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Speaker 1: W m n H rips the novels.

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Speaker 2: At Oh that is cool.

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Speaker 3: That is brand new from Kenny Troon, who is here

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with us and we're going to speak with him in

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just a moment. But if you are just joining us

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live on this Saturday morning, March twenty two, twenty twenty five,

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this is Matt Connorton Unleashed and we are live from

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the studios of wm n H ninety five point three FM, Inglorious, Manchester,

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New Hampshire. Of course, you can also stream the show

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from anywhere. Go to Matt connorton dot com, slash live

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for all your live streaming options, social media links, contact infos,

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show archives, et cetera, et cetera. Jenny is here at

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the news desk for the news table. I'm sorry we

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have a news table. I I I'm so used to

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saying that.

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Speaker 4: You have to fix.

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Speaker 3: Well, we were we were talking about time travel in

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a in a certain sense, because can.

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Speaker 2: We do that yet?

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Speaker 4: Well, we'll we'll explain things we need to do.

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Speaker 3: Yes, yes, uh, we get that. We get that mic

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up there, Jenny. I, Well, you know who did not

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believe in time was Prince I only know that from

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a Larry King interview. Oh no, I'm sorry. It was

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Kurt Loader. Remember Kurt Loader from the TV news. Yeah, yeah,

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and he uh he asked Prince. Uh well, Prince said

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he didn't believe in time, and Kurt Loder was like,

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so what do you use and uh, Prince said, uh,

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I believe in the truth. And that was kind of

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the end of the interview.

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Speaker 4: I love that.

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Speaker 3: Was that the same interview where he wanted he said

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he wanted to create Prince to Gram.

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Speaker 4: Uh, probably Insta.

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Speaker 3: This would have been before because Instagram was not around

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when current Loader was still interviewing people on MTV.

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Speaker 4: Yeah.

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Speaker 3: Yeah, different, very very different era, very different era. But yeah,

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we're very happy to have Kenny truon here. It's been

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a while. Yeah, we have since we've been at this

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location here, this location for WM and H. We did

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have a gentleman named Kenneth Wood here, but we have

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not had Kenny truon here at the former bus station. Yeah.

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So it's great to see you.

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Speaker 4: Yeah, it's awesome, Bat guys. I love hanging with you guys.

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Speaker 3: Absolutely tell us about that track we just heard.

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Speaker 4: Yeah, that track I was trying to explain to you.

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It was labeled playing with myself. Now that sounds a

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little weird, but this is what I labeled it as

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I was doing it. But it's called recording music with

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my past self from the future in the present. Now. Yes,

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I know it's.

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Speaker 3: It's a very long title, and it almost sounds like

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part of it should be in parentheses or you know,

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it's it's a long title.

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Speaker 4: Yeah, it is, but it makes sense to me because

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I'm constantly when I build a track, I start, especially

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with that song that you just heard, I started with

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the drums, so I go into it not knowing what

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I'm gonna do. I have a tempo to work with

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and I just go so it's kind of free form

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improv whatever. So then by the time I recorded the

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next instrument, bass, it was already a month after I

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did the drums, and at this point I don't really

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remember what I did, but I'm jamming with myself when

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I'm recording the bass makes sense, so that is improv

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as well. And then the next step was guitar, and

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then I did the guitar a month later after that,

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so I'm constantly playing with myself a different phases of

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I don't know throughout we call time if that's.

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Speaker 3: I guess truth if we accept time as.

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Speaker 4: A time is Yeah, so basically it's a mouthful, but

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that's that's the ideology behind.

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Speaker 3: If you worked that way before, or was this track

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your first time doing it that way?

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Speaker 4: I think I've kind of figured out my workflow with

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starting with drums first. I'm a drummer as well, but

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I like to literally play the drums verst and then

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jams and myself. And that became a thing that I

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figured out, you know, after a while producing music. That

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was just you know, I used to come up with

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the ideas first and the guitar singing or whatever. But

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then I started working backwards. I'm like, I want to

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start with the beat. What's driving me? Is it dis tempo?

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Is it that? You know what I mean? That's the

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most important thing I think now when I create music

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is where I start from. Okay, so I work backwards, Okay,

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Okay for me? Are the drums live on that or

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are they drums are live? Yeah? Okay, that's me playing

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them actual drums. Yeah. I recorded them in New York, Okay,

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at rich Roy Studios Mike Bercillo and uh so, then

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I recorded the base in New Hampshire. Okay, so it's

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like where am I Like, I'm different points of time

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meeting each other in the This is why it's like whatever,

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if you're into that kind of thing, it's it's kind

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of fun.

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Speaker 3: You're playing with yourself in different times but also different

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geographical location.

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Speaker 4: And I'm not really writing anything. I'm just kind of

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like going with whatever was put before me. Yeah, me,

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and I'm just following myself and I might get lost,

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but it's kind of making sense. It makes it a

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little but you know, right, it's fun, Like I don't know,

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I'm just experimenting with different yeah ideas all the time.

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Speaker 3: No, I dig it. The reason I was particularly curious

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about the drums is know, there was a time where

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you could you could program drums, but they wouldn't sound realistic, yeah,

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or like like some of the early drum machines. For example,

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as I'm sure you know, uh, you could get a

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really good, convincing snare, of course, but the toms would

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sound terrible, you know what I mean. This is an example.

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But now the drum sounds that you can get with

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program drums are I mean, my jaw was on the

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floor when Nathan Hill told us in the first hour,

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like that track Breaking Waves those you know, uh, those

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aren't live acoustic drums. I was like, what you know,

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it's it's really amazing. So but but you but you

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so you actually play the drums and guitar. Yeah, you play,

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and you play keyboard too, right, I assume I dabble.

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Speaker 4: Yeah, I I have, you know, some skills with that,

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but I'm not like a piano player.

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Speaker 3: I know, we I know we talked about it before,

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but it was at least a couple of years ago. Now,

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what was your first instrument?

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Speaker 4: Bass?

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Speaker 3: You started on bass, Okay, bassis, and then guitar probably.

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Speaker 4: Or yeah, guitar definitely followed after that. It's like once

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you get the first route to the bass that you

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start doing the chords. It's like graduating next yeah, yeah,

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level of uh let's learn to how to play instruments.

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Speaker 3: Yeah. For me. For me, it was the opposite because

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I started out on guitar when I was a kid.

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I took guitar lessons, but I was very undisciplined. I

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hate this about myself, but I was one of those

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I'm a very motivated person as an adult, but growing up,

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I was one of those lazy kids who if I

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wasn't good at something right away, I'd get bored and frustrated.

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Speaker 4: Yeah.

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Speaker 3: And then in high school I picked up a bass

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and I was I know, bass players hate when I

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say this, but I have to speak my truth. I

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picked up a bass in high school and I was like, oh,

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two less strings and I don't have to know any chords.

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I think I found my instrument. Yeah, it turned out

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I did, because I you know, I ended up playing

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in a bunch of bands, and you know, I'm not

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a bad bass player, but that's awesome, but that was

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kind of but that was kind of my path. And

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then did drums come? So did drums come much later

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to you? Because I feel like too most musicians I

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meet who play several instruments, including drums, it's like drums

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ends up being kind of the last thing they learn.

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Is that? Is that the case with you?

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Speaker 4: I guess I'm I was like a fake drummer for

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a while. Yeah, in the sense of my older brother's

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band would practice in the basement and I lived in

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the basement as well. Yeah, and there was a drum

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set down there, and so like I would hash it out. Yeah, yeah,

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you know, what I mean, But I do have feel,

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and I knew I had feel, and I picked it

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up like pretty much. I just taught myself it. And

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then when I was it's funny because you were saying

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you took guitar lessons. I was a music teacher and

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I had students like you, Oh yeah, yeah, who just

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went you know? But what we did when I found

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that they were losing interest, we would what was cool

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when I had lessons? I had a drum set in

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my room, yeah, lessons, So we would. I would just

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be like, all right, you don't want to look at

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this paper, play these notes?

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Speaker 3: All right?

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Speaker 4: What are you going to do with this beat? Bro?

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And then he would be like I don't know, and

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like all of a sudden, they're playing and they're like, oh,

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I'm just foul. You know what I mean. You gotta

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grab them, like, if you're losing attention, maybe figure out

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a way to get them more interested.

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Speaker 3: Yeah. I wish someone had done that with me. I

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think with me, they were more.

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Speaker 4: Like because you got it, probably got a guitar, guy

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and guitar and I'm just like, hey, we can do

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a bunch of things. How am I going to get

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you to.

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Speaker 3: Play right right?

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Speaker 4: Yeah, How am I gonna get you to come back

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and want to learn?

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Speaker 3: Yeah?

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Speaker 4: I want to grow with that.

