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Speaker 1: W n n H rip the dobles.

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Speaker 2: Some people the break when they.

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Speaker 3: Hold your breath while your dakers six Secrets.

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Speaker 4: Watched the Peena joy to No John, while.

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Speaker 5: Your dreamer.

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Speaker 2: Johns sick.

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Speaker 6: She said.

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Speaker 7: Last, I can't die, so she's.

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Speaker 8: Gonna naked masking, numbler, rud.

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Speaker 2: I've found it.

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Speaker 3: I have die what I believe So looking mile as

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while you're shown.

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Speaker 1: No want you bad.

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Speaker 9: Back your right bass like cats.

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Speaker 7: She said.

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Speaker 2: She she's.

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Speaker 5: Dust.

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Speaker 10: She's start as asses pas times sentences, as.

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Speaker 11: A a.

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Speaker 5: Settle a city.

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Speaker 12: Oh that is cool. I like the vibe. That is

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Gary Smith and he is here with us and we're

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going to talk with him in just a moment.

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Speaker 6: But this is Matt.

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Speaker 12: Connorton Unleashed and we are live from the studios of

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wm NH ninety five point three FM, Inglorious a Manchester

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in New Hampshire. Today is Saturday, October twelve, twenty twenty four,

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and Gary Smith is here with us live and studio.

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And Gary, you were here just recently with jam.

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Speaker 6: Tomorrow yepp, not too long ago with MHP and Mark Yeah.

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Speaker 12: Yeah, So I was listening to I was playing back

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the interview and one of the songs that you guys

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played live. I forget which one it was, but for

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one thing, I love watching you play because you play

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it's an eight string, right, Yeah, it's an eight string guitar,

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so it's basically like you're playing. It looks like you're

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playing guitar. Well, it sounds like you're playing guitar and

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bass at the same time. And one of the songs

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I'm listening to, I'm listening to your playing and it's

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almost like, you know, you're going back and forth, you know,

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between the bass notes and the guitar notes, and it's

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like it's almost like you're having a conversation. I don't

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know if if if that's how you've ever thought of it,

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or if anyone's ever pointed that out before, but I

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realized it's like it's like the two it's it really

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does sound like two instruments having a conversation. And I

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was fascinated by that.

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Speaker 6: I like that. Yeah, I mean that's kind of the goal.

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Speaker 13: Ultimately, you know, it's kind of be like a left

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and the right hand of the piano, so they're kind

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of working together but still kind of complimenting each other

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along the way.

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Speaker 6: So yeah, yeah, no, I mean that's kind of the goal.

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Speaker 12: Tell us about that track we just played emo EMU Yeah, sorry.

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Speaker 6: Yeah, no, that's mine speaking of birds.

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Speaker 12: There's nothing there's nothing emo about it.

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Speaker 6: I don't know why.

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Speaker 12: I don't know why I said that, but yeah.

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Speaker 13: It's actually funny. The name came from a yeah, stupid there.

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It's that kind of sounded like the old Weather Report

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song Birdland.

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Speaker 6: Uh. And I'm like, oh, it's a bird emo. Yeah.

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Speaker 13: Yeah, songs an E minor so yeah. But but yeah,

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I know that's a song I wrote probably earlier this year.

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Speaker 6: Uh.

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Speaker 13: And me and Bob and Ryan who were playing guitar

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and drums on that track. I've played it a bunch

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of times. I do it my solo set too. Yeah,

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I played, I had a little piano for texture, I played,

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you know, bass and guitar. Bob added some guitar, and

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then last minute we added my friend Brian Murphy on

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the trumpet.

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Speaker 12: Yea, I love bob solo at the end. Oh yeah,

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when that comes in, that's so good.

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Speaker 13: It's just such a perfect I just said, just reread

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because mine's all like jazzy and nerdy and then yeah,

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and then I just want him to just reread and

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he does.

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Speaker 6: It's perfect.

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Speaker 12: Yeah, the contrasts of it and the texture that it

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adds to the song. When you can do that, when

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you can add like that kind of solo into something

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where it sounds different but it still fits so perfectly,

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you know, it's it's yeah, what a great track. And

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we're gonna we're gonna play some others too that you

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said today, that everything that you sent me, it's all different.

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It's all you know, like there's a hip hop track

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which I love, and there's every everything's different. Are these all?

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Are these all on one album? Are they all available

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on one album?

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Speaker 13: Yeah, there's an album that you can pre order on

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band camp. It's gonna be streaming on band camp on.

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Speaker 6: Monday.

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Speaker 13: I'm actually at one o'clock they're doing I'm doing a

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pre listening party at Pembroke City Limits Excellent stream it.

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A bunch of people from the bands and a bunch

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of other people are coming, so it should be fun.

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Speaker 6: But yeah, it's going on band camp fourteenth.

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Speaker 13: I'm pressing vinyls, T shirts, stickers, all kinds of fun stuff,

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cool car picks for all my guitar nerd friends. And

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then it'll be on all the other streaming services on

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the twenty eighth of October. Okay, oh yeah, it's under

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my name that I produced hip hop under percussive maintenance.

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So even though all there's a lot of guitar stuff,

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and there's lots of you know, basically sixteen different other

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musicians that I regularly play with that are on there. Yeah,

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getting three hip hop songs, some instrumental stuff, solo guitar stuff,

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so it's it's really all all over the place.

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Speaker 6: Yeah. Uh.

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Speaker 13: DJ Myth, the DJ from Manchester or from rapa Nite Manchester,

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he added sub scratches to some of songs, so really

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it's all it's all over the place.

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Speaker 12: Yeah, yeah, no, that's great. I worked with DJ Myth

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like years and years ago. We were both involved in

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a project called well, it was called Project Hybrid okay,

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and it was this hip hop group where it was

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like there were these these two people who were at

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the center of it who were always there, Danny Dragon

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who was a singer and a Ryan the Rebel, who

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was a rapper, and they were always there, but the

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other musicians would kind of improvise and it was just

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whoever was available. So if I was available, I would

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show up and play bass and that's awesome. If myth

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was available, he would.

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Speaker 6: Be there and his thing.

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Speaker 8: Yeah I was.

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Speaker 12: Yeah, that was a great time. Yeah, he's a great guy.

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I haven't talked him in so long, but yeah, he's

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a very very talented.

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Speaker 6: Yeah, I've known him for a long time.

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Speaker 13: We started learning how to make beats on ableton at

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least probably like twelve years ago from the same dude.

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And oh no kidding, Yeah, he just went down the

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turntable road and I went down the other road. Yeah.

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Speaker 6: No, we've known each other.

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Speaker 9: For a while.

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Speaker 12: And tell us again about so Pembroke City Limits, what

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are you doing there exactly?

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Speaker 13: So basically, there's a pre listening party for my album.

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So I'm going to stream the whole album there at

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pember City today one and it's also going to be

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available on band camp.

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Speaker 6: You can listen to it stream on band camp for that.

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Speaker 12: And that's happening. That's happening today.

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Speaker 6: That's happening today. Yeah, busy day, coming here, done doing that.

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Speaker 13: And then I'm going up and debuting one of the

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songs at base Side Bowl tonight, the hip hop song

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that's on there with Ben Shore who may be calling

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in at some point here. Yeah, Portland rapper lives in

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Philly now, but yeah, so that'll be cool.

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Speaker 12: Yeah yeah, it is a busy day.

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Speaker 6: Yeah yeah, but uh.

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Speaker 13: Yeah, so it's again the albums all over the place,

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so I should be all of it again. Like, you know,

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i played with the jazz trio earlier this week, and

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I'm playing with a hip hop artist this week, which is,

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you know, kind of how how it works for me,

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which is why I'm a you know, my album's all

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over the place.

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Speaker 6: In the same way, have you.

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Speaker 12: Always throughout your your career up to this point, have

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you always been really diverse in terms of what kinds

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of music and different genres that you get involved.

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Speaker 13: In For the most part, I mean I I go

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down rabbit holes, so like I know way too much

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about hip hop, way too much about jazz, and then

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like some of the other stuff just adjacently, like some

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of this stuff like Mazy you'll suggest in Fox and

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Flamenco's like I've never heard of this band, but I

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like it.

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Speaker 6: It's cool.

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Speaker 13: It's just I've never you know, But yeah, I'll play

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with any anyone, any anything, Like I have fun just

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playing and especially if it's somewhat you know, improvisatory or

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just like the writing process. I love like writing music

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and making music. Yeah, I mean, that's that's the fun

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part of it, you know, no matter what it is.

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I play Bad Burger on Thursdays. We do a jam

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there and we just you know, play Zeppelin songs, play like.

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So it's again completely different. I play you know, pull

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Train the night before and then Zeppelin the next day.

