1 00:00:00,440 --> 00:00:02,640 Speaker 1: We do have some great guests today on the show, 2 00:00:02,640 --> 00:00:04,839 as I mentioned, and we're going to open with and 3 00:00:04,839 --> 00:00:07,200 I'm going to bring uh, bring her MIC's up there, 4 00:00:07,639 --> 00:00:09,880 so Je, let's see if I can do this. Jennifer 5 00:00:10,960 --> 00:00:13,439 Hausin Chuck good job, is that right? 6 00:00:13,599 --> 00:00:13,759 Speaker 2: Yes? 7 00:00:13,880 --> 00:00:17,359 Speaker 1: Okay, good yes? Also known as neon Gypsy. Correct or 8 00:00:17,440 --> 00:00:18,960 is neon Gypsy the name of the band? Or are 9 00:00:19,000 --> 00:00:20,000 you the neon Gypsy? 10 00:00:20,440 --> 00:00:24,760 Speaker 3: It can be either or really because you know, we're 11 00:00:24,760 --> 00:00:27,320 trying to just bring the brand wherever we go, so 12 00:00:27,559 --> 00:00:30,559 whether whether it's me, you know, solo or sometimes it's 13 00:00:30,559 --> 00:00:33,240 different projects, so it always stays Neon Gypsy, just for 14 00:00:33,280 --> 00:00:34,560 a little bit of consistency. 15 00:00:34,560 --> 00:00:38,159 Speaker 1: Sure. Sure, And we're going to be playing in a 16 00:00:38,200 --> 00:00:41,880 moment studio track that you recently. This was this just 17 00:00:41,920 --> 00:00:45,079 came out right, your rendition of Ron Rudolph front right. 18 00:00:45,119 --> 00:00:47,240 Speaker 3: Well, we actually recorded it last year, but it was 19 00:00:47,280 --> 00:00:49,280 a really last minute thing and it didn't get any 20 00:00:49,320 --> 00:00:52,000 airtime because it was just it was too close to Christmas. 21 00:00:52,079 --> 00:00:54,280 So this is really the debut of it for sure. 22 00:00:54,439 --> 00:00:56,640 Speaker 2: Oh very good. So that this has not been played 23 00:00:56,640 --> 00:00:56,880 on the. 24 00:00:56,840 --> 00:01:00,159 Speaker 1: Radio before, no, not really, So this is the world 25 00:01:00,280 --> 00:01:02,920 radio premiere. It really is we like those here we 26 00:01:03,000 --> 00:01:04,519 like to do the world radio premiere is. 27 00:01:04,560 --> 00:01:06,599 Speaker 3: Happening right here in Manchester. 28 00:01:06,959 --> 00:01:09,599 Speaker 2: That that is fantastic. No, we appreciate that. 29 00:01:10,359 --> 00:01:13,680 Speaker 1: By the way, I learned something so I mentioned this 30 00:01:13,760 --> 00:01:18,480 too yesterday or no, yesterday, yeah, yesterday, when I posted 31 00:01:18,519 --> 00:01:20,319 a quick preview video about today's show. 32 00:01:21,000 --> 00:01:23,000 Speaker 2: All my life, I thought the name of the song 33 00:01:23,079 --> 00:01:24,439 was run Round Rudolph. 34 00:01:24,079 --> 00:01:26,719 Speaker 3: Exactly, me too, yes, And it was a real tongue 35 00:01:26,760 --> 00:01:29,359 twister when I was trying to do the lyrics because 36 00:01:29,400 --> 00:01:30,959 all my life that's what I thought it was too, 37 00:01:31,079 --> 00:01:33,760 so I had to undo it many times. 38 00:01:34,640 --> 00:01:36,040 Speaker 4: But yeah, yeah, I just. 39 00:01:36,079 --> 00:01:36,799 Speaker 3: Learned that as well. 40 00:01:36,879 --> 00:01:37,840 Speaker 2: Where did you record this? 41 00:01:38,480 --> 00:01:41,920 Speaker 3: We recorded at Studio fifty one, which is our home studio. 42 00:01:42,480 --> 00:01:44,519 After COVID a lot of people started to go, you 43 00:01:44,560 --> 00:01:47,200 know and get in their own studios, so we're finally 44 00:01:47,200 --> 00:01:49,319 set up with all the equipment we need and we 45 00:01:49,359 --> 00:01:50,920 recorded it right in Portland, Maine. 46 00:01:51,239 --> 00:01:53,840 Speaker 1: By the way, for those you brought stickers, I'm gonna 47 00:01:54,879 --> 00:01:57,200 puld these up in front of the camera here that's 48 00:01:57,200 --> 00:01:59,599 in front of me for people watching online, so we 49 00:01:59,599 --> 00:02:01,879 should too, and Jenny will be excited. 50 00:02:01,920 --> 00:02:02,680 Speaker 2: She loves stickers. 51 00:02:03,560 --> 00:02:05,359 Speaker 1: Here's the uh we get that right in front of 52 00:02:05,400 --> 00:02:08,400 the camera Studio fifty one sticker. So you were just 53 00:02:08,400 --> 00:02:11,039 talking about Studio fifty one and the school neon gypsy 54 00:02:11,080 --> 00:02:11,599 sticker too. 55 00:02:11,840 --> 00:02:14,120 Speaker 2: I love the logo. Who designed the logo? Did you 56 00:02:14,159 --> 00:02:14,360 do that? 57 00:02:14,520 --> 00:02:15,000 Speaker 5: Or yeah? 58 00:02:15,000 --> 00:02:17,759 Speaker 3: I'm a graphic designers. That's one of the renditions. But 59 00:02:17,840 --> 00:02:20,520 really they're holographic and sparkly. We'll make sure to get 60 00:02:20,520 --> 00:02:20,960 you those. 61 00:02:21,360 --> 00:02:23,199 Speaker 2: Yeah, yeah, no, that's cool though, I dig it. 62 00:02:23,479 --> 00:02:24,080 Speaker 4: Yeah, thank you. 63 00:02:24,479 --> 00:02:27,080 Speaker 1: So, So this track, so you recorded this at Studio 64 00:02:27,120 --> 00:02:28,800 fifty one, Yes, okay. 65 00:02:28,599 --> 00:02:29,840 Speaker 3: Yeah, yeah. 66 00:02:30,080 --> 00:02:31,840 Speaker 2: Do you record other artists there too or is it 67 00:02:32,280 --> 00:02:33,719 just your material for that Now. 68 00:02:33,840 --> 00:02:36,120 Speaker 3: We're opening it up to other artists as well, so, 69 00:02:36,919 --> 00:02:40,000 and we're thinking about doing some collaborations as well too, 70 00:02:40,199 --> 00:02:43,080 just for the fun of it, because sometimes the music 71 00:02:43,120 --> 00:02:46,000 industry gets a little stressful when you're just trying to 72 00:02:46,000 --> 00:02:49,280 get out there, whether you're getting out to just play 73 00:02:49,319 --> 00:02:51,840 and get paid or whether you're just you know, trying 74 00:02:51,840 --> 00:02:54,879 to get your stuff out there. Yeah, I really need 75 00:02:54,879 --> 00:02:56,840 to keep the fun in it and the collaboration. So 76 00:02:56,919 --> 00:02:59,800 we'll be having different artists from the area come in. 77 00:03:00,080 --> 00:03:04,039 We're just going to do different collaborations with originals outstanding 78 00:03:04,080 --> 00:03:06,360 and some covers to but yeah, very cool. 79 00:03:06,520 --> 00:03:08,680 Speaker 1: Well, so for anyone who's interested in recording there, this 80 00:03:08,680 --> 00:03:11,960 will kind of give you an idea of what kind 81 00:03:11,960 --> 00:03:14,520 of a sound you can get. And let's give this 82 00:03:14,560 --> 00:03:16,960 a spin and then we'll come back and Jennifer is 83 00:03:16,960 --> 00:03:18,680 going to play for us today too. She brought her guitar, 84 00:03:18,719 --> 00:03:19,719 so really looking forward to that. 85 00:03:19,759 --> 00:03:20,560 Speaker 2: But here it is. 86 00:03:20,599 --> 00:03:23,800 Speaker 1: This is run Rudolph Run as I now know the 87 00:03:23,840 --> 00:03:27,080 correct the correct name of this classic song. 88 00:03:27,719 --> 00:03:29,280 Speaker 2: Chuck Berry did this originally correct? 89 00:03:29,360 --> 00:03:31,479 Speaker 3: Yeah, and it was written in nineteen fifty eight, nineteen 90 00:03:31,560 --> 00:03:34,319 fifty eight, So that's that's why we have that title 91 00:03:34,439 --> 00:03:36,680 stuck in our head. Yes, if you weren't born, then 92 00:03:36,960 --> 00:03:38,439 you do it all your life? 93 00:03:38,479 --> 00:03:41,360 Speaker 2: Has that exactly exactly all right? 