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Speaker 3: Yeah. I add instructors who I think were more I

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don't know if apathetic is the word, but you know

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they weren't that invested in me.

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Speaker 4: I don't. I guess not hey, but your idea.

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Speaker 3: You know I turned out all right, I guess, but

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you know I ended up ended up being an okay

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bass player.

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Speaker 4: That's awesome win win in my book, No, not playing,

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but I.

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Speaker 3: Always I've always admired people who can do like what

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you do where you you you're doing all of this,

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You're you're creating all of this and on your on

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your or sort of mainstream you know, not not instrumentals,

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but some of the music that you've released. Are you

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doing everything on those as well?

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Speaker 4: Like yeah, yeah, usually, But I do all the foundation work,

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like I produce it, I record it, I engineer and

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mix it whatever. But I also bring in people to

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play on things to add what you know. I have

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great musician friends that I rely on, yeah, that play

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with me, you know, for years and have amazing connections

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with that. And I keep it in the house. I

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keep everything in house and I keep it's all self sufficient. Yeah,

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I could do whatever I want and I like it,

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and I just that's that's all it matters to me.

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Speaker 3: Yeah, you know what I mean, which is nice right

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because I too. I remember too we talked about before

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your history in a band and how that turned out

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and everything, and to be able to do everything yourself,

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if I remember correctly from a previous conversation. Wasn't that

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a big motivation for you in terms of being able

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to get to a point where you could do Do you

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think yourself? Was your previous experience with the band?

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Speaker 4: Always? Yeah, it's just like when you deal with other

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people and the mishaps that happen, and so you just

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want to take control of your thing, ye Like yeah,

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cut everyone out, all the middlemen, you know what I mean.

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And I just took the long route, and I just

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I would rather that. I still would to this day.

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Like I mean, it's just all about making making the

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art that means you know something to you, that's all

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it matters, exactly exactly we had talked about off air.

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So for those of you watching online, of course you

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can see, but for those listening, Kenny does have his

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guitar with him. Now, there's a particular song you have

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that Jenny loves and she plays it all the time.

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I hear it all the time at home.

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Speaker 3: A song that you release, it has a unfortunately in

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the course, it has a bad word, so we can't

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play it. We can't play it on the air, the

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studio track as it was as it well, I guess

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I can say it, don't f this thing up. But uh,

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and you know, and usually if I really want to

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play something on the show, I'll make a radio edit

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of it where I just take where the where the

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word is that's a problem, and I do. I call

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it a poor man's radio edit. I just reverse it.

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But I never attempted to do that with that song

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because I felt like with that song it would have

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actually ruined it. You know, like if somebody has a

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song with one you know s word, you know, you

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just you just reverse it and it becomes ish, you know.

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But I felt I felt it would ruin the song. Yeah,

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but we were talking off air, you said you could

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replace that word and maybe play that live. Yeah, a

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self edited version of it, which I would love to hear.

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I think the audience would love. And I know, and

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I know Jenny would love to hear it because she absolutely.

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Speaker 4: Loves I gotta you know, if Jen's listened to that,

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I got not many people are, so I gotta you know,

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I gotta give credit. No, it's it's got to you

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know what I mean.

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Speaker 3: It is a great song. Yeah, so so.

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Speaker 4: Got to change the word though, we're not going to

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use the subject a different word like broccoli or anything.

264
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We're gonna right so many syllables there to find the

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right So I think I think we came up with one.

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Speaker 3: Yes, yes, I think we we came up with the

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00:17:22,400 --> 00:17:26,039
ideal word. And uh yeah, if if you're if you're

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willing to give it a go, and you know, we

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are on an eight second delay, so if the worst

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happens and you forget, I can catch it.

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Speaker 4: But that's cool.

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Speaker 3: I won't but I don't think.

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Speaker 4: Yeah, you're you're a pro, very fresher.

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Speaker 3: But I don't think he'll have a I don't think

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you'll have an issue. So yeah, if you're open to

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if you're open to playing that, we'd love to hear it.

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Speaker 4: Yeah, if you want me to do it right now,

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that would be great. Yeah.

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Speaker 3: Yeah, we talked it up so if you are just

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joining us. Kenny Troon is here with us, live in studio,

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and he's going to play something for us, right.

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Speaker 4: Check it out.

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Speaker 5: M h m hmmm mm hmmm hm hm hm.

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Speaker 1: So many times.

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Speaker 4: I thought I had a good thing goo when.

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Speaker 5: With side line.

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Speaker 6: By the next man came in.

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Speaker 4: I see the.

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Speaker 7: Pattern for me. I can't help to nor I was

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smoking me verse just.

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Speaker 8: When I get invited in my life. All I here

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is my father telling me, don't mess this one. Don't

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mess this one. Uh down, mess this one? Uh yeah, yeah, down.

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Speaker 4: Mess this one.

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Speaker 1: So many times.

296
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Speaker 8: Think cows onto some.

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Speaker 4: Things ain't right?

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00:19:24,519 --> 00:19:29,960
Speaker 8: How all of this sads up to nothing? When you

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00:19:30,039 --> 00:19:33,799
see just a little glimmer of folk at the end

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00:19:33,799 --> 00:19:36,160
of my rope, take a deep breath of will it

301
00:19:36,440 --> 00:19:36,920
just choke?

302
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Speaker 4: When he gets turns into know.

303
00:19:39,640 --> 00:19:43,960
Speaker 8: How I'm so used to it now questioning why and how?

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00:19:44,079 --> 00:19:49,000
Because I'm the denominator and every equation can help my sits.

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00:19:49,039 --> 00:19:55,160
Ya see the pattern for me? I can't help but

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00:19:55,359 --> 00:20:02,799
to no worry. How this smoke can me Verse, it's

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00:20:02,799 --> 00:20:05,640
just when I getting by live my life. But that

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00:20:05,799 --> 00:20:10,480
I hear is my father telling me, don't mess this one.

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00:20:10,880 --> 00:20:23,079
Uh don't mess this one. Don't mess this one. Yeah, yeah,

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don't mess this one. I see the pattern for name.

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00:20:32,839 --> 00:20:35,559
I can't help, but you know, I.

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Speaker 5: Smoke and verse. I just want to get vied in

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my die. That I hear is my.

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Speaker 6: Father telling me, don't mess this one.

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00:20:51,720 --> 00:21:01,000
Speaker 8: Don't mess it all up, don't mess all up? Yeah,

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00:21:01,720 --> 00:21:03,079
down mess?

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00:21:03,279 --> 00:21:09,200
Speaker 4: Oh that see the pad for me.

318
00:21:11,599 --> 00:21:12,519
Speaker 5: I can't help.

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00:21:13,039 --> 00:21:18,240
Speaker 4: Two, No, man, how are you? The next man can

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00:21:18,359 --> 00:21:23,759
come in? How you the next man? Come in?

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00:21:26,039 --> 00:21:27,559
Speaker 5: Down? Mess?

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Speaker 2: Oh?

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Speaker 4: Wonderful?

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00:21:33,000 --> 00:21:37,480
Speaker 3: Wonderful Kenny Troon live in studio. That was fantastic and

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00:21:37,480 --> 00:21:42,160
that Jenny, Yeah, yeah.

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Speaker 4: We played that. I don't think I've ever played it

327
00:21:44,200 --> 00:21:44,440
like that.

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00:21:44,640 --> 00:21:46,240
Speaker 3: Oh really, yeah, yeah, I've never.

329
00:21:46,160 --> 00:21:49,400
Speaker 4: Played it live. Really, it's it's the first time I

330
00:21:49,440 --> 00:21:55,720
think i've actually, no kidding, you've got it in practices,

331
00:21:55,799 --> 00:21:59,480
Like it's funny because we less showing did we practiced

332
00:21:59,480 --> 00:22:03,240
it on the show. We didn't play it always, like

333
00:22:04,079 --> 00:22:06,440
you know, I have a list, yeah on a napkin

334
00:22:06,559 --> 00:22:09,759
maybe the day and we're like, but never got to

335
00:22:09,799 --> 00:22:11,240
play it. This is the first time I.

336
00:22:11,279 --> 00:22:15,839
Speaker 3: Think, like, oh wow, yeah, yeah, well, we're very we're

337
00:22:15,920 --> 00:22:18,079
very happy with the radio edit.

338
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Speaker 4: You got your radio, I got ready edit and we

339
00:22:20,759 --> 00:22:21,160
got it.

340
00:22:21,240 --> 00:22:24,680
Speaker 3: Yeah, that's awesome. That is awesome now I know how

341
00:22:24,880 --> 00:22:27,920
now I can see that's that's true.

342
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Speaker 4: You can.

343
00:22:29,960 --> 00:22:30,640
Speaker 5: Yeah.

