1 00:00:00,080 --> 00:00:01,720 Speaker 1: Hm. I really like that a lot. 2 00:00:01,760 --> 00:00:04,960 Speaker 2: The track is Breathe, the artist is Alienstone, and we're 3 00:00:05,000 --> 00:00:08,119 going to talk with the gentleman behind that project in 4 00:00:08,240 --> 00:00:08,759 just a moment. 5 00:00:08,960 --> 00:00:09,800 Speaker 1: But welcome everybody. 6 00:00:09,880 --> 00:00:11,960 Speaker 2: We have entered our number two numarrow Doos of Matt 7 00:00:12,000 --> 00:00:15,560 Connorton Unleashed. For those of you listening live today is Saturday, 8 00:00:15,679 --> 00:00:18,280 September thirteen, twenty twenty five, and we come to you 9 00:00:18,320 --> 00:00:21,839 from the studios of wm NH ninety five point three 10 00:00:21,879 --> 00:00:25,160 FM and Glorious Manchester, New Hampshire. Jenny is here, of 11 00:00:25,160 --> 00:00:28,440 course at the news table, and of course hello to 12 00:00:28,440 --> 00:00:32,200 everybody listening online or even around the globe. Matt connorton 13 00:00:32,240 --> 00:00:35,359 dot Com. Slash live is how the easiest way to 14 00:00:35,439 --> 00:00:38,119 get the show from anywhere, so we appreciate all of 15 00:00:38,119 --> 00:00:40,479 you who tune in with us. And let's go ahead. 16 00:00:40,479 --> 00:00:42,679 I'm gonna bring this mic up and we're gonna talk 17 00:00:42,719 --> 00:00:47,159 with mister Keith Samland, the gentleman behind Alien Stone. 18 00:00:47,240 --> 00:00:50,000 Speaker 3: Keith, are you there? I am, How you doing good? 19 00:00:50,039 --> 00:00:50,320 Speaker 1: Good? 20 00:00:50,520 --> 00:00:50,600 Speaker 4: So? 21 00:00:50,840 --> 00:00:52,840 Speaker 2: I know you can't see us on video, but I 22 00:00:52,840 --> 00:00:54,479 can see you on video and you look like you're 23 00:00:54,479 --> 00:00:57,280 in a radio studio and I saw something online. 24 00:00:57,320 --> 00:00:58,920 Speaker 1: Do you also do a radio show. 25 00:00:59,439 --> 00:01:03,560 Speaker 5: Yes, upright, mo own internet radio station for about the 26 00:01:03,600 --> 00:01:05,879 past eleven twelve years outstanding. 27 00:01:05,959 --> 00:01:08,040 Speaker 3: I have a show too, Oh very cool. 28 00:01:07,879 --> 00:01:10,959 Speaker 2: Very cool, and what's the station and what's the show called. 29 00:01:11,680 --> 00:01:12,599 Speaker 1: Let's give that a plug. 30 00:01:12,760 --> 00:01:14,760 Speaker 2: Just partly for selfish reasons, I do want to talk 31 00:01:14,760 --> 00:01:16,640 to you about the music, but also as a radio guy, 32 00:01:16,760 --> 00:01:18,680 I'm just super curious about what you do as a 33 00:01:18,680 --> 00:01:19,599 broadcaster too. 34 00:01:20,200 --> 00:01:20,640 Speaker 3: For sure. 35 00:01:20,959 --> 00:01:24,359 Speaker 5: The station's called alien X Radio okay, and the show 36 00:01:24,400 --> 00:01:27,159 that I currently do is called Inside the Mothership okay. 37 00:01:27,680 --> 00:01:30,959 And I used to do interviews and all kinds of 38 00:01:31,000 --> 00:01:33,400 stuff with movie stars and things like that, but as 39 00:01:33,439 --> 00:01:35,480 of late, it's just become mostly just like comedy and 40 00:01:35,560 --> 00:01:36,239 entertainment show. 41 00:01:36,359 --> 00:01:39,959 Speaker 1: Oh interesting, I'm gonna have to check that out. Very cool. 42 00:01:40,159 --> 00:01:44,879 Speaker 2: So I have questions about Alien Stone, and a big 43 00:01:44,879 --> 00:01:47,319 one and part of the reason I picked that track, 44 00:01:47,680 --> 00:01:50,079 and I chose another song too that will play at 45 00:01:50,079 --> 00:01:51,879 the end of our conversation that I really like. But 46 00:01:52,640 --> 00:01:56,120 I love your sound. I love the songs. I'm particularly 47 00:01:56,200 --> 00:01:58,640 taken with the sound of the guitar. Is that you 48 00:01:58,719 --> 00:02:00,400 on lead guitar and all. 49 00:02:00,159 --> 00:02:04,319 Speaker 5: These I did everything on these songs with the exception 50 00:02:04,480 --> 00:02:06,640 of leads and solos. Okay, what I did is I 51 00:02:06,680 --> 00:02:09,360 went through all of the bands that I've played with 52 00:02:09,520 --> 00:02:12,080 through you know, different bands that have played shows with me, 53 00:02:12,439 --> 00:02:14,919 and I've gotten their guitar players from all the local 54 00:02:14,960 --> 00:02:17,280 bands and had them all individuals, each one of these 55 00:02:17,319 --> 00:02:19,199 tracks as a completely different person playing on it. 56 00:02:19,360 --> 00:02:19,719 Speaker 1: Gotcha. 57 00:02:19,800 --> 00:02:22,120 Speaker 5: So they all contributed these from their home studios and 58 00:02:22,120 --> 00:02:23,919 sent them over and I chopped them up, spliced them 59 00:02:23,960 --> 00:02:26,159 and put them together, and I got different. That's how 60 00:02:26,199 --> 00:02:28,639 I got such different flavor throughout the course of the album. 61 00:02:28,800 --> 00:02:31,000 Speaker 2: That makes sense because I really love the guitar tone 62 00:02:31,439 --> 00:02:35,039 on that track Breathe And is his name David Quick? 63 00:02:35,120 --> 00:02:36,000 Speaker 1: Is that how you say his name? 64 00:02:36,560 --> 00:02:37,240 Speaker 3: David Schwick? 65 00:02:37,360 --> 00:02:40,240 Speaker 1: Oh Schwick? Okay, yeah, I wasn't sure. 66 00:02:41,400 --> 00:02:43,800 Speaker 5: The crazy thing about that, too, is that he's actually 67 00:02:43,800 --> 00:02:46,319 one of the most talented drummers that I've ever met, 68 00:02:46,599 --> 00:02:49,080 and I didn't even know he played guitar, and now 69 00:02:49,080 --> 00:02:51,879 he's the he's the drummer of a band called Sonic 70 00:02:51,919 --> 00:02:53,280 Smut in this area right now. 71 00:02:53,280 --> 00:02:55,960 Speaker 3: But that's how a drummer plays guitar really. 72 00:02:55,919 --> 00:03:00,479 Speaker 2: Yeah, wow, Yeah, he's really good. Yeah, and it uh, 73 00:03:01,039 --> 00:03:02,879 you know, it fits the song perfectly, and I love 74 00:03:02,960 --> 00:03:04,240 the I love the tone. 75 00:03:05,879 --> 00:03:07,800 Speaker 1: Everything about it is is so good. 76 00:03:08,439 --> 00:03:12,560 Speaker 2: And tell us about I mean again, I listened to 77 00:03:12,639 --> 00:03:13,879 the you Know You sound Us a whole album. I 78 00:03:13,960 --> 00:03:16,039 listened to the entire album. It's funny because we had 79 00:03:16,120 --> 00:03:19,000 kind of talked I'll pull the curtain back a little bit. Uh, 80 00:03:19,039 --> 00:03:21,439 we kind of talked online about you know. 81 00:03:21,800 --> 00:03:21,919 Speaker 6: Uh. 82 00:03:22,039 --> 00:03:24,520 Speaker 2: One of the songs you gave me a four warning 83 00:03:24,599 --> 00:03:26,439 has a word in it that we would have to 84 00:03:26,439 --> 00:03:28,479 make a radio edit of I and I was willing 85 00:03:28,520 --> 00:03:30,639 to do that, but then, you know, I listened to 86 00:03:30,680 --> 00:03:32,039 the whole album and it's like, well, there's so much 87 00:03:32,039 --> 00:03:33,919 great stuff here, there's no reason to even bother making 88 00:03:33,960 --> 00:03:36,280 a radio edit of that song because there's no shortage 89 00:03:36,280 --> 00:03:37,599 of great songs here. 90 00:03:37,680 --> 00:03:39,080 Speaker 1: So I that. 91 00:03:39,159 --> 00:03:41,400 Speaker 2: So I picked a Breath to open with, and I'm 92 00:03:41,400 --> 00:03:43,479 gonna play criticize yourself at the end of the segment 93 00:03:43,520 --> 00:03:45,960 because I love that one too. Those are my two favorites. 94 00:03:46,000 --> 00:03:49,759 So selfishly, I picked my two personal two favorites. But 95 00:03:49,759 --> 00:03:52,400 but I'm curious about your creative process, and it sounds 96 00:03:52,439 --> 00:03:53,960 like you do all the production yourself. 97 00:03:54,039 --> 00:03:54,639 Speaker 1: Is that correct? 