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Speaker 1: W m n H rip the novels.

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Speaker 2: You're listening to macconnorton unleash on m n H ninety

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five point three.

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Speaker 1: It's so hard to say where we are today. It's

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like everything we wanted so far away, all our dreams

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and like distant stars at play squeezing through a fingers

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like a ball of play calls and say we need

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another dollar stack. We hate to holler a retch you,

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but you gotta call us back. You pull at you

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call her like a cardiac. You pull the pressure like

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a herd attack. Then like a thundercrack, you could see

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through it, off pas the unders, everything that makes you fall.

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World turn a sunday like herb and sprawl as you

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wander through the dust like a resole, as you try

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to put the world together again, as you weigh your

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soul up against the feather and again put together. It's

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about the weather, and then we can talk about the

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rest forever and then whatever. Then talk about how we

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treat each other, to feed each other, how we beat

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each other. We need each other. We gotta plant to

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see the brotherhood bleed for the common good. So when

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you're sitting pissed in a traffic jam, and you could

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see it all around you like a hall of gram

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But the lady in a way welcome em me scene,

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but it's another Birmingham. Because I tell you the truth,

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soone dissen the lead. I don't want to sell you

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the proof. You should listen to me. The cradle fell

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with the roof as erst u looks like youth and

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still wear missing the key sign of the.

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Speaker 3: Times, the sign of the times, paying no attention just to.

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Speaker 4: Rhythm and ride.

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Speaker 5: Put your hand down.

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Speaker 1: I'm gonna help you climb because I don't want to

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be another sign at the times and just signing the times,

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just a sign of the time, paying no attention just

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to rhythm and rise.

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Speaker 4: Put your hand out.

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Speaker 1: I'm a healthy climb because I don't want to another side.

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Speaker 6: Of the Times.

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Speaker 1: We gotta bounce when we hit the ground. Take ahead,

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coun't take a look around. We y all amount to

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something I found. So help somebody. You have to make

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the world go around the sound of one hand.

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Speaker 6: Just don't clap.

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Speaker 1: We cantra build up with off handed wrap. We can't

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pretend this is just a mishap. We can't defend our

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opinions with straps. We gotta acosolidarity, stay focused on freedom

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and cheery tee.

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Speaker 7: We gotta share.

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Speaker 1: It's the key to prosperity. Don't let fear turn into barbarity.

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Speaker 8: Or would you care to be?

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Speaker 1: And someone else shoots through the deal like hell of

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heaven to chew. There's every bone, there's people who roll

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with the blue. Say a prayer because this mother just

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sold to lose. I know you're feeling alone, engaged as

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I'm coversing this microphone and rage. Gotta stuftreuss in your

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craning and boat bert caged up, obsessing because you're not

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on your own. You never know when the need will appear.

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Trouble booze as I do better, heed what you hear

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double true when your plan you see it's soon here

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because your two need is to let the world into fear.

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But you gotta stay clear of any of the aerive

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that got you here. You gotta see a lot of

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what we see his feeling, but you gotta rise above

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it like the atmosphere.

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Speaker 3: Sign of the times, just a sign of the times.

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Are you no attention?

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Speaker 1: Just a rhythm and rhyme. Put your hand out on

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a healthy cline because I don't want to be another

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sign at the times, and just a sign of the times,

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just a sign of the time. You no attention, just

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a rhythm and rhyme. Put your hand out on a

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healthy climb, because I don't want to be another sign.

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Speaker 9: Of the times.

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Speaker 1: This is just the dark before the dawn. So gather

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in the park with your park is off, make another

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spark for the stars are gone to keep away the

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sharks of bab alone, because they traveled on the waves

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of tragedy. They gathered in the graves so glad to

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see another dead sleeve to the powers that be, and

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they fed on the dreadlike energy.

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Speaker 3: But don't let them be.

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Speaker 1: Don't give them nothing to take it, because there will

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never be a time when you've got nothing at stake.

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Speaker 5: Are you gonna bend?

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Speaker 4: Are you gonna break?

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Speaker 1: Are you're gonna defend all the plays you make? Are

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you're gonna run away from ans?

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Speaker 9: So?

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Speaker 1: Are you're gonna shun another?

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Speaker 3: Who's in distress?

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Speaker 1: Who's the one who your mother taught to me? God blessed,

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who's the one who your mother taught to help?

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Speaker 9: The rest?

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Speaker 1: Sign of the times, it's just the media spin head

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lines dramatized to see that we're in posing down the beach.

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If they imagine a fi don't trust what they each

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on your television.

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Speaker 4: Sign of the Times.

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Speaker 1: It's just the line of the sand, designed to hide

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how close we off them. A trust the takes the

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time washes over the lair wash us over the lair

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wash us over the land. Some sign of the times

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with the.

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Speaker 3: Sign of the times, do you know it?

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Speaker 1: Just a rhythm and ride. Put your hand out. I'm

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gonna help you climb because I don't want to be

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another sign of the times and just sign of the times,

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the sign of the times, paying no attention just to

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rhythm and ride. Put your hand out. I'm gonna help

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me climb because I don't want to be another sign

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of the time, sign of the times, the sign of

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the times, paying no attention just to rhythm and ride.

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Speaker 8: Put your hand out.

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Speaker 1: I'm gonna help you climb because I don't want to

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be another sign of the times and just sign of

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the times, for the sign of the times, paying no

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attention just to rhythm and ride.

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Speaker 2: To put your hand out.

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Speaker 1: I'm gonna help you climb because I don't want to

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be another sign of the time.

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Speaker 4: Hmm. I love that for a couple of different reasons,

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but we'll talk about that in a moment. That is

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Sign of the Times. Welcome everybody. We have entered our

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number two new maridos of Matt Connorton unleashed and we

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are live from the studios of wm NH ninety five

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point three FM in glorious but very cold, but glorious Manchester,

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New Hampshire. Today is Saturday, January third, twenty twenty six.

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Happy New Year, everybody, our first show of the new year.

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Jenny is here, of course at the news table. I

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really like that song a lot. Yeah, isn't that good?

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I'm like over here, it's so good. And joining us

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in studio, Gary Smith is here.

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Speaker 5: Hello, Gary, Hello, how are you guys?

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Speaker 4: Gary Smith, as I like to say, the busiest musician

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I know anywhere. He's in two hundred and seventy four

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bands and there's something like that. Right, we're in double digit,

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definitely in double digit. Can you just pull that mic

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over a little. I just want to make sure it's right. Yeah,

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there we go, perfect, Thank you, so Side of the Times.

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So I mentioned that that's special to me because so

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I that song has been played on the show before,

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but not that version. So I played the uh, I

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played it. I've played it maybe a couple times, not recently,

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but the Chemical Distance version of the song that I

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played bass on years ago seems like another lifetime in

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some ways. But but that is my favorite version, the

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one that that you've brought to us. That's amazing what

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you took and did with it. And of course our

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friend MHP Michael Halpley Pierce, who of course I was

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in Chemical Distance with him along with Auto Kinsel, and

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that was always one of my favorites to play live

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because it's such a great track and Mike's rap on

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that whole thing is so good. It's so smooth. Oh yeah,

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And I assume you didn't take the original vocal track,

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that's he redid that, right.

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Speaker 5: Yeah, we redid that at our engineers, just with kind

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of a backing track, and then he sent the raw

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vocals to me and then I just kind of did

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everything up in my bedroom and then I sent the

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stems back to Pete and we went and mixed it

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and made it sound good on all his his nice

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expensive equipment.

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Speaker 10: Yeah.

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Speaker 5: Yeah, So just kind of a little studio time sometime

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in my room and then just the mixing time. So

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it was really it's a fun way to do it

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because I had pretty mu as much control.

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Speaker 4: I knew it.

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Speaker 5: You one he said that weird little breakdown section.

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Speaker 4: I love that.

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Speaker 5: He's like, just do whatever you want. So I did

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like a halftime guitar, so good. Yeah, the whole thing

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is so good.

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Speaker 4: I think it's the third version of that song, because

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I think it was originally a Litherman's song, a Litherman's load,

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the hip hop duo that Mike had, MHP had and

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then and then he brought it to chemical Chemical distance

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and then and then brought it to you to do that.

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Like who's whose name is that? Officially? Under?

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Speaker 5: Is that under? It will be released under JAM tomorrow, Okay,

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but it will be featuring Percussive Maintenance because that's my

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like producer name, so that yeah, so it'll be you'll

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be able to find it through my my streaming stuff,

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which is all under Percussive Maintenance.

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Speaker 4: Okay.

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Speaker 5: Yeah, just because me and Pete kind of I did

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most of the product production. Pete did the mixing and

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master he did some little production stuff, so okay, but yeah, yeah,

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it'll be Uh, it'll be under Jam Tomorrow. We have

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three or four other songs that should be coming out

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this year. That one and two other songs are basically mastered,

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ready to go. Okay, I'm just waiting for some art

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and some other just two other Jam Tomorrow. So the

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Jam Tomorrow songs, Yeah, one with a guest. Actually probably

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three other yeah, three other Tomorrow songs. One with Michael

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Freeman who's in Free Will, which is a little group

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around here. Yeah, he's playing drums. Ones with Brian Murphy,

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who's my trumpet player, Buddy, who's been on some of

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my stuff, who's okay, a Boston musician. He's amazing. He's

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playing trumpet on some stuff. So uh okay, yeah, we

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we actually added him on drums and stuff. So like

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he was, he was hanging out with me. So I'm like, okay,

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you're going on a bunch of Jam Tomorrow songs. But yeah,

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we have I think four songs that should be coming out.

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Oh wow, probably fairly soon.

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Speaker 4: Oh fantastic? Are are there songs we would know from

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the show that that you guys have.

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Speaker 5: Played on the whole wide World? The Rachel the Yeah, yeah,

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that's pretty much ready to go White Whale, which I

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think we played here once. That's the one that me

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and Mike wrote when I was broken. Yes, yeah, that

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one's pretty much recorded. I played piano on that, okay,

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that's the one Mike Freeman plays drums on. And then

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twenty two we've done that before, okay, and we added

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some cool trumpet harmonies on that one, so that one's

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really unique sounding too. Okay, I think those are Yeah,

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those are the four I think that are pretty much ready.