94 00:03:41,400 --> 00:04:16,959 Speaker 1: Here it is Run Rudolf Run Eon Gipsy. 95 00:04:05,800 --> 00:04:08,960 Speaker 5: Run, Don Rude All Santa, do they get to town. 96 00:04:11,120 --> 00:04:16,959 Speaker 6: Santa Magame, hurry down the can take the freeway, Run 97 00:04:17,040 --> 00:04:22,399 Don Rudolf being a lercal run Okay, yeah, saying Santa, 98 00:04:22,480 --> 00:04:23,439 do you don't at child? 99 00:04:23,519 --> 00:04:24,759 Speaker 7: What have you been longing for? 100 00:04:27,519 --> 00:04:27,560 Speaker 8: No? 101 00:04:27,759 --> 00:04:32,800 Speaker 9: I'm for Christmas is a rocking ball lectric guitar n 102 00:04:32,959 --> 00:04:35,759 away when boodof w isn't that got shooting star? 103 00:04:38,519 --> 00:04:41,680 Speaker 5: Run roun Boudoll Santa? Do I get to child. 104 00:04:43,839 --> 00:04:44,160 Speaker 10: Santa? 105 00:04:44,279 --> 00:04:45,160 Speaker 11: Take him hurry down. 106 00:04:45,199 --> 00:04:46,399 Speaker 6: I'm he can take the freeway. 107 00:04:46,800 --> 00:04:55,600 Speaker 9: Hour run down boodof Beleric Right, okay, run run. 108 00:04:55,560 --> 00:05:01,199 Speaker 5: Rude all Santa, don't I get to child? Sign make ahead? 109 00:05:01,319 --> 00:05:02,800 Speaker 12: Tell him he can take the freeway. 110 00:05:02,959 --> 00:05:08,279 Speaker 9: Now, run don budda reel like America? 111 00:05:08,439 --> 00:05:28,839 Speaker 7: Round Okay, saying saying that to you, my girl child, 112 00:05:28,959 --> 00:05:29,560 what would please you? 113 00:05:29,680 --> 00:05:30,480 Speaker 5: Wants to get. 114 00:05:32,839 --> 00:05:36,079 Speaker 9: A little baby doll that can grass, sleep, drink and whet. 115 00:05:38,120 --> 00:05:38,639 Speaker 10: The way. 116 00:05:38,800 --> 00:05:41,519 Speaker 7: Win brudof Wizar like a saber chet. 117 00:05:43,959 --> 00:05:46,160 Speaker 5: Run don rudof Santa go, I'm man. 118 00:05:46,240 --> 00:05:51,000 Speaker 6: Get your time, Shad, make a ryn im he can 119 00:05:51,120 --> 00:05:55,319 take the freeway down, run. 120 00:05:55,240 --> 00:06:32,720 Speaker 5: Down bud off feeling like America? Right, okay, t. 121 00:06:46,000 --> 00:06:48,279 Speaker 2: Run Rudolph run. That is Leon Gipsy. 122 00:06:48,519 --> 00:06:52,879 Speaker 1: That is a brand new and uh yeah, Jennifer, we 123 00:06:52,959 --> 00:06:56,839 were talking kind of off air. You're gonna be recording 124 00:06:56,920 --> 00:06:59,120 more at the at Studio fifty one. You've got a 125 00:06:59,120 --> 00:07:00,279 bunch of originals you're going to. 126 00:07:00,279 --> 00:07:02,079 Speaker 4: Be doing right right. Yeah. 127 00:07:02,120 --> 00:07:05,000 Speaker 3: Some of the songs actually are thirty years old when 128 00:07:05,040 --> 00:07:06,680 I wrote them, I put them in a book, close 129 00:07:06,759 --> 00:07:10,399 a book, put it away forever, and then resurface them, 130 00:07:10,480 --> 00:07:13,879 and I actually still really liked them. We just upgraded 131 00:07:13,920 --> 00:07:16,879 the music, but we've got about five to seven that 132 00:07:16,959 --> 00:07:20,120 are literally waiting for me to get in the studio. 133 00:07:20,800 --> 00:07:23,319 Brian did all his parts, and it's all on me 134 00:07:23,439 --> 00:07:26,639 to get down there with vocals and recording the guitar, 135 00:07:26,720 --> 00:07:29,279 and it's going to be all rock. So there's when 136 00:07:29,319 --> 00:07:31,959 I play out, it's acoustic. But I really wanted to 137 00:07:32,000 --> 00:07:36,000 bring the rock portion into playing because I love that aspect. 138 00:07:37,120 --> 00:07:39,040 But more often than not, if I'm playing out, I 139 00:07:39,120 --> 00:07:39,800 play acoustic. 140 00:07:40,120 --> 00:07:43,639 Speaker 1: Oh okay, okay, So do you do a lot of 141 00:07:43,720 --> 00:07:46,040 shows just you? Or does Brian join you for the 142 00:07:46,120 --> 00:07:46,959 acoustic shows. 143 00:07:47,480 --> 00:07:52,079 Speaker 3: This is relatively new with taking a different approach to 144 00:07:52,160 --> 00:07:54,120 a band. I've been in a lot of renditions of 145 00:07:54,240 --> 00:07:58,000 bands before, and what I've ended up finding is that, 146 00:07:58,120 --> 00:08:01,519 of course, you know, bands are family. You know, sometimes 147 00:08:01,560 --> 00:08:05,319 it works, sometimes it doesn't. Dynamics are you know, always 148 00:08:05,639 --> 00:08:08,639 very tricky, and everyone that comes into a band brings 149 00:08:08,720 --> 00:08:13,759 their own style and or flavor, and you know, it 150 00:08:13,920 --> 00:08:17,439 worked on different variety of levels. But I really wanted 151 00:08:17,480 --> 00:08:21,399 to refocus and have it be Neon Gypsy brand of 152 00:08:21,519 --> 00:08:23,519 what we're bringing out there. So we're doing it a 153 00:08:23,560 --> 00:08:25,920 little different this time. And instead of saying, dude, I 154 00:08:26,000 --> 00:08:28,439 want to start a band and then you like Noah 155 00:08:28,480 --> 00:08:30,519 drummer and you pull people in that you just know, 156 00:08:31,439 --> 00:08:34,679 what we're doing is we're creating the brand, the sound, 157 00:08:36,000 --> 00:08:41,320 the music ourselves in studio and then we're putting the 158 00:08:41,399 --> 00:08:44,600 brand out there and hopefully what people do musicians as 159 00:08:44,639 --> 00:08:47,720 they say, wow, I love that sound, I love that feel, 160 00:08:48,200 --> 00:08:50,480 and when they come into the project, they're bringing that 161 00:08:50,679 --> 00:08:54,039 particular vibe so that we're not changing, you know, like 162 00:08:54,159 --> 00:08:57,279 coming in and you know, sounding like Greg Almonds because 163 00:08:57,320 --> 00:08:59,480 of some dude that comes in that likes Greg Almonds, 164 00:08:59,519 --> 00:09:02,440 you know, or you know what I mean. Yeah, So 165 00:09:02,519 --> 00:09:04,720 we're doing it a little bit differently and we're attracting 166 00:09:04,759 --> 00:09:07,559 the musicians that we feel fit the actual brand. 167 00:09:07,799 --> 00:09:11,639 Speaker 1: Yeah yeah, well, because yeah, you want to attract obviously, 168 00:09:11,799 --> 00:09:14,159 not not only musicians for the band, but for the 169 00:09:14,399 --> 00:09:16,440 for the studio too. You want people to come and record, 170 00:09:16,480 --> 00:09:19,759 I assume so right yeah, yeah, and uh yeah no 171 00:09:19,960 --> 00:09:23,200 uh run Rudolph runs. It sounds great, is it? 172 00:09:23,360 --> 00:09:23,679 Speaker 13: Just now? 173 00:09:23,759 --> 00:09:23,879 Speaker 12: Who? 174 00:09:24,559 --> 00:09:27,240 Speaker 2: So do you have Is it just you and Brian 175 00:09:27,320 --> 00:09:29,200 on the track or are there other musicians who play 176 00:09:29,200 --> 00:09:29,639 on the track. 177 00:09:30,120 --> 00:09:32,320 Speaker 3: On that particular one, we had Keoni Ben come in, 178 00:09:33,120 --> 00:09:36,200 a musician that is a bass player that we knew, Okay, 179 00:09:36,600 --> 00:09:40,320 so he did play bass on that And as far 180 00:09:40,399 --> 00:09:43,200 as that goes, Rick Ash is a drummer in the 181 00:09:43,320 --> 00:09:45,360 area who will come in and play with. 182 00:09:45,480 --> 00:09:45,960 Speaker 4: Us as well. 183 00:09:46,120 --> 00:09:46,440 Speaker 2: Okay. 184 00:09:47,200 --> 00:09:50,080 Speaker 3: So yeah, we definitely, you know, we'll bring in people 185 00:09:50,120 --> 00:09:53,159 for bass and drums and the instruments that obviously we're 186 00:09:53,240 --> 00:09:56,639 not playing. Yeah, for some of the recorded originals that 187 00:09:56,720 --> 00:09:59,240 are coming out, we actually hired somebody in Africa who 188 00:09:59,320 --> 00:10:02,240 did all the percus because they can they can mike 189 00:10:02,440 --> 00:10:06,440 every single you know, you know, drum on their on 190 00:10:06,600 --> 00:10:10,000 their you know sound. Yeah, and you know, and then 191 00:10:10,080 --> 00:10:13,159 obviously when we're playing local we'll pull in local musicians. 