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Speaker 1: When Mattso wakes up in the morning, he gets into

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the shower and to the top of his lungs.

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Speaker 2: He sings, I do what I want.

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Speaker 3: Because I can't.

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Speaker 4: All right, I'm back to the radio show. Now on

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the best Jerry.

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Speaker 5: In your wildest dreams, you could never imagine, in your

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craziest thoughts, you couldn't.

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Speaker 6: Ever conceive.

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Speaker 4: One had one mind.

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Speaker 7: One soul, one boys, one true, one or one choice.

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Speaker 4: Come on, people, come on, people, come on, peoples, get

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this done and come on.

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Speaker 8: People, come on, people, come on people.

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Speaker 4: Let's get this started right now.

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Speaker 1: Let your chance and face against the side.

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Speaker 6: Together.

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Speaker 2: We are strong and wistle, one.

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Speaker 3: Hard, one mind, one.

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Speaker 7: Soul, one noois, one tree, one door, one choice.

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Speaker 8: Come on, people, come on, people, come on, people, escape

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this start.

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Speaker 6: Come on, people, come on, people, come on.

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Speaker 9: They will escape this start what we did to give.

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Just wait to see the escape the stone.

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Speaker 3: In the wind.

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Speaker 4: If they escape the stock.

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Speaker 8: The part they would they could make hardship the stock,

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the escape the stock.

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Speaker 2: Who Hey, welcome back everybody. If you are listening live

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on Saturday, October twenty five, twenty twenty five, We've just

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entered our number two new Marrow doos of Matt Connorton

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Unleashed and we are live from the studios of wm

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NH ninety five point three FM and Glorious Manchester, New Hampshire.

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Jenny is here, of course at the news table and

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the song we just heard that it's called People Come

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On and we've got kt K also known as Kevin

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Kirstaid here with us in studio. Welcome Kevin. Hey, guys,

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I love I love that song. I love everything about it.

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I love the solo, I love your voice and I

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love the whole vibe. Everything about that is amazing. Thank

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you very much, absolutely absolutely very happy to play that

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this morning and excited to talk to you. You came

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to us through Eric from JAMDEMICJM.

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Speaker 10: Demic, one of my best buddies these days. Yeah, they're

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really on top of things, on top of their game.

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They're a hot band. I run sound for them, Okay,

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and yeah, Eric said, Matt Connerton has some spots and

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so I'm new and I have all my material ready.

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I'm just getting started in the local area. But yeah,

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Eric sent me over here and I'm glad to be here.

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Speaker 2: Yeah, and well we're glad to have you.

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Speaker 10: Yeah.

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Speaker 2: I love what you're doing. What can you tell us

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about that song?

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Speaker 10: By the way, So that particular song was inspired and

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it's a couple of roots. The ascending rhythm line came

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when I bought my Yamaha trans Acoustic is an acoustic

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guitar that has Courus and reaver built into it. Okay,

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my boss at work brought one in two years prior

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and played it for me, and I was absolutely amazed,

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and over the course of I wanted one. I wanted one,

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but I really didn't buy things too much. I didn't

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buy new instruments or things like that, and I really

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wasn't doing my own music, just a little bit here

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and there. But I sold all kinds of little things

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on Craigslist and Facebook Marketplace and saved eight hundred dollars

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and bought a brand new my first brand new instrument, yeah,

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in my late fifties, Yamaha trans Acoustic guitar. And once

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I got it, I picked it up and played it

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every single day. So the rising line in that come on,

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people come on. The guitar rises in there, and it

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was born out of that people come On. But it's

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a really a song about revolution and joining together and

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the power of unity, and it was inspired by there

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was an Iranian woman who was shot and killed for protesting,

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and shortly afterwards all the iron and women started coming

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out into the streets and protesting. Yep. And I really

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don't remember what happened with all of that, but it

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really inspired. It showed me the power of what they

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were starting to do. Yes, and even though they were

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against all odds and they really didn't have much of

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a chance, what they could do together made a difference

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and made an impact. So that song speaks to the

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power of unity, one heart, one voice, mind. Yeah, I

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love it. I love it.

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Speaker 2: Where did you record that?

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Speaker 10: So all these songs were recorded at a shout out

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to Zach Kazak Wild Feather Recording Studios in Nashville, Tennessee. Excellent.

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So last October, it's been a year now. These songs

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haven't existed until a year ago. I started recording all

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these and I just got the master that you played

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two weeks ago. Okay, wow, so I've had I went down.

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I did fourteen songs down there. Yeah, and that was

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one of the first ones. Yeah. So it's a magical place.

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It's just a little small place, much like the radio

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station and all the studios down there, all just small

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old houses converted and all vintage equipment. And I walked

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in to that place and I had my dream of

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recording all my life. I walked in there. I said,

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I'm not here because I think I have something that's

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going to sell a jillion or anything like that. I'm

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here because I don't want Tom playing crap at my funeral.

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I have all these songs. I have basement recordings. They're

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just not good. I have old live recordings, old bands,

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and something's not recorded and people Come On was a

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basement recording. A lot of the elements of it, like

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the beginning whisper come on Yeah, was developed in the basement.

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Over time, some of those things came together. Yeah. But

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you just walk in the studio there, and the studio

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pros are worth every penny. They seem to know what

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you're thinking. Laid down my dummy track with my trans

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acoustic yeah, and they take it all to the next level.

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And then I get to sing on top of it.

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And I got to play bass on all those too,

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Lucky me. Yeah, it was only taken out of my

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hand at one point from someone who could do a

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little better.

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Speaker 2: Really, that's funny. Yeah, so you recorded how many fifteen?

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Speaker 10: I did fourteen songs in the studio. I have fifteen

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tracks for you, okay. One of them is from nineteen

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ninety two. I recorded at Ryan's songs in pepperl Wow

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and had to be remastered. So I've had the opportunity

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to record a couple of times over my life, just

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that really well that one time in ninety two and

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now here at Wildfeather Okay, so Wildfeather, Zach Kazak, he's

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a complete pro. All the magic is the producer. The

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people are good, you know, the musicians of course, off notch. Yeah,

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the producer who tells you no, don't do that, here,

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do that there a little less? Think about that baby

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you're singing too. Ye he was really an inspiration and

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uh he sent me in the right direction.

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Speaker 2: So that's excellent.

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Speaker 10: Yeah, it's been tough for showing up with the whole

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band of YEA, so it was very It was fun

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to just be the only person so and yeah, I

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went with his input a lot of times over mine.

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I don't care. Later on that you we might play.

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I'm not sure. There's a part we cut out, a

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little talking part that I do live the time I

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do open mic, everyone gets a chuckle, and I do

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live because I do an implied rhyme with a bad word. Okay,

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but I never say it. But he said, this song

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will hit the radio. You can't leave that in there.

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They don't want that. Yeah, so he was really conscious

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of what could have He was aware of what could

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happen in my music, and he was really helpful.

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Speaker 2: Yeah, was that intimidating at all going to Nashville and

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doing all that? Or because we've had a lot of

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artists on the show, a lot of guests over the

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years who have done that, and and I hear, you know,

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some some people say, oh no, I felt really comfortable,

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and you know, I knew exactly where I was going

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and everything, and other artists will tell me other guests

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have said, you know, yeah, it was kind of Nashville.

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That's kind of a big deal going there. I was

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a little it was a little scary, Like, how did

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you feel going there and doing this?

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Speaker 10: So this relationship was cultivated over a number of years

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through Facebook friends and through connections.

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Speaker 2: That helps.

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Speaker 10: Yeah, So I sent a few things to Zach over

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the years, and you get mixed reactions Yeah. Then I

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sent him round up the vote, which I did in

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the basement barbershop quartet. It was me myself and I

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all me except for Tom from the Milk Crates came

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over and played piano for me. But I sent that

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to Zach and he said, wow, that's a cute little thing.

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You need that mastered, and he offered to do it cheaply,

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and so I sent him. I was, I was a fool.

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I sent him my mess of tracks from the basement.

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I sent him forty three different tracks for maybe six

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different eight different elements. Yeah, but he cleaned it up

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and made it real nice. And after that point he uh,

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I said, can you listen to the rest of my

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stuff and put them into folders? And I let him

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listen to twenty odd songs, maybe old live band recordings,

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some just me doing it by myself in some basement recordings. Yeah,

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I said, put them in hits and shelf, you know,

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And he put most of them in hits.

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Speaker 2: Nice.

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Speaker 10: So I had I found myself with some money to

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do some stuff, and I scheduled my time for October

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to go down there and we picked six of them,

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eight of them the first time. Yeah, and did did

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those in a week. I stayed down there a whole week. Yeah, yep, excellent. Wow,

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it was one of the funnest times. Yeah, in the studio,

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magical place. Yeah, and you know when they're tracking and

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when the lead players are doing all their work a

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couple of times down outside and cry tears of joy

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magic happening upstairs. You didn't expect these things to blossom

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into this. I knew in my head what they sounded like,

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so they didn't make it sound exactly like that, but boy,

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they did an awesome job and making it sound into

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something spectacular. Absolutely. So some of the things they're completely

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different from the basement recordings, I don't care. And the

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basement recording is real guitar heavy and stuff, and the

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studio recording is just pretty yeah.

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Speaker 6: And so.

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Speaker 10: Yeah, things changed in the studio too, But it was

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the most It was one of the most fun thing

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of fun times ever around in my life. Oh that's great.

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Speaker 2: Now, while you were down there, did you get a

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chance to play out at all? Did you do any

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open mics anywhere or anything like that?

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Speaker 10: Not this time? Yeah, a time prior I had made

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sure I went down to visit and I made sure

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I went to an open micah, so yeah, And I

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had never done any up here at that point. This

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was like three or four years back, and I told myself,

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I'm going to Nashville. My daughter went to college in Nashville.

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Oh okay, I was in and out. Yeah. And I

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went to an open mic there and had never been

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to one, and so I didn't know what to expect.

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I didn't know you had to listen to the featured

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artists for like an hour and a half or two

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hours before you get to play your one song in

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a chair with four other people in a row. So, yeah,

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it was a little tough in Nashville. It's a tight

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town and there's not too many open mics.

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Speaker 2: That's the part that where people have told me it

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can be intimidating, that that whole element of it.

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Speaker 10: Yeah, they were all sitting in the chairs and that

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was the last one, and I couldn't sit in my chair.

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I'm not a sitter when I sing, yeah to stand up. Yeah,

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And I did my Tequila song and I did really well. Yeah.

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I did my basement recording of Tequila is out at

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the time, and it still is out right now. On sodcast.