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Speaker 4: The ones that I have, because I definitely have recordings

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of at least a couple of those. Are those demos

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that we that I he may.

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Speaker 5: Have given you either like not fully mastered ones right right, yeah,

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or like like the song one of the songs I

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gave you here is the non fully ready to release

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version the stems. He's going to do some mixing and

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mastering to that, but this is kind of the pre

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mix version, just to kind of tease it out there.

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That's that jazz ones, okay, but yeah, that's probably what

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we did there. But yeah, now twenty two is much

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further along. You may have played close to the studio

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version of White Whale. That would probably.

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Speaker 4: Probably okay, yeah, yeah, and then so you've been you've

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been very busy, you know, we always say you're you're

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the busiest musician I know. But also you've been since

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the last time you were here. So you're now playing

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with Roots of Creation, right.

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Speaker 5: Yeah, Roots of Creation and Grateful Dub.

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Speaker 4: So that's that's huge.

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Speaker 5: I've been a fun adventure for sure. Those guys are

240
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so fun, so fun to jam with, and it's a

241
00:11:02,320 --> 00:11:03,960
it's nice to kind of see the next level of

242
00:11:04,559 --> 00:11:06,879
like band leader and like how Brett runs the band

243
00:11:07,039 --> 00:11:09,200
is it's a it's a it's given me good ideas

244
00:11:09,240 --> 00:11:11,159
in terms of like how to operate my things because

245
00:11:11,200 --> 00:11:13,799
he's just so like good at controlling what's going on

246
00:11:13,960 --> 00:11:16,440
on stage, and especially in something like that where there's

247
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like a lot of improvisation or New Year's Eve show.

248
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We did two of the seven songs on our setlest

249
00:11:21,919 --> 00:11:23,279
he's like, let's do this instead, Let's do this and

250
00:11:23,320 --> 00:11:25,519
said so but and then it's like we'll hold accord.

251
00:11:25,600 --> 00:11:26,720
He's like, let's see how we can get to this

252
00:11:26,840 --> 00:11:28,360
next part. It's like, okay, now go up a half step,

253
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now go up before to get to that. So it's

254
00:11:30,120 --> 00:11:33,360
like it's really all a lot of improvisation, which as

255
00:11:33,399 --> 00:11:35,879
a jazz nerd is is right up my alley. Yeah,

256
00:11:36,440 --> 00:11:39,039
but yeah, I know, it's it's been fun. It's met

257
00:11:39,080 --> 00:11:41,960
some crazy people and uh, they just released Werewolves of

258
00:11:42,000 --> 00:11:45,120
London for Halloween. I played based on that, and we

259
00:11:45,240 --> 00:11:48,000
have the Grateful Dub album is coming out. The second

260
00:11:48,000 --> 00:11:50,039
one is coming out very soon. I've recorded some stuff

261
00:11:50,080 --> 00:11:53,399
on that and that's very exciting. A bunch of stuff

262
00:11:53,399 --> 00:11:54,960
in the theater or a bunch of stuff in the

263
00:11:55,000 --> 00:11:57,639
studio like Paul from Slightly Stupid on a bunch of

264
00:11:57,639 --> 00:11:59,720
stuff a bunch of a bunch of cool people on it.

265
00:12:00,600 --> 00:12:04,240
You loves on some stuff. Yeah, yeah, it's uh, it's

266
00:12:04,279 --> 00:12:08,600
been so fun. And yeah we're doing a big Florida

267
00:12:09,480 --> 00:12:12,360
South Southern tour February in March. Yeah, but yeah, I

268
00:12:12,399 --> 00:12:14,200
mean we are playing a couple of cool shows around here.

269
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February sixth and seventh. We're playing a Flying Monkey in

270
00:12:17,039 --> 00:12:20,559
Plymouth excellent, and then Wally's on February seventh. Oh, very good,

271
00:12:20,759 --> 00:12:23,759
both of those with Paul uh the organists from a

272
00:12:23,960 --> 00:12:27,039
Slightly Stupid opening for us. Okay, nice, It was definitely

273
00:12:27,080 --> 00:12:28,639
worth worth checking out. But yeah, I know it's it's

274
00:12:28,799 --> 00:12:31,440
it's been. It's been an awesome adventure. And uh, all

275
00:12:31,440 --> 00:12:32,960
the guys at the band are so fun and so

276
00:12:33,080 --> 00:12:35,960
easy to play with. And yeah, obviously as a bass player,

277
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I care about the drummer, and the drummer is so

278
00:12:37,600 --> 00:12:38,360
easy to get along.

279
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Speaker 4: Oh really yeah, that's good.

280
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Speaker 5: After a few crucial like we're like locked in.

281
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Speaker 4: It's good. Good. Now, how did that come about? Because

282
00:12:46,120 --> 00:12:48,679
you initially you were like a fill in right.

283
00:12:49,240 --> 00:12:52,120
Speaker 5: Yeah exactly. I filled in actually with my engineer back

284
00:12:52,159 --> 00:12:55,159
in March at a at a show they had up

285
00:12:55,200 --> 00:12:59,360
in a sugar sugar bush or one of the yeah,

286
00:12:59,440 --> 00:13:02,200
one of the mountains up there, just sugar sugar loaf,

287
00:13:02,480 --> 00:13:04,320
sugar loaf, yeah, okay, yeah, And I just filled in

288
00:13:04,480 --> 00:13:06,519
with uh, with Bread on bass, just for like a

289
00:13:06,600 --> 00:13:08,960
last minute show. And then when they were looking for

290
00:13:09,000 --> 00:13:10,960
a bass player because their bass player lives in Florida

291
00:13:11,000 --> 00:13:15,679
and it was difficult for for that, he recommended me.

292
00:13:15,679 --> 00:13:17,320
He's like, oh, Gary does all this weird jazz fusee

293
00:13:17,320 --> 00:13:18,879
and stuff like that, I can just dial it back

294
00:13:18,919 --> 00:13:19,679
and do some dude.

295
00:13:19,720 --> 00:13:19,919
Speaker 8: Yeah.

296
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Speaker 5: And then once I did, like okay, yeah, this word

297
00:13:21,759 --> 00:13:23,679
so then yeah, yeah, we stubbed in for a few

298
00:13:23,759 --> 00:13:26,799
shows like up in Vermont, U in New Jersey, and

299
00:13:26,879 --> 00:13:29,440
then uh yeah, towards the end of last year kind

300
00:13:29,480 --> 00:13:32,159
of made it official, got some cool pictures, So yeah,

301
00:13:32,159 --> 00:13:34,000
I know, it's it's been Uh, it's definitely been an

302
00:13:34,039 --> 00:13:36,120
experience and it's yeah, it's a lot of fun.

303
00:13:36,240 --> 00:13:36,600
Speaker 4: It's uh.

304
00:13:36,840 --> 00:13:38,799
Speaker 5: I ended up doing you know, probably Eve though I

305
00:13:38,840 --> 00:13:40,720
only joined really in September. I did like twelve or

306
00:13:40,759 --> 00:13:42,919
thirteen shows with him last year, and it was really

307
00:13:43,000 --> 00:13:45,759
fun to kind of to lock in and kind of

308
00:13:46,000 --> 00:13:48,240
learn some new stuff. And obviously I'm a nerd. I

309
00:13:48,320 --> 00:13:50,000
show up with all the sheet music because I like

310
00:13:50,080 --> 00:13:52,960
transcribe everything. Yeah, yeah, like what are all these notes?

311
00:13:53,000 --> 00:13:54,200
I'm like, I write out all them?

312
00:13:54,279 --> 00:13:55,240
Speaker 4: Dokidding?

313
00:13:55,600 --> 00:13:58,200
Speaker 5: Yeah, it helps me learn, Like like in schools, taking

314
00:13:58,240 --> 00:13:59,840
notes helped you learn, Like that, I listened to it,

315
00:13:59,879 --> 00:14:01,759
I write it down, and then I like locked in

316
00:14:01,840 --> 00:14:04,360
my brain as a picture of those that writing out

317
00:14:04,399 --> 00:14:04,840
those notes.

318
00:14:04,960 --> 00:14:05,600
Speaker 4: That makes sense.

319
00:14:05,720 --> 00:14:05,919
Speaker 5: Yeah.

320
00:14:06,440 --> 00:14:10,840
Speaker 4: Interesting, It must be cool too to have something like

321
00:14:10,960 --> 00:14:13,840
that work out where because that probably wasn't something you

322
00:14:13,919 --> 00:14:16,039
thought was going to happen in twenty twenty five, right,

323
00:14:16,080 --> 00:14:18,480
that you'd end up playing with Roots of Creation and

324
00:14:18,559 --> 00:14:20,440
then and then become a member of the band.

325
00:14:20,679 --> 00:14:20,879
Speaker 9: Yeah.

326
00:14:20,960 --> 00:14:23,480
Speaker 5: No, it's definitely wasn't on my Uh, it wasn't on

327
00:14:23,600 --> 00:14:26,279
my guest list of what I thought it was gonna happen.

328
00:14:26,279 --> 00:14:28,879
But yeah, yeah I was. I was really pleasantly surprised.

329
00:14:28,879 --> 00:14:32,320
And yeah, I mean it's I love playing bass and

330
00:14:32,360 --> 00:14:34,360
playing bass with you know, a bunch of guys who

331
00:14:34,759 --> 00:14:36,480
just loved the music, like you can't you can't go

332
00:14:36,559 --> 00:14:38,759
wrong with that, and they've obviously been around for for

333
00:14:38,879 --> 00:14:41,519
so long, you know, over twenty years. Yeah, Breton tal

334
00:14:41,600 --> 00:14:44,919
have been doing it, so it's uh, it's definitely, uh,

335
00:14:45,159 --> 00:14:47,440
it's cool to step into something like that. I mean,

336
00:14:47,799 --> 00:14:50,159
obviously my other band's like Fox, like Fox and Flamingos

337
00:14:50,159 --> 00:14:52,559
have been building so long, and like it gives me

338
00:14:52,679 --> 00:14:56,039
ideas with how they operate in terms of transferring. And yeah,

339
00:14:56,240 --> 00:14:58,000
we got a new piano player with Fox and Flamingos

340
00:14:58,039 --> 00:15:00,919
last year too, so yeah, he's a little he was.