98 00:03:55,280 --> 00:03:55,479 Speaker 3: Yep? 99 00:03:55,759 --> 00:03:57,680 Speaker 5: Right here where I'm sitting right now, is where I 100 00:03:57,759 --> 00:04:00,120 did all of the production on that whole album. Yeah, ye, 101 00:04:00,639 --> 00:04:05,360 recorded everything in myself. I used Superior drummer to program 102 00:04:05,400 --> 00:04:08,759 and edit all the drums. I recorded my own bass tracks, 103 00:04:08,800 --> 00:04:11,840 my own rhythms on the acoustic and actually all the 104 00:04:11,919 --> 00:04:14,960 vocal tracks, I recorded scratch tracks that I was going 105 00:04:15,039 --> 00:04:17,040 to re record later, and I ended up just cleaning 106 00:04:17,079 --> 00:04:19,800 them up and using the ones that were already in there. Okay, okay, 107 00:04:19,879 --> 00:04:22,000 so everything was a one take on all the vocals. 108 00:04:22,240 --> 00:04:26,519 Speaker 2: Okay, Wow, Have you ever done this before? Or is 109 00:04:26,879 --> 00:04:29,079 Alien Stone this album? And by the way, what's the. 110 00:04:29,079 --> 00:04:29,680 Speaker 1: Name of the album? 111 00:04:30,680 --> 00:04:31,959 Speaker 3: The album's called After the Gray. 112 00:04:32,160 --> 00:04:34,560 Speaker 1: After the Gray is After the Gray? 113 00:04:34,639 --> 00:04:36,480 Speaker 2: Is this the first album where you've done that or 114 00:04:36,519 --> 00:04:39,759 have you released previous work where you've done all the production? 115 00:04:40,920 --> 00:04:43,279 Speaker 5: Well, I it was kind of a collaborative effort. But 116 00:04:43,360 --> 00:04:45,519 I was in a band for about twenty years called 117 00:04:45,519 --> 00:04:48,079 Freak Stark and not to be confused with the current 118 00:04:48,120 --> 00:04:51,319 Freak Star out of Los Angeles. But yeah, we were 119 00:04:51,959 --> 00:04:54,319 together for about twenty years and we got into recording 120 00:04:54,360 --> 00:04:56,079 our own stuff too, But of course it was much 121 00:04:56,920 --> 00:04:59,360 harder to do back then with the equipment. You know, 122 00:04:59,519 --> 00:05:01,399 it's much easier to do today. You can do with 123 00:05:01,439 --> 00:05:04,199 a laptop and you know, a very small mixer. So 124 00:05:04,240 --> 00:05:05,879 I and I also went to as you can see, 125 00:05:05,879 --> 00:05:07,720 I am into radio, so I went to radio school, 126 00:05:07,759 --> 00:05:10,240 so I know about mixing and and you know, engineering 127 00:05:10,279 --> 00:05:12,800 and all that kind of stuff. So it just it 128 00:05:12,839 --> 00:05:15,120 made it much easier when the technology caught up to 129 00:05:15,319 --> 00:05:16,639 me and what I wanted to do. 130 00:05:16,959 --> 00:05:17,560 Speaker 1: Absolutely. 131 00:05:17,639 --> 00:05:19,639 Speaker 2: Yeah, it's an amazing time to be alive, isn't it 132 00:05:19,639 --> 00:05:22,600 in terms of technology? And oh, for sure the things 133 00:05:22,600 --> 00:05:25,439 you can do now really because. 134 00:05:25,439 --> 00:05:28,120 Speaker 5: That great track that was was given to me in 135 00:05:28,399 --> 00:05:31,199 many many takes from someone who never even came into 136 00:05:31,279 --> 00:05:34,240 my studio, recorded at elsewhere and just emailed it over, 137 00:05:34,319 --> 00:05:36,720 you know. So that's that's huge. Yeah, And had to 138 00:05:36,759 --> 00:05:38,120 get a bunch of people in a room. 139 00:05:38,240 --> 00:05:41,240 Speaker 2: Yeah, especially when you come out with something that sounds 140 00:05:41,319 --> 00:05:43,800 like it was recorded, you know, with a live band 141 00:05:43,839 --> 00:05:44,399 in a studio. 142 00:05:44,439 --> 00:05:45,720 Speaker 1: I mean, that's that's fantastic. 143 00:05:45,800 --> 00:05:49,199 Speaker 2: So so that that's a good good for you being 144 00:05:49,240 --> 00:05:50,120 able to do that. 145 00:05:50,600 --> 00:05:53,480 Speaker 1: And then and then you mentioned so you you recorded 146 00:05:53,519 --> 00:05:54,079 everything else. 147 00:05:55,279 --> 00:05:57,439 Speaker 5: Yeah, pretty much everything else on there was me with 148 00:05:57,480 --> 00:06:01,079 the exception of piano that that came from another gentleman. 149 00:06:01,279 --> 00:06:03,920 That he's the lead singer and piano player for a 150 00:06:03,959 --> 00:06:08,160 band called Sweet Crystal, which is a Detroit Detroit Music 151 00:06:08,160 --> 00:06:10,639 Award winning band for the last thirty years. I mean, 152 00:06:10,680 --> 00:06:13,360 he's a huge, huge artist around the Detroit area. 153 00:06:13,480 --> 00:06:16,800 Speaker 2: Okay, that's obviously very satisfying when you can do all 154 00:06:16,839 --> 00:06:19,160 of that yourself, I assume. I mean, did you feel 155 00:06:19,199 --> 00:06:21,839 any pressure putting this album together because so much of 156 00:06:21,879 --> 00:06:24,759 it was on you? Or maybe you did and you 157 00:06:24,800 --> 00:06:27,040 thrive on it, or maybe you didn't and you just 158 00:06:27,720 --> 00:06:30,920 enjoyed being able to have such autonomy and so much control. 159 00:06:30,959 --> 00:06:32,519 Speaker 1: I mean, what was what was that like? 160 00:06:32,600 --> 00:06:34,560 Speaker 2: Did you feel any pressure or was it just like, yeah, 161 00:06:34,560 --> 00:06:36,279 I'm just gonna do this mostly myself. 162 00:06:37,160 --> 00:06:38,720 Speaker 5: That that was the best thing about it is that 163 00:06:38,720 --> 00:06:41,439 there was nobody on my heels. There was nobody saying, hey, 164 00:06:41,480 --> 00:06:43,240 we got a deadline. We got to get this done. 165 00:06:43,240 --> 00:06:45,279 You know, someone's coming over to do the bass tracks. 166 00:06:45,279 --> 00:06:47,399 We got to get them all done today, right. There 167 00:06:47,480 --> 00:06:49,079 wasn't any of that. You know, if I came home 168 00:06:49,120 --> 00:06:50,560 and I was tired, I just didn't do anything. I 169 00:06:50,560 --> 00:06:53,959 went to bet you know, if it takes me a 170 00:06:54,000 --> 00:06:55,720 year to record it. It takes me a year. I don't 171 00:06:55,720 --> 00:06:57,240 even know how long it took me. I didn't even 172 00:06:57,240 --> 00:06:58,000 pay attention to that. 173 00:06:58,240 --> 00:07:01,720 Speaker 2: Yeah, no, that makes sense. And is this your first 174 00:07:01,959 --> 00:07:04,480 because a project officially is called alien Stone, is this 175 00:07:04,560 --> 00:07:08,959 your first project that you've recorded as alien Stone? 176 00:07:09,120 --> 00:07:12,199 Speaker 5: Well, I did something a long time ago when a 177 00:07:12,360 --> 00:07:15,240 freestar had like a hiatus in the middle where I 178 00:07:15,240 --> 00:07:16,639 did my own kind of thing on the side, and 179 00:07:16,639 --> 00:07:19,439 it was under the name alien Stone. But it was very, 180 00:07:19,519 --> 00:07:22,240 very different from this, and it was much lower on 181 00:07:22,279 --> 00:07:24,360 the production scale. It was kind of like a techno 182 00:07:24,399 --> 00:07:26,279 e beat kind of thing with a lot of heavy 183 00:07:26,319 --> 00:07:29,600 guitar on it. Yeah, and yeah, I just it never 184 00:07:29,639 --> 00:07:32,600 really released or anything anyway, so I don't really count 185 00:07:32,600 --> 00:07:33,439 it right right. 186 00:07:34,040 --> 00:07:35,879 Speaker 1: Where does the name come from, alien Stone? 187 00:07:36,759 --> 00:07:38,959 Speaker 5: It actually comes from all the way back in high school. 188 00:07:38,959 --> 00:07:41,439 This would have been like eighty eight eighty nine. I 189 00:07:41,480 --> 00:07:43,560 took a media production class and we were supposed to 190 00:07:43,560 --> 00:07:48,079 write and produce a small video, and I wrote a 191 00:07:48,120 --> 00:07:50,560 script that would have required me to get about thirty 192 00:07:50,639 --> 00:07:52,959 or forty million dollars, So I never made the movie. 