1 00:00:00,040 --> 00:00:02,000 Speaker 1: And Gary Smith is here with us live and studio, 2 00:00:02,040 --> 00:00:04,519 and Gary, you were here just recently with Jam. 3 00:00:04,320 --> 00:00:08,000 Speaker 2: Tomorrow yepp, not too long ago with with MHP and 4 00:00:08,400 --> 00:00:09,279 Mark Yeah. 5 00:00:09,359 --> 00:00:09,919 Speaker 3: Yeah. 6 00:00:09,960 --> 00:00:13,919 Speaker 1: So I was listening to I was playing back the 7 00:00:13,960 --> 00:00:16,440 interview and one of the songs that you guys played live, 8 00:00:17,519 --> 00:00:19,839 I forget which one it was, but for one thing, 9 00:00:19,920 --> 00:00:21,920 I love watching you play because you play it's an 10 00:00:21,920 --> 00:00:22,640 eight string. 11 00:00:22,440 --> 00:00:24,839 Speaker 3: Right, yeah, it's an eight string guitar, so it's. 12 00:00:24,679 --> 00:00:27,559 Speaker 1: Basically like you're playing, uh, it looks like you're playing guitar. Well, 13 00:00:27,600 --> 00:00:29,320 it sounds like you're playing guitar and bass at the 14 00:00:29,320 --> 00:00:33,079 same time. And one of the songs I'm listening to, 15 00:00:33,799 --> 00:00:37,159 I'm listening to your playing and it's almost like, you know, 16 00:00:37,200 --> 00:00:39,439 you're going back and forth, you know, between the bass 17 00:00:39,479 --> 00:00:43,399 notes and the guitar notes, and it's like it's almost 18 00:00:43,479 --> 00:00:45,600 like you're having a conversation. I don't know if if 19 00:00:45,719 --> 00:00:47,399 if that's how you've ever thought of it, or if 20 00:00:47,399 --> 00:00:50,640 anyone's ever pointed that out before, but I realized it's 21 00:00:50,679 --> 00:00:53,920 like it's like the two it's it really does sound 22 00:00:53,960 --> 00:00:56,280 like two instruments having a conversation. 23 00:00:56,439 --> 00:00:59,280 Speaker 3: And I was fascinated by that I like that. Yeah, 24 00:00:59,320 --> 00:01:00,640 I mean that's kind of the goal. 25 00:01:00,719 --> 00:01:02,399 Speaker 2: Ultimately, you know, it's kind of be like a left 26 00:01:02,399 --> 00:01:04,159 and the right hand of the piano, so they're kind 27 00:01:04,159 --> 00:01:06,640 of working together but still kind of complimenting each other 28 00:01:06,680 --> 00:01:07,319 along the way. 29 00:01:07,439 --> 00:01:10,519 Speaker 3: So yeah, yeah, no, I mean that's kind of the goal. 30 00:01:11,359 --> 00:01:16,159 Speaker 1: Tell us about that track we just played emo EMU Yeah, sorry, yeah, 31 00:01:16,200 --> 00:01:19,480 no that speaking of birds, there's nothing there's nothing emo 32 00:01:19,599 --> 00:01:19,959 about it. 33 00:01:20,000 --> 00:01:21,599 Speaker 3: I don't know, I don't know why I said that, 34 00:01:21,719 --> 00:01:24,439 but yeah, it's actually funny. The name came from a 35 00:01:25,400 --> 00:01:26,239 yeah stupid there. 36 00:01:26,280 --> 00:01:28,799 Speaker 2: It's that kind of sounded like the old Weather Report 37 00:01:28,879 --> 00:01:32,000 song Birdland, and I'm like, oh, it's a bird emo. 38 00:01:32,200 --> 00:01:35,640 Yeah yeah, yeah, songs an E minor so yeah. But 39 00:01:35,640 --> 00:01:38,120 but yeah, I know that's a song I wrote probably 40 00:01:38,159 --> 00:01:41,599 earlier this year. Uh, and me and Bob and Ryan, 41 00:01:41,640 --> 00:01:45,640 who were playing guitar and drums on that track, have 42 00:01:45,879 --> 00:01:47,120 played it a bunch of times. 43 00:01:47,159 --> 00:01:48,400 Speaker 3: I do it my solo set too. 44 00:01:48,760 --> 00:01:51,439 Speaker 2: Yeah, I played, I had a little piano for texture, 45 00:01:51,480 --> 00:01:54,159 I played, you know, bass and guitar. Bob added some guitar, 46 00:01:54,280 --> 00:01:56,680 and then last minute we added my friend Brian Murphy 47 00:01:56,719 --> 00:01:57,280 on the trumpet. 48 00:01:57,560 --> 00:02:01,120 Speaker 3: Yeah. I love bob so at the end. Oh yeah, 49 00:02:01,239 --> 00:02:02,799 when that comes in, that's so good. 50 00:02:03,000 --> 00:02:05,319 Speaker 2: It's just such a perfect I just just shread because 51 00:02:05,359 --> 00:02:07,879 mine's all like jazzy and nerdy, and then yeah, and 52 00:02:07,920 --> 00:02:10,000 then I just want him to just tread and he does. 53 00:02:10,039 --> 00:02:10,560 Speaker 3: It's perfect. 54 00:02:10,639 --> 00:02:12,560 Speaker 1: Yeah, the contrast of it and the texture that it 55 00:02:12,599 --> 00:02:14,759 adds to the song. When you can do that, when 56 00:02:14,800 --> 00:02:17,280 you can add like that kind of solo into something 57 00:02:18,039 --> 00:02:23,360 where it sounds different but it still fits so perfectly, 58 00:02:23,439 --> 00:02:26,199 you know, it's it's yeah, what a great track. And 59 00:02:26,400 --> 00:02:28,039 we're gonna we're gonna play some others too that you 60 00:02:28,080 --> 00:02:31,240 sent today. That everything that you sent me, it's all different. 61 00:02:31,319 --> 00:02:33,120 It's all you know, like there's a hip hop track 62 00:02:33,159 --> 00:02:36,800 which I love, and there's every everything's different. Are these all? 63 00:02:36,879 --> 00:02:39,159 Are these all on one album? Are they all available 64 00:02:39,159 --> 00:02:39,800 on one album? 65 00:02:39,879 --> 00:02:42,000 Speaker 2: Yeah, there's an album that you can pre order on 66 00:02:42,080 --> 00:02:44,400 band camp. It's gonna be streaming on band camp on. 67 00:02:45,840 --> 00:02:46,280 Speaker 3: Monday. 68 00:02:46,400 --> 00:02:49,360 Speaker 2: I'm actually at one o'clock they're doing I'm doing a 69 00:02:49,400 --> 00:02:52,919 pre listening party at Pemburg City Limits Excellent stream it. 70 00:02:53,800 --> 00:02:55,639 A bunch of people from the bands and a bunch 71 00:02:55,639 --> 00:02:57,159 of other people are coming, so it should be fun. 72 00:02:57,919 --> 00:03:00,759 But yeah, it's going on band camp fourteen the press 73 00:03:00,759 --> 00:03:03,840 and vinyls, T shirts, stickers, all kinds of fun stuff, 74 00:03:03,919 --> 00:03:07,360 cool car picks for all my guitar nerd friends, and 75 00:03:07,360 --> 00:03:09,400 then it'll be on all the other streaming services on 76 00:03:09,400 --> 00:03:11,960 the twenty eighth of October. Okay, Oh yeah, it's under 77 00:03:11,960 --> 00:03:15,199 my name that I produced hip hop under percussive maintenance. 78 00:03:15,199 --> 00:03:17,479 So even though ill, there's a lot of guitar stuff, 79 00:03:17,520 --> 00:03:20,479 and there's lots of you know, basically sixteen different other 80 00:03:20,599 --> 00:03:24,560 musicians that I regularly play with that are on there. Yeah, 81 00:03:24,759 --> 00:03:28,319 getting three hip hop songs, some instrumental stuff, solo guitar stuff, 82 00:03:29,080 --> 00:03:31,280 so it's it's really all all over the place. 83 00:03:32,280 --> 00:03:32,919 Speaker 3: Yeah. 84 00:03:33,120 --> 00:03:36,639 Speaker 2: DJ Myth the DJ from Manchester from rapa Nite Manchester, 85 00:03:36,719 --> 00:03:39,199 he added some scratches to some songs, so really it's 86 00:03:39,240 --> 00:03:40,439 all it's all over the place. 87 00:03:40,680 --> 00:03:43,919 Speaker 1: Yeah, yeah, no, that's great. I worked with DJ Myth 88 00:03:44,039 --> 00:03:47,639 like years and years ago. We were both involved in 89 00:03:47,680 --> 00:03:50,400 a project called well, it was called Project Hybrid okay, 90 00:03:50,479 --> 00:03:52,319 and it was this hip hop group where it was 91 00:03:52,400 --> 00:03:55,000 like there were these these two people who were at 92 00:03:55,000 --> 00:03:58,000 the center of it, who were always there, Danny Dragon, 93 00:03:58,039 --> 00:03:59,719 who was a singer and around the Rebel who was 94 00:03:59,759 --> 00:04:02,080 a rap and they were always there, but the other 95 00:04:02,199 --> 00:04:05,280 musicians would kind of improvise and it was just whoever 96 00:04:05,400 --> 00:04:06,039 was available. 