344
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Speaker 3: Absolutely. By the way, Nathan Hill, who is with us

345
00:22:33,160 --> 00:22:36,079
in the first hour today, says, this guy sounds great.

346
00:22:36,200 --> 00:22:39,880
Thanks again. Yep, getting some love man from Nathan Hill.

347
00:22:40,160 --> 00:22:41,319
Kenny Truon is here with us.

348
00:22:41,559 --> 00:22:41,799
Speaker 5: Uh.

349
00:22:41,920 --> 00:22:44,920
Speaker 3: DJ Steve is in the chat room and says, good morning, Matt,

350
00:22:45,039 --> 00:22:48,880
great show so far, thank you, thank you. Uh, let's see, uh.

351
00:22:49,079 --> 00:22:51,640
Will Wagner Music is in the chat room.

352
00:22:51,680 --> 00:22:56,319
Speaker 9: Someone you know, yes, well well says howdy howdy duty

353
00:22:56,480 --> 00:23:01,480
and Kurt Loader hype Kurt Loader and and suggest now

354
00:23:01,839 --> 00:23:07,200
will Ed made a suggestion, Uh, don't flock this one up.

355
00:23:07,319 --> 00:23:10,119
Speaker 4: See we were talking about it. It's too close, too close,

356
00:23:10,759 --> 00:23:13,359
will I asked Matt and Jen if I could say

357
00:23:13,480 --> 00:23:14,599
funk right.

358
00:23:14,759 --> 00:23:14,960
Speaker 10: Yeah.

359
00:23:15,079 --> 00:23:17,759
Speaker 3: They were like no, because someone will miss hear it.

360
00:23:18,599 --> 00:23:23,440
So flock might be obvious someone someone someone will miss

361
00:23:23,440 --> 00:23:25,519
hear it, and then I'll get a I'll get an

362
00:23:25,599 --> 00:23:26,680
angry message.

363
00:23:27,000 --> 00:23:30,559
Speaker 4: The context, we could say just flock right right, you

364
00:23:30,559 --> 00:23:32,519
can say the word flope.

365
00:23:32,759 --> 00:23:34,000
Speaker 3: I mean there's even a band flock.

366
00:23:35,200 --> 00:23:40,559
Speaker 4: Yeah, yeah, there you go got them off the H.

367
00:23:40,799 --> 00:23:43,160
Speaker 3: No, I've got a I've got a really good streak

368
00:23:43,200 --> 00:23:45,559
of not getting in trouble, so I'm trying to keep

369
00:23:45,640 --> 00:23:46,079
that going.

370
00:23:46,599 --> 00:23:50,039
Speaker 4: I've always said, I'll tell you what.

371
00:23:50,200 --> 00:23:54,119
Speaker 3: So in April. Wow, it's almost April, it'll be eight

372
00:23:54,200 --> 00:23:56,000
years that I've been here at w M and H.

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00:23:56,960 --> 00:23:59,039
And I've always said, from the beginning, my number one

374
00:23:59,119 --> 00:24:01,160
Jenny s heard me say this a thousand times. My

375
00:24:01,319 --> 00:24:04,039
number one goal in doing this show is to come

376
00:24:04,039 --> 00:24:06,160
in here every day, get through the show, and not

377
00:24:06,240 --> 00:24:09,279
get fired. That's that's my number one objective.

378
00:24:09,960 --> 00:24:14,119
Speaker 4: Objective. Keep what you do and what you love going.

379
00:24:14,359 --> 00:24:16,920
Speaker 3: Everything else is gravy. Yeah, as long as I get

380
00:24:16,920 --> 00:24:19,119
to come back for the next head down. Yeah, Yeah,

381
00:24:19,200 --> 00:24:23,000
it work hard. That's that. It was more, it was

382
00:24:23,079 --> 00:24:26,480
more more of an issue when I was on in afternoons,

383
00:24:26,519 --> 00:24:30,079
But that was this show was a little different. But

384
00:24:30,440 --> 00:24:34,279
also our friends Bfraid Boston's Final Raid, great band from

385
00:24:34,319 --> 00:24:38,440
Boston there in the chat room as well. And should

386
00:24:38,480 --> 00:24:41,400
we talk about the new You also sent us another

387
00:24:41,440 --> 00:24:43,359
studio track and I did, and this is going to

388
00:24:43,400 --> 00:24:45,880
be a world premiere, correct world world premiere.

389
00:24:45,920 --> 00:24:49,240
Speaker 4: Yah. I don't think I've I kind of like. I

390
00:24:49,359 --> 00:24:52,480
mixed it the new record I've been working on for

391
00:24:52,480 --> 00:24:55,039
about a little over a year, not like every day

392
00:24:55,039 --> 00:24:58,920
on it, but like i've had maybe it was a

393
00:24:59,000 --> 00:25:04,319
January twenty twenty three. January twenty twenty four. I started it. Okay,

394
00:25:04,720 --> 00:25:09,039
and it's about done, I guess because I mixed it,

395
00:25:09,079 --> 00:25:11,279
and on the way here I listened to it and

396
00:25:11,279 --> 00:25:13,559
I was like, oh, wow, I think it's there. Yeah,

397
00:25:13,559 --> 00:25:16,960
because sometimes when i'm mixing it, I'm over and over

398
00:25:17,039 --> 00:25:18,960
I'm hearing it and I'm like liking it. Then I'm

399
00:25:19,000 --> 00:25:21,000
not liking it, I'm nitpicking it, and I'm just like

400
00:25:21,039 --> 00:25:22,759
all right, And I left it alone for a while,

401
00:25:22,799 --> 00:25:24,880
but I listened to it on the way here and

402
00:25:25,119 --> 00:25:26,519
I'm very hyped about it.

403
00:25:26,680 --> 00:25:29,240
Speaker 3: Actually, yeah, yeah, should we give this the spin and

404
00:25:29,240 --> 00:25:29,799
then we'll.

405
00:25:29,839 --> 00:25:33,279
Speaker 4: Yeah, this song is called house Spider. Yeah, and it's

406
00:25:33,319 --> 00:25:38,079
off my new album Pearls that's gonna be coming out. Oh,

407
00:25:38,200 --> 00:25:41,680
very cool, very cool, no date yet, but here's the

408
00:25:41,720 --> 00:25:42,559
test in the waters.

409
00:25:42,680 --> 00:25:45,200
Speaker 3: I'll give it the I'll play the world premiere bumper

410
00:25:45,240 --> 00:25:47,920
and everything. I have a cool world premiere bumper. I

411
00:25:47,920 --> 00:25:49,319
don't know how cool it is. I like it, but

412
00:25:49,319 --> 00:25:51,519
I'm a nerd that way. And then we'll play the

413
00:25:51,519 --> 00:25:52,920
track and then we'll come back and talk about it,

414
00:25:52,920 --> 00:25:54,759
and we'll talk about the new album and all of it.

415
00:25:54,799 --> 00:25:57,039
But if you're just joining us, Kenny Troon is here

416
00:25:57,039 --> 00:25:58,519
with us live in studio, and it's time for the

417
00:25:58,759 --> 00:26:01,920
This is the world radio premiere, this is old House Spider.

418
00:26:02,240 --> 00:26:04,640
Speaker 1: You're listening to Wuminate.

419
00:26:06,200 --> 00:26:07,200
Speaker 4: World Premiere.

420
00:26:18,039 --> 00:26:25,359
Speaker 11: So it just studing way. You know, let's to lay

421
00:26:26,559 --> 00:26:29,920
looking back, no, because.

422
00:26:30,160 --> 00:26:32,359
Speaker 4: Stay in the fact that you may.

423
00:26:33,079 --> 00:26:39,359
Speaker 5: No we can not stay. Let's just say pec.

424
00:26:39,000 --> 00:26:44,400
Speaker 12: To jump rain just not already left us look on ray,

425
00:26:44,599 --> 00:26:47,519
so many things left up? Say not is me that

426
00:26:47,680 --> 00:26:52,079
I was une mile in the corner like a house

427
00:26:52,200 --> 00:26:54,319
Spider sign.

428
00:26:56,119 --> 00:26:58,960
Speaker 13: I was signing my own how ya caught up? And

429
00:26:59,079 --> 00:27:03,880
Nick Truss saying the tap of the phones. I was

430
00:27:04,039 --> 00:27:07,200
founding mound when they tried to tip him out and

431
00:27:07,359 --> 00:27:12,279
die by killing his song. And I was turning down

432
00:27:13,079 --> 00:27:17,359
with both and as a good five we already.

433
00:27:17,000 --> 00:27:24,079
Speaker 8: Know a good.

434
00:27:24,039 --> 00:27:25,079
Speaker 4: Speak, headdy.

435
00:27:27,200 --> 00:27:35,200
Speaker 11: It just stooding way. You know it's too lay looking back.