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So it's just how my music has been and you know,

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my my confused algorithms.

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Speaker 12: All over the world. You play a lot too. I

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was looking at your schedule on your website.

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Speaker 6: You play a lot. Yeah.

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Speaker 13: I'm trying to play as much as I can. It's

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you know, I'm in a few different projects, and then

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i have my solo jazz thing, so I'm always I'm

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always doing something either at Pembroke or like Nolins or

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you know, there's a bunch of bunch of places.

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Speaker 6: I do my little solo show thing at Milford. I

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do a few places.

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Speaker 12: Yeah. Yeah, So there are a lot of places that

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you play on kind of a regular basis, almost like

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a residency where you go back quite.

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Speaker 6: A bit essentially.

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Speaker 13: Yeah, I mean like Nolins and Conquered Loans, a few

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different other speakeasies across New Hampshire. So I'll go do

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one there and then do one at Codex in Nashua,

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and then do one at you know, crow Bauer and Claremont.

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So yeah, and obviously then makes me appreciate Pemburg City

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limits being a five minutes from my house a little extra.

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Speaker 12: But yeah, I'm curious too about so do you always

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do you play the eighth string at every show?

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Speaker 6: Or yeah?

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Speaker 13: Yeah, So I have a looper set that I play

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the eighth string at, so I uh, I'm basically laying

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down the guitar and the bass line and one passed

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through with the looper and then I just play the melody.

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But yeah, that's that's that's all over the place too,

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because you know, like my influences, I do like warrange regulate.

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I'll do Creep from Radiohead and then Coltrane songs that

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do Take five from Dave Brubeck, so like it's you know,

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Mama's in the Papa songs like Jane Morrison. So it's

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so like so eclectic. There's no one who covers the

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same songs that I cover, I'm sure, but yeah, yeah,

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and I just yeah, I kind of get a look

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on for some of the set, I'll just do like

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kind of solo jazz guitar songs like do like fly

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Me to the Moon and like jazz standards and we'll

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kind of reimagine reharmonized jazz standards.

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Speaker 12: So what what did you I assume you started out

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on a six string? I did?

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Speaker 13: Yeah, yeah, I mean I actually started on bass long

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before guitar, but yeah, oh okay. I started on bass

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and then learned guitar after that, and then I only

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got into age string about four years ago. My teacher

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was selling one and I always kind of wanted to

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delve into it, and I already kind of had the

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bass and guitar kind of background, so it was just

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kind of yeah, getting used to the really wide neck

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and putting the two together.

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Speaker 12: Who is your teacher? We should give them a plug?

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Speaker 6: Yeah, oh, Dave Newsome, Yeah, definitely. Yeah.

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Speaker 13: I started going to Summer Youth Music School back in

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ninth grade, which is the U n H program, and

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he started teaching me then, and then I went to

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UNH for a little bit and then yeah, he's he

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taught Tommy Gray and I've been I haven't had any

241
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lessons really, but we played together, and like that's a

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that's a lesson in itself.

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Speaker 11: What was it?

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Speaker 12: Was it challenging learning to play an eight string or

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did it kind of come naturally? Was it just a

246
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matter of, uh, kind of combining what you knew?

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Speaker 13: And ah, yeah, it was a little of both because

248
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I already kind of played six string bass, so I

249
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already was comfortable with a low B string. Yeah, and

250
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then you know, adding the low F sharp and just

251
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kind of figuring out different like chord shapes, like yeah,

252
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like so that I you know, normal A on guitar

253
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to get that low A like you can do with

254
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still almost a bar chord and do some cool stuff,

255
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and so like you just figure out different ways to

256
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use it, and you know, some shapes kind of transfer

257
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over some sometimes you figure out new shapes that.

258
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Speaker 6: You could never do with a six string.

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Speaker 13: So it's yeah, it's definitely fun and it gives you

260
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It gives you some range and it even like I

261
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used it in Flamingo shows and it throws people for

262
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a loop because they'll like hear me doing the bass

263
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and then all of a sudden I'll do a guitar

264
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solo and then.

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Speaker 6: Go back to the.

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Speaker 13: But yeah, it's uh, it's it's really it's a fun instrument.

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I'm glad I delve down that rabbit hole.

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Speaker 12: Yeah yeah, no, it's fascinating. Like I said, I like

269
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listening to it. But it's also just I'm fascinated just

270
00:19:01,000 --> 00:19:04,279
watching you play. I'm just watching your fingers. You know,

271
00:19:05,480 --> 00:19:07,400
we should play us since we were talking about it,

272
00:19:07,480 --> 00:19:09,240
we should play that hip hop track. Yeah.

273
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Speaker 6: Yeah. This is As I Lay Dying feature in ben

274
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Shore again. This is on my album.

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Speaker 13: A nice song just with some different saw me playing guitar.

276
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The only song I played mandolin the song. There's a

277
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little mandolin loop that started the whole song, which is

278
00:19:25,400 --> 00:19:27,799
funny how stuff like one little thing becomes this big,

279
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blossoming song that barely has anything to do with the man.

280
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Speaker 6: Yeah. No, it's a cool song. It's kind of big

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and epic sounding, is what I was going for.

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Speaker 12: Yeah, I really like this a lot. Let's give this

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a spin. This is called As I Lay Dying.

284
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Speaker 14: I broke, but I'm not broken. Don't breaking left the

285
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gun smoking? My blood runs open scars, don't heal right?

286
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Can't get it just sealed tight token together, hoping for luck.

287
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But the deal's light, falling like a steel pipe. I

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fall hard through a skylight window covered in glass shards.

289
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Too much dancing with the devil left my ass chard

290
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into the road.

291
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Speaker 4: Asked my maker to make it in less painful.

292
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Speaker 14: Instead, an angel came and sang me songs until I

293
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fell asleep, helped me get up. Instead of rain clouds,

294
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there was a rainbow. So I crawled till I could walk. Now,

295
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I let this guitar weak.

296
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Speaker 15: As I lay dying, as I lay dying, as I

297
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laid dying, as I laid dying, But it all falls down, and.

298
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Speaker 4: The ground starts waking, and my soul.

299
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Speaker 16: Of wakens, and the sky starts breaking, and the eyes

300
00:21:16,720 --> 00:21:18,960
are wide, and the time I've taken it is not.

301
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Speaker 4: Be given living these times we see the bying prize.

302
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Ribbons were driven for riches and sinning. This isn't why

303
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we live in this prison.

304
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Speaker 16: This in them envision, It's like an incision, like if

305
00:21:27,839 --> 00:21:30,480
I get in. Prescriptions seem to make us pain free,

306
00:21:30,720 --> 00:21:33,119
but mainly remind us that we insn't in fame.

307
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Speaker 12: We cheeks and.

308
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Speaker 16: Dragons that have no emotion for us with sober soldiers

309
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is cappa chies, and they chosen formulas.

310
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Speaker 4: The real truth thighs in this here booth.

311
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Speaker 1: There's no fearing.

312
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Speaker 4: My eyes absent dispair with the spies. W can do pairing.

313
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The lines are beating disguise.

314
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Speaker 14: I taste the tears rolling down a cheeks, kiss them away,

315
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keep loves so deep.

316
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Speaker 4: I shed no more tears. I just let this guitarly weave.

317
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Speaker 10: It's it's not late, it's late dinings.

318
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Speaker 9: I lay.

319
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Speaker 10: And I.

320
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Speaker 12: Didn't even want to talk over the end. It just

321
00:22:54,279 --> 00:22:58,160
sounded so cool as I lay dying. That is from

322
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uh uh the new Uh?

323
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Speaker 8: Now is it?

324
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Speaker 12: Is it under Gary Smith? Or is it uh? You're

325
00:23:05,000 --> 00:23:05,960
calling it? Yeah?

326
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Speaker 6: So my I've already released stuff under Yeah, So that

327
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is uh here.

328
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Speaker 12: I have a oh wonderful, wonderful that the.

329
00:23:14,960 --> 00:23:17,519
Speaker 13: Name of the album is Melody Workshop, my name that

330
00:23:17,599 --> 00:23:20,440
I produced under his percussive maintenance. So all the songs

331
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on the album are gonna be under percussive maintenance, you know, okay, Uh,

332
00:23:23,720 --> 00:23:25,799
they're gonna have all the different artists, you know, because

333
00:23:25,799 --> 00:23:28,599
there's Jam Tomorrow on there, there's Fox and Flamingos, and

334
00:23:28,720 --> 00:23:31,480
I tried to get again because the album is so collaborative,

335
00:23:31,519 --> 00:23:33,240
I tried to get collaborative with the art. So my

336
00:23:33,319 --> 00:23:37,039
good friend Christy Marcella did that nice piece of art

337
00:23:37,920 --> 00:23:39,279
that's featured throughout the album.

