1
00:00:00,040 --> 00:00:03,080
Speaker 1: When Mattso wakes up in the morning, he gets into

2
00:00:03,120 --> 00:00:06,400
the shower and to the top of his lungs.

3
00:00:06,160 --> 00:00:13,720
Speaker 2: He sings, and I do what I want because I

4
00:00:13,880 --> 00:00:16,160
can have it all.

5
00:00:16,120 --> 00:00:19,160
Speaker 3: Right, I'm back to the radio show. Now, all the

6
00:00:19,239 --> 00:00:20,719
best Jerry.

7
00:00:28,760 --> 00:00:36,880
Speaker 4: In your wildest dreams, you couldn't ever imagine, in your

8
00:00:37,600 --> 00:00:41,039
craziest thoughts, you couldn't ever conceive.

9
00:00:44,280 --> 00:00:45,759
Speaker 5: One on, one.

10
00:00:45,799 --> 00:00:51,640
Speaker 3: Mind, one soul, one voice, one true, one no one choice.

11
00:00:52,200 --> 00:00:58,280
Come on, people, come on, people, Come on, peoples, get

12
00:00:58,439 --> 00:01:02,159
this done. And come on people, come.

13
00:01:01,920 --> 00:01:05,239
Speaker 6: On, people, come on people.

14
00:01:05,400 --> 00:01:19,359
Speaker 1: Let's get this started right now. Let your dancing fierce against.

15
00:01:18,680 --> 00:01:23,480
Speaker 7: The side get together.

16
00:01:23,879 --> 00:01:31,400
Speaker 3: We are strong and whistle, one hard.

17
00:01:31,319 --> 00:01:32,799
Speaker 7: One mind, one.

18
00:01:32,799 --> 00:01:38,200
Speaker 8: Soul, one noise, one true, one do, one choice.

19
00:01:38,359 --> 00:01:44,000
Speaker 5: Come on, people, come on, people, come on, people us

20
00:01:44,120 --> 00:01:45,719
get this start.

21
00:01:45,760 --> 00:01:49,959
Speaker 3: Come on, people, come on, people, come on.

22
00:01:51,040 --> 00:01:53,319
Speaker 6: Theypleas get this started.

23
00:01:54,359 --> 00:02:03,280
Speaker 5: What we did to give just wait to see to

24
00:02:30,039 --> 00:02:37,240
escape the starting in the brow in the if they

25
00:02:37,479 --> 00:02:43,319
use gap the stock to bar, they would they would

26
00:02:43,319 --> 00:02:53,479
could be hardship the stock to maybe to regulars.

27
00:02:53,039 --> 00:02:55,199
Speaker 3: Scape the stop water.

28
00:02:58,719 --> 00:03:18,879
Speaker 9: Who hey, welcome back everybody.

29
00:03:18,960 --> 00:03:21,560
Speaker 10: If you are listening live on Saturday, October twenty five,

30
00:03:21,599 --> 00:03:24,439
twenty twenty five. We've just entered our number two new

31
00:03:24,479 --> 00:03:27,639
marrowdos of Matt Connorton unleashed and we are live from

32
00:03:27,639 --> 00:03:30,599
the studios of wm NH ninety five point three FM

33
00:03:30,639 --> 00:03:34,199
and Glorious Manchester, New Hampshire. Jenny is here, of course

34
00:03:34,199 --> 00:03:37,599
at the news table and the song we just heard

35
00:03:37,680 --> 00:03:41,039
that it's called People Come on and we've got kt

36
00:03:41,280 --> 00:03:44,439
K also known as Kevin Kirsted here with us in studio.

37
00:03:44,599 --> 00:03:47,199
Speaker 6: Welcome Kevin. Hey, guys, I love having.

38
00:03:47,280 --> 00:03:49,479
Speaker 10: I love that song. I love everything about it. I

39
00:03:49,520 --> 00:03:52,360
love the solo, I love your voice, and I love

40
00:03:52,400 --> 00:03:54,879
the whole vibe. Everything about that is amazing. Thank you

41
00:03:55,000 --> 00:03:57,919
very much, absolutely absolutely very happy to play that this

42
00:03:58,000 --> 00:04:01,599
morning and excited to talk to you. You came to

43
00:04:01,680 --> 00:04:03,840
us through Eric from Jamdemic.

44
00:04:04,199 --> 00:04:07,159
Speaker 6: Jam Demic one of my best buddies these days. Yeah.

45
00:04:07,199 --> 00:04:09,759
They're really on top of things, on top of their game.

46
00:04:09,800 --> 00:04:13,199
They're a hot band. Yeah. I run sound for them, Okay,

47
00:04:13,240 --> 00:04:18,759
and yeah, Eric said, Matt Connerton has some spots and

48
00:04:19,040 --> 00:04:22,000
so I'm new and I have all my material ready.

49
00:04:22,040 --> 00:04:25,839
I'm just getting started in the local area. Yeah. Yeah,

50
00:04:25,959 --> 00:04:28,360
Eric sent me over here and I'm glad to be here.

51
00:04:28,439 --> 00:04:31,319
Speaker 10: Yeah, well we're glad to have you. Yeah, I love

52
00:04:31,360 --> 00:04:34,439
what you're doing. What can you tell us about that song?

53
00:04:34,480 --> 00:04:38,920
Speaker 6: By the way, So that particular song was inspired and

54
00:04:40,079 --> 00:04:47,639
a couple of roots. The ascending rhythm line came when

55
00:04:47,680 --> 00:04:51,519
I bought my Yamaha trans Acoustic is an acoustic guitar

56
00:04:51,920 --> 00:04:54,399
that has cours and reaver built into it. Okay, my

57
00:04:54,439 --> 00:04:57,519
boss at work brought one in two years prior and

58
00:04:57,560 --> 00:05:00,600
played it for me, and I was absolutely amazed, and

59
00:05:01,519 --> 00:05:04,000
over the course of I wanted one. I wanted one,

60
00:05:04,040 --> 00:05:06,439
but I really didn't buy things too much. I didn't

61
00:05:06,439 --> 00:05:08,720
buy new instruments or things like that, and I really

62
00:05:08,800 --> 00:05:10,800
wasn't doing my own music, just a little bit here

63
00:05:10,839 --> 00:05:15,720
and there. But I sold all kinds of little things

64
00:05:15,759 --> 00:05:19,720
on Craigslist and Facebook Marketplace and saved eight hundred dollars

65
00:05:19,720 --> 00:05:22,399
and bought a brand new my first brand new instrument, yeah,

66
00:05:23,240 --> 00:05:28,560
in my late fifties, Yamaha trans Acoustic guitar. And once

67
00:05:28,600 --> 00:05:30,199
I got it, I picked it up and played it

68
00:05:30,279 --> 00:05:33,839
every single day. So the rising line in that come on,

69
00:05:34,360 --> 00:05:37,600
people come on. The guitar rises in there, and it

70
00:05:37,720 --> 00:05:42,240
was born out of that people come On. But it's

71
00:05:42,279 --> 00:05:47,040
a really a song about revolution and joining together and

72
00:05:47,120 --> 00:05:52,560
the power of unity. And it was inspired by there

73
00:05:52,600 --> 00:05:57,040
was an Iranian woman who was shot and killed for protesting,

74
00:05:58,120 --> 00:06:01,240
and shortly afterwards, all the iran and women started coming

75
00:06:01,279 --> 00:06:05,120
out into the streets and protesting. Yep. And I really

76
00:06:05,160 --> 00:06:07,120
don't remember what happened with all of that, but it

77
00:06:07,160 --> 00:06:10,519
really inspired. It showed me the power of what they

78
00:06:10,600 --> 00:06:13,279
were starting to do. Yes, and even though they were

79
00:06:13,319 --> 00:06:17,199
against all odds and they really didn't have much of

80
00:06:17,240 --> 00:06:21,319
a chance, what they could do together made a difference

81
00:06:21,439 --> 00:06:25,240
and made an impact. So that song speaks to the

82
00:06:25,279 --> 00:06:29,680
power of unity, one heart, one voice mind. Yeah, I

83
00:06:29,720 --> 00:06:30,560
love it. I love it.

84
00:06:30,759 --> 00:06:31,720
Speaker 9: Where did you record that?

85
00:06:32,279 --> 00:06:34,920
Speaker 6: So all these songs were recorded at A shout out

86
00:06:34,920 --> 00:06:40,600
to Zach Kazik Wild Feather Recording Studios in Nashville, Tennessee. Excellent.

87
00:06:40,920 --> 00:06:44,360
So last October, it's been a year now. These songs

88
00:06:44,399 --> 00:06:47,720
haven't existed until a year ago. I started recording all

89
00:06:47,759 --> 00:06:50,720
these and I just got the master that you played

90
00:06:51,959 --> 00:06:55,399
two weeks ago. Okay, wow, so I've had I went

91
00:06:55,439 --> 00:06:59,439
down I did fourteen songs down there. Yeah, and that

92
00:06:59,600 --> 00:07:03,920
was one of the first ones. Yeah. So it's a

93
00:07:04,079 --> 00:07:07,639
magical place. It's just a little small place, much like

94
00:07:07,680 --> 00:07:10,040
the radio station, and all the studios down there, all

95
00:07:10,120 --> 00:07:16,240
just small old houses converted and all vintage equipment. And

96
00:07:16,360 --> 00:07:19,879
I walked in to that place and I had my

97
00:07:19,959 --> 00:07:22,759
dream of recording all my life. I walked in there.

98
00:07:22,920 --> 00:07:25,920
I said, I'm not here because I think I have

99
00:07:26,240 --> 00:07:28,399
something that's going to sell a jillion or anything like that.

100
00:07:28,639 --> 00:07:30,519
I'm here because I don't want to playing crap at

101
00:07:30,519 --> 00:07:34,199
my funeral. I have all these songs. I have basement recordings.

102
00:07:34,199 --> 00:07:37,360
They're just not good. I have old live recordings, old bands,

103
00:07:37,839 --> 00:07:41,279
and something's not recorded and people Come On was a

104
00:07:41,279 --> 00:07:44,360
basement recording. A lot of the elements of it, like

105
00:07:44,399 --> 00:07:48,360
the beginning whispered come on Yeah, was developed in the basement.

106
00:07:48,399 --> 00:07:51,240
Over time, some of those things came together. Yeah. But

107
00:07:52,079 --> 00:07:55,560
you just walk in the studio there, and the studio

108
00:07:55,600 --> 00:07:58,879
pros are worth every penny. They seem to know what

109
00:07:58,920 --> 00:08:01,639
you're thinking. I just laid down my dummy track with

110
00:08:01,720 --> 00:08:04,879
my trans acoustic yeah, and they take it all to

111
00:08:04,920 --> 00:08:07,199
the next level, and then I get to sing on

112
00:08:07,240 --> 00:08:08,720
top of it. I got to play bass on all

113
00:08:08,720 --> 00:08:11,240
those too, lucky me. Yeah, it was only taken out

114
00:08:11,279 --> 00:08:12,959
of my hand at one point from someone who could

115
00:08:12,959 --> 00:08:17,279
do a little better. Really, that's funny.

116
00:08:17,319 --> 00:08:19,600
Speaker 9: Yeah, so you recorded how many and fifteen?

117
00:08:19,839 --> 00:08:22,720
Speaker 6: I did fourteen songs in the studio. I have fifteen

118
00:08:22,800 --> 00:08:25,639
tracks for you, okay. One of them is from nineteen

119
00:08:25,720 --> 00:08:28,360
ninety two. I recorded at Ryan's songs in pepperl Wow

120
00:08:28,920 --> 00:08:32,399
and had to be remastered. So I've had the opportunity

121
00:08:32,440 --> 00:08:34,919
to record a couple of times over my life just

122
00:08:34,960 --> 00:08:37,799
that really, well that one time in ninety two and

123
00:08:37,840 --> 00:08:42,159
now here at Wildfeather Okay, so Wildfeather, Zach Kazak, he's

124
00:08:42,200 --> 00:08:47,480
a complete pro. All the magic is the producer. The

125
00:08:47,519 --> 00:08:50,600
people are good, you know, the musicians of course, Off Notch. Yeah,

126
00:08:50,879 --> 00:08:53,240
the producer who tells you no, don't do that, here,

127
00:08:53,320 --> 00:08:55,840
do that there a little less? Think about that baby

128
00:08:55,879 --> 00:08:59,759
you're singing too. Ye. He was really an inspiration and

129
00:09:00,080 --> 00:09:03,799
uh he sent me in the right direction. So that's excellent. Yeah,

130
00:09:03,879 --> 00:09:05,639
it's been tough for showing up with the whole band

131
00:09:05,919 --> 00:09:09,759
of YEA, so it was very It was fun to

132
00:09:09,799 --> 00:09:12,720
just be the only person so and yeah, I went

133
00:09:12,759 --> 00:09:15,240
with his input a lot of times over mine. I

134
00:09:15,279 --> 00:09:18,240
don't care later on that you we might play. I'm

135
00:09:18,240 --> 00:09:21,559
not sure. There's a part we cut out a little

136
00:09:21,559 --> 00:09:23,879
talking part that I do live. The time I do

137
00:09:23,960 --> 00:09:26,360
open mic, everyone gets a chuckle and I do live

138
00:09:26,399 --> 00:09:30,159
because I do an implied rhyme with a bad word. Okay,

139
00:09:30,519 --> 00:09:34,159
and I never say it. But he said, this song

140
00:09:34,240 --> 00:09:36,720
will hit the radio. You can't leave that in there.