436
00:27:35,720 --> 00:27:35,799
Speaker 10: No.

437
00:27:37,680 --> 00:27:40,039
Speaker 1: Slaying the bab to make.

438
00:27:42,559 --> 00:27:44,039
Speaker 5: Canescay.

439
00:27:44,519 --> 00:27:47,799
Speaker 12: Let's say take tip your frame.

440
00:27:48,680 --> 00:27:53,440
Speaker 7: Just already have to smark on Pray, so anythings left

441
00:27:53,559 --> 00:27:55,039
us saying what is reason?

442
00:27:55,200 --> 00:27:59,599
Speaker 14: I was walking the road and traveled like a thout.

443
00:28:00,079 --> 00:28:05,519
I'm signed a bat walk in this road from what

444
00:28:05,880 --> 00:28:10,119
feels like for miles now just stop it the Joe

445
00:28:11,359 --> 00:28:14,880
to walk in this road and Mary no selling weapon's kind.

446
00:28:14,720 --> 00:28:18,759
Speaker 13: Of com because in the end we all fall off.

447
00:28:18,799 --> 00:28:22,559
The stroke be turn balk just existed. Childe x five

448
00:28:23,839 --> 00:28:25,839
got the cut simply.

449
00:28:25,880 --> 00:28:36,559
Speaker 5: Good die you musty daddy. It's just cutting way.

450
00:28:38,839 --> 00:28:43,319
Speaker 11: Now let's to lay looking back, No.

451
00:28:45,160 --> 00:28:51,599
Speaker 5: Staying in the back that Spay, No, we can't escape.

452
00:28:52,000 --> 00:28:54,839
Let's just say let's get.

453
00:28:54,319 --> 00:28:56,319
Speaker 4: Jo Pray just.

454
00:28:57,960 --> 00:29:18,559
Speaker 5: Left to smoking Ray. So I left us was old.

455
00:29:19,279 --> 00:29:22,599
Speaker 3: Oh, very cool, very cool. That is house Spider. That

456
00:29:22,839 --> 00:29:25,079
is Kenny Truon who is here with us live in

457
00:29:25,359 --> 00:29:28,759
a studio. And now that is from the upcoming album Pearls.

458
00:29:28,880 --> 00:29:29,839
Speaker 4: Is that Pearls? Yes?

459
00:29:30,079 --> 00:29:31,200
Speaker 3: All right, tell us about that?

460
00:29:32,880 --> 00:29:37,640
Speaker 4: Yeah, this the album is a special one. I don't know,

461
00:29:37,799 --> 00:29:42,839
just been it just it just feels different. I made

462
00:29:43,279 --> 00:29:46,400
a lot of the songs and uh was it one

463
00:29:46,440 --> 00:29:51,640
weekend by myself, like the structure of them, and then

464
00:29:52,200 --> 00:29:55,920
my boy Chris Pachanka came up and we tracked his

465
00:29:56,519 --> 00:30:01,480
guitars okay, and then my boy Evan came up and

466
00:30:01,519 --> 00:30:05,400
we tracked his bass at different times, like all because

467
00:30:05,400 --> 00:30:07,839
it's hard to get everyone together. I'm from New York, yeah,

468
00:30:07,880 --> 00:30:12,160
and I live in New Hampshire, so we have lives jobs, yeah,

469
00:30:12,160 --> 00:30:15,400
but we make it work when when we can. And

470
00:30:15,880 --> 00:30:19,400
it's and then Josh came in. He dos keys on

471
00:30:19,440 --> 00:30:22,279
the album. And then I had the brothers Nylon do

472
00:30:22,400 --> 00:30:23,359
strings on the album.

473
00:30:23,519 --> 00:30:26,200
Speaker 3: Oh that's right, I remember we talked about them. Yeah, yeah, yeah, and.

474
00:30:27,799 --> 00:30:32,519
Speaker 4: It's yeah, I just building this big theater piece almost.

475
00:30:32,599 --> 00:30:35,160
It feels like a movie to me.

476
00:30:36,039 --> 00:30:38,200
Speaker 3: That track has that vibe definitely. Yeah.

477
00:30:38,279 --> 00:30:41,519
Speaker 4: Yeah, And uh, you know, I don't I don't really

478
00:30:41,559 --> 00:30:44,599
know where it all comes from, but like it came

479
00:30:44,599 --> 00:30:49,799
from a weekend of me house sitting for my parents

480
00:30:49,880 --> 00:30:54,440
watching the animals, and uh, I was alone for the

481
00:30:54,440 --> 00:30:57,160
weekend and the whole album just came out. I was

482
00:30:57,240 --> 00:30:59,839
just recording, you know, non stop, and how Spider came

483
00:30:59,839 --> 00:31:02,319
out out and a bunch of other songs and it's

484
00:31:02,359 --> 00:31:05,039
just been building from there. And yeah, I mean kind

485
00:31:05,039 --> 00:31:08,799
of like really, I like, I release a lot of

486
00:31:08,880 --> 00:31:12,039
music under different things almost Yeah, just kind of like

487
00:31:12,119 --> 00:31:14,400
it just comes out of me and I'm posting and whatever.

488
00:31:14,440 --> 00:31:16,680
But I've been holding this one back really, you know

489
00:31:16,720 --> 00:31:18,640
what I mean, because it is a little different. It's

490
00:31:19,039 --> 00:31:21,519
that my baby's out in the world now, kind of

491
00:31:21,599 --> 00:31:24,200
like I never really sides of people that were working

492
00:31:24,240 --> 00:31:27,759
on it with me have heard it. Yeah, but I

493
00:31:27,799 --> 00:31:30,000
don't know. Yeah, it's it's a lot put into it,

494
00:31:32,519 --> 00:31:36,720
a lot of good content that I'm talking about and like,

495
00:31:36,759 --> 00:31:41,240
it's all real stuff and I think is something we

496
00:31:41,359 --> 00:31:45,319
need and I'm very proud of it and I can't

497
00:31:45,319 --> 00:31:47,480
wait for people to hear more of it. I hope

498
00:31:47,519 --> 00:31:49,599
people are excited. Yeah, guys are exciting.

499
00:31:49,680 --> 00:31:52,359
Speaker 3: Yeah, definitely. So when is When is it out?

500
00:31:52,519 --> 00:31:55,839
Speaker 4: I have no date for it. It's done, like, but

501
00:31:55,839 --> 00:31:58,279
but I'm leaving breadcrumbs. I'm like, you know, I don't

502
00:31:58,319 --> 00:32:00,559
need to put it out like a hold it back,

503
00:32:00,640 --> 00:32:02,880
but yeah, I want to make sure that I have

504
00:32:03,119 --> 00:32:05,319
really good visuals for it. Yeah. I don't want to

505
00:32:05,359 --> 00:32:06,359
just put it out and have.

506
00:32:06,319 --> 00:32:08,680
Speaker 3: It be overlooked, right, that makes sense.

507
00:32:08,559 --> 00:32:12,839
Speaker 4: You know. So I'm taking my time with it. And yeah,

508
00:32:12,920 --> 00:32:15,279
so maybe if there's some people want to hear more

509
00:32:15,880 --> 00:32:19,160
hype prove it to me. Yeah, yeah, no, that makes

510
00:32:19,160 --> 00:32:20,680
you know what I mean, Like, it makes I want

511
00:32:20,680 --> 00:32:22,920
to see if people want to hear more. Otherwise I'm

512
00:32:22,920 --> 00:32:24,880
just going to go on my timeline, right right, you

513
00:32:24,880 --> 00:32:25,359
know what I mean?

514
00:32:25,559 --> 00:32:27,759
Speaker 3: Yeah, No, that makes sense. You know, you got to

515
00:32:27,799 --> 00:32:30,519
do it right. And and I think that's something that

516
00:32:31,400 --> 00:32:34,680
a lot of musicians don't think about, is is really

517
00:32:35,000 --> 00:32:37,720
you know you don't. I mean, it depends on what

518
00:32:37,799 --> 00:32:40,319
your goals are, too, But so I I yeah, so

519
00:32:40,400 --> 00:32:42,440
there's nothing wrong with saying, Okay, I'm just going to

520
00:32:42,480 --> 00:32:44,000
record this and put it out, throw it out there

521
00:32:44,000 --> 00:32:45,839
and see what happens and see if people like it

522
00:32:45,920 --> 00:32:46,480
or not or whatever.

523
00:32:46,519 --> 00:32:47,559
Speaker 4: But do it all the time.