341
00:15:01,919 --> 00:15:03,960
I met him through Kevin Haran, who I know, you know,

342
00:15:04,039 --> 00:15:07,000
we did that show at the Bank of Hampshire stage

343
00:15:07,039 --> 00:15:09,759
last year. Yeah, and I met his piano player who

344
00:15:09,879 --> 00:15:12,559
was in the Dave Matthews tribute band, and then our

345
00:15:12,600 --> 00:15:16,240
piano player was leaving because family stuff. So I'm like, hey,

346
00:15:16,279 --> 00:15:19,679
you should join us. So like he's like Dave Matthews

347
00:15:19,720 --> 00:15:21,879
tribute band's like a national tribute band and they're actually

348
00:15:21,879 --> 00:15:24,360
their managers the same managers Roots of Creation. Oh, so

349
00:15:24,519 --> 00:15:26,519
like it's all like this weird thing. So yeah, now

350
00:15:26,559 --> 00:15:28,600
both of us are in and so like that's kind

351
00:15:28,639 --> 00:15:30,720
of bump Fox up a little bit in terms of

352
00:15:30,759 --> 00:15:33,639
his professionalism, like having day sheets, having stuff much more

353
00:15:33,720 --> 00:15:36,000
organized instead of just kind of flying by the seat

354
00:15:36,039 --> 00:15:36,519
of our pants.

355
00:15:36,639 --> 00:15:36,879
Speaker 4: Sure.

356
00:15:37,000 --> 00:15:39,399
Speaker 5: Sure, So that's that's definitely helped Fox get a lot

357
00:15:39,480 --> 00:15:40,919
of cool and better opportunities.

358
00:15:41,039 --> 00:15:44,200
Speaker 4: Oh that's fantastic, great, great, I still love that song

359
00:15:44,240 --> 00:15:46,279
Don't Be a Stranger. Oh my god, that is such

360
00:15:46,320 --> 00:15:49,000
a great song. I love Fox on the Flamingos. Is

361
00:15:49,039 --> 00:15:51,879
it hard to juggle all this? I mean, you must be.

362
00:15:52,960 --> 00:15:55,200
You strike me as someone who must be very organized,

363
00:15:55,320 --> 00:15:57,320
right because you've got so much going on, you have

364
00:15:57,399 --> 00:15:58,120
to be organized.

365
00:15:58,279 --> 00:16:02,360
Speaker 5: It's in certain things. I'm very organized. It's organized chaos.

366
00:16:03,039 --> 00:16:04,679
I know exactly where I need to be, where I

367
00:16:04,720 --> 00:16:08,240
should be, but like some things of my life are

368
00:16:08,399 --> 00:16:11,000
definitely not the most organized. But yeah, sure, I mean

369
00:16:11,080 --> 00:16:13,600
it's for when I I kind of just go down

370
00:16:13,679 --> 00:16:15,519
rabbit holes, like I I know what I need to

371
00:16:15,559 --> 00:16:20,120
do and like, but yeah, I'm mostly organized. Yeahs my

372
00:16:20,279 --> 00:16:22,120
ask my kids. They may give you a different answer,

373
00:16:23,799 --> 00:16:26,919
but I mean, obviously it helps. I try to kind

374
00:16:26,960 --> 00:16:30,159
of check off all the boxes. And then like even

375
00:16:30,519 --> 00:16:33,080
now with the root stuff, like I have for Fox,

376
00:16:33,159 --> 00:16:35,480
We've got a sub basis. So for then shows that

377
00:16:35,519 --> 00:16:37,600
I can't make it, oh, we have a basis who's

378
00:16:37,720 --> 00:16:39,320
a very good basis who can fill in for me

379
00:16:39,399 --> 00:16:42,679
as needed, and pretty much you know, obviously Jam Tomorrow

380
00:16:42,759 --> 00:16:45,159
can operate without me. Cosmic Boston can operate. They have

381
00:16:45,200 --> 00:16:48,000
a separate basis, so most of this stuff can. I

382
00:16:48,240 --> 00:16:50,360
can wiggle it around as needed. And then you know,

383
00:16:50,440 --> 00:16:52,360
even my solo shows, if I get a last minute

384
00:16:52,480 --> 00:16:54,200
tour thing, I can just plug in someone to one

385
00:16:54,240 --> 00:16:55,759
of my solo shows and most of the venues are

386
00:16:55,799 --> 00:16:56,120
cool with that.

387
00:16:56,399 --> 00:16:59,200
Speaker 4: Yeah, so yeah, that's really good.

388
00:16:59,360 --> 00:17:02,279
Speaker 5: So yeah, it's a mixture of things, but yeah, it's definitely. Uh,

389
00:17:03,080 --> 00:17:04,400
I look at my schedule many times.

390
00:17:04,799 --> 00:17:08,839
Speaker 4: Yeah, yeah, I can imagine. And this is probably the

391
00:17:08,880 --> 00:17:10,640
busiest you've ever been, right, I mean, have you ever

392
00:17:10,680 --> 00:17:12,720
had a point where you were busier than you are recently.

393
00:17:13,160 --> 00:17:14,599
Speaker 5: No, because I mean, I I don't know if we

394
00:17:14,720 --> 00:17:16,680
ever talked about it too much. I took a long,

395
00:17:16,880 --> 00:17:18,799
long break from music, so like when I was in

396
00:17:18,880 --> 00:17:20,920
high school, I was doing a lot of jazz, probably

397
00:17:20,960 --> 00:17:24,119
playing thirty forty shows throughout high school. In the beginning

398
00:17:24,160 --> 00:17:27,119
of college. Then, I mean, my ex wife got into

399
00:17:27,799 --> 00:17:29,920
having a kid, having a family, and I didn't play

400
00:17:30,039 --> 00:17:33,440
music for two thousand and three to twenty twenty pretty much. Really, Yeah,

401
00:17:33,519 --> 00:17:35,799
so I didn't pa music out for seventeen years.

402
00:17:35,880 --> 00:17:39,400
Speaker 4: That shocks me, Yeah, because I remember, I do recall,

403
00:17:39,640 --> 00:17:41,279
because Eve been on the show several times, I do

404
00:17:41,319 --> 00:17:43,279
seem to recall you talking about a break, but I

405
00:17:43,359 --> 00:17:45,720
didn't realize it was that long. So seventeen years.

406
00:17:45,839 --> 00:17:47,880
Speaker 5: Yeah, the last The first time I played out was

407
00:17:48,039 --> 00:17:50,759
during COVID. I played at six oh three Brewery with

408
00:17:52,000 --> 00:17:53,640
the old piano player and the drummer from Fox and

409
00:17:53,640 --> 00:17:55,160
the Flamingos. I yah got in with them, and that

410
00:17:55,319 --> 00:17:58,720
was like the first time being being ah then and

411
00:17:58,759 --> 00:18:00,799
then I started playing with Jam Tomorrow, and then Fox

412
00:18:00,880 --> 00:18:03,519
and Flamingos formed and then it's just been a whirlwind.

413
00:18:03,519 --> 00:18:05,799
But yeah, like I was looking back twenty twenty three,

414
00:18:05,880 --> 00:18:08,440
I did like forty shows. Last year I did one

415
00:18:08,480 --> 00:18:10,400
hundred twenty shows. Well, two years ago I did one

416
00:18:10,440 --> 00:18:12,039
hundred twenty shows, and then this year I did two

417
00:18:12,119 --> 00:18:15,319
hundred and ten shows. So yeah, I don't that trajectory

418
00:18:15,400 --> 00:18:17,480
isn't sustainable. But if I can stay around two hundred,

419
00:18:17,519 --> 00:18:18,000
I'll be happy.

420
00:18:18,680 --> 00:18:23,839
Speaker 4: Yeah. Now during that break, did you still pick up

421
00:18:24,319 --> 00:18:25,960
the bass or other instruments.

422
00:18:26,240 --> 00:18:28,319
Speaker 5: I played my guitar decent amount during then, but not,

423
00:18:28,559 --> 00:18:31,200
but it was like it was weekly. It wasn't like, okay,

424
00:18:31,400 --> 00:18:34,920
daily like, so you never completely disengaged. But I still

425
00:18:34,960 --> 00:18:36,640
had a guitar, but there would definitely be times where

426
00:18:36,640 --> 00:18:38,880
I would probably go a month without playing it. No, yeah,

427
00:18:38,880 --> 00:18:40,559
I was doing I mean that was when I was

428
00:18:40,559 --> 00:18:43,960
super into car racing and oh yeah I was. Yeah,

429
00:18:44,079 --> 00:18:45,839
so that that was part of it. Two that that

430
00:18:46,000 --> 00:18:48,640
kind of took away. But yeah, I mean my ex

431
00:18:48,720 --> 00:18:51,039
wife didn't necessarily love the music side of things. So

432
00:18:51,319 --> 00:18:52,720
even a lot of times when I would go to

433
00:18:52,799 --> 00:18:54,359
like pick up the guitar, that's when you turn on

434
00:18:54,400 --> 00:18:56,519
the TV or something. Oh yeah, I get it.

435
00:18:56,680 --> 00:18:57,440
Speaker 4: So oh wow.

436
00:18:57,599 --> 00:18:59,519
Speaker 5: So then I got divorced in twenty twenty and that's

437
00:18:59,599 --> 00:19:02,440
kind of what what sparked me. And actually MHP we

438
00:19:02,519 --> 00:19:05,519
had some jams with my sister used to date Hernesto

439
00:19:05,559 --> 00:19:08,599
before she passed, and so we would jam it Arnesto's

440
00:19:09,000 --> 00:19:11,759
like garage, and that's how I originally met MHP and that's.

441
00:19:11,640 --> 00:19:12,079
Speaker 4: How that all.

442
00:19:12,319 --> 00:19:14,680
Speaker 5: Okay, it all started. Okay, that was probably yeah, like

443
00:19:14,720 --> 00:19:17,000
twenty nineteen that we did that. Twenty eighteen, twenty nineteen

444
00:19:17,039 --> 00:19:18,319
we jam for the first time, but that was like

445
00:19:18,359 --> 00:19:20,759
my first time even playing with anyone, wow, for probably

446
00:19:20,799 --> 00:19:21,640
fourteen years. Yeah.

447
00:19:21,720 --> 00:19:21,920
Speaker 10: Wow.