141
00:09:36,799 --> 00:09:40,759
They don't want that. Yeah, so he was really conscious

142
00:09:40,799 --> 00:09:43,080
of what could how he was aware of what could

143
00:09:43,120 --> 00:09:45,440
happen in my music, and he was really helpful.

144
00:09:45,799 --> 00:09:49,159
Speaker 10: Yeah, was that intimidating at all going to Nashville and

145
00:09:49,639 --> 00:09:52,399
doing all that? Or because we've had a lot of

146
00:09:52,480 --> 00:09:54,279
artists on the show, a lot of guests over the

147
00:09:54,360 --> 00:09:56,440
years who have done that, and and I hear different.

148
00:09:56,519 --> 00:09:58,919
You know, some some people say, oh no, I felt

149
00:09:58,960 --> 00:10:01,559
really comfortable, and you know, I knew exactly where I

150
00:10:01,600 --> 00:10:03,919
was going and everything, and other artists will tell me.

151
00:10:04,039 --> 00:10:05,759
Other guests have said, you know, yeah, it was kind

152
00:10:05,759 --> 00:10:08,440
of Nashville. That's kind of a big deal going there.

153
00:10:08,440 --> 00:10:10,200
I was a little it was a little scary, Like,

154
00:10:10,600 --> 00:10:12,399
how did you feel going there and doing this?

155
00:10:12,679 --> 00:10:15,600
Speaker 6: So this relationship was cultivated over a number of years

156
00:10:16,000 --> 00:10:19,559
through Facebook friends and through connections that helps. Yeah, So

157
00:10:20,600 --> 00:10:22,600
I sent a few things to Zach over the years,

158
00:10:22,639 --> 00:10:27,519
and you get mixed reactions. Yeah, And I sent him

159
00:10:28,080 --> 00:10:30,399
Round Up the Vote, which I did in the basement

160
00:10:30,960 --> 00:10:34,200
barbershop quartet. It was me myself and I all me

161
00:10:34,440 --> 00:10:37,240
except for Tom from the Milk Crates came over and

162
00:10:37,279 --> 00:10:40,080
played piano for me. Okay. But I sent that to

163
00:10:40,240 --> 00:10:43,360
Zach and he said, wow, that's a cute little thing.

164
00:10:43,559 --> 00:10:48,200
You need that mastered, and he offered to do it cheaply, yea,

165
00:10:48,480 --> 00:10:51,480
And so I sent him. I was, I was a fool.

166
00:10:52,399 --> 00:10:54,559
I sent him my mess of tracks from the basement.

167
00:10:54,600 --> 00:10:57,720
I sent him forty three different tracks for maybe six

168
00:10:57,759 --> 00:11:02,639
different eight different elements. Yeah, but he cleaned it up

169
00:11:02,639 --> 00:11:06,600
and made it real nice. And after that point he h.

170
00:11:07,039 --> 00:11:08,360
I said, can you listen to the rest of my

171
00:11:08,440 --> 00:11:11,519
stuff and put them into folders? And I let him

172
00:11:11,519 --> 00:11:16,480
listen to twenty odd songs, maybe old live band recordings,

173
00:11:17,000 --> 00:11:20,159
some just me doing it by myself in some basement recordings. Yeah,

174
00:11:21,159 --> 00:11:25,440
I said, put them in hits and shelf, you know,

175
00:11:25,720 --> 00:11:29,360
And he put most of them in hits. Nice. So

176
00:11:31,639 --> 00:11:34,519
I had I found myself with some money to do

177
00:11:34,600 --> 00:11:38,120
some stuff, and I scheduled my time for October to

178
00:11:38,159 --> 00:11:42,480
go down there, and we picked six of them, eight

179
00:11:42,480 --> 00:11:45,279
of them the first time. Yeah, and did did those

180
00:11:45,360 --> 00:11:49,320
in a week. I stayed down there a whole week. Yeah, yep, excellent. Wow.

181
00:11:49,519 --> 00:11:52,039
It was one of the funnest times in the studio.

182
00:11:52,200 --> 00:11:55,840
Magical place. Yeah. And you know when they're tracking and

183
00:11:55,879 --> 00:11:58,159
when the lead players are doing all their work a

184
00:11:58,240 --> 00:12:02,919
couple of times down outside and cry tears of joy,

185
00:12:03,240 --> 00:12:08,559
magic happening upstairs. You didn't expect these things to blossom

186
00:12:08,759 --> 00:12:11,840
into this. I knew in my head what they sounded like,

187
00:12:12,960 --> 00:12:15,440
so they didn't make it sound exactly like that, but boy,

188
00:12:15,600 --> 00:12:18,960
they did an awesome job and making it sound into

189
00:12:19,000 --> 00:12:24,679
something spectacular. Absolutely. So some of the things they're completely

190
00:12:24,759 --> 00:12:28,120
different from the basement recordings, I don't care. And the

191
00:12:28,159 --> 00:12:31,799
basement recording is real guitar heavy and stuff, and the

192
00:12:31,960 --> 00:12:37,960
studio recording is just pretty yeah. And so yeah, things

193
00:12:38,039 --> 00:12:40,720
changed in the studio too, But it was the most

194
00:12:40,840 --> 00:12:43,039
It was one of the most fun things, fun times

195
00:12:43,039 --> 00:12:44,600
ever around in my life. Oh that's great.

196
00:12:44,919 --> 00:12:46,759
Speaker 10: Now, while you were down there, did you get a

197
00:12:46,840 --> 00:12:48,320
chance to play out at all? Did you do any

198
00:12:48,360 --> 00:12:50,279
open mics anywhere or anything like that?

199
00:12:51,320 --> 00:12:55,080
Speaker 6: Not? This time. Yeah, a time prior. I had made

200
00:12:55,080 --> 00:12:57,200
sure I went down to visit and I made sure

201
00:12:57,240 --> 00:13:00,080
I went to an open mic. So yeah, and I

202
00:13:00,080 --> 00:13:02,159
had never done any up here at that point. This

203
00:13:02,320 --> 00:13:05,840
was like three or four years back, and I told myself,

204
00:13:05,879 --> 00:13:09,039
I'm going to Nashville. My daughter went to college in Nashville.

205
00:13:09,159 --> 00:13:13,320
Oh okay, I was in and out. Yeah. And I

206
00:13:13,360 --> 00:13:16,360
went to an open mic there and had never been

207
00:13:16,360 --> 00:13:18,200
to one, and so I didn't know what to expect.

208
00:13:18,279 --> 00:13:20,559
I didn't know you had to listen to the featured

209
00:13:20,639 --> 00:13:22,840
artists for like an hour and a half or two

210
00:13:22,879 --> 00:13:26,559
hours before you get to play your one song in

211
00:13:26,600 --> 00:13:29,240
a chair with four other people in a row. So yeah,

212
00:13:29,320 --> 00:13:32,000
it was a little tough in Nashville's tight town and

213
00:13:32,039 --> 00:13:33,399
there's not too many open mics.

214
00:13:33,600 --> 00:13:36,759
Speaker 10: That's the part that where people have told me it

215
00:13:36,799 --> 00:13:39,679
can be intimidating, that that whole element of it.

216
00:13:39,919 --> 00:13:42,440
Speaker 6: Yeah. They were all sitting in the chairs and that

217
00:13:42,600 --> 00:13:46,080
was the last one, and I couldn't sit in my chair.

218
00:13:46,120 --> 00:13:49,200
I'm not a sitter when I sing, Yeah to stand up. Yeah,

219
00:13:49,279 --> 00:13:53,159
And I did my Tequila song and I did really well. Yeah.

220
00:13:53,200 --> 00:13:56,799
I did my basement recording of Tequila is out at

221
00:13:56,799 --> 00:13:58,279
the time, and it still is out right now. On

222
00:13:58,399 --> 00:14:02,799
sodcast you can find Kevin kirstaid hashtag Hydrate is the

223
00:14:02,840 --> 00:14:06,960
name of the song. Okay aka Tequila. But I played

224
00:14:06,960 --> 00:14:10,440
down in Nashville. I made little QR codes on business

225
00:14:10,480 --> 00:14:14,159
cards and little stickers. Smart. I went in bathrooms and

226
00:14:14,200 --> 00:14:18,080
stuck my stickers and stalls. Ye left my little cards everywhere. Yeah,

227
00:14:18,159 --> 00:14:20,799
my reverb Nation page got a few hits from some

228
00:14:20,840 --> 00:14:23,320
of those things. Yeah, that's good. So it was fun.

229
00:14:23,960 --> 00:14:28,039
Self producing is tough. There's a lot to do, a

230
00:14:28,120 --> 00:14:33,440
lot a lot to do. Yeah, absolutely, But Nashville it

231
00:14:33,559 --> 00:14:36,440
was a little intimidating. But I'd been there with my daughter,

232
00:14:36,519 --> 00:14:39,399
so I loved the town. Loved the town obviously. Yeah.

233
00:14:39,519 --> 00:14:41,480
I couldn't wait to play there. I can't wait to

234
00:14:41,480 --> 00:14:44,039
play there someday as artist. Oh I can imagine.

235
00:14:44,080 --> 00:14:46,799
Speaker 10: Yeah, absolutely absolutely, Well, should we play another one of

236
00:14:46,799 --> 00:14:48,080
these studio tracks?

237
00:14:48,200 --> 00:14:51,840
Speaker 6: Uh? Missed me when I'm gone? It's one of my favorites. Okay,

238
00:14:51,879 --> 00:14:53,399
that was one of the ones I was never able

239
00:14:53,440 --> 00:14:56,399
to pre record. Most of the other ones had a

240
00:14:56,399 --> 00:14:58,639
pre recording. That one I went down with and I

241
00:14:58,799 --> 00:15:02,039
just play through it and they took it from there

242
00:15:02,360 --> 00:15:04,440
get a groove to it and got a Yeah, it's

243
00:15:04,440 --> 00:15:04,919
got a groove.

244
00:15:05,039 --> 00:15:07,639
Speaker 10: It does, it does, Yeah, it does absolutely. All right,

245
00:15:07,720 --> 00:15:09,600
let's give this a spin. If you're just joining us,

246
00:15:09,799 --> 00:15:13,159
kt K is with us Kevin Kirstead. But kt K

247
00:15:13,279 --> 00:15:15,039
is what that's the name of the project, right, that's

248
00:15:15,039 --> 00:15:17,320
what you're going with for Yeah, and for those of

249
00:15:17,320 --> 00:15:19,679
you watching online, if you're watching on YouTube, he's got

250
00:15:19,679 --> 00:15:21,000
the shirt to with the cool I do like.

251
00:15:21,039 --> 00:15:22,879
Speaker 6: The logo kt K. The T is me?

252
00:15:23,399 --> 00:15:24,559
Speaker 9: Is he your middle initial?

253
00:15:24,720 --> 00:15:26,159
Speaker 6: Kevin Thomas? That's what? That's what?

254
00:15:26,360 --> 00:15:29,519
Speaker 9: Oh, we have the same middle middle name. I'm also Thomas.

255
00:15:30,440 --> 00:15:34,279
Speaker 6: There's another Kevin Thomas kirst in this area? Is there really? Yes?

256
00:15:34,320 --> 00:15:35,480
There is? Jeez.

257
00:15:35,960 --> 00:15:38,279
Speaker 10: That's funny. All right, Well let's give this a spin.

258
00:15:38,440 --> 00:15:40,360
So this is called the full title has Missed Me

259
00:15:40,360 --> 00:15:42,559
when I'm Gone, Missed Me when I'm gone, miss Me

260
00:15:42,600 --> 00:15:43,799
when I'm Gone by K t K.

261
00:15:43,960 --> 00:15:44,480
Speaker 6: Check it out.