97 00:04:06,120 --> 00:04:07,919 Speaker 3: So if I was available, I would show up and 98 00:04:08,000 --> 00:04:10,159 play bass and that's awesome. If Mith was available, he 99 00:04:10,199 --> 00:04:11,680 would be there his thing. 100 00:04:11,800 --> 00:04:12,120 Speaker 4: Yeah I was. 101 00:04:12,240 --> 00:04:13,960 Speaker 1: Yeah, that was a great time. Yeah, he's a great guy. 102 00:04:13,960 --> 00:04:15,680 I haven't talked him in so long, but yeah, he's 103 00:04:15,759 --> 00:04:16,920 he's a very very talented. 104 00:04:17,160 --> 00:04:18,639 Speaker 3: Yeah, I've known him for a long time. 105 00:04:18,720 --> 00:04:23,319 Speaker 2: We started learning how to make beats on ableton at 106 00:04:23,399 --> 00:04:26,600 least probably like twelve years ago from the same dude. 107 00:04:26,639 --> 00:04:28,839 Speaker 3: And oh no kidding, Yeah, he just. 108 00:04:28,800 --> 00:04:30,759 Speaker 2: Went down the turntable road and I went down the 109 00:04:30,759 --> 00:04:32,959 other road. Yeah, yeah, no, we've known each other for 110 00:04:33,000 --> 00:04:33,399 a while. 111 00:04:33,600 --> 00:04:36,439 Speaker 1: And tell us again about so Pembroke City Limits, what 112 00:04:36,759 --> 00:04:37,680 are you doing there exactly? 113 00:04:38,160 --> 00:04:41,959 Speaker 2: So basically, there's a pre listening party for my album. 114 00:04:41,959 --> 00:04:45,079 So I'm going to stream the whole album there at 115 00:04:45,079 --> 00:04:47,120 pember City Limits today one and it's also going to 116 00:04:47,160 --> 00:04:48,759 be available on band camp. You can listen to its 117 00:04:48,759 --> 00:04:49,839 stream on band camp for that. 118 00:04:49,959 --> 00:04:52,199 Speaker 3: And that's happening. That's happening today. That's happening today. 119 00:04:52,279 --> 00:04:55,079 Speaker 2: Yeah, busy day, coming here, done doing that, and then 120 00:04:55,800 --> 00:04:59,040 I'm going up and debuting one of the songs at 121 00:04:59,040 --> 00:05:02,519 base side Bolt Night, the hip hop song that's on 122 00:05:02,639 --> 00:05:05,240 there with Ben Shore, who may be calling in at 123 00:05:05,240 --> 00:05:09,360 some point here. Uh yeah, Portland rapper lives in Philly now, 124 00:05:09,399 --> 00:05:12,639 But okay, yeah, so that'll be cool. 125 00:05:13,199 --> 00:05:14,439 Speaker 3: Yeah yeah, it is a busy day. 126 00:05:14,680 --> 00:05:18,519 Speaker 2: Yeah yeah, but uh yeah, so it's again the album's 127 00:05:18,519 --> 00:05:20,519 all over the place, so I should be all of 128 00:05:20,560 --> 00:05:22,360 it again. Like you know, I played with the jazz 129 00:05:22,360 --> 00:05:25,120 trio earlier this week, and I'm playing with a hip 130 00:05:25,160 --> 00:05:26,959 hop artist this week, which is, you know, kind of 131 00:05:26,959 --> 00:05:28,920 how how it works for me, which is why I'm 132 00:05:28,959 --> 00:05:31,319 a you know, my album's all over the place. 133 00:05:31,319 --> 00:05:34,360 Speaker 1: In the same way, have you always throughout your your 134 00:05:34,399 --> 00:05:36,920 career up to this point, have you always been really 135 00:05:37,000 --> 00:05:40,279 diverse in terms of what kinds of music and different 136 00:05:40,319 --> 00:05:42,680 genres that you get involved. 137 00:05:42,360 --> 00:05:45,240 Speaker 2: In for the most part, I mean I I go 138 00:05:45,319 --> 00:05:47,600 down rabbit holes, so like I know way too much 139 00:05:47,639 --> 00:05:49,879 about hip hop, way too much about jazz, and then 140 00:05:50,040 --> 00:05:52,879 like some of the other stuff just adjacently, like some 141 00:05:53,000 --> 00:05:55,480 of this stuff like Mazy you'll suggest in Fox and Flamenco's. 142 00:05:55,759 --> 00:05:57,360 Speaker 3: I've never heard of this band, but I like it. 143 00:05:57,360 --> 00:06:00,360 Speaker 2: It's cool. It's just I've never you know. But yeah, 144 00:06:00,519 --> 00:06:04,040 I'll play with any anyone, any anything like. I have 145 00:06:04,120 --> 00:06:07,120 fun just playing, and especially if it's somewhat you know, 146 00:06:07,199 --> 00:06:10,279 improvisatory or just like the writing process. I love like 147 00:06:10,560 --> 00:06:14,720 writing music and making music. Yeah, I mean, that's that's 148 00:06:14,720 --> 00:06:16,519 the fun part of it, you know, no matter what 149 00:06:16,560 --> 00:06:19,639 it is. I play Bad Burger on Thursdays. We do 150 00:06:19,680 --> 00:06:22,600 a jam there and we just you know, plays Zeppelin songs, 151 00:06:22,680 --> 00:06:25,680 play like. So it's again completely different. I play you know, 152 00:06:26,279 --> 00:06:28,879 full Train the night before and then Zeppelin the next day. 153 00:06:28,959 --> 00:06:31,920 So it's just how my music has been and you know, 154 00:06:32,000 --> 00:06:34,600 my my confused algorithms. 155 00:06:34,000 --> 00:06:36,879 Speaker 1: All over the world. You play a lot too. I 156 00:06:36,920 --> 00:06:38,680 was looking at your schedule on your website. 157 00:06:38,800 --> 00:06:41,920 Speaker 3: You play a lot. Yeah, I'm trying to play as 158 00:06:42,000 --> 00:06:42,600 much as I can. 159 00:06:42,680 --> 00:06:44,759 Speaker 2: It's you know, I'm in a few different projects, and 160 00:06:44,759 --> 00:06:47,279 then I have my solo jazz thing, so I'm always 161 00:06:48,000 --> 00:06:50,920 I'm always doing something either at Pembroke or like Nolins 162 00:06:51,040 --> 00:06:53,319 or you know, there's a bunch of bunch of places 163 00:06:53,319 --> 00:06:55,959 I do my little solo show thing at Milford. 164 00:06:55,959 --> 00:06:56,839 Speaker 3: I do a few places. 165 00:06:57,040 --> 00:06:59,600 Speaker 1: Yeah, yeah, So there are a lot of places that 166 00:06:59,600 --> 00:07:02,360 you on kind of a regular basis, almost like a 167 00:07:02,399 --> 00:07:04,959 residency where you go back quite a bit essentially. 168 00:07:05,000 --> 00:07:09,079 Speaker 2: Yeah, I mean like Nolin's and Conquered Loans, a few 169 00:07:09,079 --> 00:07:12,560 different other speakeasies across New Hampshire. So I'll go do 170 00:07:12,600 --> 00:07:14,639 one there and then do one at Codex in Nashua, 171 00:07:14,720 --> 00:07:17,000 and then do one at you know, crow Bauer and Claremont. 172 00:07:17,120 --> 00:07:18,639 Speaker 3: So yeah, and. 173 00:07:18,959 --> 00:07:22,120 Speaker 2: Obviously then makes me appreciate Pembroke City limits being five 174 00:07:22,120 --> 00:07:23,480 minutes from my house a little extra. 175 00:07:23,560 --> 00:07:29,439 Speaker 1: But yeah, I'm curious too about so do you always 176 00:07:29,600 --> 00:07:32,360 do you play the eighth string at every show or yeah? 177 00:07:32,439 --> 00:07:34,800 Speaker 2: Yeah, so I have a looper set that I play 178 00:07:34,879 --> 00:07:38,079 the eighth string at. So I uh, I'm basically laying 179 00:07:38,120 --> 00:07:40,199 down the guitar in the bass line and one passed 180 00:07:40,240 --> 00:07:42,759 through with the looper and then I just play the melody. 181 00:07:42,800 --> 00:07:45,600 But yeah, that's that's that's all over the place too, 182 00:07:45,839 --> 00:07:49,079 because you know, like my influences, I do like warrang 183 00:07:49,120 --> 00:07:53,199 Gy regulate, I'll do Creep from Radiohead and then Coltrane songs. 184 00:07:53,279 --> 00:07:55,959 I do Take five from Dave Brubec, so like it's 185 00:07:56,360 --> 00:07:59,160 you know, Mama's and the Papa songs like Jane Morrison. 186 00:07:59,199 --> 00:08:01,240 Speaker 3: So it's so like so eclectic. 187 00:08:01,279 --> 00:08:04,160 Speaker 2: There's no one who covers the same songs that I cover, 188 00:08:04,240 --> 00:08:07,000 I'm sure, but yeah, yeah, and I just yeah, I 189 00:08:07,079 --> 00:08:08,879 kind of get a looko on for some of the said, 190 00:08:08,959 --> 00:08:11,439 I'll just do like kind of solo jazz guitar songs 191 00:08:11,439 --> 00:08:12,959 like do like fly Me to the Moon and like 192 00:08:13,079 --> 00:08:17,079 jazz standards and we'll kind of reimagined, reharmonized jazz standards. 