1 00:00:00,080 --> 00:00:02,839 Speaker 1: Let's see, let me get that mic up. Brooklyn Mike 2 00:00:03,040 --> 00:00:03,560 is here. 3 00:00:04,320 --> 00:00:05,360 Speaker 2: Good morning, Matt. 4 00:00:05,480 --> 00:00:07,280 Speaker 1: There we are. So for those of you who just 5 00:00:07,400 --> 00:00:09,720 joining us, if you have not heard Brooklyn Mike on 6 00:00:09,759 --> 00:00:14,519 the show, you're lucky. When Brooklyn Mike comes in, he 7 00:00:14,560 --> 00:00:16,280 brings his guitar, he plays live for us, so we 8 00:00:16,320 --> 00:00:19,000 have you know, whenever we have live performers who play 9 00:00:19,039 --> 00:00:20,879 in studio, we have use a little bit of a 10 00:00:20,879 --> 00:00:24,120 different mic setup, so it doesn't always it's not always 11 00:00:24,160 --> 00:00:25,679 smooth right in the beginning, but then the rest of 12 00:00:25,719 --> 00:00:28,519 the show, everything's wonderful. So bear with us. But nope, 13 00:00:28,559 --> 00:00:30,839 we can hear him. Mike's got his guitar plugged and 14 00:00:30,839 --> 00:00:33,159 he's gonna play for us. And we should talk about 15 00:00:33,840 --> 00:00:36,280 so the last time you were on the last time 16 00:00:36,320 --> 00:00:38,799 you were on this show, because you are you're kind 17 00:00:38,799 --> 00:00:42,320 of a semi regular now on Retrospectrum Radio Correct and 18 00:00:42,359 --> 00:00:44,520 of course you've made many appearances on the Morning Show 19 00:00:44,520 --> 00:00:46,960 with Peter White as well. But since the last time 20 00:00:47,000 --> 00:00:50,560 you were on this program, you you've played an open 21 00:00:50,640 --> 00:00:52,359 mic at pcl right. 22 00:00:52,280 --> 00:00:54,320 Speaker 2: Yeah, at Pembrooke City Limits. 23 00:00:54,439 --> 00:00:55,840 Speaker 1: Yeah, our friend rob az A Vido. 24 00:00:55,920 --> 00:00:59,719 Speaker 2: Yeah, great venue, beautiful venue. They do open mic there 25 00:00:59,759 --> 00:01:04,599 the first Wednesday of each month, so I attended the 26 00:01:05,359 --> 00:01:09,079 December and January open mics. Oh good, and I look 27 00:01:09,079 --> 00:01:12,480 forward to being back there. I believe it's February fourth, Okay, 28 00:01:12,519 --> 00:01:13,879 the first Wednesday in February. 29 00:01:14,000 --> 00:01:17,680 Speaker 1: Okay, very good. So they do those every Wednesday, first 30 00:01:17,719 --> 00:01:21,000 Wednesday of the month, wenda once a month, okay. So yeah, 31 00:01:21,000 --> 00:01:22,879 so Pemburg City Limits. Of course, if you haven't checked 32 00:01:22,879 --> 00:01:24,719 it out, please do. It's an amazing place. Rob of 33 00:01:24,760 --> 00:01:27,799 course host granted state of mind. But I think now 34 00:01:27,840 --> 00:01:31,959 he's actually interviewing people at PCL, is what it sounds like. 35 00:01:31,959 --> 00:01:34,599 There's there's live a lot of live performances in the show, 36 00:01:34,680 --> 00:01:35,680 so he does a. 37 00:01:35,760 --> 00:01:38,439 Speaker 2: Ton of different events there. I mean they had something, 38 00:01:38,480 --> 00:01:43,319 I think it was last Sunday where it was basically 39 00:01:43,359 --> 00:01:46,359 bring a plant to take a plant, so really people 40 00:01:46,359 --> 00:01:49,560 bringing live plants. He does so many things to get 41 00:01:49,599 --> 00:01:53,000 people in there, and it's really really interesting. So yeah, 42 00:01:53,040 --> 00:01:55,799 the event would be you would bring a live plant 43 00:01:55,840 --> 00:01:58,879 that you'd want to donate to somebody, and then almost 44 00:01:58,879 --> 00:02:02,359 like a pot luck with plants, yeah, potted potted plant 45 00:02:02,439 --> 00:02:06,079 luck if you will, and so different things like that. Yeah. 46 00:02:06,200 --> 00:02:08,879 Then of course they do trivia there. They do I 47 00:02:08,919 --> 00:02:11,919 believe they do some comedy. There's a ton of musicians 48 00:02:11,919 --> 00:02:15,840 that play there. Yeah, he just he hosts a lot 49 00:02:15,879 --> 00:02:19,680 of different, really interesting and varied events. It's and it's 50 00:02:19,680 --> 00:02:23,280 a really really nice venue. It's really cozy. The people 51 00:02:23,319 --> 00:02:24,840 there are super super nice. 52 00:02:24,960 --> 00:02:28,360 Speaker 1: Yeah. Yeah, yeah, it's really becoming the time it's been open, 53 00:02:28,439 --> 00:02:30,639 it's been at least two years now, right, maybe there's 54 00:02:30,680 --> 00:02:33,479 been two years about that, I believe, so yeah, yeah, 55 00:02:33,560 --> 00:02:35,439 I mean it's it's become such an important part of 56 00:02:35,439 --> 00:02:36,039 the scene here. 57 00:02:36,240 --> 00:02:37,759 Speaker 2: And then a couple of doors away he has a 58 00:02:37,800 --> 00:02:40,479 record store selling vinyl. I haven't made it in there yet. 59 00:02:40,479 --> 00:02:41,080 I got to get there. 60 00:02:41,199 --> 00:02:43,360 Speaker 1: I gotta do that too. Yeah, I got to turn 61 00:02:43,400 --> 00:02:48,080 that out. Yeah, absolutely absolutely. So Now have you been 62 00:02:48,199 --> 00:02:49,759 have you played anywhere else? Or has that kind of 63 00:02:49,759 --> 00:02:52,280 been your your story into getting back into playing live? 64 00:02:52,560 --> 00:02:56,680 Speaker 2: Correct, That's correct. I just want to get it's it's 65 00:02:56,759 --> 00:02:59,960 kind of ironic because I'm finding I'm needing to get 66 00:03:00,080 --> 00:03:04,039 over nervousness really, which well, you know, I haven't performed live, 67 00:03:04,639 --> 00:03:07,759 really performed anywhere other than the radio show, which you know, 68 00:03:07,800 --> 00:03:11,159 Peter's been super kind to have me on and you know, 69 00:03:11,560 --> 00:03:12,719 perform here and there. 70 00:03:12,919 --> 00:03:13,120 Speaker 1: Yeah. 71 00:03:13,919 --> 00:03:15,360 Speaker 2: But other than that, you know, I moved to New 72 00:03:15,360 --> 00:03:17,520 Hampshire twenty five My wife and I moved to New 73 00:03:17,520 --> 00:03:21,599 Hampshire twenty five years ago. And you know, I moved here, 74 00:03:21,680 --> 00:03:23,599 got a real job, had to be you know, a 75 00:03:23,639 --> 00:03:26,000 real grown up, grown up, and you know, bought a 76 00:03:26,039 --> 00:03:28,000 house and had to pay the bills. So I kind 77 00:03:28,000 --> 00:03:34,000 of had to backburn or the music for a quarter decade. Now. Granted, 78 00:03:34,479 --> 00:03:37,599 if I it's not that I didn't want to. I 79 00:03:37,639 --> 00:03:39,240 was gonna say, if I really wanted to, I could 80 00:03:39,240 --> 00:03:41,840 have gotten out there and still performed. But you know 81 00:03:41,879 --> 00:03:44,240 I moved up here. It was like a whole different life. 82 00:03:45,199 --> 00:03:48,120 You know, I had all my contacts and colleagues back 83 00:03:48,120 --> 00:03:50,840 home in New York and I didn't know it. Literally 84 00:03:50,879 --> 00:03:53,879 didn't know anybody up here. Yeah, so just starting a 85 00:03:53,919 --> 00:03:57,680 new life. I'm not in a witness protection program or 86 00:03:57,680 --> 00:03:58,560 anything like that. 87 00:03:59,240 --> 00:04:02,439 Speaker 1: It was just which is exactly what you would say 88 00:04:02,479 --> 00:04:06,199 if you were in the witness protection program. 89 00:04:06,360 --> 00:04:11,639 Speaker 2: Very interesting. So so anyway, fast forward a quarter century. 90 00:04:11,639 --> 00:04:13,000 You know, it's a blink of an eye. Man, you 91 00:04:13,479 --> 00:04:18,360 just can't believe it. And all the whole time I 92 00:04:18,600 --> 00:04:23,399 just my goal was that when I was able to 93 00:04:23,399 --> 00:04:25,079 get back to it, I was going to get back 94 00:04:25,120 --> 00:04:27,000 to it because you know, I was a music major 95 00:04:27,040 --> 00:04:28,879 and really music has been my life since I was 96 00:04:28,920 --> 00:04:33,160 a child, and so here I am, you know, kind 97 00:04:33,160 --> 00:04:35,480 of getting out there again. And it's it's a whole 98 00:04:35,519 --> 00:04:38,279 other world, you know, with technology. I mean, when I 99 00:04:38,360 --> 00:04:42,120 was in you know, performing in bands and solos, you know, 100 00:04:42,160 --> 00:04:45,720 you'd want to you found a venue that you'd want 101 00:04:45,720 --> 00:04:47,879 to perform at, you know, and you'd take your eight 102 00:04:48,000 --> 00:04:51,839 x ten glossy with your press kit and a cassette tape, 103 00:04:51,839 --> 00:04:53,920 you know, with a demo with three songs on it, 104 00:04:54,480 --> 00:04:56,399 and you'd get your foot in the door. 105 00:04:56,439 --> 00:04:56,680 Speaker 1: You know. 106 00:04:57,120 --> 00:05:00,079 Speaker 2: Now it's like, you know, that's the biggest hurdle for 107 00:05:00,120 --> 00:05:03,199 me is and not that I mean I'm good with technology. 108 00:05:03,240 --> 00:05:09,199 It's just now getting you know, preparing so to speak, 109 00:05:09,199 --> 00:05:12,720 a resume, an online resume and getting it out there. 110 00:05:12,759 --> 00:05:15,199 So it but you know, it's it's it's kind of 111 00:05:15,199 --> 00:05:17,920 fun too, because it's it's a whole new a whole 112 00:05:17,959 --> 00:05:21,240 new world for me. Yeah, it's kind of ironic because 113 00:05:21,360 --> 00:05:24,800 you know, you've like your first guest, both your guests 114 00:05:24,800 --> 00:05:27,160 that you had on today. Were were terrific. By the way, 115 00:05:27,439 --> 00:05:30,360 interesting common thread among the three of us. Yes, we 116 00:05:30,439 --> 00:05:35,319 all have accents, so that's true. That's true. I got 117 00:05:35,319 --> 00:05:37,399 my coffee here. You're a you're a real New york 118 00:05:37,600 --> 00:05:40,360 I got my coffee. And by the way, shout out 119 00:05:40,399 --> 00:05:43,759 to my friend Denise. She's listening in o'calla, Florida today. 