba from Bass Sabbath, which I'm wearing their shirt

392
00:20:55,279 --> 00:20:57,599
for all the all the people watching out there.

393
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Speaker 2: Wearing bass. Sabbath.

394
00:20:59,759 --> 00:21:01,839
Speaker 3: He's a very nice tribute band. But he played bass

395
00:21:01,839 --> 00:21:05,359
with us yesterday and it was fantastic. Oh I you know,

396
00:21:05,559 --> 00:21:08,400
I hope, I hope he does more with us. But

397
00:21:09,200 --> 00:21:11,079
even if, even if not, even if it was just

398
00:21:11,119 --> 00:21:13,400
a one off, it was still an excellent gig, a

399
00:21:13,440 --> 00:21:13,920
great gig.

400
00:21:15,559 --> 00:21:17,480
Speaker 1: Well, I'm curious to know more about it, because I

401
00:21:17,519 --> 00:21:19,880
haven't actually heard Crank, and so I'm curious to just

402
00:21:19,920 --> 00:21:22,440
to know more about it, like what's like, what is it?

403
00:21:22,440 --> 00:21:26,440
Speaker 4: It's a good fusion of like rock and some progressive

404
00:21:26,440 --> 00:21:29,960
elements too. Oh yeah, yeah, so it makeses. I think

405
00:21:30,000 --> 00:21:34,119
it blends like maybe simpler rock and roll with like

406
00:21:34,160 --> 00:21:37,920
a good interesting, sort of different flair. And you're really

407
00:21:37,960 --> 00:21:39,240
a big part of the music in that, So I

408
00:21:39,240 --> 00:21:41,319
think you could even attest to more of that, you know,

409
00:21:41,359 --> 00:21:42,039
I think.

410
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Speaker 3: You know, in my view, and you know, Paul has

411
00:21:46,400 --> 00:21:48,720
his own influences that he brings to the table, But

412
00:21:49,039 --> 00:21:51,799
in my view, the influences that I'm bringing are sort

413
00:21:51,839 --> 00:21:56,920
of that seventies progressive rock, Emerson, Lake and Palmer. Of course,

414
00:21:56,920 --> 00:22:00,640
I'm a massive Keith Emerson fan. Yeah, yesterday we covered

415
00:22:00,759 --> 00:22:02,559
a deep purple tune. We covered Space Truck in.

416
00:22:02,720 --> 00:22:05,559
Speaker 2: Nice, which was heavy man, absolutely heavy.

417
00:22:06,519 --> 00:22:10,039
Speaker 3: And you know, I'm a massive John Lord fan. Yesterday

418
00:22:10,160 --> 00:22:13,160
at the gig, I wore a Boston shirt. Tom Schultz

419
00:22:13,200 --> 00:22:15,759
is another musical hero of mine on the organ, and

420
00:22:15,839 --> 00:22:18,720
I mean, if you listen to that music, you know,

421
00:22:18,720 --> 00:22:20,480
if you listen to all of that in the way

422
00:22:20,519 --> 00:22:25,400
that the organ drives it and is central to the

423
00:22:25,519 --> 00:22:29,279
rock and roll and the classical elements. Even yesterday we

424
00:22:29,359 --> 00:22:31,400
opened up the show with Son Andolf Gang, but take

425
00:22:31,440 --> 00:22:35,640
out stalls. We opened up a rock show with a

426
00:22:35,759 --> 00:22:41,440
classical piece, right, and you know, like you you don't

427
00:22:41,680 --> 00:22:47,440
hear that in like I've I've literally in the last decade,

428
00:22:47,440 --> 00:22:52,160
I've not heard another band doing something musically ambitious like that.

429
00:22:52,240 --> 00:22:55,079
And then the way that we plan transitions between songs

430
00:22:55,880 --> 00:22:58,279
and everything else we do is original. We usually throw

431
00:22:58,279 --> 00:23:00,799
in one cover for the people, but everything else we

432
00:23:00,839 --> 00:23:03,839
do is original. And I mean we play with the

433
00:23:03,880 --> 00:23:07,559
time signatures. We you know, even do some tempo play

434
00:23:07,599 --> 00:23:09,880
as well, where we kind of we'll drag things and

435
00:23:09,920 --> 00:23:12,440
be a little bit timmy wymy, But it's all deliberate.