193 00:08:17,079 --> 00:08:19,600 Speaker 3: So what did you I assume you started out on 194 00:08:19,639 --> 00:08:21,240 a six string? I did? 195 00:08:21,319 --> 00:08:23,600 Speaker 2: Yeah, yeah, I mean I actually started on bass long 196 00:08:23,639 --> 00:08:26,399 before guitar, but yeah, oh okay, I started on bass 197 00:08:26,439 --> 00:08:28,920 and then learned guitar after that, and then I only 198 00:08:28,920 --> 00:08:32,720 got into h string about four years ago. My teacher 199 00:08:33,440 --> 00:08:35,279 was selling one and I always kind of wanted to 200 00:08:35,320 --> 00:08:37,039 delve into it, and I already kind of had the 201 00:08:37,080 --> 00:08:40,399 bass and guitar kind of background, so it was just 202 00:08:40,480 --> 00:08:42,080 kind of yeah, getting used to. 203 00:08:42,039 --> 00:08:44,799 Speaker 3: The really wide neck and putting the two together. Who 204 00:08:44,879 --> 00:08:46,399 is your teacher? We should give them a plug? 205 00:08:46,639 --> 00:08:49,720 Speaker 2: Yeah, oh, Dave Newsome, Yeah, definitely. Yeah. I started going 206 00:08:49,759 --> 00:08:54,559 to Summer Youth Music School back in ninth grade, which 207 00:08:54,600 --> 00:08:57,799 is the UNH program, And he started teaching me then, 208 00:08:57,840 --> 00:09:00,000 and then I went to UNH for a little bit 209 00:09:00,080 --> 00:09:03,320 it and then yeah, he's he taught Tommy Gray and 210 00:09:03,320 --> 00:09:06,639 I've been I haven't had any lessons really, but we 211 00:09:06,720 --> 00:09:09,320 play together and like that's a that's a lesson in itself. 212 00:09:09,679 --> 00:09:13,200 Speaker 1: What was it? Was it challenging learning to to play 213 00:09:13,200 --> 00:09:15,080 an eight string or did it kind of come naturally? 214 00:09:15,200 --> 00:09:18,120 Was it just a matter of, uh, kind of combining 215 00:09:18,159 --> 00:09:20,039 what you knew and already Yeah. 216 00:09:19,960 --> 00:09:22,399 Speaker 2: It was a little of both, because I already kind 217 00:09:22,399 --> 00:09:24,519 of played six string bass, so I already was comfortable 218 00:09:24,519 --> 00:09:25,519 with a low B string. 219 00:09:25,720 --> 00:09:26,360 Speaker 3: Yeah. 220 00:09:26,080 --> 00:09:28,240 Speaker 2: Uh, and then you know, adding the low F sharp 221 00:09:28,279 --> 00:09:30,600 and just kind of figuring out different like chord shapes, 222 00:09:30,720 --> 00:09:34,720 like yeah, like so that I you know, normal A 223 00:09:34,919 --> 00:09:36,960 on guitar to get that low A like you can 224 00:09:37,000 --> 00:09:39,159 do with still almost a bar chord and do some 225 00:09:39,200 --> 00:09:41,759 cool stuff, and so like you just figure out different 226 00:09:41,759 --> 00:09:44,360 ways to use it, and you know, some shapes kind 227 00:09:44,360 --> 00:09:47,159 of transfer over some sometimes you figure out new shapes 228 00:09:47,159 --> 00:09:49,320 that you could never do with a six string. So 229 00:09:49,360 --> 00:09:51,679 it's yeah, it's definitely fun and it gives you, It 230 00:09:51,679 --> 00:09:54,159 gives you some range, and it even like I use 231 00:09:54,200 --> 00:09:56,159 it in Flamingo shows and it throws people for a 232 00:09:56,200 --> 00:09:58,240 loop because they'll like hear me doing the bass and 233 00:09:58,279 --> 00:10:00,360 then all of a sudden, I'll do a guitar and 234 00:10:00,399 --> 00:10:04,840 then go back to me. But yeah, it's uh, it's 235 00:10:04,919 --> 00:10:06,279 it's really it's a fun instrument. 236 00:10:06,320 --> 00:10:09,279 Speaker 3: I'm glad I delve down that rabbit hole. Yeah. Yeah, no, 237 00:10:09,320 --> 00:10:10,120 it's fascinating. 238 00:10:10,279 --> 00:10:12,240 Speaker 1: Like I said, I like listening to it, but it's 239 00:10:12,279 --> 00:10:15,960 also just I'm fascinated just watching you play, like I'm 240 00:10:16,000 --> 00:10:19,279 just watching your fingers. You know, we should play us 241 00:10:19,279 --> 00:10:21,039 since we were talking about it, we should play that 242 00:10:21,120 --> 00:10:21,840 hip hop track. 243 00:10:22,000 --> 00:10:25,039 Speaker 2: Yeah yeah, this is as I Lay Dying feature in 244 00:10:25,279 --> 00:10:30,519 ben Shore again. This is on my album. A nice 245 00:10:30,559 --> 00:10:33,080 song just with some different saw me playing guitar. The 246 00:10:33,080 --> 00:10:35,320 only song I played mandolin the song. There's a little 247 00:10:35,480 --> 00:10:38,600 mandolin loop that started the whole song, which is funny 248 00:10:38,639 --> 00:10:41,320 how stuff like one little thing becomes this big, blossoming 249 00:10:41,320 --> 00:10:42,759 song that barely has anything. 250 00:10:42,559 --> 00:10:44,720 Speaker 3: To do with the man. Yeah. 251 00:10:44,840 --> 00:10:46,480 Speaker 2: No, it's a cool song. It's kind of big and 252 00:10:46,559 --> 00:10:48,320 epic sounding, is what I was going for. 253 00:10:48,519 --> 00:10:50,440 Speaker 1: Yeah, yeah, I really like this a lot. Let's give 254 00:10:50,440 --> 00:10:52,960 this a spin. This is called As I lay died. 255 00:10:59,159 --> 00:11:04,840 Speaker 4: Broke, but I'm not broken, don't breaking. I left the 256 00:11:04,840 --> 00:11:09,960 gun smoking. My blood runs open scars. 257 00:11:09,600 --> 00:11:11,000 Speaker 3: Don't heal right? 258 00:11:10,519 --> 00:11:13,879 Speaker 4: He can't get it to steil tight, rub tokens together, 259 00:11:14,000 --> 00:11:16,720 hoping for luck, but the deal's light falling like a 260 00:11:16,759 --> 00:11:20,159 steel pipe. I fall hard through a skylight window covered 261 00:11:20,159 --> 00:11:23,000 in glass. Sharks too much dancing with the devil, left 262 00:11:23,000 --> 00:11:25,559 my ass chard into the road. Asked my maker to 263 00:11:25,679 --> 00:11:29,039 make it end less painful. Instead, an angel came and 264 00:11:29,080 --> 00:11:31,919 sang me songs until I fell asleep, helped me get up. 265 00:11:31,960 --> 00:11:34,440 Instead of rain clouds, there was a rainbow. So I 266 00:11:34,480 --> 00:11:38,200 crawled till I could walk. Now, I let this guitar. 267 00:11:38,039 --> 00:12:18,000 Speaker 5: Weak as I lay dying, As I lay dying, as 268 00:12:18,039 --> 00:12:23,799 I laid dying, As I laid dying, when it all 269 00:12:23,879 --> 00:12:26,679 falls down, and the ground starts quaking, and my soul 270 00:12:26,799 --> 00:12:29,639 of wickeds, and the sky starts breaking, and the eyes 271 00:12:29,639 --> 00:12:31,039 are watched, and the time. 272 00:12:30,919 --> 00:12:33,440 Speaker 6: I've taken it is not be given living these times 273 00:12:33,480 --> 00:12:36,120 we see the bond prize ribbons were driven from riches 274 00:12:36,159 --> 00:12:38,360 and sinning. And this isn't why we live in this prison, 275 00:12:38,440 --> 00:12:40,879 this intim envision. It's like an incision, like if I 276 00:12:40,919 --> 00:12:44,200 get in prescriptions seem to make us painfree, but mainly 277 00:12:44,360 --> 00:12:46,919 for mind us that we isn't in fame. We cheats 278 00:12:46,960 --> 00:12:49,240 and dragons that have no emotion for us. What so 279 00:12:49,440 --> 00:12:52,679 a soldiers cappa chition that chosen formulas the real truth 280 00:12:52,720 --> 00:12:54,159 thighs and this here booth. 281 00:12:54,000 --> 00:12:56,879 Speaker 5: There's no fearing. My eyes absent dispair with the spies 282 00:12:56,919 --> 00:12:57,679 walking to parent. 283 00:12:57,759 --> 00:12:59,279 Speaker 3: The lies are bearing disguise. 284 00:12:59,360 --> 00:13:02,480 Speaker 6: I taste the tears rolling down a cheeks, Kiss him away, 285 00:13:02,600 --> 00:13:05,399 keep love so deep, I said, no more tears. 