524
00:32:47,759 --> 00:32:50,519
Speaker 3: Yeah, yeah, but I think But I think also too,

525
00:32:50,759 --> 00:32:53,279
like it probably doesn't occur to a lot of people

526
00:32:53,279 --> 00:32:55,400
that you know, maybe maybe you want to be a

527
00:32:55,440 --> 00:32:57,559
little more deliberate about how you approach it and really

528
00:32:57,640 --> 00:32:59,960
kind of think it through so that you can say

529
00:33:00,160 --> 00:33:01,519
it up for you know, you want to set it

530
00:33:01,599 --> 00:33:03,039
up for success. You want to make sure you reach

531
00:33:03,119 --> 00:33:06,119
the largest audience possible with it, and that's going to

532
00:33:06,160 --> 00:33:08,759
require a little more for a thought, you know. But

533
00:33:08,759 --> 00:33:10,200
but it depends on where your goals are and how

534
00:33:10,200 --> 00:33:11,720
serious you are about it, And it sounds like you're

535
00:33:11,920 --> 00:33:13,119
pretty serious about this one.

536
00:33:13,160 --> 00:33:16,920
Speaker 4: Yeah, yeah, yeah, which is cool. Certain art needs to

537
00:33:16,960 --> 00:33:22,519
be you know, handled with care like absolute. I'm trying

538
00:33:22,559 --> 00:33:25,599
to say something here like, not not in the sense

539
00:33:25,599 --> 00:33:27,640
of like right now, I'm trying to say something to

540
00:33:27,680 --> 00:33:30,200
this point right now, but like like I want you

541
00:33:30,279 --> 00:33:35,599
to digest it, you know, visually, yeah, and auditorially, and

542
00:33:35,720 --> 00:33:40,640
you know, I don't know. Yeah, maybe I'm overthinking it,

543
00:33:40,640 --> 00:33:43,880
but it's it's important to me. Yeah, that's I gotta

544
00:33:43,920 --> 00:33:44,279
follow that.

545
00:33:44,519 --> 00:33:47,160
Speaker 3: Yeah. You know how many tracks it is?

546
00:33:48,440 --> 00:33:48,720
Speaker 4: Eight?

547
00:33:49,200 --> 00:33:49,359
Speaker 6: Eight?

548
00:33:49,559 --> 00:33:50,799
Speaker 4: Yeah, eight tracks.

549
00:33:51,000 --> 00:33:51,279
Speaker 3: Yeah.

550
00:33:51,440 --> 00:33:56,240
Speaker 4: The ninth is a outro track with no vocals, but

551
00:33:56,440 --> 00:33:57,799
it's yeah, it's eight songs.

552
00:33:57,880 --> 00:34:01,200
Speaker 3: Yeah cool. Cool. Do you want to play another live

553
00:34:01,240 --> 00:34:01,960
one for us?

554
00:34:02,279 --> 00:34:05,079
Speaker 4: Yeah? I could, uh, let me try to do something

555
00:34:06,000 --> 00:34:07,920
if you're just joining any Troon is here with us

556
00:34:07,960 --> 00:34:09,760
live in studio, and he did bring his guitar and

557
00:34:09,800 --> 00:34:11,480
we love to hear him play live. Yeah. I don't

558
00:34:11,719 --> 00:34:13,920
never plan what I'm gonna do, but I had to

559
00:34:14,440 --> 00:34:19,159
had to do that one for you. Yeah, Okay, I'm

560
00:34:19,159 --> 00:34:22,159
gonna try this. I released this song a month ago.

561
00:34:22,280 --> 00:34:24,960
It's called it Elated okay, So I'm gonna try this one,

562
00:34:25,039 --> 00:34:25,440
all right.

563
00:34:29,679 --> 00:34:31,559
Speaker 15: M h m h.

564
00:34:37,639 --> 00:34:43,760
Speaker 8: M hmmm. I bet you look into the mirror every day.

565
00:34:45,920 --> 00:34:50,800
No see you notice something that hand change?

566
00:34:52,400 --> 00:34:58,239
Speaker 5: You can't be ways stand? Oh ye.

567
00:34:59,400 --> 00:35:01,119
Speaker 4: Wait? Did I you wait?

568
00:35:01,639 --> 00:35:03,320
Speaker 5: In far?

569
00:35:03,519 --> 00:35:04,519
Speaker 4: This time?

570
00:35:05,440 --> 00:35:11,039
Speaker 8: The end Chanty coming. They are digging up the grade.

571
00:35:12,239 --> 00:35:12,639
Speaker 5: Start.

572
00:35:13,119 --> 00:35:20,960
Speaker 8: My existence was to celebrate today, matter what will happen.

573
00:35:21,320 --> 00:35:27,440
I've been happy as if lay the inner Shady Common,

574
00:35:28,039 --> 00:35:36,599
and I choose to celebrate. I'm sorry late, My love

575
00:35:36,719 --> 00:35:41,199
for you goes on in nine. This ground is say

576
00:35:41,679 --> 00:35:47,039
Chris the bath fid which we're walking nine, I'm so

577
00:35:47,320 --> 00:35:52,639
we lay to love for you goes on in nine

578
00:35:53,800 --> 00:35:59,199
ground to say, Chris bath Field, which were walking nine?

579
00:36:00,360 --> 00:36:07,159
You looking to the voiding ask for help? Nopes to

580
00:36:07,320 --> 00:36:11,719
you would notice something in yourself?

581
00:36:12,760 --> 00:36:19,000
Speaker 7: She can't be ways stead all your life?

582
00:36:19,599 --> 00:36:27,840
Speaker 8: What are you wait? Tail Father's time and Shirley coming.

583
00:36:28,559 --> 00:36:31,199
They are digging up the grave.

584
00:36:32,559 --> 00:36:33,079
Speaker 4: Starting.

585
00:36:33,320 --> 00:36:41,119
Speaker 8: My existence was to celebrate today, no matter what will happen.

586
00:36:41,440 --> 00:36:48,559
I've been happy as lay me and Surley Common, and

587
00:36:48,760 --> 00:36:57,039
I choose to celebrate because I'm so elated. Love for

588
00:36:57,280 --> 00:37:04,039
you goes on in nine ground is sacred. The bathroom

589
00:37:04,280 --> 00:37:10,840
with sweater Walking Non, I'm so elate love all you

590
00:37:11,239 --> 00:37:17,280
goes on and on this ground is say Chris Batho

591
00:37:17,679 --> 00:37:19,159
is sweater walking on?

592
00:37:36,159 --> 00:37:36,639
Speaker 4: All right?

593
00:37:37,679 --> 00:37:40,079
Speaker 3: I love it. That is really good. That is really good.

594
00:37:40,119 --> 00:37:41,480
Speaker 4: I've never done that one either.

595
00:37:41,599 --> 00:37:47,800
Speaker 3: No kidding really Oh that's outstandings. Yeah yeah yeah here, yeah,

596
00:37:48,039 --> 00:37:50,000
we love it, We love it. If you are just

597
00:37:50,079 --> 00:37:52,360
joining us, we have Kenny True here with us live

598
00:37:52,480 --> 00:37:56,239
in studio and uh no, that was that was amazing.

599
00:37:56,880 --> 00:37:58,199
Are you playing out a lot? Are you doing a

600
00:37:58,199 --> 00:37:59,239
lot of shows?

601
00:38:01,719 --> 00:38:02,159
Speaker 8: Choose?

602
00:38:02,440 --> 00:38:04,679
Speaker 3: It sounds like you've been pretty busy with recordings.

603
00:38:04,719 --> 00:38:10,000
Speaker 4: So something big with the New Hampshire's biggest and best

604
00:38:10,280 --> 00:38:15,599
concert promoter Jiggy Stardust Jordan Paul. No affiliation with Logan

605
00:38:15,679 --> 00:38:18,800
Paul or any of that, right right, No, But uh

606
00:38:19,159 --> 00:38:21,840
at the shaskiing, we're gonna we're gonna plan something pretty

607
00:38:21,840 --> 00:38:22,360
big there.

608
00:38:22,719 --> 00:38:23,920
Speaker 3: Oh very good.

609
00:38:24,280 --> 00:38:28,280
Speaker 4: Ex U Not no dates yet, but you know, we

610
00:38:28,360 --> 00:38:30,400
like to we like to build hype and not just

611
00:38:30,440 --> 00:38:34,079
go out there and play to nobody, right, And I

612
00:38:34,119 --> 00:38:36,920
get that, like it's fun, but I think open mics

613
00:38:36,920 --> 00:38:39,800
are good to go out and play and stuff because

614
00:38:40,400 --> 00:38:44,239
though that's like really important for community and like for

615
00:38:45,079 --> 00:38:48,480
testing stuff out, just like bouncing stuff off people off

616
00:38:48,519 --> 00:38:52,320
people in real time. And yeah, but when you throw

617
00:38:52,480 --> 00:38:55,679
want to have a really good show and show out,

618
00:38:56,039 --> 00:38:58,639
you gotta build it. Yeah and feel the dreams. Me

619
00:38:58,679 --> 00:38:59,920
and Jordan Paul are gonna do that.

