1 00:00:00,720 --> 00:00:04,879 Speaker 1: W m n H ripped the novels. 2 00:00:08,519 --> 00:00:35,000 Speaker 2: M Beauty. 3 00:00:36,600 --> 00:00:37,359 Speaker 3: Around me. 4 00:00:40,159 --> 00:00:42,320 Speaker 4: All I see you with you near me? 5 00:00:45,079 --> 00:00:48,280 Speaker 3: You who do you say too? 6 00:00:48,960 --> 00:00:49,200 Speaker 2: Oh? 7 00:00:49,479 --> 00:00:50,399 Speaker 5: No? 8 00:00:54,560 --> 00:00:59,119 Speaker 6: The around you. 9 00:01:00,799 --> 00:01:02,399 Speaker 4: Shine in rather through all. 10 00:01:02,359 --> 00:01:03,920 Speaker 7: The things you don't. 11 00:01:05,840 --> 00:01:10,680 Speaker 6: I have seen fought like old fire. 12 00:01:47,280 --> 00:02:43,439 Speaker 2: Another stud and the no, no, no, I'm not. 13 00:03:05,400 --> 00:03:06,000 Speaker 8: Ye beauty. 14 00:03:08,000 --> 00:03:13,719 Speaker 4: I love you, follow the star so above you. 15 00:03:16,560 --> 00:03:21,080 Speaker 2: You know me now, I know. 16 00:03:26,000 --> 00:03:33,840 Speaker 3: So tell me show me somehow, take me away, go 17 00:03:34,120 --> 00:03:34,879 away now. 18 00:03:38,560 --> 00:03:42,039 Speaker 1: But there's beauty in an other world. 19 00:03:48,120 --> 00:03:55,599 Speaker 2: You keep me here now, laid down my head. 20 00:03:58,960 --> 00:04:04,919 Speaker 4: Don't say a way now, show. 21 00:04:04,879 --> 00:04:06,520 Speaker 2: Me all there. 22 00:04:08,319 --> 00:06:33,519 Speaker 6: Your well. 23 00:06:33,560 --> 00:06:37,319 Speaker 9: I like that a lot. All I see Jason Oberstein 24 00:06:38,399 --> 00:06:40,800 this little extra audio at the end. There I wasn't expected. 25 00:06:41,480 --> 00:06:43,519 That is uh, that is really cool. We're gonna talk 26 00:06:43,639 --> 00:06:45,399 with Jason in just a moment. He is here with 27 00:06:45,519 --> 00:06:48,680 us in studio. Welcome everybody. If you are listening live 28 00:06:48,759 --> 00:06:52,399 on Saturday, you have entered the third hour New Marrow 29 00:06:52,519 --> 00:06:55,680 trace of Matt Connerton Unleashed. We are live from the 30 00:06:55,759 --> 00:07:00,519 studios of w m n H ninety five point three FM, Inglorious, Manchester, 31 00:07:00,720 --> 00:07:02,800 New Hampshire. Jenny is here as well, of course at 32 00:07:02,839 --> 00:07:05,480 the news table. Rus into the account of for yes, 33 00:07:05,800 --> 00:07:10,560 and today is Saturday, February eight, twenty twenty five. 34 00:07:10,920 --> 00:07:11,920 Speaker 2: It is, it is. 35 00:07:12,240 --> 00:07:14,560 Speaker 9: Oh, it's a big day, Jenny. Before we go any further, 36 00:07:14,600 --> 00:07:16,680 we should remind people about what's going on tonight. This 37 00:07:16,800 --> 00:07:17,519 is the big people. 38 00:07:18,360 --> 00:07:20,279 Speaker 10: Yes, we are going to be at the Mosaic Aren't 39 00:07:20,279 --> 00:07:24,759 Collective this evening for their opening of the show Illusions 40 00:07:25,319 --> 00:07:32,399 an Explanation, Exploitation, an Exploration of Optical Illusion and Anamorphic Surrealism, 41 00:07:32,560 --> 00:07:35,879 black Light and three D R So come check it out. 42 00:07:35,959 --> 00:07:38,920 The reception is this evening from four pm to eight 43 00:07:39,000 --> 00:07:42,160 pm and they are located right here in the Queens 44 00:07:42,199 --> 00:07:45,800 City at sixty six Anover Street, Sweet to one in 45 00:07:45,879 --> 00:07:47,519 the Daily Mira Building. 46 00:07:48,240 --> 00:07:51,639 Speaker 9: Yes, to see you there, looking forward to that. How 47 00:07:51,720 --> 00:07:54,839 say hi to Matt and I absolutely absolutely and thank 48 00:07:54,879 --> 00:07:57,279 you of course everyone who's joined us today on the show. 49 00:07:57,399 --> 00:07:59,920 So far we had in the first hour Rivia all 50 00:08:00,120 --> 00:08:03,680 the way from Liverpool skyping in and I really enjoyed 51 00:08:03,680 --> 00:08:05,600 that conversation. And of course in the second hour we 52 00:08:05,680 --> 00:08:09,439 had Kate Shimkey here along with Aaron and Nick from 53 00:08:10,079 --> 00:08:13,040 the listening room at Prayers of Nature and Tyler all 54 00:08:13,120 --> 00:08:16,920 good also and we seriously world premiered his new single, 55 00:08:17,399 --> 00:08:19,439 his new single All Night Dreams, and he played live 56 00:08:19,519 --> 00:08:21,199 for us. We put him on the spot, asked him 57 00:08:21,199 --> 00:08:23,439 to play a second song because he just sounds so good. 58 00:08:23,480 --> 00:08:26,360 The voice on that guy made us a voodoo doll. 59 00:08:26,480 --> 00:08:30,319 That's incredible. It's adorable and it makes me smile. Yes, yes, 60 00:08:32,200 --> 00:08:33,840 but uh, I'm gonna go ahead and bring that mic 61 00:08:33,879 --> 00:08:36,240 up and we'll bring Jason Oberseein is here with us. 62 00:08:36,279 --> 00:08:37,720 Good morning, Jason, Hey, good morning. 63 00:08:37,799 --> 00:08:38,639 Speaker 11: How's it going good? 64 00:08:38,720 --> 00:08:41,559 Speaker 9: Good, Welcome to the show. Uh really enjoyed that track 65 00:08:41,679 --> 00:08:43,600 all I see. We were kind of talking off air 66 00:08:44,679 --> 00:08:46,919 a little bit about I was commenting, how you know 67 00:08:47,080 --> 00:08:49,720 it not everyone can can do what you do on 68 00:08:49,840 --> 00:08:53,000 that song, nail in those harmonies and uh, it kind 69 00:08:53,039 --> 00:08:54,559 of reminded me a little bit of Seay Dan, but 70 00:08:54,639 --> 00:08:57,759 even more so like Crosby, Stills and Nash. And you 71 00:08:57,799 --> 00:08:59,679 were saying how hard that is to pull off live? 72 00:09:00,720 --> 00:09:03,159 Speaker 11: Yeah, I think our live harmonies and colors weren't the best, 73 00:09:03,240 --> 00:09:04,879 but you know, we did enough takes and we got it. 74 00:09:05,080 --> 00:09:05,279 Speaker 2: Yeah. 75 00:09:05,559 --> 00:09:08,039 Speaker 11: I gotta thank my dad for introducing me to CSN 76 00:09:08,759 --> 00:09:10,679 senior year of high school. Oh No, get a huge 77 00:09:10,679 --> 00:09:11,360 influence on me. 78 00:09:11,480 --> 00:09:14,679 Speaker 9: Yeah, yeah, yeah, any any particular tracks or albums from 79 00:09:14,720 --> 00:09:15,799 them that that really. 80 00:09:15,720 --> 00:09:17,879 Speaker 11: The one that really caught my attention was carry One 81 00:09:18,039 --> 00:09:20,919 off of the I think their first album. Yeah, it 82 00:09:21,000 --> 00:09:22,879 really sounds like the voice of God, just like talking 83 00:09:22,919 --> 00:09:23,080 to you. 84 00:09:23,200 --> 00:09:23,360 Speaker 12: You know. 85 00:09:23,480 --> 00:09:27,120 Speaker 9: Yeah, there aren't. I'm trying to think who. I'm trying 86 00:09:27,120 --> 00:09:29,559 to think of who is even you know, at that 87 00:09:29,799 --> 00:09:33,720 level of notoriety, who is actually even comparable in terms 88 00:09:33,759 --> 00:09:36,440 of being able to pull that off? I mean, I 89 00:09:36,519 --> 00:09:40,039 mean the Beach Boys of course, you know they you know, 90 00:09:40,360 --> 00:09:43,279 great harmonies there, that's really central to their sound. But 91 00:09:43,279 --> 00:09:45,039 I'm trying to think who else can can do it 92 00:09:45,159 --> 00:09:47,480 quite the way? I mean CSN, because not only could 93 00:09:47,480 --> 00:09:49,000 they do those harmonies, but there was kind of a 94 00:09:49,120 --> 00:09:50,480 uniqueness I think, Yeah, the. 95 00:09:50,480 --> 00:09:53,039 Speaker 11: Way their voice is blended was yeah, yeah for sure. 96 00:09:53,200 --> 00:09:53,799 Speaker 9: Yeah, yeah. 97 00:09:53,960 --> 00:09:55,519 Speaker 11: I think The Grateful Dead had some of that in 98 00:09:55,559 --> 00:09:58,039 their studio records, yes, but not really in the same 99 00:09:58,080 --> 00:09:59,840 way like in their live performance. 100 00:09:59,559 --> 00:10:05,000 Speaker 9: Right right, agreed? Agreed? So that's is that what got 101 00:10:05,080 --> 00:10:08,240 you started playing music or was that just what got 102 00:10:08,320 --> 00:10:10,440 you interested in those doing those? 103 00:10:10,799 --> 00:10:12,759 Speaker 11: Yeah, that's what got me interest in the harmonies. Yeah, 104 00:10:12,879 --> 00:10:15,320 I've been playing music forever since I was ten. I 105 00:10:15,399 --> 00:10:17,799 started on guitar lessons and you know, started with just 106 00:10:17,879 --> 00:10:20,600 like Zeppelin and Rush and like classic rock and then 107 00:10:21,039 --> 00:10:24,759 sort of agree to the more jammy, psychedelic, softer stuff 108 00:10:24,799 --> 00:10:26,480 in college with Grateful. 109 00:10:26,200 --> 00:10:30,320 Speaker 9: Dead and okay like that. Yeah, Okay, you've you know, 110 00:10:30,399 --> 00:10:32,200 you set us a bunch of music and you're gonna 111 00:10:32,200 --> 00:10:34,000 play something live for us today, which we really look 112 00:10:34,039 --> 00:10:35,919 forward to you. But it looks like you so you've 113 00:10:36,320 --> 00:10:38,639 you've done a lot of solo material and you've played 114 00:10:38,639 --> 00:10:39,600 in a lot of bands. 