286 00:13:06,840 --> 00:13:08,480 Speaker 4: I just let this guitara weep. 287 00:13:31,240 --> 00:13:35,200 Speaker 6: As I think it's I late di. 288 00:13:36,840 --> 00:13:50,200 Speaker 5: As I ate did that's I dated as they. 289 00:14:05,480 --> 00:14:07,000 Speaker 3: I didn't even want to talk over the end. It 290 00:14:07,120 --> 00:14:10,840 just sounded so cool as I laid down. That is 291 00:14:10,919 --> 00:14:14,279 from uh uh the New Uh? Now is it? Is 292 00:14:14,639 --> 00:14:16,039 it under Gary Smith or is. 293 00:14:16,039 --> 00:14:19,639 Speaker 7: It uh You're you're calling it yeah? So my h 294 00:14:19,960 --> 00:14:24,679 I've already released stuff under yeah, So that is uh here. 295 00:14:24,759 --> 00:14:28,120 I have a oh wonderful, wonderful that the name of 296 00:14:28,159 --> 00:14:31,039 the album is Melody Workshop. My name that I produced 297 00:14:31,080 --> 00:14:33,639 under is Percussive Maintenance. So all the songs on the 298 00:14:33,720 --> 00:14:35,720 album are going to be under percussive maintenance, you know. 299 00:14:35,799 --> 00:14:38,519 Speaker 2: Okay, Uh, they're gonna have all the different artists, you know, 300 00:14:38,519 --> 00:14:41,039 because there's Jam Tomorrow on there, there's Fox and Flamingos, 301 00:14:41,519 --> 00:14:43,559 And I tried to get again, because the album is 302 00:14:43,639 --> 00:14:45,919 so collaborative, I tried to get collaborative with the art. 303 00:14:46,000 --> 00:14:49,600 So my good friend Christy Marcella did that nice piece 304 00:14:49,639 --> 00:14:52,240 of art that's featured throughout the album. 305 00:14:52,399 --> 00:14:55,600 Speaker 1: And so for those watching online, I'll hold up yeah, yeah, 306 00:14:55,919 --> 00:14:59,200 I'll hold up the shirt here. I can't really zoom in, 307 00:14:59,320 --> 00:15:01,399 but that so that so she did that. 308 00:15:01,600 --> 00:15:04,559 Speaker 3: Yeah, so she did that piece of art. That's awesome. Yeah, 309 00:15:04,840 --> 00:15:06,080 it's so so gorgeous. 310 00:15:06,120 --> 00:15:09,919 Speaker 2: And then Nick from Cosmic Blossom he's on a song 311 00:15:10,039 --> 00:15:11,840 too that I'm sure you heard. He did a piece 312 00:15:11,879 --> 00:15:15,000 of art. A friend from California did a piece of art. 313 00:15:15,000 --> 00:15:16,360 So it's kind of just the album is going to 314 00:15:16,440 --> 00:15:18,120 have a bunch of different pieces of art, all kind 315 00:15:18,159 --> 00:15:21,080 of blended together on the back for you know, just 316 00:15:21,559 --> 00:15:24,840 for something kind of again collaborative art wise and music wise. 317 00:15:24,919 --> 00:15:27,600 Speaker 1: So no, that's extremely cool, and yeah, thank you, this 318 00:15:27,799 --> 00:15:34,840 is a that's amazing, very nice, very nice. So what's 319 00:15:35,240 --> 00:15:38,799 kind of the future trajectory in terms of are you? 320 00:15:39,559 --> 00:15:41,639 Are you continuing to work with a lot of these 321 00:15:41,759 --> 00:15:44,919 artists on I mean, obviously this this album is just 322 00:15:45,039 --> 00:15:46,919 now coming out or about to come out, But but 323 00:15:47,080 --> 00:15:49,159 are you because you strike me as someone you probably 324 00:15:49,159 --> 00:15:51,200 always have ideas and oh. 325 00:15:51,159 --> 00:15:54,679 Speaker 2: Yeah, yeah, no, I always have music in the bank, 326 00:15:54,679 --> 00:15:56,840 because I mean I could probably do another one of 327 00:15:56,840 --> 00:15:59,320 these pretty quick if I you know, just got into 328 00:15:59,360 --> 00:16:01,679 the studio and sou but uh yeah, I mean that's 329 00:16:01,759 --> 00:16:04,240 really more. I mean I have some ideas kind of 330 00:16:04,360 --> 00:16:07,120 to get things slightly more focused. You know, that's kind 331 00:16:07,159 --> 00:16:08,919 of this is kind of just the like shoot it 332 00:16:08,960 --> 00:16:11,480 out there. This is everything I do. And then you know, 333 00:16:12,639 --> 00:16:14,320 I want to do a little more hip hop production. 334 00:16:14,759 --> 00:16:16,320 Me and Ben have talked about doing a few more 335 00:16:16,399 --> 00:16:19,240 songs together and the song that you may have heard 336 00:16:19,279 --> 00:16:21,480 with Mazy Digital Sunrise like that, when we want to 337 00:16:21,519 --> 00:16:23,440 do a few more little like snippets like that, because 338 00:16:23,440 --> 00:16:25,679 those you know, come together really quick. You know, I 339 00:16:25,759 --> 00:16:28,519 have having the able to she just you know, records 340 00:16:28,519 --> 00:16:31,240 it through the mic in my house and it's super 341 00:16:31,279 --> 00:16:33,840 simple in that sense. Okay, and then I just go 342 00:16:34,000 --> 00:16:37,840 to our mixed mastering Wizard with the stems and we 343 00:16:38,000 --> 00:16:40,679 just mix it in a couple hours, so it's no kidding. 344 00:16:40,960 --> 00:16:42,600 So yeah, that's why I like even some of the 345 00:16:42,600 --> 00:16:44,759 stuff that most of the stuff is you know, ultimately 346 00:16:44,799 --> 00:16:47,679 produced and made my bedroom and you know, bedroom studio. 347 00:16:48,799 --> 00:16:51,480 But you know, I take the stems and let Pete, 348 00:16:51,600 --> 00:16:53,559 Pete do his thing because he's he's such a good 349 00:16:53,639 --> 00:16:56,039 dude and he knows he knows this stuff, and there's 350 00:16:56,080 --> 00:16:58,279 so much stuff that like I have an idea, and 351 00:16:58,360 --> 00:16:59,840 then just even when he gets the stems, he's like, 352 00:17:00,000 --> 00:17:01,039 why don't we do this? Why don't we do this? 353 00:17:01,120 --> 00:17:02,720 And it just makes such a big difference. Like yeah, 354 00:17:02,759 --> 00:17:04,079 that's that's why I'm glad I do I. 355 00:17:04,160 --> 00:17:05,720 Speaker 3: Do this with you. Now where is he because we 356 00:17:05,720 --> 00:17:06,519 should give him a plug? 357 00:17:06,640 --> 00:17:10,319 Speaker 2: Yeah, it's Pete Peloquin at Boards House Productions in Brookline. 358 00:17:10,359 --> 00:17:12,599 Speaker 3: Yeah, same one. That's where you did Jam Tomorrow, right, Yeah, 359 00:17:12,720 --> 00:17:13,319 Jam Tomorrow. 360 00:17:13,839 --> 00:17:17,559 Speaker 2: Fox and Flamingos have recorded there. There's yeah, a bunch 361 00:17:17,599 --> 00:17:20,119 of bunch of bands around the area have have recorded there. 362 00:17:20,160 --> 00:17:22,319 I mean Rooster Creation are the big one that they do. 363 00:17:22,960 --> 00:17:24,839 But he's the sound guy for Bad Fish, so he's 364 00:17:24,960 --> 00:17:26,880 on the road doing that stuff a bunch too, So 365 00:17:27,079 --> 00:17:30,519 oh okay, he's actually we're playing a pumpkin fest tomorrow 366 00:17:30,599 --> 00:17:32,440 with Fox and Flamingoes and we get to he gets 367 00:17:32,480 --> 00:17:35,119 to do our sounds, so we're we're lucky. I think 368 00:17:35,119 --> 00:17:37,319 it's the best will ever sound with him doing our sounds. 369 00:17:37,559 --> 00:17:40,359 Speaker 3: Kid. Yeah, yeah, no, it makes sense, Yeah, it makes sense. 370 00:17:40,400 --> 00:17:41,880 But yeah, I know he's he's an awesome dude. 371 00:17:41,920 --> 00:17:44,440 Speaker 2: He's super easy to work with and like he lets 372 00:17:44,960 --> 00:17:46,960 meaner it out and learn stuff from him, Like I've 373 00:17:47,000 --> 00:17:50,240 become a better you know, producer by just watching what 374 00:17:50,359 --> 00:17:53,640 he does, like over his shoulder and asking him nerdy questions. 