262
00:15:59,240 --> 00:16:03,279
Speaker 3: I'm staying in my face, but I'm staring at the door.

263
00:16:04,159 --> 00:16:10,320
Speaker 1: I'm miss communication, scrimmling up my brain hidden mean you

264
00:16:10,559 --> 00:16:13,240
windo driving me insane?

265
00:16:14,639 --> 00:16:15,679
Speaker 3: Maybe it's team.

266
00:16:15,879 --> 00:16:19,279
Speaker 5: I've been the team.

267
00:16:19,559 --> 00:16:21,200
Speaker 7: I know, I know, I.

268
00:16:21,080 --> 00:16:22,919
Speaker 2: Know, I've got I gotta get away.

269
00:16:24,399 --> 00:16:29,799
Speaker 1: You gone, miss me, young y'all, miss me, you young,

270
00:16:30,080 --> 00:16:31,720
miss me when I'm gone.

271
00:16:32,120 --> 00:16:33,639
Speaker 5: When I'm gone yet.

272
00:16:34,200 --> 00:16:39,679
Speaker 8: Young y'all, mess me, you're gone, miss me, You're gone,

273
00:16:39,879 --> 00:16:42,840
miss me. You're gonna miss me, miss me, miss me

274
00:16:43,080 --> 00:16:51,799
when I'm gone.

275
00:16:52,919 --> 00:16:56,320
Speaker 3: I can have my opinion, and if I keep.

276
00:16:56,200 --> 00:17:00,879
Speaker 1: It to myself, I can talk about our proper you're

277
00:17:00,960 --> 00:17:02,240
listen with someone else.

278
00:17:02,679 --> 00:17:06,200
Speaker 3: I can make my own decision if I'm sure that

279
00:17:06,359 --> 00:17:09,440
he could fight. But you can think I just screwed

280
00:17:09,519 --> 00:17:11,440
up again. I can't see any of you.

281
00:17:13,440 --> 00:17:14,480
Speaker 6: He needs a team.

282
00:17:14,680 --> 00:17:18,160
Speaker 5: I need the team.

283
00:17:18,400 --> 00:17:19,240
Speaker 7: I know, I know.

284
00:17:19,559 --> 00:17:23,880
Speaker 1: I know, I God, I gotta get away. You're gonna

285
00:17:24,079 --> 00:17:29,440
miss me, you you'll miss me. You're gonna miss.

286
00:17:29,160 --> 00:17:31,720
Speaker 7: Me when I'm gone. When I'm gone.

287
00:17:31,799 --> 00:17:38,440
Speaker 8: Now you're gone, miss me, You're gone, miss me, You're gone,

288
00:17:38,599 --> 00:17:41,599
miss me. You gonna miss me, miss me, miss me

289
00:17:41,839 --> 00:17:50,200
when I'm gone.

290
00:17:52,640 --> 00:17:57,319
Speaker 3: Me my chance, the clouds will go and see.

291
00:17:57,839 --> 00:18:01,039
Speaker 5: Your line and the team.

292
00:18:01,160 --> 00:18:04,680
Speaker 3: I'll just get back into line to.

293
00:18:05,200 --> 00:18:40,279
Speaker 11: Everything you say, y y'all, miss me, young' miss me,

294
00:18:41,559 --> 00:18:43,480
young you'll miss me where.

295
00:18:43,279 --> 00:18:45,519
Speaker 7: I'm gone, where I'm gone, Get.

296
00:18:46,440 --> 00:18:50,799
Speaker 8: Young y'all, mess me, young god, miss me, I got

297
00:18:50,920 --> 00:18:52,519
I God, mess me miss me?

298
00:18:52,880 --> 00:18:56,200
Speaker 7: Wow, Well, well, well where I'm gone?

299
00:18:57,240 --> 00:18:58,480
Speaker 9: That has miss me when I'm gone.

300
00:18:58,759 --> 00:19:03,480
Speaker 10: The radio edit from kat K Kevin Kier said, who

301
00:19:03,519 --> 00:19:05,960
is here with us live in studio? Yeah, you were

302
00:19:06,000 --> 00:19:08,799
saying at the end of the song. The other version

303
00:19:08,880 --> 00:19:11,640
ends a little bit differently, a little differently, a little differently. No,

304
00:19:11,759 --> 00:19:13,559
but I love that. I do love the groove on

305
00:19:13,599 --> 00:19:15,279
that and the guitar playing.

306
00:19:15,319 --> 00:19:16,279
Speaker 9: So is that all you as well?

307
00:19:16,559 --> 00:19:18,200
Speaker 6: No? No, I don't play the guitar on that, only

308
00:19:18,240 --> 00:19:21,839
bass okay, okay. Guitarist was in Nashville, Mike Sherry is

309
00:19:21,920 --> 00:19:24,839
his name, and amazing, absolutely amazing.

310
00:19:24,960 --> 00:19:27,079
Speaker 10: What's going on in your mind when he's laying down

311
00:19:27,119 --> 00:19:30,000
that solo, Like you must be over the moon, like

312
00:19:30,079 --> 00:19:32,519
at how well that's coming out? That was a solo

313
00:19:32,640 --> 00:19:36,519
is fantasy. Everything he did on that track was fantastic.

314
00:19:36,160 --> 00:19:40,000
Speaker 6: Absolutely fantastic. And that was like his second time. That

315
00:19:40,079 --> 00:19:43,559
was only like a second really, Yeah, So I think

316
00:19:43,559 --> 00:19:45,319
that was one of the moments I listened to it

317
00:19:45,359 --> 00:19:47,400
and then it was being remixed. I went down and cried.

318
00:19:47,440 --> 00:19:50,960
You know these things, it's like so amazing what these

319
00:19:51,000 --> 00:19:52,680
people come up with. The pro Like I said, the

320
00:19:52,720 --> 00:19:57,839
pros are worth everybody. Yep, yep. But he nailed it

321
00:19:57,960 --> 00:20:00,839
exactly what I wanted, exactly what I I wanted because

322
00:20:00,839 --> 00:20:03,480
he heard the angst in the song. Yep, he caught

323
00:20:03,519 --> 00:20:09,519
the growing and that was the bassline too. The groove

324
00:20:09,640 --> 00:20:11,160
is in the bass line. It's in his line. But

325
00:20:11,200 --> 00:20:14,559
he there's multiple multi So you listen to that and

326
00:20:14,599 --> 00:20:16,440
you only hear a guitar or two, but you don't

327
00:20:16,440 --> 00:20:20,519
know this several layers, and so the amazing part of

328
00:20:20,559 --> 00:20:21,000
the studio.

329
00:20:21,519 --> 00:20:21,640
Speaker 2: Uh.

330
00:20:22,400 --> 00:20:26,640
Speaker 6: He plays the rhythm part for that, and then producer says, Okay,

331
00:20:26,799 --> 00:20:28,920
pick up the strat the same exact thing with the

332
00:20:28,920 --> 00:20:31,640
Stratton now instead of less Paul, okay do that. Okay,

333
00:20:31,640 --> 00:20:34,640
Now we're plugging you in a different amp. Multiple, multiple

334
00:20:34,720 --> 00:20:38,680
takes of the same thing, keep different sounds and different instruments.

335
00:20:38,720 --> 00:20:41,720
The producer built the sound so it sounds like one guitar,

336
00:20:41,759 --> 00:20:45,480
but it's actually multiples of different guitars and different amps

337
00:20:45,839 --> 00:20:49,720
that are cleverly woven together to craft that. And so

338
00:20:50,000 --> 00:20:52,880
there's the different tracks too and this, so there's multiple

339
00:20:52,960 --> 00:20:56,440
takes of multiple That was the fun part of listening

340
00:20:56,440 --> 00:21:00,799
to it. Yeah, the leads weren't just the one time obviously, yeah, things,

341
00:21:00,960 --> 00:21:04,079
and then the producer would reached out. So all the

342
00:21:04,160 --> 00:21:05,759
leads and most of the guitar playing was done in

343
00:21:05,759 --> 00:21:07,880
the control booth, you know. The amp was in the

344
00:21:07,960 --> 00:21:10,799
other room, and it was Oh, so this was the

345
00:21:10,799 --> 00:21:15,440
funniest part. I went to help Mike come in and

346
00:21:15,480 --> 00:21:17,559
I went to pick up his amp. Have you put

347
00:21:17,599 --> 00:21:19,000
it on the ground outside the car And I went

348
00:21:19,039 --> 00:21:21,720
to the handle, and Zach and Mike both looked at

349
00:21:21,720 --> 00:21:23,400
me and say, don't pick it up by the handle.

350
00:21:23,720 --> 00:21:28,960
Oh really, fifty seven Fender Tweed Vintage something other other. Yeah,

351
00:21:29,079 --> 00:21:31,519
just don't pick them up by the handle. Yeah. Yeah,

352
00:21:31,519 --> 00:21:34,400
But brought it upstairs. They plugged it in and had

353
00:21:34,400 --> 00:21:37,480
a giant hum in it. What are they why are

354
00:21:37,480 --> 00:21:40,240
they bringing this here? Yeah, And Zach gets in the

355
00:21:40,279 --> 00:21:42,359
studio on the other side of the control booth and

356
00:21:42,359 --> 00:21:45,240
he pulls up this little plug in and all of

357
00:21:45,240 --> 00:21:48,519
a sudden, no hum on. Yeah. So he just knocked

358
00:21:48,519 --> 00:21:50,559
it right out of the thing, and then everything out

359
00:21:50,599 --> 00:21:52,319
of it was clean and pure. After that, it was

360
00:21:52,319 --> 00:21:54,880
on eleven, and so the guy was in our round

361
00:21:54,960 --> 00:21:58,240
room playing. So you're just sitting in a room with

362
00:21:59,119 --> 00:22:02,720
his pedal board just few pedals. Yeah, the producer is

363
00:22:02,799 --> 00:22:06,759
reaching down half the time, changing the pedals, doing all

364
00:22:06,839 --> 00:22:11,119
kinds of stuff. Yeah. Yeah, the musicians are one thing,

365
00:22:11,119 --> 00:22:13,839
and the producer, the magic producer, is the really the

366
00:22:13,920 --> 00:22:16,720
key element of all that. Zach Kazak a shout out

367
00:22:16,759 --> 00:22:22,079
once again. Yeah. Wild Feather Recording, Nashville Studio, Nashville, Tennessee. Yeah.

368
00:22:22,160 --> 00:22:25,440
Speaker 10: Did any of those songs that we recorded there become

369
00:22:25,480 --> 00:22:28,079
out like a lot different than what you had imagined?

370
00:22:28,200 --> 00:22:31,640
Or was everything pretty close? Or I mean, obviously, I'm

371
00:22:31,680 --> 00:22:33,240
sure a lot of them came out, you know, better

372
00:22:33,319 --> 00:22:35,559
than you had you would even imagine, right, But but

373
00:22:35,559 --> 00:22:38,039
but did any of them come out I guess what

374
00:22:38,039 --> 00:22:40,359
I'm really asking is were there any surprises where at

375
00:22:40,359 --> 00:22:41,839
the end of it you were like, wow, this is

376
00:22:41,920 --> 00:22:45,279
I like this, but it's not necessarily what I thought

377
00:22:45,279 --> 00:22:45,839
it was going to be.

378
00:22:46,599 --> 00:22:49,920
Speaker 6: Absolutely I don't care that. I hope we play later. Yeah.

379
00:22:49,920 --> 00:22:52,640
One of those songs that was the basement recording, and

380
00:22:52,680 --> 00:22:55,799
it was heavy, heavy guitar, heavy into the guitar and

381
00:22:55,839 --> 00:22:59,559
I leaned on the decord and just rolled around with

382
00:22:59,640 --> 00:23:01,279
the bottom things. But it was heavy on the top

383
00:23:01,359 --> 00:23:03,920
end of the two strings being the same sound all

384
00:23:03,960 --> 00:23:07,920
the time, and when it got to Nashville, that was

385
00:23:08,000 --> 00:23:10,720
gone and I kind of realized it, but I loved

386
00:23:10,759 --> 00:23:12,559
what was happening with it. And I got back and

387
00:23:12,559 --> 00:23:15,359
I let a friend listen to it. Yeah, and they

388
00:23:15,440 --> 00:23:18,559
said that song is completely different, and I was like,

389
00:23:19,000 --> 00:23:22,440
you know what, You're right, it is different. So what

390
00:23:22,480 --> 00:23:27,359
they morph and turned into. I accept that there's different

391
00:23:27,480 --> 00:23:31,359
versions of different songs and they'll be played differently many times.