192 00:10:13,960 --> 00:10:16,759 Speaker 1: So it's amazing too. This is a subject that comes 193 00:10:16,840 --> 00:10:18,399 up on the show a lot. It's amazing to live 194 00:10:18,440 --> 00:10:20,960 in a time where you can do, like what you 195 00:10:21,080 --> 00:10:23,600 just said, like work with somebody in Africa, you know, 196 00:10:23,720 --> 00:10:25,159 and send tracks back and forth. 197 00:10:25,240 --> 00:10:29,120 Speaker 2: And and I also think, you know, I you refer to. 198 00:10:29,120 --> 00:10:31,480 Speaker 1: The pandemic earlier and how that, you know, kind of 199 00:10:31,919 --> 00:10:36,679 changes the dynamics of things. Obviously, it was a terrible experience, 200 00:10:36,879 --> 00:10:39,360 the pandemic, but you know, we have to find these 201 00:10:39,360 --> 00:10:40,840 silver linings where we can, and I think one of 202 00:10:40,879 --> 00:10:43,399 the few silver linings is it really kind of forced 203 00:10:43,840 --> 00:10:46,559 a lot of creative people to find new ways to create. 204 00:10:47,360 --> 00:10:52,879 And obviously the ability to you know, send tracks back 205 00:10:52,960 --> 00:10:54,679 and forth with people in other parts of the world, 206 00:10:54,919 --> 00:10:57,039 We've had that for a long time. But I think 207 00:10:57,080 --> 00:10:59,320 when the pandemic showed up, it kind of forced people 208 00:10:59,320 --> 00:11:01,840 who maybe were resistant to doing that to try it. 209 00:11:02,679 --> 00:11:05,200 And it opened up new ways to be creative that 210 00:11:05,279 --> 00:11:08,000 maybe people hadn't considered before, you know, and I think 211 00:11:08,120 --> 00:11:11,519 I think now musicians are much more open to that, 212 00:11:11,799 --> 00:11:13,759 and and being able to that was pretty cool, right, 213 00:11:13,840 --> 00:11:14,799 being able to collaborate with. 214 00:11:14,840 --> 00:11:15,639 Speaker 2: Somebody on Africa. 215 00:11:16,080 --> 00:11:16,480 Speaker 7: Yeah, you know. 216 00:11:16,919 --> 00:11:20,639 Speaker 3: Yeah, And you know, creativity should not be limited by money, 217 00:11:20,840 --> 00:11:22,960 and it was for me for for decades. 218 00:11:23,039 --> 00:11:23,159 Speaker 14: You know. 219 00:11:23,200 --> 00:11:26,639 Speaker 3: I started playing and singing in bands and getting creative, 220 00:11:27,600 --> 00:11:29,639 you know, in high school and back then it was 221 00:11:29,679 --> 00:11:32,320 four tracks and those are relatively you know, easy to 222 00:11:32,759 --> 00:11:34,320 get and just noodle around with the. 223 00:11:34,519 --> 00:11:37,799 Speaker 2: Creative fuel task him. Yeah, I had one, you know, 224 00:11:39,279 --> 00:11:40,080 and we had. 225 00:11:40,240 --> 00:11:42,799 Speaker 3: I've always had a home studio, and you know, just 226 00:11:43,039 --> 00:11:46,399 getting the creative idea out there and on back then tape, 227 00:11:47,639 --> 00:11:50,480 you know, kept the creative floak going and it made 228 00:11:50,519 --> 00:11:51,919 me feel like, well, this is why I want to 229 00:11:51,960 --> 00:11:54,000 do it, and kept the passion in it, you know, 230 00:11:54,120 --> 00:11:57,639 the moment that I couldn't access that anymore, or maybe 231 00:11:57,759 --> 00:12:00,320 it got beyond technology that I could even really want 232 00:12:00,399 --> 00:12:04,679 to deal with, Yeah, is you know it should it 233 00:12:04,720 --> 00:12:07,440 should be something that all musicians can access. And I 234 00:12:07,559 --> 00:12:10,519 think that home studios do that for people. And honestly, 235 00:12:10,639 --> 00:12:13,279 I think at this point people don't have to spend 236 00:12:14,000 --> 00:12:17,080 you know, thousands of dollars to get a great track, 237 00:12:17,840 --> 00:12:21,600 and you honestly, I mean, I'm okay with not having 238 00:12:21,600 --> 00:12:24,360 a big name on on our tracks, yeah, you know, yeah, 239 00:12:25,159 --> 00:12:27,879 and totally fine with, uh with doing it at home. 240 00:12:28,000 --> 00:12:31,039 Speaker 2: So yeah, yeah, do you want to do you want 241 00:12:31,039 --> 00:12:33,279 to play? So I'm dying to hear you play live? Yeah, 242 00:12:33,480 --> 00:12:34,120 yeah we did. 243 00:12:34,240 --> 00:12:37,039 Speaker 1: Uh we did a little sound check before the When 244 00:12:37,080 --> 00:12:38,759 you're the first guest on the show in the morning, 245 00:12:38,759 --> 00:12:42,639 you actually get a sound check, and uh, you sound 246 00:12:42,720 --> 00:12:44,480 you sounded amazing. Just a little bit that I heard, 247 00:12:44,519 --> 00:12:46,639 so I'm really looking forward to this. If you are 248 00:12:46,799 --> 00:12:50,200 just joining us, neon gipsy here with us live in 249 00:12:50,320 --> 00:12:53,320 studio on this Saturday. 250 00:12:52,879 --> 00:12:55,399 Speaker 2: Morning, this cold Saturday morning. So what are you going 251 00:12:55,440 --> 00:12:56,000 to play for us? 252 00:12:56,679 --> 00:12:56,840 Speaker 13: Well? 253 00:12:56,879 --> 00:12:57,960 Speaker 4: I got some originals for you. 254 00:12:58,120 --> 00:13:01,440 Speaker 3: This is okay, this is let's start with come on Up. 255 00:13:01,480 --> 00:13:03,000 I guess le's see if I can get my fingers 256 00:13:03,039 --> 00:13:04,559 work in it's freezing outside. 257 00:13:04,840 --> 00:13:07,200 Speaker 10: What is it like to like? 258 00:13:07,440 --> 00:13:10,240 Speaker 2: Yeah, it feels like it's a cold morning. Yeah. 259 00:13:10,279 --> 00:13:12,519 Speaker 3: This one's called come on Up. We're recording this one 260 00:13:12,559 --> 00:13:14,480 in studio, full rock version. 261 00:13:15,159 --> 00:13:15,440 Speaker 2: Okay. 262 00:13:15,519 --> 00:13:18,600 Speaker 3: So anytime I play an acoustic I always picture a 263 00:13:18,720 --> 00:13:21,279 full rock band in the back in in in my mind. 264 00:13:21,480 --> 00:13:23,639 So I'm playing as a rock star on I call 265 00:13:23,720 --> 00:13:24,879 it my axe acoustic. 266 00:13:25,080 --> 00:13:25,399 Speaker 2: Okay. 267 00:13:26,519 --> 00:13:29,000 Speaker 3: So this is called come on Up? 268 00:13:29,120 --> 00:13:29,480 Speaker 2: All right? 269 00:13:46,960 --> 00:13:55,559 Speaker 12: Not on need drag noted small one, not need. 270 00:13:58,159 --> 00:14:00,120 Speaker 10: Just need it agam in and. 271 00:14:00,360 --> 00:14:12,039 Speaker 12: Look oum up either. He don't need much need you 272 00:14:12,320 --> 00:14:12,879 to come on. 273 00:14:21,960 --> 00:14:22,080 Speaker 15: Now? 274 00:14:22,159 --> 00:14:23,720 Speaker 12: Don't need a baby you. 275 00:14:25,840 --> 00:14:31,720 Speaker 10: Turn the TV. Oh no, don't need to Gossie show. 276 00:14:33,200 --> 00:14:35,639 Speaker 16: Don't need you again in the loove? 277 00:14:36,720 --> 00:14:37,559 Speaker 10: Hom up. 278 00:14:39,159 --> 00:14:58,000 Speaker 15: Yeah loo. 279 00:15:00,120 --> 00:15:34,240 Speaker 12: Oh, come on, I don't need a diamond. 