375 00:17:53,799 --> 00:17:56,880 Speaker 3: Yeah, it's cool though, that you're able to to do 376 00:17:57,039 --> 00:17:58,119 the recording at home. 377 00:17:58,480 --> 00:17:58,640 Speaker 5: You know. 378 00:17:58,799 --> 00:18:01,200 Speaker 3: It's always say we live in a time. 379 00:18:01,240 --> 00:18:02,559 Speaker 1: We're blessed to live in a time where you have 380 00:18:02,640 --> 00:18:04,799 so many different options in terms of how you record, 381 00:18:04,920 --> 00:18:07,400 and you know, different studios you can go to or 382 00:18:07,440 --> 00:18:09,759 you can do it at home. And oh, really, I'm 383 00:18:09,799 --> 00:18:13,720 out with something that sounds amazing. Maybe we should play 384 00:18:13,799 --> 00:18:15,359 that track Digital Sunrise. 385 00:18:15,440 --> 00:18:18,960 Speaker 3: That's another one. So now this track, to just to 386 00:18:19,000 --> 00:18:21,200 be clear, this is not Fox and the Flamingos. This 387 00:18:21,359 --> 00:18:22,440 is not Fox and Flamingos. 388 00:18:22,480 --> 00:18:25,799 Speaker 2: No, this is again a song and guitar riff that 389 00:18:25,920 --> 00:18:29,079 ultimately again the guitar riffs started all became a song, 390 00:18:29,200 --> 00:18:31,039 and then I wanted to do something with it, and 391 00:18:31,319 --> 00:18:32,920 Mazy heard it and loved it, like, oh, I can 392 00:18:32,960 --> 00:18:35,759 write some something cool over this, so yeah, yeah, and 393 00:18:35,759 --> 00:18:37,559 then just did some rearranging. But yeah, I know this 394 00:18:37,680 --> 00:18:40,920 is just a percussive maintenance featuring. Yeah amazing. 395 00:18:41,519 --> 00:18:43,079 Speaker 3: I didn't mean to start that already. 396 00:18:43,640 --> 00:18:46,519 Speaker 1: Try trying to actually, Oh, here we go, trying to 397 00:18:46,519 --> 00:18:48,640 actually download it, and this computer's being a little slow. 398 00:18:48,680 --> 00:18:49,720 Speaker 3: Here we go, Here we go. 399 00:18:49,839 --> 00:18:52,880 Speaker 1: Okay, yeah, this is really cool too. Let's give this 400 00:18:52,960 --> 00:18:55,200 a spin. This is called digital sunrise. 401 00:19:17,039 --> 00:19:22,880 Speaker 8: Sometimes I wanna hi, that's a that's a d. 402 00:19:27,880 --> 00:19:28,039 Speaker 9: Al. 403 00:19:28,119 --> 00:19:31,880 Speaker 8: The time passed me by, hop times. 404 00:19:31,559 --> 00:19:32,920 Speaker 9: A while, ride. 405 00:19:34,279 --> 00:19:46,119 Speaker 8: The universe? So mad, have been had on, happen, have a. 406 00:19:56,839 --> 00:20:02,599 Speaker 10: Feeling good between ussis has singing in the street, don't 407 00:20:02,680 --> 00:20:03,920 where the sun musty? 408 00:20:05,039 --> 00:20:06,119 Speaker 5: But I'm not just wa. 409 00:20:10,839 --> 00:20:12,599 Speaker 9: God man, I'm like God. 410 00:20:18,240 --> 00:20:21,680 Speaker 10: Being good between machines, happen stinging in. 411 00:20:21,839 --> 00:20:26,880 Speaker 8: This I don't where the sun musty? I'm not just 412 00:20:26,960 --> 00:20:27,839 why no way. 413 00:20:31,920 --> 00:20:33,640 Speaker 3: God, man, I'm like, god. 414 00:20:39,200 --> 00:20:43,720 Speaker 8: I don't know what to tell you. You've gone to 415 00:20:48,240 --> 00:20:54,680 some aching. 416 00:20:57,839 --> 00:20:59,480 Speaker 9: Something bad. 417 00:21:24,960 --> 00:21:27,400 Speaker 3: It's got a cool vibe if you're just joining us. 418 00:21:27,519 --> 00:21:30,079 Speaker 1: Gary Smith is here with us, alive in studio and 419 00:21:30,160 --> 00:21:33,559 we're playing some tracks from Percussive Maintenance. 420 00:21:33,799 --> 00:21:34,920 Speaker 3: Do I get the title right? Yeah? 421 00:21:34,960 --> 00:21:39,359 Speaker 2: Percussive that's my producer name. The album is called Melody Workshop. 422 00:21:39,440 --> 00:21:41,640 Speaker 3: Melody Workshop, right, right, gotcha, which is. 423 00:21:41,680 --> 00:21:44,400 Speaker 2: My My parents had a music store that they opened. 424 00:21:44,559 --> 00:21:46,559 That was my first job back in ninth grade. I 425 00:21:46,640 --> 00:21:49,240 was giving guitar lessons, so yeah, that was called the 426 00:21:49,279 --> 00:21:51,400 Melody Workshops. I'm like, oh, it's a perfect kind of 427 00:21:51,839 --> 00:21:52,799 tie everything together. 428 00:21:52,960 --> 00:21:55,279 Speaker 3: So yeah, you were already giving guitar lessons. 429 00:21:56,000 --> 00:21:59,079 Speaker 2: Yeah, yeah, mainly bass lessons, but beginner guitar lessons, and 430 00:21:59,119 --> 00:22:01,440 then yeah, by the end and by like senior year, 431 00:22:01,599 --> 00:22:03,119 that was you know, just all I was doing was 432 00:22:03,160 --> 00:22:05,319 giving good guitar lessons and bass lessons. So I didn't 433 00:22:05,319 --> 00:22:09,240 really have a normal high school crappy job, you know, 434 00:22:09,359 --> 00:22:10,559 given lessons for my parents. 435 00:22:11,160 --> 00:22:13,599 Speaker 3: Good for you, Good for you. Does that store still 436 00:22:13,680 --> 00:22:14,480 exist or no? 437 00:22:14,839 --> 00:22:19,039 Speaker 2: No, they've both passed since and they've retired a while ago. 438 00:22:19,160 --> 00:22:23,000 But I think the last time it existed, probably as 439 00:22:23,119 --> 00:22:25,319 it was, was like two thousand and two, two thousand 440 00:22:25,319 --> 00:22:27,720 and three. But I actually I found an old picture 441 00:22:27,720 --> 00:22:29,960 of the sign and that's used on the album cover, 442 00:22:30,680 --> 00:22:31,920 so yeah, oh that's very cool. 443 00:22:32,160 --> 00:22:34,480 Speaker 3: But yeah, it was a you know, my stepdad got 444 00:22:34,559 --> 00:22:36,200 me into music. Really. 445 00:22:36,319 --> 00:22:39,680 Speaker 2: My mom and him met doing like Actors Singers back 446 00:22:39,720 --> 00:22:41,759 in Nashville. He was the director of Actors Singers. 447 00:22:41,880 --> 00:22:44,000 Speaker 3: Oh wow, so uh so. 448 00:22:44,079 --> 00:22:46,400 Speaker 2: They met and then that kind of infused me with music, 449 00:22:46,440 --> 00:22:48,039 made me learn trombone at a young age. 450 00:22:48,079 --> 00:22:49,240 Speaker 3: And I love bass. 451 00:22:49,400 --> 00:22:51,240 Speaker 2: So because I went from trombone, I'm like, I already 452 00:22:51,279 --> 00:22:52,960 know bass left so I could read it right away. 453 00:22:53,079 --> 00:22:55,720 Speaker 3: So what was trombone your first instrument? Trombone was my 454 00:22:55,759 --> 00:22:56,359 first instrument. 455 00:22:56,440 --> 00:23:00,319 Speaker 2: Yeah, yeah, I haven't touched one in you know, twenty somethings, 456 00:23:00,359 --> 00:23:03,039 so it probably sound horrible if I tried to touch it. 457 00:23:03,079 --> 00:23:06,240 Speaker 3: But but yeah, I mean it was definitely the catalyst 458 00:23:06,319 --> 00:23:06,799 for everything. 459 00:23:06,920 --> 00:23:09,279 Speaker 2: And then you know, that's what led me to bass 460 00:23:09,319 --> 00:23:10,839 because I'm like, oh, it's in the same cleft, so 461 00:23:10,880 --> 00:23:12,759 I can read it right away. And that was very 462 00:23:12,880 --> 00:23:14,880 basically and then you know, my thought was all my 463 00:23:14,920 --> 00:23:16,640 friends are learning how to play guitar, why don't I 464 00:23:16,720 --> 00:23:17,519 learn how to play bass? 465 00:23:17,599 --> 00:23:19,319 Speaker 3: And yeah it has worked out well. 466 00:23:19,359 --> 00:23:24,240 Speaker 1: Yeah, absolutely absolutely that track too. So you were saying 467 00:23:24,279 --> 00:23:27,559 off here Digital Sunrise, you call it it's mid fi. 468 00:23:28,160 --> 00:23:29,640 Speaker 3: Yeah, yeah, so that was the joke. 469 00:23:29,720 --> 00:23:32,160 Speaker 2: It's it's not like a low fi like slow like 470 00:23:32,319 --> 00:23:35,599 gritty track, but like it it's like a it's a 471 00:23:35,720 --> 00:23:38,839 hip hop ified version of Fox and Flamingos almost, like yeah, 472 00:23:39,200 --> 00:23:41,160 so it's kind of the again, the melding of the 473 00:23:41,200 --> 00:23:42,680 two sides. 