436
00:23:12,839 --> 00:23:15,599
It's not It's not like it was not meant to

437
00:23:15,640 --> 00:23:20,799
be there. It's very very meticulously placed and and that

438
00:23:20,880 --> 00:23:24,839
I think is what separates that musical group from a

439
00:23:24,880 --> 00:23:28,359
lot of other ones that you'll hear. It's it's just

440
00:23:28,640 --> 00:23:32,519
very it's very deliberate, very composed.

441
00:23:33,000 --> 00:23:34,960
Speaker 1: Now, how long has Crank and Wagon been around? How

442
00:23:35,000 --> 00:23:36,920
long have you as been? Only about a year? I

443
00:23:36,960 --> 00:23:37,960
mean a little over a year.

444
00:23:38,000 --> 00:23:41,119
Speaker 3: But it's had various forms and and I'd actually like

445
00:23:41,200 --> 00:23:45,880
to show appreciation to some of the past members because

446
00:23:45,920 --> 00:23:48,480
I mean they you know, they did excellent things with it,

447
00:23:48,759 --> 00:23:52,720
and it's just continued on. But the original drummer was

448
00:23:52,839 --> 00:23:56,359
Cam Clark and he's a fantastic drummer's continuing to do

449
00:23:56,440 --> 00:23:59,920
other things now not exactly sure what he's up to,

450
00:24:00,079 --> 00:24:02,519
but Cam Clark was with us. And then for a

451
00:24:02,839 --> 00:24:04,880
period of time earlier this year, we had Chris Drew

452
00:24:05,400 --> 00:24:07,440
play play a number of gigs. He's the bass player

453
00:24:07,480 --> 00:24:09,680
in Dog Eate Dog, which of course it's a natural

454
00:24:10,559 --> 00:24:14,559
natural flowover for him to be playing with us. Then

455
00:24:14,640 --> 00:24:16,759
we did a three piece gig where it was just

456
00:24:16,839 --> 00:24:19,680
me left handing the bass. Really yeah, yeah, And I

457
00:24:19,680 --> 00:24:22,839
mean that's the cool dynamic thing about the Wagon is

458
00:24:22,880 --> 00:24:25,160
that you know, we can play a gig is a

459
00:24:25,160 --> 00:24:27,079
three piece with no bass player, or we can add

460
00:24:27,119 --> 00:24:30,160
a bass player and have all of this texture and

461
00:24:30,319 --> 00:24:33,160
you know, we can do whatever we.

462
00:24:33,039 --> 00:24:34,240
Speaker 2: Want to do musically.

463
00:24:34,400 --> 00:24:34,839
Speaker 1: Really cool.

464
00:24:34,960 --> 00:24:40,400
Speaker 3: Yeah, and in that sort of creative liberty is I

465
00:24:40,440 --> 00:24:42,359
think it's it's getting much more rare. I think a

466
00:24:42,359 --> 00:24:45,559
lot of musicians put themselves into a box. They don't

467
00:24:45,640 --> 00:24:48,920
need to. I think they they think that oh, these

468
00:24:48,960 --> 00:24:52,519
odd time signatures, these different you know, ways to feel

469
00:24:52,599 --> 00:24:55,279
music and to convey emotion with music. I think they

470
00:24:55,319 --> 00:24:59,119
feel almost like, oh, it's too wacky, it's too scary

471
00:24:59,240 --> 00:25:02,119
and like different, and like what if we don't execute

472
00:25:02,119 --> 00:25:04,359
it right? And you know what if it doesn't And

473
00:25:04,400 --> 00:25:07,000
you know, all of these things exist within musicians heads.

474
00:25:07,640 --> 00:25:12,319
They just need to fite in overpower. And you know,

475
00:25:12,519 --> 00:25:17,880
crank and Wagon is that it is fearless, absolutely fearless.

476
00:25:18,119 --> 00:25:20,400
You know, we'll we'll we'll have like a nice rock

477
00:25:20,440 --> 00:25:22,400
and groovy section one time, and then all of a

478
00:25:22,400 --> 00:25:25,400
sudden we'll break into five, or we'll break into seven eight,

479
00:25:25,559 --> 00:25:28,240
or you know, or will will insert a random measure

480
00:25:28,279 --> 00:25:31,680
of nine to eight just because we can and in

481
00:25:31,920 --> 00:25:36,599
already an odd time sequence, and and Tino knows exactly

482
00:25:36,599 --> 00:25:41,240
what I'm referencing because he was the one. But you know,

483
00:25:41,319 --> 00:25:44,240
we we just we play with every element of the

484
00:25:44,359 --> 00:25:48,240
music that we can make it interesting and something that

485
00:25:48,279 --> 00:25:51,799
the listener just doesn't expect. And and that's what I

486
00:25:51,920 --> 00:25:55,400
value in musical compositions, and I know Santino does as well.