448
00:19:22,400 --> 00:19:24,839
Speaker 4: It's just mind blowing that, you know, you had such

449
00:19:25,240 --> 00:19:27,920
a long break and now you're so busy. It's like

450
00:19:28,079 --> 00:19:30,920
a completely as like such a total life shift in

451
00:19:31,039 --> 00:19:32,039
that way, it really is.

452
00:19:32,119 --> 00:19:33,720
Speaker 5: I Mean I wish I had been doing it the

453
00:19:33,720 --> 00:19:35,839
whole time, but also like I wouldn't be in the

454
00:19:35,920 --> 00:19:38,480
place because like obviously I was a car sales manager

455
00:19:38,519 --> 00:19:40,279
for a long time stuff like that, so I have

456
00:19:40,519 --> 00:19:42,559
a little bit of stuff aside. So when I kind

457
00:19:42,559 --> 00:19:44,839
of took the plunge, yeah, I had some safety net

458
00:19:44,880 --> 00:19:46,599
where if I was twenty and taking the plunge, it

459
00:19:46,640 --> 00:19:47,759
wouldn't have ever worked.

460
00:19:47,799 --> 00:19:48,000
Speaker 4: True.

461
00:19:48,200 --> 00:19:51,960
Speaker 5: Yeah, so's it's kind of a blessing in disguise. And

462
00:19:52,160 --> 00:19:53,359
you know, I know a lot of I have a

463
00:19:53,359 --> 00:19:55,079
lot of friends who've been doing music their whole lives.

464
00:19:55,599 --> 00:19:57,279
Some of them more burnt out than others, you know,

465
00:19:57,839 --> 00:20:00,839
like I've I'm definitely burnt out from being a car

466
00:20:00,920 --> 00:20:04,160
sales right. This is like I still don't I tell

467
00:20:04,200 --> 00:20:06,519
people I don't work, like I just play music all year,

468
00:20:06,640 --> 00:20:08,839
Like yeah, it's not like I need a vacation, like right,

469
00:20:08,880 --> 00:20:09,440
play music.

470
00:20:09,640 --> 00:20:12,279
Speaker 4: Yeah, that's true. That's true. So it's you're doing what

471
00:20:12,400 --> 00:20:13,839
you love. Yeah, that's yeah.

472
00:20:13,920 --> 00:20:16,559
Speaker 5: Yeah, And that's what my parents when they were my mom,

473
00:20:16,599 --> 00:20:19,400
when she was like forty five fifty, they got a

474
00:20:19,640 --> 00:20:22,160
they started a music store and wallis so like that

475
00:20:22,319 --> 00:20:24,319
was kind of there chasing their dream, leave the corporate

476
00:20:24,400 --> 00:20:26,799
world and start a music store. So she would be

477
00:20:26,920 --> 00:20:28,880
she would be happy that I was doing what I'm doing.

478
00:20:29,039 --> 00:20:31,480
Speaker 4: Yeah, no doubt, no doubt. If you're just joining us,

479
00:20:31,519 --> 00:20:33,839
Gary Smith is here with us, And should we play

480
00:20:33,839 --> 00:20:36,279
another track? You sent us a bunch of new stuff.

481
00:20:36,400 --> 00:20:39,759
Speaker 5: Yeah, let's let's uh, let's do the Heist tune.

482
00:20:39,920 --> 00:20:40,960
Speaker 4: That'll uh okay.

483
00:20:41,200 --> 00:20:44,079
Speaker 5: This is called listen here. Heist is a project I'm in.

484
00:20:44,240 --> 00:20:47,920
We play every first Wednesday of the month at Hermano's

485
00:20:48,000 --> 00:20:52,720
Up and Conquered residency. There play it. Panucci's a bunch two.

486
00:20:53,400 --> 00:20:55,079
They have a jazzy and kind of a rock side.

487
00:20:55,119 --> 00:20:57,880
I tend to stay on the jazz side because the

488
00:20:57,960 --> 00:21:00,559
rock side is usually on Saturdays when I already have gigs. Okay,

489
00:21:00,559 --> 00:21:02,799
but yeah, no, they're they're cool, they're under heyst improvised

490
00:21:02,880 --> 00:21:10,039
music on Facebook. Yeah. Curtis Arnett, Curtis Martin, what's his Aaron?

491
00:21:10,279 --> 00:21:12,759
Who does the kids the kids concerts?

492
00:21:13,039 --> 00:21:13,160
Speaker 4: Uh?

493
00:21:14,079 --> 00:21:15,839
Speaker 5: Aaron? Oh, I can't think, but yeah, he's in.

494
00:21:15,920 --> 00:21:15,960
Speaker 11: It.

495
00:21:16,039 --> 00:21:21,240
Speaker 5: Took Randy Honeyman a bunch of people in it, so

496
00:21:21,279 --> 00:21:23,880
it's it's a cool Eric Billadoh, it's a cool little combination.

497
00:21:23,880 --> 00:21:24,200
Speaker 4: But yeah.

498
00:21:24,200 --> 00:21:26,480
Speaker 5: This is when we recorded actually in Basement and Conquered.

499
00:21:26,519 --> 00:21:30,720
This is with Randy, Curtis Arnett on sacks, Curtis Martin

500
00:21:31,240 --> 00:21:32,880
on drums, and me on bass guitar.

501
00:21:33,160 --> 00:21:35,799
Speaker 4: Okay, very good, very good? All right? So this is Heist.

502
00:21:36,400 --> 00:21:38,559
This is Heist and the what's the track call?

503
00:21:39,240 --> 00:21:44,480
Speaker 5: Uh listen listen here? Yeah, let me just make sure, yeah.

504
00:21:44,400 --> 00:21:47,279
Speaker 4: Listen here, listen here by High Star. I checked this out.

505
00:22:00,519 --> 00:22:34,240
Speaker 8: And short about and the Tho, the Thotle Bird and

506
00:22:37,400 --> 00:22:56,640
compla compa turn of Turn.

507
00:23:08,559 --> 00:23:09,119
Speaker 4: And then.

508
00:23:17,160 --> 00:24:24,640
Speaker 12: Look at Baby's and the.

509
00:24:44,119 --> 00:25:33,319
Speaker 9: Records as the.

510
00:26:00,279 --> 00:26:54,759
Speaker 4: H I love that that is heist. What's what's the

511
00:26:54,839 --> 00:26:55,319
track again?

512
00:26:55,880 --> 00:26:56,359
Speaker 5: Listen here?

513
00:26:56,519 --> 00:27:00,480
Speaker 4: Listen here that uh that guitar soloids. It's like it's

514
00:27:00,519 --> 00:27:03,400
telling a story, you know what I mean? Thank you?

515
00:27:03,880 --> 00:27:04,319
Speaker 5: That's the goal?

516
00:27:04,519 --> 00:27:06,880
Speaker 4: Yeah? No, I love that. I love that very very cool.

517
00:27:07,279 --> 00:27:10,319
Is that I haven't heard you mentioned heyst before. Is

518
00:27:10,359 --> 00:27:12,200
that a new project? You're newer for you?

519
00:27:12,559 --> 00:27:15,839
Speaker 5: It's somewhat newer. I kind of just came think I

520
00:27:15,920 --> 00:27:18,279
sat in with them at Hermanos just to start out,

521
00:27:18,279 --> 00:27:20,359
because they needed someone to do some jazzy stuff.

522
00:27:20,599 --> 00:27:20,799
Speaker 7: Yeah.

523
00:27:20,799 --> 00:27:26,319
Speaker 5: And then yeah, then Curtis is a bartender at Frevate Friends.

524
00:27:26,359 --> 00:27:28,079
So we've sat in with sitting with me at Feathered

525
00:27:28,119 --> 00:27:30,599
Friends and then yeah, we just kind of it all

526
00:27:30,640 --> 00:27:33,319
worked out. Curtis Martin the drummer from this and said

527
00:27:33,400 --> 00:27:35,519
in with Cinnamon Jazz Trio, one of my other jazz

528
00:27:35,559 --> 00:27:39,119
group too. Oh okay, so it's a yeah, it's fun.

529
00:27:39,200 --> 00:27:41,720
We're all, we're all we all just shared it. Jazz

530
00:27:41,799 --> 00:27:42,279
is fun like that.

531
00:27:42,640 --> 00:27:49,480
Speaker 4: Yeah, Yeah, absolutely it's uh, I've never played jazz music.

532
00:27:49,559 --> 00:27:51,519
I've only been in rock bands and stuff like that

533
00:27:51,680 --> 00:27:53,319
and a couple of things that were a little a

534
00:27:53,359 --> 00:27:57,599
little different. But it must be kind of I imagine

535
00:27:57,599 --> 00:27:59,599
it to be liberating to have that kind of freedom

536
00:27:59,720 --> 00:28:02,079
with a project like that, where where it can you

537
00:28:02,119 --> 00:28:06,720
can play in different configurations and you know, and do

538
00:28:06,839 --> 00:28:09,759
a lot of improv is improvising and and all that.

539
00:28:09,960 --> 00:28:10,920
That must be really cool.

540
00:28:11,400 --> 00:28:14,200
Speaker 5: No, it's definitely nice. I mean, I ran jazz dams

541
00:28:14,279 --> 00:28:16,599
up at PCL for the last couple of years. Okay,

542
00:28:16,839 --> 00:28:19,240
just people come in if you kind of has some

543
00:28:19,440 --> 00:28:21,920
semblance and how to play jazz like. It's so even

544
00:28:21,960 --> 00:28:24,440
though people think it's so like nonstructured and it's so chaotic, like,

545
00:28:24,519 --> 00:28:26,000
there is a lot of structure to it, so why

546
00:28:26,079 --> 00:28:28,200
you understand the structure. It's easy to just kind of

547
00:28:28,279 --> 00:28:31,119
PLoP in, Like Cinnamon Giastrio. We've played a bunch together

548
00:28:32,200 --> 00:28:35,000
the last song or one of those songs that she

549
00:28:35,079 --> 00:28:37,319
plays flute in our piano player on that. But we've

550
00:28:37,400 --> 00:28:39,400
never had a rehearsal because we just get up together

551
00:28:39,480 --> 00:28:42,000
and we're all tight. We all know how each other

552
00:28:42,039 --> 00:28:43,680
works at this point, so we can just play and

553
00:28:43,759 --> 00:28:46,480
put on an amazing show just without we know how

554
00:28:46,519 --> 00:28:47,440
to interact with each other.