193 00:07:53,360 --> 00:07:56,040 But it was about a meteorite that falls into Los 194 00:07:56,079 --> 00:07:58,680 Angeles and an alien comes to retrieve it because it's 195 00:07:58,680 --> 00:08:00,600 some kind of power source, and he goes a murderous 196 00:08:00,600 --> 00:08:04,439 spree to retrieve the alien stone. Okay, it's just stuck 197 00:08:04,480 --> 00:08:05,000 ever since. 198 00:08:05,240 --> 00:08:07,720 Speaker 2: Yeah, yeah, all right. And the album is called After 199 00:08:07,759 --> 00:08:09,319 the Gray? Where does that come from? 200 00:08:10,279 --> 00:08:11,279 Speaker 3: That's actually uh. 201 00:08:11,399 --> 00:08:15,240 Speaker 5: In one of the songs there's the title says, after 202 00:08:15,279 --> 00:08:17,680 the Gray, maybe there'll be some kind of light, Okay, 203 00:08:17,680 --> 00:08:20,079 And that's basically what the song was about. All this 204 00:08:20,199 --> 00:08:22,160 crap that happens to you, is like, well, maybe after 205 00:08:22,279 --> 00:08:26,560 this crap passes, you know, there'll be something better after that. 206 00:08:26,680 --> 00:08:29,079 So after the Gray, maybe there'll be some kind of light. 207 00:08:29,920 --> 00:08:33,240 Speaker 2: So are these songs? Are they reflective of things that 208 00:08:33,279 --> 00:08:36,200 you've been through? Because in listening to the lyrics, I 209 00:08:36,240 --> 00:08:39,759 do feel like, you know, these aren't you know, they're 210 00:08:39,759 --> 00:08:42,039 not just simple feel good rock songs. 211 00:08:42,159 --> 00:08:42,840 Speaker 1: There. 212 00:08:43,399 --> 00:08:47,000 Speaker 2: I feel like I feel like there's some heavy stuff 213 00:08:48,000 --> 00:08:51,080 behind the lyrics of these songs. It definitely, you know, 214 00:08:51,159 --> 00:08:53,399 without I mean, you know, there's ambiguity. And of course, 215 00:08:53,440 --> 00:08:55,399 one of the wonderful things about music or any kind 216 00:08:55,440 --> 00:08:57,720 of art is that you can kind of interpret it 217 00:08:57,759 --> 00:09:01,240 however you want to. And sometimes people different people find 218 00:09:01,240 --> 00:09:03,679 different meanings behind different you know, the lyrics to different 219 00:09:03,679 --> 00:09:06,919 songs and so forth. But my impression because I listened 220 00:09:06,919 --> 00:09:08,720 to the entire thing in one sitting, you know, I 221 00:09:08,759 --> 00:09:10,399 wasn't like, Okay, I'm gonna listen to a song now 222 00:09:10,399 --> 00:09:12,519 and I'll listen to another one later. So I listened 223 00:09:12,519 --> 00:09:15,080 to the full thing, from front to back, and I 224 00:09:15,399 --> 00:09:17,720 felt like there's a story there, like like there's something 225 00:09:17,720 --> 00:09:19,960 that you're getting out, but I'm curious about that. 226 00:09:21,000 --> 00:09:23,320 Speaker 5: Yeah, there's definitely a lot of heavy lyrics. I've been 227 00:09:23,360 --> 00:09:25,039 criticized by a lot of people saying, can you write 228 00:09:25,039 --> 00:09:28,600 a happy song? I'd be like, if there's any happiness 229 00:09:28,600 --> 00:09:32,120 inside me, I want to keep it there, keep it inside. 230 00:09:32,159 --> 00:09:32,320 Speaker 1: You know. 231 00:09:32,960 --> 00:09:34,960 Speaker 5: If I get all this heaviness that's thrown on me 232 00:09:35,000 --> 00:09:37,159 from the world, let's let's get that out through the 233 00:09:37,159 --> 00:09:40,480 therapy of music, let's remove that. You know what I'm saying. Right, So, 234 00:09:40,600 --> 00:09:42,759 I don't need to write a happy song. I just 235 00:09:42,840 --> 00:09:46,480 live the happy stuff. But you know, yeah, the darker stuff. 236 00:09:47,759 --> 00:09:50,639 If you don't talk about the things that get to you, 237 00:09:50,720 --> 00:09:53,200 that the things that bring you down, then it's just 238 00:09:53,200 --> 00:09:56,120 going to keep you down. So that's pretty much you 239 00:09:56,159 --> 00:09:58,600 know what I do. It's like, if something bothers me 240 00:09:58,799 --> 00:10:01,360 enough to wear I'm thinking about it a lot, then 241 00:10:01,519 --> 00:10:03,840 then yeah, it's going to translate into the music. You know, 242 00:10:03,879 --> 00:10:06,000 I'm gonna I'm gonna write a story about you know, 243 00:10:06,120 --> 00:10:09,320 what once was that is no more or something that 244 00:10:09,360 --> 00:10:12,320 has changed for the not for the better. M you 245 00:10:12,360 --> 00:10:15,200 know that that's you know, that's that's gonna come out 246 00:10:15,240 --> 00:10:17,879 that way. I have one song that's on there. It's 247 00:10:17,919 --> 00:10:20,919 called long Way Home, which is basically about thinking that 248 00:10:21,559 --> 00:10:23,320 the grass is greener on the other side. So you 249 00:10:23,360 --> 00:10:25,799 take this long journey going around trying to find something better, 250 00:10:25,799 --> 00:10:27,879 and then you find out that everything that was better 251 00:10:28,000 --> 00:10:30,320 was actually at home, so you're right back where you started. 252 00:10:30,360 --> 00:10:32,360 You took the long way home. So that's not really 253 00:10:32,399 --> 00:10:35,240 a dark story. That's like, hey, you just you didn't 254 00:10:35,320 --> 00:10:36,000 know now you do. 255 00:10:36,240 --> 00:10:38,559 Speaker 2: Yeah, And it's relatable, you know, because I think we 256 00:10:38,600 --> 00:10:42,519 can all we can all relate to that, uh you know, 257 00:10:42,919 --> 00:10:43,960 at some point in our lives. 258 00:10:44,039 --> 00:10:44,600 Speaker 1: So certainly. 259 00:10:45,919 --> 00:10:48,200 Speaker 2: But I like too that you use the word therapy 260 00:10:48,320 --> 00:10:51,440 when you're talking about about, you know, songs about dark 261 00:10:51,440 --> 00:10:53,519 subjects and so forth, because something that comes up on 262 00:10:53,559 --> 00:10:56,279 this show a lot because we talk about music, we 263 00:10:56,320 --> 00:10:59,000 also talk about mental health and uh, something that comes 264 00:10:59,039 --> 00:11:01,360 up on the show a lot is how creating art, 265 00:11:01,519 --> 00:11:04,080 whether it be music or you know, visual art Jenny 266 00:11:04,080 --> 00:11:07,240 as you know, she's a visual artist, or whatever it 267 00:11:07,279 --> 00:11:08,120 is that you're creating. 268 00:11:08,279 --> 00:11:09,720 Speaker 1: It's it's a way. 269 00:11:09,960 --> 00:11:12,039 Speaker 2: I think it's the best form of therapy, right because 270 00:11:12,080 --> 00:11:15,320 you're you're working whatever it is that you need to 271 00:11:15,320 --> 00:11:18,639 work out through creating something. Not only are you creating 272 00:11:18,679 --> 00:11:21,159 something that ultimately that helps you, it helps you to 273 00:11:21,200 --> 00:11:24,440 express yourself, but it also helps others because then they 274 00:11:24,759 --> 00:11:27,279 are able to relate to what you've created. And I'm 275 00:11:27,279 --> 00:11:29,159 sure I don't know if it's happened to you. I 276 00:11:29,159 --> 00:11:31,440 assume it has. Maybe you've heard from someone who said, 277 00:11:31,720 --> 00:11:33,840 you know, hey, I listened to this song and I 278 00:11:33,879 --> 00:11:36,000 get what you're saying, and I really relate to it 279 00:11:36,080 --> 00:11:38,000 and it kind of helped me, helped me feel better, 280 00:11:38,039 --> 00:11:40,679 help me feel like I'm not alone, whatever it is, right, 281 00:11:41,080 --> 00:11:44,279 So I think that that's you know, the best form 282 00:11:44,279 --> 00:11:47,840 of therapy is to is to create. And if you 283 00:11:47,879 --> 00:11:51,039 can take your pain, your trauma, whatever it is that 284 00:11:51,039 --> 00:11:53,159 you've been through, or maybe you're just upset about something 285 00:11:53,200 --> 00:11:53,720 going on in the. 286 00:11:53,679 --> 00:11:55,879 Speaker 1: World, whatever it is, If you're able to take. 287 00:11:55,720 --> 00:11:58,840 Speaker 2: That and then make something out of it, create something 288 00:11:58,879 --> 00:12:01,440 from it, you've taken something this negative, but you've done 289 00:12:01,480 --> 00:12:03,639 something positive with it by creating something. 