280 00:15:36,759 --> 00:15:43,240 Speaker 10: No full length. First, No, don't need to go up ten. 281 00:15:43,159 --> 00:15:46,440 Speaker 13: In and I don't need you, don't hold up many doors, 282 00:15:47,000 --> 00:16:00,360 come on up, don't. 283 00:15:56,000 --> 00:16:00,679 Speaker 17: Need much, need you trying to come on, don't much. 284 00:16:01,840 --> 00:16:09,000 Jenna coma much, Jenna coma. 285 00:16:20,120 --> 00:16:21,879 Speaker 5: Big rock finish baby. 286 00:16:24,480 --> 00:16:24,879 Speaker 7: I love it. 287 00:16:25,000 --> 00:16:25,399 Speaker 11: I love it. 288 00:16:25,799 --> 00:16:28,039 Speaker 1: If you are just joining us, Neon Gypsy is there 289 00:16:28,120 --> 00:16:32,120 with us alive in studio, and that's that's great. 290 00:16:33,480 --> 00:16:33,679 Speaker 5: Yeah. 291 00:16:33,840 --> 00:16:34,919 Speaker 2: Is everything kind of high. 292 00:16:34,840 --> 00:16:36,080 Speaker 4: Energy that that you do or. 293 00:16:37,679 --> 00:16:38,240 Speaker 10: A lot of it. 294 00:16:39,960 --> 00:16:43,960 Speaker 3: Or and or as high energy as it is dynamic? Yes, 295 00:16:45,320 --> 00:16:46,679 dynamics or high energy. 296 00:16:46,960 --> 00:16:49,159 Speaker 2: Yeah. 297 00:16:49,440 --> 00:16:53,000 Speaker 3: So I have a slower, slower song where you know, 298 00:16:53,080 --> 00:16:55,039 the bridge kind of just kicks up and when we 299 00:16:55,159 --> 00:16:58,320 get that recorded full band, it'll just be like a 300 00:16:58,440 --> 00:17:01,320 wall of sound. Yeah, the bridge, you know, and then 301 00:17:01,399 --> 00:17:03,960 comes back down. So yeah, dynamics. 302 00:17:04,160 --> 00:17:07,000 Speaker 2: Yeah, yeah. Now are you the primary songwriter? Do you 303 00:17:07,079 --> 00:17:07,599 write everything? 304 00:17:07,720 --> 00:17:14,559 Speaker 3: Or actually, Brian my guitarist, my you are. 305 00:17:14,599 --> 00:17:19,799 Speaker 1: Mine, the mysterious Brian right, he's over there, he's over 306 00:17:19,839 --> 00:17:20,359 there on the corner. 307 00:17:20,440 --> 00:17:26,000 Speaker 3: Yeah, Brian writes a lot of cool stuff on electric guitar, 308 00:17:26,240 --> 00:17:29,160 lead riffs and stuff, and then I'll write the lyrics. 309 00:17:29,400 --> 00:17:35,039 Usually I wrote this song music lyrics, and so you know, 310 00:17:35,160 --> 00:17:37,200 it's it's kind of a give or take really, yeah, 311 00:17:38,319 --> 00:17:41,000 or collaboration. But the songs I have here today I 312 00:17:41,079 --> 00:17:43,839 wrote and lyrics and the music. 313 00:17:43,799 --> 00:17:48,519 Speaker 2: Yeah, yeah, excellent. Do you have how many? How many 314 00:17:48,599 --> 00:17:50,119 songs have you written? Do you think? 315 00:17:50,200 --> 00:17:51,759 Speaker 1: Like it's probably hard to put a number on it, 316 00:17:51,839 --> 00:17:53,680 But I mean you strike me as someone who probably 317 00:17:53,720 --> 00:17:55,319 has written a lot. You probably write a lot? 318 00:17:56,799 --> 00:17:59,880 Speaker 2: Like ever yeah, like like like can you put a number, 319 00:18:00,799 --> 00:18:03,359 like a vaguely probably. 320 00:18:04,160 --> 00:18:05,240 Speaker 3: I was one of those kids. 321 00:18:05,480 --> 00:18:05,720 Speaker 13: I was. 322 00:18:05,880 --> 00:18:08,799 Speaker 3: I was not cool. I'm still I'm still reaching for 323 00:18:08,920 --> 00:18:11,359 that goal. But I was one of those kids that's 324 00:18:11,440 --> 00:18:14,039 you know, in grade school high school, sat in my 325 00:18:14,160 --> 00:18:16,400 room with a notebook and I pined over my pen 326 00:18:16,519 --> 00:18:21,559 and paper, writing mostly lyrics what I thought was poetry, 327 00:18:22,160 --> 00:18:26,079 and the saddest day of my life was my absolute 328 00:18:26,240 --> 00:18:29,920 favorite high school poetry teacher looked at the stuff I 329 00:18:30,039 --> 00:18:32,319 was bringing in. He said, you know, you make a 330 00:18:32,640 --> 00:18:36,920 you make a really great lyric writer. And I was insulted. Really, 331 00:18:37,079 --> 00:18:39,480 I was insulted at the time because I had not 332 00:18:39,680 --> 00:18:43,440 started playing music and I wanted to be a poet, 333 00:18:44,039 --> 00:18:47,359 and so I went in with all my writings and toils, 334 00:18:47,640 --> 00:18:51,200 you know, on wielding my pen and came in I'll 335 00:18:51,279 --> 00:18:54,839 emo and he's like, you know, and I was really 336 00:18:54,880 --> 00:18:57,799 offended at that point. And then I started playing a guitar. 337 00:18:58,440 --> 00:19:01,319 So you know, I probably have hundreds of songs, but 338 00:19:01,440 --> 00:19:03,680 it's like a sketch. You know, not every sketch is 339 00:19:03,720 --> 00:19:06,599 going to be great, sure, but you know you can 340 00:19:06,680 --> 00:19:10,160 pull pieces of those here and there, smash things together, 341 00:19:10,519 --> 00:19:13,359 you know, scratch it whatever. But that song that I 342 00:19:13,559 --> 00:19:17,680 just sang, I wrote, put in a book, closed the book, 343 00:19:18,119 --> 00:19:21,079 and then packed the book away and then didn't open. 344 00:19:20,920 --> 00:19:22,680 Speaker 2: It for twenty years, kidding. 345 00:19:22,880 --> 00:19:28,839 Speaker 3: So that song's actually thirty years old, which is dating myself. Yeah, 346 00:19:29,200 --> 00:19:30,839 so that was resurrected. 347 00:19:31,359 --> 00:19:35,720 Speaker 2: Do you remember the first song you ever wrote, actually, one. 348 00:19:35,680 --> 00:19:38,799 Speaker 3: Of the first songs I ever did write I can 349 00:19:38,960 --> 00:19:42,240 play today called Fifth Dimension kidding, Yeah, And I wrote 350 00:19:42,279 --> 00:19:45,119 that in high school, you know, sitting on my bed, 351 00:19:45,240 --> 00:19:47,680 like I said, toiling and writing poet. It was poetry 352 00:19:47,960 --> 00:19:52,720 at the time, and that's also resurfaced. And the thing 353 00:19:52,799 --> 00:19:55,200 that's changed about that is the music the way I 354 00:19:55,319 --> 00:19:59,359 played it, not so much the chords, but the playing 355 00:19:59,440 --> 00:19:59,960 has changed. 356 00:20:00,400 --> 00:20:00,559 Speaker 11: Yea. 357 00:20:01,839 --> 00:20:06,799 Speaker 3: And that one is, yeah, that one just keeps I figure, 358 00:20:06,799 --> 00:20:09,799 if songs keep resurfacing, then they must be worth something, 359 00:20:10,359 --> 00:20:13,240 you know, to me at least, right, you know, So 360 00:20:13,400 --> 00:20:15,079 those those are the ones that resurface. 361 00:20:15,200 --> 00:20:18,640 Speaker 2: But yeah, that's pretty cool. It's something that you wrote 362 00:20:18,720 --> 00:20:23,319 so early. You know that it survives, you know, right, Yeah. 363 00:20:23,240 --> 00:20:23,839 Speaker 10: Well I wrote it. 364 00:20:24,960 --> 00:20:27,519 Speaker 3: My aunt got me an old k guitar at a 365 00:20:28,519 --> 00:20:31,279 just a thrift shop somewhere for like twenty bucks, and 366 00:20:31,680 --> 00:20:35,039 you needed tetanna shots to you know, even play the strings. 