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You can find Kevin kirstaid hashtag hydrate is the name

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of the song. Okay aka Tequila. But I played down

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in Nashville. I made little QR codes on business cards

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and little stickers.

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Speaker 2: Smart.

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Speaker 10: I went in bathrooms and stuck my stickers and stalls. Ye,

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left my little cards everywhere. Yeah. My Reverb Nation page

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got a few hits from some of those things.

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Speaker 2: Yeah, that's good.

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Speaker 10: So it was fun. Self producing is tough. There's a

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lot to do, a lot a lot to do. Yeah, absolutely,

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But Nashville it was a little intimidting. But I'd been

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there with my daughter, so I loved the town. Loved

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the town obviously. Yeah, couldn't wait to play there. I

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can't wait to play there someday as an artist.

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Speaker 2: Oh I can imagine. Yeah, absolutely, absolutely, well sold. We

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play another one of these studio.

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Speaker 10: Tracks, missed Me when I'm Gone. It's one of my favorites. Okay,

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that was one of the ones I was never able

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to pre record. Most of the other ones had a

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pre recording. That one I went down with and I

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just through it and they took it from there. Get

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a groove to it, ye, got a Yeah, it's got

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a groove.

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Speaker 2: It does it does, Yeah, it does, absolutely. All right,

254
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let's give this a spin. If you're just joining us,

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kt K is with us Kevin Kirstead. But kt K

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is what that's the name of the project, right, that's

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why you're going with for Yeah, and for those of

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you watching online, if you're watching on YouTube, he's got

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the shirt to with the cool I do like the

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logo kt K.

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Speaker 10: The T is me?

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Speaker 2: Is he your middle initial?

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Speaker 10: Kevin Thomas? That's that's what.

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Speaker 2: Oh, we have the same middle middle name. I'm also Thomas.

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Speaker 10: There's another Kevin Thomas kirst in this area.

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Speaker 2: Is there really?

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Speaker 10: Yes? There is?

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Speaker 2: Jeez. That's funny. All right, well let's give this a spin.

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So this is called the full title has Missed Me

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when I'm Gone, Missed Me when I'm gone, miss Me

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when I'm Gone by k t K.

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Speaker 10: Check it out.

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Speaker 6: I'm staying and in my face, but I'm standing at

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the dawn.

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Speaker 3: I have miss.

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Speaker 1: Communication and scrimmling up my brain, hidden me and you

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Windo driving me insane.

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Speaker 4: Maybe it's team.

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Speaker 3: I've been the team.

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Speaker 6: I know, I know, I know, I got I gotta

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get away. You gone miss me, young, y'all?

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Speaker 4: Miss me, you young, miss me.

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Speaker 3: When I'm gone.

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Speaker 9: When I'm gone, y'all.

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Speaker 4: Dony'll mess me. You gone miss me, You're gone, mess me,

286
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You're gonna mess me, miss me, missed me.

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Speaker 6: When I'm gone. And I can have my own opinion

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if I keep it to myself.

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Speaker 1: I can talk about our proper joust with someone else.

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I can mean mound decision if I'm sure that he

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could fight. But you think I just screwed up again.

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I can't see any of you. He needs a team

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and me the team. I know, I know, I know,

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I've got I gotta get away.

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Speaker 6: You're gonna miss me.

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Speaker 4: You you'll miss me.

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Speaker 6: You're gonna miss me when I'm gone. Then I'm gone.

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Now you're gonna miss me.

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Speaker 4: You're gonna miss me.

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Speaker 6: You're gonna miss me.

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Speaker 3: You're miss me, miss me, miss me.

302
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Speaker 1: Why I'm gone, meaning my chance the clouds will go,

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and I see.

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Speaker 4: You're lighter the team.

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Speaker 1: I'll just get.

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Speaker 4: Back into and to everything you say.

307
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Speaker 6: Yo, y'll miss me, young, y'd miss me? Y y'all

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miss me?

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Speaker 3: Where I'm gone?

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Speaker 6: Where I'm gone, day.

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Speaker 4: Y'all mess me young god miss me, go, I God

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mess me, miss me?

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Speaker 3: Wow?

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Speaker 2: Well, Well, where I'm gone that has miss me when

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I'm gone. The radio edit from Katy k Kevin Kier said,

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who is here with us live in studio? Yeah, you

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were saying at the end of the song. The other

318
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version ends a little bit differently, little differently, a little differently. No,

319
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but I love that. I do love the groove on

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that and the guitar playing. So is that all you

321
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as well?

322
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Speaker 10: Though? No, no, I don't play the guitar on that.

323
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Only bass okay okay. Guitarist was in Nashville. Mike Sherry

324
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is his name, and amazing, absolutely amazing.

325
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Speaker 2: What's going on in your mind when he's laying down

326
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that solo, Like you must be over the moon, like

327
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at how well that's coming out? That was a solo

328
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is fantasy. Everything he did on that track was fantastic.

329
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Speaker 10: Absolutely fantastic. And that was like his second time. That

330
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was only like a second really yeah, So I think

331
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that was one of the moments I listened to it

332
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and then it was being remixed. I went down and cried,

333
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you know these things, it's like so amazing what these

334
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people come up with. The pro Like I said, the

335
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pros are worth everybody, yep, yep. But he nailed it

336
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exactly what I wanted, exactly what I wanted because he

337
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heard the angst in the song. Yep, he caught the

338
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grown and that was the bassline too. The groove is

339
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in the bass line, it's in his line. But there's

340
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multiple multi So you listen to that and you only

341
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hear a guitar or two, but you don't know this

342
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several layers, and so the amazing part of the studio. Uh,

343
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he plays the rhythm part for that, and then producer says, Okay,

344
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pick up the strat the same exact thing with the

345
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straton now instead of less Paul, okay do that. Okay,

346
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Now we're plugging you in a different amp. Multiple multiple

347
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takes of the same thing, different sounds and different instruments.

348
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The producer built the sound so it sounds like one guitar,

349
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but it's actually multiples of different guitars and different amps

350
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that are cleverly woven together to craft that. And so

351
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there's the different tracks too and this, so there's multiple

352
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takes of multiple That was the fun part of listening

353
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to it. The leads weren't just the one time obviously,

354
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yeah things and then the producer would reached out so

355
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all the leads, and most of the guitar playing was

356
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done in the control booth, you know. The amp was

357
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in the other room and it was so this was

358
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the funniest part. I went to help Mike come in,

359
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and I went to pick up his amp. Have you

360
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put it on the ground outside the car, And I

361
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went to the handle and Zach and Mike both looked

362
00:21:21,640 --> 00:21:23,400
at me and say, don't pick it up by the handle.

363
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Oh really, fifty seven Fender Tweed Vintage something other other. Yeah,

364
00:21:29,079 --> 00:21:31,440
just don't pick them up by the handle. Yeah. Yeah,

365
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But brought it upstairs. They plugged it in and had

366
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a giant hum in it. I'm like, what are they

367
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why are they bringing this here? Yeah, And Zach gets

368
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in the studio on the other side of the control

369
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booth and he pulls up this little plug in and

370
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all of a sudden, no hum on.

371
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Speaker 2: Yeah.

372
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Speaker 10: So he just knocked it right out of the thing,

373
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and then everything out of was clean and pure. After that,

374
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it was on eleven, and so the guy was in

375
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our room playing and so you're just sitting in a

376
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room with his pedal board. A few pedals. Yeah, the

377
00:22:01,759 --> 00:22:06,039
producer is reaching down half the time changing the pedals. Yeah, yeah,

378
00:22:06,359 --> 00:22:10,759
doing all kinds of stuff. Yeah. Yeah, the musicians are

379
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one thing, and the producer, the magic producer, is the

380
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really the key element of all that. Zach Kasach a

381
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shout out once again. Yeah, Wild Feather Recording, Nashville Student, Nashville, Tennessee.

382
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Speaker 2: Yeah, did any of those songs that we recorded there

383
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become out like a lot different than what you had imagined?

384
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Or was everything pretty close? Or I mean, obviously, I'm

385
00:22:31,680 --> 00:22:33,240
sure a lot of them came out, you know, better

386
00:22:33,319 --> 00:22:35,359
than you had you would even imagine, right, But but

387
00:22:35,599 --> 00:22:38,039
but did any of them come out? I guess what

388
00:22:38,079 --> 00:22:40,359
I'm really asking is were there any surprises where at

389
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the end of it you were like, Wow, this is

390
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I like this, but it's not necessarily what I thought

391
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it was going to be.

392
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Speaker 10: Absolutely, I don't care that. I hope we play later. Yeah.

393
00:22:49,960 --> 00:22:52,599
One of those songs that was a basement recording and

394
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it was heavy, heavy guitar, heavy into the guitar and

395
00:22:55,880 --> 00:22:59,559
I leaned on the decord and just rolled around with

396
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the ball things. But it was heavy on the top

397
00:23:01,400 --> 00:23:03,920
end of the two strings being the same sound all

398
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the time. And when it got to Nashville, that was

399
00:23:08,039 --> 00:23:10,759
gone and I kind of realized it, but I loved

400
00:23:10,759 --> 00:23:12,519
what was happening with it. And I got back and

401
00:23:12,599 --> 00:23:15,319
I let a friend listen to it. Yeah, and they

402
00:23:15,480 --> 00:23:19,079
said that song is completely different. I was like, you

403
00:23:19,160 --> 00:23:22,640
know what, You're right, it is different. So what they

404
00:23:23,039 --> 00:23:27,839
morph and tuned into. I accept that there's different versions

405
00:23:27,880 --> 00:23:31,319
of different songs and they'll be played differently many times.

406
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And so the heavy guitar version is my open mic

407
00:23:34,480 --> 00:23:36,200
version that I go to all the time, and it

408
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still is the root, and like it's sure, and but

409
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I love the stuff that came out of the studio

410
00:23:43,039 --> 00:23:43,559
is excellent.

411
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Speaker 2: Yeah, that must be exciting too, like like not only

412
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seeing these things or hearing these things that you've you've

413
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come up with, these ideas that have now that are

414
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now these fully produced songs. But when something does turn

415
00:23:56,799 --> 00:24:00,440
out differently, that's that's there's something kind of a terious

416
00:24:00,440 --> 00:24:01,279
about that, right.