290 00:12:04,759 --> 00:12:04,960 Speaker 3: Yeah. 291 00:12:05,200 --> 00:12:07,480 Speaker 5: And also, like you said that, if somebody else listens 292 00:12:07,519 --> 00:12:10,080 to it and they say, hey, I you know, connected 293 00:12:10,120 --> 00:12:12,000 with you on this level, it's like, okay, but you 294 00:12:12,200 --> 00:12:15,120 wouldn't have, right. You know, you had no idea that 295 00:12:15,159 --> 00:12:16,879 this person was on the same level with you, that 296 00:12:17,039 --> 00:12:19,360 was there right there with you. But you didn't know 297 00:12:19,519 --> 00:12:22,279 until you said something in the form of a song 298 00:12:22,480 --> 00:12:25,120 or a poetry or a painting or whatever. Then somebody 299 00:12:25,120 --> 00:12:26,279 looks at it and goes, you know what, I feel 300 00:12:26,279 --> 00:12:27,679 the same way, and it's like, okay, well I had 301 00:12:27,679 --> 00:12:29,559 no idea you did. Now at least I have a 302 00:12:29,679 --> 00:12:33,320 kindred spirit. I now feel like there's more people with 303 00:12:33,360 --> 00:12:34,720 me instead of against me. 304 00:12:35,080 --> 00:12:36,639 Speaker 1: Right exactly exactly. 305 00:12:36,799 --> 00:12:41,080 Speaker 2: Yeah, do you play any of these songs out or 306 00:12:41,240 --> 00:12:44,679 I mean with all these guest musicians, Maybe that's challenging 307 00:12:44,720 --> 00:12:45,360 to pull that off. 308 00:12:45,399 --> 00:12:47,360 Speaker 1: I don't know, But do you perform any of these live? 309 00:12:48,480 --> 00:12:48,720 Speaker 3: Yes? 310 00:12:48,759 --> 00:12:50,639 Speaker 5: Actually, what I did is since I'm the one that 311 00:12:50,759 --> 00:12:53,679 was in charge of producing the album. I was also 312 00:12:53,720 --> 00:12:55,519 the one in charge of rendering the tracks. When I 313 00:12:55,559 --> 00:12:57,519 was done, so of course I had rendered the entire album, 314 00:12:57,600 --> 00:13:00,559 and then I went through and muted the acoustic guitar 315 00:13:00,720 --> 00:13:03,639 and the vocals and rendered it again. Okay, So I 316 00:13:03,720 --> 00:13:05,320 load that onto a loop pedal and I can go 317 00:13:05,360 --> 00:13:07,799 out to any place I want now hit the track 318 00:13:07,840 --> 00:13:10,440 and it plays everything with the exception of my acoustic 319 00:13:10,480 --> 00:13:12,840 guitar and my vocals, and I can just play right along. 320 00:13:13,000 --> 00:13:13,720 Speaker 1: Oh that's great. 321 00:13:13,879 --> 00:13:15,919 Speaker 2: And you know, once again, it's an amazing time to 322 00:13:15,919 --> 00:13:17,480 be alive, isn't it with all this technology. 323 00:13:17,519 --> 00:13:20,200 Speaker 3: Yeah, that was not available. That was not available. 324 00:13:20,279 --> 00:13:21,519 Speaker 5: You had to come out there with a reel to 325 00:13:21,639 --> 00:13:24,600 reel and all kinds of crazy stuff. 326 00:13:25,840 --> 00:13:26,240 Speaker 1: That's great. 327 00:13:26,240 --> 00:13:28,960 Speaker 2: They were able to do that, So, uh, does anything 328 00:13:29,000 --> 00:13:31,279 ever go wrong with that? By the way, when you're 329 00:13:31,320 --> 00:13:34,720 when you're you know, trying to play to these loops. 330 00:13:34,320 --> 00:13:38,480 Speaker 5: And uh, the only time it really went bad is 331 00:13:38,759 --> 00:13:41,440 before I'm not I use loop pedal itself, which plays 332 00:13:41,440 --> 00:13:43,759 the wave file straight from there, and that pretty much 333 00:13:43,799 --> 00:13:44,279 is solid. 334 00:13:44,399 --> 00:13:44,720 Speaker 1: Okay. 335 00:13:44,759 --> 00:13:45,960 Speaker 3: But I used to use a laptop. 336 00:13:46,279 --> 00:13:49,279 Speaker 5: Yeah, and you know how laptops are, Yeah, you know, 337 00:13:49,440 --> 00:13:50,799 right in the middle of a song and goes, we're 338 00:13:50,799 --> 00:13:54,960 gonna do an update in the middle, Like, dude, you 339 00:13:54,960 --> 00:13:57,600 didn't even ask me, you just we're restarting your computer. 340 00:13:57,759 --> 00:14:00,960 Speaker 1: Really yeh, yeah up, or. 341 00:14:00,879 --> 00:14:03,320 Speaker 5: You'll get a notification or something, but right in the 342 00:14:03,320 --> 00:14:05,399 middle of your song, you're like, that's not cool it 343 00:14:05,600 --> 00:14:06,240 I deleted those. 344 00:14:06,279 --> 00:14:07,279 Speaker 3: I thought I turned those off. 345 00:14:08,679 --> 00:14:10,960 Speaker 2: I mean, if you're a if you're a DJ, you know, 346 00:14:11,039 --> 00:14:13,000 you could say, oh, it's the part of the remix 347 00:14:13,080 --> 00:14:14,519 or whatever if it suddenly goes meek. 348 00:14:14,679 --> 00:14:17,600 Speaker 1: But if you're you know, you're playing a rock song, you. 349 00:14:17,559 --> 00:14:19,799 Speaker 3: Know, and you get to know a critical error. 350 00:14:19,960 --> 00:14:25,279 Speaker 2: Yes, but but it sounds like so now it works 351 00:14:25,320 --> 00:14:27,000 pretty It all works pretty smoothly though. 352 00:14:28,200 --> 00:14:29,200 Speaker 3: Yeah, it's pretty solid. 353 00:14:29,200 --> 00:14:31,679 Speaker 5: When you when you you have to actually hit the 354 00:14:31,679 --> 00:14:34,240 button to stop it. Now, yeah, you know it's not 355 00:14:34,279 --> 00:14:36,440 gonna just empower would have to go out? 356 00:14:36,600 --> 00:14:40,480 Speaker 2: Yeah, yeah, when you when you play out, are people 357 00:14:40,480 --> 00:14:43,679 ever surprised because obviously, you know a lot of people 358 00:14:43,840 --> 00:14:46,679 who maybe haven't seen someone play with loop pedals and 359 00:14:46,720 --> 00:14:48,840 so forth. You know, they might see you with your 360 00:14:49,000 --> 00:14:51,120 acoustic guitar and think that you know, that's going to 361 00:14:51,159 --> 00:14:52,720 be it and not that there would be anything wrong 362 00:14:52,759 --> 00:14:54,879 with that, But are do you ever see people in 363 00:14:54,919 --> 00:14:57,879 the audience who are just surprised when they, you know, 364 00:14:57,919 --> 00:14:59,720 when they start to hear these other instruments and these 365 00:14:59,759 --> 00:15:04,360 other and they realize that it's actually a bigger production, 366 00:15:04,480 --> 00:15:06,480 so to speak, then maybe what they were expecting. 367 00:15:07,440 --> 00:15:09,600 Speaker 5: That's always the case when somebody who hasn't seen me 368 00:15:09,639 --> 00:15:10,960 at first, they think I'm gonna come up there and 369 00:15:11,240 --> 00:15:13,200 do some Hank William seeing your tear and my beer 370 00:15:13,279 --> 00:15:15,919 kind of stuff, right, and you know, and there's nothing 371 00:15:15,960 --> 00:15:18,320 wrong with that either, you know, IF's and there's other 372 00:15:18,360 --> 00:15:20,600 people at these shows too that do that kind of music. 373 00:15:20,679 --> 00:15:23,240 So maybe somebody right before them just did that, and 374 00:15:23,240 --> 00:15:24,639 then I come up there and they think, Okay, this 375 00:15:24,720 --> 00:15:26,759 is gonna be a continuation. And then all of a 376 00:15:26,799 --> 00:15:28,960 sudden they hear the drums kick in and a and 377 00:15:29,000 --> 00:15:31,600 a big fat bass kick in, and you've that guitar 378 00:15:31,679 --> 00:15:34,000 solo that you just heard on that song. You know, 379 00:15:34,240 --> 00:15:37,440 they're not expecting any of that, yeah, and it kind 380 00:15:37,440 --> 00:15:38,320 of shocks them a little bit. 381 00:15:38,440 --> 00:15:39,440 Speaker 3: First, dude. 382 00:15:39,480 --> 00:15:41,440 Speaker 5: Sometimes they're like, are you just playing along with your album? 383 00:15:41,480 --> 00:15:43,159 And sometimes I actually have to explain to people it's 384 00:15:43,159 --> 00:15:46,120 like no, what I'm playing is live. Yeah, that's removed 385 00:15:46,159 --> 00:15:46,799 from the sound. 