392
00:23:31,839 --> 00:23:34,359
And so the heavy guitar version is my open mic

393
00:23:34,440 --> 00:23:36,200
version that I go to all the time, and it

394
00:23:36,319 --> 00:23:39,920
still is the root and like it's sure, and but

395
00:23:40,359 --> 00:23:42,920
I love the stuff that came out of the studio

396
00:23:43,000 --> 00:23:43,559
is excellent.

397
00:23:43,759 --> 00:23:48,039
Speaker 10: Yeah, that must be exciting too, like like not only

398
00:23:49,039 --> 00:23:51,599
seeing these things or hearing these things that you've you've

399
00:23:51,599 --> 00:23:53,519
come up with these ideas that have now that are

400
00:23:53,559 --> 00:23:56,720
now these fully produced songs. But when something does turn

401
00:23:56,759 --> 00:24:00,400
out differently, that's that's there's something kind of advance terious

402
00:24:00,440 --> 00:24:01,279
about that, right.

403
00:24:01,319 --> 00:24:04,359
Speaker 6: Like absolutely, yeah, you'll let take it to the edge

404
00:24:04,359 --> 00:24:07,200
and push it. And so all of my ideas I

405
00:24:07,240 --> 00:24:09,279
think are good and in my head, and songs there

406
00:24:09,359 --> 00:24:12,680
of course in my head, they're all hits. Yeah, when

407
00:24:13,400 --> 00:24:15,960
you present them to other people, and other people's input

408
00:24:16,079 --> 00:24:19,599
comes into them and they morph is when they start

409
00:24:19,640 --> 00:24:23,519
to get wings, yep, and change into something different, hopefully

410
00:24:23,559 --> 00:24:26,079
for something good you know that you're working with. But

411
00:24:26,680 --> 00:24:29,880
all these guys were pros and and this stuff even

412
00:24:29,920 --> 00:24:33,039
happens live at open mics and things when you're working

413
00:24:33,039 --> 00:24:35,680
on originals and uh, you just throw it out there,

414
00:24:35,720 --> 00:24:38,200
come on up and play. It's ea, b let's go one, four, five,

415
00:24:38,240 --> 00:24:40,519
you can do it. Yeah, And what it what they

416
00:24:40,640 --> 00:24:43,119
end up coming up with is is unique. Sometimes you

417
00:24:43,119 --> 00:24:44,400
need stuff I hadn't thought of.

418
00:24:45,319 --> 00:24:47,200
Speaker 9: But we should talk about the open mics.

419
00:24:48,799 --> 00:24:52,039
Speaker 6: Open mics. I've been to open mics for about the

420
00:24:52,079 --> 00:24:54,920
past fourteen months. Yeah, i'd only done that one in

421
00:24:55,039 --> 00:24:57,480
Nashville prior. Oh, that was intimidating.

422
00:24:58,599 --> 00:25:00,599
Speaker 10: It's it's cool though that the one, the first one

423
00:25:00,640 --> 00:25:03,359
you did was in Nashville of all places. Right like

424
00:25:03,559 --> 00:25:06,079
you jumped into the deep end of the pool before

425
00:25:06,119 --> 00:25:09,319
you really had had any experienced swimming, you know.

426
00:25:09,319 --> 00:25:13,039
Speaker 6: What I mean. Absolutely, I wondered what the New Hampshire

427
00:25:13,039 --> 00:25:15,519
open mics were going to be like. So my niece

428
00:25:15,960 --> 00:25:21,160
Rachel Rachel Evan Jocos shout out to granted State Blue Society.

429
00:25:21,400 --> 00:25:23,480
Speaker 9: Oh, yes, we've had a couple of people from there

430
00:25:23,519 --> 00:25:24,000
on the show.

431
00:25:24,079 --> 00:25:27,119
Speaker 6: Yeah. My very first open mic in New Hampshire was

432
00:25:27,599 --> 00:25:32,599
July one Keys Piano Bar when they had an open

433
00:25:32,680 --> 00:25:35,240
mic on I think it was a Monday night. I'm

434
00:25:35,279 --> 00:25:37,759
not sure. It might have been a Sunday hosted by

435
00:25:37,839 --> 00:25:40,680
One Dying Band. Shout out to One Dime Band. Uh,

436
00:25:41,079 --> 00:25:45,000
they were great hosts. I showed up at a blues

437
00:25:45,039 --> 00:25:48,839
open mic with an acoustic guitar. I felt like I

438
00:25:48,839 --> 00:25:52,440
had a rubber knife at a gunfight and I didn't

439
00:25:52,480 --> 00:25:55,759
know what to play. But I signed up and Rachel

440
00:25:55,839 --> 00:25:58,440
was going to meet me there, and Rachel all of

441
00:25:58,440 --> 00:26:00,319
a sudden couldn't make it. So here I am my

442
00:26:00,400 --> 00:26:03,759
first open mic all by myself. I'm like, oh, okay, wow.

443
00:26:04,359 --> 00:26:07,279
And then he called me up and I played Mustang

444
00:26:07,319 --> 00:26:11,160
Sally and so we did blues and other people played along.

445
00:26:11,240 --> 00:26:13,960
Obviously they were awesome, yeah, and I was like, wow,

446
00:26:14,000 --> 00:26:16,079
it's great playing with these people. But I wish I

447
00:26:16,160 --> 00:26:20,319
knew some blues or something. Yeah. I didn't do any

448
00:26:20,359 --> 00:26:22,119
original that. I just played along with a couple of

449
00:26:22,160 --> 00:26:23,880
other things. But that was my first open mic. But

450
00:26:23,920 --> 00:26:27,200
of course, I was a bit by the bug and

451
00:26:28,119 --> 00:26:31,319
I started looking for where there was open mics, and

452
00:26:31,680 --> 00:26:34,359
it was you can. You can do an open mic

453
00:26:34,480 --> 00:26:36,839
almost every night of the week if you're clever enough.

454
00:26:37,160 --> 00:26:39,599
It's hard to find him on Fridays and Saturdays where

455
00:26:39,559 --> 00:26:43,000
the people get paid. But yeah, Monday nights I found

456
00:26:43,559 --> 00:26:48,000
stumble in Lisa Guyer's open mic. She doesn't have it

457
00:26:48,039 --> 00:26:49,839
there anymore. I don't know if that'll come back. That

458
00:26:49,960 --> 00:26:52,519
was a wonderful time. I can talk about that a

459
00:26:52,559 --> 00:26:59,640
little bit. Tuesday night Casey's Ribshack, Manchester Tuesday night also

460
00:27:00,000 --> 00:27:05,039
Alford Station one on one. Okay, Wednesday night Riley's Place

461
00:27:05,079 --> 00:27:08,440
in Milford and Thursday night Rilly's Place in Milford. That's

462
00:27:08,440 --> 00:27:11,559
become like my home base. Yeah, so that's where I'm

463
00:27:11,559 --> 00:27:14,400
living now. I go there almost every week. So if

464
00:27:14,400 --> 00:27:16,400
you want to hear any of my stuff, any originals,

465
00:27:16,440 --> 00:27:19,359
come down to Riley's Place in Milford Wednesday or Thursday.

466
00:27:19,400 --> 00:27:23,160
I'm usually there. Yeah. I usually end up getting signed

467
00:27:23,200 --> 00:27:25,000
up last because I get there late and so you

468
00:27:25,039 --> 00:27:27,160
won't catch me till near the end. On a Thursday,

469
00:27:27,160 --> 00:27:30,480
But Wednesday Night's acoustic open mic there. Thursday nights they

470
00:27:30,519 --> 00:27:34,519
have a whole backline, drum set, bass, guitar. You could

471
00:27:34,519 --> 00:27:36,839
come down with your band, Matt and jump up on

472
00:27:36,920 --> 00:27:40,079
stage and play your stuff or my stuff if you want. Yeah. Yeah,

473
00:27:40,119 --> 00:27:43,599
but it's fun showing up with a band. Sometimes sometimes

474
00:27:43,599 --> 00:27:46,079
I do organize a few people and we show up.

475
00:27:46,880 --> 00:27:51,240
But those are yeah, so open mics have been. I've

476
00:27:51,279 --> 00:27:56,000
been doing them the past fourteen months, almost every night

477
00:27:56,200 --> 00:28:01,400
of every week. Excellent. I sag all my life. I

478
00:28:01,440 --> 00:28:05,440
always helped people and did gigs with people. Play bass.

479
00:28:05,559 --> 00:28:06,960
I play based mostly.

480
00:28:06,799 --> 00:28:10,960
Speaker 10: Yeah, me too, I'm a player. Oh yeah, by five string? No,

481
00:28:11,119 --> 00:28:12,759
I've never played a five string in my life. I've

482
00:28:12,759 --> 00:28:13,359
never picked.

483
00:28:14,880 --> 00:28:16,880
Speaker 6: I know. Wait till you hit that other string. That's

484
00:28:16,880 --> 00:28:20,279
what That's what everyone says. Drummers love that other string. Yeah,

485
00:28:20,400 --> 00:28:24,559
you can move drummers with your fifth string. Yeah, absolutely, Yeah,

486
00:28:24,640 --> 00:28:27,400
I believe it. I believe it. I've got more smiles

487
00:28:27,480 --> 00:28:29,599
out of drummers that have never played with a five

488
00:28:29,640 --> 00:28:31,599
string bass player kid, and then all of a sudden

489
00:28:31,640 --> 00:28:33,759
they jam with him and they're like, whoa, what is

490
00:28:33,839 --> 00:28:37,880
that vibe? I'm feeling? No kidding, that's part of getting

491
00:28:37,880 --> 00:28:40,160
your songs. Haven't a groove to them. Yeah, you got

492
00:28:40,200 --> 00:28:42,519
the groove and you can bounce down and have some

493
00:28:42,640 --> 00:28:45,559
low rumble going on. They haven't felt before like that.

494
00:28:45,599 --> 00:28:47,599
Speaker 10: Stuff some of the bands I've played, and that would

495
00:28:47,599 --> 00:28:50,480
have been really uh handy. Actually yeah, I never Oh,

496
00:28:50,559 --> 00:28:52,519
you know what. I wanted to mention too though, about Milford,

497
00:28:52,519 --> 00:28:54,359
because you're talking about Milford. This comes up a lot

498
00:28:54,400 --> 00:28:57,440
on the show Milford, so so for people who don't

499
00:28:57,440 --> 00:29:00,000
know people listening online from other areas, Milford isn't even

500
00:29:00,079 --> 00:29:02,799
And because people from other areas who don't know New

501
00:29:02,799 --> 00:29:06,000
Hampshire might think, because Milford comes up so often that

502
00:29:06,079 --> 00:29:11,240
Milford is like this booming metropolis in New Hampshire, because

503
00:29:12,200 --> 00:29:15,039
it's like it's almost like the center of the of

504
00:29:15,079 --> 00:29:18,160
the music universe in New Hampshire is in what is

505
00:29:18,200 --> 00:29:21,119
actually this little town Milford. There's so much going on

506
00:29:21,200 --> 00:29:24,960
in Milford for music, Like it's like it's at a

507
00:29:25,000 --> 00:29:27,759
point where like at least, you know, we do the

508
00:29:27,799 --> 00:29:31,279
show every Saturday at least two or three times over

509
00:29:31,319 --> 00:29:34,680
the course of a month, Milford. Somebody's talking about Milford

510
00:29:34,799 --> 00:29:36,880
and and everything that's going on in Milford with music.

511
00:29:36,920 --> 00:29:40,079
It's really interesting, like like it seems like that town

512
00:29:40,240 --> 00:29:42,839
really it's a music city, but it's not even a city.

513
00:29:42,839 --> 00:29:44,440
Speaker 6: It's a town, you know what I mean. It's wild

514
00:29:44,640 --> 00:29:48,759
and it's very cool. I had never known that Milford

515
00:29:49,039 --> 00:29:52,160
was the music metropolis. I love that term. Yeah, that

516
00:29:52,279 --> 00:29:56,279
it is. You can walk around the Oval in Milford

517
00:29:56,720 --> 00:30:00,480
and there will be six different places that you could

518
00:30:00,519 --> 00:30:03,440
walk in that someone's playing an acoustic guitar singing.

519
00:30:03,519 --> 00:30:04,160
Speaker 9: It's wild.

520
00:30:04,880 --> 00:30:10,759
Speaker 6: Absolutely one of the most musically magical places. Yeah, I

521
00:30:10,759 --> 00:30:14,279
had never known a place like it existed. I surely

522
00:30:14,400 --> 00:30:17,279
hope there are other places in the country like Milford.

523
00:30:18,000 --> 00:30:20,319
I would love to visit them.

524
00:30:20,319 --> 00:30:21,119
Speaker 9: And I'm sure there are.