620
00:39:00,280 --> 00:39:03,599
Speaker 3: Excellent. No, I think that's jiggy. I think that's excellent.

621
00:39:04,079 --> 00:39:07,159
If you used to do jewel that. Yeah, you know him,

622
00:39:07,719 --> 00:39:10,400
so I feel like I know him. I'm sure I've

623
00:39:10,440 --> 00:39:12,920
met him at some point, but I'm just not entirely like,

624
00:39:13,840 --> 00:39:15,599
but I'm sure I've met him at the point.

625
00:39:15,679 --> 00:39:18,079
Speaker 4: Yeah, I might have met him at the casino if

626
00:39:18,119 --> 00:39:22,960
you were there at the casino. He goes to the casino.

627
00:39:23,239 --> 00:39:25,199
Speaker 3: Okay, I'm not a casino.

628
00:39:25,280 --> 00:39:33,400
Speaker 4: No, but you know we all have vices. Yeah are you?

629
00:39:33,880 --> 00:39:36,719
Speaker 3: Are you entirely focused uh at the moment on the

630
00:39:36,800 --> 00:39:39,719
Kenny Troon stuff, because obviously you have these other modalities

631
00:39:39,800 --> 00:39:41,960
like Kenneth Wood and so forth.

632
00:39:42,239 --> 00:39:47,239
Speaker 4: I'm just kind of doing it. No real this is

633
00:39:47,320 --> 00:39:49,639
this or that is. It's just kind of like music

634
00:39:49,679 --> 00:39:53,039
every day. Yeah, music is everything and it's just coming

635
00:39:53,079 --> 00:39:54,400
out of me, so I might as well give it

636
00:39:54,440 --> 00:39:54,800
to people.

637
00:39:54,920 --> 00:40:00,000
Speaker 3: Yeah, exactly exactly. If you do you have any recent

638
00:40:00,119 --> 00:40:02,719
and music videos and know you've done some music videos

639
00:40:02,760 --> 00:40:04,360
in the past too. Do you have anything.

640
00:40:04,599 --> 00:40:09,719
Speaker 4: Yeah, I've our YouTube channel Kenny Troon. You could follow

641
00:40:09,760 --> 00:40:13,639
that t r u h N. And I've been releasing

642
00:40:13,920 --> 00:40:18,599
content there, some recording music when I pass off from

643
00:40:18,639 --> 00:40:20,599
the future in the present now stuff is on there.

644
00:40:20,599 --> 00:40:22,199
I've been making the videos myself.

645
00:40:22,280 --> 00:40:24,719
Speaker 3: And because that's important too, righte. That's something a lot

646
00:40:24,719 --> 00:40:27,000
of musicians don't think about too. Yeah, or they or

647
00:40:27,039 --> 00:40:28,400
they think about it, but they just don't want to

648
00:40:28,480 --> 00:40:28,800
do that.

649
00:40:29,239 --> 00:40:31,360
Speaker 4: Yeah, you kind of have, Like like I said, if

650
00:40:31,400 --> 00:40:33,480
you want to do what I'm doing where you take

651
00:40:33,480 --> 00:40:36,679
control of every aspect of it, yep, you just got

652
00:40:36,679 --> 00:40:39,440
to learn it. You got to, you know, put your

653
00:40:39,440 --> 00:40:44,079
best foot forward. And I'm trying yea. But I also

654
00:40:44,280 --> 00:40:48,800
was doing some some fun Sonic the Hedgehog music flips

655
00:40:48,840 --> 00:40:52,400
with Kendrick Lamar. Oh really, yep, over it? No kidding, Yeah,

656
00:40:52,440 --> 00:40:56,199
it's on there. I did two of them, Greenhill Zone

657
00:40:56,239 --> 00:40:58,679
from Sonic the Hedgehog. Have you do you remember Sonic?

658
00:40:58,840 --> 00:41:02,079
I do, Yeah, hill Zones the first level, so I

659
00:41:02,119 --> 00:41:04,679
put Kendrick Lamar's humble over that.

660
00:41:05,079 --> 00:41:05,400
Speaker 3: Really.

661
00:41:06,119 --> 00:41:09,320
Speaker 4: Yeah, it sounds really fun. And then spring Yard Zone

662
00:41:09,519 --> 00:41:13,599
from Sonic One, I put the Beastie Boys root down

663
00:41:14,360 --> 00:41:21,880
and jay z Germaine dupri Money and Money. Yeah. Yeah,

664
00:41:21,920 --> 00:41:24,039
so there's a fun there's some fun stuff. I'm always

665
00:41:24,079 --> 00:41:27,599
doing some whatever, weird whatever things that pique my interest.

666
00:41:27,840 --> 00:41:28,039
Speaker 13: Yeah.

667
00:41:28,320 --> 00:41:31,119
Speaker 4: But there's a bunch of bunch of my music videos

668
00:41:31,119 --> 00:41:35,440
on there and content. So yeah, Instagram too, like you

669
00:41:35,440 --> 00:41:38,000
you can follow me there and see all sorts of

670
00:41:38,000 --> 00:41:39,559
stuff that I'm dropping daily.

671
00:41:39,840 --> 00:41:42,599
Speaker 3: Yeah. Absolutely, Well, you're very prolific. You know, you got

672
00:41:42,599 --> 00:41:44,320
a lot of a lot of content, a lot of

673
00:41:44,320 --> 00:41:45,159
great music.

674
00:41:44,920 --> 00:41:46,840
Speaker 4: And gotta get it out somehow.

675
00:41:46,960 --> 00:41:48,440
Speaker 3: Yeah, exactly, exactly.

676
00:41:49,079 --> 00:41:49,519
Speaker 4: We have time.

677
00:41:49,559 --> 00:41:52,719
Speaker 3: Do you want to play one more? Yeah? Selfishly, I

678
00:41:52,760 --> 00:41:53,679
would love to hear one more.

679
00:41:53,960 --> 00:41:58,000
Speaker 4: Ye too. Yeah, I'm gonna try some I never Yeah,

680
00:41:58,039 --> 00:41:59,559
this is the day of never trying.

681
00:41:59,719 --> 00:42:03,119
Speaker 3: Okay on live radio, We're very honored.

682
00:42:04,800 --> 00:42:07,320
Speaker 4: Okay, So I'm gonna I'm gonna try this guy.

683
00:42:08,320 --> 00:42:10,880
Speaker 15: M m hmmm.

684
00:42:12,719 --> 00:42:13,719
Speaker 4: Mm hmmm.

685
00:42:15,760 --> 00:42:24,119
Speaker 8: H I just can't relax, h.

686
00:42:26,480 --> 00:42:27,239
Speaker 16: M hmm.

687
00:42:30,360 --> 00:42:32,840
Speaker 6: Gotta close my lids and drift away.

688
00:42:34,800 --> 00:42:35,159
Speaker 1: M h.

689
00:42:38,159 --> 00:42:41,199
Speaker 15: M hm.

690
00:42:44,159 --> 00:42:49,599
Speaker 6: Inhale all the socks, engine and exhales smoking all the pain.

691
00:42:55,079 --> 00:42:59,159
We gotta relive this every day till the memory is

692
00:42:59,280 --> 00:43:07,960
all that from Maine. I gotta break the cycle in

693
00:43:08,159 --> 00:43:18,000
to stay too strong, to run away, face the change,

694
00:43:18,239 --> 00:43:23,320
Brace the day, take the ascid, explore internally, take the bath,

695
00:43:23,840 --> 00:43:27,320
wash the soul. Just sing the note, strike the corn.

696
00:43:27,440 --> 00:43:31,239
Must follow the frequency and the vibration down to the

697
00:43:31,360 --> 00:43:34,599
end of the manuscript paper, up to the heaven, from

698
00:43:34,639 --> 00:43:37,559
the bellows of my being, down to the wire left

699
00:43:37,559 --> 00:43:38,840
to tap in the street.

700
00:43:39,519 --> 00:43:41,679
Speaker 4: Th red County's crows at the feast.

701
00:43:42,119 --> 00:43:47,079
Speaker 6: Nobody's perfect getting away with murder, Just praying on the miracle.

702
00:43:46,679 --> 00:43:48,159
Speaker 4: What we're all waiting for.

703
00:43:48,599 --> 00:43:53,719
Speaker 6: No vert it all just light, light that shines righter

704
00:43:53,760 --> 00:43:57,039
than the next. As we go down, the light keeps

705
00:43:57,119 --> 00:44:01,360
getting it every time when you don't have to try.

706
00:44:02,400 --> 00:44:09,800
Speaker 17: Just there is no compromise. Justice, Justice is no compromise.