338
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Speaker 12: And so for those watching online, I'll hold up yeah, yeah,

339
00:23:42,960 --> 00:23:46,240
I'll hold up the shirt here. I can't really zoom in,

340
00:23:46,359 --> 00:23:48,480
but that's so that So she did that.

341
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Speaker 6: Yeah, so she did that piece of art.

342
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Speaker 17: That's awesome.

343
00:23:51,440 --> 00:23:53,119
Speaker 6: Yeah, it's so so gorgeous.

344
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Speaker 13: And then Nick from Cosmic Blossom, he's on a song

345
00:23:57,079 --> 00:23:58,880
too that I'm sure you heard. He did a piece

346
00:23:58,920 --> 00:24:02,039
of art. A friend from California to a piece of art.

347
00:24:02,079 --> 00:24:03,440
So it's kind of just the album is going to

348
00:24:03,480 --> 00:24:05,160
have a bunch of different pieces of art all kind

349
00:24:05,200 --> 00:24:08,119
of blended together on the back for you know, just

350
00:24:08,599 --> 00:24:11,880
for something kind of again collaborative art wise and music wise.

351
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Speaker 12: So no, that's extremely cool, and yeah, thank you. This

352
00:24:14,839 --> 00:24:21,880
is a that's amazing, very nice, very nice. So what's

353
00:24:22,319 --> 00:24:25,839
kind of the future trajectory in terms of are you

354
00:24:26,640 --> 00:24:28,680
are you continuing to work with a lot of these

355
00:24:28,799 --> 00:24:31,960
artists on I mean, obviously this this album is just

356
00:24:32,079 --> 00:24:33,960
now coming out or about to come out, but but

357
00:24:34,119 --> 00:24:36,200
are you, because you strike me as someone you probably

358
00:24:36,240 --> 00:24:38,279
always have ideas and oh.

359
00:24:38,240 --> 00:24:41,720
Speaker 13: Yeah, yeah, no, I always have music, uh in the bank.

360
00:24:41,960 --> 00:24:44,039
I mean I could probably do another one of these

361
00:24:44,039 --> 00:24:46,440
pretty quick if I you know, just gott into the

362
00:24:46,480 --> 00:24:49,359
studio and stuff. But uh yeah, I mean that's really more.

363
00:24:49,440 --> 00:24:52,039
I mean I have some ideas kind of to get

364
00:24:52,079 --> 00:24:54,400
things slightly more focused, you know. That's kind of this

365
00:24:54,519 --> 00:24:56,279
is kind of just the like shoot it out there.

366
00:24:56,359 --> 00:24:59,680
This is everything I do. And then you know, I

367
00:24:59,720 --> 00:25:01,839
want to do a little more hip hop production. Me

368
00:25:01,920 --> 00:25:04,079
and Ben talked about doing a few more songs together

369
00:25:04,240 --> 00:25:06,759
and the song that you may have heard with Mazy

370
00:25:06,839 --> 00:25:08,680
Digital Sunrise like that, when we want to do a

371
00:25:08,720 --> 00:25:10,920
few more little like snippets like that, because those you know,

372
00:25:11,039 --> 00:25:12,359
come together really quick.

373
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Speaker 11: You know.

374
00:25:12,680 --> 00:25:14,880
Speaker 6: I have having the able to she just you know.

375
00:25:15,119 --> 00:25:17,359
Speaker 13: Records it through the mic and in my house and

376
00:25:17,440 --> 00:25:20,599
it's super simple in that sense, okay, and then I

377
00:25:20,720 --> 00:25:24,240
just go to our mixed mastering Wizard with the stems

378
00:25:24,319 --> 00:25:26,599
and we just mix it in a couple hours, so

379
00:25:26,759 --> 00:25:29,319
it's no kidding. So yeah, that's why I like even

380
00:25:29,359 --> 00:25:31,039
some of the stuff that most of the stuff is

381
00:25:31,160 --> 00:25:33,880
you know, ultimately produced and made my bedroom and you know,

382
00:25:33,960 --> 00:25:38,000
bedroom studio. But you know, I take the stems and

383
00:25:38,079 --> 00:25:40,400
let Pete Pete do his thing because he's he's such

384
00:25:40,440 --> 00:25:42,279
a good dude and he knows he knows this stuff,

385
00:25:42,319 --> 00:25:45,240
and there's so much stuff that like I have an idea,

386
00:25:45,279 --> 00:25:46,920
and then just even when he gets the stems, he's like,

387
00:25:46,920 --> 00:25:47,519
why don't we do this?

388
00:25:47,559 --> 00:25:48,839
Speaker 6: Why don't we do this? And it just makes such

389
00:25:48,880 --> 00:25:50,759
a big difference, Like, Yeah, that's that's why I'm glad

390
00:25:50,759 --> 00:25:51,279
I do I do.

391
00:25:51,359 --> 00:25:51,720
Speaker 3: This with you.

392
00:25:51,880 --> 00:25:53,680
Speaker 12: Now where is he because we should give him a plague.

393
00:25:53,799 --> 00:25:57,599
Speaker 13: Yeah, that's Pete Peloquin at Board's House Productions in Brookline. Yeah,

394
00:25:57,599 --> 00:25:59,480
same one. That's where you did jam tomorrow, right, we

395
00:25:59,599 --> 00:26:04,079
have jams tomorrow. Fox and Flamingos have recorded there. There's yeah,

396
00:26:04,279 --> 00:26:06,279
a bunch of bunch of bands around the area have

397
00:26:06,599 --> 00:26:08,799
have recorded there. I mean, Rooster Creation are the big

398
00:26:08,839 --> 00:26:11,559
one that they do. But he's the sound guy for Badfish,

399
00:26:11,640 --> 00:26:13,759
so he's on the road doing that stuff a bunch too.

400
00:26:13,880 --> 00:26:16,960
So oh okay, he's actually we're playing a pumpkin fest

401
00:26:17,200 --> 00:26:19,240
tomorrow with Fox and Flamingoes and we get to he

402
00:26:19,319 --> 00:26:21,960
gets to do our sounds, so we're We're lucky. I

403
00:26:22,000 --> 00:26:23,920
think it's the best will ever sound with him doing

404
00:26:24,000 --> 00:26:24,400
our sounds.

405
00:26:24,440 --> 00:26:26,559
Speaker 12: No kidding, Yeah, yeah, no, it makes sense.

406
00:26:26,680 --> 00:26:28,400
Speaker 6: Yeah, it makes sense. Yeah, I know. He's he's an

407
00:26:28,400 --> 00:26:28,920
awesome dude.

408
00:26:29,000 --> 00:26:31,480
Speaker 13: He's super easy to work with and like he lets

409
00:26:32,000 --> 00:26:34,039
meaner it out and learn stuff from him, Like I've

410
00:26:34,079 --> 00:26:37,319
become a better, you know, producer by just watching what

411
00:26:37,400 --> 00:26:40,720
he does, like over his shoulder and asking him nerdy questions.

412
00:26:40,880 --> 00:26:43,960
Speaker 12: Yeah. It's cool though, that you're able to to do

413
00:26:44,079 --> 00:26:47,559
the recording at home, you know, It's I always say,

414
00:26:47,599 --> 00:26:49,039
we live in a time. We're blessed to live in

415
00:26:49,079 --> 00:26:50,720
a time where you have so many different options in

416
00:26:50,799 --> 00:26:53,640
terms of how you record, and you know, different studios

417
00:26:53,680 --> 00:26:55,319
you can go to or you can do it at home.

418
00:26:55,480 --> 00:26:58,839
And oh, really, I'm out with with something that sounds amazing.

419
00:27:00,039 --> 00:27:03,480
Maybe we should play that track Digital Sunrise. That's another one.

420
00:27:03,880 --> 00:27:06,559
So now this track to just to be clear, this

421
00:27:06,680 --> 00:27:08,000
is not Fox and the Flamingos.

422
00:27:08,240 --> 00:27:09,480
Speaker 6: This is not Fox and Flamingos.

423
00:27:09,519 --> 00:27:12,880
Speaker 13: No, this is again a song and guitar riff that

424
00:27:13,000 --> 00:27:16,119
ultimately again the guitar riffs started all became a song,

425
00:27:16,240 --> 00:27:18,119
and then I wanted to do something with it, and

426
00:27:18,359 --> 00:27:19,960
Mazy heard it and loved it, like, oh I can

427
00:27:20,000 --> 00:27:22,799
write some something cool over this, so yeah yeah, and

428
00:27:22,839 --> 00:27:24,599
then just did some rearranging. But yeah, I know this

429
00:27:24,720 --> 00:27:29,160
is just a percussive maintenance featuring Yeah Mazy, I didn't mean.