417
00:24:01,359 --> 00:24:04,440
Speaker 10: Like absolutely, yeah, you'll take it to the edge and

418
00:24:04,519 --> 00:24:07,440
push it. And so all of my ideas I think

419
00:24:07,480 --> 00:24:09,319
are good and in my head, and the songs they're

420
00:24:09,400 --> 00:24:12,680
of course in my head, they're all hits. Yeah, when

421
00:24:13,400 --> 00:24:16,000
you present them to other people and other people's input

422
00:24:16,119 --> 00:24:19,599
comes into them and they morph is when they start

423
00:24:19,680 --> 00:24:23,480
to get wings yep, and change into something different, hopefully

424
00:24:23,599 --> 00:24:26,079
for something good you know that you're working with. But

425
00:24:26,720 --> 00:24:29,880
all these guys were pros and and this stuff even

426
00:24:29,960 --> 00:24:33,039
happens live at open mics and things when you're working

427
00:24:33,079 --> 00:24:35,680
on originals, and uh, you just throw it out there,

428
00:24:35,720 --> 00:24:37,680
come on up and play. It's ea, b let's go one,

429
00:24:37,720 --> 00:24:40,559
four five, you can do it. Yeah, And what they

430
00:24:40,640 --> 00:24:43,119
end up coming up with is is unique. Sometimes you

431
00:24:43,160 --> 00:24:44,359
need stuff I hadn't thought of.

432
00:24:45,640 --> 00:24:47,160
Speaker 2: We should talk about the open mics.

433
00:24:48,839 --> 00:24:51,960
Speaker 10: Open mics. I've been to open mics for about the

434
00:24:52,079 --> 00:24:54,920
past fourteen months. Yeah, i'd only done that one in

435
00:24:55,039 --> 00:24:57,480
Nashville prior. Oh, it was intimidating.

436
00:24:58,599 --> 00:25:00,599
Speaker 2: It's It's cool though that the one, the first one

437
00:25:00,680 --> 00:25:03,000
you did was in Nashville of all places, right like

438
00:25:03,559 --> 00:25:06,079
you jumped into the deep end of the pool before

439
00:25:06,160 --> 00:25:09,400
you really had had any experience swimming, you know what

440
00:25:09,440 --> 00:25:09,680
I mean.

441
00:25:10,640 --> 00:25:13,640
Speaker 10: Absolutely, I wondered what the New Hampshire open mics were

442
00:25:13,680 --> 00:25:17,920
going to be like. So my niece Rachel Rachel Evan

443
00:25:18,000 --> 00:25:21,160
Jocos shout out to Granted State Blue Society.

444
00:25:21,440 --> 00:25:23,480
Speaker 2: Oh, yes, we've had a couple of people from there

445
00:25:23,559 --> 00:25:24,319
on the show. Yeah.

446
00:25:24,640 --> 00:25:27,839
Speaker 10: My very first open mic in New Hampshire was July

447
00:25:28,119 --> 00:25:32,880
one Keys Piano Bar when they had an open mic

448
00:25:33,000 --> 00:25:35,559
on I think it was a Monday night. I'm not sure.

449
00:25:35,559 --> 00:25:38,559
It might have been a Sunday hosted by One Dime Band.

450
00:25:38,599 --> 00:25:42,079
Shout out to One Dime Band, uh, they were great hosts.

451
00:25:42,759 --> 00:25:46,160
I showed up at a blues open mic with an

452
00:25:46,200 --> 00:25:49,880
acoustic guitar. I felt like I had a rubber knife

453
00:25:49,920 --> 00:25:53,240
at a gunfight and I didn't know what to play.

454
00:25:53,400 --> 00:25:56,319
But I signed up and Rachel was going to meet

455
00:25:56,359 --> 00:25:59,319
me there, and Rachel all of a sudden couldn't make it.

456
00:25:59,480 --> 00:26:02,119
So here I about my first open mic all by myself.

457
00:26:02,160 --> 00:26:05,119
I'm like, oh, okay, wow, And then he called me

458
00:26:05,240 --> 00:26:09,480
up and I played Mustang Sally and so we did

459
00:26:09,519 --> 00:26:12,799
blues and other people played along. Obviously they were awesome,

460
00:26:13,319 --> 00:26:15,440
and I was like, wow, it's great playing with these people.

461
00:26:15,519 --> 00:26:18,200
But I wish I knew some blues or something. Yeah.

462
00:26:19,599 --> 00:26:21,640
I didn't do any original that. I just played along

463
00:26:21,680 --> 00:26:23,039
with a couple of other things. But that was my

464
00:26:23,119 --> 00:26:25,759
first open mic. But of course I was a bit

465
00:26:25,839 --> 00:26:29,319
by the bug and I started looking for where there

466
00:26:29,400 --> 00:26:33,559
was open mics and it was you can. You can

467
00:26:33,640 --> 00:26:35,720
do an open mic almost every night of the week

468
00:26:35,799 --> 00:26:38,039
if you're clever enough. It's hard to find him on

469
00:26:38,079 --> 00:26:40,960
Fridays and Saturdays where the people get paid. But yeah,

470
00:26:41,680 --> 00:26:46,400
Monday nights I found stumble in Lisa Guyer's open mic.

471
00:26:47,400 --> 00:26:48,920
She doesn't have it there anymore. I don't know if

472
00:26:48,960 --> 00:26:51,680
that will come back. That was a wonderful time. I

473
00:26:51,759 --> 00:26:53,920
can talk about that a little bit sure. Tuesday night

474
00:26:54,279 --> 00:27:02,000
Casey's Ribshack, Manchester Tuesday Night also Milford Station one on one. Okay,

475
00:27:02,440 --> 00:27:07,640
Wednesday night Riley's Place in Milford and Thursday night Rilly'es

476
00:27:07,640 --> 00:27:10,200
Place in Milford. That's become like my home base. Yeah,

477
00:27:10,720 --> 00:27:13,880
so that's where I'm living now. I go there almost

478
00:27:13,920 --> 00:27:15,119
every week. So if you want to hear any of

479
00:27:15,200 --> 00:27:17,599
my stuff, any originals, come down to Riley's Place in

480
00:27:17,680 --> 00:27:22,079
Milford Wednesday or Thursday. I'm usually there. Yeah. I usually

481
00:27:22,200 --> 00:27:24,400
end up getting signed up last because I get there

482
00:27:24,440 --> 00:27:26,440
late and so you won't catch me till near the end.

483
00:27:26,480 --> 00:27:29,480
On a Thursday. But Wednesday night's acoustic open mic there.

484
00:27:29,880 --> 00:27:33,720
Thursday nights they have a whole backline drum set, bass, guitar.

485
00:27:34,240 --> 00:27:36,559
You could come down with your band, Matt and jump

486
00:27:36,680 --> 00:27:38,640
up on stage and play your stuff or my stuff

487
00:27:38,680 --> 00:27:42,200
if you want. Yeah. Yeah, but it's fun showing up

488
00:27:42,240 --> 00:27:44,799
with a band. Sometimes sometimes I do organize a few

489
00:27:44,839 --> 00:27:48,839
people and we show up. But those are yeah, so

490
00:27:49,079 --> 00:27:53,839
open mics have been. I've been doing them the past

491
00:27:53,880 --> 00:27:56,880
fourteen months, almost every night of every week.

492
00:27:57,200 --> 00:27:57,599
Speaker 2: Excellent.

493
00:27:59,400 --> 00:28:03,119
Speaker 10: I sang all my life. I always helped people and

494
00:28:03,599 --> 00:28:07,039
did gigs with people. Play bass. I play bass mostly, Yeah,

495
00:28:07,440 --> 00:28:07,680
me too.

496
00:28:07,720 --> 00:28:08,480
Speaker 2: I'm a player.

497
00:28:08,519 --> 00:28:10,160
Speaker 10: Oh yeah, by five string?

498
00:28:10,799 --> 00:28:12,599
Speaker 2: No, I've never played a five string in my life.

499
00:28:12,599 --> 00:28:13,359
I've never picked.

500
00:28:14,880 --> 00:28:16,559
Speaker 10: I know. Wait till you hit that other string.

501
00:28:16,759 --> 00:28:18,000
Speaker 2: That's what That's what everyone says.

502
00:28:18,279 --> 00:28:22,119
Speaker 10: Drummers love that other string. Yeah, you can move drummers

503
00:28:22,279 --> 00:28:25,160
with your fifth string. Yeah, absolutely, Yeah, I believe it.

504
00:28:25,400 --> 00:28:28,359
I believe it. I've got more smiles out of drummers

505
00:28:28,440 --> 00:28:31,000
that have never played with a five string bass player. Kidding,

506
00:28:31,000 --> 00:28:32,319
and then all of a sudden they jam with him

507
00:28:32,319 --> 00:28:35,440
and they're like, whoa, what is that vibe I'm feeling?

508
00:28:35,519 --> 00:28:38,599
No kidding, that's part of getting your songs. Haven't a

509
00:28:38,640 --> 00:28:39,160
groove to them?

510
00:28:39,319 --> 00:28:39,519
Speaker 6: Yeah?

511
00:28:39,759 --> 00:28:42,079
Speaker 10: Yeah, you got the groove and you can bounce down

512
00:28:42,119 --> 00:28:44,279
and have some low rumble going on. They haven't felt

513
00:28:44,319 --> 00:28:46,240
before like that stuff.

514
00:28:46,200 --> 00:28:47,640
Speaker 2: Some of the bands I've played and that would have

515
00:28:47,680 --> 00:28:50,640
been really uh handy. Actually yeah, I never Oh, you

516
00:28:50,680 --> 00:28:52,519
know what. I wanted to mention too though about Milford

517
00:28:52,559 --> 00:28:54,359
because you're talking about Milford. This comes up a lot

518
00:28:54,400 --> 00:28:57,480
on the show Milford. So so for people who don't

519
00:28:57,480 --> 00:28:59,960
know people listening online from other areas, Milford is any

520
00:29:00,359 --> 00:29:03,240
because people from other areas who don't know New Hampshire

521
00:29:03,440 --> 00:29:06,519
might think, because Milford comes up so often that Milford

522
00:29:06,640 --> 00:29:12,400
is like this booming metropolis in New Hampshire, because it's

523
00:29:12,480 --> 00:29:15,160
like it's almost like the center of the of the

524
00:29:15,279 --> 00:29:18,559
music universe in New Hampshire is in what is actually

525
00:29:18,640 --> 00:29:21,240
this little town Milford. There's so much going on in

526
00:29:21,359 --> 00:29:24,960
Milford for music, like it it's like it's at a

527
00:29:25,039 --> 00:29:27,799
point where like at least, you know, we do the

528
00:29:27,799 --> 00:29:31,279
show every Saturday at least two or three times over

529
00:29:31,319 --> 00:29:34,680
the course of a month Milford, somebody's talking about Milford

530
00:29:34,799 --> 00:29:36,880
and and everything that's going on in Milford with music.