707
00:44:13,119 --> 00:44:16,800
But maybe all you really need is love. Set of

708
00:44:16,920 --> 00:44:17,960
all out attention.

709
00:44:24,400 --> 00:44:28,679
Speaker 6: Maybe all you really need is luck, some patience, a

710
00:44:28,719 --> 00:44:37,519
born hug. But maybe all you really need is love

711
00:44:38,559 --> 00:44:40,360
instead of all that attention.

712
00:44:46,880 --> 00:44:49,239
Speaker 4: Maybe all you really need is love.

713
00:44:49,920 --> 00:44:59,480
Speaker 6: Instead of all those drugs. Many all you really need

714
00:44:59,519 --> 00:45:05,519
is love. Uh, Maybe all you really need is love?

715
00:45:06,719 --> 00:45:16,599
Speaker 18: Yeah, love, love, love love, no dusty snop, but it's

716
00:45:16,599 --> 00:45:17,559
stuff that day.

717
00:45:17,719 --> 00:45:22,519
Speaker 3: It's stuff dumping, stop stun.

718
00:45:23,519 --> 00:45:27,920
Speaker 6: They had attention, un warrants and attention.

719
00:45:28,960 --> 00:45:30,519
Speaker 5: Un warrant and attention.

720
00:45:31,519 --> 00:45:36,599
Speaker 6: Lord, let shine.

721
00:45:38,639 --> 00:45:41,400
Speaker 1: Time. It's stubtention.

722
00:45:42,360 --> 00:45:46,639
Speaker 2: Oh this snother attention, Oh thisnther.

723
00:45:46,239 --> 00:45:50,320
Speaker 4: Attention needs some patience and a warm home.

724
00:45:55,000 --> 00:46:00,760
Speaker 3: That is awesome. So going in the place, list.

725
00:46:04,480 --> 00:46:05,039
Speaker 4: Stuff out.

726
00:46:05,519 --> 00:46:07,639
Speaker 3: No, that is so good music.

727
00:46:10,519 --> 00:46:13,760
Speaker 4: That's going that I do.

728
00:46:13,800 --> 00:46:16,239
Speaker 3: I get creative when I listen to Yeah, she likes

729
00:46:16,480 --> 00:46:19,239
she likes to paint while you're while you're listening to

730
00:46:19,320 --> 00:46:19,679
your stuff.

731
00:46:19,840 --> 00:46:22,679
Speaker 4: That makes me so happy to hear. And I'm honored

732
00:46:22,719 --> 00:46:25,320
and you're just grateful. Thank you, guys.

733
00:46:25,760 --> 00:46:26,159
Speaker 3: We love you.

734
00:46:26,320 --> 00:46:28,320
Speaker 4: We love it absolutely, guys.

735
00:46:28,519 --> 00:46:30,039
Speaker 3: Absolutely You'll have to keep us.

736
00:46:29,920 --> 00:46:30,480
Speaker 1: Posted on that.

737
00:46:31,360 --> 00:46:31,480
Speaker 16: Uh.

738
00:46:32,199 --> 00:46:33,519
Speaker 3: I bet your planing there.

739
00:46:34,360 --> 00:46:38,320
Speaker 4: Yeah, it's gonna be awesome. I think I'm gonna try

740
00:46:38,360 --> 00:46:41,159
to do the impossible where it's not you knows, opens

741
00:46:41,239 --> 00:46:43,360
up for Kenneth Wood, opens up for Kenny True.

742
00:46:43,599 --> 00:46:49,039
Speaker 3: Oh I love that. Yeah, that was of course.

743
00:46:49,360 --> 00:46:52,559
Speaker 4: Well it's all I'm telling you. If I'm gonna go hard, go,

744
00:46:53,960 --> 00:46:56,920
I gotta go, We're gonna make a spectacle of it.

745
00:46:57,159 --> 00:46:59,239
Speaker 3: So I think that's a great idea.

746
00:46:59,320 --> 00:47:01,800
Speaker 4: You heard everything here first, I just want you to guess.

747
00:47:02,360 --> 00:47:05,519
Speaker 3: So if you want to know what's next, yeah, stay tuned. No,

748
00:47:05,679 --> 00:47:07,800
I appreciate that. I appreciate that, and I appreciate you

749
00:47:07,840 --> 00:47:10,159
coming in. We are approaching the top of the hour,

750
00:47:10,320 --> 00:47:12,320
so I want to make sure everyone knows where to

751
00:47:12,360 --> 00:47:14,239
find you online, where to keep up with everything that

752
00:47:14,280 --> 00:47:15,960
you're doing, and if you do have anything coming up too,

753
00:47:15,960 --> 00:47:17,840
if I don't know, I mean we talked a little

754
00:47:17,840 --> 00:47:20,159
bit about gigs, and you know you're you've been busy recording,

755
00:47:20,199 --> 00:47:22,360
but anything specific you want to promote coming up?

756
00:47:22,639 --> 00:47:28,880
Speaker 4: Yeah, I'm basically just stay tuned, honestly. Instagram, Kenny truon,

757
00:47:29,159 --> 00:47:33,639
t r U h N, it's Kenny truon music obviously

758
00:47:33,679 --> 00:47:37,599
the AT symbol, and on YouTube Kenny troon every platform

759
00:47:37,719 --> 00:47:39,679
Kenny truon or if you want to look up Kenneth

760
00:47:39,719 --> 00:47:44,679
Wood and the Brothers, Nylon. Yes not, no's one word,

761
00:47:45,159 --> 00:47:49,119
don't forget the A up in the middle and uh yeah,

762
00:47:49,199 --> 00:47:52,119
I mean I don't even know half the time what's happening.

763
00:47:52,320 --> 00:47:56,079
I just uh, every day it changes. So that's you guys,

764
00:47:56,159 --> 00:47:57,559
just got to tune in if you want to hear

765
00:47:57,719 --> 00:47:58,760
some what's going on?

766
00:47:58,960 --> 00:48:02,239
Speaker 3: Yeah? Absolutely, absolutely, Well, we were really appreciate you being

767
00:48:02,320 --> 00:48:05,119
here today, and I think I would like to close

768
00:48:05,159 --> 00:48:07,800
out the segment. You know, I still love this song.

769
00:48:08,159 --> 00:48:09,360
I don't think we're ever alone.

770
00:48:09,440 --> 00:48:11,079
Speaker 4: Oh okay, Yeah, I think I think I might have.

771
00:48:11,079 --> 00:48:12,440
Speaker 3: Played this the last time you were here, too, just

772
00:48:12,440 --> 00:48:15,360
because I love it so much. Do you want to

773
00:48:15,480 --> 00:48:18,280
just remind people or for people who are who maybe

774
00:48:18,320 --> 00:48:20,199
newer listeners who don't know what this song is about,

775
00:48:20,199 --> 00:48:21,840
because I just think this is so cool.

776
00:48:22,880 --> 00:48:27,039
Speaker 4: Right, Yeah, I was living it was a pandemic, and

777
00:48:27,079 --> 00:48:31,360
I moved in with a bunch of just like five

778
00:48:31,440 --> 00:48:35,360
roommates and there was a brand new place and it's

779
00:48:35,360 --> 00:48:38,000
a hectic time because pandemic. Everyone's like, oh, you know,

780
00:48:38,719 --> 00:48:43,719
so think about moving during that time. But but yeah,

781
00:48:43,760 --> 00:48:45,719
a lot of weird stuff was happening in the house.

782
00:48:45,760 --> 00:48:50,039
I didn't know, but before I moved in, someone had

783
00:48:50,079 --> 00:48:56,199
overdosed and I was the guy filling in the room. Yeah. Yeah,

784
00:48:56,480 --> 00:48:59,159
I didn't take the actual room there was there was.

785
00:48:59,239 --> 00:49:02,400
I had a choice taking the basement or the yeah,

786
00:49:02,440 --> 00:49:05,440
and I chose the basement. Chris can vouch for that.

787
00:49:06,039 --> 00:49:08,159
He was there when I was picking the room. He

788
00:49:08,239 --> 00:49:12,119
was like, take the downstairs. Okay, now that I know

789
00:49:12,199 --> 00:49:14,880
what happened in the other room, that's what. That's whatever.

790
00:49:14,960 --> 00:49:17,920
But but yeah, a lot of weird stuff was happening

791
00:49:17,920 --> 00:49:19,920
in that house, let me just say, and uh it

792
00:49:20,039 --> 00:49:24,599
inspired this song. A lot of weird things, like, uh,

793
00:49:25,119 --> 00:49:29,280
randomly the deck being set on fire while I'm oh, yeah,

794
00:49:29,480 --> 00:49:30,039
that was.

795
00:49:29,960 --> 00:49:32,280
Speaker 3: The that was the wildest part. When you first told

796
00:49:32,360 --> 00:49:33,840
us about that, I was like, oh my god.