430
00:27:29,119 --> 00:27:32,640
Speaker 12: To start that already. Try trying to actually Oh, here

431
00:27:32,680 --> 00:27:35,000
we go, trying to actually download it, and this computer's

432
00:27:35,039 --> 00:27:37,519
being a little slow. Here we go, here we go. Okay, yeah,

433
00:27:37,559 --> 00:27:40,359
this is really cool too. Let's give this a spin.

434
00:27:40,480 --> 00:27:42,240
This is called digital sunrise.

435
00:28:04,079 --> 00:28:15,079
Speaker 8: Sometimes I wanna hid is that the s's abd al

436
00:28:15,200 --> 00:28:19,079
the time passes me by? How fun times a while?

437
00:28:19,400 --> 00:28:23,440
Ride a univers so mad?

438
00:28:28,079 --> 00:28:32,839
Speaker 17: Have been had on? Has been, have.

439
00:28:43,640 --> 00:28:47,440
Speaker 8: Been feeling good between my shoes and I've been singing

440
00:28:47,559 --> 00:28:51,359
industry where the sun must go?

441
00:28:52,240 --> 00:28:53,839
Speaker 5: Don't not just like nowhere?

442
00:28:57,200 --> 00:29:07,000
Speaker 10: I'm like God when I'm like God's good between machines.

443
00:29:07,400 --> 00:29:08,880
Speaker 8: I've been sticking in this.

444
00:29:10,279 --> 00:29:14,880
Speaker 3: I'm not where to shusy, I'm not just way no way.

445
00:29:18,319 --> 00:29:20,519
Oh my god, oh my god.

446
00:29:26,279 --> 00:29:27,640
Speaker 17: I don't know what to tell you.

447
00:29:30,160 --> 00:29:47,759
Speaker 8: You've gone to some been eating something bad. They like

448
00:29:47,920 --> 00:29:53,559
your soul about You've been high on.

449
00:30:12,039 --> 00:30:14,440
Speaker 12: It's got a cool vibe if you're just joining us.

450
00:30:14,559 --> 00:30:17,119
Gary Smith is here with us, alive in studio, and

451
00:30:17,240 --> 00:30:21,200
we're playing some tracks from Percussive Maintenance. Did I get

452
00:30:21,240 --> 00:30:21,720
the title right?

453
00:30:21,799 --> 00:30:26,400
Speaker 6: Yeah, that's my producer name. The album is called Melody Workshop.

454
00:30:26,519 --> 00:30:28,240
Speaker 12: Melody Workshop right, right, gotcha?

455
00:30:28,359 --> 00:30:30,839
Speaker 13: Which is my My parents had a music store that

456
00:30:30,920 --> 00:30:33,559
they opened. That was my first job back in ninth grade.

457
00:30:33,599 --> 00:30:36,240
I was giving guitar lessons. So yeah, that was called

458
00:30:36,240 --> 00:30:38,359
the Melody Workshops. I'm like, oh, it's a perfect kind

459
00:30:38,400 --> 00:30:39,839
of tie everything together.

460
00:30:40,039 --> 00:30:42,319
Speaker 12: So yeah, you were already giving guitar lessons.

461
00:30:43,039 --> 00:30:46,119
Speaker 13: Yeah, yeah, mainly bass lessons, but beginner guitar lessons, and

462
00:30:46,200 --> 00:30:48,680
then yeah, by the end, by like senior year, that

463
00:30:48,880 --> 00:30:50,400
was you know, just all I was doing was giving

464
00:30:50,680 --> 00:30:52,680
guitar lessons and bass lessons, So I didn't really have

465
00:30:52,839 --> 00:30:57,640
a normal high school, crappy job, given lessons for my parents.

466
00:30:57,960 --> 00:30:59,359
Speaker 6: Good for you, Good for you.

467
00:30:59,640 --> 00:31:01,519
Speaker 12: Does that still exists or no?

468
00:31:01,920 --> 00:31:06,079
Speaker 13: No, they've both passed since and they've retired a while ago.

469
00:31:06,200 --> 00:31:10,039
But I think the last time it existed, probably as

470
00:31:10,200 --> 00:31:12,359
it was, was like two thousand and two, two thousand

471
00:31:12,359 --> 00:31:14,480
and three, okay, but I actually I found an old

472
00:31:14,480 --> 00:31:17,000
picture of the sign and that's used on the album cover.

473
00:31:17,759 --> 00:31:20,160
So yeah, oh that's very cool. But yeah, it was, uh,

474
00:31:20,359 --> 00:31:22,960
you know, my stepdad got me into music.

475
00:31:23,039 --> 00:31:23,240
Speaker 6: Really.

476
00:31:23,359 --> 00:31:26,720
Speaker 13: My mom and him met doing like actor singers back

477
00:31:26,799 --> 00:31:29,279
in Nashville. He was the director of Actors Singers. Ah wow,

478
00:31:29,559 --> 00:31:32,319
so uh so they met and then that kind of

479
00:31:32,440 --> 00:31:34,599
infused me with music, made me learn trombone at a

480
00:31:34,640 --> 00:31:37,079
young age, and I love bass. So because I went

481
00:31:37,119 --> 00:31:39,079
from trombone, I'm like, I already know bass left so I.

482
00:31:39,079 --> 00:31:40,000
Speaker 6: Could read it right away.

483
00:31:40,119 --> 00:31:42,200
Speaker 12: So what was trombone your first instrument?

484
00:31:42,279 --> 00:31:45,279
Speaker 13: Trombone was my first instrument. Yeah, yeah, I haven't touched

485
00:31:45,519 --> 00:31:48,119
one in you know, twenty something years, so it probably

486
00:31:48,480 --> 00:31:51,599
sound horrible if I tried to touch it, but but yeah,

487
00:31:51,599 --> 00:31:54,000
I mean it was definitely the catalyst for everything. And

488
00:31:54,079 --> 00:31:56,599
then you know, that's what led me to bass because

489
00:31:56,599 --> 00:31:57,960
I'm like, oh, it's in the same cleft, so I

490
00:31:58,039 --> 00:32:00,400
can read it right away. And that was rap and

491
00:32:00,480 --> 00:32:02,319
then you know, my thought was, all my friends are

492
00:32:02,359 --> 00:32:04,039
learning how to play guitar, why don't I learned how

493
00:32:04,039 --> 00:32:04,599
to play bass?

494
00:32:04,640 --> 00:32:06,319
Speaker 6: And yeah it has worked out well.

495
00:32:06,400 --> 00:32:11,279
Speaker 12: Yeah, absolutely absolutely that track too. So you were saying

496
00:32:11,319 --> 00:32:14,599
off here Digital Sunrise, you call it it's mid fi.

497
00:32:15,200 --> 00:32:16,720
Speaker 6: Yeah, yeah, so that was the joke.

498
00:32:16,759 --> 00:32:19,200
Speaker 13: It's it's not like a low fi like slow, like

499
00:32:19,359 --> 00:32:22,920
gritty track, but like it's like a it's a hip

500
00:32:22,960 --> 00:32:25,880
hop ified version of Fox and Flamingos almost, like yeah,

501
00:32:26,240 --> 00:32:28,200
so it's kind of the again, the melding of the

502
00:32:28,279 --> 00:32:30,559
two sides right right.

503
00:32:31,839 --> 00:32:35,279
Speaker 12: When you play like when you play out solo, do

504
00:32:35,440 --> 00:32:37,799
any of the songs from the bands that you're in

505
00:32:38,400 --> 00:32:39,400
make it into the set?

506
00:32:39,640 --> 00:32:41,839
Speaker 13: Or oh definitely yeah, yeah, I mean some of the

507
00:32:42,160 --> 00:32:44,720
I actually just added one we've done with Fox and Flingers.

508
00:32:44,720 --> 00:32:46,480
We've done like this cool funky version of Benny and

509
00:32:46,519 --> 00:32:48,720
the Jets Forever, Yeah, and I'm like, oh, that has

510
00:32:48,839 --> 00:32:51,160
like it has a looping structure. I'm like, oh, I

511
00:32:51,200 --> 00:32:53,200
can loop this one way through. So like that's kind

512
00:32:53,240 --> 00:32:55,400
of when I and then like isn't she lovely? I

513
00:32:55,519 --> 00:32:57,759
do that just the two of us. So yeah, some

514
00:32:57,920 --> 00:33:00,079
of the songs I do with one or other and

515
00:33:00,359 --> 00:33:02,119
then some of my originals, like I do a EMU

516
00:33:02,839 --> 00:33:04,640
when I do that live and I like layer the

517
00:33:04,680 --> 00:33:09,400
harmonies through the looper and like, yeah, it's a uh yeah,

518
00:33:10,039 --> 00:33:13,839
I definitely find songs from from that for sure, I

519
00:33:13,920 --> 00:33:17,279
haven't quite done an original, and I haven't thought about it.