525
00:30:21,200 --> 00:30:22,799
Speaker 10: We just don't know because you wouldn't hear about them

526
00:30:22,799 --> 00:30:25,960
because they're just these towns, right, These just these small

527
00:30:26,000 --> 00:30:26,680
towns where.

528
00:30:26,559 --> 00:30:28,680
Speaker 9: For whatever reason, music is really prevalent.

529
00:30:28,839 --> 00:30:33,119
Speaker 6: It's the smallest little town. Yeah, there's music, and within

530
00:30:33,279 --> 00:30:37,000
walking distance you could go to ten different places hear

531
00:30:37,079 --> 00:30:40,599
a live act or a band. It's amazing. It's amazing.

532
00:30:41,240 --> 00:30:43,880
It is a blast showing up at the open mics

533
00:30:43,880 --> 00:30:47,799
of these different places too. And now that I'm there,

534
00:30:47,880 --> 00:30:52,640
I'm recognized and I recognize others. I'm invited to play

535
00:30:52,640 --> 00:30:54,839
with others too. That's the funnest part. I don't I

536
00:30:54,880 --> 00:30:56,799
don't want to ask to play, but if they want

537
00:30:56,799 --> 00:30:58,519
to ask me to play, I will. Yeah.

538
00:30:58,559 --> 00:31:01,240
Speaker 10: Absolutely, that's tremendous valady right when somebody says, hey, you

539
00:31:01,240 --> 00:31:02,000
want to play with us?

540
00:31:03,160 --> 00:31:08,720
Speaker 6: Yeah. Fun. So I was doing open mics and I

541
00:31:08,799 --> 00:31:11,200
was playing bass along, playing bass with some things that

542
00:31:11,240 --> 00:31:14,200
I would have my sister. So one of the greatest

543
00:31:14,279 --> 00:31:17,079
joys of my life has been making music with my sister.

544
00:31:19,640 --> 00:31:21,559
She's the alto, I'm the tenor. We could make you

545
00:31:21,640 --> 00:31:24,039
sound great, Matt. Yeah, yeah, we'll back you up and

546
00:31:24,079 --> 00:31:28,119
make you sound awesome. Yeah. It's been fun. And so

547
00:31:28,240 --> 00:31:32,000
sometimes she's available and we'll she'll come down to Riley's.

548
00:31:32,000 --> 00:31:35,279
And I have different drummer friends. One of my drummer

549
00:31:35,279 --> 00:31:37,880
friends Jean Richard from Six Ways to Sunday, the band

550
00:31:37,920 --> 00:31:42,039
that I'm working for tonight, Okay, Okay, he's their lead singer,

551
00:31:42,119 --> 00:31:45,160
but he's my drummer okay, And I bring him in

552
00:31:45,200 --> 00:31:48,200
there and and different guitarists and stuff. But we will

553
00:31:48,240 --> 00:31:50,400
do the whole band stuff with some of these originals

554
00:31:50,440 --> 00:31:56,160
as well. Yeah. And we also play annually at a

555
00:31:56,559 --> 00:32:00,599
camp for physically mentally handicapped people. We've played it fifteen

556
00:32:00,720 --> 00:32:04,000
years now. We started out in the dining hall, me

557
00:32:04,079 --> 00:32:06,400
and Barb doing an amazing grace take me out to

558
00:32:06,440 --> 00:32:10,119
the ballgame on the piano and guitar and bringing in others,

559
00:32:10,160 --> 00:32:13,720
and now we play in the gymnasium. This past year

560
00:32:13,720 --> 00:32:18,920
we were told no light show, no blow upst no

561
00:32:19,039 --> 00:32:23,839
confetti can its okay okay? Yeah, So this past year

562
00:32:24,079 --> 00:32:26,839
I actually brought cotton snowballs instead and we had an

563
00:32:26,880 --> 00:32:28,000
indoor snowball fight.

564
00:32:28,279 --> 00:32:28,440
Speaker 12: Oh.

565
00:32:29,039 --> 00:32:31,359
Speaker 6: I try to bring something every year for these people

566
00:32:31,440 --> 00:32:37,039
to props to play with. One year it was noisemaker things. Yeah.

567
00:32:37,519 --> 00:32:39,640
One year we let them come up and sing a

568
00:32:39,640 --> 00:32:43,079
few things too, but we played there. Yeah, fifteen years

569
00:32:43,160 --> 00:32:47,720
running excellent. It's one of the greatest blessings is playing

570
00:32:48,279 --> 00:32:51,079
people who really appreciate it. Don't get to see bands

571
00:32:51,640 --> 00:32:55,680
and things where they're dance for their week. It's a

572
00:32:55,720 --> 00:32:58,960
faith based camp where they're let their hair down and

573
00:32:59,000 --> 00:33:02,119
have a dance night. Yeah, we do a couple of

574
00:33:02,119 --> 00:33:06,160
faith based songs, but we do mostly Taylor Swift and yeah,

575
00:33:06,240 --> 00:33:07,920
you know, all that kind of stuff. So we'll have

576
00:33:07,960 --> 00:33:11,359
the whole band and that's fantastic. One year, we did

577
00:33:11,400 --> 00:33:15,079
the Stroll by the Diamonds. Well, all the wheelchairs went

578
00:33:15,119 --> 00:33:17,480
down the middle of the gymnasing for ten minutes we

579
00:33:17,559 --> 00:33:19,839
played that song. Yeah, we loved it. Yeah, and they

580
00:33:19,880 --> 00:33:22,640
love it. It's one of the greatest joys to playing

581
00:33:22,640 --> 00:33:25,319
there year. But that's with my sister. One of the

582
00:33:25,359 --> 00:33:27,759
greatest joys of my life. Yeah, music with my sister.

583
00:33:27,920 --> 00:33:31,039
So shout out to Barb Patch. Yeah, Oh that's awesome.

584
00:33:31,640 --> 00:33:33,680
Speaker 10: Does she also do like, does she do her own

585
00:33:33,720 --> 00:33:36,160
thing musically or does she only perform with.

586
00:33:36,079 --> 00:33:38,720
Speaker 6: You or so she's recorded with me on this on

587
00:33:38,759 --> 00:33:40,680
the fourteen songs, So we did. So. I went to

588
00:33:40,759 --> 00:33:43,720
Nashville the first time by myself. Yeah. I went in

589
00:33:43,799 --> 00:33:47,759
February again to do six more songs, and me and

590
00:33:47,839 --> 00:33:51,799
Barb drove down. Yeah. Great trip of my life. If

591
00:33:51,839 --> 00:33:53,839
you want a good trip of your life, spend eighteen

592
00:33:53,880 --> 00:33:57,880
hours in a car with your siblings. Yeah. The person

593
00:33:57,960 --> 00:34:01,000
who knows you the best will bring up all kinds

594
00:34:01,039 --> 00:34:03,759
of things you don't need to you know, sure, no doubt.

595
00:34:03,799 --> 00:34:07,799
Wonderful time. And she had never been in a big

596
00:34:07,880 --> 00:34:11,199
studio either, and uh, it was I think one of

597
00:34:11,239 --> 00:34:13,960
the greatest trips she's had as well, so that's so cool.

598
00:34:14,119 --> 00:34:16,719
My daughter also came in and did some of the vocals.

599
00:34:17,159 --> 00:34:18,920
One of the songs that we won't hear today, but

600
00:34:19,039 --> 00:34:21,679
tied up Baby in Love. My daughter sang with me,

601
00:34:21,960 --> 00:34:23,880
so she's the female lead on that song that goes

602
00:34:23,920 --> 00:34:24,800
back and forth. Nice.

603
00:34:25,320 --> 00:34:26,840
Speaker 9: Oh that's so cool.

604
00:34:27,639 --> 00:34:31,000
Speaker 6: And several songs that we wrote even at church. So

605
00:34:31,719 --> 00:34:35,039
with Barb, I did five years of church band my

606
00:34:35,159 --> 00:34:41,840
kids were two and five and five years of every week,

607
00:34:42,480 --> 00:34:47,400
three new songs a week. So at the time I

608
00:34:47,440 --> 00:34:49,719
looked at it as difficult and oh I got to

609
00:34:49,760 --> 00:34:53,239
go do this again. But it was the greatest learning experience, Oh,

610
00:34:53,320 --> 00:34:56,360
no doubt I could have never asked for. And it

611
00:34:56,519 --> 00:35:00,000
was absolutely wonderful. I had to work on new things

612
00:35:00,079 --> 00:35:02,719
every week, things you've never heard before. Yeah, And you

613
00:35:02,719 --> 00:35:05,199
had to learn your harmony part and your guitar part,

614
00:35:05,320 --> 00:35:07,800
your bass part, all the drummers out you're playing drums

615
00:35:07,800 --> 00:35:12,880
this week, so things like that. Yeah. So one of

616
00:35:12,880 --> 00:35:16,679
the greatest learning experiences she gave me without me realizing it. Yeah.

617
00:35:16,840 --> 00:35:19,639
Speaker 10: Yeah, that's the thing you don't realize still later, right,

618
00:35:19,880 --> 00:35:22,920
how how important that was and absolutely you know, and

619
00:35:23,400 --> 00:35:26,000
having that foundation musically and ye.

620
00:35:26,320 --> 00:35:29,400
Speaker 6: And the foundation did come from the religious music in

621
00:35:29,440 --> 00:35:31,800
the beginning. We were all brought up there and she

622
00:35:32,000 --> 00:35:35,599
does that every week. Still I do that probably once

623
00:35:35,639 --> 00:35:41,320
a month. Yeah, there's a need for musicians at local churches.

624
00:35:41,840 --> 00:35:45,320
They could use any of us anytime. They are so

625
00:35:45,559 --> 00:35:48,840
glad when I come play music. Yeah, just so thankful

626
00:35:48,880 --> 00:35:52,519
and joyous. Yeah, and they try to pay me. I

627
00:35:52,639 --> 00:35:55,119
don't accept it at this really. Yeah, some of the

628
00:35:55,400 --> 00:35:59,719
piano people, you know, they're paying gigs at churches for sure,

629
00:36:00,199 --> 00:36:03,840
but I'm not interested in any But yeah, there is

630
00:36:03,880 --> 00:36:06,840
a need for any musicians out there to serve in

631
00:36:06,880 --> 00:36:10,400
that fashion if they're available to do so. Oh yeah.

632
00:36:10,079 --> 00:36:12,679
Speaker 10: I grew up in Concord and we used to go

633
00:36:12,719 --> 00:36:15,800
to Saint John's on Sunday and they they always had

634
00:36:15,840 --> 00:36:16,480
a band.

635
00:36:16,639 --> 00:36:19,400
Speaker 6: The worship team, be part of the worship team. Ye,

636
00:36:19,440 --> 00:36:19,840
it's funny.

637
00:36:19,840 --> 00:36:23,079
Speaker 10: I don't I don't remember ever hearing that term specifically

638
00:36:23,119 --> 00:36:25,239
worship team, but I just remember like, and I don't

639
00:36:25,239 --> 00:36:26,760
think they had any kind of a name or anything.

640
00:36:26,760 --> 00:36:28,440
They were just but but I think it was pretty

641
00:36:28,440 --> 00:36:31,000
consistently the same people each week. But they would do

642
00:36:31,079 --> 00:36:34,679
these songs they were like they were religious songs. But

643
00:36:34,719 --> 00:36:36,880
they were like they but they weren't hymns, you know

644
00:36:36,880 --> 00:36:38,960
what I mean. Like like they would do a song

645
00:36:39,000 --> 00:36:40,800
called share a little Bit of Your Love, Okay, but

646
00:36:40,840 --> 00:36:42,679
it was like share a little bit of your love,

647
00:36:42,760 --> 00:36:44,840
my friends, share a little bit of your love. But

648
00:36:44,880 --> 00:36:47,400
it wasn't it wasn't a hymn. You know that that

649
00:36:47,639 --> 00:36:49,519
I did any of us had ever heard before.

650
00:36:49,639 --> 00:36:50,039
Speaker 6: I don't know.

651
00:36:50,159 --> 00:36:52,039
Speaker 10: They may have even written it themselves, I don't know.

652
00:36:52,360 --> 00:36:54,320
But they would do songs like that, you know what

653
00:36:54,400 --> 00:36:59,320
I mean, like almost like almost borderline secular some of them,

654
00:36:59,559 --> 00:37:03,199
but but just very positive, uplifting songs, if that makes sense.

655
00:37:03,239 --> 00:37:05,480
But but yeah, I was always kind of fascinated by

656
00:37:05,480 --> 00:37:08,519
that because it was like I've never like, I've never

657
00:37:08,559 --> 00:37:11,079
heard that. I mean, they would do I suppose they

658
00:37:11,079 --> 00:37:13,199
would do him too. My memory of it is fuzzy.