531
00:29:36,960 --> 00:29:40,039
It's really interesting, like like it seems like that town

532
00:29:40,240 --> 00:29:42,839
really it's a music city, but it's not even a city.

533
00:29:42,880 --> 00:29:44,400
It's a town, you know, what I mean. It's wild

534
00:29:44,680 --> 00:29:45,680
and it's very cool.

535
00:29:46,240 --> 00:29:50,680
Speaker 10: I had never known that Milford was the music metropolis.

536
00:29:50,759 --> 00:29:54,000
I love that term. Yeah, that it is. You can

537
00:29:54,160 --> 00:29:58,200
walk around the Oval in Milford and there will be

538
00:29:58,720 --> 00:30:01,559
six different places that you could walk in that someone's

539
00:30:01,599 --> 00:30:03,480
playing an acoustic guitar singing.

540
00:30:03,559 --> 00:30:04,119
Speaker 2: It's wild.

541
00:30:04,880 --> 00:30:10,680
Speaker 10: Absolutely one of the most musically magical places. Yeah, I

542
00:30:10,799 --> 00:30:14,240
had never known a place like it existed. I surely

543
00:30:14,440 --> 00:30:17,319
hope there are other places in the country like Milford.

544
00:30:18,039 --> 00:30:20,400
I would love to visit them, and.

545
00:30:20,440 --> 00:30:22,039
Speaker 2: I'm sure there are. We just don't know because you

546
00:30:22,039 --> 00:30:24,839
wouldn't hear about them because they're just these towns, right,

547
00:30:24,960 --> 00:30:27,559
These just these small towns where, for whatever reason, music

548
00:30:27,720 --> 00:30:28,680
is really prevalent.

549
00:30:28,880 --> 00:30:32,200
Speaker 10: It's the smallest little town. Yeah it is. There's music,

550
00:30:32,680 --> 00:30:35,559
and within walking distance you could go to ten different

551
00:30:35,839 --> 00:30:38,839
places to hear a live act or a band.

552
00:30:39,000 --> 00:30:40,559
Speaker 2: It's amazing. It's amazing.

553
00:30:41,279 --> 00:30:43,880
Speaker 10: It is a blast showing up at the open mics

554
00:30:43,920 --> 00:30:47,799
of these different places too. And now that I'm there,

555
00:30:47,880 --> 00:30:52,599
I'm recognized, and I recognize others. I'm invited to play

556
00:30:52,680 --> 00:30:54,839
with others too. That's the funnest part. I don't I

557
00:30:54,880 --> 00:30:56,799
don't want to ask to play, but if they want

558
00:30:56,839 --> 00:30:59,039
to ask me to play, I will. Yeah. Absolutely.

559
00:30:59,079 --> 00:31:01,440
Speaker 2: That's tremendous valady right when somebody says, hey, you want

560
00:31:01,480 --> 00:31:01,960
to play with us?

561
00:31:03,200 --> 00:31:08,640
Speaker 10: Yeah. Fun. So I was doing open mics and I

562
00:31:08,839 --> 00:31:11,240
was playing bass along, playing bass with some things that

563
00:31:11,279 --> 00:31:14,200
I would have my sister. So one of the greatest

564
00:31:14,319 --> 00:31:17,079
joys of my life has been making music with my sister.

565
00:31:19,680 --> 00:31:21,559
She's the alto, I'm the tenor. We can make you

566
00:31:21,640 --> 00:31:24,039
sound great, Matt, Yeah, yeah, we'll back you up and

567
00:31:24,119 --> 00:31:28,039
make you sound awesome. Yeah. It's been fun. And so

568
00:31:28,279 --> 00:31:32,000
sometimes she's available and we'll she'll come down to Riley's.

569
00:31:32,039 --> 00:31:35,279
And I have different drummer friends. One of my drummer

570
00:31:35,319 --> 00:31:37,880
friends Jean Richard from Six Ways to Sunday, the band

571
00:31:37,960 --> 00:31:42,039
that I'm working for tonight, okay, okay, he's their lead singer,

572
00:31:42,160 --> 00:31:45,119
but he's my drummer, okay, And I bring him in

573
00:31:45,240 --> 00:31:48,200
there and and different guitarists and stuff. But we will

574
00:31:48,279 --> 00:31:50,400
do the whole band stuff with some of these originals

575
00:31:50,440 --> 00:31:55,319
as well. Yeah, And we also play annually at a

576
00:31:56,599 --> 00:32:00,599
camp for physically mentally handicapped people. We've played it fifteen

577
00:32:00,759 --> 00:32:04,000
years now. We started out in the dining hall, me

578
00:32:04,079 --> 00:32:06,400
and Barb doing an amazing grace, take me out to

579
00:32:06,480 --> 00:32:09,720
the ballgame on the piano and guitar and bringing in

580
00:32:09,839 --> 00:32:13,519
others and now we play in the gymnasium. This past

581
00:32:13,599 --> 00:32:18,759
year we were told no light show, no blow upsiant,

582
00:32:18,880 --> 00:32:23,599
no confetti. Can it's okay, okay. Yeah, So this past

583
00:32:23,680 --> 00:32:26,759
year I actually brought cotton snowballs instead and we had

584
00:32:26,759 --> 00:32:28,039
an indoor snowball fight.

585
00:32:28,319 --> 00:32:28,480
Speaker 11: Oh.

586
00:32:29,079 --> 00:32:31,319
Speaker 10: I try to bring something every year for these people

587
00:32:31,440 --> 00:32:37,039
to props to play with. One year it was noisemaker things. Yeah.

588
00:32:37,519 --> 00:32:39,640
One year we let them come up and sing a

589
00:32:39,680 --> 00:32:43,079
few things too, but we played there. Yeah, fifteen years

590
00:32:43,160 --> 00:32:47,720
running excellent. It's one of the greatest blessings is playing

591
00:32:48,319 --> 00:32:51,079
people who really appreciate it. Don't get to see bands

592
00:32:51,680 --> 00:32:55,440
and things where they're dance for their week. It's a

593
00:32:55,759 --> 00:32:58,960
faith based camp where they're let their hair down and

594
00:32:59,039 --> 00:33:02,079
have a dance night. Yeah, we do a couple of

595
00:33:02,160 --> 00:33:06,039
faith based songs, but we do mostly Taylor Swift and yeah,

596
00:33:06,279 --> 00:33:07,400
you know, all that kind of stuff.

597
00:33:07,480 --> 00:33:09,839
Speaker 2: So we'll have the whole band and that's fantastic.

598
00:33:10,480 --> 00:33:13,839
Speaker 10: One year we did the stroll by the Diamonds. Well,

599
00:33:14,079 --> 00:33:16,720
all the wheelchairs went down the middle of the gymnasing

600
00:33:16,799 --> 00:33:19,519
for ten minutes we played that song. Yeah, he loved it. Yeah,

601
00:33:19,519 --> 00:33:22,240
and they love it. It's one of the greatest joys

602
00:33:22,279 --> 00:33:24,720
to playing there of year. But that's with my sister.

603
00:33:25,119 --> 00:33:26,799
One of the greatest joys of my life. Yeah, the

604
00:33:26,920 --> 00:33:29,480
music with my sister. So shout out to Barb Patch.

605
00:33:29,799 --> 00:33:33,039
Speaker 2: Yeah, Oh that's awesome. Does she also do like, does

606
00:33:33,079 --> 00:33:35,400
she do her own thing musically or does she only

607
00:33:35,559 --> 00:33:36,440
perform with you or.

608
00:33:36,799 --> 00:33:39,559
Speaker 10: So She's recorded with me on this on the fourteen songs,

609
00:33:39,559 --> 00:33:41,480
So we did. So I went to Nashville the first

610
00:33:41,519 --> 00:33:44,799
time by myself. Yeah. I went in February again to

611
00:33:44,920 --> 00:33:49,319
do six more songs, and me and Barb drove down. Yeah.

612
00:33:50,039 --> 00:33:52,359
Great trip of my life. If you want a good

613
00:33:52,400 --> 00:33:54,640
trip of your life, spend eighteen hours in a car

614
00:33:54,799 --> 00:33:55,599
with your siblings.

615
00:33:57,000 --> 00:33:57,200
Speaker 2: Yeah.

616
00:33:57,440 --> 00:34:00,599
Speaker 10: The person who knows you the best will bring up

617
00:34:00,640 --> 00:34:02,640
all kinds of things you don't need to you.

618
00:34:02,680 --> 00:34:03,720
Speaker 2: Know, sure, no doubt.

619
00:34:03,799 --> 00:34:07,799
Speaker 10: Wonderful time. And she had never been in a big

620
00:34:07,880 --> 00:34:11,199
studio either, and uh, it was I think one of

621
00:34:11,239 --> 00:34:13,000
the greatest trips she's had as well.

622
00:34:13,119 --> 00:34:14,000
Speaker 2: So that's so cool.

623
00:34:14,159 --> 00:34:16,679
Speaker 10: My daughter also came in and did some of the vocals.

624
00:34:17,199 --> 00:34:18,920
One of the songs that we won't hear today but

625
00:34:19,079 --> 00:34:21,679
tied up Baby in Love, my daughter sang with me,

626
00:34:22,000 --> 00:34:23,920
so she's the female lead on that song. It goes

627
00:34:23,960 --> 00:34:24,440
back and forth.

628
00:34:25,360 --> 00:34:26,119
Speaker 2: Oh, that's so cool.

629
00:34:27,679 --> 00:34:31,000
Speaker 10: And several songs that we wrote even at church. So

630
00:34:31,719 --> 00:34:35,039
with Barb I did five years of church band my

631
00:34:35,199 --> 00:34:41,760
kids were two and five and five years of every week,

632
00:34:42,519 --> 00:34:47,360
three new songs a week. So at the time I

633
00:34:47,440 --> 00:34:49,760
looked at it as difficult and oh I got to

634
00:34:49,800 --> 00:34:52,920
go do this again. But it was the greatest learning experience,

635
00:34:53,320 --> 00:34:56,320
no doubt, I could have never asked for. And it

636
00:34:56,519 --> 00:34:59,960
was absolutely wonderful. I had to work on new things

637
00:35:00,079 --> 00:35:02,880
every week, things you've never heard before. And you had

638
00:35:02,920 --> 00:35:05,480
to learn your harmony part, and your guitar part, your

639
00:35:05,559 --> 00:35:08,840
bass part. Oh the drummers out, you're playing drums this week. Okay,

640
00:35:09,360 --> 00:35:13,719
so things like that. So one of the greatest learning

641
00:35:13,800 --> 00:35:16,079
experiences she gave me without me realizing it.