115 00:10:39,440 --> 00:10:42,600 Speaker 11: Right, Yeah, Yeah, I'd say like most of my identity 116 00:10:42,759 --> 00:10:45,440 through the years has been just like random bands, especially 117 00:10:45,519 --> 00:10:48,120 when I moved to Boston like three years ago. I'm 118 00:10:48,159 --> 00:10:50,559 in like four bands at this point, a couple of 119 00:10:50,600 --> 00:10:53,840 bands that I've dissolved unfortunately. But over this last year 120 00:10:53,840 --> 00:10:55,480 I've been trying to like do more of my own thing, 121 00:10:55,559 --> 00:10:57,840 you know, writing and like performing just me and my 122 00:10:57,879 --> 00:10:59,559 acoustic which is still kind of new to me. But 123 00:10:59,600 --> 00:11:01,120 I'm you know, trying to get out there more. 124 00:11:01,320 --> 00:11:03,759 Speaker 9: Yeah, when you when you moved to Boston, was it 125 00:11:03,840 --> 00:11:04,840 for college or no? 126 00:11:04,960 --> 00:11:07,320 Speaker 11: It's right after college, right, Actually college, I moved out 127 00:11:07,320 --> 00:11:10,000 of Boston to Saint Louis or College. Oh okay, I 128 00:11:10,120 --> 00:11:13,000 came back for a job. Oh okay, yeah, and then 129 00:11:13,080 --> 00:11:15,279 I just started playing as much music as I possibly could. 130 00:11:15,440 --> 00:11:17,559 Speaker 9: So you grew up in Boston, you're from there originally, Yeah. 131 00:11:17,480 --> 00:11:19,559 Speaker 11: From like a suburb of Boston, gotcha. I still kind 132 00:11:19,600 --> 00:11:21,039 of felt new to the city when I moved in. 133 00:11:21,360 --> 00:11:23,240 Oh I live in Cambridge now, okay yeah. 134 00:11:23,320 --> 00:11:27,120 Speaker 9: Yeah, great music scene and uh and some great college 135 00:11:27,200 --> 00:11:29,039 radio stations there too. I don't know if you've been 136 00:11:29,039 --> 00:11:32,120 playing on college radio there at all, Like, uh, I 137 00:11:32,200 --> 00:11:36,080 always say, you know. I also I work in I'm 138 00:11:36,080 --> 00:11:38,559 a radio promoter, so clients hired me to send their 139 00:11:38,639 --> 00:11:42,039 music to college stations, and I always talk about, uh whatever. 140 00:11:42,120 --> 00:11:44,480 Anybody asked me, like, what's the best college radio station, 141 00:11:44,519 --> 00:11:48,159 I would say w r S at Emerson because that's 142 00:11:49,360 --> 00:11:51,279 I don't know if you've ever listened to w er S, 143 00:11:51,440 --> 00:11:54,559 But it's like you wouldn't know necessarily that it was 144 00:11:54,600 --> 00:11:57,360 a college station if you didn't know, because they are 145 00:11:57,440 --> 00:12:00,720 so professional there and everything they do is perfect. It 146 00:12:00,799 --> 00:12:04,639 sounds like like a commercial FM radio station in a 147 00:12:04,679 --> 00:12:07,000 major market. You know, they've they've really uh, they've really 148 00:12:07,039 --> 00:12:09,879 got it down. But but yeah, such a great, such 149 00:12:09,879 --> 00:12:12,159 a great music scene in Boston. So that's a that's 150 00:12:12,360 --> 00:12:15,840 a good place to be, Yeah, for sure. I mean 151 00:12:15,879 --> 00:12:17,799 you mentioned, you know, being in four different bands at 152 00:12:17,840 --> 00:12:20,159 one point. I wonder if you know how many other 153 00:12:20,240 --> 00:12:22,320 cities you could really do that, and you know, Boston 154 00:12:22,399 --> 00:12:24,480 it seems like it's the perfect place to be able. 155 00:12:24,279 --> 00:12:26,039 Speaker 11: To do that, you know, Yeah, I mean New York 156 00:12:26,120 --> 00:12:27,279 is a big one of New York. 157 00:12:27,360 --> 00:12:28,480 Speaker 9: Yeah, definitely a lot. 158 00:12:28,399 --> 00:12:30,080 Speaker 11: Of my music friends are moving to New York, which 159 00:12:30,200 --> 00:12:32,879 I'm kind of sad about. But yeah, Boston's also really good, I. 160 00:12:32,879 --> 00:12:35,360 Speaker 9: Think absolutely absolutely. Do you go to a lot of 161 00:12:35,399 --> 00:12:36,639 live shows? Do you go to see a lot of 162 00:12:36,679 --> 00:12:37,480 other bands. 163 00:12:37,279 --> 00:12:39,879 Speaker 11: Or Yeah, every once in a while I go to 164 00:12:39,919 --> 00:12:42,000 see some bands. I honestly just happen to see a 165 00:12:42,039 --> 00:12:44,240 lot through the shows that I play because it's usually 166 00:12:44,240 --> 00:12:45,879 I'm on a bill with like a couple other bands, 167 00:12:45,919 --> 00:12:47,559 so I got to like hear a bunch of music 168 00:12:47,600 --> 00:12:47,879 that way. 169 00:12:48,120 --> 00:12:51,600 Speaker 9: Yeah. Yeah, very cool. Now you mentioned so you're more 170 00:12:51,639 --> 00:12:53,720 focused on the solo stuff at this point. 171 00:12:53,879 --> 00:12:56,120 Speaker 11: Yeah, I'm still focused on everything, but that's that's sort 172 00:12:56,159 --> 00:12:58,960 of like the primary thing that's like blossoming in me. 173 00:12:59,120 --> 00:12:59,399 Right now. 174 00:12:59,639 --> 00:13:02,720 Speaker 9: Yeah, is it easier in the sense that you know, 175 00:13:03,440 --> 00:13:05,320 so I don't play anymore, but I used to play 176 00:13:05,320 --> 00:13:07,080 in a lot of bands, but I never did anything 177 00:13:07,120 --> 00:13:09,519 where it was just me, you know, solo. But I've 178 00:13:09,519 --> 00:13:13,240 always kind of wondered it must be liberating in a 179 00:13:13,360 --> 00:13:16,519 sense because you don't have to worry about like when 180 00:13:16,519 --> 00:13:18,759 booking shows, you don't have to worry about anybody else's 181 00:13:18,799 --> 00:13:21,759 schedule when you're doing a solo thing. And also if 182 00:13:21,759 --> 00:13:24,639 you're doing a solo acoustic thing, it opens up opportunities 183 00:13:24,720 --> 00:13:27,080 because you can play almost anywhere. You know, like when 184 00:13:27,120 --> 00:13:29,080 you're in a band, there's a lot of places you 185 00:13:29,120 --> 00:13:32,639 can't play. Some places only want a solo acoustic act. 186 00:13:34,120 --> 00:13:37,039 But you probably, I would imagine, I mean, you can 187 00:13:37,039 --> 00:13:40,360 book yourself a lot more places doing the solo thing 188 00:13:40,440 --> 00:13:41,720 than you can with the bands that you play. 189 00:13:41,879 --> 00:13:43,720 Speaker 11: Yeah, that's true. I've also found that some places do 190 00:13:43,840 --> 00:13:46,679 prefer bands, like certain breweries like that big sound. 191 00:13:46,720 --> 00:13:46,879 Speaker 12: You know. 192 00:13:47,000 --> 00:13:50,399 Speaker 11: Yeah, it's more attractive. But you're probably right on the whole. Yeah, Yeah, 193 00:13:50,440 --> 00:13:54,600 it's certainly easier, like just deciding on songs and orchestrations, 194 00:13:54,679 --> 00:13:56,240 like I can just do it all in my head. No, 195 00:13:56,360 --> 00:13:57,799 there's nothing lost in communication. 196 00:13:58,080 --> 00:13:58,240 Speaker 9: Right. 197 00:13:59,240 --> 00:14:00,840 Speaker 11: The art is like maybe more pure in a way, 198 00:14:00,879 --> 00:14:02,840 but it's also very limiting, where like I can't really 199 00:14:03,240 --> 00:14:05,399 take it to that like energy level yea that I 200 00:14:05,519 --> 00:14:07,360 want it to. Yeah, it's it's a trade off and 201 00:14:07,440 --> 00:14:08,240 that I'm getting used to. 202 00:14:08,480 --> 00:14:12,879 Speaker 9: Yeah, Now, what bands are you? What bands are you 203 00:14:12,960 --> 00:14:13,480 currently in? 204 00:14:14,720 --> 00:14:16,879 Speaker 11: So the just to list them all off, Yeah, it's 205 00:14:16,919 --> 00:14:20,120 a Flying Turtle. I'm in a band supporting the singer 206 00:14:20,159 --> 00:14:22,639 songwriter Jill McCracken. Okay, I'm in a jam band called 207 00:14:22,679 --> 00:14:25,559 Spoon Drift, and then I just started a new trio 208 00:14:25,639 --> 00:14:27,799 which is sort of centered around my singer songwriter work, 209 00:14:28,039 --> 00:14:29,240 which is called The Fourth Story. 210 00:14:29,440 --> 00:14:34,159 Speaker 9: Okay, yeah, and why are you? Why do you have 211 00:14:34,279 --> 00:14:36,720 so many projects going? Are you someone who do you 212 00:14:36,879 --> 00:14:40,039 have to have a lot of different things happening to 213 00:14:40,120 --> 00:14:42,960 be able to really feel like you're fully expressing yourself. 214 00:14:43,799 --> 00:14:45,960 Speaker 11: Maybe maybe it's like the anxious person and me just 215 00:14:46,000 --> 00:14:48,039 wanting to do as much as possible and you know, 216 00:14:48,159 --> 00:14:49,080 not be a lazy person. 217 00:14:49,279 --> 00:14:49,720 Speaker 9: Right. 