386 00:15:47,200 --> 00:15:49,080 Speaker 1: Yeah. Yeah. 387 00:15:49,639 --> 00:15:52,120 Speaker 2: Do you ever, I mean, do you have any thoughts 388 00:15:52,120 --> 00:15:55,399 of putting together a band to play these? Or obviously 389 00:15:56,000 --> 00:15:58,519 doing it yourself? It gives you a lot of freedom 390 00:15:58,600 --> 00:16:01,000 and autonomy, and if you want book shows, you don't 391 00:16:01,000 --> 00:16:03,279 have to check with three or four other people what 392 00:16:03,320 --> 00:16:07,519 their schedules are. So I so maybe this, maybe this 393 00:16:07,600 --> 00:16:10,240 is a pointless question, but I am curious. I mean, 394 00:16:10,279 --> 00:16:12,200 have you thought about trying to put together a band 395 00:16:12,279 --> 00:16:12,919 to play these? 396 00:16:13,559 --> 00:16:16,600 Speaker 5: Yeah, I've I'm always open to that idea. But it 397 00:16:17,159 --> 00:16:20,440 you know, something that I've learned from being in bands for, 398 00:16:20,679 --> 00:16:24,039 you know, thirty plus years, is that, you know, the 399 00:16:24,080 --> 00:16:26,759 more people you get into a band, the more schedules 400 00:16:26,759 --> 00:16:31,559 you have to coordinate. Everybody has wives and lives and 401 00:16:31,879 --> 00:16:37,000 husbands and car problems and jobs and vacation time and 402 00:16:37,039 --> 00:16:38,919 all that kind of stuff. And to get five people 403 00:16:38,960 --> 00:16:40,919 in a band and have all that lineup so that 404 00:16:41,039 --> 00:16:43,320 you can record and you can do a show, it's 405 00:16:43,519 --> 00:16:44,279 really hard. 406 00:16:44,799 --> 00:16:45,600 Speaker 3: It's really hard. 407 00:16:45,639 --> 00:16:47,559 Speaker 5: And then on top of that, you've got egos and 408 00:16:47,639 --> 00:16:50,919 personalities that you also have to get along with, and 409 00:16:50,960 --> 00:16:54,120 it makes it very, very difficult. So I'm always open 410 00:16:54,200 --> 00:16:56,440 to the idea. But then you've got to find somebody 411 00:16:56,440 --> 00:16:59,639 who's willing to play my music and then move forward 412 00:16:59,679 --> 00:17:03,159 writing stuff yeah together, you know, don't change what I've 413 00:17:03,159 --> 00:17:05,400 already written. That's already done, right, you know, So you've 414 00:17:05,400 --> 00:17:06,519 got to be willing to do that. And a lot 415 00:17:06,519 --> 00:17:08,160 of people are like, no, I don't want to, you know, 416 00:17:08,720 --> 00:17:10,480 I don't want to be in the Dave Matthews band, 417 00:17:10,519 --> 00:17:13,640 you know, right, And I'm like, no, that's what I'm 418 00:17:13,640 --> 00:17:15,319 not trying to do that either, you know. 419 00:17:15,680 --> 00:17:21,200 Speaker 2: Yeah, where are you from, Keith? I? I just realized too, 420 00:17:21,359 --> 00:17:23,519 I never asked you where where are you located? 421 00:17:23,559 --> 00:17:24,000 Speaker 1: Exactly? 422 00:17:24,759 --> 00:17:27,599 Speaker 5: Well, I'm originally from Westland, Michigan, but I moved over 423 00:17:27,640 --> 00:17:30,319 to Taylor, Michigan, which is a suburb of Detroit, pretty 424 00:17:30,319 --> 00:17:31,000 close to Detroit. 425 00:17:31,039 --> 00:17:33,039 Speaker 3: Okay, be there in about ten minutes if I chose 426 00:17:33,079 --> 00:17:33,359 to go. 427 00:17:34,200 --> 00:17:36,880 Speaker 2: Well, you're a you're in an area then you're you know, 428 00:17:37,000 --> 00:17:38,799 being close to Detroit where. I mean a lot of 429 00:17:38,799 --> 00:17:41,799 great music obviously is come out of that region. I 430 00:17:41,839 --> 00:17:44,519 mean you must have. I mean, what's the music scene 431 00:17:44,559 --> 00:17:47,079 like there right now? I mean there must just be 432 00:17:47,359 --> 00:17:49,000 talent everywhere I would guess. 433 00:17:49,839 --> 00:17:50,160 Speaker 3: Yeah. 434 00:17:50,720 --> 00:17:53,119 Speaker 5: I do a lot of open mic nights obviously, you know, 435 00:17:53,200 --> 00:17:55,200 because that's the easiest thing for me. I go to 436 00:17:55,200 --> 00:17:58,000 places like Grizzlies and Windott or Three Nicks in Allen Park. 437 00:17:58,359 --> 00:18:00,759 But like the place I go to, it's a bar. 438 00:18:00,799 --> 00:18:03,319 It's called road Rangers, and it's and Taylor and this 439 00:18:03,359 --> 00:18:05,319 bar is set up as a concert bar. I mean 440 00:18:05,359 --> 00:18:08,799 it has the full backing line, the full everything. I mean, 441 00:18:08,839 --> 00:18:11,039 anybody can play there. Docing could play there tomorrow and 442 00:18:11,039 --> 00:18:13,039 it would sound great. Yeah, you know what I'm saying, Well, 443 00:18:13,559 --> 00:18:15,000 the sound would be great. I don't know if Docing 444 00:18:15,000 --> 00:18:16,640 would be great, but. 445 00:18:17,359 --> 00:18:19,599 Speaker 1: Yeah, depends if George Leitch's and the band or not. 446 00:18:20,359 --> 00:18:20,839 Speaker 3: Right. 447 00:18:21,039 --> 00:18:23,319 Speaker 5: So when I go and play there, it's like the 448 00:18:23,440 --> 00:18:25,640 bands that come through that bar because of the fact 449 00:18:25,640 --> 00:18:27,960 that it has such good sound and you don't have 450 00:18:28,039 --> 00:18:30,039 to sell tickets and you don't have to be part 451 00:18:30,039 --> 00:18:33,920 of a national thing. There's a lot of huge talent 452 00:18:33,960 --> 00:18:36,400 that comes through that that bar. You know, bands like 453 00:18:36,599 --> 00:18:39,200 the Creeping Chaos is around here right now. That's an 454 00:18:39,359 --> 00:18:42,839 enormous band. And the band's like whole shot the WRF, 455 00:18:42,839 --> 00:18:45,319 which is a huge radio station around here. They constantly 456 00:18:45,400 --> 00:18:48,559 hire that band to play all their events. Oh yeah, 457 00:18:48,599 --> 00:18:50,279 so yeah, there's a lot of really good bands that 458 00:18:50,319 --> 00:18:50,839 come through there. 459 00:18:51,039 --> 00:18:54,519 Speaker 2: Yeah. It's something that we talk about on the show 460 00:18:54,599 --> 00:18:55,079 quite a bit. 461 00:18:55,240 --> 00:18:55,880 Speaker 1: Is you know. 462 00:18:55,920 --> 00:18:59,799 Speaker 2: Every around here, you know, because sometimes people will ask us, 463 00:18:59,799 --> 00:19:01,720 they ask me, or they'll ask Jenny because she does 464 00:19:01,839 --> 00:19:03,200 the booking. You know, how do you find all this 465 00:19:03,279 --> 00:19:05,759 great talent? And it's like, well, it's everywhere, you know, 466 00:19:05,839 --> 00:19:08,279 And I think that's true of probably every city, in 467 00:19:08,359 --> 00:19:11,119 every town in the country. You know, there's there's local 468 00:19:11,200 --> 00:19:14,079 musicians who are doing great stuff. And if you you know, 469 00:19:14,119 --> 00:19:16,839 because sometimes people, you know, they get to a certain 470 00:19:16,839 --> 00:19:19,839 point in their lives where they sort of say, Okay, 471 00:19:20,200 --> 00:19:21,839 all the music that I've heard up to this point 472 00:19:21,839 --> 00:19:23,839 in my life, that's all the music I ever need 473 00:19:23,880 --> 00:19:26,680 to hear, and anything made after this point I'm not 474 00:19:26,759 --> 00:19:29,960 going to listen to. I'm going to reject, you know. 475 00:19:30,640 --> 00:19:33,440 And people who do that, they're they're missing out, you know. 476 00:19:33,519 --> 00:19:35,160 I mean there's first of all, I mean, you can 477 00:19:35,160 --> 00:19:37,759 get access to there's so much there's so much new 478 00:19:37,799 --> 00:19:40,559 music being put out, but also right right in your 479 00:19:40,559 --> 00:19:43,759 own backyard, you know, there's musicians making music and you 480 00:19:43,799 --> 00:19:46,720 know you need to. I always use my father as 481 00:19:46,720 --> 00:19:49,400 a very positive example of this. My dad, you know, 482 00:19:49,440 --> 00:19:52,319 he's in his seventies, but he still loves hearing new music. 