474 00:23:42,839 --> 00:23:47,799 Speaker 1: Right right when you play like when you play out solo, 475 00:23:48,200 --> 00:23:50,599 do any of the songs from the bands that you're 476 00:23:50,680 --> 00:23:52,359 in make it into the set? 477 00:23:52,599 --> 00:23:54,799 Speaker 2: Or oh definitely yeah, yeah, I mean some of the 478 00:23:55,079 --> 00:23:57,640 I actually just added one we've done with Fox and Flingers. 479 00:23:57,680 --> 00:23:59,440 We've done like this cool funky version of Benny and 480 00:23:59,440 --> 00:24:01,359 the Jets of Her Yeah, and I'm like, oh, that 481 00:24:01,519 --> 00:24:04,039 has like it has a looping structure. I'm like, oh, 482 00:24:04,079 --> 00:24:05,960 I can loop this one way through, So like that's 483 00:24:06,000 --> 00:24:08,160 kind of when I and then like, isn't she lovely? 484 00:24:08,319 --> 00:24:10,480 I do that just the two of us. So yeah, 485 00:24:10,680 --> 00:24:13,240 some of the songs I do with one or other bands. 486 00:24:13,279 --> 00:24:15,079 Then some of my originals like I do an EMU 487 00:24:15,759 --> 00:24:17,559 when I do that live, and I like layer the 488 00:24:17,640 --> 00:24:22,359 harmonies through the looper and like, yeah, it's a uh yeah. 489 00:24:23,000 --> 00:24:26,799 I definitely find songs from from that for sure. I 490 00:24:26,839 --> 00:24:30,200 haven't quite done an original and I haven't thought about it. 491 00:24:30,240 --> 00:24:33,440 I don't think one would quite work like looping process 492 00:24:33,480 --> 00:24:36,319 wise because they're also weird. But I definitely find some 493 00:24:36,440 --> 00:24:38,799 good covers that that work well. And that's kind of 494 00:24:38,839 --> 00:24:40,960 again the fun of my original or my live side 495 00:24:41,039 --> 00:24:43,319 is like people like listening and saying, oh, I know 496 00:24:43,440 --> 00:24:45,759 that song. Oh that's a radiod, Oh that's you know 497 00:24:46,720 --> 00:24:49,599 yeah John, So like there it is. 498 00:24:49,799 --> 00:24:51,079 Speaker 3: It is kind of fun in that sense. 499 00:24:51,200 --> 00:24:54,319 Speaker 1: Yeah, yeah, very cool. Well we should uh let's see. 500 00:24:54,680 --> 00:24:56,519 I want to make sure we get these other ones in. 501 00:24:58,559 --> 00:24:59,640 Should we play melt Away? 502 00:25:00,359 --> 00:25:00,559 Speaker 3: Yeah? 503 00:25:00,640 --> 00:25:03,319 Speaker 2: Yeah, that's a new Fox and Flamingos song that's actually 504 00:25:03,319 --> 00:25:07,480 our most recently recorded one. Oh and this was a cool, 505 00:25:07,720 --> 00:25:10,359 cool story about this one. Me and Mayzi just were like, 506 00:25:10,400 --> 00:25:12,240 we want to write a song. We hadn't written a 507 00:25:12,279 --> 00:25:16,559 song in a while, and then I had like, as 508 00:25:16,599 --> 00:25:18,559 silly as it sounds, I had a dream with this 509 00:25:18,759 --> 00:25:20,640 riff in it that I had already played like it, 510 00:25:20,839 --> 00:25:22,839 just like it's weird that I remember that. 511 00:25:23,000 --> 00:25:24,480 Speaker 3: And then she said I'm like, okay, how about that. 512 00:25:24,519 --> 00:25:25,279 She's like, oh, I love it. 513 00:25:25,400 --> 00:25:27,079 Speaker 2: So the beginning riff was where it all started. But 514 00:25:27,079 --> 00:25:29,079 I had the riff, the chord progression, and then I 515 00:25:29,200 --> 00:25:31,359 just brought it to her. She instantly came up with 516 00:25:31,440 --> 00:25:33,960 words and then brought it to the Flamingos and we 517 00:25:34,079 --> 00:25:35,640 fleshed it all out to what it is, and it's 518 00:25:36,039 --> 00:25:36,880 it's an awesome. 519 00:25:36,680 --> 00:25:38,240 Speaker 3: Song or only song that's not in four to four 520 00:25:38,359 --> 00:25:38,839 in the album. 521 00:25:38,960 --> 00:25:42,680 Speaker 1: So yeah, little waltz, Oh cool, cool. Yeah, I love 522 00:25:42,759 --> 00:25:45,400 Fox and the Flamingos as you know, I love I 523 00:25:45,559 --> 00:25:46,400 still love that. 524 00:25:46,720 --> 00:25:48,559 Speaker 3: I still play it once in a while. That don't 525 00:25:48,599 --> 00:25:50,920 be a stranger. Yeah, Oh such a great that's such 526 00:25:50,920 --> 00:25:52,799 a great song. Yeah, I love it. But this is 527 00:25:52,880 --> 00:25:53,240 great too. 528 00:25:53,319 --> 00:25:55,680 Speaker 2: So this is brand new, right, Yeah, this is brand new. 529 00:25:56,000 --> 00:25:58,799 It hasn't been played anywhere besides us doing it live. 530 00:25:58,920 --> 00:25:59,039 Speaker 5: You know. 531 00:25:59,119 --> 00:26:03,119 Speaker 2: I think we debuted at Wormtown. So yeah, this is 532 00:26:03,160 --> 00:26:05,440 a new Little Fox and Flamingo's debut. 533 00:26:05,680 --> 00:26:42,839 Speaker 3: Fantastic And this is called melt Away. Check this out. Hey, Safety. 534 00:26:45,079 --> 00:26:54,640 Speaker 9: Savings, Your Love and one Invisible a. 535 00:27:00,880 --> 00:27:16,079 Speaker 3: Member and that trust you. 536 00:27:18,519 --> 00:27:20,799 Speaker 8: Not at all trust myself? 537 00:27:26,119 --> 00:27:29,640 Speaker 10: Am that it doesn't trust myself? 538 00:27:34,359 --> 00:27:36,599 Speaker 8: Did you feel you're so mad? 539 00:27:38,839 --> 00:27:42,880 Speaker 3: So love me? 540 00:28:16,000 --> 00:28:17,000 Speaker 1: I think. 541 00:28:19,759 --> 00:28:20,599 Speaker 8: Was floating down? 542 00:28:23,960 --> 00:28:25,200 Speaker 3: Can I do you do? 543 00:28:25,440 --> 00:28:27,680 Speaker 5: You do? 544 00:28:27,960 --> 00:28:34,799 Speaker 3: Not you deliver? Say just not the way. 545 00:28:37,960 --> 00:28:50,480 Speaker 5: To that? Just you. 546 00:28:53,359 --> 00:29:04,119 Speaker 10: Don't it's just myself. Oh say that's my sa. 547 00:29:09,079 --> 00:29:11,000 Speaker 3: You feel your so right? 548 00:29:13,279 --> 00:29:22,759 Speaker 8: Slow long. 549 00:29:24,519 --> 00:29:25,839 Speaker 1: I lo. 550 00:29:52,400 --> 00:29:53,599 Speaker 9: God, trust. 551 00:29:55,920 --> 00:29:57,680 Speaker 3: But at all just my. 552 00:29:57,920 --> 00:30:17,519 Speaker 9: Safe hold Stevens not smustard, you feel so loud, so rod. 553 00:30:19,440 --> 00:31:10,119 Speaker 3: So No, that is so good, gorgeous melt away. I 554 00:31:10,279 --> 00:31:13,759 love Fox on the f as you all know. Yeah, 555 00:31:14,119 --> 00:31:17,079 that is fantastic. And yeah, the flute sounds great and 556 00:31:17,119 --> 00:31:18,039 that the way it kind. 557 00:31:17,920 --> 00:31:20,880 Speaker 2: Of just just weaves in and out and yeah, like 558 00:31:21,319 --> 00:31:23,359 it's cool, like the flute over the heavy guitar. 559 00:31:23,519 --> 00:31:25,759 Speaker 3: It's such a cool like mix of sounds. 560 00:31:25,799 --> 00:31:29,599 Speaker 1: Oh yeah, yeah, fantastic, fantastic if you're just joining us. 561 00:31:29,920 --> 00:31:32,880 Gary Smith is here. He's in Fox and the Flamingos 562 00:31:33,000 --> 00:31:36,599 and Jam Tomorrow and uh, what like ten other bands 563 00:31:36,680 --> 00:31:37,000 or something. 564 00:31:37,119 --> 00:31:41,200 Speaker 2: Yeah, Cosmic Blossomsome effective, Yeah, and then kind of Cinnamon 565 00:31:41,279 --> 00:31:44,359 Jazz Trio, the Floutest in that we play a little bit. 566 00:31:44,680 --> 00:31:47,559 We're played at Pembroke actually with I played bass in 567 00:31:47,640 --> 00:31:51,480 that with a piano player Joe Verga, and play flute yea, 568 00:31:51,559 --> 00:31:53,400 and yeah, we just do some jazz standards. 569 00:31:53,440 --> 00:31:55,799 Speaker 3: We have fun. We uh it's always great time. 570 00:31:55,799 --> 00:31:57,839 Speaker 2: I mean just just like all my other things, Like 571 00:31:57,920 --> 00:31:59,759 we invite people to play up so like we had 572 00:31:59,799 --> 00:32:02,880 a from player last time, kind of sax player before. 