218 00:14:49,919 --> 00:14:51,879 Speaker 11: It's also just good to like, like all the bands 219 00:14:51,879 --> 00:14:54,200 are like different in a way, and you know, I 220 00:14:54,240 --> 00:14:56,120 can express different parts of me and each band, So 221 00:14:56,120 --> 00:14:58,679 that's important to me. But it's also just like, you know, 222 00:14:58,720 --> 00:15:00,600 I've been in Boston for three years, and like I 223 00:15:00,840 --> 00:15:02,759 try to keep the bands going, and then you know, 224 00:15:02,840 --> 00:15:04,519 I get dragged into other projects and they kind of 225 00:15:04,559 --> 00:15:07,120 just start accumulating and maybe next year I'll be in 226 00:15:07,200 --> 00:15:09,919 five or six. Right at a certain point, it's not 227 00:15:09,960 --> 00:15:10,919 going to work anymore, but. 228 00:15:11,200 --> 00:15:13,840 Speaker 9: Yeah, we'll see. Yeah, I was in three bands at 229 00:15:13,879 --> 00:15:17,279 one point around here, and that it's it seemed like 230 00:15:17,320 --> 00:15:21,360 a lot, but it was also you know, it got 231 00:15:21,399 --> 00:15:24,279 a little tricky in terms of the higherarchy and in 232 00:15:24,399 --> 00:15:27,440 terms of my own priorities, and you know, sometimes it's 233 00:15:27,480 --> 00:15:30,600 hard to keep multiple things going when you know, I mean, 234 00:15:31,519 --> 00:15:33,080 do you find yourself in a position where you have 235 00:15:33,200 --> 00:15:36,200 to kind of prioritize, like like you have to say, 236 00:15:36,360 --> 00:15:40,639 notice certain things that maybe one and certain opportunities that 237 00:15:40,720 --> 00:15:43,879 one band has because another band is so busy, and 238 00:15:43,960 --> 00:15:45,480 then you end up in kind of that position. 239 00:15:45,639 --> 00:15:45,840 Speaker 6: Yeah. 240 00:15:46,080 --> 00:15:49,320 Speaker 11: Sure, fortunately not too much. But uh, like a big 241 00:15:49,399 --> 00:15:52,840 thing is the Summerville Porch Fest, which in the Boston areas, 242 00:15:52,840 --> 00:15:54,879 like like a big thing. It's like in May, and 243 00:15:55,000 --> 00:15:56,960 like like all of my bands want to play it. 244 00:15:57,120 --> 00:15:59,000 Oh really, yeah, they can't do it with all of them, 245 00:15:59,320 --> 00:16:00,919 right right, Yeah, well. 246 00:16:00,799 --> 00:16:02,840 Speaker 9: You could in theory, right he I mean obviously if 247 00:16:02,879 --> 00:16:04,159 you're not all playing at the same time. 248 00:16:04,919 --> 00:16:07,080 Speaker 11: I've done that in the past. Especially there's like a 249 00:16:07,240 --> 00:16:09,360 twelve twelve to two time slot and then the two 250 00:16:09,440 --> 00:16:10,799 to four time slot, and I'm like, of course I 251 00:16:10,840 --> 00:16:13,480 can do both of those. Yeah, and there's zero time 252 00:16:13,519 --> 00:16:16,200 in between them, of course, right right. It gets tricky, 253 00:16:16,279 --> 00:16:17,559 but yeah, yeah, I do my best. 254 00:16:17,720 --> 00:16:17,919 Speaker 6: Yeah. 255 00:16:19,200 --> 00:16:21,200 Speaker 9: What do you find the most satisfying? 256 00:16:22,399 --> 00:16:25,240 Speaker 11: Like, is it the solo stuff or I think right 257 00:16:25,279 --> 00:16:27,360 now it's the band stuff really, just just because the 258 00:16:27,399 --> 00:16:29,320 solo stuff is still new, I'm still sort of finding 259 00:16:29,360 --> 00:16:32,720 my voice and finding my way. Yeah, but yeah, just 260 00:16:33,200 --> 00:16:37,000 but anytime I'm performing is what I'm passionate about. It's 261 00:16:37,039 --> 00:16:39,639 what I'm all about. Just like, yeah, controlling the sound 262 00:16:39,759 --> 00:16:42,519 waves of a room and like people walking into me 263 00:16:42,639 --> 00:16:45,159 and like it's you know, it's a very like deep 264 00:16:45,240 --> 00:16:47,360 thing music. I think it's like special. It's like be 265 00:16:47,399 --> 00:16:48,639 able to control that for someone. 266 00:16:48,879 --> 00:16:52,519 Speaker 9: Yeah, yeah, yeah absolutely. Do you prefer that to be 267 00:16:52,679 --> 00:16:53,279 in the studio? 268 00:16:53,799 --> 00:16:55,639 Speaker 11: Yeah, The studio is cool in its own way, but 269 00:16:55,679 --> 00:16:57,360 it's also like you can get in your own head 270 00:16:57,399 --> 00:17:00,840 and like doing takes, overtakes and stuff. Yeah, it's there's 271 00:17:00,879 --> 00:17:03,639 something pure about doing it live. I also love improvisation. 272 00:17:03,799 --> 00:17:06,880 That's sort of really the best thing about music for me. 273 00:17:07,039 --> 00:17:08,559 So you sort of like get that more in the 274 00:17:08,599 --> 00:17:09,119 live setting. 275 00:17:09,319 --> 00:17:12,720 Speaker 9: Yeah, everything that you sent us, all the studio tracks, 276 00:17:12,759 --> 00:17:15,759 they all sound amazing. Is there how do you record? 277 00:17:15,839 --> 00:17:17,799 Is there a particular studio that you work with, or 278 00:17:18,000 --> 00:17:19,359 maybe you do it. I mean we live in an 279 00:17:19,359 --> 00:17:21,200 era where you know, you can record at home or 280 00:17:21,680 --> 00:17:25,359 or I imagine various projects maybe record in different ways. 281 00:17:25,480 --> 00:17:26,720 Speaker 11: They're all recorded different ways. 282 00:17:26,799 --> 00:17:27,000 Speaker 9: Really. 283 00:17:27,319 --> 00:17:30,119 Speaker 11: A couple of them we're done at like more professional studios, 284 00:17:30,480 --> 00:17:33,759 a couple we're done at home. My solo record, Northern 285 00:17:33,839 --> 00:17:36,000 Rails is like sort of my big project last year. 286 00:17:36,200 --> 00:17:38,359 I have like a little tiny room in my house 287 00:17:38,640 --> 00:17:41,240 where I have sound equipment and I did it all there. 288 00:17:41,200 --> 00:17:45,039 Speaker 9: No kidding, Yeah, yeah, yeah, it's cool that. You know, 289 00:17:45,240 --> 00:17:48,480 I'm old enough to remember when your your only real 290 00:17:48,559 --> 00:17:51,079 options were you either go to a studio and spend 291 00:17:51,119 --> 00:17:53,680 a lot of money, or you know, you could record 292 00:17:53,759 --> 00:17:56,000 at home with one of those uh those old aasskam 293 00:17:56,720 --> 00:18:00,319 recorders and you know, but but now you there's so 294 00:18:00,359 --> 00:18:02,160 many different ways you can do it, and there's so many. 295 00:18:03,000 --> 00:18:07,400 It's interesting too, because even though you have more options 296 00:18:07,519 --> 00:18:12,279 than ever, there's still more. There's still tons of recording 297 00:18:12,319 --> 00:18:15,559 studios too, you know, because some people thought that there 298 00:18:15,640 --> 00:18:17,920 was a point where recording studios would kind of start 299 00:18:17,960 --> 00:18:20,640 to go away as people had more ability to record 300 00:18:20,720 --> 00:18:23,039 at home or like you do with your solo stuff. 301 00:18:23,079 --> 00:18:26,240 But actually I feel like there's more recording studios than ever. 302 00:18:26,400 --> 00:18:28,640 And of course in Boston you've got some great I'm 303 00:18:28,680 --> 00:18:31,759 curious what studios you've been to with your band projects, 304 00:18:31,759 --> 00:18:34,519 because there's there's some great studios in Boston obviously. 305 00:18:34,839 --> 00:18:38,480 Speaker 11: Yeah, I've you know, I'm honestly not sure that the 306 00:18:38,559 --> 00:18:41,359 one we did with Flying Turtle was like not a 307 00:18:41,400 --> 00:18:45,279 great studio really like it was pretty good. Yeah, And 308 00:18:45,400 --> 00:18:47,759 then the one we did with I only went to 309 00:18:47,839 --> 00:18:50,920 one other professional studio and it was it was like 310 00:18:51,000 --> 00:18:52,640 not in Boston. We sort of like drove away and 311 00:18:52,720 --> 00:18:54,799 it was just like it was like a weird situation. 312 00:18:55,720 --> 00:18:58,680 I'm curious now, Yeah, it was like it used to 313 00:18:59,160 --> 00:19:01,000 I forget exactly the details, but it used to be 314 00:19:01,119 --> 00:19:03,240 like a really big studio that they had like really 315 00:19:03,279 --> 00:19:05,319 big names in there. And then it got converted to 316 00:19:05,400 --> 00:19:07,799 like office space or something, and then they were like 317 00:19:07,920 --> 00:19:10,519 revitalizing it, so we got a really cheap rate there 318 00:19:10,680 --> 00:19:13,200 because they were just starting to like get up and 319 00:19:13,279 --> 00:19:15,559 running again. But I forget the name of it, so 320 00:19:15,640 --> 00:19:16,640 I can't really enlighten you. 321 00:19:16,880 --> 00:19:19,160 Speaker 9: Oh okay, Sorry, when you said you drove away, I 322 00:19:19,200 --> 00:19:20,759 thought maybe you went and looked at it and you 323 00:19:20,839 --> 00:19:21,720 were like, let's get out. 324 00:19:21,720 --> 00:19:24,559 Speaker 11: Oh no, no, we drove yeah, out of Boston. 325 00:19:24,759 --> 00:19:27,359 Speaker 9: I got, oh, okay, that's what you've met. Okay. I 326 00:19:27,440 --> 00:19:29,599 thought I thought there was maybe another story there, no 327 00:19:30,319 --> 00:19:34,799 interesting story. But recording at home though, being able to 328 00:19:34,839 --> 00:19:36,680 do that with your solo stuff, that must be nice. 329 00:19:36,960 --> 00:19:37,160 Speaker 6: Yeah. 330 00:19:37,240 --> 00:19:39,960 Speaker 11: I mean it was like really like I spent a 331 00:19:40,000 --> 00:19:41,799 lot of time in there, so it was like kind 332 00:19:41,839 --> 00:19:44,279 of like blowing my brains out sometimes really yeah. Yeah, 333 00:19:44,400 --> 00:19:47,119 but I'm really really proud of the end product, and 334 00:19:47,599 --> 00:19:49,279 you know, I like the experience overall. 