797
00:49:34,159 --> 00:49:36,199
Speaker 4: And I was smoking cigarettes at the time, so I

798
00:49:36,280 --> 00:49:39,800
was like blaming myself. I did that, But I did

799
00:49:39,840 --> 00:49:43,480
find shards of a mirror on the ground. That was

800
00:49:43,599 --> 00:49:47,880
the sun was hitting the mirror and the mirror was

801
00:49:48,480 --> 00:49:51,920
hitting dried leaves. Yeah, started the fire. Yeah, you would

802
00:49:51,920 --> 00:49:53,639
have thought of some boy scout stuff, but it was

803
00:49:53,719 --> 00:49:56,079
uh yeah, because what are the odds? Yeah, and then

804
00:49:56,119 --> 00:49:58,880
that and then there was also another weird incident where

805
00:49:59,199 --> 00:50:02,400
there was blood from out of nowhere.

806
00:50:02,719 --> 00:50:04,320
Speaker 3: Just it's crazy.

807
00:50:04,519 --> 00:50:06,719
Speaker 4: Yeah, hauntings, it's a real thing.

808
00:50:06,960 --> 00:50:08,559
Speaker 3: Yeah, yeah, wow, the.

809
00:50:08,639 --> 00:50:09,639
Speaker 4: Souls are among us.

810
00:50:09,880 --> 00:50:13,480
Speaker 3: Yes, yes, well, so I think we should end the

811
00:50:13,519 --> 00:50:15,920
segment with this track. And if you are listening live

812
00:50:15,960 --> 00:50:17,960
on Saturday, we have two towns coming up in the

813
00:50:17,960 --> 00:50:20,599
third hour. But Kenny Truan always wonderful to have you

814
00:50:20,639 --> 00:50:24,840
on my friend. Absolutely absolutely we will, we will do

815
00:50:24,880 --> 00:50:27,280
it again. And here it is again. This is such

816
00:50:27,280 --> 00:50:29,599
a great song. This is called I don't think we're

817
00:50:29,599 --> 00:50:52,159
ever alone.

818
00:50:56,480 --> 00:50:58,840
Speaker 5: Just crept in through the door.

819
00:51:00,039 --> 00:51:01,559
Speaker 14: I cat in the shadow?

820
00:51:02,400 --> 00:51:03,719
Speaker 1: Do you hear that?

821
00:51:04,000 --> 00:51:07,639
Speaker 5: Do you smell that? I think something's burning?

822
00:51:08,559 --> 00:51:13,440
Speaker 8: The blood was spilled, loaves were lost, spells lurk within

823
00:51:13,719 --> 00:51:15,039
these walls.

824
00:51:15,079 --> 00:51:20,920
Speaker 16: Something weird going one. I don't think we're ever alone.

825
00:51:24,480 --> 00:51:33,159
Speaker 5: I don't think we're everone. I don't think we're ever long.

826
00:51:36,960 --> 00:51:42,000
Speaker 13: I don't think we're ever alone.

827
00:51:42,440 --> 00:51:59,639
Speaker 16: I don't think that we I ever alone.

828
00:52:11,280 --> 00:52:12,280
Speaker 5: Just fell off.

829
00:52:12,559 --> 00:52:16,400
Speaker 4: The ball was dead like that mouse in the corner.

830
00:52:17,159 --> 00:52:20,519
Speaker 8: Did you see that leg got in the trap? No,

831
00:52:20,719 --> 00:52:22,519
I don't want to remember.

832
00:52:23,440 --> 00:52:24,599
Speaker 5: The blood was spills.

833
00:52:25,840 --> 00:52:28,360
Speaker 8: Does spirits lived with them?

834
00:52:28,519 --> 00:52:32,119
Speaker 5: These balls? Something weird going on.

835
00:52:33,000 --> 00:52:35,480
Speaker 16: I don't think we're ever lone.

836
00:52:39,280 --> 00:52:47,199
Speaker 13: I don't sit where ever lone, and I don't sit whereever.

837
00:52:51,719 --> 00:52:54,239
Speaker 17: I don't think where ever lone.

838
00:52:57,239 --> 00:52:59,960
Speaker 1: I don't think that we I ever said.

839
00:53:00,320 --> 00:53:03,840
Speaker 8: I don't think that we I have a sent don't

840
00:53:03,960 --> 00:53:07,920
think that we I have I don't date that we

841
00:53:08,360 --> 00:53:09,280
I ever.

842
00:53:15,599 --> 00:53:16,079
Speaker 15: A home.

843
00:53:26,159 --> 00:53:34,719
Speaker 8: Don't I do think that we are ever alone?

844
00:53:38,559 --> 00:53:40,800
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845
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846
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847
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865
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869
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Speaker 23: When it comes to keeping WMNH on the air and

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Speaker 13: Seven times out of ten.

881
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Speaker 23: We listened to our music at Nice's title business program.

882
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Speaker 16: Late Night to Light with DJ Mitas right here on

883
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w MNH Manchester.

884
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Speaker 8: Because Saturdays and Sunday nights midnight to four am.

885
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886
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892
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Speaker 25: Behold the harmony of airwaves as you immerse yourself in

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the captivating frequencies of w m NHLP. Their sunny Cards

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three it hurts frequency modulation. Our transmissions M and A

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from the zenith of one thousand Dolm Streets insure into

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the hearts of our creative realm at one nineteen Canal.

898
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Speaker 1: Street, where innovation and sound collode.

899
00:57:11,840 --> 00:57:15,000
Speaker 25: They're the impro moder of Manchester Public Television Service in

900
00:57:15,079 --> 00:57:17,800
the venerable City of Manchester, New Hampshire, USA.

901
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Speaker 1: Enrich your auditory journey.

902
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Speaker 25: With the depth of our license to wesidenspt your missives

903
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to wm n H ninety five three at gmail dot

904
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com or traverse the virtual corridors of wmnhradio dot org.

905
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Engage with our sonic vibrations by communing with us through

906
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the digital channel just or radio beckonds eager to enthrall

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908
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symphony of foundless auditories.

909
00:57:42,039 --> 00:57:49,719
Speaker 1: Won, dude, WMNH rip the novels.

910
00:58:17,519 --> 00:58:21,400
Speaker 15: Yeah, see sitting and living room.

911
00:58:21,760 --> 00:58:24,440
Speaker 5: Your life's gone now, way too soon.

912
00:58:24,800 --> 00:58:28,719
Speaker 15: We can be going back in the bas we live

913
00:58:28,840 --> 00:58:29,920
by the times.

914
00:58:29,599 --> 00:58:32,519
Speaker 4: They went to face rob.

915
00:58:32,400 --> 00:58:37,480
Speaker 15: Downs that we shall now. I know you did knockets.

916
00:58:37,679 --> 00:58:41,880
You can seeking around with another, dude. I can't stand

917
00:58:42,159 --> 00:58:47,719
up being packet. Soon, I'm running away.

918
00:58:47,960 --> 00:58:51,960
Speaker 10: I'm leaving today.

919
00:58:51,239 --> 00:58:52,239
Speaker 5: Coming by to.

920
00:58:54,239 --> 00:58:55,159
Speaker 2: Sorry to leave you.

921
00:58:55,519 --> 00:59:00,400
Speaker 5: So I'm running away.

922
00:59:00,599 --> 00:59:07,360
Speaker 10: Oh, I'm leaving to day. I'm calling by too, sorry

923
00:59:07,639 --> 00:59:12,320
lead you so. Yeah, I was making.

924
00:59:12,039 --> 00:59:14,719
Speaker 15: My chance of an hour or two, the thought of

925
00:59:14,800 --> 00:59:18,519
being somewhere else alone with you having me shook up

926
00:59:18,639 --> 00:59:19,320
and shake him.

927
00:59:19,639 --> 00:59:21,280
Speaker 5: Don't know what to do.

928
00:59:24,000 --> 00:59:29,039
Speaker 15: So where you're from, where you ban up from heaven?

929
00:59:29,239 --> 00:59:32,400
Speaker 2: Done nothing And I don't really want to be the one.

930
00:59:32,239 --> 00:59:33,079
Speaker 4: Who got caught.

931
00:59:33,239 --> 00:59:35,599
Speaker 5: I'll start always and all away.

932
00:59:36,000 --> 00:59:40,480
Speaker 10: And I'm saying I'm running away.

933
00:59:40,800 --> 00:59:45,320
Speaker 5: I'm leaving to Day. I call me by to.

934
00:59:47,039 --> 00:59:54,320
Speaker 10: Sorry to lead you, su, I'm running Oh, I'm leaving

935
00:59:54,400 --> 00:59:54,920
to Day.

936
00:59:56,599 --> 00:59:57,480
Speaker 2: I'm calling back.