483 00:19:52,720 --> 00:19:55,359 He lives on the sea coast here in New Hampshire 484 00:19:55,359 --> 00:19:57,440 and there's a great college station at the University of 485 00:19:57,519 --> 00:20:00,440 New Hampshire called WUNH and my dad I'd love to 486 00:20:00,480 --> 00:20:03,319 listen to wun H because he loves hearing new music. 487 00:20:03,359 --> 00:20:06,240 He loves hearing you know, new artists that he's never 488 00:20:06,480 --> 00:20:10,599 been exposed to before, either young, new upcoming artists, or 489 00:20:11,160 --> 00:20:13,319 just artists who maybe are not young but have been 490 00:20:13,319 --> 00:20:15,720 around a while but he just had never heard them before. 491 00:20:15,759 --> 00:20:17,000 Speaker 1: He loves hearing new stuff. 492 00:20:17,599 --> 00:20:20,519 Speaker 2: And you know, and I can only imagine what the 493 00:20:20,559 --> 00:20:22,440 scene is like there and how much great music there 494 00:20:22,519 --> 00:20:25,359 must be there. But you know, I always encourage people, 495 00:20:25,400 --> 00:20:29,079 you know, take a look around. You know this this great, 496 00:20:29,240 --> 00:20:33,799 incredible music being created by musicians right in front of you. 497 00:20:33,559 --> 00:20:34,839 You know you're just not looking. 498 00:20:34,920 --> 00:20:37,960 Speaker 5: You know what I mean, I know exactly what you're saying. Well, 499 00:20:38,000 --> 00:20:39,599 I hear it all the time. You know, people are like, well, 500 00:20:39,599 --> 00:20:40,920 I don't want to go see that band. I'm like, 501 00:20:40,960 --> 00:20:43,160 why No, I don't know who they are. I was like, okay, 502 00:20:43,160 --> 00:20:44,960 but did you know who Metallica was before you heard 503 00:20:44,960 --> 00:20:45,160 them for. 504 00:20:45,200 --> 00:20:45,759 Speaker 3: The first time? 505 00:20:46,519 --> 00:20:47,000 Speaker 1: Yeah, exactly. 506 00:20:47,000 --> 00:20:49,279 Speaker 3: Everybody has to be unknown before they're known. 507 00:20:49,400 --> 00:20:49,839 Speaker 1: Exactly. 508 00:20:49,920 --> 00:20:51,599 Speaker 5: Go and spend two hundred and fifty dollars on a 509 00:20:51,640 --> 00:20:54,359 ticket to see Metallica, whom you'll never meet, or you 510 00:20:54,359 --> 00:20:55,960 can go to a bar and here's some brand new 511 00:20:56,039 --> 00:20:57,880 music you've never heard and talk with them and do 512 00:20:57,920 --> 00:20:59,000 shots with them after the. 513 00:20:58,960 --> 00:21:02,960 Speaker 1: Show, right exactly. And then if it was a. 514 00:21:02,960 --> 00:21:05,400 Speaker 5: Fifteen dollars ticket instead of two hundred and fifty bucks, 515 00:21:05,440 --> 00:21:05,680 you know. 516 00:21:05,680 --> 00:21:07,480 Speaker 2: Come on, yeah, yeah, and then if you know, if 517 00:21:07,519 --> 00:21:09,839 they get big, you can say, hey, I knew them when. 518 00:21:10,720 --> 00:21:14,119 Speaker 5: Exactly I did shots with you know, come upcoming Metallica 519 00:21:14,200 --> 00:21:15,079 back in the day, you know. 520 00:21:15,200 --> 00:21:17,759 Speaker 1: There you go, Yeah, I hear that a lot. You know. 521 00:21:17,799 --> 00:21:20,279 Speaker 2: In this area where we are, people will say, you know, 522 00:21:20,319 --> 00:21:22,880 I saw Aerosmith, you know, back in the day when 523 00:21:22,880 --> 00:21:25,119 they were you know, just a bar band, you know, 524 00:21:25,240 --> 00:21:28,200 and it's it's that's usually an example people use from 525 00:21:28,400 --> 00:21:31,279 from in this part of the country. But yeah, there's 526 00:21:31,319 --> 00:21:33,720 there's so much, uh, there's so much great talent out there, 527 00:21:33,720 --> 00:21:37,640 and people people should definitely keep their eyes open for that. 528 00:21:37,799 --> 00:21:40,880 Do you use your now with your your online station 529 00:21:41,160 --> 00:21:44,319 and your show, do you use that to showcase indie 530 00:21:44,400 --> 00:21:47,599 artists or do you do you use that to promote Sure? 531 00:21:47,680 --> 00:21:49,200 Speaker 1: Yeah, yeah, I'm. 532 00:21:49,039 --> 00:21:51,200 Speaker 5: Sure all the all the indie artists that are around 533 00:21:51,240 --> 00:21:54,079 here that have they have, you know, recorded music that's 534 00:21:54,559 --> 00:21:56,319 you know, you know, you know the level it has 535 00:21:56,359 --> 00:21:56,720 to be at. 536 00:21:56,759 --> 00:21:58,799 Speaker 3: Yeah, you know the quality level it has to be at. 537 00:21:59,039 --> 00:22:01,240 Speaker 5: You know, anybody that has those albums and stuff in 538 00:22:01,279 --> 00:22:02,599 it and they submit to me they've been on the 539 00:22:02,680 --> 00:22:04,519 radio station. I go through those albums too, and I 540 00:22:05,000 --> 00:22:07,599 pick a nice wide range of all the local music 541 00:22:07,640 --> 00:22:08,799 and put it in there. And then I sprinkle in 542 00:22:08,839 --> 00:22:10,759 some national stuff too, just for the people that can't 543 00:22:10,799 --> 00:22:14,279 handle not knowing what the next song is, right, you know, 544 00:22:14,359 --> 00:22:15,640 just to kind of keep them okay. 545 00:22:16,000 --> 00:22:18,200 Speaker 2: I think there's value in doing that too, is sprinkling 546 00:22:18,240 --> 00:22:21,640 in some national artists, because I've I've always felt that 547 00:22:21,640 --> 00:22:25,119 that lends, uh for you know, for some people, that 548 00:22:25,200 --> 00:22:29,359 lends a certain credibility to the independent artists, maybe the 549 00:22:29,880 --> 00:22:32,920 local artists if they're mixed in with some national artists, 550 00:22:33,119 --> 00:22:33,720 you know what I mean. 551 00:22:34,200 --> 00:22:37,359 Speaker 5: Just yeah, for sure, you can have an unknown person 552 00:22:37,400 --> 00:22:39,759 selling bar bells on TV, or you can have Arnold schwarzeneg, 553 00:22:39,799 --> 00:22:41,400 you're selling bar bells on TV. 554 00:22:41,480 --> 00:22:42,559 Speaker 3: Which one's going to sell faster? 555 00:22:42,920 --> 00:22:45,160 Speaker 1: Very well? Put exactly, put a couple of. 556 00:22:45,200 --> 00:22:47,000 Speaker 5: Pearl jam songs on a couple of things in there 557 00:22:47,000 --> 00:22:48,480 around all these local artists. 558 00:22:48,599 --> 00:22:50,480 Speaker 3: Yeah, it'll attract a little bit. 559 00:22:50,559 --> 00:22:57,000 Speaker 2: Yeah, absolutely. So the where where should people go? Like, 560 00:22:57,079 --> 00:22:59,279 where can they find the online station that you have? 561 00:23:00,519 --> 00:23:02,559 Speaker 3: Well, it's at alien x radio dot com. 562 00:23:02,599 --> 00:23:05,680 Speaker 5: Okay, And unfortunately I've realized within the last couple of 563 00:23:05,759 --> 00:23:07,920 days that the player isn't working, so I have to 564 00:23:07,920 --> 00:23:10,440 figure out how to fix that since it's been a 565 00:23:10,480 --> 00:23:13,920 decade since I've been into the actual controls of the website. 566 00:23:13,920 --> 00:23:17,039 Oh really, Yeah, there's no reason to change the website. 567 00:23:17,039 --> 00:23:18,799 We just changed the music and stuff, you know, and 568 00:23:19,519 --> 00:23:21,640 everything's live, you know, most of our shows and stuff, 569 00:23:21,640 --> 00:23:24,000 so we don't have to go in there and change much. Yeah, 570 00:23:24,039 --> 00:23:25,720 and I can't get back in there, so I got 571 00:23:25,720 --> 00:23:28,240 to figure that out. Yeah, that's at alienxradio dot com. 572 00:23:28,279 --> 00:23:31,279 And then I of course have a Facebook page. The 573 00:23:31,359 --> 00:23:33,960 artist page is just alien Stone. Yeah, and you can 574 00:23:33,960 --> 00:23:37,680 get me at Keith samlan at Alien at Facebook as well. 575 00:23:37,880 --> 00:23:41,000 Speaker 2: Okay, and then the album. Can people find the album anyway? 576 00:23:41,039 --> 00:23:42,960 I mean I assume it's on all the streaming platforms 577 00:23:43,000 --> 00:23:43,400 and everything. 