487
00:25:55,400 --> 00:25:59,519
Speaker 4: Absolutely, Yeah, And then what's the plan as far as recording?

488
00:26:00,480 --> 00:26:04,559
Oh so well, hopefully pretty soon. You might know more

489
00:26:04,559 --> 00:26:05,920
than I do actually at this point kind of.

490
00:26:05,920 --> 00:26:07,720
Speaker 3: Sort of, I mean, but we've we've spoken about it

491
00:26:07,759 --> 00:26:09,960
down there, so we have our nice little whiteboard with

492
00:26:10,000 --> 00:26:15,359
our plans, our evil plans. But anyhow, so coming soon

493
00:26:15,680 --> 00:26:18,240
is going to be an EP. I believe it's going

494
00:26:18,279 --> 00:26:21,359
to be six songs. It's gonna contain our self titled track,

495
00:26:21,400 --> 00:26:25,160
Crank and Wagon, and it will have, you know, a

496
00:26:25,160 --> 00:26:28,200
few other morsels of things that people who have seen

497
00:26:28,240 --> 00:26:30,839
us live have have already kind of gotten to know.

498
00:26:32,599 --> 00:26:34,799
But it's that's going to be mostly things that we

499
00:26:34,839 --> 00:26:38,920
wrote in the very beginning, okay, and some one thing

500
00:26:39,000 --> 00:26:40,640
I think that was written a little bit later, But

501
00:26:41,720 --> 00:26:44,480
most of it is original sort of Crank and Wagon,

502
00:26:44,559 --> 00:26:48,079
the founding, the genesis, of the band, Paul Frye mostly

503
00:26:48,119 --> 00:26:52,240
his direction and writing in those songs, and then once

504
00:26:52,279 --> 00:26:54,440
we complete that, once we put that out, then we'll

505
00:26:54,480 --> 00:26:57,440
set work on the concept album that was aforementioned that

506
00:26:57,559 --> 00:27:00,440
is mostly driven by Paul's creative direction in terms of

507
00:27:00,480 --> 00:27:04,960
the story. Musically, I would say this is where Santino

508
00:27:05,000 --> 00:27:09,799
and I sort of start to get more aggressive in

509
00:27:09,880 --> 00:27:14,680
terms of how we color the ideas of mister fry Okay, interesting,

510
00:27:15,039 --> 00:27:19,000
and some of the writing is is Zappa esque, some

511
00:27:19,039 --> 00:27:21,680
of it is Emerson, you know, Keith Emerson and Emerson

512
00:27:21,720 --> 00:27:24,240
Lake and Palmer esque, and then some of it is

513
00:27:25,279 --> 00:27:27,920
more in the vein of Paul Frye and the you know,

514
00:27:28,119 --> 00:27:32,400
obscure eighties kind of poland vibe that he is going for. Yeah,

515
00:27:32,640 --> 00:27:35,359
and the name Crank and Wagon kind of comes for

516
00:27:35,440 --> 00:27:39,880
an affinity from this post World War two sort of

517
00:27:39,960 --> 00:27:43,440
Cold War music from the Eastern Bloc and even actually

518
00:27:43,480 --> 00:27:49,440
parts of Western Europe as well, where it was unique,

519
00:27:49,720 --> 00:27:56,400
like not droning music, but music that was born of

520
00:27:56,440 --> 00:28:02,400
the despair of living in a place that was impoverished, oppressed,

521
00:28:03,440 --> 00:28:07,599
where you know, people didn't have creative freedom. Really, if

522
00:28:07,680 --> 00:28:09,759
you had it, it was underground. And it was not

523
00:28:09,960 --> 00:28:14,640
easy to share, and that I think inspires all of us,

524
00:28:14,799 --> 00:28:17,799
all three of us in the band, to varying degrees,

525
00:28:17,839 --> 00:28:21,119
but the idea that we use this band as a

526
00:28:21,240 --> 00:28:24,839
vehicle for exactly what we want to put out into

527
00:28:24,839 --> 00:28:27,839
the world, and that no one's going to tell us

528
00:28:28,920 --> 00:28:30,799
how we should do it.