120 00:05:44,759 --> 00:05:48,279 Denise was a co worker who lived in Nashaua. She's 121 00:05:48,399 --> 00:05:53,480 Manchester native and uh just recently also retired and made 122 00:05:53,519 --> 00:05:57,279 the move to Florida. Okay, so he loaded Denise down 123 00:05:57,319 --> 00:05:59,759 in Florida. I hope you're keeping warm down there because 124 00:05:59,800 --> 00:06:00,279 where not. 125 00:06:01,439 --> 00:06:03,720 Speaker 1: Yeah, well, I don't know if most of the country 126 00:06:03,800 --> 00:06:05,519 is a sweek und Well, yeah. 127 00:06:05,519 --> 00:06:07,639 Speaker 2: I think there was snow even parts of Florida. 128 00:06:07,680 --> 00:06:11,519 Speaker 1: I heard really, Yeah, I believe it. Yeah, huge, huge storm. 129 00:06:11,680 --> 00:06:13,920 I'm remaining I don't know if you heard me saying 130 00:06:13,959 --> 00:06:16,279 this earlier in the show. I'm remaining cautiously opiatistic that 131 00:06:16,319 --> 00:06:17,519 it's not going to be that bad here. 132 00:06:17,839 --> 00:06:19,680 Speaker 2: Yeah. I was laughing because when you said, I don't 133 00:06:19,759 --> 00:06:21,600 we're not going to get like two feet and I'm thinking, yeah, 134 00:06:21,639 --> 00:06:22,399 just a foot and a half. 135 00:06:22,600 --> 00:06:28,279 Speaker 1: Yeah, Well that's better, better than two feet. Yeah, yeah, absolutely. 136 00:06:27,720 --> 00:06:31,240 Speaker 2: That's definitely a case where less is more. Yeah. When 137 00:06:31,240 --> 00:06:34,360 it comes to snowfall, I love the snow. I mean 138 00:06:34,399 --> 00:06:37,279 I actually love the winter. Autumn and winter. I love 139 00:06:38,439 --> 00:06:41,319 It's just like, I'm kind of very very sentimental person. 140 00:06:41,360 --> 00:06:43,920 I think it's my heritage and of I'm first generation 141 00:06:44,040 --> 00:06:48,079 Italian born here. Yeah, and so we're just like naturally 142 00:06:48,120 --> 00:06:51,240 emotional sentimental people. And to me, like the autumn and 143 00:06:51,600 --> 00:06:56,000 winter is like very very sentimental, you know, melancholy, and 144 00:06:56,079 --> 00:06:56,879 I just love it. 145 00:06:57,040 --> 00:07:00,480 Speaker 1: I don't like the melancholy, no I do. I see 146 00:07:00,480 --> 00:07:03,920 the leaves falling, and I just reminds me of death. Well, 147 00:07:03,959 --> 00:07:04,879 it's all death. 148 00:07:04,720 --> 00:07:07,199 Speaker 2: You know. That can't be life without death. It's all 149 00:07:07,319 --> 00:07:08,120 the circle, you know. 150 00:07:08,439 --> 00:07:10,680 Speaker 1: Oh, we do have a call Let's let's see who's 151 00:07:10,680 --> 00:07:12,680 on the line here, the phantom. 152 00:07:12,720 --> 00:07:13,439 Speaker 2: Thanks for calling. 153 00:07:13,800 --> 00:07:15,879 Speaker 1: Oh I don't know who that was. Might have been, 154 00:07:16,199 --> 00:07:18,600 might have been another New Yorker who got a little shy. 155 00:07:19,680 --> 00:07:21,959 There's no such thing calling the big time radio show. 156 00:07:22,000 --> 00:07:23,399 You know, they got a little nervous there. 157 00:07:23,399 --> 00:07:26,600 Speaker 2: Shy new Yorker. Actually, when I was younger, I was 158 00:07:26,839 --> 00:07:29,560 I couldn't talk to anybody. I really really really shy. 159 00:07:29,759 --> 00:07:29,959 Speaker 1: Yeah. 160 00:07:30,079 --> 00:07:35,199 Speaker 2: It broke probably at about sixteen seventeen where I started 161 00:07:35,240 --> 00:07:36,759 like being more outgoing. 162 00:07:36,879 --> 00:07:39,720 Speaker 1: I can relate to that. I was painfully shy growing up. Well, 163 00:07:39,720 --> 00:07:44,240 I'm an introvert by nature, which surprises some people because 164 00:07:44,240 --> 00:07:46,600 they'll people who don't understand introverts. I'll say, well, how 165 00:07:46,639 --> 00:07:48,560 can you host a radio show and you've played in 166 00:07:48,639 --> 00:07:50,279 bands and all this stuff, And it's like, well, when 167 00:07:50,279 --> 00:07:53,199 you're an introvert, any kind of a performance situation is 168 00:07:53,240 --> 00:07:57,199 actually easier than human interaction on a just on a 169 00:07:57,199 --> 00:07:58,240 purely social level. 170 00:07:58,319 --> 00:08:02,360 Speaker 2: It's quite common with actor, comedians, musicians, it is quite common. 171 00:08:02,680 --> 00:08:06,519 But from a person that is not in the arts, 172 00:08:06,920 --> 00:08:09,800 so to speak like that, it's hard. It's like on 173 00:08:09,839 --> 00:08:13,759 the surface, it doesn't make sense, right right, Yeah, but 174 00:08:13,920 --> 00:08:14,399 it happens. 175 00:08:14,519 --> 00:08:16,000 Speaker 1: Like I tell everybody, this is where I feel the 176 00:08:16,040 --> 00:08:18,959 safest in the world is behind a microphone. Yeah, you know, 177 00:08:19,480 --> 00:08:22,160 whether it's in a radio station or or on hon 178 00:08:22,199 --> 00:08:25,120 It's like, I'm very comfortable with public speaking, you know, 179 00:08:25,199 --> 00:08:26,759 I can do all that, but I don't. But I 180 00:08:26,759 --> 00:08:29,399 don't go to parties. I don't want to do that. 181 00:08:29,439 --> 00:08:30,720 I don't want to mingle with people. 182 00:08:30,800 --> 00:08:33,279 Speaker 2: Ye see I could. I could do both. I have 183 00:08:33,360 --> 00:08:36,480 no problem. Well again, I think it's part of being 184 00:08:36,480 --> 00:08:40,720 from New York City, always being in crowds. It's just 185 00:08:41,159 --> 00:08:44,919 like I actually feel less comfortable in like small, like 186 00:08:45,480 --> 00:08:51,320 smaller situations. Yeah. Yeah, so I'm just I'm very comfortable 187 00:08:51,440 --> 00:08:55,399 in multi integrated situations with different people. 188 00:08:55,639 --> 00:08:56,240 Speaker 1: Yeah. 189 00:08:56,279 --> 00:08:58,279 Speaker 2: Like, I hate to put it this way, but like 190 00:08:58,639 --> 00:09:00,360 when I went to Maine for the first time. I 191 00:09:00,399 --> 00:09:01,960 was playing with one of my bands, when we went 192 00:09:02,039 --> 00:09:04,320 up to Brewer, Maine to play for the whole week. 193 00:09:04,519 --> 00:09:06,360 We did that a couple of times at this place, 194 00:09:06,399 --> 00:09:10,759 Stacy's Lounge and Brewer and uh, it was almost like 195 00:09:10,799 --> 00:09:14,120 we went to the Banger Mall and I felt uncom 196 00:09:14,279 --> 00:09:17,559 like there's nothing but white people here, right right. I mean, 197 00:09:17,600 --> 00:09:19,840 I hate to bring the subject out. I'm not saying 198 00:09:19,840 --> 00:09:22,279 it like in a bad way, but it was uncomfortable 199 00:09:22,279 --> 00:09:24,320 for me because it didn't feel natural. 200 00:09:24,480 --> 00:09:26,080 Speaker 1: That makes you know what I mean, That makes sense. 201 00:09:26,120 --> 00:09:27,879 I mean, it wasn't a bad thing, it just was 202 00:09:28,000 --> 00:09:30,200 it was odd for me. We have a we have 203 00:09:30,240 --> 00:09:32,480 a call? Might be the same person who called earlier. 204 00:09:32,559 --> 00:09:33,559 Hi are you there? 205 00:09:34,720 --> 00:09:34,879 Speaker 3: Hi? 206 00:09:35,600 --> 00:09:35,759 Speaker 4: Oh? 207 00:09:35,759 --> 00:09:37,960 Speaker 5: Who's this? 208 00:09:37,960 --> 00:09:42,879 Speaker 3: This is just a fan of Brooklyn Mike, and I 209 00:09:42,919 --> 00:09:44,240 know that voice Fello fan. 210 00:09:44,399 --> 00:09:46,559 Speaker 1: I thought I thought it might be somebody else calling. 211 00:09:46,440 --> 00:09:49,200 Speaker 3: But it's it's an anonymous fan. 212 00:09:49,279 --> 00:09:52,480 Speaker 1: That it's an anonymous fan. We have an anonymous fan. 213 00:09:52,519 --> 00:09:54,879 On the line of Brooklyn Mike, you have anonymous fans. 214 00:09:54,960 --> 00:09:56,639 So you're already having a lot of success. 215 00:09:56,720 --> 00:09:59,159 Speaker 2: Yeah, we'll see that. That proves it. Nobody wants to admit. 216 00:09:58,960 --> 00:10:05,519 Speaker 3: It, Brooklyn Mike. You are also a new co host 217 00:10:05,600 --> 00:10:07,600 on one of the radio shows. There is that, correct. 218 00:10:08,000 --> 00:10:11,399 Speaker 2: Yes, the host of that show was quite kind to 219 00:10:11,879 --> 00:10:13,879 invite me on a regular basis. 220 00:10:14,000 --> 00:10:15,440 Speaker 1: Oh, Paul Cormier. 221 00:10:15,480 --> 00:10:18,039 Speaker 2: Paul Cormier, Yes, I've very much appreciate that. 222 00:10:19,000 --> 00:10:23,039 Speaker 3: Yes, yes, I was just kidding. Guys. It's me. It's me. 223 00:10:23,639 --> 00:10:25,919 Speaker 2: Oh, it's Paul Matt, It's Paul. 224 00:10:26,240 --> 00:10:28,120 Speaker 1: See. I didn't recognize his voice. I thought it was 225 00:10:28,120 --> 00:10:28,840 somebody else at me. 226 00:10:29,159 --> 00:10:30,679 Speaker 2: I thought it was one of those famous people. 227 00:10:30,759 --> 00:10:33,200 Speaker 1: Yeah, yeah, he sounds different on the phone, you know 228 00:10:33,200 --> 00:10:35,279 what saying. I had you going, but you did. You 229 00:10:35,519 --> 00:10:37,720 are usually like one of those voice changer things. 