578 00:23:43,880 --> 00:23:46,640 Speaker 5: Yeah, I went through that distro kid, so it's on everything. 579 00:23:47,240 --> 00:23:51,160 So you've got Spotify, Apple Music. You know, it's even 580 00:23:51,200 --> 00:23:52,920 on like Pandora and things like that, so you can 581 00:23:52,960 --> 00:23:54,079 find it pretty much everywhere. 582 00:23:54,119 --> 00:23:56,359 Speaker 3: Outstanding by the way in the freak Star stuff. 583 00:23:56,400 --> 00:23:56,839 Speaker 1: Oh good. 584 00:23:56,880 --> 00:23:59,480 Speaker 2: Oh yeah, I'm curious. I'm curious to check that out too. 585 00:24:00,799 --> 00:24:03,000 Do you do physical copies of the album. 586 00:24:02,880 --> 00:24:04,039 Speaker 1: Or is strictly online? 587 00:24:04,920 --> 00:24:04,960 Speaker 4: No? 588 00:24:05,039 --> 00:24:06,920 Speaker 5: I have physical copies too. I've made some CDs and 589 00:24:06,960 --> 00:24:09,079 also what I really like is they look like business cards, 590 00:24:09,119 --> 00:24:12,039 but they're actually a flash drive. It pops out the side, oh, 591 00:24:12,119 --> 00:24:14,359 perfectly straight in. Those are really nice too. 592 00:24:14,519 --> 00:24:17,599 Speaker 2: We had someone on the show recently who used that 593 00:24:17,640 --> 00:24:19,559 same concept, and yeah, that's a great idea. 594 00:24:20,640 --> 00:24:22,119 Speaker 5: Some people you hand them a CD and they go, 595 00:24:22,160 --> 00:24:23,920 what is this? Is this America online? 596 00:24:23,960 --> 00:24:25,480 Speaker 3: What is this? They don't know? 597 00:24:26,359 --> 00:24:27,079 Speaker 1: Well, it's interesting. 598 00:24:27,079 --> 00:24:28,960 Speaker 2: That's a subject that comes up a lot on the 599 00:24:29,000 --> 00:24:32,000 show too. Because there was a point where, because I've 600 00:24:32,000 --> 00:24:33,759 been doing this a long time, and there was a 601 00:24:33,759 --> 00:24:35,559 point where it seemed like none of the guests we 602 00:24:35,599 --> 00:24:38,680 would have on nobody was doing physical media. I'm talking 603 00:24:38,720 --> 00:24:42,559 like maybe seven or eight years ago, and you know, 604 00:24:42,720 --> 00:24:45,039 and that's fine, you know, just you know, email me 605 00:24:45,119 --> 00:24:48,640 the tracks whatever. But lately, well I shouldn't say lately, 606 00:24:48,640 --> 00:24:51,079 I'd say probably for at least the past five years, 607 00:24:51,759 --> 00:24:53,640 it seems like, at least in this area, for the 608 00:24:53,680 --> 00:24:55,559 guests that we have coming in person from our area, 609 00:24:56,720 --> 00:24:59,000 physical media has had quite a resurgence. 610 00:24:59,079 --> 00:25:00,960 Speaker 1: A lot of our guests bring in CDs. 611 00:25:01,039 --> 00:25:03,839 Speaker 2: Now, you know, they send us the files ahead of time, obviously, 612 00:25:03,839 --> 00:25:06,359 but they'll also bring in a physical copy or even 613 00:25:06,400 --> 00:25:09,839 we've had some who even do vinyl and they'll bring 614 00:25:09,839 --> 00:25:11,559 in a vinyl record, not for us to play, but 615 00:25:11,680 --> 00:25:13,680 just to have. Although we do have a record player 616 00:25:13,680 --> 00:25:16,440 here that one of the other hosts uses, and we 617 00:25:16,480 --> 00:25:18,680 even have a CD player that I've never used, but 618 00:25:18,720 --> 00:25:20,559 we do have one here in the in the studio 619 00:25:20,680 --> 00:25:22,759 that I know one of our hosts sometimes will bring 620 00:25:22,759 --> 00:25:25,640 in CDs to play. But but it's interesting, you know, 621 00:25:25,880 --> 00:25:30,640 uh physical media never seems to completely go away, and 622 00:25:30,680 --> 00:25:34,039 sometimes it has these little resurgences, and uh so a 623 00:25:34,039 --> 00:25:36,039 lot of the artists around here are releasing things on 624 00:25:36,119 --> 00:25:39,240 CD and even on vinyl, which I understand is very expensive. 625 00:25:39,279 --> 00:25:41,799 But but I like your I like your concept with 626 00:25:41,839 --> 00:25:42,519 the flash drive. 627 00:25:43,559 --> 00:25:45,839 Speaker 5: Yeah, it's it's you know, the physical media is kind 628 00:25:45,839 --> 00:25:48,039 of it's just kind of changed what its purpose really is. 629 00:25:48,079 --> 00:25:49,799 It's like, we know that when this guy gets home, 630 00:25:49,839 --> 00:25:52,039 he's probably going to listen to it on his smart 631 00:25:52,079 --> 00:25:54,559 device or whatever from a streaming service. 632 00:25:54,720 --> 00:25:54,920 Speaker 1: Right. 633 00:25:55,000 --> 00:25:57,519 Speaker 3: But you know, now the physical media I don't. 634 00:25:57,400 --> 00:26:00,200 Speaker 5: Even like when I when I ad a show or something, 635 00:26:00,400 --> 00:26:02,559 I find people who were interested and I just give 636 00:26:02,599 --> 00:26:06,160 them one. Yeah, okay, it's it has become the physical 637 00:26:06,160 --> 00:26:08,400 media has become the promotional tool to get you to 638 00:26:08,440 --> 00:26:10,039 go and stream exactly. 639 00:26:10,079 --> 00:26:11,640 Speaker 3: It's almost what it's become now. You know. 640 00:26:11,720 --> 00:26:13,759 Speaker 5: So I'm not trying to sell I'm not, you know, 641 00:26:13,799 --> 00:26:15,279 out of the trunk of my car out there going 642 00:26:15,279 --> 00:26:18,720 I got yeah, I you know, I don't do that. 643 00:26:18,839 --> 00:26:19,000 Speaker 3: You know. 644 00:26:19,079 --> 00:26:21,839 Speaker 5: I just find someone who I think was interested and 645 00:26:21,880 --> 00:26:22,799 I give them a copy. 646 00:26:23,000 --> 00:26:23,200 Speaker 1: Yeah. 647 00:26:23,319 --> 00:26:27,279 Speaker 2: Yeah, I think that's an excellent strategy. Well, Keith, I 648 00:26:27,480 --> 00:26:29,680 appreciate you joining us. In a moment, I'm gonna play 649 00:26:29,720 --> 00:26:33,240 this track. Criticize yourself because this is this is the 650 00:26:33,279 --> 00:26:34,880 other one that I like, I said, I enjoyed the 651 00:26:34,880 --> 00:26:37,920 whole album, but breathe and criticize yourself for the two 652 00:26:37,960 --> 00:26:41,440 that really really kind of struck me. I'm curious if 653 00:26:41,440 --> 00:26:44,240 there's anything we should know about this song, if there's 654 00:26:44,279 --> 00:26:46,799 a backstory to this one, or what this one might 655 00:26:46,839 --> 00:26:48,759 be about, because again, this is another one of those 656 00:26:48,759 --> 00:26:50,640 songs too where I'm listening to the lyrics and it's like, 657 00:26:50,759 --> 00:26:54,240 well there's something here, you know, and and and I'm. 658 00:26:54,079 --> 00:26:54,880 Speaker 1: Really curious about it. 659 00:26:54,920 --> 00:26:56,160 Speaker 2: And by the way, and also too, if you want 660 00:26:56,200 --> 00:26:58,240 to talk about the guitar player on this one, because 661 00:26:58,240 --> 00:26:59,960 this is also another song where I really love the 662 00:27:00,039 --> 00:27:00,960 guitar work on this. 663 00:27:01,759 --> 00:27:05,960 Speaker 5: Yeah, the guitar this one is really involved. Yeah, it 664 00:27:06,000 --> 00:27:09,440 really is. Basically, he came over and he had nothing planned. 