642
00:35:16,239 --> 00:35:19,679
Speaker 2: Yeah, yeah, that's the thing. You don't realize still later, right,

643
00:35:19,920 --> 00:35:22,920
how how important that was. And absolutely you know, and

644
00:35:23,400 --> 00:35:25,280
having that foundation musically, and.

645
00:35:26,360 --> 00:35:29,440
Speaker 10: And the foundation did come from the religious music. In

646
00:35:29,480 --> 00:35:31,800
the beginning, we were all brought up there and she

647
00:35:32,039 --> 00:35:35,639
does that every week. Still I do that probably once

648
00:35:35,679 --> 00:35:41,320
a month. Yeah, there's a need for musicians at local churches.

649
00:35:41,880 --> 00:35:45,320
They could use any of us anytime. They are so

650
00:35:45,599 --> 00:35:48,880
glad when I come play music. Yeah, just so thankful

651
00:35:48,920 --> 00:35:52,480
and joyous. Yeah, and they try to pay me. I

652
00:35:52,679 --> 00:35:55,280
don't accept it at this really. Yeah, some of the

653
00:35:55,440 --> 00:35:59,760
piano people, you know, they're paying gigs at churches for sure,

654
00:36:00,239 --> 00:36:03,840
but I'm not interested in any But yeah, there is

655
00:36:03,880 --> 00:36:06,800
a need for any musicians out there to serve in

656
00:36:06,880 --> 00:36:08,840
that fashion if they're available to do so.

657
00:36:09,159 --> 00:36:12,519
Speaker 2: Oh yeah. I grew up in Concord and we used

658
00:36:12,559 --> 00:36:15,400
to go to Saint John's on Sunday and they they

659
00:36:15,440 --> 00:36:16,440
always had a band.

660
00:36:16,679 --> 00:36:18,840
Speaker 10: The worship team, be part of the worship team.

661
00:36:19,320 --> 00:36:21,119
Speaker 2: Ye, it's funny. I don't I don't remember ever hearing

662
00:36:21,199 --> 00:36:24,840
that term specifically worship team, but I just remember like,

663
00:36:24,960 --> 00:36:26,079
and I don't think they had any kind of a

664
00:36:26,199 --> 00:36:27,960
name or anything. They were just but but I think

665
00:36:27,960 --> 00:36:30,480
it was pretty consistently the same people each week. But

666
00:36:30,559 --> 00:36:33,159
they would do these songs they were like they were

667
00:36:33,679 --> 00:36:36,559
religious songs, but they were like they but they weren't hymns,

668
00:36:36,719 --> 00:36:38,679
you know what I mean like like they would do

669
00:36:38,719 --> 00:36:40,239
a song called share a little Bit of Your Love.

670
00:36:40,480 --> 00:36:41,159
Speaker 10: Okay, but it was like.

671
00:36:41,199 --> 00:36:43,599
Speaker 2: Share a little bit of your love, my friends, share

672
00:36:43,639 --> 00:36:45,519
a little bit of your love. But it wasn't it

673
00:36:45,639 --> 00:36:48,480
wasn't a hymn you know that that I think any

674
00:36:48,519 --> 00:36:50,280
of us had ever heard before. I don't know. They

675
00:36:50,360 --> 00:36:52,440
may have even written it themselves, I don't know. But

676
00:36:52,960 --> 00:36:54,679
they would do songs like that, you know what I mean,

677
00:36:55,320 --> 00:36:59,639
like almost like almost borderline secular some of them, but

678
00:37:00,159 --> 00:37:03,199
but just very positive, uplifting songs, if that makes sense.

679
00:37:03,280 --> 00:37:05,480
But but yeah, I was always kind of fascinated by

680
00:37:05,519 --> 00:37:08,519
that because it was like I've never like, I've never

681
00:37:08,599 --> 00:37:11,119
heard that. I mean, they would do I suppose they

682
00:37:11,119 --> 00:37:13,199
would do him too. My memory of it is fuzzy.

683
00:37:13,280 --> 00:37:16,119
This was when I was a kid. But but but yeah,

684
00:37:17,360 --> 00:37:23,199
Darryl Hall, I've heard say in interviews he credits his

685
00:37:23,400 --> 00:37:27,159
mother taking him on Sundays and they, you know, in Philadelphia,

686
00:37:27,239 --> 00:37:29,400
they would go to they would go to a black

687
00:37:29,480 --> 00:37:33,199
church and that's how he learned to sing, singing at

688
00:37:33,199 --> 00:37:36,960
the black church because that that gave him that that foundation,

689
00:37:37,159 --> 00:37:40,079
you know, and his mother was apparently a really good singer. Too,

690
00:37:40,719 --> 00:37:43,639
but but she insisted on bringing him there so that

691
00:37:43,719 --> 00:37:46,239
he could learn how to sing like her, and that's

692
00:37:46,360 --> 00:37:48,519
that's how he developed that that soulful voice.

693
00:37:48,840 --> 00:37:52,719
Speaker 10: It's a great foundation and it's a lot of fun

694
00:37:52,800 --> 00:37:55,840
to sing in church. I did the choirs, and then

695
00:37:55,960 --> 00:37:58,639
they learned that I could find the note and read

696
00:37:58,679 --> 00:38:00,760
the note and follow it on the sheet music. So

697
00:38:01,880 --> 00:38:04,719
I was pulled into a quartets and things like that,

698
00:38:04,840 --> 00:38:08,199
and quartets were good sing along with background tapes yep,

699
00:38:08,400 --> 00:38:13,199
and touring different churches with the PV and short column speakers,

700
00:38:13,320 --> 00:38:16,480
the old school stuff. Wow, And so that was yeah,

701
00:38:16,639 --> 00:38:18,000
my younger days, that was a lot of fun. The

702
00:38:18,079 --> 00:38:22,000
church was a great foundation to learn, and so singing hymns,

703
00:38:22,079 --> 00:38:24,199
we would sing those in the pews and we would

704
00:38:24,199 --> 00:38:26,199
sing our harmony parts, and sooner or later we would

705
00:38:26,199 --> 00:38:28,719
get bored singing harmony and we would sing off key

706
00:38:28,760 --> 00:38:31,199
on purpose, so the old ladies would look at us

707
00:38:31,400 --> 00:38:35,119
really funny. Yeah, we would sing so well that we

708
00:38:35,119 --> 00:38:39,280
would sing off key on purpose a few times. The

709
00:38:39,400 --> 00:38:43,199
church was the foundation of singing and learning sound stuff,

710
00:38:43,280 --> 00:38:45,719
learning how to plug in wires, learning with all those buttons.

711
00:38:45,480 --> 00:38:49,800
Speaker 2: Oh yeah, yeah, all that stuff absolutely well. We talked

712
00:38:49,800 --> 00:38:51,239
about it a bit. Do you want to play this track?

713
00:38:51,320 --> 00:38:53,400
Speaker 10: I don't care, let's do I don't care and one

714
00:38:53,400 --> 00:38:55,920
of my favorites. This is my radio song. Okay, so

715
00:38:56,199 --> 00:38:58,360
at every open mic and I get smiles from this

716
00:38:58,440 --> 00:39:01,599
minute every open mic too. So it sounds like a

717
00:39:01,679 --> 00:39:05,000
love song. It is a love song. It's actually written

718
00:39:05,440 --> 00:39:09,840
from the perspective of your pug, oh pet Oh okay,

719
00:39:10,119 --> 00:39:15,800
so it's it's unconditional love. I don't care about anything,

720
00:39:16,159 --> 00:39:17,679
you know. I don't care about why you look like,

721
00:39:17,760 --> 00:39:19,559
what you smell like, and I don't care what. Just

722
00:39:19,880 --> 00:39:22,920
let me be with you. Yeah. So I don't think

723
00:39:22,960 --> 00:39:25,599
people will hear that it's from their pet. I always

724
00:39:25,599 --> 00:39:27,960
thought it could be used as the ASPCA commercial or

725
00:39:28,000 --> 00:39:31,000
something like that. Oh yeah, but I don't care. It's

726
00:39:31,000 --> 00:39:33,639
one of the ones that morphed from the basement recording

727
00:39:34,800 --> 00:39:37,360
into something quite different when the pros got it. And

728
00:39:37,519 --> 00:39:40,760
it's beautiful, lots of keyboards layers that I don't expect.

729
00:39:41,119 --> 00:39:42,760
That's where a lot of the new stuff came from.

730
00:39:43,039 --> 00:39:47,360
How sounds changed when you added a player on an

731
00:39:47,400 --> 00:39:49,920
instrument that could be any other instrument, and so a

732
00:39:49,960 --> 00:39:52,639
lot of things changed in that it really became something beautiful.

733
00:39:52,800 --> 00:39:54,840
Speaker 2: Yeah, all right, great, let's give this a spen. This

734
00:39:54,960 --> 00:39:57,039
is I don't care, and this is K T K.

735
00:39:57,599 --> 00:39:59,559
Our friend Kevin Ker said, is here with us, alive

736
00:39:59,599 --> 00:40:01,599
and suiting, And let's give this suspense.

737
00:40:12,559 --> 00:40:15,320
Speaker 6: Did sure eat your fancy clues?

738
00:40:15,960 --> 00:40:18,719
Speaker 12: Oh the way that you strike a pose that keeps

739
00:40:18,840 --> 00:40:23,360
me hanging around without a frown, your personal clown.

740
00:40:23,519 --> 00:40:27,960
Speaker 13: It's not the funny things you say, old silly games

741
00:40:28,000 --> 00:40:31,679
we play that keep me sticking around. I'll never ever

742
00:40:31,840 --> 00:40:36,280
let you down making your big plans.

743
00:40:35,920 --> 00:40:41,039
Speaker 6: And everything's okay if you on the pimos.

744
00:40:42,000 --> 00:40:47,039
Speaker 12: I got nothing to say because I don't care. I'll

745
00:40:47,119 --> 00:40:53,960
go with you anywhere. I don't care about your little tattoos.

746
00:40:53,559 --> 00:40:57,639
Speaker 6: Or the color of your hair. I don't care. Downtown,

747
00:40:57,800 --> 00:41:01,400
back roll, see sundbatt on the top, away up in the.

748
00:41:04,119 --> 00:41:05,679
Speaker 3: Where along with you.

749
00:41:06,199 --> 00:41:07,360
Speaker 6: I don't care.