230 00:10:39,279 --> 00:10:41,600 Speaker 3: No, no, it's just the real McCoy. What you see 231 00:10:41,639 --> 00:10:42,200 is what you get. 232 00:10:42,360 --> 00:10:44,080 Speaker 1: That's amazing. Well, we can't see you. That's why we 233 00:10:44,080 --> 00:10:44,679 didn't know it's you. 234 00:10:45,519 --> 00:10:48,440 Speaker 3: Well, yeah, that's why I'm actually calling. I was actually 235 00:10:48,639 --> 00:10:52,159 stepping out. I did my errands this morning, and I 236 00:10:52,200 --> 00:10:55,399 was tuning in and I loved the the Irish guy 237 00:10:55,440 --> 00:10:57,399 there I had. 238 00:10:56,480 --> 00:10:59,159 Speaker 1: Oh yeah, yeah, yeah, he was wonderful. 239 00:10:59,240 --> 00:11:02,159 Speaker 3: Yeah, and his song was fantastic. 240 00:11:02,399 --> 00:11:04,960 Speaker 1: Yeah yeah, yeah, no, he was. He was amazing. Uh 241 00:11:05,320 --> 00:11:09,039 uh co hal fits. I still don't know if I'm 242 00:11:09,039 --> 00:11:11,120 saying his first name correctly, but he said I was. 243 00:11:11,360 --> 00:11:12,919 He might have just been being kind. 244 00:11:13,720 --> 00:11:15,919 Speaker 3: Maybe he was being kind, he man, Maybe. 245 00:11:15,840 --> 00:11:17,000 Speaker 1: I feel like I'm saying it wrong. 246 00:11:18,679 --> 00:11:20,440 Speaker 3: So I went out. I went out this morning. I 247 00:11:20,480 --> 00:11:22,559 ran my errands and I was listening and I'm like, hey, 248 00:11:22,559 --> 00:11:24,320 I'm gonna go win at eleven. And then I got 249 00:11:24,320 --> 00:11:27,200 home probably about a half an hour ago, and I 250 00:11:27,279 --> 00:11:30,080 was venturing back out and it's too damn cold out there. 251 00:11:30,120 --> 00:11:31,000 Speaker 1: Man, don't blame you. 252 00:11:31,279 --> 00:11:32,879 Speaker 2: It was like thirteen below at the Windshill. 253 00:11:33,120 --> 00:11:36,840 Speaker 3: Yeah yeah, yeah. I'm sitting here now and with a 254 00:11:36,879 --> 00:11:40,519 hot cup of coffee, looking forward to hearing some acoustical 255 00:11:40,600 --> 00:11:43,440 jams from the fabulous Brooklyn Mike Platino. 256 00:11:43,639 --> 00:11:48,559 Speaker 1: Oh yes, yes, you said his real last name. He's 257 00:11:48,559 --> 00:11:49,200 just stocks to him. 258 00:11:54,360 --> 00:11:57,159 Speaker 3: Even I even spell it right too. Yeah, he spelt 259 00:11:57,159 --> 00:11:58,879 it out to me once and I and I and 260 00:11:58,919 --> 00:11:59,440 it stuck. 261 00:12:00,039 --> 00:12:01,840 Speaker 2: It just took like two or three times to pronounce 262 00:12:01,840 --> 00:12:04,559 it properly, which is not unusual. I believe me. It's 263 00:12:04,559 --> 00:12:07,080 been pronounced all different ways. The bad thing about having 264 00:12:07,120 --> 00:12:11,039 a name like you know, surname like that, that's somewhat unique. 265 00:12:11,159 --> 00:12:14,799 So is that I can't say, Well, it wasn't me, 266 00:12:14,879 --> 00:12:17,559 it was the other mic Platino, right, that's right, I forget. 267 00:12:17,679 --> 00:12:19,960 Actually there were I found another mic Platino, which I 268 00:12:19,960 --> 00:12:22,240 was very proud in New Jersey as a dentist. 269 00:12:22,320 --> 00:12:24,360 Speaker 4: Oh really yeah, and sometimes I get his mail, which 270 00:12:24,360 --> 00:12:25,279 is kind of funny. 271 00:12:25,559 --> 00:12:29,360 Speaker 1: Oh that is funny. That is fine. Yeah, there's another 272 00:12:29,440 --> 00:12:31,840 Matt Connorton right here in New Hampshire. But he's my uncle, 273 00:12:31,879 --> 00:12:33,480 so that all right, It kind of doesn't count. 274 00:12:36,399 --> 00:12:38,159 Speaker 3: You ever get one of his paychecks. You just go 275 00:12:38,240 --> 00:12:40,759 to the bank wearing a Johnny Oh the thing, Yeah, 276 00:12:41,000 --> 00:12:42,039 I'm doctor. 277 00:12:42,759 --> 00:12:47,519 Speaker 1: Yeah gds yep, were scrubbed. There you go. 278 00:12:47,919 --> 00:12:49,279 Speaker 2: You're always thinking, Paul. 279 00:12:50,480 --> 00:12:52,799 Speaker 3: That's right, all right, Well I'm going to be sitting 280 00:12:52,840 --> 00:12:56,200 here enjoying your interview and uh, it's always nice to 281 00:12:56,240 --> 00:12:58,440 hear book of mic on no matter what show's on, 282 00:12:59,080 --> 00:13:02,799 and love your show. I'm your biggest fan. I didn't 283 00:13:02,799 --> 00:13:04,919 know if you knew that, but yeah. 284 00:13:04,840 --> 00:13:08,519 Speaker 1: I did not know. I appreciate that, uh, Paul, see, thank. 285 00:13:08,360 --> 00:13:14,799 Speaker 3: You you well sometimes all right, all right. 286 00:13:14,679 --> 00:13:17,320 Speaker 1: That was the great police from Retrospection Radio with poly 287 00:13:17,440 --> 00:13:19,559 C of course Brooklyn. Mike is, now are you with 288 00:13:19,639 --> 00:13:21,960 us every week on that like officially every week now 289 00:13:21,960 --> 00:13:22,480 on that show? 290 00:13:23,159 --> 00:13:23,480 Speaker 2: Oh? 291 00:13:23,559 --> 00:13:26,159 Speaker 1: Oh for some reason, why can't I hear you? Oh? 292 00:13:26,200 --> 00:13:29,279 I know why? Sorry, I figured it out. Say that again. 293 00:13:29,399 --> 00:13:33,720 Speaker 2: Yep, hello, yeah, yeah, that is correct. Paul invited me. 294 00:13:34,039 --> 00:13:35,759 He called me about two weeks ago and he said 295 00:13:35,799 --> 00:13:38,639 listen because usually at the end of each program that 296 00:13:38,679 --> 00:13:41,480 I've been on, we have a conversation like do you 297 00:13:41,480 --> 00:13:43,200 want me to come back next week? And he says, well, 298 00:13:43,200 --> 00:13:44,639 do you want to come back? So he called me 299 00:13:44,679 --> 00:13:46,519 about two weeks he says, listen instead of having this 300 00:13:46,559 --> 00:13:49,679 conversation every week, if you he says, I'd like I 301 00:13:49,759 --> 00:13:51,399 like having you on the show, if you'd like to 302 00:13:51,399 --> 00:13:53,799 be on, let's just make you like a permanent co host, 303 00:13:53,799 --> 00:13:55,320 as you put it. Yeah, and I said, would be 304 00:13:55,320 --> 00:13:56,080 my pleasure, you know. 305 00:13:56,279 --> 00:13:59,919 Speaker 1: Yeah, yeah, I think it's great because we had a conversation. 306 00:14:00,080 --> 00:14:03,200 And I don't think he'll mind me saying this, because 307 00:14:03,200 --> 00:14:04,240 I think it was just he and I in the 308 00:14:04,279 --> 00:14:06,320 room after everyone else had left last night. But he 309 00:14:06,360 --> 00:14:08,320 said to me, he said, I really like this crew 310 00:14:09,080 --> 00:14:11,759 you know that we have right now on Retrospect. 311 00:14:12,320 --> 00:14:14,320 Speaker 2: I mean, I'm new to it, but it feels real nice, 312 00:14:14,399 --> 00:14:15,840 real comfortable, real natural. 313 00:14:16,120 --> 00:14:20,080 Speaker 1: Yeah. Yeah, good, I'm glad. I'm glad. Well, geez, you 314 00:14:20,120 --> 00:14:24,240 want to play something for people who, uh, for people 315 00:14:24,240 --> 00:14:26,559 who have not heard you yet, if you are just 316 00:14:26,639 --> 00:14:29,159 joining us Brooklyn Mike is here. He is a real 317 00:14:29,240 --> 00:14:31,440 New Yorker. We turned that guitar up there. 318 00:14:33,320 --> 00:14:34,279 Speaker 2: I don't know what you mean by it. 319 00:14:34,399 --> 00:14:36,279 Speaker 1: It's a little it's a little inside. But if you know, 320 00:14:36,360 --> 00:14:38,679 you know, some of our listeners know what I mean. 321 00:14:41,759 --> 00:14:44,360 And real New Yorkers are the most amazing people from 322 00:14:44,360 --> 00:14:47,000 what I'm told, Like, there's nobody else on earth quite 323 00:14:47,039 --> 00:14:48,519 like a real New Yorker. 324 00:14:48,600 --> 00:14:50,639 Speaker 2: Really, yeah, I mean we have a president who's a 325 00:14:50,679 --> 00:14:51,799 real New york. 326 00:14:54,360 --> 00:14:57,200 Speaker 1: I just threw up in my mouth. I swallowed it 327 00:14:57,240 --> 00:15:00,279 back down, though, because I'm a professional we got the 328 00:15:00,279 --> 00:15:02,480 burning sensation in the throat, but I'm okay, you know 329 00:15:02,480 --> 00:15:04,279 how to deal with it. I got water here, I'm 330 00:15:04,279 --> 00:15:04,600 all right. 331 00:15:07,200 --> 00:15:09,559 Speaker 2: So I think maybe we'll start off with this song here. 332 00:15:11,360 --> 00:15:17,720 So I had mentioned that you you had a interviewed 333 00:15:18,000 --> 00:15:21,559 John Poussett Dart. Yes, like I said, that was a 334 00:15:21,879 --> 00:15:23,799 in my opinion, great feather in your cap. 335 00:15:23,879 --> 00:15:24,399 Speaker 1: Oh thank you. 336 00:15:24,519 --> 00:15:27,480 Speaker 2: Yeah, I was great interview. I really loved it. And 337 00:15:27,759 --> 00:15:30,159 I've been a fan of John Poussett Dart, the Pussett 338 00:15:30,240 --> 00:15:33,879 Dart Band since at least nineteen seventy five. I have 339 00:15:34,000 --> 00:15:36,600 like all their albums, and I've seen them in concert 340 00:15:36,679 --> 00:15:40,720 quite a few times. Okay, wow, And is this song 341 00:15:40,759 --> 00:15:42,639 that I've always done of his? I really like it 342 00:15:42,679 --> 00:15:45,240 and I think it's quite apropos for today, at least 343 00:15:45,279 --> 00:15:48,120 the title of it is. It's entitled Winterness. 344 00:15:48,399 --> 00:15:52,679 Speaker 1: Okay, yeah, that is apropos. I've shot here all right. 345 00:16:00,320 --> 00:16:08,240 Speaker 2: Watching the rain fall down, thinking about San Francisco. 346 00:16:09,159 --> 00:16:17,120 Speaker 5: It all leaves me just about right here laying a 347 00:16:17,320 --> 00:16:22,039 wait last night, and felt real nice having you here 348 00:16:22,840 --> 00:16:25,039 instead there. 349 00:16:26,519 --> 00:16:31,480 Speaker 4: Tension and all living with many but still living alone. 350 00:16:31,879 --> 00:16:34,200 Speaker 5: It's the circle of seasons. 