520
00:33:17,319 --> 00:33:20,759
I don't think one would quite work like looping process wise,

521
00:33:20,759 --> 00:33:21,640
because they're also weird.

522
00:33:21,680 --> 00:33:24,519
Speaker 6: But yeah, I definitely find some good covers that that

523
00:33:24,920 --> 00:33:25,279
work well.

524
00:33:25,319 --> 00:33:27,039
Speaker 13: And that's kind of again the fun of my original

525
00:33:27,160 --> 00:33:29,920
or my live side is like people like listening and say,

526
00:33:30,000 --> 00:33:32,160
oh I know that song. Oh that's a radiohead, Oh

527
00:33:32,279 --> 00:33:36,680
that's you know. Yeah, well John, so like there it is.

528
00:33:36,839 --> 00:33:38,119
It is kind of fun in that sense.

529
00:33:38,240 --> 00:33:41,400
Speaker 12: Yeah, yeah, very cool. Well we should uh, let's see,

530
00:33:41,720 --> 00:33:43,559
I want to make sure we get these other ones in.

531
00:33:45,599 --> 00:33:47,119
Should we play melt Away next?

532
00:33:47,400 --> 00:33:47,599
Speaker 6: Yeah?

533
00:33:47,680 --> 00:33:50,359
Speaker 13: Yeah, that's a new Fox and Flamingos song that's actually

534
00:33:50,359 --> 00:33:54,559
our most recently recorded one. Oh and this was a cool,

535
00:33:54,759 --> 00:33:57,400
cool story about this one. Me and Mayzi just were like,

536
00:33:57,440 --> 00:33:59,279
we want to write a song. We hadn't written a

537
00:33:59,319 --> 00:34:03,640
song in a while. And then I had like, as

538
00:34:03,680 --> 00:34:05,640
silly as it sounds, I had a dream with this

539
00:34:05,839 --> 00:34:07,720
riff in it that I had already played like it

540
00:34:07,880 --> 00:34:09,920
just like it's weird that I remember that.

541
00:34:10,079 --> 00:34:11,559
Speaker 6: And then she said I'm like, okay, how about that.

542
00:34:11,599 --> 00:34:12,320
She's like, oh, I love it.

543
00:34:12,440 --> 00:34:14,119
Speaker 13: So the beginning riff was where it all started, but

544
00:34:14,159 --> 00:34:16,159
I had the rift, the chord progression, and then I

545
00:34:16,239 --> 00:34:18,400
just brought it to her. She instantly came up with

546
00:34:18,480 --> 00:34:21,039
words and then brought it to the Flamingos and we

547
00:34:21,159 --> 00:34:22,679
fleshed it all out to what it is, and it's

548
00:34:23,079 --> 00:34:24,840
it's an awesome song or only song that's not in

549
00:34:24,880 --> 00:34:25,880
four to four in the album.

550
00:34:26,000 --> 00:34:27,880
Speaker 6: So yeah, little.

551
00:34:27,679 --> 00:34:30,880
Speaker 12: Waltz, Oh cool cool. Yeah. I love Fox on the Flamingos,

552
00:34:30,920 --> 00:34:33,800
as you know, I love I still love that. I

553
00:34:33,880 --> 00:34:35,679
still play it once in a while. That don't be

554
00:34:35,760 --> 00:34:38,480
a stranger. Yeah, such a great that's such a great song.

555
00:34:38,800 --> 00:34:39,360
Speaker 6: Yeah, I love it.

556
00:34:39,480 --> 00:34:41,960
Speaker 13: But this is great too. So this is brand new, right, Yeah,

557
00:34:42,039 --> 00:34:44,960
this is brand new. It hasn't been played anywhere besides

558
00:34:45,079 --> 00:34:45,880
us doing it live.

559
00:34:45,960 --> 00:34:46,119
Speaker 3: You know.

560
00:34:46,199 --> 00:34:50,000
Speaker 13: I think we debuted it at Wormtown. So yeah, this

561
00:34:50,119 --> 00:34:52,480
is a new Little Fox and Flamingo's debut.

562
00:34:52,719 --> 00:34:54,639
Speaker 12: Fantastic. And this is called melt Away.

563
00:34:54,840 --> 00:35:29,880
Speaker 17: Check this out, hey, safety.

564
00:35:32,119 --> 00:35:38,880
Speaker 5: Sending your soul, your love and.

565
00:35:39,119 --> 00:35:42,440
Speaker 7: One individible have a.

566
00:35:47,960 --> 00:36:00,239
Speaker 2: Member and.

567
00:36:02,079 --> 00:36:13,840
Speaker 18: That trust you, but at all trust myself. Home that

568
00:36:14,760 --> 00:36:23,679
say trust myself? Did you feel so loud?

569
00:36:25,920 --> 00:36:37,840
Speaker 5: So I don't love me alone. I don't want to be.

570
00:37:06,920 --> 00:37:07,679
Speaker 8: Floating down.

571
00:37:10,760 --> 00:37:12,559
Speaker 17: You can I you you do you.

572
00:37:15,039 --> 00:37:21,800
Speaker 5: Not you deliver, sell me just not to work.

573
00:37:24,400 --> 00:37:25,119
Speaker 2: And to.

574
00:37:36,519 --> 00:37:40,679
Speaker 8: That trust you, but I don't.

575
00:37:41,119 --> 00:37:42,320
Speaker 5: It's just myself.

576
00:37:47,559 --> 00:37:49,599
Speaker 17: Oh I can't say that.

577
00:37:50,360 --> 00:37:51,400
Speaker 8: Just mysel up.

578
00:37:55,800 --> 00:38:02,199
Speaker 5: And you feel yourself right, sod.

579
00:38:03,960 --> 00:38:05,440
Speaker 7: Wt be long.

580
00:38:11,559 --> 00:38:40,159
Speaker 5: I'll be long, gods.

581
00:38:42,960 --> 00:38:45,599
Speaker 8: But at ss my save.

582
00:38:50,519 --> 00:38:52,800
Speaker 5: Hold statements.

583
00:38:53,159 --> 00:38:54,360
Speaker 8: That's my save.

584
00:38:59,039 --> 00:38:59,079
Speaker 11: You.

585
00:39:00,360 --> 00:39:03,400
Speaker 2: So so.

586
00:39:53,440 --> 00:39:57,800
Speaker 12: M that is so good, melt away. I love Fox

587
00:39:57,880 --> 00:40:02,159
of the fl you all know. Yeah, that is fantastic.

588
00:40:02,320 --> 00:40:04,559
And yeah, the flute sounds great and that the way

589
00:40:04,599 --> 00:40:05,679
it kind of just.

590
00:40:06,119 --> 00:40:09,000
Speaker 13: Weaves in and out and yeah, like it's cool, like

591
00:40:09,079 --> 00:40:10,400
the flute over the heavy guitar.

592
00:40:10,599 --> 00:40:12,800
Speaker 6: It's such a cool like mix of sounds.

593
00:40:12,840 --> 00:40:16,639
Speaker 12: Oh yeah, yeah, fantastic, fantastic if you're just joining us.

594
00:40:17,000 --> 00:40:19,960
Gary Smith is here. He's in Fox and the Flamingos

595
00:40:20,039 --> 00:40:23,679
and Jam Tomorrow and uh what like ten other bands

596
00:40:23,760 --> 00:40:24,039
or something.

597
00:40:24,159 --> 00:40:28,239
Speaker 13: Yeah, Cosmic Blossoms effective yeah, and then kind of Cinnamon

598
00:40:28,320 --> 00:40:31,440
jazz trio, the Floutest in that we play a little bit.

599
00:40:31,719 --> 00:40:34,519
We were played at Pembroke actually with I played bass

600
00:40:34,599 --> 00:40:38,079
in that with a piano player Joe Verga, and play flute.

601
00:40:38,400 --> 00:40:40,519
Speaker 6: Yeah and yeah we just do some jazz standards, we

602
00:40:40,599 --> 00:40:42,880
have fun. We Uh, it's always a great time.

603
00:40:42,880 --> 00:40:44,880
Speaker 13: I mean, just just like all my other things, Like

604
00:40:44,960 --> 00:40:46,840
we invite people to play up, so like we had

605
00:40:46,880 --> 00:40:49,920
a trump player last time, kind of sax player before.

606
00:40:50,079 --> 00:40:51,039
Speaker 6: So it's fun.