555
00:28:47,559 --> 00:28:51,000
Speaker 4: So yeah, that's fantastic. Yeah, it's very fun if you're

556
00:28:51,039 --> 00:28:53,359
just joining us. Gary Smith is here with us and

557
00:28:54,119 --> 00:28:59,519
sharing some some new music and uh so what what's

558
00:28:59,599 --> 00:29:01,960
kind of the thing that takes up is Roots of Creation?

559
00:29:02,039 --> 00:29:03,599
Does that take up the most of your time in

560
00:29:03,720 --> 00:29:06,000
terms of because we're talking earlier about how you you

561
00:29:06,039 --> 00:29:08,319
don't have to be very organized with your calendar.

562
00:29:08,440 --> 00:29:11,000
Speaker 5: Yeah, I mean they probably. I mean in terms of

563
00:29:11,319 --> 00:29:14,000
actual work, solo solo shows take up the most time.

564
00:29:14,559 --> 00:29:16,680
Like last year I did seventy solo shows and like

565
00:29:16,720 --> 00:29:20,319
twenty two jams Iran, so the majority of the shows

566
00:29:20,359 --> 00:29:24,279
are that. But yeah, I mean in terms of just overall,

567
00:29:24,880 --> 00:29:28,000
especially this year, I'll definitely be playing the most non

568
00:29:28,079 --> 00:29:31,920
solo shows with Roots, Okay, and then obviously like traveling

569
00:29:31,960 --> 00:29:34,400
and Tory and stuff that you have travel days and

570
00:29:34,440 --> 00:29:36,160
stuff like that, so yeah, those will get those will

571
00:29:36,200 --> 00:29:39,400
get gobbled up. Yeah, but yeah, I mean beyond that,

572
00:29:39,480 --> 00:29:42,119
I mean I did play the most shows with Fox

573
00:29:42,200 --> 00:29:44,640
last year. In terms of band, I mean with me

574
00:29:44,759 --> 00:29:48,000
and Mazie again more projects Me and maze split off

575
00:29:48,039 --> 00:29:49,880
and we do Vaudeville Vixen, which is me and Mazy

576
00:29:50,039 --> 00:29:54,039
just doing jazzy stuff and some Fox songs in like

577
00:29:54,160 --> 00:29:56,039
kind of a duo thing with my Looper.

578
00:29:56,200 --> 00:29:56,960
Speaker 4: So oh cool.

579
00:29:57,359 --> 00:30:00,480
Speaker 5: So we did probably thirteen shows like that last year

580
00:30:00,599 --> 00:30:03,119
then on top of the thirty Flamingos shows.

581
00:30:03,200 --> 00:30:04,599
Speaker 4: So wow. Yeah.

582
00:30:04,640 --> 00:30:06,920
Speaker 5: So, I mean me and Maizie are probably the most

583
00:30:06,960 --> 00:30:08,880
busy together or being Bob, because me and Bob play

584
00:30:08,880 --> 00:30:10,960
together a bunch with Me and Bob are actually playing

585
00:30:11,039 --> 00:30:16,119
tonight with RGB Trio at Brickhouse in Milford, and we

586
00:30:16,200 --> 00:30:18,920
have Amanda van Tyne, this lead singer from Cosmic. She's

587
00:30:18,960 --> 00:30:20,480
going to come in and join us for a lot

588
00:30:20,519 --> 00:30:21,359
of the sets, so it's going.

589
00:30:21,359 --> 00:30:23,160
Speaker 4: To be excellent party, excellent.

590
00:30:23,400 --> 00:30:27,039
Speaker 5: But yeah, I mean they all take some amount of time,

591
00:30:28,440 --> 00:30:30,720
and even like Jam Tomorrow last year I didn't get

592
00:30:30,720 --> 00:30:32,359
play with them as much, but we did a lot

593
00:30:32,400 --> 00:30:33,920
of stuff in the studio. So I did more stuff

594
00:30:33,920 --> 00:30:36,519
in the studio with them last year than really probably

595
00:30:36,559 --> 00:30:40,160
anyone except for Rooster Creation, so okay. So yeah, I

596
00:30:40,240 --> 00:30:43,599
mean it's just where they're so good to operate among

597
00:30:43,640 --> 00:30:45,319
themselves and even some places they like we don't have

598
00:30:45,400 --> 00:30:47,079
space for a trio. We just need to du like

599
00:30:47,319 --> 00:30:50,680
play at Eva Tratoria or whatever in Bedford and they

600
00:30:50,839 --> 00:30:51,279
just want to du.

601
00:30:51,359 --> 00:30:51,440
Speaker 12: Oh.

602
00:30:51,480 --> 00:30:53,960
Speaker 5: So I'm like, okay, that's fine. Yeah, yeah, but yeah,

603
00:30:53,960 --> 00:30:57,119
I mean it's I gotta juggle. But I keep busy.

604
00:30:57,119 --> 00:31:00,400
I'm always adding things. Yeah, I'm in a project Scott

605
00:31:00,440 --> 00:31:02,839
Soulski now, who's a seven string guitar, So I play

606
00:31:02,880 --> 00:31:05,480
eighth string guitar. He plays seven ring. And then Mike Waller,

607
00:31:05,559 --> 00:31:07,559
she was an amazing drummer like me, in seventy three

608
00:31:07,599 --> 00:31:10,519
different bands. He played drums. We're playing at a big

609
00:31:10,599 --> 00:31:13,759
bear lodge Andre's Art Institute, which is gonna be a

610
00:31:13,839 --> 00:31:16,319
cool show. So yeah, but yeah, like he was someone

611
00:31:16,400 --> 00:31:18,440
I met literally last year and we've become friends and

612
00:31:18,480 --> 00:31:21,599
started playing with and recording a bunch And he was

613
00:31:21,640 --> 00:31:23,680
in Foresight Funk when they when that existed in a

614
00:31:24,079 --> 00:31:24,359
bunch of.

615
00:31:25,599 --> 00:31:27,519
Speaker 4: I think, didn't you bring the eighth string here once?

616
00:31:28,000 --> 00:31:28,160
Speaker 13: Yeah?

617
00:31:28,160 --> 00:31:30,079
Speaker 5: I've road here a few times. Yeah, yeah, I usually

618
00:31:30,119 --> 00:31:32,200
bring the nylon string eighth string, but I most of

619
00:31:32,200 --> 00:31:33,880
the time I'm playing an electric eight string when I'm

620
00:31:33,880 --> 00:31:34,559
out out about.

621
00:31:34,599 --> 00:31:36,519
Speaker 4: But yeah, yeah, because I remember you, Yeah, that's right,

622
00:31:36,559 --> 00:31:38,319
I remember you playing the eighth string here with Jam

623
00:31:38,400 --> 00:31:41,160
Tomorrow yep. And I think I had comment I think

624
00:31:41,200 --> 00:31:43,960
I had said to you that day on the show

625
00:31:44,079 --> 00:31:46,559
that it was fascinating to me. I was like watching

626
00:31:46,599 --> 00:31:49,640
you the whole time because it's like you're it's it's

627
00:31:49,720 --> 00:31:53,599
like a bass and a guitar having a conversation exactly. Yep.

628
00:31:53,680 --> 00:31:55,880
It was so fascinating to me, to me to watch

629
00:31:55,920 --> 00:31:57,279
you and listen to you, you know, kind of go

630
00:31:57,400 --> 00:31:59,799
back and forth between you know, it's just really really

631
00:32:00,319 --> 00:32:02,559
because I've never seen I don't know if i'd ever

632
00:32:02,640 --> 00:32:05,680
even seen an eight string, let alone seen an eight

633
00:32:05,720 --> 00:32:08,000
string up close like that, you know what I mean,

634
00:32:08,400 --> 00:32:10,200
And to just watch you play it, it was fascinating

635
00:32:10,279 --> 00:32:10,920
to me. Thank you.

636
00:32:11,079 --> 00:32:13,559
Speaker 5: Yeah, I know, I mean I try to kind of

637
00:32:13,599 --> 00:32:16,240
get the Charlie Hunter like pianist approach where you're kind

638
00:32:16,279 --> 00:32:18,960
of being like a pianist and combining the two as

639
00:32:19,039 --> 00:32:21,279
much as possible. But it's yeah, it's definitely a different

640
00:32:21,279 --> 00:32:23,680
world than piano. But uh yeah, I mean it's it

641
00:32:23,759 --> 00:32:26,359
gives me some extra flexibility and like, yeah, tonight with

642
00:32:26,400 --> 00:32:28,440
O rgb G, it's just me and Bob. Bob plays guitar.

643
00:32:28,519 --> 00:32:30,920
I play the eight string. Yeah, so we're just going

644
00:32:30,960 --> 00:32:33,920
back and forth. I'm playing bass guitar. Sometimes he's singing,

645
00:32:34,000 --> 00:32:35,599
but he has like a bass patch on his thing,

646
00:32:35,640 --> 00:32:37,640
so he'll play ice well bass while I play solo.

647
00:32:37,720 --> 00:32:40,119
And I've been teaching. Oh okay, so it's a it

648
00:32:40,200 --> 00:32:42,599
throws people for a loop because there's always bass going on.

649
00:32:44,359 --> 00:32:48,400
Speaker 4: Right right. Oh that's awesome. Well why do we play another?

650
00:32:49,440 --> 00:32:51,960
Oh yeah, we have time. Let's uh play day lous.

651
00:32:52,079 --> 00:32:54,799
That's a quick one, okay, and uh tell us about this.

652
00:32:55,200 --> 00:32:59,000
Speaker 5: This is I played in my buddy's wedding in October,

653
00:32:59,200 --> 00:33:02,160
and I wanted to just fill out the procession with

654
00:33:02,279 --> 00:33:04,599
some songs that I had created, So I just randomly

655
00:33:04,720 --> 00:33:09,200
wrote a classicalish song. So I recorded it. I thought

656
00:33:09,240 --> 00:33:11,279
it came out cool. Put a little rain stick track

657
00:33:11,359 --> 00:33:13,400
behind it to make it kind of like vibe like that,

658
00:33:13,559 --> 00:33:15,359
and yeah, that's what this is. But it's a cool,

659
00:33:15,480 --> 00:33:15,920
cool song.