529
00:28:31,640 --> 00:28:33,160
Speaker 2: And if you like it, you like it. If you don't,

530
00:28:33,200 --> 00:28:33,599
you don't.

531
00:28:35,240 --> 00:28:39,119
Speaker 3: But it is definitely it's not your stereotypical standards straight

532
00:28:39,160 --> 00:28:39,920
up rock and roll.

533
00:28:39,960 --> 00:28:41,680
Speaker 2: It's very out there.

534
00:28:41,920 --> 00:28:45,720
Speaker 1: Right yea. How often does Crank and Wagen play? Do

535
00:28:45,720 --> 00:28:47,160
you guys play? A lot?

536
00:28:47,240 --> 00:28:51,160
Speaker 3: Fairly and frequently really, And that's deliberate. We're trying to

537
00:28:52,319 --> 00:28:55,960
what we do when we play live. We're trying to

538
00:28:56,000 --> 00:28:59,960
theme our sets. So the last several shows we've had

539
00:29:00,079 --> 00:29:03,160
have had different themes that we've stuck to. So when

540
00:29:03,200 --> 00:29:05,400
we the last show we did prior to this, it

541
00:29:05,440 --> 00:29:08,759
was Jurassic Park themed, Oh Wow, and we did the motif.

542
00:29:08,839 --> 00:29:13,640
We played the John Williams motif in three different keys

543
00:29:13,680 --> 00:29:16,839
throughout the throughout the set so that we would transition

544
00:29:17,079 --> 00:29:20,680
seamlessly into other songs. But we we did that John

545
00:29:20,720 --> 00:29:24,960
Williams motif and that again, like rock bands that will

546
00:29:25,000 --> 00:29:29,480
just put John Williams into their sets like that. It

547
00:29:29,720 --> 00:29:33,480
just you don't hear about that. It doesn't happen. And

548
00:29:33,559 --> 00:29:37,640
we just do it because we can, because musically we

549
00:29:37,720 --> 00:29:41,640
all have the ability, and we think it serves the songs,

550
00:29:41,640 --> 00:29:46,119
it serves the set and delivers a creative and interesting

551
00:29:46,200 --> 00:29:49,640
product to the people who are there in the audience.

552
00:29:49,799 --> 00:29:54,200
And we don't want to we don't want to be

553
00:29:54,400 --> 00:29:57,160
delivering just sets where it's like stopping in between every

554
00:29:57,200 --> 00:30:01,160
song and you know, we're like leaving dead air. We

555
00:30:01,240 --> 00:30:05,119
want to be really making people surprised. It's like, oh,

556
00:30:05,160 --> 00:30:08,279
they went into that song immediately, like what, how do

557
00:30:08,400 --> 00:30:11,799
they even do that? And we want to create that magic,

558
00:30:12,480 --> 00:30:15,400
and to do that we need more time in between shows.

559
00:30:15,400 --> 00:30:18,400
We need to be able to construct the sets really meticulously,

560
00:30:18,440 --> 00:30:20,240
get them where we want them to be. And it's

561
00:30:20,240 --> 00:30:24,240
the same as recording. It's like, you know, Santino is

562
00:30:24,240 --> 00:30:26,880
well aware of this led Zeppelin as a band, and

563
00:30:27,519 --> 00:30:30,359
I would argue that a lot of it is much

564
00:30:30,400 --> 00:30:34,799
more musically simple, especially the earliest stuff. But there is

565
00:30:34,839 --> 00:30:37,000
a lot of the stuff from led Zeppelin that they

566
00:30:37,039 --> 00:30:41,400
took a long time in between to really get what

567
00:30:41,480 --> 00:30:46,000
they wanted for a musical idea, right and feeling the

568
00:30:46,039 --> 00:30:48,920
way that they want to convey that emotion, and that

569
00:30:49,119 --> 00:30:52,640
is so important when you're doing something that is musically intricate.

570
00:30:53,200 --> 00:30:57,400
Speaker 1: But now that's really interesting to the concept of, you know,

571
00:30:57,440 --> 00:31:00,599
making every show, you know, have a and have it

572
00:31:00,680 --> 00:31:02,559
be different because that I don't I can't think of

573
00:31:02,559 --> 00:31:04,880
anyone who really does that. Yeah, there's the top of

574
00:31:04,880 --> 00:31:05,799
my head. I can't think of anything.