607
00:40:51,480 --> 00:40:53,639
Speaker 12: Is that Is that ever challenging when you when you

608
00:40:54,320 --> 00:40:56,679
I mean having having those additional horns? I mean, does

609
00:40:56,719 --> 00:40:58,840
it always just kind of work or is it ever?

610
00:41:00,079 --> 00:41:02,840
Speaker 13: I mean, jazz, even though it's kind of crazy, a

611
00:41:02,880 --> 00:41:06,360
lot of it's structured, so like you're you're kind of

612
00:41:06,480 --> 00:41:08,800
just doing the same form over and over. So as

613
00:41:08,840 --> 00:41:11,360
long as you know the basics for everything are kind

614
00:41:11,400 --> 00:41:13,480
of happening, it's pretty simple to add in.

615
00:41:13,719 --> 00:41:13,840
Speaker 2: Uh.

616
00:41:14,880 --> 00:41:18,360
Speaker 13: Even like my jazz thing I do at Pembrooke, like

617
00:41:18,559 --> 00:41:21,320
last week, I do it every other Sunday pretty much.

618
00:41:21,800 --> 00:41:24,639
I had some younger kids freshman at Berkeley come and

619
00:41:24,719 --> 00:41:26,639
I think he's a high school student from around here,

620
00:41:26,760 --> 00:41:29,280
Jack and Nick and they came and we just sat

621
00:41:29,360 --> 00:41:31,960
in the whole time and played and went over some stuff,

622
00:41:32,000 --> 00:41:34,000
and like it was like it was a good learning

623
00:41:34,039 --> 00:41:36,960
experience for them to get to kind of woodshed those

624
00:41:37,000 --> 00:41:40,000
types of songs. So yeah, I mean it's never Sometimes

625
00:41:40,079 --> 00:41:42,039
it's smoother than others by all means, it kind of

626
00:41:42,079 --> 00:41:43,760
depends on what the history is.

627
00:41:43,880 --> 00:41:46,280
Speaker 6: But yeah, I mean I do a few of them

628
00:41:46,280 --> 00:41:46,719
around here.

629
00:41:46,800 --> 00:41:50,400
Speaker 13: I often go to the Forum Jazz Jam up the

630
00:41:50,440 --> 00:41:54,079
Old Area twenty three, and yeah, the same thing is

631
00:41:54,119 --> 00:41:57,119
just some old school guys, you know, Brian Booth, mikey

632
00:41:57,239 --> 00:42:00,559
g Mike Glant and they all. I'll just kind of

633
00:42:00,639 --> 00:42:02,880
go through some standards and we all make it sound

634
00:42:02,960 --> 00:42:05,480
really really good because you know, there's there's the structure

635
00:42:05,519 --> 00:42:09,519
to it. But yeah, yeah, I mean it always depends,

636
00:42:09,559 --> 00:42:11,199
but I mean that's kind of the fun, especially if

637
00:42:11,199 --> 00:42:14,599
you have a solid bassist or in rhythm section, you know,

638
00:42:14,719 --> 00:42:17,960
good bassist and drummer like you can you can over

639
00:42:18,719 --> 00:42:21,039
you can overcome a lot just by having the solid

640
00:42:21,079 --> 00:42:23,920
bass and then you know, trust that they're gonna kind

641
00:42:23,960 --> 00:42:27,920
of lead you. Yeah, but yeah, it's definitely a different

642
00:42:27,960 --> 00:42:31,000
type of mindset versus you know, rehearsing, you know, like

643
00:42:31,119 --> 00:42:33,239
learning a cover song for jam tomorrow. That's a very

644
00:42:33,280 --> 00:42:36,960
different mindset versus you know, kind of the improvisatory side.

645
00:42:37,480 --> 00:42:40,280
But even like Cosmic Blossom, like sometimes in sets when

646
00:42:40,280 --> 00:42:42,280
we're doing something, we'll just say, hey, let's jam and

647
00:42:42,440 --> 00:42:44,199
see myner and see where it goes and move come

648
00:42:44,280 --> 00:42:46,920
up with songs. Like the most recent song we're working

649
00:42:46,960 --> 00:42:48,920
on came out in a jam we were doing a

650
00:42:49,320 --> 00:42:51,880
Candy Road brewing. We just like kind of saw where

651
00:42:51,920 --> 00:42:54,880
it went and then they made it. We basically made

652
00:42:54,880 --> 00:42:56,400
it a song over the course of the night. So

653
00:42:57,199 --> 00:42:58,880
it's fun how stuff can work like that.

654
00:42:59,639 --> 00:43:00,000
Speaker 6: Collaborate.

655
00:43:00,679 --> 00:43:03,960
Speaker 12: Is Cosmic Blossom something where where the songs like, do

656
00:43:04,039 --> 00:43:06,480
they change a lot live like, because it seems like

657
00:43:06,599 --> 00:43:08,679
with with the project like that, you've got like the

658
00:43:08,760 --> 00:43:10,960
songs have room to breathe if you want to just

659
00:43:11,119 --> 00:43:14,079
kind of make them longer spontaneously exactly.

660
00:43:14,159 --> 00:43:15,199
Speaker 6: Yeah, I mean they definitely do.

661
00:43:15,400 --> 00:43:18,000
Speaker 13: And then I mean Cosmic Blossom collective is it's a

662
00:43:18,159 --> 00:43:20,280
group of bunch of people. There's you know, multiple drummers,

663
00:43:20,400 --> 00:43:23,840
multiple bassists, multiple you know, guitarists. There's like kind of

664
00:43:23,920 --> 00:43:26,679
Nick and Brad or the core Okay, but yeah, I

665
00:43:26,760 --> 00:43:31,760
mean there's three vocalists, there's a saxophonists sometimes comes in.

666
00:43:31,920 --> 00:43:34,440
So it's really, uh, it's really all over the place.

667
00:43:34,480 --> 00:43:35,960
But that's kind of the beauty of it is that

668
00:43:36,559 --> 00:43:38,719
allows you for some flexibility, get a bunch of different

669
00:43:38,719 --> 00:43:41,639
types of input. And we practiced last week in Nash.

670
00:43:41,639 --> 00:43:45,519
So we had three female vocalists, Sarah, Meg and Amanda

671
00:43:45,800 --> 00:43:47,400
Like make from Dog eight Dog.

672
00:43:47,599 --> 00:43:48,920
Speaker 6: She's a great vocalist.

673
00:43:49,880 --> 00:43:53,400
Speaker 13: Sarah's from Dog a Dog too, and Amanda's from Cosmic

674
00:43:53,400 --> 00:43:54,480
Blossom and uh.

675
00:43:56,719 --> 00:43:58,880
Speaker 6: Or in her Boyfriend of a Group too. I'll get

676
00:43:58,920 --> 00:43:59,880
in trouble for not remembering that.

677
00:44:01,719 --> 00:44:04,800
Speaker 13: But yeah, so like it's just these powerful female vocalists

678
00:44:04,960 --> 00:44:07,400
and they can like instantly harmonize on the spots while

679
00:44:07,400 --> 00:44:10,000
we're riffing on something that we made up there coming

680
00:44:10,079 --> 00:44:13,159
up with these awesome intertwining harmonies, and it's like it's

681
00:44:13,280 --> 00:44:15,800
just me and Nick looked over at each other once.

682
00:44:15,840 --> 00:44:18,880
Speaker 6: Last week just like Jesus, wow, absolutely mind blowing.

683
00:44:19,880 --> 00:44:22,239
Speaker 13: But yeah, I mean it's uh we But then like

684
00:44:22,320 --> 00:44:24,239
the one we did a Candy Road, that's just me

685
00:44:24,880 --> 00:44:26,880
one of the drummers and Nick and Brad just we

686
00:44:27,000 --> 00:44:29,159
do a bunch of cosmic songs, the ones that don't

687
00:44:29,199 --> 00:44:31,159
require those powerful female vocals.

688
00:44:31,840 --> 00:44:34,639
Speaker 6: But then you know, we'll do some covers, we'll you know, just.

689
00:44:34,840 --> 00:44:37,280
Speaker 13: Make stuff up on the spot, and sometimes the spontaneous

690
00:44:37,280 --> 00:44:38,400
stuff gets like the best.

691
00:44:38,239 --> 00:44:40,840
Speaker 6: Reaction from the crowd because you know it's just us

692
00:44:40,920 --> 00:44:41,599
doing our best thing.

693
00:44:41,840 --> 00:44:46,000
Speaker 12: Yeah. Oh that's fantastic. That's fantastic. Uh So before we

694
00:44:46,119 --> 00:44:48,960
run out of time and we'll we'll play we do

695
00:44:49,039 --> 00:44:50,000
have one more that you sent me.