351 00:16:36,360 --> 00:16:44,080 Speaker 4: It's both sides up the street. Sure is funny to 352 00:16:44,279 --> 00:16:47,759 listen to soon song for so long, just like an 353 00:16:47,879 --> 00:16:52,879 old friend. Now it's nice to have you back again. 354 00:16:54,279 --> 00:16:58,159 Some wonder and wonder and wonder and wonder and wander 355 00:16:58,200 --> 00:16:59,559 and wander and wind. 356 00:17:00,039 --> 00:17:03,519 Speaker 5: Oh back this way again. 357 00:17:06,440 --> 00:17:12,039 Speaker 4: Witterness, subtle bliss now just about missus me. 358 00:17:14,799 --> 00:17:15,640 Speaker 5: Sure enough? 359 00:17:28,599 --> 00:17:44,799 Speaker 6: Yeh yeh yelling yah yah yuh yi yeah, yuh yuh. 360 00:17:50,799 --> 00:17:51,039 Speaker 7: Say. 361 00:17:51,079 --> 00:17:58,519 Speaker 5: It's a circle of seasons. It's both sides of the street. 362 00:18:00,759 --> 00:18:09,440 Speaker 4: I'm just watching the rainfall down, just thinking about San Francisco. 363 00:18:10,119 --> 00:18:15,559 It all leaves me just stoop about right here. I 364 00:18:15,640 --> 00:18:19,480 ain't gone to know where it all leaves me, just 365 00:18:19,519 --> 00:18:26,640 stoop out right. He don't go where it all leaves me, 366 00:18:27,079 --> 00:18:28,200 just stoop out right. 367 00:18:28,480 --> 00:18:37,559 Speaker 5: He hmm. 368 00:18:37,559 --> 00:18:40,519 Speaker 1: That's great, That is great. Brooklyn Mike is here with 369 00:18:40,599 --> 00:18:44,240 us live in studio. If you're just joining us, and uh, 370 00:18:44,279 --> 00:18:45,880 you know, it's funny. As much as I don't like Winter, 371 00:18:46,000 --> 00:18:49,799 I really like that song or your rendition of it anyway. Yeah, yeah, 372 00:18:49,839 --> 00:18:52,519 absolutely absolutely, if you are just joining us, we have 373 00:18:52,519 --> 00:18:55,400 Brooklyn Mike here. What's the what's the most because you know, 374 00:18:55,440 --> 00:18:57,440 as I'm listening to you sing that, it just occurred 375 00:18:57,440 --> 00:18:58,839 to me. I don't know if I've asked you this before. 376 00:18:59,039 --> 00:19:01,319 What's the most challenging thing to sing? It's kind of 377 00:19:01,319 --> 00:19:04,119 in your your repertoire of songs that you do. Is 378 00:19:04,160 --> 00:19:06,480 there something that's particularly challenging for you to sing? 379 00:19:06,640 --> 00:19:11,880 Speaker 2: To sing? Well, I'll put it this way. If I 380 00:19:11,920 --> 00:19:15,119 don't feel that I if I personally, in my opinion, 381 00:19:15,240 --> 00:19:17,319 don't feel that I could do a song justice, as 382 00:19:17,359 --> 00:19:19,559 much as I might like the song, I won't. 383 00:19:19,319 --> 00:19:20,279 Speaker 1: Do it, okay. 384 00:19:21,079 --> 00:19:28,160 Speaker 2: I have to feel that I can render an acceptable, 385 00:19:28,480 --> 00:19:33,920 acceptable to me rendition of the song, both playing wise 386 00:19:34,319 --> 00:19:39,160 and you know, the total execution the singing. I try 387 00:19:39,200 --> 00:19:42,880 to keep. I was having this conversation with Glenn last night, 388 00:19:43,519 --> 00:19:45,839 is that one of the things that I enjoy and 389 00:19:45,880 --> 00:19:50,240 I find the most challenging is you know, being soloist 390 00:19:50,559 --> 00:19:54,880 only playing you know, rhythm guitar and singing. You know, 391 00:19:54,880 --> 00:19:58,039 you're replicating something that was generally you know, on an 392 00:19:58,079 --> 00:20:02,039 album with you know, full production. So to replicate it 393 00:20:02,599 --> 00:20:05,559 and be able to fill all the spaces, you know, 394 00:20:05,559 --> 00:20:08,359 without getting too crazy. But I like to keep it 395 00:20:08,400 --> 00:20:12,039 as true to the recording as I can. So I 396 00:20:13,160 --> 00:20:15,680 hope and feel like so you've never heard that song before. 397 00:20:15,720 --> 00:20:18,720 And now if you go out and search that song 398 00:20:18,759 --> 00:20:22,680 out and you hear it the recording, I want it 399 00:20:23,720 --> 00:20:26,960 what you heard me do be like what you hear 400 00:20:27,000 --> 00:20:29,400 on the record. If that makes any sense, Oh it does, 401 00:20:29,440 --> 00:20:32,720 it does. And it's not because I want to be 402 00:20:32,839 --> 00:20:38,839 like a copycat. It's just my approach is to keep 403 00:20:38,839 --> 00:20:42,960 the songs as true to the recordings. Number one, to 404 00:20:43,000 --> 00:20:47,480 honor the artist and their vision of the song, which 405 00:20:48,119 --> 00:20:52,680 oftentimes is the songwriter themselves. And there's nothing wrong with 406 00:20:52,920 --> 00:20:55,160 you know, doing different versions of you know, people do that, 407 00:20:55,160 --> 00:20:58,480 they'll do a different take on songs. That's not my approach. 408 00:21:00,880 --> 00:21:06,279 And then the other thing is too that if if 409 00:21:06,640 --> 00:21:08,960 a person in the audience is hearing a song that 410 00:21:09,000 --> 00:21:11,920 they know, and they know it off the record, it 411 00:21:12,119 --> 00:21:18,880 sounds more familiar if it's performed as close to the 412 00:21:18,920 --> 00:21:22,240 recording as possible. I think people like that. They like 413 00:21:22,319 --> 00:21:26,640 that familiarity because I know a lot of times artists 414 00:21:26,680 --> 00:21:29,799 and I understand this. I'll just say James Taylor, for example, 415 00:21:30,039 --> 00:21:31,960 we'll go out and do Fire and Rain, but he'll 416 00:21:31,960 --> 00:21:33,799 do it like a little differently than he did it, 417 00:21:33,880 --> 00:21:36,799 you know in nineteen whatever, seventy one because he's done 418 00:21:36,839 --> 00:21:40,720 it's seventeen gazillion times, so for his own sanity, he 419 00:21:40,839 --> 00:21:44,079 changes it a little bit. Or these the song for 420 00:21:44,160 --> 00:21:47,000 the songwriter evolves a little bit and they change it. 421 00:21:47,400 --> 00:21:51,279 And some people in the audience enjoy that because it's 422 00:21:51,640 --> 00:21:54,079 it's something different. But I know there are people that 423 00:21:54,200 --> 00:21:56,519 don't like that. It's like, oh, why is he doing 424 00:21:56,519 --> 00:22:00,559 it differently? So you know, you can't please everybody, right, 425 00:22:00,599 --> 00:22:03,359 So I have to do what I feel comfortable with, 426 00:22:03,920 --> 00:22:06,720 and my approach has always been to try to replicate 427 00:22:07,400 --> 00:22:11,160 the original sound as well as as closely as I 428 00:22:11,279 --> 00:22:14,079 humanly can with my abilities. 429 00:22:14,480 --> 00:22:17,799 Speaker 1: I think sometimes too, artists will change, you know, especially 430 00:22:17,839 --> 00:22:21,039 someone uh James Taylor. He's got to be in his eighties, right, 431 00:22:22,599 --> 00:22:26,279 Sometimes artists will will change over time what they do 432 00:22:26,319 --> 00:22:29,880 because just out of sheer necessity. So I'll give you 433 00:22:29,920 --> 00:22:32,920 a just a random example. So Kiss, And for those 434 00:22:32,960 --> 00:22:34,920 watching the video app, you know, Kiss is my favorite band, 435 00:22:34,960 --> 00:22:36,680 so I I never knew that where. 436 00:22:37,119 --> 00:22:42,519 Speaker 8: Right, But but Kiss is an example of over over 437 00:22:42,559 --> 00:22:44,759 the years, at a certain point they started changing the 438 00:22:44,799 --> 00:22:47,200 tunings and a lot of rock bands do this where 439 00:22:47,240 --> 00:22:49,400 they're they're playing these songs in a lower tuning it's 440 00:22:49,759 --> 00:22:51,640 key so that they're a little yeah, so that they're 441 00:22:51,640 --> 00:22:52,759 a little bit easier. 442 00:22:52,400 --> 00:22:56,160 Speaker 1: To sing that voice, to hit those notes. And most 443 00:22:56,160 --> 00:23:00,400 people probably don't notice. For someone like me who does notice, 444 00:23:00,519 --> 00:23:04,359 I actually like that with that genre. I think that 445 00:23:04,519 --> 00:23:07,839 works really well because when you when you tune down that, 446 00:23:07,960 --> 00:23:10,279 it actually makes the songs a little bit heavier. And 447 00:23:10,359 --> 00:23:12,279 I like that I want because I want them to 448 00:23:12,279 --> 00:23:14,720 be heavy. So I kind of on certain songs it's 449 00:23:14,720 --> 00:23:16,400 like ooh, I like that, and the I like that 450 00:23:16,680 --> 00:23:19,279 tuned down. But I think but I wonder too, even 451 00:23:19,319 --> 00:23:21,200 you know, even somebody like James Taylor, I wonder if 452 00:23:21,200 --> 00:23:23,519 if maybe some of these songs have changed over the 453 00:23:23,599 --> 00:23:25,200 years just out of necessity he does. 454 00:23:25,720 --> 00:23:28,319 Speaker 2: There's one song that I do three of his songs, 455 00:23:28,599 --> 00:23:31,160 and one of the songs, as I was learning it, 456 00:23:32,079 --> 00:23:35,440 i've you know, I know the original recording. That's the 457 00:23:35,440 --> 00:23:38,720 other thing is that I the vast majority of the 458 00:23:38,799 --> 00:23:40,720 songs that I do, which I don't have a repertoire of, 459 00:23:40,720 --> 00:23:43,079 I don't know one hundred and twenty songs I do 460 00:23:43,119 --> 00:23:46,000 in the original keys. Yeah, And so that's a challenge 461 00:23:46,000 --> 00:23:48,480 for me too. Once in a while, I could think 462 00:23:48,519 --> 00:23:51,640 of Right now, I can only think of two songs 463 00:23:51,680 --> 00:23:55,359 that I do in different keys than the original recordings. 