367 00:20:35,079 --> 00:20:37,359 You know, the strings had never been changed. But I 368 00:20:37,559 --> 00:20:40,359 was around music all of my life. So my grandparents, 369 00:20:40,680 --> 00:20:46,000 you know, everyone in our family Germans, Pollockx Ukrainians, they 370 00:20:46,039 --> 00:20:48,119 all played music and it didn't matter what it was, 371 00:20:48,160 --> 00:20:52,440 whether it was the harmonica, the guitar, banjo, you know, 372 00:20:52,559 --> 00:20:55,920 whatever poke music. So we were surrounded by it, but 373 00:20:56,039 --> 00:20:59,319 we never really called ourselves musicians. It was just part 374 00:20:59,359 --> 00:21:02,640 of what we did to celebrate and have fun. So 375 00:21:02,759 --> 00:21:06,279 I've always seen my my grandfather playing guitar, but he 376 00:21:06,440 --> 00:21:10,000 didn't really know chords, you know. He would to just 377 00:21:10,119 --> 00:21:12,559 kind of tune the guitar to an open tuning and 378 00:21:12,720 --> 00:21:15,000 pluck away at it. And so I learned how to 379 00:21:15,519 --> 00:21:18,799 play without knowing what chords I was playing, and often 380 00:21:19,000 --> 00:21:22,160 just play by sound, you know, or he you know, 381 00:21:22,240 --> 00:21:26,119 hearing what I'm doing. So I wrote that particular song 382 00:21:26,200 --> 00:21:31,559 that we're talking about not knowing chords, OK, And I 383 00:21:31,680 --> 00:21:36,759 still don't. And that's why I always say I'm not 384 00:21:36,839 --> 00:21:39,039 really you know, I'm not really a quote musician. 385 00:21:39,720 --> 00:21:41,480 Speaker 4: I don't read music. 386 00:21:41,880 --> 00:21:44,480 Speaker 2: You know me either. I never learned to read music. 387 00:21:44,759 --> 00:21:46,799 Speaker 3: I just simply did it for expression. 388 00:21:47,039 --> 00:21:51,279 Speaker 2: Yeah, so yeah, you want to you want to play 389 00:21:51,279 --> 00:21:53,839 another one? I'm doing here more. Yeah, I'm sound great. 390 00:21:53,920 --> 00:21:59,240 Speaker 3: I'm still warming up my fingers, So I apologize, but yeah, 391 00:21:59,319 --> 00:22:01,839 this is the this is the song called Fifth Dimension. 392 00:22:01,880 --> 00:22:03,279 I'm just gonna tune up a little bit. 393 00:22:03,480 --> 00:22:09,279 Speaker 4: Yeah, yeah, this this song is actually about. 394 00:22:12,799 --> 00:22:18,039 Speaker 3: Well fifth dimension basically, if you know, if you're if 395 00:22:18,079 --> 00:22:20,839 you're on a different plane, if somebody can they see you, 396 00:22:20,960 --> 00:22:22,880 can they hear you, can they understand you? 397 00:22:23,119 --> 00:22:23,319 Speaker 8: You know? 398 00:22:24,079 --> 00:22:26,200 Speaker 3: It was actually one of my poetic days where I 399 00:22:26,240 --> 00:22:27,359 was getting really deep in emo. 400 00:22:27,680 --> 00:22:34,160 Speaker 4: Yeah, and this was recorded, uh, you know a few 401 00:22:34,240 --> 00:22:36,160 years ago, but it was. 402 00:22:36,200 --> 00:22:39,920 Speaker 3: Right before pandemic and then the world closed down and 403 00:22:40,960 --> 00:22:44,319 I lost track of where the actual wave file went 404 00:22:44,440 --> 00:22:46,400 and all the stem files and so we're going to 405 00:22:46,440 --> 00:22:49,279 be re recording this one. Okay, yeah, this is called 406 00:22:49,319 --> 00:22:50,440 Fifth Dimension. 407 00:22:50,279 --> 00:22:51,799 Speaker 2: Beyond Gypsy live in studio. 408 00:23:20,279 --> 00:23:25,440 Speaker 10: Watch up, please there Linger. 409 00:23:27,799 --> 00:23:29,359 Speaker 12: Hollad bown your. 410 00:23:29,440 --> 00:23:41,960 Speaker 8: Mind maybe there and I can see honor your thoughts 411 00:23:42,039 --> 00:23:52,279 of long mind? Did not pay her send to the dementa. 412 00:23:53,720 --> 00:23:54,880 Speaker 10: Watches star her. 413 00:23:55,200 --> 00:23:56,039 Speaker 12: I didn't of me? 414 00:24:00,359 --> 00:24:04,759 Speaker 8: Did my hairs into in dementia? 415 00:24:06,839 --> 00:24:07,720 Speaker 12: Won't you see? 416 00:24:08,319 --> 00:24:09,240 Speaker 16: I think of me? 417 00:24:13,559 --> 00:24:15,279 Speaker 12: Won't you still believe? 418 00:24:15,680 --> 00:24:18,200 Speaker 9: And No? 419 00:24:18,559 --> 00:24:22,640 Speaker 10: No believe in me? 420 00:24:23,559 --> 00:24:28,880 Speaker 17: Yeah, Magah believe in. 421 00:24:31,400 --> 00:24:32,119 Speaker 7: No, no. 422 00:24:43,519 --> 00:24:44,559 Speaker 2: Watch of thieves. 423 00:24:45,160 --> 00:24:46,279 Speaker 16: Let me see. 424 00:24:50,880 --> 00:24:53,000 Speaker 10: Home with your rides. 425 00:24:56,880 --> 00:25:04,559 Speaker 18: Maybe they're I won't have them gool No the uta 426 00:25:04,880 --> 00:25:11,200 they shun night, did not fair. 427 00:25:11,519 --> 00:25:14,440 Speaker 16: Hells into dim dementia? 428 00:25:16,599 --> 00:25:17,759 Speaker 10: Want to steal her? 429 00:25:18,079 --> 00:25:18,960 Speaker 16: I think of me? 430 00:25:23,279 --> 00:25:25,079 Speaker 10: Did not fair hair hell. 431 00:25:25,279 --> 00:25:27,680 Speaker 16: S into in dementia. 432 00:25:29,720 --> 00:25:30,960 Speaker 7: Won't you steal her? 433 00:25:31,200 --> 00:25:32,079 Speaker 12: I think of me. 434 00:25:36,319 --> 00:25:38,920 Speaker 16: We'll just still believe in me. 435 00:25:40,960 --> 00:25:41,400 Speaker 8: No, no. 436 00:25:44,319 --> 00:25:46,279 Speaker 10: Believe in nagging. 437 00:25:47,599 --> 00:25:48,200 Speaker 15: Maggy. 438 00:25:50,799 --> 00:25:58,920 Speaker 5: Believe in me. No believe in Naggy. 439 00:26:08,200 --> 00:26:10,359 Speaker 2: That was the first one you wrote. You were off 440 00:26:10,400 --> 00:26:12,240 to a great start. I really like that. 441 00:26:12,680 --> 00:26:17,200 Speaker 3: It sounded a lot different. It definitely wasn't as upbeat 442 00:26:17,839 --> 00:26:18,319 as you said. 443 00:26:18,400 --> 00:26:19,119 Speaker 4: I think you said it. 444 00:26:19,200 --> 00:26:21,880 Speaker 3: Do you always played I don't know what you just said. 445 00:26:21,920 --> 00:26:26,759 But when I originally wrote it, it was pretty sing songy. Yeah, 446 00:26:26,920 --> 00:26:28,960 and I didn't really have a lot of confidence when 447 00:26:29,000 --> 00:26:29,960 I was playing and singing. 448 00:26:30,519 --> 00:26:32,680 Speaker 4: I was singing secretly, you know, in my room. 449 00:26:33,119 --> 00:26:35,519 Speaker 3: Yeah, never sang in front of anyone, and so everything 450 00:26:35,640 --> 00:26:40,200 was pretty mellow and kind of safe when I first wrote. 451 00:26:40,279 --> 00:26:42,839 So that that was you know again, put it away 452 00:26:42,839 --> 00:26:44,440 in a book for twenty years, come back to it 453 00:26:44,839 --> 00:26:49,720 with more confidence, with more attitude, and you know, yeah, 454 00:26:50,039 --> 00:26:52,279 and that's what that's what that brings to the table. 455 00:26:52,440 --> 00:26:55,279 Speaker 2: Yeah, dynamics. No, that was great. Yeah, yeah, I really 456 00:26:55,400 --> 00:26:57,200 liked that a lot. Absolutely, thank you. 457 00:26:58,119 --> 00:26:59,880 Speaker 1: Now, when you record the album, how many how many 458 00:27:00,240 --> 00:27:03,440 tracks you're gonna record? Have you settled on that when 459 00:27:03,480 --> 00:27:05,599 you do the because you're gonna do a full album, right, 460 00:27:05,759 --> 00:27:06,359 is that the plant? 461 00:27:06,559 --> 00:27:09,160 Speaker 3: Well, we were thinking about singles just because you have 462 00:27:09,200 --> 00:27:10,720 a lot more to talk about more often. 463 00:27:10,960 --> 00:27:11,920 Speaker 2: True, that's true. 464 00:27:12,000 --> 00:27:13,119 Speaker 10: Yeah, And. 465 00:27:15,319 --> 00:27:17,960 Speaker 3: I like that idea, you know, because you're always fresh. 