575
00:31:05,839 --> 00:31:09,279
Speaker 3: Yeah, there are some some bands that do themed shows

576
00:31:09,319 --> 00:31:11,599
and things like that, and you know, bands that will

577
00:31:11,640 --> 00:31:14,400
dress up and costume to do it where where maybe

578
00:31:14,440 --> 00:31:18,720
the show itself, the music itself is not themed. But yeah,

579
00:31:18,759 --> 00:31:21,079
but just the idea. I forget when it was when

580
00:31:21,119 --> 00:31:23,440
we kind of started doing that, but it was earlier

581
00:31:23,480 --> 00:31:25,119
this year, for sure. It was at the beginning of

582
00:31:25,119 --> 00:31:27,000
this year, and I think Paul just are just like, hey,

583
00:31:27,039 --> 00:31:30,359
let's do this theme for Strange Creek, and we just

584
00:31:30,480 --> 00:31:33,319
dressed up that way. We didn't really do much musically, Yeah,

585
00:31:34,240 --> 00:31:35,720
I guess we We put take Me Out to the

586
00:31:35,720 --> 00:31:39,279
Ballgame as an intro for our first song called America's Pastime,

587
00:31:39,960 --> 00:31:42,079
which which is a little bit of a play on words.

588
00:31:43,079 --> 00:31:45,519
Speaker 2: But but anyhow.

589
00:31:45,880 --> 00:31:48,119
Speaker 3: So we do things like that where we you know,

590
00:31:48,160 --> 00:31:51,640
we inject interesting ideas and we try to make the

591
00:31:51,720 --> 00:31:53,720
listener and the person who's in the audience think a

592
00:31:53,720 --> 00:31:56,400
little bit more about the music because we've thought a

593
00:31:56,519 --> 00:31:57,680
lot about the music.

594
00:31:58,759 --> 00:32:02,759
Speaker 1: Yeah, now that's fantast When is the next Cranking Wagon show?

595
00:32:02,839 --> 00:32:04,880
Do you have something coming around?

596
00:32:04,880 --> 00:32:09,759
Speaker 3: So the Wagon? The Wagon is coming to I think

597
00:32:09,759 --> 00:32:12,359
we're playing October tenth and eleventh. I think tenth is

598
00:32:12,400 --> 00:32:16,720
in Rhode Island. I forget the exact venue. Sorry, sorry

599
00:32:16,720 --> 00:32:17,400
to the listeners.

600
00:32:17,640 --> 00:32:17,759
Speaker 2: Uh.

601
00:32:17,799 --> 00:32:21,079
Speaker 3: October eleventh, though, is at Ralphs Rock and Diner in Worcester.

602
00:32:21,359 --> 00:32:23,839
And I believe we're going to be playing with Bass Sabbath.

603
00:32:24,079 --> 00:32:28,240
That show is actually not going to be super themed. However,

604
00:32:28,400 --> 00:32:30,160
we are going to be doing some of the music

605
00:32:30,279 --> 00:32:31,359
of Pink Floyd.

606
00:32:31,599 --> 00:32:32,000
Speaker 1: Okay.

607
00:32:33,000 --> 00:32:35,119
Speaker 3: We One of the covers we used to do, which

608
00:32:35,160 --> 00:32:38,720
we've kind of left out of recent sets was Sid

609
00:32:38,720 --> 00:32:39,720
Barrett Eric Floyd.

610
00:32:39,720 --> 00:32:42,279
Speaker 2: We did what was the name of that to in

611
00:32:42,359 --> 00:32:48,119
the it went, I forget the name, got the name,

612
00:32:48,480 --> 00:32:57,359
Oh my god, something? No? Yeah, lyric, Yeah, it's in

613
00:32:57,559 --> 00:33:03,839
F sharp. I know, I'll the notes something but like

614
00:33:03,880 --> 00:33:05,880
a devil, No, I forget what the name of it is.

615
00:33:06,640 --> 00:33:10,039
Speaker 3: You're not thinking, I can't, I can't even quote the

616
00:33:10,119 --> 00:33:14,920
song and I can, Yes, yes, Lucifer Sam Yes, early

617
00:33:14,960 --> 00:33:17,559
sid Bear at Eric Floyd. So we're probably gonna reincorporate

618
00:33:17,599 --> 00:33:20,599
that along with some other Pink Floyd classics that you

619
00:33:20,640 --> 00:33:21,039
know well.

620
00:33:23,039 --> 00:33:24,880
Speaker 2: But uh so that that show.