464 00:23:55,680 --> 00:24:01,039 And that's just to accommodate my voice, right, my vocal range. 465 00:24:01,079 --> 00:24:03,920 I'm a tenor, so I tend to have a higher voice, 466 00:24:03,920 --> 00:24:06,079 although as I'm getting older, it's like it's kind of 467 00:24:06,079 --> 00:24:07,279 odd I could sing lower. 468 00:24:07,359 --> 00:24:09,599 Speaker 1: Well, that's the thing to your voice changes. Yeah, yeah, 469 00:24:09,599 --> 00:24:09,920 but I. 470 00:24:09,839 --> 00:24:12,799 Speaker 2: Could still sing. You know, I have a strong falsetto, 471 00:24:13,000 --> 00:24:16,400 so yeah, you know that comes in handy. But James Taylor, 472 00:24:16,440 --> 00:24:18,440 as an example, one of the three songs of his 473 00:24:18,559 --> 00:24:20,799 that I do, I learned it, you know, from the 474 00:24:20,839 --> 00:24:25,200 original recording, and then I've seen him do it more recently, 475 00:24:25,640 --> 00:24:28,119 and he does it a half step half step higher. 476 00:24:28,240 --> 00:24:30,880 Speaker 1: Oh he doesn't higher, half step higher. Yeah, it's kind 477 00:24:30,880 --> 00:24:31,799 of interesting. Yeah. 478 00:24:31,880 --> 00:24:35,200 Speaker 2: Yeah, he's a baritone. Okay, James Taylor is a baritone. 479 00:24:35,240 --> 00:24:37,119 It's funny because I heard him say that he doesn't 480 00:24:37,160 --> 00:24:40,839 consider himself at all a good singer, and he wishes that, Yeah, 481 00:24:40,880 --> 00:24:43,799 he wishes that he were more of a tenor than 482 00:24:43,839 --> 00:24:45,599 a baritone, so he could sing higher. 483 00:24:45,720 --> 00:24:47,319 Speaker 1: Oh that's interesting, Yeah, yeah. 484 00:24:47,119 --> 00:24:48,880 Speaker 2: I thought that was interesting to hear him say that. 485 00:24:49,079 --> 00:24:51,079 Speaker 1: Yeah. No, I think he's a very good singer. I 486 00:24:51,079 --> 00:24:53,599 think I think he's a great songwriter. Oh yeah, do 487 00:24:53,599 --> 00:24:55,160 you want to do something from James Taylor? 488 00:24:55,200 --> 00:24:57,559 Speaker 2: Yeah, let's I thought you a switches do that song 489 00:24:57,599 --> 00:24:58,480 that I'm talking about. 490 00:24:58,599 --> 00:24:59,400 Speaker 1: Yeah, I'm curious. 491 00:24:59,559 --> 00:25:04,759 Speaker 2: It's call Don't let Me Be Lonely Tonight. I told 492 00:25:04,839 --> 00:25:09,839 this little anecdote on Peters on the Morning Show. Every 493 00:25:09,920 --> 00:25:13,279 time I hear this, you know, like sometimes a song 494 00:25:13,400 --> 00:25:17,799 can just spark a very very specific memory, not just 495 00:25:17,880 --> 00:25:20,599 of a time period or year, but like a very 496 00:25:20,640 --> 00:25:25,200 specific and this song, this song, the recording has a 497 00:25:25,240 --> 00:25:29,880 sax solo tenor sax solo toward the end. And it 498 00:25:29,960 --> 00:25:34,079 was late seventies and I was working in a pizzeria, 499 00:25:34,160 --> 00:25:37,000 which I did from like nineteen sixty eight to nineteen 500 00:25:37,039 --> 00:25:40,279 eighty one. But I was working at pizzeria. In the kitchen, 501 00:25:40,319 --> 00:25:43,200 we had a radio on the shelf and yet you know, 502 00:25:44,559 --> 00:25:47,519 rock station on or whatever FM station, and this song 503 00:25:47,599 --> 00:25:49,440 came on, and it was the dead of summer, and 504 00:25:49,799 --> 00:25:52,960 right as the sax solo was about to start, we 505 00:25:53,000 --> 00:25:55,160 had a blackout. It was in the middle of the afternoon, 506 00:25:55,720 --> 00:25:58,400 and I just always remember right as the sax Solo 507 00:25:58,599 --> 00:26:01,839 was going to start overlight. Everything went out, the refrigerators 508 00:26:01,880 --> 00:26:04,279 went off, the lights went out, and like every time 509 00:26:04,279 --> 00:26:07,480 I hear the song, I remember that so but I 510 00:26:07,519 --> 00:26:10,160 will admit that in my rendition, I will not be 511 00:26:10,240 --> 00:26:11,240 doing the sax solo. 512 00:26:11,400 --> 00:26:15,319 Speaker 1: Okay, fair, I think that's fair. No, no, no, sax solo. 513 00:26:15,640 --> 00:26:16,319 Speaker 2: No, not today. 514 00:26:16,559 --> 00:26:18,359 Speaker 1: If you're just joining us, we have Brooklyn Mike here 515 00:26:18,359 --> 00:26:19,599 with us, live in studio. 516 00:26:20,240 --> 00:26:21,720 Speaker 2: All right, let's give this baby a shot. 517 00:26:21,799 --> 00:26:26,880 Speaker 1: All right, looking forward to this. I love James Tayler's 518 00:26:26,960 --> 00:26:27,519 right again. 519 00:26:30,319 --> 00:26:30,880 Speaker 2: That's too loud. 520 00:26:31,200 --> 00:26:32,240 Speaker 1: Nope, nope, that's great. 521 00:26:32,359 --> 00:26:37,279 Speaker 2: Really okay, do me wrong? 522 00:26:38,799 --> 00:26:46,440 Speaker 4: To me right, tell me lies, but ho me tight. 523 00:26:48,759 --> 00:26:51,799 Save your goodbyes for the morning light. 524 00:26:53,119 --> 00:26:56,240 Speaker 2: But don't let me be lonely tonight. 525 00:27:00,920 --> 00:27:07,359 Speaker 4: Say goodbye and say hello. Sure enough, good to see you, 526 00:27:08,119 --> 00:27:09,960 but it's time to go. 527 00:27:12,279 --> 00:27:15,839 Speaker 5: Don't say yes, but please don't say no. 528 00:27:16,720 --> 00:27:19,799 Speaker 6: I don't want to be lonely tonight. 529 00:27:22,640 --> 00:27:27,359 Speaker 4: Go away and tam, go on and do as you 530 00:27:27,440 --> 00:27:32,559 please here. You ain't gonna see me getting down on 531 00:27:32,599 --> 00:27:40,039 my knees. I'm undecided, and your heart's been divided. You've 532 00:27:40,039 --> 00:27:50,720 been turning my world upside down. So do me wrong 533 00:27:51,920 --> 00:27:56,480 and do me right right now, baby, go on and 534 00:27:56,599 --> 00:28:02,799 tell me lies, but hold me tight. Save your goodbyes 535 00:28:03,039 --> 00:28:07,279 for the morning light, morning light. But don't let me 536 00:28:07,440 --> 00:28:17,400 be lonely tonight. I don't want to be lonely to night. No, 537 00:28:17,519 --> 00:28:20,680 I don't want to be lonely tonight. 538 00:28:26,920 --> 00:28:31,079 Speaker 1: Beautiful, beautiful Brooklyn Mike here on the show this morning. 539 00:28:31,119 --> 00:28:31,440 Speaker 2: Thank you. 540 00:28:31,559 --> 00:28:36,759 Speaker 1: That's great. That's great. Now, So the next just for 541 00:28:36,799 --> 00:28:39,799 people who are joining us now, so you're gonna be 542 00:28:40,200 --> 00:28:41,480 when's the next open my kid? 543 00:28:41,599 --> 00:28:46,519 Speaker 2: Is it in February? February February fourth, first Wednesday of February. 544 00:28:45,960 --> 00:28:50,480 Speaker 1: At Pembroke City Limits of course, which uh uh. Rob 545 00:28:50,480 --> 00:28:52,599 as a veto who also hosts a Greatest State of 546 00:28:52,599 --> 00:28:54,839 Mind here on WM and H and so Rob's been 547 00:28:55,079 --> 00:28:56,880 a part of the you know, a very important part 548 00:28:56,880 --> 00:28:59,319 of the music scene here for a long time. So 549 00:28:59,359 --> 00:29:01,599 that's that's great. Now have you been have you been 550 00:29:01,640 --> 00:29:03,720 doing any other open mics anywhere. 551 00:29:03,359 --> 00:29:06,160 Speaker 2: Else or no, I'm looking into it. I was actually 552 00:29:06,839 --> 00:29:11,000 over at the Mocha pot and talking to the gal 553 00:29:11,119 --> 00:29:13,240 down there. They're thinking of starting to do some open 554 00:29:13,319 --> 00:29:15,799 mics actually in February they're going to start doing a 555 00:29:15,839 --> 00:29:17,000 comedian open mics. 556 00:29:17,079 --> 00:29:17,680 Speaker 1: Oh no kidding. 557 00:29:17,759 --> 00:29:19,000 Speaker 2: Yeah, so that'll be fun. 558 00:29:19,200 --> 00:29:22,640 Speaker 1: Yeah, and uh we need more of that, Yeah, need 559 00:29:22,640 --> 00:29:23,640 more laughter in general. 560 00:29:23,839 --> 00:29:26,680 Speaker 2: Kidding. 561 00:29:27,160 --> 00:29:29,039 Speaker 1: Oh, very cool. Now when you do the open mics, 562 00:29:29,119 --> 00:29:29,759 do you what do you do? 563 00:29:29,880 --> 00:29:29,960 Speaker 5: Like? 564 00:29:30,000 --> 00:29:32,599 Speaker 1: Do you do you kind of mix it up or 565 00:29:32,599 --> 00:29:34,359 do you try different things kind of read the crowd 566 00:29:34,480 --> 00:29:35,960 or I try to. 567 00:29:36,759 --> 00:29:40,279 Speaker 2: It's it seems like they've the way it's been two times. 568 00:29:40,279 --> 00:29:43,839 It's like they allow you three songs. Okay, so I 569 00:29:43,920 --> 00:29:46,000 just I don't know. I've picked three songs that I 570 00:29:46,359 --> 00:29:49,279 feel most comfortable with. Like I said, I'm still getting 571 00:29:49,319 --> 00:29:52,559 over the nervousness. Yeah, I didn't finish that conversation. It's 572 00:29:52,640 --> 00:29:55,720 kind of ironic because I got into the whole thing 573 00:29:55,759 --> 00:29:57,799 about moving to New Hampshire. But before I moved here, 574 00:29:58,440 --> 00:30:02,799 for over fifteen years, almost twenty years, I largely made 575 00:30:02,799 --> 00:30:06,079 a living, you know, performing in bands and solos, and 576 00:30:06,920 --> 00:30:10,079 I literally performed in front of almost twenty thousand people, 577 00:30:10,160 --> 00:30:11,400 you know, very large crowds. 578 00:30:11,440 --> 00:30:11,680 Speaker 1: Wow. 579 00:30:12,039 --> 00:30:15,720 Speaker 2: Never bothered me, you know, you know, I was just so. Also, 580 00:30:15,799 --> 00:30:18,720 when you're younger, I think you're less, you have less inhibitions. 