659
00:37:13,239 --> 00:37:17,159
This was when I was a kid. But but but yeah,

660
00:37:17,360 --> 00:37:23,199
Darryl Hall, I've heard say in interviews he credits his

661
00:37:23,360 --> 00:37:27,199
mother taking him on Sundays and they, you know, in Philadelphia,

662
00:37:27,199 --> 00:37:29,360
they would go to they would go to a black

663
00:37:29,480 --> 00:37:33,159
church and that's how he learned to sing, singing at

664
00:37:33,199 --> 00:37:36,960
the black church because that that gave him that that foundation,

665
00:37:37,119 --> 00:37:39,559
you know. And his mother was apparently a really good

666
00:37:39,599 --> 00:37:43,159
singer too, but but she insisted on bringing him there

667
00:37:43,360 --> 00:37:45,159
so that he could learn how to sing like her,

668
00:37:45,840 --> 00:37:48,679
and that's that's how he developed that that soulful voice.

669
00:37:48,800 --> 00:37:52,719
Speaker 6: It's a great foundation and it's a lot of fun

670
00:37:52,760 --> 00:37:55,840
to sing in church. I did the choirs, and then

671
00:37:55,920 --> 00:37:58,639
they learned that I could find the note and read

672
00:37:58,639 --> 00:38:00,840
the note and follow it on the sheet music. So

673
00:38:01,840 --> 00:38:04,760
I was pulled into a quartets and things like that.

674
00:38:04,800 --> 00:38:08,199
And quartets were good sing along with background tapes yep,

675
00:38:08,400 --> 00:38:13,239
and touring different churches with the PV and short column speakers,

676
00:38:13,320 --> 00:38:16,440
the old school stuff. Wow, And so that was yeah,

677
00:38:16,639 --> 00:38:17,960
my younger days, that was a lot of fun. The

678
00:38:18,039 --> 00:38:22,039
church was a great foundation to learn, and so singing hymns,

679
00:38:22,079 --> 00:38:24,159
we would sing those in the pews and we would

680
00:38:24,159 --> 00:38:26,159
sing our harmony parts, and sooner or later we would

681
00:38:26,159 --> 00:38:28,719
get bored singing harmony and we would sing off key

682
00:38:28,760 --> 00:38:34,000
on purpose. The old ladies would look at us really funny. Yeah,

683
00:38:34,000 --> 00:38:35,719
we would sing so well that we would sing off

684
00:38:35,800 --> 00:38:39,880
key on purpose a few times. The church was the

685
00:38:39,880 --> 00:38:43,679
foundation of singing and learning sound stuff, learning how to

686
00:38:43,679 --> 00:38:45,400
plug in wires, learning with all those buttons.

687
00:38:45,440 --> 00:38:49,760
Speaker 9: Oh yeah, yeah, all that stuff. Absolutely well. We talked

688
00:38:49,800 --> 00:38:51,239
about it a bit. Do you want to play this track?

689
00:38:51,280 --> 00:38:51,800
I don't care.

690
00:38:51,960 --> 00:38:54,039
Speaker 6: Let's do. I don't care and one of my favorites.

691
00:38:54,079 --> 00:38:56,920
This is my radio song. Okay, so at every open

692
00:38:57,000 --> 00:38:59,159
mic and I get smiles from this minute every open

693
00:38:59,199 --> 00:39:02,119
mic too. So it sounds like a love song. It

694
00:39:02,159 --> 00:39:06,519
is a love song. It's actually written from the perspective

695
00:39:06,639 --> 00:39:10,639
of your pug. Oh you pet Oh okay, so it's

696
00:39:11,239 --> 00:39:16,360
it's unconditional love. I don't care about anything, you know.

697
00:39:16,400 --> 00:39:18,000
I don't care about why you look like, what you

698
00:39:18,039 --> 00:39:20,159
smell like, and I don't care what Just let me

699
00:39:20,239 --> 00:39:23,400
be with you. Yeah. So, I don't think people will

700
00:39:23,440 --> 00:39:25,840
hear that it's from their pet. I always thought it

701
00:39:25,840 --> 00:39:28,639
could be used as the ASPCA commercial or something like that.

702
00:39:28,760 --> 00:39:31,159
Oh yeah, so, but I don't care. It's one of

703
00:39:31,159 --> 00:39:35,639
the ones that morphed from the basement recording into something

704
00:39:35,719 --> 00:39:38,199
quite different when the pros got it. And it's beautiful,

705
00:39:38,239 --> 00:39:41,440
lots of keyboards layers that I didn't expect. That's where

706
00:39:41,440 --> 00:39:44,119
a lot of the new stuff came from. How sounds

707
00:39:44,199 --> 00:39:47,880
changed when you added a player on an instrument. That

708
00:39:47,920 --> 00:39:50,199
could be any other instrument, and so a lot of

709
00:39:50,199 --> 00:39:52,639
things changed in that it really became something beautiful.

710
00:39:52,760 --> 00:39:54,840
Speaker 10: Yeah, all right, great, let's give this a spen. This

711
00:39:54,960 --> 00:39:57,039
is I don't care, and this is K T K.

712
00:39:57,559 --> 00:39:59,559
Our friend Kevin Kier said, is here with us alive

713
00:39:59,599 --> 00:40:01,599
in suity, and let's give this a spender.

714
00:40:12,519 --> 00:40:16,880
Speaker 13: He shure your fancy clues, Oh the way that you

715
00:40:17,000 --> 00:40:21,320
strike a pose that keeps me hanging around without a frown,

716
00:40:22,079 --> 00:40:23,320
your personal clown.

717
00:40:23,480 --> 00:40:25,480
Speaker 3: It's not the funny things you.

718
00:40:25,559 --> 00:40:29,480
Speaker 11: Say, oh the silly games we play that keep me

719
00:40:29,639 --> 00:40:30,599
sticking around.

720
00:40:30,920 --> 00:40:35,639
Speaker 14: I'll never ever let you down making your big plans,

721
00:40:35,880 --> 00:40:41,000
and everything's okay if you on the pinmows.

722
00:40:41,960 --> 00:40:46,000
Speaker 13: I got nothing to say because I don't care.

723
00:40:46,760 --> 00:40:48,880
Speaker 3: I'll go with you anywhere.

724
00:40:49,880 --> 00:40:54,519
Speaker 13: I don't care about your little tattoos or the color.

725
00:40:54,320 --> 00:40:55,079
Speaker 12: Of your hair.

726
00:40:55,760 --> 00:40:59,760
Speaker 1: I don't care downtown, back grill, see sambo on the top,

727
00:41:00,280 --> 00:41:01,119
a way up.

728
00:41:00,960 --> 00:41:07,360
Speaker 5: In the wherever I'm with you, I don't care.

729
00:41:11,559 --> 00:41:13,719
Speaker 6: It ain't the way to batch your.

730
00:41:13,639 --> 00:41:17,679
Speaker 7: Eyes, oh the way out those sides that keeps.

731
00:41:17,440 --> 00:41:22,280
Speaker 13: Me hanging around frown upside down, your personal clown. It's

732
00:41:22,400 --> 00:41:24,960
not the crazy things you say.

733
00:41:25,280 --> 00:41:29,280
Speaker 3: Oh the records that we play that keep me sticking round.

734
00:41:29,599 --> 00:41:33,960
Speaker 7: I'll never let you down making your big.

735
00:41:33,760 --> 00:41:39,800
Speaker 8: Planes, and everything's okay if you are opilions.

736
00:41:40,599 --> 00:41:44,679
Speaker 14: I get nothing to say because I don't care.

737
00:41:45,440 --> 00:41:51,119
Speaker 3: I'll go with you anywhere. I don't care about your

738
00:41:51,119 --> 00:41:52,639
old tattoos.

739
00:41:52,159 --> 00:41:53,679
Speaker 6: Or the color of your hair.

740
00:41:54,480 --> 00:41:58,360
Speaker 1: I don't care downtown, back road, see soundboun it's.

741
00:41:58,320 --> 00:41:59,760
Speaker 8: Up a way up in.

742
00:42:02,760 --> 00:42:04,519
Speaker 3: Wherever I'm with you.

743
00:42:04,840 --> 00:42:06,280
Speaker 6: I don't care.

744
00:42:06,280 --> 00:42:08,559
Speaker 1: We want where we where we go, and we mean

745
00:42:08,719 --> 00:42:12,239
if we talk, if professors, so I only know the

746
00:42:12,239 --> 00:42:13,280
one thing I.

747
00:42:13,199 --> 00:42:17,119
Speaker 14: Can't hide when I'm by your side.

748
00:42:17,800 --> 00:42:35,360
Speaker 7: I feel, so I don't care.

749
00:42:52,559 --> 00:42:57,039
Speaker 3: I don't care. I'm going with you manywhere.

750
00:42:58,079 --> 00:43:02,159
Speaker 1: I don't care about your old tattoos and the color

751
00:43:02,320 --> 00:43:03,000
of your hair.

752
00:43:03,719 --> 00:43:06,079
Speaker 7: I don't care downtown, man.

753
00:43:06,079 --> 00:43:09,800
Speaker 3: Kelsey said, laughing, tap away uppily.

754
00:43:12,119 --> 00:43:13,679
Speaker 7: Where we go to.

755
00:43:15,960 --> 00:43:16,400
Speaker 12: Me too.

756
00:43:17,519 --> 00:43:27,239
Speaker 5: As long as I'm with you.

757
00:43:23,679 --> 00:43:24,639
Speaker 6: I don't care.

758
00:43:30,360 --> 00:43:33,400
Speaker 10: That is I don't care, And that is Kevin Kirstaid

759
00:43:33,559 --> 00:43:36,559
also known as kat k and uh he is here

760
00:43:36,559 --> 00:43:38,920
with us live in studio, and that's a great song

761
00:43:38,960 --> 00:43:41,400
I was selling, Uh, I was selling Kevin off air

762
00:43:41,440 --> 00:43:43,239
that I'm gonna hear that in my head now in

763
00:43:43,239 --> 00:43:45,679
the morning when when the cat. Jenny and I have

764
00:43:45,719 --> 00:43:49,079
a cat who will sit outside the bathroom door, me owing,

765
00:43:49,159 --> 00:43:53,000
wanting to come in. Well, well I shave, watch me shave.

766
00:43:53,079 --> 00:43:55,559
Speaker 6: You know, I don't have a pet. But that's the

767
00:43:55,599 --> 00:43:59,400
perspective I chose when I wrote it. Yeah, you know

768
00:43:59,440 --> 00:44:01,920
how they they don't care what you look, they don't

769
00:44:01,920 --> 00:44:04,320
care that you smell, They don't care. Just let me

770
00:44:04,360 --> 00:44:07,039
be with you, right that the whole vibe of that song.

771
00:44:07,239 --> 00:44:11,119
Speaker 10: Exactly, yeah, exactly. Now are these so the songs that

772
00:44:11,159 --> 00:44:13,920
you've recorded, are these all? Are Are these part of

773
00:44:13,960 --> 00:44:14,559
an album?

774
00:44:14,719 --> 00:44:15,480
Speaker 6: Or what?

775
00:44:15,480 --> 00:44:17,679
Speaker 9: What's the plan with to do with these?

776
00:44:18,239 --> 00:44:20,639
Speaker 6: That's my hope is that this is an album package.

777
00:44:20,639 --> 00:44:24,159
I have fourteen of them. Yeah, I mean I'm working

778
00:44:24,199 --> 00:44:27,480
on my artwork right now, so I will have CDs

779
00:44:27,760 --> 00:44:30,880
to sell and I want a physical media. Yeah. It

780
00:44:30,960 --> 00:44:33,239
costs a little a little bit to get the albums done.