750
00:41:11,559 --> 00:41:13,679
Speaker 10: It ain't the ways that you bet your.

751
00:41:13,679 --> 00:41:17,519
Speaker 14: Eyes all the way out those sides that keeps me

752
00:41:17,800 --> 00:41:20,039
hanging around frown upside down.

753
00:41:20,760 --> 00:41:24,480
Speaker 6: Your personal clown. It's not the crazy things you say,

754
00:41:25,280 --> 00:41:29,199
oh the records that we play that keep me sticking round.

755
00:41:29,599 --> 00:41:34,920
I'll never let you down making your big planes. Man,

756
00:41:35,320 --> 00:41:36,920
everything's okay.

757
00:41:37,840 --> 00:41:43,079
Speaker 12: If you own opdions, I get nothing to say because

758
00:41:43,199 --> 00:41:44,679
I don't care.

759
00:41:45,480 --> 00:41:47,400
Speaker 6: I'll go with you anywhere.

760
00:41:48,559 --> 00:41:52,800
Speaker 12: I don't care about your old tattoos or the color

761
00:41:52,960 --> 00:41:53,679
of your hair.

762
00:41:54,480 --> 00:41:55,239
Speaker 6: I don't care.

763
00:41:55,800 --> 00:41:59,519
Speaker 14: Downtown, back road, see sound mountains, up a way up

764
00:41:59,639 --> 00:42:05,960
in wherever I'm with you, I don't care.

765
00:42:06,079 --> 00:42:08,320
Speaker 10: Where we want, where we where we go, who we

766
00:42:08,440 --> 00:42:11,800
mean if we talk, if professor spoke, I only know

767
00:42:12,280 --> 00:42:14,000
one thing I can't hide.

768
00:42:15,119 --> 00:42:18,840
Speaker 4: When I buy your side, I feel so.

769
00:42:20,880 --> 00:42:57,000
Speaker 6: I don't care. I don't care. I'm going with manywhere

770
00:42:58,119 --> 00:43:02,039
I don't care about your old tattoos.

771
00:43:01,519 --> 00:43:03,039
Speaker 11: Of the killer of your hair.

772
00:43:03,760 --> 00:43:04,400
Speaker 3: I don't care.

773
00:43:05,079 --> 00:43:07,559
Speaker 4: Johnstown man Kelsey said, lap.

774
00:43:07,639 --> 00:43:09,079
Speaker 6: Tap away up in.

775
00:43:12,119 --> 00:43:13,320
Speaker 3: Where we go?

776
00:43:13,559 --> 00:43:16,440
Speaker 6: To me too?

777
00:43:17,559 --> 00:43:31,360
Speaker 2: As long as I'm with you, that is, I don't care.

778
00:43:31,599 --> 00:43:34,840
And that is Kevin Kirstaid also known as kat k

779
00:43:35,599 --> 00:43:38,039
and uh he is here with us live in studio.

780
00:43:38,199 --> 00:43:40,039
And that's a great song I was selling, Uh, I

781
00:43:40,079 --> 00:43:42,440
was selling Kevin off air that I'm gonna hear that

782
00:43:42,559 --> 00:43:44,840
in my head now in the morning when when the

783
00:43:44,960 --> 00:43:47,599
cat Jenny and I have a cat who will sit

784
00:43:47,679 --> 00:43:51,840
outside the bathroom door a me owing, wanting to come in. Well, well,

785
00:43:51,880 --> 00:43:53,000
I shave, watch me shave.

786
00:43:53,079 --> 00:43:55,559
Speaker 10: You know, I don't have a pet, but that's the

787
00:43:55,639 --> 00:43:58,440
perspective I chose when I wrote it. Yeah, you know

788
00:43:59,480 --> 00:44:01,920
how they they don't care what you look, they don't

789
00:44:01,960 --> 00:44:04,320
care that you smell, They don't care. Just let me

790
00:44:04,400 --> 00:44:07,000
be with you, right, that's the whole vibe of that song.

791
00:44:07,280 --> 00:44:11,119
Speaker 2: Exactly, yeah, exactly. Now are these so the songs that

792
00:44:11,199 --> 00:44:13,920
you've recorded? Are these all? Are Are these part of

793
00:44:14,000 --> 00:44:14,519
an album?

794
00:44:14,760 --> 00:44:15,079
Speaker 10: Or what?

795
00:44:15,519 --> 00:44:17,679
Speaker 2: What's the plan with to do with these?

796
00:44:18,239 --> 00:44:20,639
Speaker 10: That's my hope is that this is an album package.

797
00:44:20,679 --> 00:44:24,159
I have fourteen of them. Yeah, I mean I'm working

798
00:44:24,239 --> 00:44:27,519
on my artwork right now, so I will have CDs

799
00:44:27,760 --> 00:44:30,039
to sell and I want a physical media.

800
00:44:30,239 --> 00:44:30,480
Speaker 2: Yeah.

801
00:44:30,880 --> 00:44:32,679
Speaker 10: It costs a little a little bit to get the

802
00:44:32,719 --> 00:44:35,079
albums done. I'll probably make an album pressing. If I

803
00:44:35,199 --> 00:44:38,800
sell enough CDs, I'll probably press a couple of Ye.

804
00:44:39,239 --> 00:44:41,480
The CDs are real cheap to have made. So the

805
00:44:41,599 --> 00:44:45,519
do it yourself, do it yourself music career thing is

806
00:44:46,440 --> 00:44:48,800
is just coming upon me now, just learning all the

807
00:44:48,880 --> 00:44:52,800
ins and outs of that. Yeah, I'm finding partners and

808
00:44:53,079 --> 00:44:56,760
helpers like Eric from jam Demik yep. It was great

809
00:44:56,840 --> 00:45:01,039
with all that marketing stuff. Oh yeah, and let's talk

810
00:45:01,320 --> 00:45:03,719
gymdemic for a minute while I can. They have lots

811
00:45:03,760 --> 00:45:06,360
of their own original stuff out. They're a force in

812
00:45:06,440 --> 00:45:09,280
this southern New Hampshire area and so you guys can

813
00:45:09,320 --> 00:45:13,119
get out and catch a jamdemic, do it. They're good

814
00:45:13,159 --> 00:45:14,920
and I'll probably be running sound for them. So come

815
00:45:14,960 --> 00:45:15,760
on buy and say hi.

816
00:45:16,000 --> 00:45:19,119
Speaker 2: Excellent, excellent, yeah, absolutely.

817
00:45:18,880 --> 00:45:21,559
Speaker 10: So, yes, the dream is to make the package, and

818
00:45:21,719 --> 00:45:24,360
so I'm working on my artwork. I've written my liner notes,

819
00:45:24,440 --> 00:45:26,960
I have all my credits for all the people, and yeah,

820
00:45:27,079 --> 00:45:29,639
to have a package in my hand before Christmas to

821
00:45:29,719 --> 00:45:31,960
hand to my family at Christmas time, yeah, but to

822
00:45:32,119 --> 00:45:35,679
have stuff to sell it open mics. So I have

823
00:45:35,800 --> 00:45:39,159
a couple of options of how it's getting posted online,

824
00:45:39,199 --> 00:45:42,440
and I posted I don't care on my song cast account,

825
00:45:42,880 --> 00:45:45,480
and it's having a little trouble with the artwork, all

826
00:45:45,480 --> 00:45:47,599
the artwork. Yeah, I'm not sure if they're the venue

827
00:45:47,639 --> 00:45:50,599
I'm going to choose. So yeah, I'm undecided as to

828
00:45:51,039 --> 00:45:54,159
how how to release it all. Yeah, I don't care.

829
00:45:54,239 --> 00:45:56,119
We'll be out there eventually, because that's the first one

830
00:45:56,199 --> 00:45:59,000
I was hoping to tell you today. It's available. Oh okay,

831
00:45:59,199 --> 00:46:03,719
not quite. Ye, it's still having some issues and that's

832
00:46:03,760 --> 00:46:06,679
also making me wonder So do it yourself music we

833
00:46:06,719 --> 00:46:08,840
were talking about is a tough gig. There's lots of

834
00:46:09,039 --> 00:46:13,960
different options things to choose from and things to where

835
00:46:14,159 --> 00:46:17,599
to release your music through. So I'm hoping someone loves me,

836
00:46:17,760 --> 00:46:22,039
and what I really need is management. I'm doing it

837
00:46:22,159 --> 00:46:24,639
all myself and I'm stepping out there and this is

838
00:46:24,679 --> 00:46:26,639
the year that I'm going to put the effort into

839
00:46:27,599 --> 00:46:30,840
showing up and getting all the music out there. And

840
00:46:30,960 --> 00:46:34,519
so it's going to be an album package excellent, all

841
00:46:34,599 --> 00:46:37,199
fourteen songs good. I didn't want to sell anyone short

842
00:46:37,239 --> 00:46:40,400
and just have tens writ The fifteenth song I recorded

843
00:46:40,400 --> 00:46:43,199
in nineteen ninety two, a song called rat Race and

844
00:46:43,679 --> 00:46:48,559
at Ryan Song Studios in pepperle and that was remastered.

845
00:46:48,599 --> 00:46:52,119
So that'll might not make the album, but I'll keep

846
00:46:52,159 --> 00:46:54,880
that one in my pocket, you know, as a bonus

847
00:46:55,000 --> 00:46:59,800
track for something or who knows. The original tape on

848
00:46:59,880 --> 00:47:03,440
that was quarter inch tape. Zach had it in Nashville,

849
00:47:04,079 --> 00:47:06,599
but when he opened the tape that had been in

850
00:47:06,800 --> 00:47:10,159
storage since ninety two, heat had gotten to it over

851
00:47:10,199 --> 00:47:13,079
the years and it was unusable. Okay, so we had

852
00:47:13,119 --> 00:47:15,199
to use an old MP three and he said, this

853
00:47:15,320 --> 00:47:18,800
is okay. I said, it's okay. Make it sounds as

854
00:47:18,880 --> 00:47:21,199
much as you can like the others. But yeah, it's

855
00:47:21,280 --> 00:47:23,800
not quite as as good as sounding as the others.

856
00:47:23,880 --> 00:47:25,760
It's a different vein. So it's not going to make

857
00:47:26,199 --> 00:47:30,360
this collection, but it'll definitely be out there posted some day.

858
00:47:30,519 --> 00:47:31,119
Speaker 2: Curious to hear it.

859
00:47:31,280 --> 00:47:33,960
Speaker 10: Yeah, yeah, so I'll have it for you later.