581 00:30:20,440 --> 00:30:22,799 Speaker 1: Depends on the person. Yeah, I think some people. For 582 00:30:22,839 --> 00:30:25,400 some people, I think it's the opposite, you know, because 583 00:30:25,400 --> 00:30:27,799 some people as they get older, they they become more 584 00:30:28,160 --> 00:30:30,880 just kind of secure, like like they're not as worried 585 00:30:30,880 --> 00:30:32,240 about some of the things that they were when they 586 00:30:32,240 --> 00:30:32,640 were younger. 587 00:30:32,680 --> 00:30:35,440 Speaker 2: In terms of I think for I should I should specify. 588 00:30:35,519 --> 00:30:38,880 For me, it's it's in terms of performing, Okay, not 589 00:30:38,960 --> 00:30:42,640 just in general generally in life, Like, yeah, I'm comfortable, 590 00:30:42,880 --> 00:30:45,240 like I talk to strangers all the time. I have 591 00:30:45,319 --> 00:30:48,839 no problem speaking with anybody or but because I take 592 00:30:48,880 --> 00:30:52,960 the performing so seriously, like I'm so worried about screwing up. Yeah, 593 00:30:53,119 --> 00:30:55,400 and I just, you know, want to make a good impression. 594 00:30:55,480 --> 00:30:56,519 Speaker 1: I just that makes sense. 595 00:30:56,599 --> 00:30:59,960 Speaker 2: Yeah, it's like that. So, and I was doing it 596 00:31:00,160 --> 00:31:02,759 on such a regular basis. I mean there were times 597 00:31:02,799 --> 00:31:04,880 where I was in a band where we were doing 598 00:31:05,079 --> 00:31:07,319 over thirty jobs a month, you know, while we were 599 00:31:07,359 --> 00:31:08,359 out all the time. 600 00:31:08,519 --> 00:31:10,720 Speaker 1: Yeah. 601 00:31:10,920 --> 00:31:13,200 Speaker 2: Yeah, and then you know there were slow times too. 602 00:31:13,480 --> 00:31:13,799 Speaker 1: Yeah. 603 00:31:13,799 --> 00:31:16,319 Speaker 2: So now it's like just starting all over. It's almost 604 00:31:16,359 --> 00:31:18,640 like starting for the first Like I have all this 605 00:31:18,759 --> 00:31:21,359 repertoire that you know, I had to brush up on. 606 00:31:21,680 --> 00:31:22,279 Speaker 1: Yeah, but. 607 00:31:24,880 --> 00:31:27,680 Speaker 2: It's it's getting better. As far as the not being 608 00:31:27,880 --> 00:31:28,519 too nervous. 609 00:31:28,599 --> 00:31:29,319 Speaker 1: Yeah, but I. 610 00:31:29,359 --> 00:31:31,680 Speaker 2: Still even coming in here just you and me, I'm still, 611 00:31:31,880 --> 00:31:34,000 you know, because I still I think it's because I 612 00:31:34,000 --> 00:31:34,960 take it so seriously. 613 00:31:35,160 --> 00:31:36,640 Speaker 1: Oh that's a good thing. That's a good thing. 614 00:31:36,960 --> 00:31:37,799 Speaker 2: Well plus two. 615 00:31:37,920 --> 00:31:40,200 Speaker 1: Isn't it good to be a little bit nervous a little? 616 00:31:40,400 --> 00:31:40,519 Speaker 4: Uh? 617 00:31:40,839 --> 00:31:42,680 Speaker 2: I mean yeah, I guess a little bit. I think 618 00:31:42,680 --> 00:31:44,039 I keep on your toes a little bit. 619 00:31:44,119 --> 00:31:46,039 Speaker 1: Yeah, And it's just, you know, it's kind of you know, 620 00:31:46,119 --> 00:31:48,440 it's because to me, it's a you know, like I 621 00:31:48,480 --> 00:31:50,319 always thought of stage right as being a good kind 622 00:31:50,359 --> 00:31:50,759 of nervous. 623 00:31:50,799 --> 00:31:50,880 Speaker 3: You know. 624 00:31:50,920 --> 00:31:52,799 Speaker 1: I don't playing bands anymore, but when I when I 625 00:31:52,920 --> 00:31:57,519 used to, you know, I I, uh, of course stage 626 00:31:57,599 --> 00:31:59,319 right works different ways for different people, but I know 627 00:31:59,359 --> 00:32:00,599 for me and for all a lot of people, it 628 00:32:00,640 --> 00:32:02,319 would be, you know, I would be nervous right up 629 00:32:02,319 --> 00:32:05,200 to the point of going on stage, that kind of 630 00:32:05,200 --> 00:32:08,960 nervous energy, but then once on stage, it's like, oh, okay, yeah, 631 00:32:08,960 --> 00:32:09,880 this is good, you know. 632 00:32:10,319 --> 00:32:12,720 Speaker 2: And also for me, it's kind of interesting that you 633 00:32:12,720 --> 00:32:14,839 put it that way, like waiting to go on stage. 634 00:32:15,039 --> 00:32:17,400 So all the bands that I worked in, I did 635 00:32:17,400 --> 00:32:19,839 the sound like I had have the sound system oh yeah, 636 00:32:19,920 --> 00:32:22,160 So like I would get there, you know, before everybody 637 00:32:22,200 --> 00:32:24,680 else and unload the whole sound. So I was already 638 00:32:24,720 --> 00:32:28,359 like you know, in the groove, you know, getting sound 639 00:32:28,400 --> 00:32:30,960 ready and getting all the mics and the yamps and 640 00:32:31,000 --> 00:32:33,640 the you know, the the PA speakers and getting all 641 00:32:33,799 --> 00:32:36,359 you know, hooking everything up. So by the time it 642 00:32:36,440 --> 00:32:39,720 came time to actually, you know, put my bass on 643 00:32:39,759 --> 00:32:42,920 my shoulder and start and sing and perform, I was like, 644 00:32:43,279 --> 00:32:44,119 it's like a relief. 645 00:32:44,200 --> 00:32:47,240 Speaker 4: Yeah, now I could I could have fun. You know, Yeah, 646 00:32:47,279 --> 00:32:48,680 you got all the work out of the. 647 00:32:48,599 --> 00:32:50,000 Speaker 2: Way, you know, right right. 648 00:32:50,680 --> 00:32:51,319 Speaker 7: Did you like that? 649 00:32:51,440 --> 00:32:51,960 Speaker 1: Did you like me? 650 00:32:52,400 --> 00:32:53,839 Speaker 2: I loved it. I love doing sound. 651 00:32:54,359 --> 00:32:58,359 Speaker 1: Yeah that's good because sometimes you know, if there's a 652 00:32:58,559 --> 00:33:00,640 guy in a band who's also the sound guy, they 653 00:33:00,640 --> 00:33:02,640 do it out of they're doing it out of necessity. 654 00:33:03,720 --> 00:33:08,000 Speaker 2: No, I volunteered to do it because even it started 655 00:33:08,039 --> 00:33:10,000 right from the very very beginning. The first band that 656 00:33:10,039 --> 00:33:13,359 I was in with my brother, you know, we went 657 00:33:13,359 --> 00:33:15,039 out and bought the sound system, which I had to 658 00:33:16,240 --> 00:33:18,559 supplement as time went on with you know, the other 659 00:33:18,599 --> 00:33:21,400 bands that I was in, but you know, we had 660 00:33:21,400 --> 00:33:24,759 a basic sound system, and I I just volunteered because 661 00:33:24,799 --> 00:33:26,599 I know, I just had an ear for it and 662 00:33:26,640 --> 00:33:30,319 I wanted to do it, and nobody else really wanted to. 663 00:33:30,720 --> 00:33:31,960 I was like, I was happy to do it. 664 00:33:32,119 --> 00:33:32,319 Speaker 5: Yeah. 665 00:33:32,640 --> 00:33:36,200 Speaker 2: And plus, you know, I mean, I think you know 666 00:33:36,279 --> 00:33:39,680 this very well that no matter how good a band is, 667 00:33:39,720 --> 00:33:43,200 the sound could make or break a band. Sure, And 668 00:33:43,200 --> 00:33:47,160 and I so often go hear bands even just sometimes 669 00:33:47,200 --> 00:33:52,400 like hearing a person doing like speaking, and it's like, 670 00:33:52,640 --> 00:33:55,759 who is doing? Sound? Like it's so muffled, you know, 671 00:33:55,839 --> 00:33:59,799 it's so easy to correct it, you know, and so 672 00:33:59,799 --> 00:34:02,680 so I enjoyed being able to to do that and 673 00:34:02,759 --> 00:34:06,599 get the sound to my in my opinion, proper right. 674 00:34:06,680 --> 00:34:08,239 And we never had any complaints. 675 00:34:08,360 --> 00:34:11,440 Speaker 1: Yeah, no, that makes sense, That makes sense. Yeah, well 676 00:34:11,480 --> 00:34:11,760 you want to. 677 00:34:11,719 --> 00:34:12,320 Speaker 2: Play another one? 678 00:34:12,360 --> 00:34:12,559 Speaker 5: Yeah? 679 00:34:12,599 --> 00:34:14,840 Speaker 2: Sure, how about and see? 680 00:34:15,719 --> 00:34:18,880 Speaker 1: Oh let me get that uh git up there? 681 00:34:18,920 --> 00:34:20,559 Speaker 2: Of course, you know I got into one by my 682 00:34:20,639 --> 00:34:22,039 man Gordon. 683 00:34:22,360 --> 00:34:26,119 Speaker 1: Oh, yes, is he? I know we've talked about this before, 684 00:34:26,199 --> 00:34:27,639 but remind me, is he your favorite? 685 00:34:27,719 --> 00:34:27,960 Speaker 2: Yeah? 686 00:34:28,039 --> 00:34:28,440 Speaker 1: All time? 687 00:34:29,599 --> 00:34:30,320 Speaker 2: Gordon Lightfoot. 688 00:34:30,519 --> 00:34:31,440 Speaker 1: Okay, that's what I thought. 689 00:34:31,480 --> 00:34:33,960 Speaker 2: I referred to him as my hero. And like I said, 690 00:34:34,000 --> 00:34:37,079 I've said, I've was very very fortunate to get to 691 00:34:37,119 --> 00:34:38,400 meet him a few times. 692 00:34:38,679 --> 00:34:38,920 Speaker 1: Yeah. 693 00:34:39,000 --> 00:34:41,000 Speaker 2: So I'm in concert quite a number of times in 694 00:34:41,039 --> 00:34:42,400 New York and also here. 695 00:34:42,320 --> 00:34:44,360 Speaker 1: Like how many times would you say, like double digits? 696 00:34:44,400 --> 00:34:48,920 Speaker 2: Like, oh no, no, not that many times. No, probably 697 00:34:49,000 --> 00:34:53,280 half a dozen, maybe more than that, close ten times. Okay, 698 00:34:53,800 --> 00:34:56,679 but you know, I don't have to see somebody every 699 00:34:56,679 --> 00:35:00,719 time they come around, right, But I probably knew articles one, 700 00:35:00,719 --> 00:35:02,920 two three. I saw him at Carnegie Hall. That was 701 00:35:02,960 --> 00:35:06,760 a really great concert. I mean, you want to talk about, 702 00:35:07,039 --> 00:35:08,519 you know, the old saying you could hear a pin 703 00:35:08,599 --> 00:35:11,719 drop in the audience, you know, and he's like when 704 00:35:11,719 --> 00:35:19,239 he performs, like it's very very controlled, very quiet. It's 705 00:35:19,280 --> 00:35:23,000 just it was. If you've ever gotten to see him, 706 00:35:23,000 --> 00:35:28,280 it was an amazing, amazing experience to support. And yeah, 707 00:35:28,719 --> 00:35:31,039 so just this a little bit of a cautionary tale, 708 00:35:32,679 --> 00:35:39,679 I would say, and cautionary in the respect that if 709 00:35:39,679 --> 00:35:43,400 you happen to have the propensity for talking in your 710 00:35:43,440 --> 00:35:47,480 sleep and you might have some secrets could be an issue. 