665 00:27:10,160 --> 00:27:12,599 This is Donnie Stanfill. He's the league. He's one of 666 00:27:12,599 --> 00:27:15,400 the guitar players from the band Creeping Chaos here in Detroit, 667 00:27:16,079 --> 00:27:19,559 and he probably recorded I just I just played the 668 00:27:19,599 --> 00:27:21,960 song and just let him go and improvise. He did 669 00:27:21,960 --> 00:27:25,480 probably fourteen tracks. Wow, just improvised. Yeah, and then I 670 00:27:25,559 --> 00:27:27,559 went through and cut and spliced and put together all 671 00:27:27,559 --> 00:27:30,599 my favorite pieces Okay, so that's what we ended up with. 672 00:27:30,680 --> 00:27:32,680 And then when I played it back for me, he goes, dude, 673 00:27:33,279 --> 00:27:34,640 I don't think I could play that. 674 00:27:35,519 --> 00:27:39,480 Speaker 3: I was like, you just did? You just did. 675 00:27:39,920 --> 00:27:43,720 Speaker 5: That's what we're telling everybody, right right, So that's where 676 00:27:43,720 --> 00:27:46,759 that came from. And the song itself is basically about 677 00:27:46,799 --> 00:27:49,440 just all the things that can kind of build up 678 00:27:49,519 --> 00:27:52,519 and start suffocating you. Is basically what it is, you know, 679 00:27:52,559 --> 00:27:56,000 the just the day to day grind, the things that 680 00:27:56,079 --> 00:27:58,160 happen around you and stuff. It's just it's choking you. 681 00:27:58,240 --> 00:28:00,720 It's it's suffocating you. And it's like, when will we 682 00:28:00,759 --> 00:28:03,359 get a chance to breathe? Yeah, give us a chance 683 00:28:03,400 --> 00:28:06,880 to take a breath. You know enough, it's enough, right right? 684 00:28:07,359 --> 00:28:11,279 Speaker 2: Well again, congratulations on the album. I think it's really good. 685 00:28:11,400 --> 00:28:14,279 And uh, and remind people again to uh where should 686 00:28:14,279 --> 00:28:17,160 they go to keep up with everything that you're doing online? 687 00:28:17,319 --> 00:28:20,640 Speaker 5: Well, it's alien Stone on Facebook or Keith Samlan on Facebook. 688 00:28:20,680 --> 00:28:23,319 And then you got alien x Radio of course, when 689 00:28:23,359 --> 00:28:26,000 that's all you know, moving and grooving again. Yeah, and 690 00:28:26,119 --> 00:28:29,200 anywhere on any streaming site anywhere you type in alien 691 00:28:29,240 --> 00:28:32,079 Stone or after the Gray and it should pop right up. 692 00:28:32,119 --> 00:28:34,000 Speaker 3: Man, it's everywhere YouTube everything. 693 00:28:34,200 --> 00:28:35,440 Speaker 1: Yeah, yeah, excellent. Yeah. 694 00:28:35,799 --> 00:28:38,039 Speaker 2: I suggest people check it out and alien Stone is 695 00:28:38,039 --> 00:28:39,680 one word, by the way too for people when you're 696 00:28:39,720 --> 00:28:43,319 looking for it. And yeah, fantastic. Keith, thank you so 697 00:28:43,400 --> 00:28:45,799 much for joining us this morning. We will we will 698 00:28:45,839 --> 00:28:48,759 definitely have to do this again. In fact, maybe we'll 699 00:28:48,759 --> 00:28:50,279 have you on again soon. I'd love to talk to 700 00:28:50,319 --> 00:28:52,759 you more about your your career with you mentioned you 701 00:28:53,000 --> 00:28:55,440 used to interview movie stars, and I'd love to talk 702 00:28:55,480 --> 00:28:57,160 to you about that in the future too, because you know, 703 00:28:57,160 --> 00:28:59,160 we we kind of mostly we talk about music on 704 00:28:59,200 --> 00:29:00,640 the show, but we do mix it some other things 705 00:29:00,680 --> 00:29:03,279 as well, so we'll have to figure that out and 706 00:29:03,279 --> 00:29:06,039 set up a time for that. But congratulations on the album. 707 00:29:06,039 --> 00:29:08,160 I think it's great. I suggest everyone check it out. 708 00:29:08,160 --> 00:29:10,880 I'm gonna hit this track in a moment, criticize yourself, 709 00:29:10,920 --> 00:29:13,119 another very very strong track from the album. 710 00:29:13,160 --> 00:29:15,519 Speaker 1: But we'll let you go for now. But Keith, thank 711 00:29:15,559 --> 00:29:16,079 you so much. 712 00:29:16,799 --> 00:29:17,799 Speaker 3: Thank you for having me on the show. 713 00:29:17,839 --> 00:29:18,920 Speaker 1: All Right, you got to take care. 714 00:29:19,480 --> 00:29:20,039 Speaker 3: I have a good one. 715 00:29:20,079 --> 00:29:21,880 Speaker 1: Bye bye, all right. Wonderful. 716 00:29:21,880 --> 00:29:24,319 Speaker 2: So that was Keith sam Land and the project is 717 00:29:24,400 --> 00:29:27,839 called alien Stone. The album is after the Gray and 718 00:29:28,079 --> 00:29:29,640 we're gonna give this a spin, and then we're going 719 00:29:29,680 --> 00:29:30,960 to come back and Jenny and I are going to 720 00:29:31,000 --> 00:29:32,279 talk to you for a couple of minutes about for 721 00:29:32,319 --> 00:29:35,000 those of you who are listening live on Saturday, some 722 00:29:35,039 --> 00:29:37,680 exciting things going on today that Jenny and I are 723 00:29:37,680 --> 00:29:39,000 going to be doing. That you can come join us 724 00:29:39,000 --> 00:29:41,599 and be a part of. But for right now, again, 725 00:29:41,720 --> 00:29:44,759 this is Alien Stone and the track is called Criticize Yourself. 726 00:29:45,000 --> 00:29:46,680 Speaker 1: I really like this one a lot. Check it out. 727 00:30:54,920 --> 00:30:57,240 Speaker 7: There's a Storemas's brewin. 728 00:30:59,400 --> 00:31:05,839 Speaker 6: It's gone. Then the real slow from glass houses, your 729 00:31:06,000 --> 00:31:26,839 programs a question all I know by then out. By 730 00:31:26,960 --> 00:31:30,799 then I ride out. 731 00:31:33,319 --> 00:31:39,960 Speaker 7: There's a fire that's building your entry and the flames 732 00:31:42,680 --> 00:31:45,160 and now the fire is raging. 733 00:31:47,440 --> 00:31:56,759 Speaker 6: And killing and the names. By then I ride out. 734 00:32:05,079 --> 00:32:06,519 By now I had out. 735 00:32:10,440 --> 00:32:13,720 Speaker 4: Well your story in this by life with your neighs 736 00:32:13,759 --> 00:32:17,319 and Saty getting here for your big moment, by face 737 00:32:17,480 --> 00:32:20,480 uh Bran's you sell him a wheel. 738 00:32:23,640 --> 00:32:25,680 Speaker 6: Till you print sash yourself. 739 00:32:28,519 --> 00:32:40,519 Speaker 4: Don't you print sash yourself? Why can't you print sash yourself? 740 00:32:40,519 --> 00:32:41,400 Speaker 6: There's a war. 741 00:32:41,359 --> 00:32:42,440 Speaker 7: Wheel flight is. 742 00:32:45,000 --> 00:32:46,839 Speaker 6: It's not a battle with it. 743 00:32:49,799 --> 00:32:52,000 Speaker 7: You're judgment strikes light light me. 744 00:32:54,759 --> 00:33:03,880 Speaker 6: Is this a warking within by me? Not hide up 745 00:33:12,279 --> 00:33:19,640 by men? Add an, will you go in this sideline? 746 00:33:20,039 --> 00:33:23,680 Speaker 4: W dornaser safty get on? You gonna jumping on in 747 00:33:23,880 --> 00:33:27,400 my BASI bet not? Your sails can get the wheel 748 00:33:30,880 --> 00:33:37,000 till you priti sis your sell? Don't you pretty stash 749 00:33:37,079 --> 00:34:15,480 your sall? Why can't you pretty sis you sell? Will 750 00:34:15,559 --> 00:34:18,960 you st don my life with your neighs? And sat 751 00:34:19,119 --> 00:34:22,960 to kill you for your bingle in my faser? But 752 00:34:23,159 --> 00:34:29,800 I just sail be never within till you pretty side 753 00:34:29,880 --> 00:34:30,360 to sell? 754 00:34:33,079 --> 00:34:33,679 Speaker 5: Well, don't you. 755 00:34:33,880 --> 00:34:35,159 Speaker 6: Bread out to sell? 756 00:34:37,800 --> 00:34:39,880 Speaker 3: Why can't you fret side you say? 757 00:35:05,320 --> 00:35:07,320 Speaker 2: I love the guitar sound on that. I love that 758 00:35:07,440 --> 00:35:12,719 guitar tone that is alien Stone. The song is called 759 00:35:12,760 --> 00:35:16,159 Criticize Yourself. Alien Stone, of course is Keith sam Land. 760 00:35:16,239 --> 00:35:18,800 And thank you again to Keith for joining us. Check 761 00:35:18,840 --> 00:35:22,320 out alien Stone, check out alien x Radio and I'm 762 00:35:22,360 --> 00:35:24,639 going to be checking that out looking forward to learning 763 00:35:24,719 --> 00:35:27,119 more about that. We'll probably have Keith on again because 764 00:35:27,159 --> 00:35:28,639 like I said, I'd love to talk to him too. 765 00:35:28,840 --> 00:35:31,400 I'd love to have a supplemental conversation with him about 766 00:35:31,400 --> 00:35:33,920 his radio career. And you know he mentioned Houston interview 767 00:35:34,320 --> 00:35:37,440 movie stars and some of the other things he does 768 00:35:37,519 --> 00:35:39,559 on his show. Very very interesting guy.