573 00:32:03,039 --> 00:32:04,000 Speaker 3: So it's fun. 574 00:32:04,440 --> 00:32:06,920 Speaker 1: Is that Is that ever challenging when you when you uh, 575 00:32:07,279 --> 00:32:09,640 I mean having having those additional horns, I mean, does 576 00:32:09,680 --> 00:32:11,799 it always just kind of work or is it ever? 577 00:32:13,000 --> 00:32:15,759 Speaker 2: I mean, jazz even though it's kind of crazy, A 578 00:32:15,839 --> 00:32:19,319 lot of it's structured, so like you're you're kind of 579 00:32:19,400 --> 00:32:21,759 just doing the same form over and over. So as 580 00:32:21,799 --> 00:32:24,319 long as you know the basics for everything are kind 581 00:32:24,359 --> 00:32:28,039 of happening, it's pretty simple, d Ad. And uh even 582 00:32:28,160 --> 00:32:31,319 like uh my jazz thing I do at Pembroke, like 583 00:32:31,480 --> 00:32:34,240 last week, I do it every other Sunday pretty much. 584 00:32:34,759 --> 00:32:37,440 I had some younger kids, uh, freshman at Berkeley come 585 00:32:37,519 --> 00:32:39,599 and I think he's a high school student from around here. 586 00:32:39,720 --> 00:32:42,240 Jack and Nick and they came and we just had 587 00:32:42,319 --> 00:32:44,519 in the whole time and played and went over some 588 00:32:44,599 --> 00:32:46,640 stuff and like it was like it was a good 589 00:32:46,680 --> 00:32:49,680 learning experience for them to get to kind of woodshed 590 00:32:49,720 --> 00:32:52,279 those types of songs. So yeah, I mean it's never 591 00:32:52,559 --> 00:32:54,920 sometimes it's smoother than others by all means. It kind 592 00:32:54,960 --> 00:32:58,119 of depends on what the history is. But yeah, I 593 00:32:58,200 --> 00:32:59,759 mean I do a few of them around here. I 594 00:33:00,960 --> 00:33:03,319 I often go to the Forum Jazz Jam up the 595 00:33:03,400 --> 00:33:07,000 Old Area twenty three, and yeah, the same thing is 596 00:33:07,079 --> 00:33:10,079 just some old school guys, you know, Brian Booth, mikey 597 00:33:10,160 --> 00:33:13,640 g Mike Galant, and they all just kind of go 598 00:33:13,720 --> 00:33:16,119 through some standards and we all make it sound really 599 00:33:16,400 --> 00:33:18,680 really good because you know, there's there's the structure to it. 600 00:33:18,799 --> 00:33:22,640 But yeah, yeah, I mean it always depends, but I 601 00:33:22,680 --> 00:33:24,319 mean that's kind of the fun, especially if you have 602 00:33:24,440 --> 00:33:27,799 a solid bassist or in rhythm section, you know, good 603 00:33:27,839 --> 00:33:31,720 bassis and drummer like you can you can over you 604 00:33:31,759 --> 00:33:34,279 can overcome a lot just by having the solid bass 605 00:33:34,400 --> 00:33:36,920 and then you know, trust that they're gonna kind of 606 00:33:37,200 --> 00:33:40,880 lead you. Yeah long, But yeah, it's definitely a different 607 00:33:40,920 --> 00:33:43,920 type of mindset versus you know, rehearsing, you know, like 608 00:33:44,079 --> 00:33:46,200 learning a cover song for jam tomorrow. That's a very 609 00:33:46,240 --> 00:33:50,319 different mindset versus you know, kind of the improvisatory side. Yeah, 610 00:33:50,440 --> 00:33:53,200 but even like Cosmic Blossom, like sometimes in sets when 611 00:33:53,240 --> 00:33:55,240 we're doing something, we'll just say, hey, let's jam and 612 00:33:55,400 --> 00:33:56,960 see my ern and see where it goes. And we've 613 00:33:57,000 --> 00:33:59,559 come up with songs. Like the most recent song we're 614 00:33:59,599 --> 00:34:01,799 working on came out in a jam. We were doing 615 00:34:01,839 --> 00:34:04,319 a candy a road brewing. We just like kind of 616 00:34:04,440 --> 00:34:07,279 saw where it went and then they made it. We 617 00:34:07,359 --> 00:34:09,159 basically made it a song over the course of the night. 618 00:34:09,320 --> 00:34:13,280 So it's fun how stuff can work like that collaboratively. 619 00:34:13,639 --> 00:34:16,880 Speaker 1: Is Cosmic Blossom something where where the songs like do 620 00:34:17,000 --> 00:34:19,400 they change a lot live like, because it seems like 621 00:34:19,559 --> 00:34:22,000 with the project like that, you've got like the songs 622 00:34:22,039 --> 00:34:24,239 have room to breathe if you want to just kind 623 00:34:24,280 --> 00:34:27,039 of make them longer spontaneously exactly. 624 00:34:27,119 --> 00:34:28,920 Speaker 2: Yeah, I mean they definitely do. And then I mean 625 00:34:29,360 --> 00:34:32,039 Cosmic Blossom collective is it's a group of bunch of people. 626 00:34:32,079 --> 00:34:35,880 There's you know, multiple drummers, multiple bassis, multiple you know, guitarists. 627 00:34:35,960 --> 00:34:38,719 There's like kind of Nick and Brad are the core, okay, 628 00:34:39,159 --> 00:34:43,920 but yeah, I mean there's three vocalists, there's a saxophonists 629 00:34:44,000 --> 00:34:46,840 sometimes comes in so it's really, uh, it's really all 630 00:34:46,920 --> 00:34:48,440 over the place. But that's kind of the beauty of 631 00:34:48,519 --> 00:34:51,119 it is that allows you for some flexibility, get a 632 00:34:51,159 --> 00:34:54,079 bunch of different types of input. And we practiced last 633 00:34:54,079 --> 00:34:58,480 week in Nash. So we had three female vocalists, Sarah, Megan, Amanda, 634 00:34:58,719 --> 00:35:02,360 like Meg from Doggie Dog. She's a great vocalist. Uh, 635 00:35:02,840 --> 00:35:05,800 sarahs from dog a Dog too, and Amanda's from cos 636 00:35:06,000 --> 00:35:07,480 Cosaic Blossom and uh. 637 00:35:09,559 --> 00:35:11,519 Speaker 3: Her and her boyfriend Ever Group too. 638 00:35:11,519 --> 00:35:15,159 Speaker 2: I'll get in trouble for not remembering, but yeah, so 639 00:35:15,320 --> 00:35:18,320 like it's just these powerful female vocalists and they can 640 00:35:18,400 --> 00:35:21,360 like instantly harmonize on the spots while we're riffing on 641 00:35:21,480 --> 00:35:23,400 something that we made up there coming up with these 642 00:35:23,440 --> 00:35:27,119 awesome intertwining harmonies, and it's like it's just me and 643 00:35:27,280 --> 00:35:28,760 Nick looked over at each other once. 644 00:35:28,760 --> 00:35:31,840 Speaker 3: Last week just like Jesus, Wow, absolutely mind blowing. 645 00:35:32,800 --> 00:35:35,159 Speaker 2: But yeah, I mean it's uh we But then like 646 00:35:35,280 --> 00:35:37,199 the one we did a Candy Road, that's just me 647 00:35:37,840 --> 00:35:39,840 one of the drummers and Nick and Brad just we 648 00:35:39,960 --> 00:35:42,119 do a bunch of cosmic songs, the ones that don't 649 00:35:42,119 --> 00:35:44,119 require those powerful female vocals. 650 00:35:44,760 --> 00:35:46,480 Speaker 3: But then you know, we'll do some covers. 651 00:35:46,599 --> 00:35:48,880 Speaker 2: We'll you know, just make stuff up on the spot, 652 00:35:48,960 --> 00:35:51,480 and sometimes the spontaneous stuff gets like the best reaction 653 00:35:51,599 --> 00:35:54,000 from the crowd because you know, it's just us doing 654 00:35:54,079 --> 00:35:54,559 our best thing. 655 00:35:54,800 --> 00:35:57,519 Speaker 3: Yeah. Oh, that's fantastic. That's fantastic. 656 00:35:58,079 --> 00:36:01,079 Speaker 1: Uh So before we run out of time and we'll 657 00:36:01,199 --> 00:36:02,800 we'll play we do have one more that you sent 658 00:36:02,880 --> 00:36:04,079 me Kaleidoscope I think. 659 00:36:04,000 --> 00:36:06,599 Speaker 3: It was, yeah, clidophone. Yeah, that's so. 660 00:36:06,679 --> 00:36:09,840 Speaker 2: Yeah, that's the one with Nick Burns actually of Cosmic Blossoms. 661 00:36:09,920 --> 00:36:12,800 Oh okay, he's the lead singer in the you know, 662 00:36:12,960 --> 00:36:13,639 kind of core of that. 663 00:36:14,239 --> 00:36:16,559 Speaker 3: He sang on the song. We actually wrote the song together. 664 00:36:16,719 --> 00:36:19,880 Speaker 2: I had the guitar part and then he's like, yeah, 665 00:36:20,119 --> 00:36:22,000 I said, let's let's make something cool together with this, 666 00:36:22,119 --> 00:36:23,320 and then he came up with the melody. 