696
00:44:50,199 --> 00:44:54,079
Speaker 13: Kaleidoscope I think it was, yeah, Clidophone. Yeah, yeah, that's

697
00:44:54,079 --> 00:44:57,440
the one with Nick Burns actually of Cosmic Blossoms. Okay,

698
00:44:57,840 --> 00:45:00,280
he's the lead singer and the you know kind of

699
00:45:00,320 --> 00:45:02,760
core of that he sang on the song. We actually

700
00:45:02,760 --> 00:45:05,159
wrote the song together. I had the guitar part and

701
00:45:05,239 --> 00:45:08,280
then he's like, yeah, I said, let's let's make something

702
00:45:08,360 --> 00:45:09,880
cool together with this, and then he came up with

703
00:45:09,880 --> 00:45:12,280
the melody. He plays guitar on it. The same trumpet

704
00:45:12,280 --> 00:45:16,679
player who's on EMU plays the trumpet parts, Brian Murphy. Again,

705
00:45:16,800 --> 00:45:18,320
he used to be in a band called The Shills,

706
00:45:18,360 --> 00:45:23,440
which was pretty famous at one point. But yeah, he's

707
00:45:23,440 --> 00:45:26,119
a he's an awesome trump player, awesome vocalist, awesome guitarist.

708
00:45:26,199 --> 00:45:29,519
Speaker 12: Okay, okay, yeah, So we'll play that in a moment,

709
00:45:29,639 --> 00:45:32,960
but before we go, I want to make sure so

710
00:45:33,159 --> 00:45:35,920
for our people listening live on Saturday, because you've got

711
00:45:35,960 --> 00:45:38,519
a busy Saturday. Let's make sure everyone wants to people

712
00:45:38,599 --> 00:45:39,760
want to follow you around today.

713
00:45:40,039 --> 00:45:42,960
Speaker 13: Yeah, so at twelve thirty I have a one o'clock

714
00:45:43,039 --> 00:45:45,039
the Streaming Stars. But at twelve thirty I'll be at

715
00:45:45,079 --> 00:45:49,119
Pembrooke City Limits showing the whole album. We showed you

716
00:45:49,159 --> 00:45:51,440
know a few songs from it, but there's twelve total songs.

717
00:45:52,760 --> 00:45:55,800
And then I'll be there till about two thirty most likely.

718
00:45:55,960 --> 00:45:57,920
And then I'll be going up to Bay Side Bowl

719
00:45:59,079 --> 00:46:06,000
in Portland, Maine with Onyx, the old school hip hop group.

720
00:46:06,280 --> 00:46:08,519
They're playing and Ben Shore is opening for them. We're

721
00:46:08,519 --> 00:46:11,199
gonna debut the song we just played as I lay

722
00:46:11,280 --> 00:46:14,599
dying with me playing guitar excellent, right before they go on.

723
00:46:15,400 --> 00:46:18,719
And then tomorrow Fox and Flamingos is playing eleven thirty

724
00:46:19,920 --> 00:46:21,480
in the middle of the Milford Oval.

725
00:46:21,360 --> 00:46:22,119
Speaker 6: For Pumpkin Fest.

726
00:46:22,199 --> 00:46:23,079
Speaker 12: Too excellent.

727
00:46:24,159 --> 00:46:26,880
Speaker 13: And then yeah, yeah, I mean keeping eye on my website,

728
00:46:26,880 --> 00:46:28,440
my website g Smith.

729
00:46:29,079 --> 00:46:31,920
Speaker 6: Music dot com. I still have a lot of a

730
00:46:32,000 --> 00:46:33,000
lot of gigs coming up.

731
00:46:33,719 --> 00:46:33,880
Speaker 11: You know.

732
00:46:34,039 --> 00:46:36,039
Speaker 6: Next week I'll be playing a Bad Burger.

733
00:46:36,079 --> 00:46:37,920
Speaker 13: We do a cool little jam there with the owner

734
00:46:38,360 --> 00:46:41,400
Ian and then I'll be up and I'm actually racing

735
00:46:41,480 --> 00:46:44,639
next weekend, so I'll be up in Claremont so I'm

736
00:46:44,719 --> 00:46:46,599
doing a gig while I'm racing on the weekend.

737
00:46:46,719 --> 00:46:48,719
Speaker 12: So what do you mean, you're you're racing?

738
00:46:48,880 --> 00:46:51,760
Speaker 6: You I race. He'll climb like he'll climb cars.

739
00:46:52,519 --> 00:46:54,920
Speaker 13: Yeah, so the bottom of a mountain access road up

740
00:46:54,920 --> 00:46:56,440
to the top like they do Mount Washington.

741
00:46:56,639 --> 00:46:57,000
Speaker 17: Oh wow.

742
00:46:57,480 --> 00:47:00,199
Speaker 6: Yeah, there's a bunch of them throughout Vermont that I do.

743
00:47:00,400 --> 00:47:03,159
Speaker 13: And I have an old two thousand and four Neon

744
00:47:03,360 --> 00:47:07,079
SRT four that's with a roll cage. That's yeah, yeah,

745
00:47:07,159 --> 00:47:09,039
that's a I've been doing that for a few years.

746
00:47:09,079 --> 00:47:10,840
I think you saw me probably one point when I

747
00:47:10,920 --> 00:47:13,480
was all broken when I was in when I was hobbling.

748
00:47:13,519 --> 00:47:15,679
Speaker 6: That was because I crashed on my race cars. Yeah,

749
00:47:17,000 --> 00:47:19,000
but yeah, yeah, I love hill climbing. It's the best,

750
00:47:19,280 --> 00:47:19,719
no kidding.

751
00:47:19,840 --> 00:47:21,599
Speaker 12: Yeah, this is scary. It sounds scary.

752
00:47:22,400 --> 00:47:25,079
Speaker 6: Yeah, I mean, it took me a while to get

753
00:47:25,119 --> 00:47:25,360
into it.

754
00:47:25,400 --> 00:47:27,239
Speaker 13: But I'm like, if you're racing on a road course,

755
00:47:27,239 --> 00:47:28,800
which I did before, I'm like, if you hit a wall,

756
00:47:28,840 --> 00:47:30,239
it's not going to be fun. If you hit a tree,

757
00:47:30,280 --> 00:47:31,519
it's not gonna be fun. And then I mean I

758
00:47:31,559 --> 00:47:33,599
did hit a tree really bad and it definitely was

759
00:47:33,679 --> 00:47:36,719
less than less than fun. But I got back to it,

760
00:47:36,880 --> 00:47:38,360
to it with any year because it's so fun, the

761
00:47:38,440 --> 00:47:41,119
community is so great and it's what every everyone in

762
00:47:41,159 --> 00:47:42,599
New England wants to do. Go as fast as you

763
00:47:42,679 --> 00:47:45,519
can on a back road, you know, with no no

764
00:47:45,639 --> 00:47:48,079
speed limits. It's just you know, a twisty, windy thirty

765
00:47:48,159 --> 00:47:50,440
turn road up the top of a road.

766
00:47:50,559 --> 00:47:52,159
Speaker 6: So it's a lot of fun.

767
00:47:52,320 --> 00:47:56,000
Speaker 12: Wow, no kidding, all that's cool, that's cool, All right,

768
00:47:56,199 --> 00:48:01,360
well we will we will close out with oh, actually

769
00:48:01,480 --> 00:48:03,639
the other thing too, not only what you're doing today,

770
00:48:03,679 --> 00:48:05,679
but let's make sure two people know the schedule for

771
00:48:05,800 --> 00:48:06,599
the album release.

772
00:48:06,880 --> 00:48:09,880
Speaker 13: Oh yeah, album release. Yeah, so fourteenth. You'll be able

773
00:48:09,920 --> 00:48:12,440
to download it, stream it on band camp. You can

774
00:48:12,519 --> 00:48:17,559
pre order the vinyls, you can order shirts like you

775
00:48:17,639 --> 00:48:20,199
got we have those. I'm actually gonna have guitar picks

776
00:48:20,239 --> 00:48:22,920
coming in again for my nerdy friends. And then the

777
00:48:23,039 --> 00:48:24,880
twenty eighth the album will be out on all the

778
00:48:24,960 --> 00:48:28,440
other streaming services. Obviously band Camp is a little bit

779
00:48:28,519 --> 00:48:30,920
nicer to musicians, so anyone who would like to support

780
00:48:31,039 --> 00:48:34,559
us through that is definitely appreciated. But it'll be on

781
00:48:34,679 --> 00:48:37,360
all the you know, Spotify's and apples of the world.