335 00:19:49,519 --> 00:19:52,000 Speaker 9: Now that that track, all I see is that from 336 00:19:52,119 --> 00:19:52,759 Northern Rails. 337 00:19:52,960 --> 00:19:57,119 Speaker 11: No, so that is from my college band Addicts, Okay, 338 00:19:57,200 --> 00:19:59,279 and that's that's the first album I've ever been a 339 00:19:59,319 --> 00:20:01,799 part of recording. It was mostly recorded by our bass 340 00:20:01,839 --> 00:20:03,960 player Cole He had a whole setup in his basement. 341 00:20:04,119 --> 00:20:07,200 Speaker 9: Oh okay, Yeah, Doug Addicts is the name of the band. Yeah, okay, 342 00:20:07,720 --> 00:20:09,799 where where does the I mean obviously there's you. 343 00:20:09,839 --> 00:20:10,319 Speaker 2: Know, right. 344 00:20:10,400 --> 00:20:10,599 Speaker 9: Yeah. 345 00:20:10,720 --> 00:20:14,880 Speaker 11: It actually came from a like a band name generator online. 346 00:20:14,920 --> 00:20:16,880 We like typed some words into it, two of which 347 00:20:16,920 --> 00:20:19,480 were Doug, which was our lead singer. Oh okay, drug 348 00:20:19,559 --> 00:20:23,160 because we were into drugs in college, right, and Doug Addicts. 349 00:20:23,200 --> 00:20:25,680 And it's importantly it's not the Dug Addicts. Oh, just 350 00:20:25,799 --> 00:20:27,920 Doug Addicts, because we're Doug Addicts and the people that 351 00:20:27,960 --> 00:20:29,400 come to see us, they're also Doug. Like we're all 352 00:20:29,400 --> 00:20:30,160 addicted to Doug. 353 00:20:30,559 --> 00:20:31,839 Speaker 9: That makes sense. Yeah, I like that. 354 00:20:32,039 --> 00:20:32,440 Speaker 6: I like that. 355 00:20:32,599 --> 00:20:34,599 Speaker 9: That's cool. Now that band is no longer active. 356 00:20:34,680 --> 00:20:35,799 Speaker 11: Yeah that was just for college. 357 00:20:36,039 --> 00:20:39,240 Speaker 9: Okay, okay, I gotcha. In Northern Rails. Is that a 358 00:20:39,279 --> 00:20:40,279 full length or is it an EP? 359 00:20:40,480 --> 00:20:40,599 Speaker 4: Or what? 360 00:20:40,640 --> 00:20:41,519 Speaker 11: What's a full length album? 361 00:20:41,559 --> 00:20:42,160 Speaker 9: Whole length album? 362 00:20:42,200 --> 00:20:42,640 Speaker 11: I'm up for it. 363 00:20:43,839 --> 00:20:46,519 Speaker 9: Why the decision to do that, because you know, a 364 00:20:46,559 --> 00:20:49,640 lot of artists now, especially recently, it seems like in 365 00:20:49,680 --> 00:20:51,960 the last few years, some artists only release singles or 366 00:20:52,000 --> 00:20:55,039 they do the waterfall approach where they release singles that 367 00:20:55,119 --> 00:20:58,079 eventually become an album, which is, you know, the inverse 368 00:20:58,119 --> 00:20:59,839 of what it used to be where you release an 369 00:21:00,359 --> 00:21:03,839 the singles. But but yeah, a lot of artists or 370 00:21:03,880 --> 00:21:06,440 they'll do an EP. But I don't see as many 371 00:21:06,480 --> 00:21:08,599 full length albums, at least not as much as I 372 00:21:08,720 --> 00:21:10,559 used to. Why the decision to do a full length yeah, 373 00:21:10,599 --> 00:21:10,920 for sure. 374 00:21:11,000 --> 00:21:12,880 Speaker 11: Well what happened to me is I moved to Boston 375 00:21:12,920 --> 00:21:13,720 for a software job. 376 00:21:13,839 --> 00:21:14,000 Speaker 9: Yeah. 377 00:21:14,000 --> 00:21:15,640 Speaker 11: I was there for about two years, and then at 378 00:21:15,640 --> 00:21:17,640 a certain point, I just decided to quit because I 379 00:21:17,680 --> 00:21:20,119 wanted to do more music, and so in my mind, 380 00:21:20,240 --> 00:21:22,640 like I want it to be as you know, I'm 381 00:21:22,720 --> 00:21:24,680 kind of like anxious about like being productive and like 382 00:21:24,759 --> 00:21:26,559 making something of myself. So I'm like, all right, I 383 00:21:26,680 --> 00:21:28,559 quit my job. I have this time. Now I'm going 384 00:21:28,599 --> 00:21:30,240 to like stend it. I'm like gonna do like the 385 00:21:30,279 --> 00:21:32,200 biggest thing I can imagine, which is just like a 386 00:21:32,279 --> 00:21:34,599 full album. Yeah, that was sort of the decision. 387 00:21:34,680 --> 00:21:37,039 Speaker 9: Oh that's cool. Yeah, that's that's a great reason to 388 00:21:37,119 --> 00:21:40,119 do it. Did you have any help, like or did 389 00:21:40,160 --> 00:21:40,960 you do it all yourself? 390 00:21:41,000 --> 00:21:41,759 Speaker 11: I did it all myself. 391 00:21:42,039 --> 00:21:42,319 Speaker 9: Kidding. 392 00:21:42,319 --> 00:21:44,039 Speaker 11: That's kind of the stick of the album. Like every 393 00:21:44,119 --> 00:21:46,119 every sound you hear is recorded in that little room 394 00:21:46,480 --> 00:21:48,640 or outside somewhere, I suppose, but yeah, it's all me 395 00:21:48,720 --> 00:21:50,160 and I learned to mix and everything. 396 00:21:50,240 --> 00:21:52,200 Speaker 9: And oh, good for you, good for you. Yeah, so 397 00:21:52,279 --> 00:21:54,680 you really went for it. That's awesome. Where does the 398 00:21:54,759 --> 00:21:55,960 name come from? Northern Rails? 399 00:21:57,599 --> 00:22:00,720 Speaker 11: Yeah, I guess the album. The theme of the album 400 00:22:00,799 --> 00:22:02,880 lyrically is sort of about like a call for adventure, 401 00:22:03,039 --> 00:22:07,160 and it's vaguely trained themed. There's like little train references. 402 00:22:07,240 --> 00:22:09,599 And then the title track, which which we have today 403 00:22:09,680 --> 00:22:10,599 is called Northern Rails. 404 00:22:10,680 --> 00:22:13,480 Speaker 9: Okay, okay, well maybe we should uh, maybe we should 405 00:22:13,480 --> 00:22:14,240 play that one next. 406 00:22:14,400 --> 00:22:15,119 Speaker 11: Yeah, sounds good. 407 00:22:16,319 --> 00:22:18,960 Speaker 9: Has this been played on the radio before once? 408 00:22:19,279 --> 00:22:19,519 Speaker 11: Yeah? 409 00:22:20,319 --> 00:22:20,880 Speaker 9: Who played it? 410 00:22:21,839 --> 00:22:23,759 Speaker 11: I forget the station? It was in Portsmouth? 411 00:22:23,920 --> 00:22:24,319 Speaker 9: Oh really? 412 00:22:24,519 --> 00:22:24,680 Speaker 2: Oh? 413 00:22:24,960 --> 00:22:30,039 Speaker 9: Probably u W SCS. No, what's I know the station? 414 00:22:30,319 --> 00:22:32,240 I know the station that probably played it. Is it 415 00:22:32,279 --> 00:22:33,720 a station that plays a lot of a lot of 416 00:22:33,759 --> 00:22:36,599 independent artist Yeah? Yeah, I want to say SCS, but 417 00:22:36,680 --> 00:22:37,720 then I don't think that's right. 418 00:22:37,839 --> 00:22:40,079 Speaker 11: That doesn't sound right to me. But I honestly forget. 419 00:22:40,119 --> 00:22:41,599 I should remember. I feel bad about it. 420 00:22:41,599 --> 00:22:43,640 Speaker 9: I know the station you mean though, Okay, it's not 421 00:22:43,759 --> 00:22:46,519 that important, but I was scared I'm always curious anything 422 00:22:46,720 --> 00:22:49,720 radio related, and very curious about Let's play that. Here's 423 00:22:49,759 --> 00:22:51,720 what I think we should do. Let's play this. And 424 00:22:51,799 --> 00:22:53,599 while we're doing that, if you want to grab your guitar, 425 00:22:53,839 --> 00:22:55,039 and then when we come back from this, if you 426 00:22:55,079 --> 00:22:56,599 want to play something live for us down here, you 427 00:22:56,680 --> 00:22:59,000 play live. But uh so this is from and by 428 00:22:59,000 --> 00:23:00,039 the way, how long has this been out? O? 429 00:23:00,160 --> 00:23:02,279 Speaker 11: Northern Rails released at the end of August. 430 00:23:02,480 --> 00:23:05,480 Speaker 9: Okay, half a year? Okay, oh so relatively new great 431 00:23:05,640 --> 00:23:07,839 And this is the title track. All right, this is 432 00:23:08,079 --> 00:23:11,039 Northern Rails. This is Jason over Stein. Check it out. 433 00:23:59,480 --> 00:24:02,200 Speaker 3: When I was younger than I am today, the creature 434 00:24:02,279 --> 00:24:08,039 told me to ride on out of the station. Started 435 00:24:08,119 --> 00:24:11,279 off with everything. My mind was so at ease, but 436 00:24:11,400 --> 00:24:13,559 the clear blue sky obscured the night of the light 437 00:24:13,799 --> 00:24:32,839 from northern stars on distant trees. So I trained my summer. 438 00:24:32,599 --> 00:24:36,240 Speaker 4: Mine to turn northward. 439 00:24:36,319 --> 00:24:44,599 Speaker 3: At time, mountain rains snow intertwined, get lost in the climb, 440 00:24:45,680 --> 00:24:46,920 and I train. 441 00:24:47,640 --> 00:24:48,400 Speaker 5: All the time. 442 00:24:50,559 --> 00:24:52,400 Speaker 3: Life didn't pass me by. 443 00:24:53,960 --> 00:24:56,400 Speaker 4: Train and station. 444 00:24:58,519 --> 00:25:00,039 Speaker 5: Train a mile mile. 445 00:25:09,720 --> 00:25:10,440 Speaker 4: In the station. 446 00:25:15,039 --> 00:25:17,759 Speaker 3: The miles are getting longer now, the years are shorter, 447 00:25:17,880 --> 00:25:24,079 and the echos are getting louder. The winter starts to settle, 448 00:25:24,160 --> 00:25:27,319 and my branches start to crack, and the fatal pin 449 00:25:27,440 --> 00:25:29,839 beneath the skin keeps me lost and on the verge 450 00:25:29,839 --> 00:25:40,319 of turning back. It's still a train my summer mind 451 00:25:42,640 --> 00:25:50,440 to turn northward of time, mountain rain, snow intertwined, get 452 00:25:50,599 --> 00:25:56,119 lost in the climb, and a train on the town. 453 00:25:58,079 --> 00:26:03,680 Speaker 5: Life didn't pass me by, uh trip in the station. 