667 00:36:23,639 --> 00:36:24,519 Speaker 3: He plays guitar on it. 668 00:36:24,599 --> 00:36:27,079 Speaker 2: The same trumpet player who was on EMU plays the 669 00:36:27,159 --> 00:36:30,239 trumpet parts, Brian Murphy. Again, he used to be in 670 00:36:30,320 --> 00:36:33,320 a band called The Shills, which was pretty famous at 671 00:36:33,360 --> 00:36:37,519 one point. But yeah, he's a he's an awesome trump player, 672 00:36:37,519 --> 00:36:39,079 awesome vocalist, awesome guitarist. 673 00:36:39,159 --> 00:36:42,480 Speaker 1: Okay, okay, yeah, so we'll we'll play that in a moment, 674 00:36:42,559 --> 00:36:45,920 but before we go, I want to make sure so 675 00:36:46,119 --> 00:36:48,880 for our people listening live on Saturday, because you've got 676 00:36:48,920 --> 00:36:51,480 a busy Saturday. Let's make sure everyone wants to people 677 00:36:51,519 --> 00:36:52,719 want to follow you around today. 678 00:36:53,000 --> 00:36:55,880 Speaker 2: Yeah, so at twelve thirty I have a one o'clock 679 00:36:56,000 --> 00:36:58,000 the Streaming Stars. But at twelve thirty I'll be at 680 00:36:58,039 --> 00:37:02,079 Pembrooke City Limits showing the whole album. We showed you 681 00:37:02,119 --> 00:37:04,400 know a few songs from it, but there's twelve total songs. 682 00:37:05,719 --> 00:37:08,760 And then I'll be there till about two thirty most likely. 683 00:37:08,920 --> 00:37:14,960 And then I'll be going up to Bayside Bowl in Portland, 684 00:37:15,039 --> 00:37:19,440 Maine with Onyx, the old school hip hop group. They're 685 00:37:19,480 --> 00:37:21,719 playing and Ben Shore is opening for them. We're gonna 686 00:37:21,800 --> 00:37:24,440 debut the song we just played as I lay dying 687 00:37:24,480 --> 00:37:26,480 with me playing guitar excellent. 688 00:37:26,679 --> 00:37:27,559 Speaker 3: Right before they go on. 689 00:37:28,320 --> 00:37:31,639 Speaker 2: And then tomorrow Fox and Flamingos is playing eleven thirty 690 00:37:32,880 --> 00:37:35,039 in the middle of the Milford Oval for Pumpkin Fest. 691 00:37:35,159 --> 00:37:36,000 Speaker 3: Too excellent. 692 00:37:37,119 --> 00:37:39,840 Speaker 2: And then yeah, yeah, I mean keeping eye on my website, 693 00:37:39,840 --> 00:37:44,000 my website g Smith music dot com. I still have 694 00:37:44,079 --> 00:37:46,840 a lot of a lot of gigs coming up, you know, 695 00:37:47,000 --> 00:37:48,639 next week I'll be playing. 696 00:37:48,360 --> 00:37:48,960 Speaker 3: A Bad Burger. 697 00:37:49,039 --> 00:37:50,880 Speaker 2: We do a cool little jam there with the owner 698 00:37:51,320 --> 00:37:54,360 Ian and then I'll be up and I'm actually racing 699 00:37:54,400 --> 00:37:56,440 next weekend, so I'll be up in Claremont. 700 00:37:57,320 --> 00:37:59,559 Speaker 3: So I'm doing a gig while I'm racing on the weekend. 701 00:37:59,639 --> 00:38:02,719 So what do you mean you're you're racing? You I 702 00:38:02,840 --> 00:38:04,679 race hill climb like hill climb cars. 703 00:38:05,440 --> 00:38:07,880 Speaker 2: Yeah, so the bottom of a mountain access road up 704 00:38:07,880 --> 00:38:09,400 to the top like they do Mount Washington. 705 00:38:09,559 --> 00:38:12,000 Speaker 3: Oh wow. Yeah, there's a bunch of them throughout Vermont 706 00:38:12,159 --> 00:38:13,159 that that I do. 707 00:38:13,360 --> 00:38:16,119 Speaker 2: And I have an old two thousand and four Neon 708 00:38:16,280 --> 00:38:18,320 s R T four that's with a roll cage. 709 00:38:18,440 --> 00:38:21,440 Speaker 3: That's yeah, yeah, that's uh. I've been doing that for 710 00:38:21,480 --> 00:38:21,960 a few years. 711 00:38:22,000 --> 00:38:23,800 Speaker 2: I think you saw me probably one point when I 712 00:38:23,880 --> 00:38:26,440 was all broken when I was in when I was hobbling. 713 00:38:26,480 --> 00:38:28,639 Speaker 3: That was because I crashed one of my race cars. Yeah. 714 00:38:29,920 --> 00:38:32,960 But yeah, yeah, I love hill climbing. It's the best kidding. Yeah, 715 00:38:33,000 --> 00:38:34,559 this is scary. It sounds scary. 716 00:38:35,360 --> 00:38:37,840 Speaker 2: Yeah, I mean like, it took me a while to 717 00:38:37,880 --> 00:38:39,599 get into it. But I'm like, if you're racing on 718 00:38:39,639 --> 00:38:41,239 a road course, which I did before, I'm like if 719 00:38:41,280 --> 00:38:42,559 you hit a wall, it's not going to be fun. 720 00:38:42,599 --> 00:38:43,920 If you hit a tree, it's not gonna be fun. 721 00:38:43,920 --> 00:38:45,400 And then I mean I did hit a tree really 722 00:38:45,440 --> 00:38:48,119 bad and it definitely was less than less than fun. 723 00:38:48,239 --> 00:38:50,800 But I got back to it with any year because 724 00:38:50,800 --> 00:38:53,199 it's so fun. The community is so great and it's 725 00:38:53,239 --> 00:38:54,920 what every everyone in New England wants to do. Go 726 00:38:55,000 --> 00:38:57,800 as fast as you can on a back road, you know, 727 00:38:57,960 --> 00:38:59,920 with no no speed limits. It's just you know, it's 728 00:39:00,039 --> 00:39:02,360 with stee windy thirty turn road up the top of 729 00:39:02,400 --> 00:39:03,400 the road. 730 00:39:03,519 --> 00:39:07,559 Speaker 3: So it's a lot of fun. Wow, Ok, that's cool. 731 00:39:07,679 --> 00:39:08,159 That's cool. 732 00:39:08,599 --> 00:39:13,360 Speaker 1: All right, well we will we will close out with oh, 733 00:39:13,920 --> 00:39:16,599 actually the other thing too, not only what you're doing today, 734 00:39:16,639 --> 00:39:18,639 but let's make sure two people know the schedule for 735 00:39:18,760 --> 00:39:19,559 the album release. 736 00:39:19,840 --> 00:39:22,840 Speaker 2: Oh yeah, album release. Yeah, so fourteenth. You'll be able 737 00:39:22,880 --> 00:39:25,400 to download it, stream it on band camp. You can 738 00:39:25,480 --> 00:39:29,960 pre order the vinyls, you can order shirts like. 739 00:39:30,440 --> 00:39:31,400 Speaker 3: You got we had those. 740 00:39:31,599 --> 00:39:34,039 Speaker 2: I'm actually gonna have guitar picks coming in again for 741 00:39:34,159 --> 00:39:36,920 my nerdy friends. And then the twenty eighth the album 742 00:39:36,960 --> 00:39:40,360 will be out on all the other streaming services. Obviously, 743 00:39:40,480 --> 00:39:42,480 band Camp is a little bit nicer to musicians, So 744 00:39:42,559 --> 00:39:45,280 anyone who would like to support us through that is 745 00:39:45,400 --> 00:39:48,559 definitely appreciated. But it'll be on all the you know, 746 00:39:48,599 --> 00:39:51,239 Spotify's and apples of the world on the twenty eighth. 747 00:39:52,480 --> 00:39:54,960 Speaker 3: Yeah, okay, Yeah, the vinyls should. 748 00:39:54,760 --> 00:39:57,400 Speaker 2: Be here by the end of the year, pending things 749 00:39:57,480 --> 00:40:00,639 with Vinyl, but it's gonna be some cool one hundred 750 00:40:00,639 --> 00:40:03,840 and eighty gram clear vinyl for the first first hundred pressings. 751 00:40:04,000 --> 00:40:06,599 Speaker 3: Nice. Yeah, I'm a vinyl nerd. I have been. I 752 00:40:06,679 --> 00:40:09,119 worked at Tweeter back in the day. Yeah yeah, so 753 00:40:09,480 --> 00:40:13,519 I'm I gotta gotta do it right, I think if 754 00:40:13,519 --> 00:40:14,199 I'm not mistaken. 755 00:40:14,239 --> 00:40:16,039 Speaker 1: Twenty twenty two was the first year of the vinyl 756 00:40:16,079 --> 00:40:19,679 actually old c Yeah, yep, long time coming. 757 00:40:19,800 --> 00:40:22,719 Speaker 3: Yeah, there you go, there you go. Gary Smith. Always 758 00:40:22,760 --> 00:40:24,199 wonderful to have you here, my friend. Thank you for 759 00:40:24,280 --> 00:40:24,519 having me. 760 00:40:24,559 --> 00:40:27,719 Speaker 1: I appreciate it absolutely, and congratulations on the album and 761 00:40:28,039 --> 00:40:28,880 everything that you're doing.