711 00:35:48,000 --> 00:36:21,960 So this one is entitled talking in your sleep. I 712 00:36:22,039 --> 00:36:25,960 heard you talking in your sleeper. Is there an't anything 713 00:36:26,119 --> 00:36:30,440 that I can do? I don't believe we've had a 714 00:36:30,559 --> 00:36:37,480 word all name about anything at all. I heard you 715 00:36:37,639 --> 00:36:40,280 talking in the night. That's right. 716 00:36:40,639 --> 00:36:45,119 Speaker 4: Yes, I heard your call, but I could hardly hear 717 00:36:45,199 --> 00:36:54,320 the name you spoke. It's me, My, don't recall. I 718 00:36:54,440 --> 00:37:02,199 heard you so offly whisper. I reached to hold you 719 00:37:02,360 --> 00:37:07,760 near me, and from your lips there came that secret 720 00:37:09,320 --> 00:37:17,639 I was not supposed to know. I heard you talking 721 00:37:17,800 --> 00:37:22,679 in your sleep. Is there anything that I can say? 722 00:37:23,320 --> 00:37:28,559 I don't believe we've had a word all day about anything? 723 00:37:28,760 --> 00:37:47,400 Speaker 6: You know? Today? 724 00:38:00,559 --> 00:38:08,480 Speaker 4: I heard you softly whisper. I reached out to hold 725 00:38:08,599 --> 00:38:13,519 you near me, and from your lips it came that 726 00:38:13,719 --> 00:38:23,599 secret I was not supposed to know. I heard you 727 00:38:23,800 --> 00:38:28,159 talking in your sleep. Is there anything that I can do? 728 00:38:29,920 --> 00:38:31,559 I don't believe we've had. 729 00:38:31,400 --> 00:38:34,440 Speaker 6: A word all day. 730 00:38:33,920 --> 00:38:35,719 Speaker 7: About anything at all. 731 00:38:37,800 --> 00:38:39,960 Speaker 5: I heard you talking in the night. 732 00:38:40,679 --> 00:38:45,320 Speaker 4: That's right, it's I heard you call, though I could 733 00:38:45,360 --> 00:38:49,360 hardly hear the name you who spoke? It's me, My 734 00:38:49,679 --> 00:38:50,400 don't recall. 735 00:39:04,920 --> 00:39:07,840 Speaker 1: Hmm, Yeah, I don't know that one. That's us beautiful. 736 00:39:07,920 --> 00:39:11,920 Speaker 2: Yeah, that's an old one that's probably from nineteen sixty six, 737 00:39:12,119 --> 00:39:12,840 goes way back. 738 00:39:13,039 --> 00:39:16,480 Speaker 1: Yeah, Wow, When when did he start? Was that like 739 00:39:16,559 --> 00:39:17,360 the beginning for him? 740 00:39:17,599 --> 00:39:20,920 Speaker 2: He goes back to the fifties. Actually, oh, no kidding. 741 00:39:20,920 --> 00:39:23,159 Oh yeah, he didn't realize started at a really young age. 742 00:39:23,239 --> 00:39:23,840 Speaker 1: Oh wow. 743 00:39:24,599 --> 00:39:27,920 Speaker 2: Oh see, I didn't realize the late fifties. But in America, 744 00:39:28,119 --> 00:39:31,679 I mean as far as recordings and getting on the radio, 745 00:39:31,719 --> 00:39:34,199 it was probably about sixty six or so. 746 00:39:34,440 --> 00:39:38,480 Speaker 1: Okay, yeah, and then when did he pass away? Was 747 00:39:38,519 --> 00:39:39,000 I was. 748 00:39:39,599 --> 00:39:44,840 Speaker 2: May May first? I think of twenty twenty three. 749 00:39:44,880 --> 00:39:47,599 Speaker 1: Okay, not that long ago. Yeah, and he was he 750 00:39:47,719 --> 00:39:49,119 was kind of performing up to the end. 751 00:39:49,360 --> 00:39:51,119 Speaker 2: Yeah, yeah, yeah, he was doing like almost one hundred 752 00:39:51,159 --> 00:39:51,719 shows a year. 753 00:39:51,960 --> 00:39:52,199 Speaker 6: Jeez. 754 00:39:52,440 --> 00:39:54,880 Speaker 2: Wow, good for him eighty four and a half years old. 755 00:39:54,960 --> 00:39:58,199 Speaker 1: Yeah, that's incredible, that's incredible. What was he still able 756 00:39:58,199 --> 00:39:58,480 to sing? 757 00:39:58,519 --> 00:40:01,559 Speaker 2: Pretty much? His his voice was shot, was it. Yeah? 758 00:40:01,559 --> 00:40:04,320 It was one of those that unfortunately it was just 759 00:40:04,480 --> 00:40:07,360 like a veil of his former voice. 760 00:40:07,639 --> 00:40:08,360 Speaker 1: Yeah. 761 00:40:08,400 --> 00:40:12,280 Speaker 2: But you know, mixed reviews. I mean, people that would 762 00:40:12,280 --> 00:40:14,280 go to see him, that expected to, you know, hear 763 00:40:14,320 --> 00:40:18,320 the Gordon Lightfoot of the nineteen seventies, you know, would 764 00:40:18,320 --> 00:40:20,840 complain about it, why is she still doing shows? But 765 00:40:21,440 --> 00:40:23,679 those of us that really loved him, it didn't matter, 766 00:40:23,719 --> 00:40:26,159 you know, right, because the music was still a hundred 767 00:40:26,239 --> 00:40:27,639 I mean, he was still one hundred percent there with 768 00:40:27,639 --> 00:40:30,960 the music really yeah. Yeah, and he would never never 769 00:40:31,000 --> 00:40:34,280 miss a beat, never miss a lyric, nothing, yeah, you know, 770 00:40:34,320 --> 00:40:36,079 and he still had the guys, I mean, the drummer, 771 00:40:36,639 --> 00:40:40,760 drummer and a bassist that played with him for like 772 00:40:41,079 --> 00:40:44,199 through all these decades. Really yeah, and even the keyboardist 773 00:40:44,239 --> 00:40:47,400 has been with him since like the nineteen eighties, no kidding, Yeah, 774 00:40:47,440 --> 00:40:49,239 the same Guy's pretty amazing. 775 00:40:49,719 --> 00:40:50,679 Speaker 1: Is that's incredible? 776 00:40:50,719 --> 00:40:53,679 Speaker 2: Only his guitarist had passed away in recent years and 777 00:40:53,800 --> 00:40:57,719 he was replaced with a great guitarist. But yeah, that's so. 778 00:40:57,960 --> 00:41:00,400 It really was like hearing the records and you'd go 779 00:41:00,400 --> 00:41:03,719 to see him other than his voice being diminished, which 780 00:41:03,760 --> 00:41:05,440 you know you can't you can understand. 781 00:41:05,119 --> 00:41:07,599 Speaker 1: That, I guess. Yeah, of course. Yeah. How old was he? 782 00:41:07,639 --> 00:41:08,079 Eighty four? 783 00:41:08,119 --> 00:41:09,400 Speaker 2: Eighty four and a half, Yeah, eighty. 784 00:41:09,239 --> 00:41:12,599 Speaker 1: Four and a half. Jez, wow, Now that is that 785 00:41:12,679 --> 00:41:14,719 is remarkable. Who else is a big influence on you? 786 00:41:15,199 --> 00:41:19,840 Speaker 2: Dan Fogelberg, yep, another one of my favorites as far 787 00:41:19,960 --> 00:41:25,320 as vocal, Like I say, my vocal mentor is a 788 00:41:25,360 --> 00:41:29,320 singer songwriter also from New York City, Kenny Rankin Okay, 789 00:41:29,800 --> 00:41:34,000 So he's he's one of my biggest influences as far 790 00:41:34,039 --> 00:41:37,519 as far as uh, you know the term of vocal stylings. 791 00:41:37,599 --> 00:41:40,000 Speaker 1: Yeah, what what is it about him? 792 00:41:40,519 --> 00:41:43,199 Speaker 2: Because I'm trying to think, you know, he his his 793 00:41:43,679 --> 00:41:47,239 style of playing. It was very very much like uh, 794 00:41:47,960 --> 00:41:52,079 you know, like Boston Nova, like Brazilian style of music. 795 00:41:52,440 --> 00:41:56,159 And he he did a lot of covers. I do 796 00:41:56,440 --> 00:41:59,760 a few of a few songs of his so that 797 00:41:59,840 --> 00:42:02,800 are covers, but like in the style that he does them. Okay, 798 00:42:02,840 --> 00:42:06,800 I speak kind of interesting. A song that I did 799 00:42:06,920 --> 00:42:11,079 last time I was here, uh, Pussy Willow's Cattails. Funny 800 00:42:11,079 --> 00:42:14,639 little anecdote about that is that I was always big 801 00:42:14,679 --> 00:42:18,280 a Gordon Lightfoot fan, but I didn't really know a 802 00:42:18,320 --> 00:42:21,119 lot of lot. I knew like his hits early on, 803 00:42:21,519 --> 00:42:23,719 like in the early seventies. I knew songs that were 804 00:42:23,719 --> 00:42:26,280 on radio. I didn't really have many of his albums yet, 805 00:42:27,039 --> 00:42:29,519 but I did. I was very familiar with Kenny Rankin. 806 00:42:29,599 --> 00:42:31,679 He was he had a lot of airplay in New 807 00:42:31,760 --> 00:42:35,119 York City, and so I had a bunch of his albums. 808 00:42:35,159 --> 00:42:38,360 And one of my favorite songs of Kenny Rankins was 809 00:42:38,559 --> 00:42:41,360 that he did Pussy Willow's Cattails. And I didn't realize 810 00:42:41,400 --> 00:42:44,000 until years later that it was a Gordon Lightfoot song. 811 00:42:44,800 --> 00:42:46,639 So it kind of all came together, you know, it 812 00:42:46,719 --> 00:42:49,800 was Yeah, okay, this makes sense. And yeah, Kenny he 813 00:42:50,239 --> 00:42:52,039 covered like two or three Gordon Lightfoot songs. 814 00:42:52,119 --> 00:42:52,840 Speaker 1: Oh wow, kid? 815 00:42:53,039 --> 00:42:53,199 Speaker 3: Yeah? 816 00:42:53,239 --> 00:42:59,000 Speaker 2: Yeah, oh interesting, Yeah one another one called Mountains and Marianne. Yeah, 817 00:42:59,000 --> 00:42:59,920 it might be just those two. 818 00:43:00,239 --> 00:43:03,039 Speaker 1: Now is he still around Kenny rank No, he died quite. 