454 00:26:11,559 --> 00:26:16,119 Speaker 3: Sometimes I'll hear a word or two from someone mystic 455 00:26:16,279 --> 00:26:19,000 that breaks me open and sparks the whole world of light. 456 00:26:20,319 --> 00:26:23,400 And other times I feel the prickings in my spine 457 00:26:24,440 --> 00:26:27,319 the roamas of a station I still wander and I've 458 00:26:27,480 --> 00:26:29,240 kept so carefully. 459 00:26:30,240 --> 00:26:32,799 Speaker 4: Out of mine. 460 00:26:53,680 --> 00:26:54,000 Speaker 5: Hmmm. 461 00:26:54,039 --> 00:26:56,599 Speaker 9: That is the South Battle track at Northern Rails from 462 00:26:57,079 --> 00:26:59,039 Jason Overseain and I love that. We were kind of 463 00:26:59,039 --> 00:27:02,039 talking off air about that, and I love that. You know, 464 00:27:02,359 --> 00:27:05,119 you really hear that CSN harmony, and you hear it 465 00:27:05,240 --> 00:27:07,079 right up front, you know, coming right out of the gate. 466 00:27:07,160 --> 00:27:10,440 That's the first thing vocally that you hear. That's so good, dude, 467 00:27:11,319 --> 00:27:12,039 love that, Love that. 468 00:27:12,200 --> 00:27:12,839 Speaker 11: Yeah, thanks Matt. 469 00:27:12,960 --> 00:27:16,440 Speaker 9: Absolutely, Jason's got his guitar and what are you gonna 470 00:27:16,440 --> 00:27:16,920 play for us? 471 00:27:17,160 --> 00:27:17,359 Speaker 2: Yeah? 472 00:27:17,359 --> 00:27:19,720 Speaker 11: I'm gonna play a new tune. I had two new 473 00:27:19,799 --> 00:27:22,839 ones coming in, and I just five seconds ago picked 474 00:27:22,880 --> 00:27:25,559 the one I'm gonna plays, called Ultraviolet Maroon. It's the 475 00:27:25,640 --> 00:27:28,160 most recent one I've written. It's on YouTube, but it's 476 00:27:28,240 --> 00:27:30,000 not like recorded on Spotify or anything. 477 00:27:30,079 --> 00:27:33,480 Speaker 9: So okay, very good, Jason Oberstein, live in studio. 478 00:27:51,519 --> 00:27:51,680 Speaker 6: Here. 479 00:27:51,799 --> 00:27:59,400 Speaker 3: I am stuck in my ways again, twenty six years 480 00:28:00,119 --> 00:28:09,279 honed my touch. Wildflowers billow upwards on a bright desert night. 481 00:28:13,599 --> 00:28:21,119 Yellow maroon sharpens my mind for me. Pale bud breathing turquoise, 482 00:28:21,319 --> 00:28:23,240 strumming my guitar. 483 00:28:26,720 --> 00:28:28,039 Speaker 5: Hart this yarden. 484 00:28:28,200 --> 00:28:30,480 Speaker 11: I know, deep in my. 485 00:28:30,599 --> 00:28:32,880 Speaker 3: Soul, you. 486 00:28:34,480 --> 00:28:36,039 Speaker 5: Show me more. 487 00:28:40,319 --> 00:28:42,680 Speaker 3: And even when the stems and the petals start to 488 00:28:42,839 --> 00:28:43,960 bury me down. 489 00:28:43,799 --> 00:28:59,599 Speaker 5: Below, you show me more when you pay that. 490 00:29:01,839 --> 00:29:02,200 Speaker 4: Notes. 491 00:29:02,359 --> 00:29:03,680 Speaker 5: I've never sunk. 492 00:29:05,359 --> 00:29:12,759 Speaker 3: Ultra by the move stray from the sun. I give 493 00:29:12,799 --> 00:29:18,440 you someone like you show me what's true. I could 494 00:29:18,519 --> 00:29:25,799 learn a lot from you. I could learn a lot 495 00:29:26,000 --> 00:29:41,559 from you. Yeah, it's funny how the world goes, just 496 00:29:41,720 --> 00:29:48,400 as it comes, sacred sand slipping through our toes below us, 497 00:29:51,640 --> 00:30:01,440 And on this dim desert morning, I shine, sweet sweet 498 00:30:01,519 --> 00:30:07,920 my noise in my ears again, a deep, deep, violet 499 00:30:08,039 --> 00:30:15,680 Rose is warming my troubled heart. All these colors they flow, 500 00:30:16,799 --> 00:30:23,480 but I can't let go. You show me more. 501 00:30:25,440 --> 00:30:32,599 Speaker 5: When you play that too? Oh that too? Not side 502 00:30:32,799 --> 00:30:33,440 never Sun? 503 00:30:35,359 --> 00:30:37,119 Speaker 4: Won't you buy the maroon. 504 00:30:38,599 --> 00:30:43,240 Speaker 5: Strayed from the Sun when you dance that way? 505 00:30:44,640 --> 00:30:51,799 Speaker 3: The colors calm undone, don't you buy the maroon Shining 506 00:30:52,079 --> 00:30:57,599 Light the Sun. I'll get you someone like you to 507 00:30:57,759 --> 00:31:03,000 show me what's true. I could learn a lot from you. 508 00:31:07,960 --> 00:31:34,359 I could learn a lot from you. Someday I'll comera, 509 00:31:38,240 --> 00:31:48,920 I'll unlock that door, step inside myself. 510 00:31:50,240 --> 00:32:04,480 Speaker 4: And see that color show. Yes, you show more, Yeah, you. 511 00:32:06,319 --> 00:32:17,599 Speaker 5: Show me more when you play that tune. Note side 512 00:32:18,480 --> 00:32:24,559 never Sun. Don't you buy the movie stray from the 513 00:32:24,720 --> 00:32:31,519 Sun when you danced that way? Becaulors come, I'm done. 514 00:32:33,400 --> 00:32:38,119 Don't you buy the movie Shot a Light the Sun? 515 00:32:40,000 --> 00:32:44,680 Don't you buy the movie shot a Light the Sun? 516 00:32:47,039 --> 00:32:48,599 Sad you one like you? 517 00:32:49,319 --> 00:32:54,480 Speaker 3: Show me what's true. I can learn a lot from it. 518 00:32:59,559 --> 00:33:01,240 I can learn a lot from you. 519 00:33:02,799 --> 00:33:07,920 Speaker 5: Show me mom son, learn a lot from you. 520 00:33:09,559 --> 00:33:11,359 Speaker 4: Show me more. 521 00:33:12,839 --> 00:33:20,319 Speaker 5: Sockn learn a laugh from you. I can learn a 522 00:33:20,440 --> 00:33:30,519 laugh from learn a laugh on you. When you danced 523 00:33:30,599 --> 00:33:34,359 that with it sound learn a laugh from you. 524 00:33:43,359 --> 00:33:45,480 Speaker 9: Oh that was so good. I love it. And that's 525 00:33:45,519 --> 00:33:49,559 brand new. Yeah, brand new. Jason oberseein live in studio 526 00:33:49,680 --> 00:33:52,279 with us if you are just joining us, said yeah, 527 00:33:52,359 --> 00:33:56,039 that was so cool. Thank you for playing us awesome, absolutely, absolutely, 528 00:33:56,119 --> 00:33:59,319 really really good. By the way, Judy Finn sent us 529 00:33:59,400 --> 00:34:02,960 an instant message and says love your sound, Jason see 530 00:34:03,039 --> 00:34:06,680 thanks absolutely. Also, Bags Ballin is in the chat says 531 00:34:07,400 --> 00:34:12,480 rock On, great interview. Let's see Rob Dieon. Also in 532 00:34:12,559 --> 00:34:14,760 the chat room, Rob hosts a show here at w 533 00:34:15,039 --> 00:34:17,960 m n H through the stage door. So welcome Rob. 534 00:34:19,039 --> 00:34:21,239 Let's see somebody. Oh, and Rocky Huber is in the 535 00:34:21,320 --> 00:34:24,280 Facebook live chat. Rocky says, we need to interview Matt Connorton, 536 00:34:24,360 --> 00:34:26,880 the artist. He has many hits. He's a humble guy. 537 00:34:27,519 --> 00:34:30,000 I do have many hits. I'm kidding, I have no hits. 538 00:34:31,920 --> 00:34:35,960 Trust me pretty good. So I think we should from there. 539 00:34:36,039 --> 00:34:38,480 Why don't we? We'll play another studio track and it'll 540 00:34:38,519 --> 00:34:40,800 give you a chance to to put your guitar away. 541 00:34:41,079 --> 00:34:42,800 What should we But I'm gonna let you pick, Jason, 542 00:34:42,800 --> 00:34:45,519 what should we play next? You've got all these different projects. 543 00:34:45,920 --> 00:34:49,880 Speaker 11: Yeah, let's let's do let's switch it up. Let's do something. 544 00:34:50,840 --> 00:34:54,440 Let's see the one called Through, which is a project 545 00:34:54,480 --> 00:34:56,239 of mine. It was just like a literally a two 546 00:34:56,280 --> 00:34:58,360 week project of mine called Tuning the Western Wood. 547 00:34:58,599 --> 00:34:58,880 Speaker 9: Okay. 548 00:34:59,320 --> 00:35:00,800 Speaker 11: It was a duo between me and one of my 549 00:35:00,840 --> 00:35:04,320 oldest friends, Jeremy Oh. We like decided to do this 550 00:35:04,559 --> 00:35:06,639 little album together. We like locked ourselves in a house 551 00:35:06,679 --> 00:35:09,760 for like two weeks and then out popped like thirteen 552 00:35:09,960 --> 00:35:10,559 ish songs. 553 00:35:10,800 --> 00:35:12,800 Speaker 9: Oh okay, and this is one of them. Yeah. 554 00:35:12,880 --> 00:35:16,039 Speaker 11: Yeah, it's a much lower production quality than so just 555 00:35:16,159 --> 00:35:16,760 be ready for that. 556 00:35:16,880 --> 00:35:19,480 Speaker 9: I like, well, I like the low fi. I think 557 00:35:19,519 --> 00:35:23,400 it's kind of cool actually, so yeah, let's check this out. Okay, 558 00:35:23,559 --> 00:35:24,400 this is Through. 559 00:35:24,559 --> 00:35:26,719 Speaker 11: And what was the name of the project again, Tuning 560 00:35:26,800 --> 00:35:27,760 the Western Wood. 561 00:35:27,760 --> 00:35:29,920 Speaker 9: Tuning the Western Wood. Check it out. 562 00:35:41,239 --> 00:35:59,159 Speaker 7: Can see, can see thou. 563 00:35:58,119 --> 00:35:58,920 Speaker 4: Can see. 564 00:36:03,039 --> 00:36:13,239 Speaker 3: Far away, flower booms for you, petals curl. 565 00:36:14,760 --> 00:36:24,239 Speaker 4: In the morndo, the love passes through. 