660
00:33:16,119 --> 00:33:16,880
Speaker 4: So this one's all you.

661
00:33:17,079 --> 00:33:18,640
Speaker 5: This is all original young guitar.

662
00:33:18,799 --> 00:33:21,279
Speaker 4: Yeap, nice, nice, all right. This is called Deluge.

663
00:35:25,599 --> 00:35:40,920
Speaker 8: Yah Ah.

664
00:35:41,000 --> 00:35:41,840
Speaker 4: That is so pretty.

665
00:35:42,000 --> 00:35:42,239
Speaker 5: Thank you.

666
00:35:42,440 --> 00:35:44,480
Speaker 4: I really like that. I really like that. If you're

667
00:35:44,519 --> 00:35:46,880
just joining us, Gary Smith is here with us in

668
00:35:47,000 --> 00:35:51,599
studio and when you when you record something like that,

669
00:35:53,000 --> 00:35:56,639
I mean, is are you improvising or are do you

670
00:35:56,760 --> 00:35:59,880
actually sit down and write that ahead of time? Or

671
00:36:00,000 --> 00:36:00,639
how does that work?

672
00:36:00,760 --> 00:36:03,320
Speaker 5: So it starts off with me kind of just improvising,

673
00:36:03,559 --> 00:36:05,599
and then I do write it down for those types

674
00:36:05,639 --> 00:36:09,559
of things, So like for that, I will improvise to

675
00:36:09,679 --> 00:36:11,760
kind of figure out the parts, and then I'll put

676
00:36:11,800 --> 00:36:14,199
it into my use music score for sheet music and

677
00:36:14,239 --> 00:36:18,199
I'll kind of put it in there, and then I then,

678
00:36:18,519 --> 00:36:20,760
even though I can read music, then I look through

679
00:36:21,119 --> 00:36:22,880
I convert it to tab so I can see if

680
00:36:22,880 --> 00:36:24,960
there's a better way to do any fingering and interested

681
00:36:25,039 --> 00:36:28,639
in doing something that could be more like then once

682
00:36:28,679 --> 00:36:30,119
you see it in the tab, like you're like, oh,

683
00:36:30,199 --> 00:36:32,360
why would I go from here to hear? Because that's

684
00:36:32,360 --> 00:36:34,079
how I had it in my brain. But yeah, I

685
00:36:34,119 --> 00:36:35,880
can just do this to this and it's so much easier.

686
00:36:35,960 --> 00:36:39,679
So even though I read sheet music, but a lot

687
00:36:39,719 --> 00:36:41,519
of times will convert it to tab just to kind

688
00:36:41,559 --> 00:36:44,880
of make sure that the fingering is as efficient as possible.

689
00:36:45,280 --> 00:36:47,280
Speaker 4: That is that's very interesting to me. I've never heard

690
00:36:47,320 --> 00:36:50,119
anyone say that before, but that makes sense logically. Yeah,

691
00:36:50,480 --> 00:36:52,519
you know, because most people, I think most guitar players

692
00:36:52,599 --> 00:36:55,440
are and bass players too, think of tablature as you know, well,

693
00:36:55,440 --> 00:36:56,960
if you can't really read music, or if you don't

694
00:36:56,960 --> 00:36:58,239
want to bother with it, you just look at the

695
00:36:58,280 --> 00:37:00,519
tablature and it's you know, that's what I would do.

696
00:37:00,760 --> 00:37:02,480
I never really learned to read music, so that's.

697
00:37:02,400 --> 00:37:04,280
Speaker 5: What I would be for example, too, was just reading

698
00:37:04,360 --> 00:37:04,880
tab Yeah.

699
00:37:04,960 --> 00:37:08,559
Speaker 4: Yeah, but but what you just explained makes sense. You know,

700
00:37:08,639 --> 00:37:10,679
the tab is going to show you a more efficient

701
00:37:10,719 --> 00:37:13,320
way to do the same thing. And obviously, I mean

702
00:37:13,360 --> 00:37:14,639
that's one of the first things I learned when I

703
00:37:14,679 --> 00:37:16,239
took guitar lessons is you know, you want to be

704
00:37:16,280 --> 00:37:18,079
efficient with everything you do because that way you can

705
00:37:18,159 --> 00:37:20,920
do more. So that, yeah, that makes total sense. That's

706
00:37:21,039 --> 00:37:25,639
that's really interesting. Does it? Does it ever change? Like

707
00:37:26,079 --> 00:37:29,960
so obviously when you when you look at the tablature,

708
00:37:30,320 --> 00:37:32,079
it's going to show you a more efficient way. Do

709
00:37:32,119 --> 00:37:34,000
you ever end up changing anything at that point?

710
00:37:34,199 --> 00:37:36,719
Speaker 5: Or Yeah, I've definitely changed some things because like once

711
00:37:36,800 --> 00:37:38,159
I put it to that, I'm like, why would I

712
00:37:38,159 --> 00:37:39,800
go from here to here? And then I'll just I

713
00:37:39,880 --> 00:37:41,719
won't change the notes per se, but just where I'm

714
00:37:41,719 --> 00:37:43,360
putting them and so if if you know, I was

715
00:37:43,440 --> 00:37:45,840
on the first threat, might go to the sixth threat

716
00:37:45,920 --> 00:37:48,480
to make it more efficient coming from the fourth threat

717
00:37:48,480 --> 00:37:49,800
instead of going down to the first, go up to

718
00:37:49,840 --> 00:37:51,559
the sixth or something like that. So I do, yeah,

719
00:37:51,760 --> 00:37:53,679
I do change kind of how I play once I

720
00:37:53,760 --> 00:37:56,159
do that, and then like once I do the final recording,

721
00:37:56,199 --> 00:37:58,679
I've kind of already figured out all that aspect of it.

722
00:37:58,840 --> 00:38:02,559
So okay, like that is kind of the most efficient

723
00:38:02,639 --> 00:38:04,920
way that I could have played that song. Yeah, yeah,

724
00:38:05,360 --> 00:38:06,880
but yeah, I know that's that's kind of how on

725
00:38:07,280 --> 00:38:09,800
songs like that. Again, all the songs are a little different.

726
00:38:09,800 --> 00:38:13,679
There are definitely ones that are more improvisatory. But though

727
00:38:13,840 --> 00:38:16,400
that's kind of more of like a not a classical

728
00:38:16,440 --> 00:38:18,480
guitar song, but kind of a take on the type

729
00:38:18,480 --> 00:38:19,599
of classical Yeah.

730
00:38:20,280 --> 00:38:23,440
Speaker 4: No, it's really nice. It's really nice. And when you

731
00:38:23,480 --> 00:38:26,320
write something like that too, I mean, does the idea

732
00:38:26,440 --> 00:38:30,599
does that melody kind of come to you first? Or

733
00:38:30,679 --> 00:38:32,480
do you sit down and you say I want to

734
00:38:32,480 --> 00:38:33,599
write something like this.

735
00:38:34,880 --> 00:38:36,559
Speaker 5: Most of the time, it's usually me just sitting there

736
00:38:36,599 --> 00:38:39,519
with my guitar, even sometimes with my brain like half

737
00:38:39,559 --> 00:38:43,039
shut off, like watching something or listening to something else

738
00:38:43,360 --> 00:38:44,719
and then I'll just say, oh, I like that, and

739
00:38:44,760 --> 00:38:46,199
then I record it and then I kind of just

740
00:38:46,280 --> 00:38:47,000
branch upon that.

741
00:38:47,480 --> 00:38:47,719
Speaker 4: Yeah.

742
00:38:48,320 --> 00:38:52,159
Speaker 5: So yeah, I mean usually the melody does come, but

743
00:38:52,199 --> 00:38:54,280
a lot of times I'll have the chord first and

744
00:38:54,360 --> 00:38:58,280
then I'll build the melody around the chord progression that

745
00:38:58,440 --> 00:39:00,719
that tends to be the way, okay, way that it works.

746
00:39:00,800 --> 00:39:04,719
But again, everything that the melody and that like that

747
00:39:04,840 --> 00:39:07,840
kind of came really quick, just with some like things

748
00:39:07,920 --> 00:39:11,480
I was working on in terms of studying like harmonic

749
00:39:12,400 --> 00:39:15,840
without getting to like Barry Harris things, and then it

750
00:39:16,440 --> 00:39:17,679
I'm like, wow, this is a cool way to do this,

751
00:39:17,760 --> 00:39:19,400
and so that's how the melody came. And even though

752
00:39:19,400 --> 00:39:22,679
it's not like a jazz song, like I took jazz

753
00:39:22,719 --> 00:39:27,320
harmony ideas to kind of create it. So yeah, yeah,

754
00:39:27,320 --> 00:39:30,360
I mean, every every song is different. I I try

755
00:39:30,400 --> 00:39:33,119
and I try and do I try and keep it

756
00:39:33,599 --> 00:39:36,599
as efficient as possible in songwriting because like a lot

757
00:39:36,599 --> 00:39:38,719
of times when I'm producing beats, I would like produce

758
00:39:38,719 --> 00:39:40,280
and i'd mix and I produced and a mix and

759
00:39:40,320 --> 00:39:43,079
now I try and just produce. Once I get like

760
00:39:43,199 --> 00:39:44,440
the song where I want it to be, then I

761
00:39:44,519 --> 00:39:46,800
do the mix thing so that I'm not bouncing back forward.

762
00:39:46,840 --> 00:39:49,320
Say this is it, It's done, don't don't mess with

763
00:39:49,360 --> 00:39:49,800
it after that?

764
00:39:50,039 --> 00:39:52,920
Speaker 4: Right right? Yeah? What do you what do you play

765
00:39:52,960 --> 00:39:55,239
for instruments? Obviously you play guitar and bass. What we

766
00:39:55,239 --> 00:39:55,920
else do you play?