466 00:27:18,000 --> 00:27:20,400 And what we're hoping to do is, you know, we 467 00:27:20,519 --> 00:27:25,079 have anywhere from five to nine songs between me and 468 00:27:25,200 --> 00:27:29,680 Brian writing, and some of those are just blow your 469 00:27:29,759 --> 00:27:33,160 head off rock, yeah, kind of a combination of a 470 00:27:35,279 --> 00:27:39,440 I wouldn't say classic rock, not really, I don't know rock, 471 00:27:39,519 --> 00:27:43,359 classic rock, contemporary mixed all together, yeah yeah, and then 472 00:27:43,440 --> 00:27:45,839 throwing throwing in a little eighties flair with with his 473 00:27:46,039 --> 00:27:47,279 lead solos and stuff. 474 00:27:47,960 --> 00:27:51,759 Speaker 2: So yeah, yeah, that's another thing too that comes up 475 00:27:51,759 --> 00:27:52,720 a lot on the show. 476 00:27:52,720 --> 00:27:54,079 Speaker 1: As you know, we live in a time where you 477 00:27:54,160 --> 00:27:56,720 can really there's so many different ways you can release music, 478 00:27:56,759 --> 00:27:59,359 so many different strategies you can use. And you know, 479 00:28:00,880 --> 00:28:02,359 like when I was growing up, it was, you know, 480 00:28:02,640 --> 00:28:06,519 an artist would usually the first single would go to radio. 481 00:28:06,599 --> 00:28:08,400 It was always an album, and the first single would 482 00:28:08,400 --> 00:28:11,319 go to radio six eight weeks before the album comes out, 483 00:28:11,839 --> 00:28:14,000 and then the album comes out, and then there's a 484 00:28:14,079 --> 00:28:17,119 second single and so forth and from there. But now 485 00:28:17,319 --> 00:28:19,480 you can do it so many different ways, and you know, 486 00:28:19,599 --> 00:28:21,319 you can just do singles, you can do an EP, 487 00:28:21,599 --> 00:28:24,480 you can a lot of artists that we talk to now, 488 00:28:24,640 --> 00:28:28,400 will it kind of the inverse of how it originally worked, 489 00:28:28,400 --> 00:28:30,599 where instead of releasing an album and then a bunch 490 00:28:30,640 --> 00:28:33,920 of singles, they release a bunch of singles that eventually coalesced. 491 00:28:35,880 --> 00:28:40,319 Speaker 3: Yeah, yeah, I think that's the direction we would go. Yeah, yeah, 492 00:28:40,440 --> 00:28:43,119 I mean. Interestingly enough, a lot of the songs are 493 00:28:43,279 --> 00:28:46,079 kind of very different, but for some reason they they 494 00:28:46,119 --> 00:28:48,240 all seem to work as a storyboard when you put 495 00:28:48,279 --> 00:28:50,279 them together as an album, And I guess that's the 496 00:28:50,359 --> 00:28:53,559 way albums work, right, They're telling a story even though 497 00:28:54,119 --> 00:28:58,119 each song isn't exactly maybe the same genre or. 498 00:28:58,160 --> 00:28:59,000 Speaker 2: Style, right. 499 00:28:59,119 --> 00:29:02,799 Speaker 3: I feel like we have a lot of different stuff 500 00:29:02,880 --> 00:29:06,640 going on, but the dynamics are what keep that cohesive 501 00:29:06,920 --> 00:29:09,000 as an album if you were to put them all together. 502 00:29:09,200 --> 00:29:12,039 Speaker 2: Yeah, no, that makes sense, that makes sense. You want 503 00:29:12,079 --> 00:29:13,759 to you want to play another one? We have time 504 00:29:13,839 --> 00:29:14,279 and want to. 505 00:29:14,720 --> 00:29:18,119 Speaker 3: Yeah, let me see what I got here? I got 506 00:29:18,160 --> 00:29:22,680 another original, which is you know we could do that, well, 507 00:29:22,720 --> 00:29:23,480 we could do a cover. 508 00:29:24,200 --> 00:29:24,559 Speaker 4: I don't know. 509 00:29:25,000 --> 00:29:26,480 Speaker 2: You want you want to play another original? 510 00:29:27,000 --> 00:29:27,200 Speaker 4: Yeah? 511 00:29:27,680 --> 00:29:29,160 Speaker 2: I really like your originals, So. 512 00:29:29,279 --> 00:29:31,079 Speaker 4: Yeah, we'll do that, because that's why I'm here. 513 00:29:31,160 --> 00:29:33,240 Speaker 3: I'm a I am a musician. 514 00:29:33,480 --> 00:29:35,720 Speaker 2: Yes, yes, if you are just joining us, we have 515 00:29:35,799 --> 00:29:37,480 Neon Gypsy live in studio. 516 00:29:40,559 --> 00:29:42,559 Speaker 3: This is a slower one so you can see it 517 00:29:42,559 --> 00:29:43,640 a little bit more mellow. 518 00:29:43,720 --> 00:30:17,799 Speaker 10: All right, now I could see by me off down night. 519 00:30:19,799 --> 00:30:21,720 Speaker 12: Wap for you're to talk to me? 520 00:30:22,759 --> 00:30:28,240 Speaker 19: Tell me it's all right now. I can ask you 521 00:30:29,720 --> 00:30:36,240 on my hand, but I filly, don't expect. 522 00:30:36,240 --> 00:30:44,599 Speaker 16: You to wander stay. Don't you know the time it 523 00:30:45,000 --> 00:30:46,880 has away? 524 00:30:47,279 --> 00:30:48,599 Speaker 10: Were things. 525 00:30:50,640 --> 00:30:55,079 Speaker 16: Like falling the rain coming into the streams. 526 00:30:55,839 --> 00:30:56,680 Speaker 10: Don't you know the. 527 00:30:56,839 --> 00:30:58,119 Speaker 15: Time it. 528 00:31:00,119 --> 00:31:00,960 Speaker 10: Way? Wear? 529 00:31:01,359 --> 00:31:09,440 Speaker 18: Things like pulling the brains down into into the. 530 00:31:10,119 --> 00:31:19,759 Speaker 12: Street, into the street, No one boat. 531 00:31:24,480 --> 00:31:31,000 Speaker 20: I cove been lonely sitting right by go side and 532 00:31:31,200 --> 00:31:34,720 now I could pull your clothes on your sow. 533 00:31:36,039 --> 00:31:40,400 Speaker 10: Tide and now I could tell you pat me your 534 00:31:40,440 --> 00:31:42,000 won that I need. 535 00:31:44,039 --> 00:31:47,799 Speaker 21: That's your known the stone siro, But they cannot be 536 00:31:52,759 --> 00:31:58,079 don't you know the time it has a way wealth? 537 00:31:58,279 --> 00:32:01,680 Speaker 10: Things like falling the. 538 00:32:01,799 --> 00:32:10,640 Speaker 8: Brain damn into the streets not normal time heads away? 539 00:32:11,039 --> 00:32:12,359 Speaker 10: Were things. 540 00:32:14,359 --> 00:32:20,720 Speaker 16: Like pulling the brain damn into into the street. 541 00:32:26,200 --> 00:32:29,440 Speaker 12: It's two streets, no ball. 542 00:32:30,880 --> 00:32:34,640 Speaker 5: Yeah, into streets. 543 00:32:35,000 --> 00:32:36,960 Speaker 16: Now no a no. 544 00:32:40,720 --> 00:32:43,359 Speaker 12: Street the bow. 545 00:33:09,599 --> 00:33:10,960 Speaker 11: Now the. 546 00:33:32,119 --> 00:33:34,880 Speaker 2: That's my favorite one so far. I really like that. 547 00:33:35,079 --> 00:33:35,759 I really like that. 548 00:33:36,240 --> 00:33:38,200 Speaker 1: If you are just joining us neon Gypsy here with 549 00:33:38,279 --> 00:33:43,880 us live in studio on this Saturday morning, sounding fantastic. 550 00:33:45,200 --> 00:33:47,319 Speaker 2: Now, are you what's your show schedule? 551 00:33:47,440 --> 00:33:47,480 Speaker 8: Like? 552 00:33:47,519 --> 00:33:49,839 Speaker 1: Are you playing out a lot or are you more 553 00:33:49,920 --> 00:33:53,039 focused on recording or what's going on? There. 554 00:33:53,799 --> 00:33:56,039 Speaker 3: I was playing out quite a bit as a you know, 555 00:33:56,079 --> 00:33:58,519 a cover artist and then mixing in some of my originals. 