566 00:36:27,920 --> 00:36:37,000 Speaker 3: Talk to me, lay me down long, lie to me, 567 00:36:40,000 --> 00:36:45,760 let your tongue phone, your soft. 568 00:36:45,920 --> 00:37:06,320 Speaker 4: Words stirring true. I can see through. I can see. 569 00:37:35,440 --> 00:37:47,679 Speaker 3: Neath the sun, neath the chido, beneath the wind and 570 00:37:47,960 --> 00:39:20,079 the mano. The earth sings silent tune otamized through your wind, 571 00:39:20,880 --> 00:39:26,199 low colors, swirl. 572 00:39:27,639 --> 00:39:29,960 Speaker 4: In the wind flow. 573 00:39:31,920 --> 00:39:45,880 Speaker 6: In your soft gaze, grand blue. Take your veil, O, don. 574 00:39:49,239 --> 00:39:58,639 Speaker 4: Take your smile and it's soft. Let your cool. 575 00:40:01,440 --> 00:40:01,760 Speaker 2: See you. 576 00:40:09,920 --> 00:40:19,159 Speaker 4: Can see, can seeze. 577 00:40:45,079 --> 00:40:48,800 Speaker 9: I like that very much, absolutely, it is. Yeah, that 578 00:40:48,960 --> 00:40:52,280 is called through from tuning the Western Wood. Did I 579 00:40:52,280 --> 00:40:52,679 get away? 580 00:40:52,840 --> 00:40:55,960 Speaker 11: Yes, so that name is like I mentioned Jeremy as 581 00:40:55,960 --> 00:40:56,880 one of my oldest friends. 582 00:40:57,079 --> 00:40:57,679 Speaker 9: Yeah, we were. 583 00:40:58,000 --> 00:41:00,920 Speaker 11: We grew up together in our hometown of Westwood. Okay, 584 00:41:01,039 --> 00:41:03,159 so kind of paying homage to that name. 585 00:41:03,280 --> 00:41:05,360 Speaker 9: Oh, I got you, I got youa Westwood? Where is that? 586 00:41:05,800 --> 00:41:07,039 Speaker 11: It's outside of Boston. 587 00:41:06,840 --> 00:41:08,119 Speaker 9: Okay, yeah, I've never even heard of it. 588 00:41:08,199 --> 00:41:09,199 Speaker 11: Yeah, yeah, it's a small town. 589 00:41:09,280 --> 00:41:12,239 Speaker 9: Okay, very good, very good. If you are just joining us, 590 00:41:12,480 --> 00:41:15,920 Jason Overstein is here with us live in studio and 591 00:41:16,199 --> 00:41:20,480 uh yeah, so that's so so obviously so it's the 592 00:41:20,519 --> 00:41:22,880 two of you, it's it's the two of you on 593 00:41:22,960 --> 00:41:25,199 vocals and are you both playing guitars? Yeah yeah, And 594 00:41:25,280 --> 00:41:27,559 it was all done live. Yeah yeah, so the stick 595 00:41:27,599 --> 00:41:29,239 of that out. That was sort of my first foray 596 00:41:29,280 --> 00:41:32,280 into music production. And yeah, we still like four mics, 597 00:41:32,320 --> 00:41:34,079 you know, two for vocals, two for guitars, and then 598 00:41:34,079 --> 00:41:36,440 a rim mic and then yeah, each song on there 599 00:41:36,559 --> 00:41:39,079 is like one continuous take, no overdobes or anything. 600 00:41:39,159 --> 00:41:40,679 Speaker 11: Wow, that's kind of the stick. 601 00:41:41,000 --> 00:41:44,440 Speaker 9: When you were they were able to nail them in 602 00:41:44,920 --> 00:41:46,400 one take. No, most of them are. 603 00:41:46,519 --> 00:41:49,800 Speaker 11: No, I would, but this always happens with recording projects. 604 00:41:49,880 --> 00:41:52,119 For most of these songs, you know, we spent two 605 00:41:52,159 --> 00:41:53,840 weeks together. Yeah, and so we were kind of like 606 00:41:53,840 --> 00:41:56,880 writing orchestrating then recording as we were going. Yeah, most 607 00:41:56,920 --> 00:41:58,480 of them were recorded on the very last day. 608 00:41:58,679 --> 00:41:59,960 Speaker 9: Oh okay, yeah, okay. 609 00:42:00,360 --> 00:42:01,920 Speaker 11: I feel like the more you play them, the better 610 00:42:02,000 --> 00:42:03,760 they get. And then yeah, I don't know, so I 611 00:42:03,800 --> 00:42:06,239 feel some musicians like burn out from doing takes on 612 00:42:06,400 --> 00:42:08,559 takes on takes. Oh yeah, personally, I feel like I 613 00:42:08,679 --> 00:42:10,800 just get better and yeah, it's always the last take 614 00:42:10,840 --> 00:42:11,039 for me. 615 00:42:11,400 --> 00:42:14,679 Speaker 9: Yeah. Yeah, some musicians will will tell you something different. 616 00:42:14,800 --> 00:42:17,760 I mean, everybody's different, obviously, but yeah, I've I've heard 617 00:42:17,840 --> 00:42:19,519 some people say, you know, in the studio, if you're 618 00:42:19,559 --> 00:42:22,400 doing if there comes a point where you know, you 619 00:42:22,480 --> 00:42:24,480 get fatigued, if you're doing too many takes, and then 620 00:42:24,519 --> 00:42:26,360 it you know, it might not be that you're not 621 00:42:26,400 --> 00:42:28,360 playing as well or not singing as well, but there's 622 00:42:28,360 --> 00:42:30,880 a point where maybe you feel like you lose a 623 00:42:30,920 --> 00:42:33,400 little bit of the spontaneity of it that you might 624 00:42:33,440 --> 00:42:38,519 be looking for. But but yeah, everybody's different. So now 625 00:42:38,599 --> 00:42:41,519 that's Uh, do you have plans to release anything else 626 00:42:41,599 --> 00:42:43,440 with him or or was that kind of a one. 627 00:42:43,360 --> 00:42:45,039 Speaker 11: Time plans right now? It was kind of a one 628 00:42:45,119 --> 00:42:46,920 time thing. But you know, we're still friends, we still 629 00:42:46,920 --> 00:42:49,199 play together. So yeah, I've been trying to like play 630 00:42:49,280 --> 00:42:51,880 show with him. Yeah, but he doesn't really perform out much. 631 00:42:52,000 --> 00:42:54,440 Oh really, Okay, if you're listening, Jeremy, the onus is 632 00:42:54,480 --> 00:42:56,199 on you. You got to you gotta come to Boston 633 00:42:56,239 --> 00:42:57,480 and we got to book a show together. 634 00:42:57,679 --> 00:42:59,880 Speaker 9: Yeah, come on, Jeremy, I want to hear that live. 635 00:43:00,079 --> 00:43:04,760 That's that's really good. Yeah, really really good. Now what 636 00:43:05,119 --> 00:43:07,840 h So are you playing out a lot now these days? 637 00:43:08,239 --> 00:43:08,440 Speaker 6: Yeah? 638 00:43:08,519 --> 00:43:12,719 Speaker 9: Sometimes sometimes in winter musicians hybernate, Yeah, yeah for sure. 639 00:43:12,920 --> 00:43:13,119 Speaker 8: Yeah. 640 00:43:13,880 --> 00:43:16,360 Speaker 11: Uh yeah. I mean I have like all my projects, 641 00:43:16,400 --> 00:43:19,199 and I feel like each project plays like once a month, 642 00:43:19,320 --> 00:43:21,039 twice a month, and so for me, it ends up 643 00:43:21,079 --> 00:43:23,559 being like an average of I like my schedule right 644 00:43:23,599 --> 00:43:25,480 now is like an average of once a week for 645 00:43:25,559 --> 00:43:27,039 the next couple of months, which is pretty good for me. 646 00:43:27,079 --> 00:43:28,880 I'd like to play. I want to play as much 647 00:43:28,880 --> 00:43:30,920 as possible, So yeah, I'm trying to book more. But 648 00:43:31,039 --> 00:43:32,239 that's sort of how it is right now. 649 00:43:32,440 --> 00:43:35,039 Speaker 9: Summer must be very busy for you because that's kind 650 00:43:35,039 --> 00:43:37,079 of everyone's busiest time as far as it's busy. 651 00:43:37,119 --> 00:43:39,480 Speaker 11: But also like some people are like out of town 652 00:43:39,599 --> 00:43:41,960 on trips and stuff, so maybe it's harder to coordinate 653 00:43:42,000 --> 00:43:44,079 with the bands. Yeah, yeah, there's a trade off there. 654 00:43:44,000 --> 00:43:46,400 Speaker 9: But yeah, that's true. Now, are you playing anywhere this 655 00:43:46,480 --> 00:43:47,639 weekend that we should mention? 656 00:43:48,360 --> 00:43:50,559 Speaker 11: Yeah, so so two things. So the big thing for 657 00:43:50,639 --> 00:43:52,679 me is I don't play too many like solo shows. 658 00:43:52,679 --> 00:43:54,639 I'm trying to play more. But I actually have one 659 00:43:54,719 --> 00:43:57,880 coming up this week. It's on Thursday. It's in Melrose. 660 00:43:58,599 --> 00:44:00,960 They're sort of doing this like in or porch fist 661 00:44:01,239 --> 00:44:04,599 kind of thing. Oh okay, Yeah, it's this community center 662 00:44:04,639 --> 00:44:06,880 called Follow Your Art and yeah, I'm playing like an 663 00:44:06,920 --> 00:44:07,679 hour long set there. 664 00:44:07,800 --> 00:44:08,039 Speaker 9: Cool. 665 00:44:08,239 --> 00:44:10,440 Speaker 11: You can find tickets on my website, just like Jason 666 00:44:10,480 --> 00:44:13,639 Oberstein dot com. Yeah, and then if you can't make 667 00:44:13,639 --> 00:44:17,039 it out to that tonight, I'm playing with the Jill 668 00:44:17,119 --> 00:44:19,880 McCracken project and that's going to be at the Middle 669 00:44:19,920 --> 00:44:21,920 East and uh, right in Central Square in game. 670 00:44:22,000 --> 00:44:22,679 Speaker 9: Oh, very cool. 671 00:44:23,119 --> 00:44:25,960 Speaker 11: That's somebody I've heard of, Jill McCracken. 672 00:44:26,159 --> 00:44:29,199 Speaker 9: Yeah, but I'm not not too familiar. Yeah. 673 00:44:29,239 --> 00:44:31,800 Speaker 11: That radio station we mentioned. 674 00:44:31,599 --> 00:44:34,519 Speaker 9: Earlier, that oh w W s c A inports. 