767
00:39:56,480 --> 00:39:59,840
Speaker 5: I mean I play enough piano. I wouldn't say like

768
00:40:00,000 --> 00:40:01,639
I'm not like Caleb in terms of playing piano, but

769
00:40:01,679 --> 00:40:06,159
I can play piano. I mean like most stringed instruments,

770
00:40:06,199 --> 00:40:08,440
I can. I can futs around on on mandolin. I

771
00:40:08,480 --> 00:40:10,480
have a tenor guitar that I sometimes play, which is

772
00:40:10,840 --> 00:40:14,400
tuning like a violin. But really it's mostly that. I mean,

773
00:40:14,800 --> 00:40:17,199
I I messed with drum machines my whole life, so like, yeah,

774
00:40:17,320 --> 00:40:19,320
play I have an Akai that I can play drums on.

775
00:40:19,440 --> 00:40:21,039
But now most of the stuff I just you know,

776
00:40:21,199 --> 00:40:25,199
I'm doing stuff through able to any But yeah, I

777
00:40:25,239 --> 00:40:27,119
mean that's really it. I mean again, I'm a I'm

778
00:40:27,159 --> 00:40:29,920
a music theory nerd, So theory has been one thing

779
00:40:29,960 --> 00:40:33,400
that I've always studied a lot on and never stop learning.

780
00:40:33,920 --> 00:40:36,440
And but yeah, I mean really I just try and

781
00:40:36,559 --> 00:40:39,400
be as good as at those instruments as I can.

782
00:40:40,119 --> 00:40:42,920
Do you teach oh yeah, yeah, I teach uh. I

783
00:40:44,360 --> 00:40:46,599
I have one student this year who doesn't play out

784
00:40:46,679 --> 00:40:49,559
the majority of the people I teach are actually already

785
00:40:49,599 --> 00:40:54,159
gigging musicians. So like people I'm not going to talk about,

786
00:40:54,199 --> 00:40:57,159
but there's people who are very regular gigging around here

787
00:40:57,280 --> 00:41:00,880
that will come for whether it's a technology lesson, some

788
00:41:01,039 --> 00:41:05,239
theory lessons. There's someone who's you know, who's a very

789
00:41:05,280 --> 00:41:08,239
well known trio who doesn't have le guitars, so she

790
00:41:08,320 --> 00:41:10,639
wants to kind of amplify her legua gitar playing, so

791
00:41:10,719 --> 00:41:13,119
stuff like that. Or like someone who plays a lot

792
00:41:13,159 --> 00:41:15,199
of solo shows and their arms hurt, they want to

793
00:41:15,239 --> 00:41:16,559
get used to how to use a looper where I

794
00:41:16,639 --> 00:41:20,280
ad I can like show the tricks and the the trade.

795
00:41:20,320 --> 00:41:23,679
So and that's really I don't I grew up giving

796
00:41:24,039 --> 00:41:25,960
lessons at my parents' music stop, so I don't want

797
00:41:26,000 --> 00:41:28,760
to be like teaching you know, C chords and G

798
00:41:28,920 --> 00:41:31,719
chords when there's other things I could be doing. There's

799
00:41:31,719 --> 00:41:33,079
definitely a value in that. I don't want to take

800
00:41:33,079 --> 00:41:35,159
away from that. Everyone should pick up an instrument, learn it,

801
00:41:35,199 --> 00:41:38,320
but absolutely with my time, Like I have a friend

802
00:41:38,360 --> 00:41:40,360
from high school I've known forever who I teach. He's

803
00:41:40,519 --> 00:41:42,920
an intermediate, doesn't really play out, but I've I got

804
00:41:43,039 --> 00:41:44,280
him to come out to an open mic at least.

805
00:41:44,840 --> 00:41:46,679
Oh yeah, most of the people are playing in bands

806
00:41:46,719 --> 00:41:49,440
and I just kind of want to expand. And then

807
00:41:50,159 --> 00:41:52,000
I mean, like even my friends, I like teaching them

808
00:41:52,039 --> 00:41:55,440
stuff like like Nick Burns from Cosmic Blossoms. Like his

809
00:41:55,559 --> 00:41:57,000
mind's like a sponge. So when I come up with

810
00:41:57,119 --> 00:41:59,920
some new idea or I like have a breakthrough harma,

811
00:42:00,280 --> 00:42:02,679
I'll send it him and we'll just nerd out about

812
00:42:02,719 --> 00:42:03,760
it for a little bit.

813
00:42:03,800 --> 00:42:04,880
Speaker 4: So, oh that's great. Yeah.

814
00:42:04,880 --> 00:42:07,519
Speaker 5: I mean that's half the fun too, because like especially him,

815
00:42:07,599 --> 00:42:09,440
like I give him some harmonic idea and he'll have

816
00:42:09,519 --> 00:42:12,320
a song the next day. That's that's amazing. Oh no today, Yeah,

817
00:42:12,519 --> 00:42:13,079
he's great like that.

818
00:42:13,280 --> 00:42:18,159
Speaker 4: Oh excellent, excellent. Well we are, Yeah, we're approaching the

819
00:42:18,239 --> 00:42:20,199
top of the hour, so we do have one more

820
00:42:20,320 --> 00:42:22,519
track we're gonna play to finish out. But before we

821
00:42:22,639 --> 00:42:25,719
do that, where where should people go online to keep

822
00:42:25,800 --> 00:42:26,880
up with everything that you're doing?

823
00:42:27,320 --> 00:42:30,960
Speaker 5: My Facebook stays pretty active. My Facebook is just Gary Smith.

824
00:42:31,039 --> 00:42:34,000
Surprisingly if you just google Gary Smith Facebook on like

825
00:42:34,039 --> 00:42:37,199
the first page or two. But I do also have

826
00:42:37,239 --> 00:42:42,159
a website gsmithmusic dot com that has all my projects,

827
00:42:42,199 --> 00:42:44,800
has a bunch of press, has a bunch of ways

828
00:42:44,880 --> 00:42:46,519
to contact and book any of my bands.

829
00:42:46,719 --> 00:42:46,920
Speaker 4: Yep.

830
00:42:48,079 --> 00:42:50,239
Speaker 5: And then I do have a few quick little plugs.

831
00:42:50,440 --> 00:42:50,639
Speaker 4: Yeah.

832
00:42:50,880 --> 00:42:52,920
Speaker 5: All means by that you also can listen to all

833
00:42:52,960 --> 00:42:55,159
my music under percussive maintenance. That's what I released all

834
00:42:55,199 --> 00:42:58,159
my music under I released. I was on twenty four

835
00:42:58,199 --> 00:43:02,159
different tracks last year, including Fox and Flamingo's Roots Creation,

836
00:43:02,280 --> 00:43:06,039
Costic Blossom stuff. Yeah, like I said, I'm playing a

837
00:43:06,079 --> 00:43:08,920
brick house tonight. Next cool shows actually with Caleb who

838
00:43:09,000 --> 00:43:11,360
was just here. Yeah, playing at the Tupelo with Brad

839
00:43:11,440 --> 00:43:15,280
Dubay's blues group because Max Chase, their piano player, can't

840
00:43:15,280 --> 00:43:17,039
get it and Caleb usually plays bass, so I'm playing

841
00:43:17,079 --> 00:43:17,599
bass with them.

842
00:43:17,800 --> 00:43:18,239
Speaker 4: Excellent.

843
00:43:18,559 --> 00:43:21,000
Speaker 5: And then like I said, Cosmic Fox and Flamingos with

844
00:43:21,119 --> 00:43:23,440
Phoenix Syndicate, which is a cool funk show that's up

845
00:43:23,480 --> 00:43:25,880
at the Bank New Hampshire Stage and conquered on January

846
00:43:25,920 --> 00:43:28,880
twenty third. That's going to be a serious, serious fun show.

847
00:43:29,079 --> 00:43:31,519
Phoenix Syndicate used to be for side funks, so a

848
00:43:31,559 --> 00:43:34,559
bunch of funk people, Okay. And then like said Flying

849
00:43:34,639 --> 00:43:39,760
Monkey and Wally's Roots of Creation, speaking of piggybacking on

850
00:43:39,840 --> 00:43:42,039
them with the fire for the Vine Street thing. I

851
00:43:42,119 --> 00:43:45,519
am running at PCL on February fifteenth, a fundraiser for

852
00:43:45,760 --> 00:43:47,599
the Vine Street calling me Vine Street Vibes.

853
00:43:47,719 --> 00:43:48,119
Speaker 4: Oh cool.

854
00:43:48,199 --> 00:43:50,320
Speaker 5: Both of those guys will be here, Nick will be there,

855
00:43:50,440 --> 00:43:53,639
some other people, so it'll be donations. Everything's going to

856
00:43:53,719 --> 00:43:56,960
those guys, obviously excellent. And then the only other ticketed

857
00:43:57,000 --> 00:44:00,440
things I have May ninth, Cosmic Blossom is playing at

858
00:44:00,480 --> 00:44:03,239
the Andre's Art Institute, Big Bear and Brookline which they

859
00:44:03,639 --> 00:44:06,960
redd their sound. That's a real venue. And then me

860
00:44:07,159 --> 00:44:09,679
with Scott Solski called seven eight is playing there with

861
00:44:09,920 --> 00:44:17,039
Sad Bastard Loose Standards. That's the band they they do

862
00:44:17,280 --> 00:44:20,639
like jazzy covers of stuff. That's Mike Effenberger and Chris

863
00:44:20,679 --> 00:44:24,800
Claxton to like two well known jazz jazz nerds. So okay, yeah,

864
00:44:24,840 --> 00:44:26,320
so those are the cool things coming out. Yeah. G

865
00:44:26,480 --> 00:44:29,280
Smith Music Percussive Maintenance and Gary Smith.

866
00:44:29,119 --> 00:44:32,000
Speaker 4: On Facebook outstanding And what should we know about this?

867
00:44:32,119 --> 00:44:34,559
So pedal boat is that the pedal pedal bike is

868
00:44:34,599 --> 00:44:35,559
the name pedal bike.