860
00:47:34,039 --> 00:47:36,119
Speaker 2: You can have a cop Oh awesome, Yeah, thank you?

861
00:47:36,280 --> 00:47:36,480
Speaker 10: Yeah?

862
00:47:36,880 --> 00:47:41,199
Speaker 2: Yeah wow ninety two. And then so when's your next

863
00:47:41,599 --> 00:47:42,679
when's your next appearance?

864
00:47:43,039 --> 00:47:46,119
Speaker 10: So I let's see, I just did Pumpkin Fest in

865
00:47:46,199 --> 00:47:50,639
Milford talking to Milford. Yeah, I ran sound for six

866
00:47:50,760 --> 00:47:52,880
bands at the Keysfield stage, the first time they had

867
00:47:52,960 --> 00:47:57,679
bands of the Keysfields brand new wooden beautiful that they

868
00:47:57,760 --> 00:48:00,480
built on a super fun site, nice stage. I wouldn't

869
00:48:01,000 --> 00:48:05,880
top stone back. Ran sound for six acts there and

870
00:48:06,480 --> 00:48:09,000
I was the seventh act that was right before the end,

871
00:48:09,079 --> 00:48:11,760
second to last. I got to do four songs there. Yeah.

872
00:48:11,840 --> 00:48:14,480
So my next thing, I have a showcase at Riley's

873
00:48:14,719 --> 00:48:17,760
Place in Milford coming up December twenty seventh. Ok, I

874
00:48:17,840 --> 00:48:19,519
get an hour and a half. I'm gonna start off

875
00:48:19,639 --> 00:48:22,480
some things by myself. Probably I don't care all alone

876
00:48:22,519 --> 00:48:24,880
on acoustic, because that's when I do well on acoustic

877
00:48:24,920 --> 00:48:27,400
called by myself. Yeah, so at the Keysfield thing, I

878
00:48:27,440 --> 00:48:31,239
did really and planned my fourth song set really well

879
00:48:31,280 --> 00:48:33,440
I did. I don't care all about myself on acoustic.

880
00:48:33,800 --> 00:48:36,400
Second song, I brought two friends up and we did

881
00:48:36,880 --> 00:48:39,039
Simon and Garfunkle Cecilia a cappella.

882
00:48:39,280 --> 00:48:41,039
Speaker 2: Nice, wow, no kidding.

883
00:48:41,239 --> 00:48:45,239
Speaker 10: Third song we did an original blues So this original

884
00:48:45,280 --> 00:48:49,400
blues song. Riley's Place has blues open mic on Sunday

885
00:48:49,400 --> 00:48:53,800
afternoons from one to four. Yeah, I had been, like

886
00:48:53,920 --> 00:48:55,320
I told you, I went to the blues one, the

887
00:48:55,360 --> 00:48:57,719
first one I ever went to at keys Piano Bar,

888
00:48:57,920 --> 00:49:00,079
and I felt like I had a rubber night for

889
00:49:00,199 --> 00:49:03,519
the gunfight. Yeah, so I always stayed away from Riley's

890
00:49:03,519 --> 00:49:05,559
Sunday blues thing other than I poked my head in

891
00:49:05,639 --> 00:49:09,199
and said alone, saw the incredible guitar players and saxophone,

892
00:49:09,239 --> 00:49:12,440
all these incredible musicians. Yeah. I went to Rally's one

893
00:49:12,559 --> 00:49:16,320
Sunday with my bass and I walked up on stage

894
00:49:16,320 --> 00:49:18,039
and I signed up and I walked up on stage

895
00:49:18,440 --> 00:49:20,280
and they said, what are you doing? I said, we're

896
00:49:20,320 --> 00:49:22,840
doing an original. And the drummer looked at me like

897
00:49:23,639 --> 00:49:26,880
people don't do originals, said blues jam. Yeah yeah, I said,

898
00:49:26,920 --> 00:49:30,159
well it's one four five. They said it's the format.

899
00:49:30,199 --> 00:49:32,280
I said, it's the right blues format. Don't worry, Yeah

900
00:49:32,599 --> 00:49:35,760
doing it. And the drummer was Phil de Luca was

901
00:49:35,800 --> 00:49:36,199
his name.

902
00:49:36,280 --> 00:49:36,599
Speaker 2: Okay.

903
00:49:36,800 --> 00:49:38,800
Speaker 10: He looked at me like I had two heads. Yeah,

904
00:49:39,639 --> 00:49:41,800
you're doing an original. I said, yeah, you'll be all right,

905
00:49:42,039 --> 00:49:43,199
just watch me for the changes.

906
00:49:43,360 --> 00:49:43,559
Speaker 2: Yep.

907
00:49:43,920 --> 00:49:47,280
Speaker 10: And at the end of the song he gave me

908
00:49:47,360 --> 00:49:49,679
a big giant thumbs up and a smile and yeah,

909
00:49:49,840 --> 00:49:52,480
you're a good singer. Yeah, And so I was really

910
00:49:52,559 --> 00:49:55,000
I had won him over in that one song. And uh,

911
00:49:55,400 --> 00:49:57,320
and then I played along with blues. I just played

912
00:49:57,320 --> 00:49:59,440
bass with whatever they wanted to be after that. But yeah,

913
00:49:59,679 --> 00:50:01,960
I have been back since other than just visit and

914
00:50:02,000 --> 00:50:04,599
say hi. But Phil DeLuca played on stage with me

915
00:50:04,800 --> 00:50:08,000
at Keyesfield. I wanted when I did Keysfield, I wanted

916
00:50:08,039 --> 00:50:10,880
to bring in town people that had I had met

917
00:50:11,000 --> 00:50:14,320
over the course of this year of doing open mics

918
00:50:14,519 --> 00:50:17,519
and that I had made friends with and that liked

919
00:50:17,559 --> 00:50:20,480
me because I'd won them over, you know, yeah, yeah,

920
00:50:20,559 --> 00:50:23,880
and I love that fact that he wanted to come

921
00:50:23,920 --> 00:50:27,400
and play Keysfield. So He's field was a wonderful thing.

922
00:50:28,079 --> 00:50:30,440
And so I did that blues number with him, and

923
00:50:30,519 --> 00:50:34,039
I had Scott Gibbs come up and play guitar, real

924
00:50:34,079 --> 00:50:35,519
good guitars, and he's the one I'm going to be

925
00:50:35,559 --> 00:50:38,679
work with going forward. I got oh nice Scott Gibbs,

926
00:50:39,199 --> 00:50:42,119
Mark Shemitt and Kevin Johnson. Yeah, I'm going to be

927
00:50:42,159 --> 00:50:45,599
playing and my sister to work on the original act

928
00:50:45,679 --> 00:50:49,280
that'll be coming out in twenty twenty six. Look for

929
00:50:49,400 --> 00:50:52,320
Katie K. We might be going to MMI, Kevin Kirsty.

930
00:50:52,360 --> 00:50:54,280
I'm not sure the name will be going under, probably

931
00:50:54,320 --> 00:50:57,400
Katie K. But we will be having the full band

932
00:50:57,599 --> 00:51:02,400
thing with the My favorite type of music is searing

933
00:51:02,519 --> 00:51:05,639
molten lava guitar with three part harmony over the top

934
00:51:05,719 --> 00:51:08,079
of it. Here you go, and we will be having

935
00:51:08,320 --> 00:51:09,119
a lot of that too.

936
00:51:09,440 --> 00:51:13,800
Speaker 2: Nice, nice, very good, very good, Kevin. Where should people

937
00:51:13,840 --> 00:51:15,400
go to keep up with you online? Where's the best

938
00:51:15,400 --> 00:51:16,920
place to go to keep up with everything you're doing?

939
00:51:17,239 --> 00:51:19,159
Speaker 10: So I'm a fledgling, I'm new to this, but I

940
00:51:19,519 --> 00:51:22,599
just made less than a month ago my Facebook band page.

941
00:51:23,199 --> 00:51:25,519
Eric from Jamdmick is going to help me with my marketing,

942
00:51:25,599 --> 00:51:29,159
so you will see it spreading quickly once he gets

943
00:51:29,239 --> 00:51:32,000
his hands to help me. I got a few things

944
00:51:32,039 --> 00:51:33,599
I got to help him with too, So yeah, we

945
00:51:33,679 --> 00:51:37,440
have a wonderful working relationship of give and take good

946
00:51:37,599 --> 00:51:41,599
good And yeah, I'm doing some sound of Big Bear too. Okay,

947
00:51:41,639 --> 00:51:44,519
Big Bial Lodge Andrew Institute of Art where Eric and

948
00:51:44,599 --> 00:51:45,360
jam demic.

949
00:51:45,320 --> 00:51:47,199
Speaker 2: Al Right, I remember he was talking about that.

950
00:51:47,360 --> 00:51:50,800
Speaker 10: Yeah. Yeah, another great venue to go see live acts

951
00:51:50,880 --> 00:51:53,559
in the Brookline. Yeah yeah. Oh, and I forgot to

952
00:51:53,639 --> 00:51:56,719
mention the other Brookline open mic every other Thursday, the Alamo.

953
00:51:57,320 --> 00:52:00,280
I took my a cappella team down there. No, we

954
00:52:00,400 --> 00:52:02,920
did about eight songs there. That was a lot of fun.

955
00:52:03,039 --> 00:52:03,400
Speaker 4: Oh wow.

956
00:52:03,519 --> 00:52:04,599
Speaker 10: People don't expect that.

957
00:52:05,000 --> 00:52:05,760
Speaker 2: Yeah, no kidding.

958
00:52:06,800 --> 00:52:10,039
Speaker 10: And at open mics, I do a lot of girls songs.

959
00:52:10,079 --> 00:52:11,760
A lot of times. Girl songs are in my range.

960
00:52:11,800 --> 00:52:13,280
Boys songs are usually out of it. I have to

961
00:52:13,360 --> 00:52:16,239
change the key. But girl songs are in my range

962
00:52:16,280 --> 00:52:18,280
and people don't expect that from me either. So yeah,

963
00:52:19,440 --> 00:52:21,320
come out and catch me sometime and I'll might do

964
00:52:21,480 --> 00:52:24,199
something I expected. I hope to something you.

965
00:52:24,360 --> 00:52:27,639
Speaker 2: Like excellent excellent. Well, very good. Well we're gonna close

966
00:52:27,679 --> 00:52:29,960
out the segment in a moment with follow Your Dreams,

967
00:52:30,199 --> 00:52:32,360
another great song. Anything we should know about this before

968
00:52:32,360 --> 00:52:33,719
we play it, So this one.