675 00:44:34,800 --> 00:44:37,480 Speaker 11: Yeah, I was introduced to them because Jill. I was 676 00:44:37,559 --> 00:44:40,519 there with Jill McCracken playing a set. Oh okay, yeah, 677 00:44:41,000 --> 00:44:42,679 so maybe maybe you heard it there. 678 00:44:42,719 --> 00:44:45,639 Speaker 9: Probably Yeah, yeah that makes sense. Well, by the way, too, 679 00:44:45,639 --> 00:44:47,440 I was looking at your website. So you also give 680 00:44:47,440 --> 00:44:49,360 a guitar lesson I do. Yeah, we should, Yeah, we 681 00:44:49,360 --> 00:44:52,320 should plug that if people people want less Yeah. 682 00:44:52,400 --> 00:44:52,599 Speaker 1: Yeah. 683 00:44:54,360 --> 00:44:56,800 Speaker 9: Do you uh, do you work with a wide range 684 00:44:56,840 --> 00:44:59,159 of students like you work with because a lot of 685 00:44:59,480 --> 00:45:02,320 a lot of good teachers I've met, you know, some 686 00:45:02,639 --> 00:45:05,800 only work with with beginners, and some work with people 687 00:45:05,800 --> 00:45:07,800 who are more advanced but just want to kind of 688 00:45:08,599 --> 00:45:10,719 you know, obviously, you know a lot of guitar players 689 00:45:10,719 --> 00:45:13,880 they hit a certain level and then they get stuck 690 00:45:13,960 --> 00:45:16,360 and they want to advance more, but maybe they get stuck. 691 00:45:16,360 --> 00:45:19,280 I mean, do you work with a range of Yeah. 692 00:45:19,119 --> 00:45:21,000 Speaker 11: I definitely work with a range of people. I'd say, 693 00:45:21,079 --> 00:45:24,360 like my most like My most common student is like 694 00:45:24,559 --> 00:45:27,199 an adult who's a beginner. Yeah, but I also work 695 00:45:27,239 --> 00:45:31,559 with kids. I work with like older folks and yeah, 696 00:45:31,920 --> 00:45:32,440 all levels. 697 00:45:32,679 --> 00:45:33,239 Speaker 9: Yeah he me. 698 00:45:33,400 --> 00:45:35,719 Speaker 11: Uh you can like visit my website, shoot me an 699 00:45:35,719 --> 00:45:37,000 email which is on my website. 700 00:45:37,800 --> 00:45:43,000 Speaker 9: Yeah anything, Yeah, Jason oversetin dot com. What I took 701 00:45:43,119 --> 00:45:46,159 lessons When I was a kid, I started out on guitar, 702 00:45:46,320 --> 00:45:49,360 but then I ended up switching to bass because unfortunately, 703 00:45:50,320 --> 00:45:52,519 and it frustrates me about myself, but growing up, I 704 00:45:52,599 --> 00:45:54,639 was one of those kind of lazy kids who if 705 00:45:54,679 --> 00:45:56,599 I wasn't good at something quickly enough, I would give 706 00:45:56,679 --> 00:45:58,760 up on it and just move on to another thing. 707 00:45:58,840 --> 00:45:59,880 Speaker 11: I'm kind of like that, honestly. 708 00:46:00,159 --> 00:46:02,000 Speaker 9: Really, you don't seem like it, you see, you seem 709 00:46:02,039 --> 00:46:03,199 pretty pretty motivated. 710 00:46:03,440 --> 00:46:05,360 Speaker 11: I'm motivated with the things I'm already getting. 711 00:46:05,880 --> 00:46:09,599 Speaker 9: Okay, okay, fair fair enough. But uh yeah, So I 712 00:46:09,719 --> 00:46:12,920 wasn't progressing fast enough on guitar, so I got frustrated 713 00:46:13,159 --> 00:46:14,679 and I sort of gave up. And then in high 714 00:46:14,679 --> 00:46:17,119 school I picked up a bass and it was and 715 00:46:17,199 --> 00:46:18,960 I know bass players hate when I say this, but 716 00:46:19,440 --> 00:46:21,719 it was this was my experience. I'm just being honest. 717 00:46:22,239 --> 00:46:23,719 I picked up a bass and I seem to have 718 00:46:23,760 --> 00:46:26,480 a feel for it pretty quickly. And I remember thinking 719 00:46:26,920 --> 00:46:29,320 to less strings and I don't have to know any chords. 720 00:46:29,639 --> 00:46:31,760 I think I found my instrument, and it turned out 721 00:46:31,800 --> 00:46:32,920 I did because I you know, I went on to 722 00:46:32,960 --> 00:46:34,639 play in a bunch of bands and whatnot. But but 723 00:46:34,760 --> 00:46:36,480 that was kind of my experience with it. Like I 724 00:46:37,079 --> 00:46:41,559 I really struggled with theory and and uh, never really 725 00:46:41,599 --> 00:46:45,559 did learn theory correctly. Fortunately, I have a good ear, 726 00:46:45,679 --> 00:46:47,280 so I can, you know, like on the bass, I 727 00:46:47,320 --> 00:46:50,679 can figure out a bassline and play it. But but yeah, 728 00:46:50,719 --> 00:46:52,440 that was that was my experience with it. But I 729 00:46:52,639 --> 00:46:54,960 did take I did take lessons from some good people. 730 00:46:55,119 --> 00:46:59,159 But but that's that's cool though that Uh, like, like, 731 00:46:59,239 --> 00:47:01,360 how many students are you working with at any one time? 732 00:47:02,079 --> 00:47:04,079 Speaker 11: Yeah, right now I have like six or seven excellent. 733 00:47:04,360 --> 00:47:06,480 I'm trying to expand to about like ten to twelve 734 00:47:06,480 --> 00:47:07,400 I think would be a good number. 735 00:47:07,480 --> 00:47:10,239 Speaker 9: Good good, yeah, good for you. Do you do you 736 00:47:10,400 --> 00:47:13,079 work at uh, do you give lessons at a music 737 00:47:13,119 --> 00:47:13,679 shop or do. 738 00:47:13,679 --> 00:47:13,960 Speaker 13: You do that? 739 00:47:14,679 --> 00:47:15,159 Speaker 9: St right? 740 00:47:15,280 --> 00:47:16,920 Speaker 11: Well, So some people come to me just like my 741 00:47:17,039 --> 00:47:18,760 living room, and then I go to some people sort 742 00:47:18,800 --> 00:47:19,800 of depending on the location. 743 00:47:20,039 --> 00:47:22,440 Speaker 9: Yeah. Oh that's really cool. Yeah, good for you. Good 744 00:47:22,480 --> 00:47:25,679 for you. Geez. Do you ever think about working at 745 00:47:25,679 --> 00:47:26,519 Berkeley or something? 746 00:47:26,760 --> 00:47:30,199 Speaker 11: No, No, I don't know if I'm qualified. 747 00:47:30,360 --> 00:47:33,039 Speaker 9: Yeah, yeah, you might be. I don't know. I don't know. Well, 748 00:47:33,159 --> 00:47:35,199 we are approaching the top of the hour and I 749 00:47:35,280 --> 00:47:37,199 want to make sure we get one more studio track in. 750 00:47:37,639 --> 00:47:40,639 But where is the best place for people to go online? 751 00:47:40,719 --> 00:47:41,840 Jasonoverstin dot com. 752 00:47:42,320 --> 00:47:44,360 Speaker 11: Yeah, so that's my way. I'd say the probably the 753 00:47:44,400 --> 00:47:47,960 number one place is Instagram Jason dot Overstein, okay, on Instagram, 754 00:47:48,039 --> 00:47:50,320 and then yeah, number two is Jasonoverstein dot com. And 755 00:47:50,480 --> 00:47:52,400 from the website you can see my instagram. My YouTube 756 00:47:52,440 --> 00:47:54,320 is linked there. But yeah, but that's pretty much it. 757 00:47:54,400 --> 00:47:56,800 It's like my Instagram and you know, you can find 758 00:47:56,800 --> 00:47:58,880 me on Spotify just type in my name Jason Overstein. 759 00:47:59,079 --> 00:47:59,280 Speaker 13: Yeah. 760 00:47:59,400 --> 00:48:03,599 Speaker 9: Yeah, excellent. Man, Uh, what should we close out the 761 00:48:03,679 --> 00:48:05,519 segment with. I'll let you pick again. 762 00:48:05,679 --> 00:48:07,039 Speaker 11: Oh, man, just just one more. 763 00:48:07,880 --> 00:48:09,920 Speaker 9: Well I might be able to fit to and actually 764 00:48:09,960 --> 00:48:10,679 go ahead and pick two. 765 00:48:11,800 --> 00:48:13,840 Speaker 11: Yeah, let's do the paper cup party. 766 00:48:14,280 --> 00:48:15,719 Speaker 9: Paper cup party, okay. 767 00:48:15,719 --> 00:48:18,239 Speaker 11: And then followed by Blue Mark Blues. 768 00:48:18,239 --> 00:48:21,400 Speaker 9: Blue Mark Blues. Okay, so we will I'm gonna cue 769 00:48:21,519 --> 00:48:23,880 those up. And while I'm doing that, Jenny, we should 770 00:48:23,880 --> 00:48:25,079 remind everybody what we're doing. 771 00:48:25,159 --> 00:48:27,719 Speaker 10: Later, we will be at the Mosaic Aren't Collective for 772 00:48:27,760 --> 00:48:30,079 the opening of the Illusions. 773 00:48:31,039 --> 00:48:32,239 Speaker 9: Yeestion collection. 774 00:48:34,239 --> 00:48:36,719 Speaker 10: Join us tonight from four to eight pm at the 775 00:48:36,920 --> 00:48:40,119 Daily Mirror building at sixty six Hanover Street, Sweep two 776 00:48:40,400 --> 00:48:42,960 one here in the Queens City for the Mosaic are 777 00:48:43,039 --> 00:48:49,280 Collective Illusions and Exploration and Optical Illusions, Anamorphic Surrealism, black 778 00:48:49,400 --> 00:48:52,880 Lights and three dr Yes and for more on me 779 00:48:53,079 --> 00:48:54,360 go to Gencoffee dot com. 780 00:48:54,559 --> 00:48:56,400 Speaker 4: J E N N co O F F E y 781 00:48:56,760 --> 00:48:57,159 dot com. 782 00:48:57,519 --> 00:49:00,159 Speaker 9: Yes, Yes, looking forward to that and congratulations again and 783 00:49:00,280 --> 00:49:03,360 having one of your pieces chosen for that. Very proud Yes, 784 00:49:03,519 --> 00:49:05,880 Mosaic Art Collective, and thank you everyone who joined us today. 785 00:49:05,880 --> 00:49:07,920 Of course Rivia in the first hour and then in 786 00:49:08,000 --> 00:49:10,119 the second hour we had Kate Shimkey along with Aaron 787 00:49:10,199 --> 00:49:12,440 and Nick and Tyler all Good was here with us 788 00:49:12,719 --> 00:49:15,519 and Jason. Thank you again man, you sound incredible. Thank 789 00:49:15,559 --> 00:49:17,280 you for playing live for us. That was amazing. 