869
00:44:35,840 --> 00:44:39,079
Speaker 5: This is another original I wrote this one, and I

870
00:44:39,119 --> 00:44:41,440
played it with my Cinnamon Jazz trio, which is me,

871
00:44:41,599 --> 00:44:45,360
Cinnamon and Joe Virga. But me and Scott Solski and

872
00:44:45,440 --> 00:44:47,480
Mike Walts are also in a jazz trio, so we

873
00:44:47,559 --> 00:44:52,360
combined forces. Uh So we have Cinnamon on flute, Joe

874
00:44:52,440 --> 00:44:55,199
on piano, Me and Scott going back and forth between

875
00:44:55,320 --> 00:44:57,400
seven and eight string bass and guitar or seven eight

876
00:44:57,400 --> 00:45:00,239
string guitar, and then Mike Walsh on drums. Okay, and yeah,

877
00:45:00,239 --> 00:45:02,119
it's just an original. We have three songs like this

878
00:45:02,280 --> 00:45:04,920
that are coming out this year. We recorded them in

879
00:45:04,960 --> 00:45:09,199
Scott's garage and conquered and yeah, so it was it

880
00:45:09,280 --> 00:45:10,519
was a fun thing. These guys are so fun to

881
00:45:10,559 --> 00:45:10,800
play with.

882
00:45:11,239 --> 00:45:13,800
Speaker 4: Fantastic Gary Smith, Thank you so much. Always wonderful to

883
00:45:13,800 --> 00:45:16,480
see you and great to see you. Great to see

884
00:45:16,480 --> 00:45:18,840
your doing great stuff and as all and keeping very

885
00:45:18,920 --> 00:45:20,840
very busy as always. So I think you're probably an

886
00:45:20,840 --> 00:45:23,199
inspiration to a lot of musicians who you know, want

887
00:45:23,239 --> 00:45:25,039
to really get out there and and you know, just

888
00:45:26,039 --> 00:45:26,800
do a lot, you.

889
00:45:26,840 --> 00:45:28,840
Speaker 5: Know, and and that's what that's what they just get

890
00:45:28,880 --> 00:45:30,599
out there, get out there, talk to people. And like

891
00:45:30,639 --> 00:45:33,159
I've had people say basically that all the gigs are

892
00:45:33,199 --> 00:45:36,119
doing is and like that's what I want. More music

893
00:45:36,159 --> 00:45:38,400
in the world. Is nothing wrong with that?

894
00:45:39,039 --> 00:45:42,960
Speaker 4: Well said, well said, not a competition, exactly exactly all right,

895
00:45:43,039 --> 00:45:45,400
thank you Gary. And this is pedal Bike.

896
00:46:01,119 --> 00:48:24,360
Speaker 14: The boat.

897
00:48:37,719 --> 00:50:53,800
Speaker 3: La Nana's Kitchen and Pizzeria.

898
00:50:54,079 --> 00:50:59,880
Speaker 6: From Nana's hands to York plate tradition, love and take.

899
00:51:00,239 --> 00:51:05,440
Speaker 4: That's great, so fermented dome flavors, so true.

900
00:51:07,800 --> 00:51:11,079
Speaker 8: Each bite the story made.

901
00:51:11,440 --> 00:51:12,000
Speaker 15: Just for you.

902
00:51:13,079 --> 00:51:16,840
Speaker 3: Six o three two three two nine three six six

903
00:51:17,639 --> 00:51:22,079
Nana's Kitchen and Pizza Reed fifteen Dartmouth Dry Auburn, New.

904
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Speaker 8: Hampshire, Kitchen and pSer.

905
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Speaker 10: Luigi's Pizza Barren Grill for evered one.

906
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Speaker 16: Let's raise his lyeng hide with topics of the ground

907
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Pizza Pizza.

908
00:51:40,559 --> 00:51:46,519
Speaker 10: Barrio Mine Luigi's Pizza Barren Grill, seven twelve Valley Street, Manchester.

909
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Come on in or call six two two one zero

910
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two one Luigi keeping the tradition alive since nineteen seventy five.

911
00:51:55,280 --> 00:51:58,639
Speaker 6: Ten pizza for every one.

912
00:51:59,320 --> 00:52:03,400
Speaker 1: Come join us these two nights, with these slye sets

913
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of it, everything feels so right.

914
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Speaker 10: In times of crisis.

915
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925
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928
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934
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and I want to tell you about Pembrook City Limits

935
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and the Historic Suncook Village. PCL's an award winning bar,

936
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restaurant and music venue where there's live music five days

937
00:53:28,000 --> 00:53:31,800
a week and twice on Saturdays, everything from blues, country, folk, funk,

938
00:53:31,880 --> 00:53:34,119
and a whole lot of jazz. We have twelve craft

939
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beers on tap dedicated to the local brewers in the

940
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area and some of the friendliest bartenders around.

941
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Speaker 4: Please come visit.

942
00:53:40,239 --> 00:53:42,639
Speaker 19: Pembrook City Limits at one thirty four Main Street, the

943
00:53:42,840 --> 00:53:47,000
Historic Suncook Village, only six miles outside of Manchester. Open

944
00:53:47,079 --> 00:53:51,119
Tuesdays to Wednesdays four to ten Thursday's Sunday eleven to ten.

945
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Pembrook City Limits, where it's all about the music.

946
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Speaker 10: Business Cafe is the place to put a smile on

947
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your face.

948
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Speaker 4: Judy and the.

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Speaker 10: Crew will take care of you. Bring here appetite, intrigue

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your taste. Bus Right Business Cafe is always a winning choice. Breakfast, lunch,

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or supper Dizze's Cafe at eight sixty Elm Street in

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downtown Manchester. Dine in, take out or make a reservation

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Call six oh three, six oh six two five three two, Eat,

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drink and be happy. Dizze's Cafe when it comes.

955
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Speaker 11: To keeping WMNH on the air and your own personal

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or business computer needs. Trust growl In Computers, located on

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Elm Street in Manchester. Grollin handles computer repair, virus removal

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and custom built systems. Are you looking for budget friendly options?

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Check out our selection of fully inspected used computers. We

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offer tailored on site solutions no unnecessary expenses here. Visit

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Growlind dot com or call Grolling Computers at six zero

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three six four five zero one zero one. Your Tech,

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Your Way, Trust groll In Computers.

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Speaker 1: Midnight seven times out of ten we listened to our

965
00:55:06,320 --> 00:55:07,199
music at.

966
00:55:07,280 --> 00:55:13,079
Speaker 18: Night's con titled books program Late Night to.

967
00:55:13,119 --> 00:55:16,519
Speaker 15: Light with DJ Mitas right here on WMNH Manchester.

968
00:55:16,840 --> 00:55:18,360
Speaker 3: Wonder because.

969
00:55:20,000 --> 00:55:22,400
Speaker 2: Saturdays and Sunday nights midnight to four am.

970
00:55:23,719 --> 00:55:29,199
Speaker 3: This hour on WMNH is sponsored by CGI Business Solutions,

971
00:55:29,559 --> 00:55:33,559
located at five Dartmouth Drive in Auburn. They serve all

972
00:55:33,639 --> 00:55:38,119
your business needs including employee benefits, planning, corporate design and

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business administration, investments and wealth management and customized business insurance solutions.

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Their phone number is eight sixty six eighty four to

975
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one forty six hundred, or on the web at CGI

976
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Business Solutions dot com.

977
00:55:56,000 --> 00:55:59,480
Speaker 15: Behold the harmony of airwaves as you immerse yourself in

978
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the captivating frequencies of w m NHLP. The sonic heartbeats

979
00:56:04,000 --> 00:56:07,280
of Manchester is transcending through the ether at ninety five

980
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point three megahertz frequency modulation. Our transmissions emanate from the

981
00:56:11,199 --> 00:56:14,199
zenith of one thousand elm streets, insure into the hearts

982
00:56:14,239 --> 00:56:17,280
of our creative realm at one nineteen Canal Street, where

983
00:56:17,400 --> 00:56:21,519
innovation and sound collage. They're the impro moder of Manchester

984
00:56:21,679 --> 00:56:25,800
Public Television Service in the venerable city of Manchester, New Hampshire, USA.

985
00:56:26,199 --> 00:56:29,239
Enrich your auditory journey with the depth of our license

986
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to WESIDENSSPT your missives to w m n H ninety

987
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five to three at gmail dot com or traverse the

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virtual corridors of wmnhradio dot org. Engage with our sonic

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vibrations by communing with us through the digital channel or

990
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radio beckons eager to enthrall you with its mesmerizing kidence

991
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and develop you with a sympony of foundless auditories.

992
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Speaker 3: Won dude, WMNH rip the novels.

993
00:56:59,239 --> 00:57:00,880
Speaker 9: We're back on the break.

994
00:57:33,360 --> 00:57:38,280
Speaker 6: Wide awake, but my mind's in pieces, trying to slow

995
00:57:38,480 --> 00:57:39,719
down my stride.

996
00:57:41,760 --> 00:57:50,519
Speaker 13: Can't believe all the thoughts that filled my side, Gotta

997
00:57:50,679 --> 00:57:53,360
feeling bout a can't escape.

998
00:57:54,440 --> 00:58:01,559
Speaker 16: Rising deep in my mind. Baby, I don't want to normal.

999
00:58:02,000 --> 00:58:07,119
It's wasted too much time, and it's all.

1000
00:58:08,400 --> 00:58:13,920
Speaker 20: The times A shake, And it's all the fears I fake,

1001
00:58:14,199 --> 00:58:19,800
and it's all the downs I make it all right,

1002
00:58:22,599 --> 00:58:26,880
And it's all the times I shake, and.

1003
00:58:27,079 --> 00:58:33,679
Speaker 6: It's all the fears I fake, And it's all the

1004
00:58:33,920 --> 00:58:36,039
towns I make it, all.

1005
00:58:58,920 --> 00:59:01,039
Speaker 9: The times I sh cant.

1006
00:59:03,119 --> 00:59:08,400
Speaker 6: The fierce I think, the jumps.

1007
00:59:08,119 --> 00:59:09,760
Speaker 9: I make it all.

1008
00:59:14,440 --> 00:59:19,280
Speaker 6: W a wik but I'm trying to get silence. I

1009
00:59:19,519 --> 00:59:25,880
can't confide. I can't believe when my thoughts that twisted

1010
00:59:26,280 --> 00:59:36,639
right well frozenne I'm caught inside it can't see past

1011
00:59:36,800 --> 00:59:42,760
the lights. Maybe I don't want to no more.

1012
00:59:43,079 --> 00:59:44,519
Speaker 5: It's wasted too.

1013
00:59:44,760 --> 00:59:51,559
Speaker 6: Much time, and it's all turns I shake, and it's

1014
00:59:51,920 --> 00:59:56,440
all the farce I think, And it's all