782
00:48:37,480 --> 00:48:41,719
On the twenty eighth. Yeah, okay, yeah, the vinyls should

783
00:48:41,800 --> 00:48:44,440
be here by the end of the year, pending things

784
00:48:44,559 --> 00:48:47,679
with Vinyl, but it's gonna be some cool one hundred

785
00:48:47,679 --> 00:48:50,880
and eighty gram clear vinyl for the first first hundred pressings.

786
00:48:51,039 --> 00:48:51,320
Speaker 12: Nice.

787
00:48:51,760 --> 00:48:53,039
Speaker 6: Yeah, I'm a vinyl nerd.

788
00:48:53,119 --> 00:48:53,559
Speaker 17: I have been.

789
00:48:53,599 --> 00:48:56,039
Speaker 6: I worked at Tweeter back in the day. Yeah, yeah,

790
00:48:56,119 --> 00:48:58,679
so I'm i gotta gotta do.

791
00:48:58,719 --> 00:49:01,800
Speaker 12: It right, I think, if I'm not mistaken. Twenty twenty

792
00:49:01,840 --> 00:49:03,519
two was the first year of the vinyl Actually, I.

793
00:49:03,519 --> 00:49:06,719
Speaker 6: Was told CDs. Yeah, yep, long time coming.

794
00:49:06,880 --> 00:49:09,760
Speaker 12: Yeah, there you go, there you go. Gary Smith. Always

795
00:49:09,800 --> 00:49:11,280
wonderful to have you here, my friend. Thank you for

796
00:49:11,320 --> 00:49:14,280
having me. I appreciate it absolutely. And congratulations on the

797
00:49:14,360 --> 00:49:15,920
album and everything that you're doing.

798
00:49:16,199 --> 00:49:16,480
Speaker 6: Thank you.

799
00:49:16,719 --> 00:49:18,880
Speaker 12: And uh yeah, we will close out the segment with

800
00:49:18,960 --> 00:49:22,199
this coalidaphone. Oh if you are listening live on Saturday,

801
00:49:22,239 --> 00:49:24,719
of course, we have Brian Biolanski. I'll have to ask

802
00:49:24,800 --> 00:49:27,559
him if I'm saying his name correctly coming up in

803
00:49:27,639 --> 00:49:30,239
the third hour. He's on a big national tour and

804
00:49:30,639 --> 00:49:33,280
he is he has a stop here in the Queen City,

805
00:49:33,519 --> 00:49:35,639
so he's going to be joining us. But we will

806
00:49:35,679 --> 00:49:38,320
close out this hour with this is kaleidaphone.

807
00:49:59,320 --> 00:50:06,880
Speaker 7: It's dump the water, It's center, It's the him the

808
00:50:07,159 --> 00:50:12,960
time mother nick music saying everything.

809
00:50:15,360 --> 00:50:17,239
Speaker 5: It's similar than to her spirit.

810
00:50:19,360 --> 00:50:21,280
Speaker 6: It's sitting the beat of each heart.

811
00:50:22,840 --> 00:50:23,679
Speaker 1: It's magic.

812
00:50:23,880 --> 00:50:27,400
Speaker 7: Bad hides in playing side or music.

813
00:50:27,599 --> 00:50:28,079
Speaker 6: It's who.

814
00:50:30,360 --> 00:50:31,480
Speaker 17: Oh music.

815
00:50:31,599 --> 00:50:37,719
Speaker 7: It's who he oh and how it moves me?

816
00:50:38,400 --> 00:50:43,400
Speaker 13: Oh when I hear the morning birds sing the heart

817
00:50:43,639 --> 00:50:47,679
sorry and in harmony with the song.

818
00:50:47,599 --> 00:50:49,119
Speaker 17: Not God's there is.

819
00:50:51,320 --> 00:50:53,480
Speaker 8: It's sooner, We got your feelings.

820
00:50:53,800 --> 00:50:57,599
Speaker 5: Oh, it's showing where how you playing.

821
00:50:58,880 --> 00:51:03,960
Speaker 13: The timing into creates a lot of bone that they's me.

822
00:51:27,320 --> 00:51:33,159
Speaker 3: It's over collar a trumpet, it's another buck of a stamp.

823
00:51:34,840 --> 00:51:38,440
Speaker 5: It's medus colored sound.

824
00:51:38,920 --> 00:51:41,000
Speaker 7: Music is and everything.

825
00:51:43,320 --> 00:51:48,480
Speaker 17: It's how we see each other going through the window

826
00:51:48,639 --> 00:51:49,199
of d.

827
00:51:50,840 --> 00:51:51,400
Speaker 19: It's time.

828
00:51:51,599 --> 00:51:55,719
Speaker 6: The all makes itself heard music, you.

829
00:51:55,840 --> 00:51:59,440
Speaker 7: Too, we are all music.

830
00:51:59,599 --> 00:52:00,519
Speaker 8: It's a oh.

831
00:52:03,639 --> 00:52:07,559
Speaker 3: Oh, and how it moves me when I hear.

832
00:52:07,800 --> 00:52:14,400
Speaker 15: The calf is three, the sacred beauty a melody and

833
00:52:14,800 --> 00:52:17,159
the compredided Bruce.

834
00:52:19,360 --> 00:52:21,400
Speaker 17: It's soon we got your listen.

835
00:52:23,360 --> 00:52:25,360
Speaker 6: It's the the way that you move.

836
00:52:26,880 --> 00:52:29,519
Speaker 5: The reason meantime makes me feel.

837
00:52:29,320 --> 00:52:32,519
Speaker 6: So sublime, Ma, and I'm locked within.

838
00:52:32,440 --> 00:52:33,360
Speaker 7: The crew.

839
00:53:39,159 --> 00:54:00,599
Speaker 2: And mm hmm.

840
00:54:35,880 --> 00:54:38,440
Speaker 7: It's annoy that you feelings.

841
00:54:40,679 --> 00:54:42,960
Speaker 17: It's annoying that you play.

842
00:54:44,400 --> 00:54:45,039
Speaker 20: The time.

843
00:54:45,320 --> 00:54:53,639
Speaker 3: Having songs creates a coladapone that it SI's me way.

844
00:55:06,199 --> 00:55:08,400
Speaker 20: In times of crisis, you need a law firm that

845
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stands by your side. With over forty years of experience,

846
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847
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848
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849
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851
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Serving all of New Hampshire, Craigan Getzulis is here when

852
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you need us most. Visit Craigatzulis dot com or call

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Speaker 19: Allies, bring your kitchen to life with Queen City Cabinetry,

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located at eighty seven Elm Street in the historic Sunbeam

857
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858
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Speaker 21: Open Monday through Friday nine.

859
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Speaker 19: Am to five thirty pm in Saturday's ten am to

860
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two pm. They can be reached at six oh three

861
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862
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865
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Speaker 21: Disneys Cafe is the place to put a smile on

866
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867
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869
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870
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873
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Speaker 4: When it comes to.

874
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Speaker 11: Keeping WMNH on the air and your own personal or

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business computer needs, trust Growland Computers located on Elm Street

876
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Speaker 10: Night.

884
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Speaker 8: Seven times out of ten we listened to our music

885
00:57:29,760 --> 00:57:35,679
at night. That's titled book Business Program Late.

886
00:57:35,639 --> 00:57:39,440
Speaker 21: Night to Light with DJ Midas right here on WMNH Manchester.

887
00:57:39,639 --> 00:57:41,199
Speaker 3: You wonder because.

888
00:57:42,880 --> 00:57:45,280
Speaker 1: Saturdays and Sunday nights midnight to four am.

889
00:57:46,599 --> 00:57:52,079
Speaker 22: This hour on wm NH is sponsored by CGI Business Solutions,

890
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located at five Dartmouth Drive in Auburn. They serve all

891
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your business needs including employee benefits, planning, corporate design and

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Their phone number is eight sixty six eight four to

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895
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896
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Speaker 23: Behold the harmony of airwaves as you immerse yourself in

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the captivating frequencies of w MNHLP. The sonic heartbeats of

898
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Manchester is transcending through the ether at ninety five point

899
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three megahertz. Frequency modulation or transmissions emanate from the zeedith

900
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of one thousand Elm Streets. It's insurant to the hearts

901
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of our creative realm at one nineteen Canal Street, where

902
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innovation and Sound Coluge. They're the impro moder of Manchester

903
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Public Television Service in the venerable city of Manchester, New Hampshire, USA.

904
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Enrich your auditory journey with the depth of our license

905
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to wesidens wept your admissives. Do WMNH ninety five to

906
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three at gmail dot com, or traverse the virtual corridors

907
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of w Mnhradio dot or engage with our sonic vibrations

908
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by communing with us through the digital channels. You know

909
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our radio beconds eager to enthrall you with its mesmerizing

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kitdence and envelop you with a symphony of foundless audits.

911
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Speaker 12: Hornes one dude,