790 00:49:17,840 --> 00:49:18,960 Speaker 11: Yeah, thanks so much for having me. 791 00:49:19,119 --> 00:49:21,840 Speaker 9: Absolutely absolutely, it's wonderful. We will do this again in 792 00:49:21,880 --> 00:49:23,760 the future. You're a busy guy, so I have no 793 00:49:23,840 --> 00:49:26,360 doubt you'll have things to talk about in the future 794 00:49:26,400 --> 00:49:28,800 as well. So, so this has been great and we'll 795 00:49:29,320 --> 00:49:31,199 we'll close out with now paper Cup party? 796 00:49:31,320 --> 00:49:31,440 Speaker 6: Is that? 797 00:49:31,719 --> 00:49:33,559 Speaker 9: Uh one of the Which band is that? 798 00:49:33,679 --> 00:49:35,800 Speaker 11: Yeah? So this is the Flying Turtle Band. This is 799 00:49:35,840 --> 00:49:36,920 my first Boston. 800 00:49:36,599 --> 00:49:38,239 Speaker 9: Band, your first Boston band, Okay. 801 00:49:38,280 --> 00:49:40,679 Speaker 11: So it's like a danceable jam band. And I didn't 802 00:49:40,679 --> 00:49:43,000 write this song, but it was written by our awesome 803 00:49:43,000 --> 00:49:45,679 bass player, Okay, but it is a lot of nice 804 00:49:45,760 --> 00:49:46,519 lead guitar on it. 805 00:49:46,679 --> 00:49:48,719 Speaker 9: Okay, very cool. So we're gonna spin that and I'm 806 00:49:48,719 --> 00:49:50,920 gonna try to fit in Blue Mark Blues too. And 807 00:49:51,320 --> 00:49:52,199 which band is that? 808 00:49:52,360 --> 00:49:55,920 Speaker 11: That's from Northern Rails. That's like a crowd favorite of mine. Oh, 809 00:49:56,119 --> 00:49:57,400 very cool, feel like I had to play that on 810 00:49:57,440 --> 00:49:57,760 the radio. 811 00:49:58,079 --> 00:50:00,360 Speaker 9: Very cool. All right, So we're gonna spin and if 812 00:50:00,400 --> 00:50:01,920 you missed any part of today's show, and we'll be 813 00:50:02,000 --> 00:50:04,760 up in just a little bit at wmn hradio dot org, 814 00:50:05,119 --> 00:50:08,519 a at my website Matt Connorton dot com. And that's 815 00:50:08,559 --> 00:50:10,280 gonna do it for us for now. We will talk 816 00:50:10,320 --> 00:50:11,679 to you a little bit later. Bye everybody. 817 00:50:24,440 --> 00:50:28,159 Speaker 1: Oo, Mama, I'm not who I said. 818 00:50:28,280 --> 00:50:33,599 Speaker 14: I I'm a little bit over complicated, a little bit 819 00:50:33,840 --> 00:50:34,519 hard to be. 820 00:50:36,159 --> 00:50:37,239 Speaker 2: Boo Daddy. 821 00:50:37,840 --> 00:50:40,320 Speaker 5: I did not turn out quite like you. 822 00:50:41,960 --> 00:50:48,719 Speaker 4: Put a little spin of bone man, But don't make 823 00:50:48,960 --> 00:50:49,440 me go. 824 00:50:51,000 --> 00:50:52,519 Speaker 1: Don't make me go. 825 00:50:53,920 --> 00:50:57,920 Speaker 14: I get my chance, hold me up, single vets and 826 00:50:58,199 --> 00:50:59,239 paper comes. 827 00:50:59,800 --> 00:51:02,119 Speaker 1: I get my chance, blow it up. 828 00:51:02,880 --> 00:51:03,880 Speaker 2: Turn your. 829 00:51:20,519 --> 00:51:24,039 Speaker 1: Clocks is half past three. Now I got break lines 830 00:51:24,119 --> 00:51:24,800 in front of me. 831 00:51:26,239 --> 00:51:32,679 Speaker 5: But now I should be crossing back to Jersey. But 832 00:51:32,960 --> 00:51:34,880 I'm just trying to work out. 833 00:51:35,079 --> 00:51:40,679 Speaker 14: Souls fill my mind. And I'm lying when I said, mena, 834 00:51:43,679 --> 00:51:50,320 but don't make me go. Don't make me go, hag, 835 00:51:50,400 --> 00:51:54,800 get my chance, blow it up, single reds and paper, 836 00:51:55,039 --> 00:51:56,400 cups of hang. 837 00:51:56,320 --> 00:51:58,239 Speaker 1: In my chance, blow it up. 838 00:51:58,960 --> 00:52:01,679 Speaker 4: Turn you all all. 839 00:52:02,960 --> 00:52:03,519 Speaker 2: Whoa. 840 00:52:04,920 --> 00:52:13,239 Speaker 1: Charge all who jogiz all? 841 00:52:19,960 --> 00:52:28,719 Speaker 2: Then I don't know. 842 00:53:33,840 --> 00:53:43,559 Speaker 1: I get not chance, blow me up. Second dance says. 843 00:53:45,960 --> 00:53:48,360 Speaker 2: I get that chest blow us? 844 00:53:51,960 --> 00:53:52,800 Speaker 3: Do you. 845 00:53:57,920 --> 00:54:00,320 Speaker 8: I get my chest up? 846 00:54:01,000 --> 00:54:11,840 Speaker 1: Shut whoa. 847 00:54:17,320 --> 00:54:28,880 Speaker 2: Whoa will? 848 00:54:28,960 --> 00:54:31,360 Speaker 5: I was born in Tennessee. 849 00:54:32,559 --> 00:54:35,039 Speaker 3: My daddy was an oak tree, big guy's an oak 850 00:54:35,119 --> 00:54:39,320 could be. He treated me fine and I had no worry, 851 00:54:40,840 --> 00:54:44,719 and a bigger in leeds grew about canopy. And then 852 00:54:44,800 --> 00:54:49,360 one day you went someone shining. A man came up, 853 00:54:49,920 --> 00:54:53,880 putting out a bucket and brush you mind about daddy 854 00:54:53,880 --> 00:54:55,199 with a big blue talent, said. 855 00:54:55,039 --> 00:54:56,880 Speaker 13: They need a more fire with down him about it, 856 00:54:57,039 --> 00:55:01,480 and now I'm feed a little blue markers Bloemar Blue, 857 00:55:02,519 --> 00:55:05,559 Bloemar blue, Oh blue ass. 858 00:55:05,599 --> 00:55:06,280 Speaker 5: The Myna river. 859 00:55:06,199 --> 00:55:09,679 Speaker 3: Running round through my room, well said he mark about 860 00:55:09,719 --> 00:55:11,519 daddy with a big blue Tali said, they need a 861 00:55:11,599 --> 00:55:12,239 more fire. 862 00:55:12,199 --> 00:55:15,199 Speaker 13: Downriver valley, and now I'm feeling those bloom Martin. 863 00:55:16,360 --> 00:55:23,119 Speaker 5: Well, I had a girl she followed me gaming a company. 864 00:55:24,199 --> 00:55:27,039 Speaker 4: Well, the blue mar blue was following her. 865 00:55:28,320 --> 00:55:30,840 Speaker 5: Hold the camera out, shotter her down to the dirt. 866 00:55:31,920 --> 00:55:36,480 Speaker 11: Now seems to me everywhere I go, all the big. 867 00:55:36,360 --> 00:55:38,960 Speaker 3: Old trees coming down road by row. 868 00:55:40,360 --> 00:55:42,480 Speaker 5: She's the big man's coming with the chins are running 869 00:55:42,519 --> 00:55:44,199 and he won't go back to he's doing within the 870 00:55:44,239 --> 00:55:47,039 cotton living there with those blue Martin. 871 00:55:48,159 --> 00:55:53,000 Speaker 3: Blue mar blue bloom my blue, Well, I said, blue ass, 872 00:55:53,039 --> 00:55:56,440 the Mona river running a round through my room. Well, 873 00:55:56,519 --> 00:55:58,599 he mark about daddy with a big blue Tali said, 874 00:55:58,599 --> 00:55:59,679 they need a more fire. 875 00:55:59,639 --> 00:56:00,559 Speaker 4: Down in the valley. 876 00:56:00,599 --> 00:56:02,840 Speaker 5: And now I'll be the blue mark. 877 00:56:50,480 --> 00:56:54,960 Speaker 3: Now here, I stayed. I'm a little all my friends, 878 00:56:55,000 --> 00:57:00,840 I've gone to the heavenly home now, mushad, but sing 879 00:57:00,960 --> 00:57:06,599 these bloo see them on dad crying out all night too. Hey, 880 00:57:06,679 --> 00:57:09,320 mister Payne wants to mark me too. 881 00:57:10,280 --> 00:57:12,039 Speaker 4: There ain't nothing you can do to. 882 00:57:12,119 --> 00:57:13,079 Speaker 5: Magni any more. 883 00:57:13,159 --> 00:57:16,639 Speaker 3: Blue, Oh put it up pie making blue as the 884 00:57:16,639 --> 00:57:17,079 sky in. 885 00:57:17,119 --> 00:57:19,320 Speaker 5: The whole world. Here the song we a pie. Now 886 00:57:19,480 --> 00:57:25,159 I got my blue mar two Bomar bloo bill mar. 887 00:57:25,159 --> 00:57:28,800 Speaker 3: Blue Yeah, well blass the matter river runner right through 888 00:57:29,119 --> 00:57:30,920 a great big once with an a R two on 889 00:57:31,079 --> 00:57:31,800 the tears. 890 00:57:31,519 --> 00:57:33,159 Speaker 5: I cry, and there ain't nothing left to lo. 891 00:57:34,440 --> 00:57:37,000 Speaker 3: Well, city mark my daddy with a big blue Talis 892 00:57:37,039 --> 00:57:39,039 and they need a more fire down hell about it. 893 00:57:39,159 --> 00:57:41,280 Speaker 1: And now I'm feeling the blue Marto. 894 00:57:42,480 --> 00:57:45,119 Speaker 3: Well, city mark my daddy with a big blue Talis 895 00:57:45,159 --> 00:57:47,119 and they need a more fire down hell about it. 896 00:57:47,280 --> 00:57:49,880 Speaker 5: And now I'm feeling those boo mark boot. 897 00:57:52,599 --> 00:58:23,199 Speaker 4: Who can't get you. 898 00:58:23,679 --> 00:58:25,119 Speaker 8: Out of my mind? 899 00:58:26,880 --> 00:58:41,840 Speaker 12: Indhurts and I'm still trying. Oh my treat, I can't 900 00:58:41,960 --> 00:58:49,159 get you out of my mind. I screwed up and lie. 901 00:58:51,239 --> 00:59:07,159 Speaker 15: Now you walt a lot by. Oh won't you come 902 00:59:07,320 --> 00:59:10,719 in to my reality. 903 00:59:15,880 --> 00:59:16,039 Speaker 2: Night? 904 00:59:19,559 --> 00:59:23,400 Speaker 4: Please help come make this man out. 905 00:59:23,159 --> 00:59:46,760 Speaker 8: Of I can't get you out of my mind. 906 00:59:48,440 --> 00:59:54,480 Speaker 12: My thoughts are twisted and time I wish I had 907 00:59:54,760 --> 00:59:57,119 made the best of gods.