556 00:33:58,799 --> 00:34:00,839 Sometimes it was you know, three four times a month, 557 00:34:00,880 --> 00:34:03,759 which was a little too much. I start started feeling 558 00:34:03,839 --> 00:34:06,400 a little more like a machine. It was a lot 559 00:34:06,440 --> 00:34:09,199 of fun, so I'm slowing down a little bit. I 560 00:34:09,559 --> 00:34:13,079 will be playing in January at a really cool place 561 00:34:13,199 --> 00:34:16,480 in Gorham. It's called Sidecar Line in Whiskey Bar, which 562 00:34:16,559 --> 00:34:18,800 is a really swanky place. You pull up a couch 563 00:34:18,920 --> 00:34:22,000 and get your you know, sniffer brandy and just kind 564 00:34:22,039 --> 00:34:24,679 of pontificate about all of the music coming out of 565 00:34:24,719 --> 00:34:25,119 my mouth. 566 00:34:25,519 --> 00:34:27,320 Speaker 2: Yeah, that's a really cool place. 567 00:34:27,559 --> 00:34:29,480 Speaker 3: And a few other places that you can find on 568 00:34:29,800 --> 00:34:34,320 Neon Gypsy on my Facebook page for the events. But 569 00:34:34,480 --> 00:34:37,079 right now for twenty twenty five, I do have some 570 00:34:37,239 --> 00:34:40,800 venues in New Hampshire as well, The Barnyard. I'll be 571 00:34:40,880 --> 00:34:45,119 playing there this summer. They haven't quite got their their 572 00:34:45,159 --> 00:34:47,599 schedule together yet. That's a really fun place to play. 573 00:34:48,039 --> 00:34:49,239 Speaker 2: Where is that I'm not familiar with. 574 00:34:49,320 --> 00:34:52,639 Speaker 3: That's in Candya Okay, Yeah, that's a really great venue. 575 00:34:52,679 --> 00:34:56,320 It's an outdoor venue and everybody there that you know, 576 00:34:56,400 --> 00:34:58,960 they're playing corn hole on the side, and you know, 577 00:34:59,079 --> 00:35:01,760 it's just it's such a great vibe, especially in the summer, 578 00:35:02,280 --> 00:35:05,800 and everybody there that just always they listen. You know, 579 00:35:05,920 --> 00:35:08,280 they're not just you know, they're enjoying themselves, but they 580 00:35:08,360 --> 00:35:11,719 really do listen and appreciate the music there. But we 581 00:35:11,840 --> 00:35:14,440 are I'm slowing down a little bit more on the 582 00:35:14,519 --> 00:35:17,079 idea of just play out, play out, play out, and 583 00:35:18,320 --> 00:35:20,360 got to focus on getting in the studio because some 584 00:35:20,480 --> 00:35:24,760 of these songs are so old, you know that now's 585 00:35:24,800 --> 00:35:26,840 the time, like we've got to get this done now 586 00:35:26,880 --> 00:35:28,760 that we got the upgrades in the studio. 587 00:35:28,559 --> 00:35:33,480 Speaker 1: Rolling, So yeah, absolutely absolutely Now now the goal is 588 00:35:33,679 --> 00:35:37,320 to obviously have other musicians coming and record with you, right, 589 00:35:37,400 --> 00:35:39,280 but you're not there yet, I assume with the studio 590 00:35:39,440 --> 00:35:40,599 or you're or maybe you are. 591 00:35:40,920 --> 00:35:42,159 Speaker 2: We are, yeah, we are, okay. 592 00:35:42,480 --> 00:35:44,320 Speaker 3: You know, the only thing we don't have is a 593 00:35:44,440 --> 00:35:47,679 drum room and you know, acoustic drums we work. You know, 594 00:35:48,159 --> 00:35:51,360 I think, what what is nice about home studios or 595 00:35:51,400 --> 00:35:52,039 our studios. 596 00:35:52,079 --> 00:35:53,880 Speaker 4: It's it's a small home studio, but. 597 00:35:54,000 --> 00:35:55,960 Speaker 3: We're working with an e kit so we can just 598 00:35:56,079 --> 00:35:59,760 plug in and you know, keep it simple, make it 599 00:35:59,800 --> 00:36:01,800 a sfortable, you know, so that people can come in 600 00:36:02,039 --> 00:36:05,679 and get creative and you're getting clean sounds coming out 601 00:36:05,719 --> 00:36:08,159 of that without the complication of having a degree to 602 00:36:08,280 --> 00:36:10,360 make up every drum on a kit. 603 00:36:10,599 --> 00:36:10,880 Speaker 2: Yeah. 604 00:36:11,159 --> 00:36:14,000 Speaker 3: Yeah, So we do have musicians coming in right now. 605 00:36:14,159 --> 00:36:16,760 We have Rick Ash that just finished up a track. 606 00:36:17,280 --> 00:36:17,800 Speaker 4: He came in. 607 00:36:18,440 --> 00:36:21,280 Speaker 3: He's from the Mid Coast area in Maine and he 608 00:36:21,519 --> 00:36:25,400 just resurrected a song from the nineties, you know, with 609 00:36:25,519 --> 00:36:28,480 this old band Crazy Knave and Brian and I got 610 00:36:28,519 --> 00:36:30,679 to be a part of that and I got to play. 611 00:36:30,920 --> 00:36:34,480 It's called Blackout Brandy. I got to play Blackout Brandy. 612 00:36:34,519 --> 00:36:37,400 I have a little cameo in the bridge. I get 613 00:36:37,480 --> 00:36:39,000 to play a drunk girl. 614 00:36:39,719 --> 00:36:43,360 Speaker 2: So yeah, okay, okay, so another word, So you're a 615 00:36:43,400 --> 00:36:44,400 Blackout Brandy. 616 00:36:44,159 --> 00:36:45,920 Speaker 3: And I guess I would be. 617 00:36:46,480 --> 00:36:46,679 Speaker 10: Yeah. 618 00:36:48,840 --> 00:36:50,559 Speaker 3: I get a few things that I, you know, say 619 00:36:50,679 --> 00:36:52,199 in there, and then I get to sing just a 620 00:36:52,239 --> 00:36:55,079 little bit and nail it. I'll send you the song 621 00:36:55,599 --> 00:36:57,320 if you look, if you would play it, it would 622 00:36:57,320 --> 00:37:00,960 be awesome. Absolutely, It's a great song that's out there 623 00:37:01,039 --> 00:37:02,159 and ready to go. 624 00:37:02,360 --> 00:37:03,599 Speaker 2: Oh fantastic. Okay. 625 00:37:03,760 --> 00:37:03,960 Speaker 15: Yeah. 626 00:37:04,079 --> 00:37:06,119 Speaker 3: So yeah, artists are welcome to come and visit us. 627 00:37:06,199 --> 00:37:08,800 Like I said, it's just a small, small, but mighty studio, 628 00:37:09,039 --> 00:37:11,719 you know. Okay, but the difference is we just had 629 00:37:11,760 --> 00:37:14,360 a musician come in who actually has a home studio 630 00:37:14,440 --> 00:37:17,119 and he's like, you know, I really don't quite know 631 00:37:17,239 --> 00:37:19,679 what I'm doing to the level of that Brian does 632 00:37:19,880 --> 00:37:22,880 in studio producing and recording. Yeah, and he just wanted 633 00:37:22,880 --> 00:37:24,639 to come in and relax and play. He didn't want 634 00:37:24,679 --> 00:37:26,119 to push the buttons and okay. 635 00:37:26,400 --> 00:37:28,920 Speaker 2: Yeah, so yeah, very cool. 636 00:37:29,039 --> 00:37:31,320 Speaker 1: Now, how do where should people go online to find 637 00:37:31,320 --> 00:37:32,960 out more about Studio fifty one. 638 00:37:33,119 --> 00:37:35,519 Speaker 3: We have a Facebook page, okay, and it's you know, 639 00:37:35,559 --> 00:37:37,760 there's a lot of Studio fifty ones out there, but 640 00:37:38,320 --> 00:37:40,679 you know, we're out of Portland main and look for 641 00:37:40,760 --> 00:37:42,679 the spaceship with the half naked woman on the. 642 00:37:42,719 --> 00:37:45,400 Speaker 4: Logo, okay and with the guitar and that's us. 643 00:37:45,679 --> 00:37:48,880 Speaker 2: Okay, yeah, okay, very cool, very cool. Do you want 644 00:37:48,920 --> 00:37:50,719 to play one more? We have time if you want to. 645 00:37:50,719 --> 00:37:52,119 Speaker 3: I can play a cover tune. 646 00:37:52,360 --> 00:37:54,280 Speaker 2: Yeah sure, yeah, whatever you want. Yeah, all right. 647 00:37:54,360 --> 00:37:56,440 Speaker 1: If you're just joining us, Neon Gypsy is here with 648 00:37:56,559 --> 00:37:59,679 us live in studio. Coming up in the second hour, 649 00:37:59,760 --> 00:38:02,760 we have the Healer Mike McDowell will be here and 650 00:38:02,840 --> 00:38:05,519 then in the third hour the return of Cody Pope 651 00:38:05,599 --> 00:38:08,400 and Byron g And I love having those guys on 652 00:38:08,519 --> 00:38:08,800 the show. 653 00:38:08,880 --> 00:38:09,719 Speaker 2: Always amazing. 