781
00:44:33,280 --> 00:44:36,079
I'll probably make an album pressing if I sell enough CDs,

782
00:44:36,400 --> 00:44:39,800
I'll probably press a couple of Ye. The CDs are

783
00:44:39,800 --> 00:44:42,360
real cheap to have made. So the do it yourself,

784
00:44:43,679 --> 00:44:47,239
do it yourself music career thing is is just coming

785
00:44:47,320 --> 00:44:49,079
upon me now and just learning all the ins and

786
00:44:49,199 --> 00:44:53,639
outs of that. Yeah, I'm finding partners and helpers like

787
00:44:53,800 --> 00:44:57,239
Eric from jam Demik. Yep, it was great with all

788
00:44:57,280 --> 00:45:02,039
that marketing stuff. Yeah, and let's talk Gamdemic for a

789
00:45:02,079 --> 00:45:04,079
minute while I can. They have lots of their own

790
00:45:04,119 --> 00:45:07,280
original stuff out. They're a force in this southern New

791
00:45:07,280 --> 00:45:09,679
Hampshire area and so you guys can get out and

792
00:45:09,719 --> 00:45:13,679
catch a jamdemic. Do it. They're good and I'll probably

793
00:45:13,679 --> 00:45:15,360
be running sound for them. So come on buy and

794
00:45:15,400 --> 00:45:19,639
say hi. Excellent, excellent, yeah, absolutely, so, yes, the dream

795
00:45:19,719 --> 00:45:22,440
is to make the package, and so I'm working on

796
00:45:22,519 --> 00:45:24,760
my artwork. I've written my liner notes, I have all

797
00:45:24,760 --> 00:45:27,320
my credits for all the people, and yeah, to have

798
00:45:27,360 --> 00:45:29,960
the package in my hand before Christmas to hand to

799
00:45:30,000 --> 00:45:33,400
my family at Christmas time, but to have stuff to

800
00:45:33,480 --> 00:45:36,320
sell it open mics. So I have a couple of

801
00:45:36,679 --> 00:45:39,880
options of how it's getting posted online. And I posted

802
00:45:40,079 --> 00:45:43,199
I don't care on my song cast account and it's

803
00:45:43,239 --> 00:45:46,360
having a little trouble with the artwork, all the artwork. Yeah,

804
00:45:46,400 --> 00:45:48,400
I'm not sure if they're the venue I'm going to choose.

805
00:45:48,480 --> 00:45:52,360
So yeah, I'm undecided as to how how to release

806
00:45:52,400 --> 00:45:55,199
it all. Yeah, I don't care. We'll be out there eventually,

807
00:45:55,239 --> 00:45:57,079
because that's the first one I was hoping to tell

808
00:45:57,119 --> 00:46:00,559
you today it's available. Okay, not quite. Yeah, it's still

809
00:46:00,599 --> 00:46:05,519
having some issues, and that's also making me wonder. So

810
00:46:05,599 --> 00:46:07,559
do it yourself. Music we were talking about is a

811
00:46:07,599 --> 00:46:11,440
tough gig. There's lots of different options things to choose

812
00:46:11,480 --> 00:46:15,400
from and things to where to release your music through.

813
00:46:15,519 --> 00:46:18,960
So I'm hoping someone loves me, and what I really

814
00:46:18,960 --> 00:46:23,239
need is management. I'm doing it all myself and I'm

815
00:46:23,440 --> 00:46:25,280
stepping out there and this is the year that I'm

816
00:46:25,320 --> 00:46:29,239
going to put the effort into showing up and getting

817
00:46:29,280 --> 00:46:31,679
all the music out there. And so it's going to

818
00:46:31,679 --> 00:46:36,000
be an album package excellent, all fourteen songs good. I

819
00:46:36,039 --> 00:46:37,960
didn't want to sell anyone short and just have tens.

820
00:46:38,960 --> 00:46:41,679
The fifteenth song I recorded in nineteen ninety two, a

821
00:46:41,719 --> 00:46:44,920
song called rat Race and at Ryan Song Studios in

822
00:46:44,920 --> 00:46:49,719
pepperle and that was remastered. So that'll might not make

823
00:46:49,760 --> 00:46:53,079
the album, but I'll keep that one in my pocket,

824
00:46:53,280 --> 00:46:57,079
you know, as a bonus track for something or who knows.

825
00:46:58,719 --> 00:47:02,039
The original tape on that was quarter inch tape. Zach

826
00:47:02,119 --> 00:47:05,760
had it in Nashville, but when he opened the tape

827
00:47:05,800 --> 00:47:09,400
that had been in storage since ninety two. Heat had

828
00:47:09,400 --> 00:47:12,360
gotten to it over the years and it was unusable. Okay,

829
00:47:12,480 --> 00:47:14,719
so we had to use an old MP three and

830
00:47:14,760 --> 00:47:17,800
he said, this is okay. I said, it's okay. Make

831
00:47:17,840 --> 00:47:20,199
it sounds as much as you can like the others.

832
00:47:20,239 --> 00:47:23,239
But yeah, it's not quite as as good as sounding

833
00:47:23,280 --> 00:47:25,199
as the others. It's a different vein. So it's not

834
00:47:25,280 --> 00:47:29,360
going to make this collection, but it'll definitely be out

835
00:47:29,360 --> 00:47:30,360
there posted some day.

836
00:47:30,480 --> 00:47:31,119
Speaker 10: Curious to hear it.

837
00:47:31,239 --> 00:47:34,079
Speaker 6: Yeah, yeah, so I'll have it for you later. You

838
00:47:34,119 --> 00:47:36,760
can have a cop Oh awesome, Yeah, thank you? Yeah

839
00:47:36,880 --> 00:47:38,239
yeah wow. Ninety two.

840
00:47:40,039 --> 00:47:42,679
Speaker 9: And then so when's your next when's your next appearance?

841
00:47:43,000 --> 00:47:45,920
Speaker 6: So I let's see, I just did a pumpkin fest

842
00:47:46,039 --> 00:47:50,360
in Milford talking to Milford. Yeah, I ran sound for

843
00:47:50,400 --> 00:47:52,719
six bands at the Keysfield stage, the first time they

844
00:47:52,760 --> 00:47:57,519
had bands of the Keysfields brand new wooden, beautiful that

845
00:47:57,559 --> 00:48:00,039
they built on a super fun site, nice stage. I

846
00:48:00,079 --> 00:48:05,599
wouldn't top stone Back. Ran sound for six acts there

847
00:48:05,800 --> 00:48:08,760
and I was the seventh act that was right before

848
00:48:08,760 --> 00:48:10,559
the end, second to last. We got to do four

849
00:48:10,679 --> 00:48:13,199
songs there. Yeah. So my next thing, I have a

850
00:48:13,239 --> 00:48:17,559
showcase at Riley's place. In Milford coming up December twenty seventh. Ok,

851
00:48:17,719 --> 00:48:19,320
I get an hour and a half. I'm gonna start

852
00:48:19,360 --> 00:48:22,159
off some things by myself. Probably I don't care all

853
00:48:22,199 --> 00:48:24,400
alone on acoustic, because that's when I do well on

854
00:48:24,440 --> 00:48:27,280
acoustic called by myself. Yeah. So at the Keysfield thing,

855
00:48:27,320 --> 00:48:31,239
I did really planned my fourth song set really well

856
00:48:31,239 --> 00:48:33,480
I did. I don't care all about myself on acoustic.

857
00:48:33,760 --> 00:48:36,440
Second song, I brought two friends up and we did

858
00:48:36,840 --> 00:48:39,039
Simon and garfuncle Cecilia a cappella.

859
00:48:39,239 --> 00:48:41,039
Speaker 9: Nice, wow, no kidding.

860
00:48:41,199 --> 00:48:45,239
Speaker 6: Third song we did an original blues So this original

861
00:48:45,239 --> 00:48:49,360
blues song. Riley's Place has blues open mic on Sunday

862
00:48:49,400 --> 00:48:53,840
afternoons from one to four. Yeah, I had been, like

863
00:48:53,880 --> 00:48:55,320
I told you, I went to the blues one, the

864
00:48:55,320 --> 00:48:57,719
first one I ever went to at keys Piano Bar,

865
00:48:57,880 --> 00:49:00,119
and I felt like I had a rubber knife for

866
00:49:00,159 --> 00:49:03,519
the gunfight. Yeah. So I always stayed away from Riley's

867
00:49:03,519 --> 00:49:05,559
Sunday blues thing other than I poked my head in

868
00:49:05,599 --> 00:49:09,159
and said alone, saw the incredible guitar players and sexophone,

869
00:49:09,199 --> 00:49:12,480
all these incredible musicians. Yeah. I went to rallies one

870
00:49:12,519 --> 00:49:16,280
Sunday with my bass and I walked up on stage

871
00:49:16,280 --> 00:49:18,039
and I signed up and I walked up on stage

872
00:49:18,400 --> 00:49:20,239
and they said what are you doing. I said, we're

873
00:49:20,280 --> 00:49:22,840
doing an original and the drummer looked at me like

874
00:49:23,599 --> 00:49:27,119
people don't do originals, said blues jam. Yeah, I said, well,

875
00:49:27,639 --> 00:49:30,440
it's one four five. They said it's the format. I said,

876
00:49:30,440 --> 00:49:32,960
it's the right blues format. Don't worry yea doing it.

877
00:49:33,239 --> 00:49:36,559
And the drummer was Phil de Luca was his name? Okay.

878
00:49:36,760 --> 00:49:39,079
He looked at me like I had two heads. Yeah,

879
00:49:39,599 --> 00:49:41,800
you're doing an original. I said, yeah, you'll be all right,

880
00:49:42,000 --> 00:49:45,519
just watch me for the changes. Yep. And at the

881
00:49:45,639 --> 00:49:48,039
end of the song he gave me a big giant

882
00:49:48,039 --> 00:49:51,400
thumbs up in a smile and yeah, you're a good singer. Yeah,

883
00:49:51,480 --> 00:49:53,440
And so I was really I had won him over

884
00:49:53,519 --> 00:49:56,000
in that one song, and uh, and then I played

885
00:49:56,000 --> 00:49:58,079
along with blues. I just played bass with whatever they

886
00:49:58,119 --> 00:50:00,239
wanted to be after that. But yeah, I have then

887
00:50:00,320 --> 00:50:02,440
back since other than just visit and say hi. But

888
00:50:02,800 --> 00:50:05,719
Phil DeLuca played on stage with me at Keithfield. I

889
00:50:05,760 --> 00:50:08,440
wanted when I did Keysfield, I wanted to bring in

890
00:50:08,639 --> 00:50:11,599
town people that had I had met over the course

891
00:50:11,639 --> 00:50:14,920
of this year of doing open mics, and that I

892
00:50:15,000 --> 00:50:18,800
had made friends with and that liked me because I'd

893
00:50:18,800 --> 00:50:21,400
won them over, you know, yeah, yeah, And I love

894
00:50:21,480 --> 00:50:24,800
that fact that he wanted to come and play Keysfield.

895
00:50:24,840 --> 00:50:29,039
So He's field was a wonderful thing. And so I

896
00:50:29,079 --> 00:50:32,440
did that blues number with him, and I had Scott

897
00:50:32,480 --> 00:50:34,639
Gibbs come up and play guitar, real good guitars, and

898
00:50:34,719 --> 00:50:36,840
he's the one I'm going to be work with going forward.

899
00:50:36,880 --> 00:50:40,679
I got oh nice Scott Gibbs, Mark Shemitt and Kevin

900
00:50:40,719 --> 00:50:44,079
Johnson going to be playing, and my sister to work

901
00:50:44,119 --> 00:50:47,599
on the original act that'll be coming out in twenty

902
00:50:47,639 --> 00:50:51,119
twenty six. Look for Katie K. We might be going

903
00:50:51,159 --> 00:50:53,199
to MMI, Kevin Kirsty, I'm not sure the name will

904
00:50:53,199 --> 00:50:56,239
be going under, probably Katie K. But we will be

905
00:50:56,440 --> 00:51:00,760
having the full band thing with the My favorite type

906
00:51:00,800 --> 00:51:04,679
of music is searing malten lava guitar with three part

907
00:51:04,679 --> 00:51:07,159
harmony over the top of it. There you go, and

908
00:51:07,199 --> 00:51:09,159
we will be having a lot of that too.

909
00:51:09,400 --> 00:51:12,079
Speaker 9: Nice, nice, very good, very good.

910
00:51:12,880 --> 00:51:13,119
Speaker 6: Kevin.

911
00:51:13,119 --> 00:51:14,920
Speaker 9: Where should people go to keep up with you online?

912
00:51:14,920 --> 00:51:16,199
Where's the best place to go to keep up with

913
00:51:16,239 --> 00:51:16,920
everything you're doing?

914
00:51:17,199 --> 00:51:19,159
Speaker 6: So I'm a fledgling, I'm new to this, but I

915
00:51:19,480 --> 00:51:22,599
just made less than a month ago my Facebook band page.

916
00:51:23,159 --> 00:51:25,519
Eric from Jamdemick is going to help me with my marketing,

917
00:51:25,559 --> 00:51:29,159
so you will see it's spreading quickly once he gets

918
00:51:29,199 --> 00:51:32,000
his hands to help me. I got a few things

919
00:51:32,000 --> 00:51:33,599
I got to help him with too, So yeah, we

920
00:51:33,679 --> 00:51:37,840
have a wonderful working relationship of give and take good good.