621
00:33:24,680 --> 00:33:26,240
Speaker 3: Is a little bit of a one off where we're

622
00:33:26,279 --> 00:33:28,880
doing more covers than we would normally do, but we

623
00:33:28,920 --> 00:33:31,240
will still play originals and uh you know that the

624
00:33:31,519 --> 00:33:32,799
focus is always on the original.

625
00:33:33,119 --> 00:33:36,039
Speaker 1: Yeah, so excellent. And what about playing Summer in the

626
00:33:36,079 --> 00:33:38,880
Sky out like, do you if you had a chance

627
00:33:38,880 --> 00:33:41,200
to play that out live? Or what what's their plans

628
00:33:41,240 --> 00:33:41,559
to or.

629
00:33:42,359 --> 00:33:43,359
Speaker 2: I haven't thought about that.

630
00:33:43,640 --> 00:33:47,680
Speaker 4: Yeah, so, I mean I would like to assemble the

631
00:33:47,720 --> 00:33:49,640
band of some time next year and maybe do some

632
00:33:49,640 --> 00:33:51,640
some stuff like that. But for now, I'm just really

633
00:33:51,720 --> 00:33:54,599
enjoying the recording of it and make sure it's a

634
00:33:54,599 --> 00:33:56,720
good polished thing. And yeah, you know, in time, I

635
00:33:56,720 --> 00:33:57,839
think it's totally possible.

636
00:33:57,880 --> 00:34:00,440
Speaker 3: You know, there's there's a lot of elements on that

637
00:34:00,519 --> 00:34:02,599
and to do it, to do it live, to do

638
00:34:02,680 --> 00:34:05,119
it live without horns or strings would be would be

639
00:34:05,200 --> 00:34:05,839
very difficult thing.

640
00:34:05,839 --> 00:34:09,320
Speaker 4: As possible, but definitely, uh, something to plan out, and

641
00:34:09,559 --> 00:34:09,840
you know.

642
00:34:09,880 --> 00:34:12,639
Speaker 1: It'd be hard to you know, I mean if if pressed,

643
00:34:12,679 --> 00:34:14,360
you could pull out an acoustic guitar.

644
00:34:14,800 --> 00:34:18,320
Speaker 3: Exactly, but to do the harmony vocal stacks on it,

645
00:34:18,360 --> 00:34:20,320
and to really to really get the feel to.

646
00:34:20,320 --> 00:34:21,079
Speaker 1: Do it justice.

647
00:34:21,239 --> 00:34:22,960
Speaker 4: Yeah, I think getting a band together to do it

648
00:34:23,000 --> 00:34:26,000
somewhat justice. It's totally possible even without things like you know,

649
00:34:26,079 --> 00:34:29,360
vocal stacks or or strings or horns or whatever. But yeah,

650
00:34:29,400 --> 00:34:31,199
it's just it's finding the groove of it and finding

651
00:34:31,239 --> 00:34:32,639
everyone's place in it, you know.

652
00:34:32,880 --> 00:34:33,280
Speaker 1: Yeah.

653
00:34:33,320 --> 00:34:35,960
Speaker 2: So yeah, totally something that could happen for sure.

654
00:34:36,079 --> 00:34:37,159
Speaker 1: Yeah, yeah, I mean we.

655
00:34:37,159 --> 00:34:40,519
Speaker 3: Certainly know people who are musically good enough to make

656
00:34:40,599 --> 00:34:43,239
that happen out doubt so absolutely yeah.

657
00:34:43,280 --> 00:34:44,800
Speaker 2: One yeah, uh.

658
00:34:44,880 --> 00:34:46,800
Speaker 1: Well, the time goes quickly, guys, and I do want

659
00:34:46,840 --> 00:34:48,360
to play I think we're going to play that song

660
00:34:48,719 --> 00:34:50,760
once more once more to end the segment.

661
00:34:50,840 --> 00:34:52,039
Speaker 2: O great, great, thank you?

662
00:34:52,960 --> 00:34:55,079
Speaker 1: What is there anything you guy? It's got a lot

663
00:34:55,119 --> 00:34:56,400
going on. I do want to make sure though, is

664
00:34:56,400 --> 00:34:58,000
there anything coming up that you want to mention that

665
00:34:58,039 --> 00:34:58,719
we didn't talk.