969
00:52:33,719 --> 00:52:39,360
Speaker 10: I had a live recording of this song from ninety

970
00:52:39,719 --> 00:52:42,880
one ninety two. I showed up at the studio in February.

971
00:52:43,079 --> 00:52:46,159
My sister was with me. I also took a risk

972
00:52:46,280 --> 00:52:49,760
that I didn't know. I brought Zachary Stone. Shout out

973
00:52:49,760 --> 00:52:53,400
to Zachary Stone, drummer from New Hampshire. He was a

974
00:52:53,480 --> 00:52:55,480
young kid. He had played at my house in my

975
00:52:55,599 --> 00:52:59,000
basement and jammed once or twice when he was sixteen

976
00:52:59,119 --> 00:53:02,719
or seventeen yea, and I knew he was a good drummer.

977
00:53:02,920 --> 00:53:05,320
He had some videos where he played outside of Fenway

978
00:53:05,360 --> 00:53:07,559
Park at ten years old. Oh jack Stone, you know,

979
00:53:07,679 --> 00:53:10,360
and a lot of hits on YouTube. So he's active

980
00:53:10,400 --> 00:53:12,159
in the industry down there. He's a band called Gray

981
00:53:12,199 --> 00:53:14,440
Lee right now. They played a few nights ago. He's

982
00:53:14,519 --> 00:53:17,280
really active. But I brought him into the studio with

983
00:53:17,400 --> 00:53:20,920
me and Zach Kazik. The producer says, you know you

984
00:53:21,039 --> 00:53:23,280
took a risk. Brigety young kid in here. Most of

985
00:53:23,280 --> 00:53:25,199
these people they can't stay in time. They can't do this.

986
00:53:25,280 --> 00:53:28,159
Then that he goes, yeah, I said, well he's from

987
00:53:28,199 --> 00:53:30,679
New Hampshire. I really wanted him and I was pretty good.

988
00:53:30,760 --> 00:53:33,480
So and it turns out I hit a home run.

989
00:53:34,920 --> 00:53:38,079
Zach Stone has been called back by Zach Haazik walth

990
00:53:38,119 --> 00:53:41,360
Other to do some stuff. So yeah, Zach turned out

991
00:53:41,400 --> 00:53:43,760
to be a really good drummer. So the song was

992
00:53:43,840 --> 00:53:47,119
follow Your Dreams, and I am playing it for Zach

993
00:53:47,519 --> 00:53:49,480
in the studio and Zach actually had heard it and

994
00:53:49,599 --> 00:53:51,440
listened to it many times. Zach listened to all the

995
00:53:51,559 --> 00:53:54,159
ones I had him on and did him almost to

996
00:53:54,280 --> 00:53:58,119
a tee to the old band recordings. Yeah, well, yeah,

997
00:53:58,159 --> 00:53:59,599
he did the new ones he'd never heard. There was

998
00:53:59,639 --> 00:54:02,599
two he got cold that he hadn't even heard before.

999
00:54:02,880 --> 00:54:07,280
But I played it on the little JBL speaker and

1000
00:54:07,559 --> 00:54:11,760
Zach Kazik walks in the control room and says, what

1001
00:54:11,960 --> 00:54:15,079
the heck is that you're listening to? I said, that's

1002
00:54:15,239 --> 00:54:18,960
the song we're doing, dude, and it's this one, follow

1003
00:54:19,000 --> 00:54:23,800
your Dreams. Okay. It turned out Zack Stone killed it

1004
00:54:24,000 --> 00:54:28,280
on drums. It's very drum heavy, synth heavy. It turned

1005
00:54:28,280 --> 00:54:32,519
out to be Zach Kazik encouraged Mike Sharp, the synth

1006
00:54:33,079 --> 00:54:37,639
player from Nashville. Excellent, excellent, He said, think the cars,

1007
00:54:37,760 --> 00:54:39,880
Think the cars until you might hear some of the cars.

1008
00:54:39,920 --> 00:54:42,800
And there we hope. Okay, and yeah, the guys did

1009
00:54:42,880 --> 00:54:45,000
really good with Zack Stone on drums on this one.

1010
00:54:45,480 --> 00:54:48,239
Shout out to Zach Stone and the other drummer who

1011
00:54:48,400 --> 00:54:51,280
I didn't shout out to as Shaky. When I walked

1012
00:54:51,320 --> 00:54:55,000
in Wild Feather Recording studios, Well, first let's start at Milford. Milford,

1013
00:54:55,000 --> 00:54:56,920
people says, why are you going to Nashville to record?

1014
00:54:57,960 --> 00:55:00,760
We have studios around here. I said, do you have

1015
00:55:00,920 --> 00:55:04,480
golden platinum albums hanging on the walls of your studio

1016
00:55:04,719 --> 00:55:05,000
up here?

1017
00:55:05,360 --> 00:55:05,480
Speaker 3: Right?

1018
00:55:06,280 --> 00:55:08,320
Speaker 10: And they were quiet. So yeah, that's why I went

1019
00:55:08,360 --> 00:55:11,079
to Nashville. And some of those golden platinum walls on

1020
00:55:11,159 --> 00:55:14,920
the walls were Shaky's oh albums from playing on Kid

1021
00:55:15,039 --> 00:55:17,840
Rocks album. Oh Okay, So Shaky played drums on my

1022
00:55:18,119 --> 00:55:21,679
eight songs and he played for kid Rock, So Shaky,

1023
00:55:22,000 --> 00:55:24,480
shout out to Shaky. All the guys at Zach Studio

1024
00:55:24,519 --> 00:55:26,519
were awesome, Oh, very good. The one I brought that

1025
00:55:26,639 --> 00:55:29,159
follow your Dreams was Zach was a little afraid of it,

1026
00:55:29,239 --> 00:55:30,360
but it came out really good.

1027
00:55:30,519 --> 00:55:32,679
Speaker 2: Okay, all right, so we'll give this a spin to

1028
00:55:32,719 --> 00:55:35,320
close out the segment, and if you are listening live

1029
00:55:35,519 --> 00:55:37,000
stick ground of course. In the third hour, we have

1030
00:55:37,079 --> 00:55:40,840
Euphemia in the house and really looking forward to talking

1031
00:55:40,920 --> 00:55:43,840
with them. But kat K Kevin Kirer said, I got.

1032
00:55:43,760 --> 00:55:46,719
Speaker 10: One more shout out to dream Track Studios, Gary Connelly.

1033
00:55:46,760 --> 00:55:49,159
I'm gonna be doing some work there coming up. They gottah,

1034
00:55:49,320 --> 00:55:51,880
they're just getting started. They're the new studio in Milford.

1035
00:55:51,920 --> 00:55:54,119
They got the best recording stuff in the world. Oh,

1036
00:55:54,480 --> 00:55:57,159
less than a mile from my house. Completely surprised about that.

1037
00:55:57,440 --> 00:55:58,039
Speaker 2: Oh very cool.

1038
00:55:58,159 --> 00:56:00,880
Speaker 10: I don't know how that landedwhere near me. And this

1039
00:56:01,039 --> 00:56:03,920
guy's my friend and he likes my original music. So yeah,

1040
00:56:04,039 --> 00:56:05,960
we hope to be doing some stuff at dream Track

1041
00:56:06,079 --> 00:56:07,559
Studios Milford.

1042
00:56:07,719 --> 00:56:10,400
Speaker 2: Oh excellent, excellent, very good. All right, well we will

1043
00:56:10,440 --> 00:56:12,599
do this again in the future. My friend. Absolutely wonderful,

1044
00:56:12,639 --> 00:56:15,960
lavire thank you so having me. Matt absolutely absolutely And

1045
00:56:16,039 --> 00:56:18,719
here it is. This is follow My Follow Your Dreams

1046
00:56:19,159 --> 00:56:19,880
by K t K.

1047
00:56:40,079 --> 00:56:43,280
Speaker 6: Stuck in the ruts, same old routines.

1048
00:56:43,440 --> 00:56:44,440
Speaker 3: Every day.

1049
00:56:47,679 --> 00:56:49,440
Speaker 4: You sick and going to work.

1050
00:56:50,000 --> 00:56:50,639
Speaker 6: That's rires.

1051
00:56:50,760 --> 00:56:58,559
Speaker 3: We all got today were moving to this challenge.

1052
00:56:58,800 --> 00:57:04,320
Speaker 9: Dreams all brings me with all the joys.

1053
00:57:04,400 --> 00:57:12,519
Speaker 6: A gay who suspinded Babe us feel you've got to follow.

1054
00:57:12,639 --> 00:57:19,000
Speaker 11: Introduce to sty to buy the powers he outsider.

1055
00:57:20,199 --> 00:57:22,239
Speaker 4: Following dream sent of town.

1056
00:57:22,920 --> 00:57:24,360
Speaker 3: That about the truth.

1057
00:57:25,760 --> 00:57:27,639
Speaker 11: The God believe.

1058
00:57:47,760 --> 00:57:51,239
Speaker 6: Every to you when you look in the mirror, are

1059
00:57:51,239 --> 00:57:52,679
you proud of what you see?

1060
00:57:56,360 --> 00:57:56,480
Speaker 3: Now?

1061
00:57:56,599 --> 00:57:59,679
Speaker 6: Tell me the truth? Is this the way you want

1062
00:57:59,760 --> 00:58:00,840
your like the fee?

1063
00:58:04,079 --> 00:58:06,719
Speaker 3: So you need a new direction?

1064
00:58:07,320 --> 00:58:09,679
Speaker 6: Sothing came you got to.

1065
00:58:12,559 --> 00:58:17,840
Speaker 12: You see bring in your soul as thin those dreams

1066
00:58:18,000 --> 00:58:18,719
come true.

1067
00:58:20,000 --> 00:58:24,440
Speaker 11: You gotta find your treas through the sky to find

1068
00:58:24,559 --> 00:58:32,000
the followers downside follow your dream true like you don't

1069
00:58:32,119 --> 00:58:36,960
come true. You God, don't believe anything.

1070
00:59:12,360 --> 00:59:17,079
Speaker 6: You got buy a treat Servistar to buy the.

1071
00:59:17,239 --> 00:59:22,880
Speaker 4: Powersteeds downside bow you train Si.

1072
00:59:23,960 --> 00:59:25,039
Speaker 6: And don't go to.

1073
00:59:28,599 --> 00:59:33,199
Speaker 11: The dot. Buy cream service Stars and the by the

1074
00:59:33,400 --> 00:59:41,360
powers the downside, the pre s and no go true.

1075
00:59:42,920 --> 00:59:44,320
Speaker 3: They died Lea