921
00:51:38,119 --> 00:51:41,599
And yeah I'm doing some sound of Big Bear too. Okay,

922
00:51:41,639 --> 00:51:45,119
Big Bial Lodge Andrew Institute of Art where Eric and jamdmic.

923
00:51:45,280 --> 00:51:47,880
Oh right, I remember he was talking about that. Yeah. Yeah,

924
00:51:48,119 --> 00:51:51,039
another great venue to go see live acts in the

925
00:51:51,039 --> 00:51:53,920
Brookline Yeah yeah. Oh, and I forgot to mention the

926
00:51:53,960 --> 00:51:57,199
other Brookline open mic every other Thursday, the Alamo. Okay,

927
00:51:57,280 --> 00:52:00,519
I took my a cappella team down there. I did

928
00:52:00,519 --> 00:52:02,960
about eight songs there. That was a lot of fun.

929
00:52:03,039 --> 00:52:06,880
Oh wow, people don't expect that. Yeah, no kidding. And

930
00:52:07,400 --> 00:52:10,039
at open mics, I do a lot of girls songs.

931
00:52:10,079 --> 00:52:11,760
A lot of times. Girl songs are in my range.

932
00:52:11,760 --> 00:52:13,239
Boys songs are usually out of it. I have to

933
00:52:13,320 --> 00:52:16,239
change the key. But girl songs are in my range

934
00:52:16,239 --> 00:52:19,119
and people don't expect that from me either, So yeah,

935
00:52:19,400 --> 00:52:21,719
come on catch me sometime and I'll might do something

936
00:52:21,719 --> 00:52:24,239
I expected. I hope to something you.

937
00:52:24,320 --> 00:52:27,599
Speaker 10: Like excellent, excellent, well, very good. Well we're gonna close

938
00:52:27,639 --> 00:52:30,000
out the segment in a moment with follow Your Dreams,

939
00:52:30,199 --> 00:52:32,320
another great song. Anything we should know about this before

940
00:52:32,360 --> 00:52:32,800
we play it?

941
00:52:33,039 --> 00:52:35,880
Speaker 6: So this one. I had a live recording of this

942
00:52:36,000 --> 00:52:41,719
song from ninety one ninety two. I showed up at

943
00:52:41,719 --> 00:52:44,559
the studio in February. My sister was with me. I

944
00:52:44,599 --> 00:52:48,039
also took a risk that I didn't know. I brought

945
00:52:48,280 --> 00:52:51,960
Zachary Stone. Shout out to Zachary Stone, drummer from New Hampshire.

946
00:52:53,079 --> 00:52:54,800
He was a young kid. He had played at my

947
00:52:54,960 --> 00:52:58,199
house in my basement and jammed once or twice when

948
00:52:58,239 --> 00:53:01,920
he was sixteen or seventeen yea, and I knew he

949
00:53:02,000 --> 00:53:04,280
was a good drummer. He had some videos where he

950
00:53:04,280 --> 00:53:06,559
played outside of Fenway Park at ten years old. Oh

951
00:53:06,719 --> 00:53:09,199
Jack Stone, you know, and a lot of hits on YouTube.

952
00:53:09,360 --> 00:53:11,559
So he's active in the industry down there. He's a

953
00:53:11,599 --> 00:53:13,199
band called Gray Lee right now. They played a few

954
00:53:13,280 --> 00:53:16,679
nights ago. He's really active. But I brought him into

955
00:53:16,719 --> 00:53:19,719
the studio with me and Zach Kasik. The producer says,

956
00:53:20,199 --> 00:53:22,400
you know you took a risk for a young kid

957
00:53:22,440 --> 00:53:24,559
in here. Most of these people they can't stay in time,

958
00:53:24,639 --> 00:53:27,760
they can't do this. They that he goes. Yeah, I said, well,

959
00:53:27,800 --> 00:53:29,960
he's from New Hampshire. I really wanted him and it

960
00:53:30,079 --> 00:53:33,000
was pretty good. And it turns out I hit a

961
00:53:33,000 --> 00:53:37,079
home run. Zach Stone has been called back by Zach

962
00:53:37,199 --> 00:53:40,800
Haazik Wilth other to do some stuff. So yeah, Zach

963
00:53:40,920 --> 00:53:43,320
turned out to be a really good drummer. So the

964
00:53:43,360 --> 00:53:46,159
song was follow Your Dreams, and I am playing it

965
00:53:46,519 --> 00:53:49,239
for Zach in the studio and Zach actually had heard

966
00:53:49,239 --> 00:53:51,199
it and listened to it many times. Zach listened to

967
00:53:51,239 --> 00:53:53,639
all the ones I had him on and did him

968
00:53:53,679 --> 00:53:58,119
almost to a tee to the old band recordings. Yeah, well, yeah,

969
00:53:58,119 --> 00:53:59,599
he did the new ones he'd never heard. There was

970
00:53:59,599 --> 00:54:02,599
two he got cold that he hadn't even heard before.

971
00:54:02,880 --> 00:54:07,360
But I played it on the little JBL speaker and

972
00:54:07,519 --> 00:54:11,880
Zach Kazik walks in the control room and says, what

973
00:54:11,960 --> 00:54:15,119
the heck is that you're listening to? I said, that's

974
00:54:15,199 --> 00:54:18,960
the song we're doing, dude, and it's this one, follow

975
00:54:18,960 --> 00:54:23,800
your Dreams. Okay. It turned out Zack Stone killed it

976
00:54:23,960 --> 00:54:28,239
on drums. It's very drum heavy, synth heavy. It turned

977
00:54:28,239 --> 00:54:32,519
out to be Zach Kazik encouraged Mike Sharp, the synth

978
00:54:33,039 --> 00:54:37,639
player from Nashville. Excellent, excellent. He said, think the cars,

979
00:54:37,719 --> 00:54:39,880
think the cars until you might hear some of the cars.

980
00:54:39,880 --> 00:54:42,760
And there we hope. Okay, and yeah, the guys did

981
00:54:42,840 --> 00:54:44,960
really good with Zack Stone on drums on this one.

982
00:54:45,440 --> 00:54:48,239
Shout out to Zach Stone and the other drummer who

983
00:54:48,360 --> 00:54:51,239
I didn't shout out to as Shaky. When I walked

984
00:54:51,280 --> 00:54:54,320
in Wild Feather Recording studios, well, first let's start at Milford.

985
00:54:54,639 --> 00:54:56,920
Milford people says, why are you going to Nashville to record?

986
00:54:57,920 --> 00:55:00,800
We have studios around here. I said, do you have

987
00:55:00,880 --> 00:55:04,480
golden platinum albums hanging on the walls of your studio

988
00:55:04,679 --> 00:55:07,920
up here right? And they were quiet, So yeah, that's

989
00:55:07,920 --> 00:55:09,960
why I went to Nashville. And some of those golden

990
00:55:09,960 --> 00:55:14,199
platinum walls. On the walls were Shaky's oh albums from

991
00:55:14,239 --> 00:55:17,119
playing on Kid Rocks album. Oh Okay, So Shaky play

992
00:55:17,199 --> 00:55:20,840
drums on my eight songs and he played for kid Rock,

993
00:55:20,920 --> 00:55:23,719
So Shaky. Shout out to Shakey. All the guys at

994
00:55:23,800 --> 00:55:26,239
Zach studio were awesome, Oh, very good. The one I

995
00:55:26,239 --> 00:55:28,679
brought that follow Your Dreams was Zach was a little

996
00:55:28,679 --> 00:55:30,400
afraid of it, but it came out really good.

997
00:55:30,519 --> 00:55:32,639
Speaker 10: Okay, all right, so we'll give this a spin to

998
00:55:32,679 --> 00:55:35,320
close out the segment, and if you are listening live,

999
00:55:35,480 --> 00:55:37,000
stick around. Of course, in the third hour, we have

1000
00:55:37,039 --> 00:55:40,880
Ephemea in the house and really looking forward to talking

1001
00:55:40,880 --> 00:55:41,239
with them.

1002
00:55:41,440 --> 00:55:44,039
Speaker 9: But kat K Kevin Kier said that I got one.

1003
00:55:43,880 --> 00:55:46,880
Speaker 6: More shout out to dream Track Studios, Gary Connelly. I'm

1004
00:55:46,880 --> 00:55:48,800
gonna be doing some work there coming up. They gotta

1005
00:55:48,960 --> 00:55:51,880
Oh they're just getting started. They're the new studio in Milford.

1006
00:55:51,880 --> 00:55:54,119
They got the best recording stuff in the world. Oh

1007
00:55:54,199 --> 00:55:56,760
ex less than a mile from my house. Completely surprised

1008
00:55:56,760 --> 00:55:59,199
about that. Oh very cool. I don't know how that

1009
00:55:59,480 --> 00:56:02,000
landed anywhere near me. And this guy's my friend and

1010
00:56:02,079 --> 00:56:04,480
he likes my original music. So yeah, we hope to

1011
00:56:04,480 --> 00:56:07,559
be doing some stuff at dream Track Studios Milford.

1012
00:56:07,719 --> 00:56:10,400
Speaker 10: Oh excellent, excellent, very good. All right, well we will

1013
00:56:10,400 --> 00:56:12,960
do this again in the future, my friend. Absolutely wonderful, Lavire,

1014
00:56:13,000 --> 00:56:16,159
thank you so having me, Matt, absolutely absolutely And here

1015
00:56:16,199 --> 00:56:19,280
it is. This is follow My Follow Your Dreams by

1016
00:56:19,360 --> 00:56:19,920
k t K.

1017
00:56:40,039 --> 00:56:40,639
Speaker 3: Stuck in a.

1018
00:56:40,760 --> 00:56:45,440
Speaker 1: Ruts same old routines every day.

1019
00:56:47,639 --> 00:56:48,920
Speaker 3: You're sick and tired.

1020
00:56:48,679 --> 00:56:49,440
Speaker 7: Of going to work.

1021
00:56:49,800 --> 00:56:54,480
Speaker 3: But that's rice we all got today.

1022
00:56:56,239 --> 00:56:57,559
Speaker 7: Whatever happen to.

1023
00:56:57,800 --> 00:57:02,519
Speaker 3: This challenge, dreams all means with you all the job.

1024
00:57:04,239 --> 00:57:06,920
Speaker 7: Was a g suspind.

1025
00:57:08,519 --> 00:57:09,199
Speaker 6: Us feel.

1026
00:57:11,360 --> 00:57:15,800
Speaker 12: You've got to follow your treat to sty to buy

1027
00:57:15,920 --> 00:57:24,320
the powers outside, following dream stime that don't come true?

1028
00:57:25,760 --> 00:57:28,239
Speaker 1: You God believing.

1029
00:57:47,719 --> 00:57:48,679
Speaker 7: That free to you.

1030
00:57:48,840 --> 00:57:51,800
Speaker 3: When you look in the mirror, are you proud of

1031
00:57:51,880 --> 00:57:52,679
what you see?

1032
00:57:56,320 --> 00:57:56,440
Speaker 12: Now?

1033
00:57:56,559 --> 00:57:57,800
Speaker 7: Tell me the truth?

1034
00:57:58,360 --> 00:58:00,800
Speaker 3: Is this the way you want your like the fee?

1035
00:58:04,039 --> 00:58:08,199
Do you need a new directions or anything he.

1036
00:58:08,360 --> 00:58:09,679
Speaker 7: Gave you had to.

1037
00:58:12,519 --> 00:58:18,119
Speaker 8: You bring in your soul as faith those dreams come

1038
00:58:18,239 --> 00:58:18,679
up true.

1039
00:58:19,960 --> 00:58:24,679
Speaker 2: You gotta follow your dreams through the sky to find.

1040
00:58:24,519 --> 00:58:26,920
Speaker 6: The followers down inside.

1041
00:58:28,760 --> 00:58:32,800
Speaker 5: Follow your dreams. See you don't come true.

1042
00:58:34,360 --> 00:58:36,199
Speaker 3: You got don't believe in.

1043
00:59:12,320 --> 00:59:19,320
Speaker 15: Your dot boy treat su Star you by the powersteeds outside,

1044
00:59:21,239 --> 00:59:25,000
bow your train SI and they'll go to.

1045
00:59:28,519 --> 00:59:30,320
Speaker 3: The dot boy.

1046
00:59:30,000 --> 00:59:36,280
Speaker 5: Dream sup Star you by the powers steeds outside.

1047
00:59:38,039 --> 00:59:41,360
Speaker 3: Drain sewn and they'll do true.

1048
00:59:42,880 --> 00:59:44,360
Speaker 6: The die leave