666
00:34:58,559 --> 00:35:01,800
Speaker 3: About or well, I will say if you're local to

667
00:35:01,840 --> 00:35:04,360
New Hampshire and you want to come see me. Tomorrow

668
00:35:04,440 --> 00:35:07,079
I'm gonna be in Milford, New Hampshire doing a blues

669
00:35:07,159 --> 00:35:10,679
jam something totally different. Wow, open, open everyone. I do

670
00:35:10,719 --> 00:35:13,599
that with Craig Thomas the second Sunday of every month

671
00:35:13,719 --> 00:35:18,000
out at Riley's Place in Milford. And it's a fantastic jam.

672
00:35:18,079 --> 00:35:20,719
You can pretty much come and play anything, though it

673
00:35:20,800 --> 00:35:24,800
is more blues focused, and I would love to see

674
00:35:24,840 --> 00:35:28,239
people there and play with you because I love meeting

675
00:35:28,400 --> 00:35:31,159
all kinds of local musicians, especially people who are passionate

676
00:35:31,239 --> 00:35:35,519
about crazy and wild music. But yeah, come on out

677
00:35:35,599 --> 00:35:36,280
have some fun.

678
00:35:36,559 --> 00:35:38,920
Speaker 2: That that's me. I know Tino's got his own schedules.

679
00:35:38,960 --> 00:35:42,239
Speaker 4: So yeah, after yesterday the show we played we were

680
00:35:42,239 --> 00:35:46,599
talking about earlier, we're finally getting nice break. So as

681
00:35:46,599 --> 00:35:49,000
of now I can't think of anything, so I get

682
00:35:49,000 --> 00:35:51,239
to maybe sleep a little bit or record some more.

683
00:35:51,320 --> 00:35:53,719
So yeah, but maybe I'll check out that blues jam

684
00:35:53,719 --> 00:35:54,880
that CAB's doing too.

685
00:35:55,920 --> 00:35:58,000
Speaker 1: You know what's funny as on a side about Milford,

686
00:35:58,679 --> 00:36:01,840
So Milford for for people listening online from other parts

687
00:36:01,880 --> 00:36:06,119
of the country, Milford, New Hampshire, it's just this town.

688
00:36:06,199 --> 00:36:08,719
It's not like a big metropolitan area, right it's just

689
00:36:08,719 --> 00:36:11,159
a small town in New Hampshire. But for whatever reason,

690
00:36:11,639 --> 00:36:14,239
like Milford comes up on the show all the time,

691
00:36:14,679 --> 00:36:17,760
and it sounds like like there's just a lot going

692
00:36:17,800 --> 00:36:20,880
on there's musically, it's so weird.

693
00:36:20,960 --> 00:36:23,960
Speaker 3: It's like there's so many there's so many places in

694
00:36:24,079 --> 00:36:26,760
town in that town that have live music. And it's

695
00:36:26,920 --> 00:36:30,079
because the people in and around that little kind of

696
00:36:30,400 --> 00:36:33,039
part of that valley, sow he Can Valley just they

697
00:36:33,199 --> 00:36:36,400
love local music and they love all kinds of different stuff.

698
00:36:36,400 --> 00:36:38,960
But I will say they do it for proclivity to blues,

699
00:36:39,079 --> 00:36:41,639
no question. Yeah, the age and the demographic there's a

700
00:36:41,719 --> 00:36:46,639
lot for blues musicians there, but yeah, for just about everything,

701
00:36:46,679 --> 00:36:48,760
they have so much diverse wild doesn't.

702
00:36:48,800 --> 00:36:50,719
Speaker 2: Yeah it's great. It's awesome to see.

703
00:36:50,880 --> 00:36:53,400
Speaker 1: Yeah it is. Yeah it is. Yeah, you don't expect it,

704
00:36:53,440 --> 00:36:57,480
but yeah, Milford comes up all the time on the show. Caleb,

705
00:36:57,519 --> 00:36:59,119
where is the best place for people to go online

706
00:36:59,159 --> 00:37:01,400
to keep up with everything that Hatchet Acts and Saw

707
00:37:01,440 --> 00:37:01,920
Records is.

708
00:37:01,920 --> 00:37:04,440
Speaker 2: Doing Hatchet Action Saws on Facebook.

709
00:37:04,480 --> 00:37:07,559
Speaker 3: We do not yet have a website, but you can

710
00:37:07,559 --> 00:37:10,079
find us on Facebook Hatchet Action and Saw Records, And

711
00:37:10,280 --> 00:37:12,760
I believe we're getting some other social set up where

712
00:37:13,239 --> 00:37:15,400
you know, we're a little bit slacking on the socials,

713
00:37:15,480 --> 00:37:16,320
but we are.