654 00:38:09,880 --> 00:38:14,039 Speaker 1: But uh, Neon Gypsy is sounding great here on this 655 00:38:14,960 --> 00:38:16,519 Chilli Saturday morning. 656 00:38:16,639 --> 00:38:18,519 Speaker 3: But I'm getting warmed up a little bit. 657 00:38:18,639 --> 00:38:20,679 Speaker 2: Yeah yeah, it's warming up in here too. I closed 658 00:38:20,719 --> 00:38:20,960 the door. 659 00:38:21,159 --> 00:38:21,559 Speaker 4: That helps. 660 00:38:22,760 --> 00:38:25,840 Speaker 3: My fingers are the last to get circulations. Yeah yeah, 661 00:38:27,039 --> 00:38:28,800 all right, I'll play play cover to room for you. 662 00:38:29,119 --> 00:38:30,239 Speaker 2: I wonder if you'll know who this is? 663 00:38:30,559 --> 00:39:02,440 Speaker 14: Okay, in those Sunshine one gee's gone, it's no longer 664 00:39:02,519 --> 00:39:10,679 when she he's waiting, you know, sun Show, and she's gone. 665 00:39:12,519 --> 00:39:13,719 Speaker 16: She's going to. 666 00:39:14,119 --> 00:39:21,400 Speaker 3: Know any times she goes away. 667 00:39:45,159 --> 00:39:48,320 Speaker 12: One too, when this time she gone. 668 00:39:51,800 --> 00:39:58,800 Speaker 19: Want to if she's gone on stay here, you know 669 00:39:59,079 --> 00:40:00,000 sun Show. 670 00:40:00,159 --> 00:40:04,480 Speaker 10: When she's gone, she's going away to No. 671 00:40:09,559 --> 00:40:11,480 Speaker 16: Anytimes she goes away. 672 00:40:15,239 --> 00:40:19,239 Speaker 12: Now, no one no no no no no no no 673 00:40:19,840 --> 00:40:22,880 no no no no no. 674 00:40:24,400 --> 00:40:31,880 Speaker 10: No no no no no, no, no, no, no, no no. 675 00:40:33,400 --> 00:40:34,400 Speaker 7: One, no. 676 00:40:37,119 --> 00:40:47,440 Speaker 22: Gonna let hersello gain no suncha when she go yeah, 677 00:40:51,159 --> 00:41:03,000 no no no no, no, no, no, no, no, no, no, 678 00:41:03,239 --> 00:41:03,880 no no. 679 00:41:10,960 --> 00:41:14,920 Speaker 1: Oh fantastic, fantastic Neon Gypsy here with us alive in 680 00:41:15,039 --> 00:41:18,280 studio and hey, but before we wrap up in a moment, 681 00:41:18,320 --> 00:41:20,159 we're gonna close out the segment with We're gonna play 682 00:41:20,239 --> 00:41:23,760 I'm gonna play Run Rudolph Run again, the new studio track. 683 00:41:23,920 --> 00:41:27,639 So we're very glad to feature that today as well. 684 00:41:27,760 --> 00:41:30,000 But where should people go online? What's the best place 685 00:41:30,079 --> 00:41:31,840 to go to keep up with everything that you're doing 686 00:41:32,280 --> 00:41:32,599 right now? 687 00:41:32,639 --> 00:41:34,760 Speaker 3: It's Facebook. I am on Instagram as well, got to 688 00:41:34,760 --> 00:41:37,320 get a little better about that. But on Facebook you 689 00:41:37,400 --> 00:41:40,639 can find me on gypsy and there's there's actually two 690 00:41:40,679 --> 00:41:42,920 profiles out there. I just can't get that other one off. 691 00:41:43,119 --> 00:41:45,159 It's been hacked. So just look for the current one 692 00:41:45,199 --> 00:41:48,039 you'll find out of Portland. Yeah, and then Studio fifty 693 00:41:48,079 --> 00:41:50,639 one is just simply at Studio fifty one, look for 694 00:41:50,800 --> 00:41:54,079 the big ufo, yeah logo with the with the half 695 00:41:54,159 --> 00:41:55,360 naked lady playing a guitar. 696 00:41:56,239 --> 00:41:58,760 Speaker 1: Well, you know what, for those watching online, put the 697 00:41:58,800 --> 00:42:01,400 camera on me. There you go, there's a for for 698 00:42:01,519 --> 00:42:03,480 those of you watching, there's the word show. 699 00:42:03,719 --> 00:42:06,840 Speaker 2: There's the sticker. So very nice, very nice. Well, thank 700 00:42:06,880 --> 00:42:09,320 you so much, Jennifer. This has been this has been amazing. 701 00:42:09,519 --> 00:42:10,559 Speaker 3: Thank you so much for having me. 702 00:42:10,599 --> 00:42:11,440 Speaker 4: I really appreciate it. 703 00:42:11,559 --> 00:42:12,039 Speaker 2: Absolutely. 704 00:42:12,079 --> 00:42:13,760 Speaker 1: We'll do it again in the future, especially where you've 705 00:42:13,760 --> 00:42:15,280 got more studio tracks coming up, so. 706 00:42:15,480 --> 00:42:16,119 Speaker 3: That'd be awesome. 707 00:42:16,199 --> 00:42:19,599 Speaker 2: Thank you, absolutely, absolutely, And if you are listening live 708 00:42:19,639 --> 00:42:21,639 on Saturday morning, stick around the Healer. 709 00:42:21,800 --> 00:42:24,920 Speaker 1: Mike McDowell is coming up. I'm gonna have to go 710 00:42:25,239 --> 00:42:27,559 let him in when he's uh when he arrives. He's 711 00:42:27,639 --> 00:42:30,519 keeping me posted and it's a little chilly out there 712 00:42:30,559 --> 00:42:30,960 this morning. 713 00:42:31,039 --> 00:42:31,440 Speaker 2: After all. 714 00:42:33,159 --> 00:42:35,639 Speaker 1: We will close out the segment with once again, this 715 00:42:35,880 --> 00:42:38,079 is the studio track, Run Rudolph Run. 716 00:42:38,440 --> 00:43:01,960 Speaker 2: This is Neon Gipsy's run. 717 00:43:02,079 --> 00:43:07,360 Speaker 5: Don Rude all Santa? Do they get to town Santa 718 00:43:07,480 --> 00:43:08,360 Maga hor Town? 719 00:43:08,519 --> 00:43:09,599 Speaker 6: They can take the freeway? 720 00:43:12,679 --> 00:43:17,079 Speaker 9: Run Don Rudolf be a a memcal right, Okay, yeah, 721 00:43:17,679 --> 00:43:19,360 saying Santa don't a child? 722 00:43:19,440 --> 00:43:20,920 Speaker 5: Why have you been a leg ball? 723 00:43:23,480 --> 00:43:24,559 Speaker 10: No for Christmas? 724 00:43:24,679 --> 00:43:25,440 Speaker 17: Is a rocking ball? 725 00:43:25,480 --> 00:43:26,360 Speaker 5: Electric jar. 726 00:43:28,639 --> 00:43:29,159 Speaker 10: Go away? 727 00:43:29,320 --> 00:43:34,679 Speaker 5: When boodof w isn' I gotta shoot the store? Run 728 00:43:34,800 --> 00:43:40,159 Don rudof Santa? Do I get to child Santah? 729 00:43:40,239 --> 00:43:41,079 Speaker 11: Tag him horn? 730 00:43:41,320 --> 00:43:43,239 Speaker 5: He can take the freeway hour. 731 00:43:45,400 --> 00:43:48,280 Speaker 13: Run down boot beating Americ round? 732 00:43:49,119 --> 00:43:53,920 Speaker 5: Okay, Run run rudall Santa? Do I get to ChIL. 733 00:43:56,199 --> 00:43:56,480 Speaker 7: Santa? 734 00:43:56,599 --> 00:43:57,159 Speaker 5: Big ahead. 735 00:43:57,280 --> 00:43:59,119 Speaker 7: Tell him he can take the freeway now. 736 00:44:01,760 --> 00:44:05,039 Speaker 11: Run don bud be like America round. 737 00:44:23,119 --> 00:44:25,239 Speaker 7: Saying saying that to you, my girl child, what would 738 00:44:25,239 --> 00:44:25,519 please you? 739 00:44:25,639 --> 00:44:26,440 Speaker 5: Wants to get. 740 00:44:28,800 --> 00:44:29,920 Speaker 7: A little baby doll. 741 00:44:30,039 --> 00:44:35,480 Speaker 9: They can grass, sleep, drink and wht not away went brudo, 742 00:44:35,760 --> 00:44:42,079 whiz like a saber chet run un rudo Sanada may 743 00:44:42,159 --> 00:44:43,119 get to town. 744 00:44:45,280 --> 00:44:46,519 Speaker 5: SAA make Americ twn. 745 00:44:46,760 --> 00:44:52,480 Speaker 9: He can take the freeway down, run don buda, feeling 746 00:44:52,599 --> 00:44:53,280 like America. 747 00:44:53,480 --> 00:45:18,320 Speaker 11: Right, Okay, no non goo gop run no gop run, 748 00:45:18,440 --> 00:45:28,679 non go run, no run non goomic roy, let me 749 00:45:28,800 --> 00:45:29,320 go down