819 00:43:02,840 --> 00:43:06,159 Speaker 2: A number of years ago, unfortunately. Okay, yeah, okay, good, 820 00:43:06,280 --> 00:43:10,039 almost twenty years ago. Now, yeah, oh yeah, did you 821 00:43:10,039 --> 00:43:13,239 want to play something of his? Uh, that's interesting. Let's 822 00:43:13,280 --> 00:43:14,039 see what can we do. 823 00:43:17,599 --> 00:43:19,800 Speaker 1: I'm particularly curious because, off the top of my head, 824 00:43:20,000 --> 00:43:21,400 let me turn that guitar up. Off the top of 825 00:43:21,400 --> 00:43:26,559 my head, I don't really know any Kenny Rankin. I'm 826 00:43:26,800 --> 00:43:29,159 certainly a where if we ate he was, but I 827 00:43:29,199 --> 00:43:30,840 can't think of anything of his that I know. 828 00:43:36,159 --> 00:43:37,519 Speaker 2: I'm going to do a song that he did. He 829 00:43:37,639 --> 00:43:40,199 did a cover. This is a cover, so you'll you 830 00:43:40,320 --> 00:43:43,960 know the song, but uh, really going out on going 831 00:43:44,000 --> 00:43:44,920 out in the limb on this. 832 00:43:44,880 --> 00:43:46,519 Speaker 1: One, that's live radio. It's exciting. 833 00:43:54,159 --> 00:43:56,960 Speaker 2: Okay, So this is I'm going to try to replicate 834 00:43:57,360 --> 00:43:59,920 Kenny's version of this song. As well as I can. 835 00:44:01,880 --> 00:44:03,440 Speaker 1: Will will we recognize the song? 836 00:44:03,840 --> 00:44:04,039 Speaker 2: Yes? 837 00:44:04,159 --> 00:44:06,880 Speaker 1: Okay, as soon as the vocal comes in, I think, okay, okay. 838 00:44:06,880 --> 00:44:29,440 Speaker 7: Well, I look at you all. 839 00:44:30,840 --> 00:44:38,119 Speaker 4: See the love there that sleeping while my ma getar 840 00:44:39,719 --> 00:44:51,519 gently weeps. I look at the floor and I see 841 00:44:51,760 --> 00:44:59,159 me sweeping steal Ma getar gently wee. 842 00:45:05,039 --> 00:45:17,480 Speaker 5: I don't know nobody told you how to unfold your love, 843 00:45:23,000 --> 00:45:33,440 and I don't know how someone controlled you. They bought 844 00:45:33,519 --> 00:45:35,559 and soul you. 845 00:45:41,920 --> 00:45:47,159 Speaker 4: I look at the world and I see it's still 846 00:45:47,440 --> 00:45:53,800 turning while my guitar gently we. 847 00:46:00,079 --> 00:46:02,679 Speaker 5: With every mistake, we. 848 00:46:02,599 --> 00:46:06,320 Speaker 6: Must surely be learning. 849 00:46:08,639 --> 00:46:22,440 Speaker 5: Still my guitar gently we I don't know why you 850 00:46:22,719 --> 00:46:36,519 were diverted you will preferred to, and I don't know 851 00:46:36,719 --> 00:47:01,840 how you were renverted. No wanna learned. And I'll let 852 00:47:02,000 --> 00:47:08,000 you all see the little father sleeping. 853 00:47:09,960 --> 00:47:56,559 Speaker 4: While I get tar gently weep. 854 00:48:09,000 --> 00:48:13,000 Speaker 1: Hmmm, that was fantastic, Thank you good Lord. That was 855 00:48:13,079 --> 00:48:14,559 really good, really good. 856 00:48:15,039 --> 00:48:17,000 Speaker 2: If that doesn't sedate you, I don't know what will. 857 00:48:17,400 --> 00:48:19,719 Speaker 1: Yeah, I love that and that that harmonic that does 858 00:48:19,719 --> 00:48:22,599 he do that on his version? Jesus threw that. That 859 00:48:22,679 --> 00:48:25,360 is cool as hell. I love that harmonic. You threw 860 00:48:25,400 --> 00:48:27,599 it right at the end there. Yeah, well, the drama 861 00:48:27,760 --> 00:48:29,079 of it is just so good. 862 00:48:29,159 --> 00:48:31,079 Speaker 2: Well, that's you know, one of the if you could 863 00:48:31,079 --> 00:48:33,840 bring it up again, that's one of the things that 864 00:48:33,920 --> 00:48:38,719 I love, you know, uh, for example, is figure oftentimes 865 00:48:38,719 --> 00:48:40,480 figuring out how to how to end the song. I 866 00:48:40,480 --> 00:48:43,079 mean a lot of songs on records fade, so it's 867 00:48:43,079 --> 00:48:46,000 coming up with an ending. And so the way I 868 00:48:46,079 --> 00:48:49,480 describe it, it's like that's my version of Kenny Rankin's 869 00:48:49,599 --> 00:48:53,760 version of well my guitar. Yeah, but to do I 870 00:48:54,199 --> 00:48:54,960 like to and that that. 871 00:49:08,840 --> 00:49:09,280 Speaker 1: Love it. 872 00:49:11,000 --> 00:49:12,000 Speaker 2: Gotta end it somehow. 873 00:49:12,119 --> 00:49:14,840 Speaker 1: Yeah, that is so good. That is so good. 874 00:49:16,199 --> 00:49:18,039 Speaker 2: One of the things I enjoyed the most is that 875 00:49:18,039 --> 00:49:18,920 that type of stuff. 876 00:49:19,039 --> 00:49:22,679 Speaker 1: Yeah, yeah, absolutely. If you're just joining us up. Brooklyn 877 00:49:22,719 --> 00:49:24,519 Mike is here with us a live in studio on 878 00:49:24,559 --> 00:49:29,039 this very very cold Saturday morning. We got looking at 879 00:49:29,039 --> 00:49:30,960 the clock. We got time for what you want to do? 880 00:49:31,000 --> 00:49:32,039 Speaker 2: One more? Sure? 881 00:49:32,239 --> 00:49:34,760 Speaker 1: All right? We had time for one more love hearing 882 00:49:34,800 --> 00:49:36,039 Brooklyn Mike play. 883 00:49:36,599 --> 00:49:38,719 Speaker 2: Thank you, h I think I'd like to if you 884 00:49:38,719 --> 00:49:40,400 don't mind another Gordon Lightfoot song. 885 00:49:40,440 --> 00:49:42,800 Speaker 1: Sure, yeah, whatever you want to do, got to honor. 886 00:49:42,599 --> 00:49:59,239 Speaker 2: My man here. So another another thing that I enjoyed 887 00:49:59,239 --> 00:50:06,800 doing is kind of turning people on to songs by 888 00:50:06,920 --> 00:50:09,760 artists that they know, but they don't know the songs 889 00:50:09,800 --> 00:50:14,920 so I do. For example, up until recently, I mean 890 00:50:14,960 --> 00:50:17,719 I I do like about fifteen Gordon Lightfoot songs, and 891 00:50:17,800 --> 00:50:21,760 only two of them were hits. But more recently, thanks 892 00:50:21,760 --> 00:50:25,199 to Paul Cormier and his suggestions, I've added some more 893 00:50:25,239 --> 00:50:28,760 popular Gordon Lightfoot songs, which I think was a great idea. 894 00:50:29,079 --> 00:50:30,639 So I've got about five of those now. 895 00:50:30,840 --> 00:50:31,039 Speaker 1: Wow. 896 00:50:31,159 --> 00:50:36,000 Speaker 2: But this one is probably one of my top three 897 00:50:36,239 --> 00:50:39,440 favorite Gordon Lightfoot songs of all time. Nineteen seventy four 898 00:50:39,559 --> 00:50:43,199 off the Sundown album. And unless you're a fan of 899 00:50:43,239 --> 00:50:45,519 his or had the album, you probably have never heard 900 00:50:45,559 --> 00:50:50,199 the song. But I just and again if anybody that, 901 00:50:50,320 --> 00:50:52,320 if you're out there and you're hearing this song and 902 00:50:52,519 --> 00:50:56,039 it sparks your interest, please go and listen to the recording, 903 00:50:56,199 --> 00:51:01,679 because it's the orchest straight, it's it's very haunting. The 904 00:51:01,840 --> 00:51:07,599 orchestration on it is amazing, the production is amazing, and 905 00:51:07,639 --> 00:51:10,639 it's just one of those songs I still I wish he. 906 00:51:11,320 --> 00:51:14,039 I wish he were still alive for many many reasons, 907 00:51:14,039 --> 00:51:16,559 but also if I could get to meet him again, 908 00:51:16,639 --> 00:51:19,400 to ask him what is this song about? Because I 909 00:51:19,480 --> 00:51:24,960 have I can't. I still can't figure it out. It's uh, musically, 910 00:51:24,960 --> 00:51:29,039 it's it's very interesting, I find and even like lyrically, 911 00:51:29,159 --> 00:51:32,159 I just I can't figure it figured it out. So 912 00:51:32,559 --> 00:51:36,920 if anybody out there knows, it's called is There Anyone Home? 913 00:51:37,480 --> 00:51:39,519 Is the title of this song, and it's if you 914 00:51:39,559 --> 00:51:42,800 want to hear it. It's on the Sundown album. 915 00:51:43,639 --> 00:51:43,960 Speaker 1: M hm. 916 00:51:56,400 --> 00:52:02,880 Speaker 4: Is there anyone home in this house? Made? Anyone inside? 917 00:52:03,079 --> 00:52:03,880 Speaker 3: No my name. 918 00:52:06,679 --> 00:52:12,119 Speaker 4: I've been around for or half one hundred days, never 919 00:52:12,239 --> 00:52:18,800 saw a door shuts the tight turn around, don't look down. 920 00:52:19,519 --> 00:52:32,960 There's a man behind you with a gun. Like any 921 00:52:33,000 --> 00:52:39,599 wandering child in the wilderness, wild and uncaged. 922 00:52:38,880 --> 00:52:39,920 Speaker 5: On your wings. 923 00:52:41,159 --> 00:52:42,519 Speaker 2: I think I heard. 924 00:52:45,000 --> 00:52:46,039 Speaker 5: Someone stirred. 925 00:52:47,360 --> 00:52:56,280 Speaker 4: I think I heard someone stern. There's a light around you. 926 00:52:56,480 --> 00:53:02,039 I've come to switch it on. It would brighten everywhere. 927 00:53:04,760 --> 00:53:08,480 Don't be ashamed. If you feel a whole lot water 928 00:53:08,800 --> 00:53:14,679 in your heart, you got that feeling in your soul? 929 00:53:24,360 --> 00:53:26,880 Is there anyone home in this house? 930 00:53:27,119 --> 00:53:31,719 Speaker 5: Made soul? Anyone in there who might care? 931 00:53:33,079 --> 00:53:38,039 Speaker 4: I've grown weary and wise, and I feel much amazed. 932 00:53:39,159 --> 00:53:45,360 Got a few good tells too unwine. Turn around, don't 933 00:53:45,400 --> 00:53:59,039 look down. There's a man behind you with the girl, 934 00:53:59,079 --> 00:54:04,320 like anyone entering minstrel let On in the House of 935 00:54:04,519 --> 00:54:12,480 a Thousand Delights. I think I heard someone Stern. 936 00:54:13,920 --> 00:54:15,119 Speaker 2: I think I heard. 937 00:54:16,480 --> 00:54:23,840 Speaker 5: Someone Stern. I think I got hurt someone Stern. I 938 00:54:23,880 --> 00:54:27,280 think I got heard someone Stern. 939 00:54:31,119 --> 00:54:31,800 Speaker 2: I think got the 940 00:54:36,079 --> 00:54:37,000 Speaker 5: Someone Stern.