714
00:37:16,880 --> 00:37:18,159
Speaker 2: We're not slacking on the music.

715
00:37:18,280 --> 00:37:19,000
Speaker 1: Oh that's for sure.

716
00:37:19,039 --> 00:37:19,599
Speaker 2: That's for sure.

717
00:37:19,719 --> 00:37:23,079
Speaker 1: Yeah, yeah, and uh, Santino, where should people go? Well,

718
00:37:23,199 --> 00:37:25,159
the single, of course is on all the platforms right,

719
00:37:25,119 --> 00:37:27,719
all the streaming platform somewhere in the sky. Where else

720
00:37:27,719 --> 00:37:29,559
should people go to keep up with everything that you're doing?

721
00:37:30,760 --> 00:37:33,960
Speaker 4: I have, I have a Facebook page, Instagram page.

722
00:37:34,679 --> 00:37:37,559
Speaker 2: Is my name? Yeah, yeah, it's basical things. For sure.

723
00:37:37,639 --> 00:37:39,280
Speaker 1: You want to spell your last name for people who don't.

724
00:37:39,480 --> 00:37:42,280
Speaker 2: Yes, D E, capital M O N T E.

725
00:37:43,440 --> 00:37:47,760
Speaker 1: Very good and now I know how to say it tractly. Guys,

726
00:37:47,760 --> 00:37:50,000
this has been wonderful. Thank you bouth so much.

727
00:37:50,599 --> 00:37:50,800
Speaker 2: Great.

728
00:37:50,880 --> 00:37:52,920
Speaker 1: Absolutely, we'll definitely do this again in the future. And

729
00:37:52,960 --> 00:37:55,239
I think too, we're gonna We're gonna see Caleb on

730
00:37:55,280 --> 00:37:57,199
the podcast version of the show at some point in

731
00:37:57,239 --> 00:38:01,000
your future too. But we will end this segment with this.

732
00:38:01,079 --> 00:38:03,079
We're gonna play this again. Summer in the Sky, the

733
00:38:03,119 --> 00:38:06,480
debut single from Santino Demonti as a solo artist on

734
00:38:06,599 --> 00:38:08,760
Hatchet ACS and Saw Records. So this is really good.

735
00:38:08,760 --> 00:38:10,320
If you missed it earlier, we're gonna play this again,

736
00:38:10,440 --> 00:38:12,559
and if you are listening live on Saturday. Coming up

737
00:38:12,880 --> 00:38:16,960
next hour, we have Keith sam Land and his project Alienstone.

738
00:38:16,960 --> 00:38:20,159
He's gonna be joining us via Microsoft Teams, so really

739
00:38:20,199 --> 00:38:22,000
looking forward to talking with him. He's got a really

740
00:38:22,039 --> 00:38:25,719
interesting sound. Uh so uh. There is plenty more to come,

741
00:38:25,760 --> 00:38:27,760
but right now here it is summer in the sky.

742
00:38:27,800 --> 00:38:29,840
This is Santino Demante.

743
00:38:43,440 --> 00:39:01,199
Speaker 6: The sound of the music in its.

744
00:39:03,400 --> 00:39:03,679
Speaker 5: Mother.

745
00:39:04,079 --> 00:39:05,159
Speaker 4: It s.

746
00:39:12,639 --> 00:39:25,400
Speaker 6: The SnO.

747
00:39:20,719 --> 00:39:28,960
Speaker 5: Score, So.

748
00:39:30,440 --> 00:39:37,119
Speaker 6: Do away with the dream. The sunset rode the dress,

749
00:39:37,320 --> 00:39:39,679
the Indian.

750
00:39:38,760 --> 00:39:44,760
Speaker 5: Perfect time did dreams that the day abouts did the

751
00:39:44,920 --> 00:39:57,960
shoe streams the same season stream nd Stone Satan so

752
00:40:01,639 --> 00:40:10,599
sun stock.

753
00:40:16,079 --> 00:40:18,559
Speaker 2: So the storm.

754
00:40:23,960 --> 00:40:51,960
Speaker 5: So stop so stop.

755
00:40:57,360 --> 00:40:59,440
Speaker 6: So spot

756
00:41:05,239 --> 00:41:05,280
Speaker 4: So